Andres Sandoval

www.maxjansons.net
IG @maxjansons

Artist Statement
Max Jansons work focuses on paintings’ ability to engage the viewer in an intimate way and create an unfolding and thoughtful visual experience. In his work he utilizes various subject matter, often within the same body of paintings, using both representational and abstract images. The history of painting is folded into the subject of his work. Jansons explores that relationship in multiple ways, but especially with the use of his painterly gestures and diverse brush work, timeless materials such as linen primed with lead, paints ground in aged oil and pigments whose sources are rare to find.

Biography
Max Jansons was born in New York City. He lives and works in Los Angeles, California. He received an MFA from Columbia University, New York and his BFA from University of California at Los Angeles. He has had fourteen solo shows and has exhibited in galleries in the US and abroad. He has been reviewed in The LA Times, The New York Times, Artforum, and was named among other important LA based painters in Christopher Knights list of “45 Painters Under 45” in the Los Angeles Times.

IG @steve__hurd

Biography
Steve Hurd is a Los Angeles artist that works from found source materials translating them into paintings that bring up and discuss social/political issues relevant to the world we live in. He received his Bachelors of Fine Arts from the San Francisco Art Institute in 1979 and later came to Los Angeles where he studied with Chris Burden, Paul McCarthy, and Mike Kelley at UCLA. There he received a Masters of Fine Arts in the New Genre Department in 1988. He has shown individually at Galerie Vedovi, Brussels; Jack Tilton Gallery, New York; Dan Bernier Gallery, Los Angeles; and Rosamund Felsen Gallery, Santa Monica. He’s also the recipient of the Louis Comfort Tiffany Foundation Fellowship in 2005, the Los Angeles Artist Fellowship Laboratory, and the City of Los Angeles Individual Artist Fellowship, both in 2012.

Artist Statement
This vending machine will provide copies of my newspaper “ANALOG COUNTERREVOLUTION”. Newspapers are 25 cents each. Quarters only. The Machine will not be regularly sanitized so bring appropriate gear for purchasing a paper at your own risk. Do not forget your quarters.

Biography
Evan Holloway has been featured in numerous institutional exhibitions, including The Sculpture Park, Madhavendra Palace, Nahargarh Fort, Jaipur, India (2017); Los Angeles – a fiction, Musée d’art contemporain de Lyon, France (2017) and Astrup Fearnley Museet, Oslo (2016); Don’t Look Back: The 1990s at MOCA, The Geffen Contemporary, Los Angeles (2016); His work is included in the permanent collections of museums such as the Hirshhorn Museum and Sculpture Garden, Washington, D.C.
; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, Los Angeles; Palm Springs Art Museum, Palm Springs, California; and Whitney Museum of American Art, New York. Holloway lives and works in Los Angeles.

www.gilah.com
IG @gilahyelinhirsch

In addition to being a painter and writer, my films deal with my theory on the origin of alphabet, Cosmography, based in 5 patterns found in nature. I identified and photographed these patterns while living for as much as 16 months alone in wilderness. World travels facilitating investigation of alphabets ancient to modern confirmed my hypothesis that the 5 patterns were chosen universally by our ancestors because they mirror the neurons and neural processes of perception and cognition. The hard-wired commonality further binds humanity closer than we can imagine. This understanding also raises the question of do we think because of what we see or do we see because of what we think?

Description:
While cultures and languages bring unique beauty and richness to the world, we, as humankind, are more alike than we are different. Combining science and art, Reading The Landscape is a magical voyage around the world following the migratory patterns of humankind. We follow five forms identified in nature that are present in alphabets universally, ancient to modern, and show that these forms were chosen ubiquitously as they mirror neurons and neural processes of perception and cognition. This is her second film based on her theory of Cosmography. Watch Reading the Landscape on Vimeo. The DVDs are for sale on Amazon.

