Saturday, July 1, 2017

July 31 - Robert Miller

July 30 - Forouzan Safari and David Roy

July 29 - Ezennwa Ukwuoma

July 28 - Gary Brewer


Zeina Baltagi, Kelly Berg, Gary Brewer, Srijon Chowdhury, Mark Dutcher, Rebecca Farr, Bryan Ida, David Lloyd, Aline Mare, Andy Moses, Diane Nebolon Silver.

Kamikaze exhibit at PØST, Friday July 28th opening 7-10 PM
The word for blue does not appear in either the Iliad or the Odyssey, descriptions like the "wine dark sea" and the 'bronze sky' have perplexed scholars for centuries; did the Greeks not 'see' blue? There have been claims that most ancient languages do not have a word for blue, although we know that there is an ancient Hebrew word for blue and that the Egyptian's created a blue color in 2500 BC.
In our eyes there are cones and rods that are sensitive to specific colors, it turns out that the blue-light cones are the least sensitive, blue was often seen and referred to in language as 'darkness' or 'black', blues late arrival as a color in language is in part due to biological reasons.
There is also the idea that until a thing is named it does not "exist", which is a stretch, however seeing through the clarifying lens of analysis and articulation it seems that a thing becomes clearer, we see more with the cues of description- turquoise, cobalt, ultramarine.
Rayleigh Scattering is my favorite mystery; sunlight refraction through the molecules of our atmosphere are more effective on the shorter wavelengths (blue) of the color spectrum, hence the blueness of the sky as well as the blue of the sea. Blue eyes, are also caused by this scattering. Melanin is what gives eyes their color, eyes without melanin are blue, if the melanin is yellow our eyes are green, the first color wheel appears to be our eyes themselves!
In the 13th Century blue was still a largely unacknowledged color in Western European thought. In the color hierarchy, by way of the church, there was red as the most noble, then black and white. Yellow and green came in afterwards in importance, without a mention of blue.
During this time the use of blue in stained glass was changing this view. Indeed their was a battle of sorts between theologians as to the nature of color; was color matter or light? These camps were the chromophiles, lovers of color who saw it as light, therefore, immaterial and of the nature of spirit and god. Then there was the chromophobes who saw color as matter, therefore a disdainful part the material world - corruptible and encouraging attachment to the physical world, this veil of tears.
The chromophiles won the day and blue became associated with a spiritual, transcendent beauty. It made its way into finer fabrics and clothing as indigo replaced woad as the dying agent, and deeper, richer blues became possible. Its nobility and association with the a spiritual quality made it surpass red in importance, which had been the noble color since the time of the Greeks and Romans.

I have selected a group of artists, friends whose work I admire and asked them to include a blue piece for the exhibit “Blue” to articulate through the lens of many different creative minds their feeling for and expression of this mysterious and loveliest of colors.
Artists in the exhibit; Zeina Baltagi, Kelly Berg, Gary Brewer, Srijon Chowdhury, Mark Dutcher, Rebecca Farr,  Bryan Ida, David Lloyd, Aline Mare, Andy Moses, Diane Silver.

July 27 - Julia Schwartz

night divides the day

Sarah Awad, Abdul Mazid, Julia Schwartz 

July 26 - Andrea Bersaglieri and Hagop Najarian


A mechanical device that serves to connect ends of adjacent objects.
We are living in an extraordinary time of polarization economically, politically
and socially. As a society we seem unable to find commonality with those with
whom we disagree. The world could use some unconditional love, and
understanding, and is in desperate need of finding that slippery balance of
commitment and compromise.

Art requires commitment. Relationships require compromise.
This dichotomy is the subject of the PØST Kamikaze exhibit: Coupling.
The artists that are included are also couples. The exhibit will investigate how
their work relates to each other (or doesn’t), how their processes balance each
other (or don’t) and their ability (or struggle) to find compromise in their
commitment to create.

“The day the power of love over rules the love of power, the world will know

Artists include: Siobhan McClure, Greg Rose, Hataya Tubtim, Sergio Teran, Kim
Abeles, Ken Marchionno, Kate Savage, Tom Miller, Jenny Phelps, Ben Evans,
Andrea Bersaglieri and Hagop Najarian.

A PØST “Kamikaze” exhibit curated by Andrea Bersaglieri and Hagop Najarian

July 25 - Kat Rodriguez


July 24 - Delbar Shahbaz

July 23 - Lawrence Gipe

Kamikaze Dérive @ PØST (Nobody Walks in LA) 

Kim Abeles, Laura Atchinson, Gary Brewer, Nick Brown, Eileen Cowin, Joey Forsyte, Bobbi Gentry, Lawrence Gipe, Audra Graziano, Kio Griffith, Alex Kritselis, Jon Kuzmich, Aline Mare, Thinh Nguyen, Don Porcella and Jody Zellen.

Kamikaze Dérive @ PØST (Nobody Walks in LA)
Lawrence Gipe, Organizer

   Kamikaze Dérive @ PØST (Nobody Walks in LA) is a group exhibition of works by 15 LA artists that draws from the experience of wandering about the SoCal’s rich and varied urban landscapes. For Dérive Kamikaze @ PØST, Gipe asked artists to engage in a loosely-defined notion of dérive as a template for exploration and production, with an artwork being a visual manifestation of the experience. Exhibiting artists include Kim AbelesLaura AtchinsonGary BrewerNick BrownEileen CowinJoey ForsyteBobbi GentryAudra GrazianoKio GriffithAlexander KritselisJon KuzmichAline MareThinh NguyenDon Porcella and Jody Zellen
    The exhibition’s theme is inspired by Guy Debord’s “Theory of the Dérive,” a dérivebeing an unplanned journey in which participants ‘let themselves be drawn by the attractions of the terrain and the encounters they find there.’ Gipe posits a hybridized version of dérive, one that references the older idea of the flâneur as well the “walking practices” of Richard Long from the 70’s - while taking into account our social media age; his last curated exhibition utilizing this theme was “Everyone is Hypnotized: Artists Dérive the Bay Area”.
   The dérive offers a possibility for engagement or detachment, a process of looking for aspects of “psychogeographic” interest during what Debord called a “passage through varied ambiences.”  Each artist creates one artwork as a result of the derive and displays it for one evening in Gipe’s Dérive Kamikaze @ PØST, along with a gathering of the artists involved and the general public.