Artist Statement
My paintings are about the ineffable, the ascent toward numinous where light reigns. I embark on the mysterious voyage toward revelation with a thought, memory, word, embodied in a charged swirl of a multicolored brush.The discovery process continues with layer upon layer of call and response to the developing image as more associations, thoughts, memories, or patterns are triggered. Elevating, ritualistic non-specific forms emerge. Fascinated, I am driven by emerging clues toward finding the elusive entirety. I am hooked into an experiential dig, an archeology of elemental form analogous to the careful search for images scratched and painted into caves preserved beneath layers of time and history, slowly illuminated for the first time. I am ultimately persuaded that an original life has been conjured when the new form breathes on its own and ceases to ask for attention – when light and shadow have achieved a unique reality that is welcoming, resonant, relevant and healing.

Biography
Gilah Yelin Hirsch, (BA UC Berkeley, MFA UCLA), is a painter, writer, theorist, filmmaker, lecturer and Professor of Art at California State University, Dominguez Hills (Los Angeles). She works in a multidisciplinary manner including art, design, anthropology, architecture, theology, philosophy, psychology, psychoneuroimmunology, and world culture. An internationally exhibiting artist in over 250 exhibitions since 1968 including the Israel Biennale, the Whitney Museum (New York), the Los Angeles County Museum of Art, Hungarian National Museum, Slovak National Museum, Mueso del Pintura, Oaxaca, Mexico, and acquired by many major public and private collections, including the, Skirball Museum, Los Angeles, CA; Alexander Braun Collection, Budapest; Slovak National Museum, Bank of America National Banks, USA; University of California Medical Arts Collection, Los Angeles, CA, California State University Dominguez Hills, Los Angeles, and Museo del Pintura, Oaxaca. Hirsch’s work has been reviewed extensively worldwide, has appeared on covers and within dozens of international publications, along with articles and chapters about her life and work, e.g. LA Rising: SoCal Artists Before 1980; Bridges Magazine, ISSSEEM, 2010, Issue 3; Nashim: A Journal of Jewish Women’s Studies & Gender Issues; Subtle Energy & Energy Medicine, 2007 Vol 16, No 3, 1994, Vol 2, No 1; Feminists Who Changed America; LA Times; The Reenchantment of Art; The Power of Feminist Art: The American Movement of the 1970s; History & Impact and Artists of the Spirit: New Prophets in Art & Mysticism. Hirsch’s own articles and theoretical papers have been published in scholarly journals internationally e.g. MIT’s Leonardo: Journal on Science and Art; International Society for the Study of Subtle Energies; Women’s Studies: An Interdisciplinary Journal; Journal of the Institute of Ethnology and Anthropology, Russian Academy of Sciences, Moscow; Collections of Foreign Studies on Shamanism, Dalian Nationalities University, China. She has also authored the book Demonic to Divine: The Double Life of Shulamis Yelin (Vehicule Press). Hirsch’s film Cosmography: The Writing of the Universe, an investigation into the relation between origin of alphabet, pattern in nature and the neurology of perception and cognition, has received worldwide interdisciplinary notice. Her current film, Reading the Landscape, brings these concepts to children of all ages in sixteen languages and cultures.

Hirsch’s numerous awards, honors, grants, fellowships and residencies include the International Society for the Study of Subtle Energies and Energy Medicine’s (ISSSEEM) Alyce and Elmer Green Award for her “innovative blending of science and art;” US National Endowment for the Arts; California State University, CA; CLASS Foundation, CO; Panavision Inc; California Community Foundation, CA; Fieldmouse Foundation, CA; Takahashi Foundation CA; US Embassies of Slovakia and Ukraine; Mountain Conservation Recreation Authority, CA; ARTLAB, Civitella D’Aglioni, Italy, Dorland Mountain Colony, CA; Banff Center for the Arts, Canada; MacDowell Colony, NH; Rockefeller Foundation, Bellagio, Italy; Tyrone Guthrie Center for the Arts, Ireland; International Painters’ Symposium, Slovakia; Tamarind Institute of Lithography, NM; St. Martin’s School of Art, London, England; Syracuse University, NY; Rim Institute, AZ., Morris Graves Foundation, CA; Songambele Arts Festival, Nairobi, Kenya. Besides leading numerous creativity and art and healing workshops worldwide, Hirsch has given over 300 presentations/keynotes on her work at universities, institutes and conferences internationally e.g. Santa Monica Museum, CA, Yale School of Divinity, CT; Haverford College, PA; McGill University, Montreal, Canada; Russian Academy of Sciences, Moscow, Russia; Institute of Art, Science & Healing, Berlin, Germany; International Society for the Study of Subtle Energy Medicine, KS; TED X at First International Festival of the Arts, Bhutan; UNESCO’s 2015 International Year of Light Exhibition and Symposium at the National Museum, Budapest, Hungary; the International Interdisciplinary Symmetry Society, Santorini, Greece and 30th Congress, Adelaide, Australia; International Society for the Academic Study of Shamanism in Alaska, US, Delphi, Greece, and Hanoi, Vietnam.

Gilah Yelin Hirsch resides in Venice, California. Her archives are housed in the Smithsonian Archives of American Art.

www.phyllisgreen.net
IG @pgreen50

The work will be displayed behind a window on the north side of the building facing Wilshire Place. (“Wilshire Place” is the alley just north of 1218 but south of Wilshire Blvd.). Please note that this work can only be seen on the north side of the building.

The artist will be seated in front of a window, dressed in a hand-made cape and silently reading from the BHAGAVAD GITA

Artist statement
The suggestion that we change our lives like we change our clothes was offered in the Bhagavad Gita, the ancient Sanskrit verses that are often regarded as the most influential text shaping Hindu spiritual thought and life:

“Worn-out garments
Are shed by the body;
Worn-out bodies
Are shed by the dweller
Within the body.
New bodies are donned
By the dweller, the garments”

Biography
Phyllis Green began her career as an artist, educator and curator in Los Angeles in 1981. Her practice integrates gender politics and the sphere of craft. Though she has worked in video, installation and performance, she is primarily an object maker who represents the body. These bodily surrogates have taken the form of skeletal fragments, organs, garments and containers. Most recently, her focus is the contrast between the material world and the immaterial world of belief. Green’s sculpture has been exhibited nationally and internationally for forty years. She is the recipient of individual artist’s fellowships from the National Endowment for the Arts, the California Arts Council, the Pollock-Krasner Foundation, the City of Los Angeles, the City of Santa Monica and The California Community Foundation. The J.S. Guggenheim Memorial Foundation named her a Fellow in Fine Arts in 2014. She has taught extensively at universities in Southern California, including UCLA and USC. 

www.sonjagerdes.com

Artist statement
My practice can be defined by the relationship and interactions between the body, energy, and air and what it means to be human. My starting point is the consideration of the accessibility of air through a conceptual science fiction project called Oxygenenergizer (OE). Oxygenenergizer is a sci-fi exploration of a future in which machines create energy from oxygen and “breathing” is recognized as the connecting force between all life and spirits on the planet. It speaks poetically of the contemporary human condition as an ongoing, infinite, fluid movement versus the reality of environmental change. Through a combination of sculptures, performances, writings, spirit channeling, and social activation, Oxygenenergizer manifests moments of infinite possibilities while activating a sense of what it means to be amorphous — abstract, ambiguous, absurd and uncertain.

Biography
Sonja Gerdes was born in Germany. She studied at the University of the Arts in Berlin, and from 2007-2013, co-ran the Berlin-based artist run space, Infernoesque. Her work probes our disdainful relationship to the environment, grappling with the unchecked entrenchment of late capitalism and the potential extinction through climate change, while positioning a speculative convergence of technology and organic life as a malleable, amorphous mind and a means to create and embark upon a utopic future. “I see Oxygenenergizer as a multi-dimensional soul organism that draws on air for the potential to create a higher consciousness tapping into models of generative energies; being a soul spirit, a spider, a mother, a healer, an air activist, cellular plant life, an infinite hyper object for multispecies enmeshing.” The work also embodies a collective and dialogic dimension, one in which performances, durational works, and other site based activations become part of a process of engagement and an invitation towards creating meaningful dialogue around thoughts, belief, and change towards the infinite possibility of air and energy. Over the last few years Oxygenenergizer has created environments and installations that often connects us to a larger sense of the feminine and the animistic, suggesting embodied spaces that become porous modes of circulation – an ultimate soul-giving machine.

Recent exhibitions include Soft Schindler, Schindler House, Los Angeles; Pie of Trouble. Stays Trouble. Belly on Belly, Gas Gallery, Los Angeles; Pie of Trouble. Stays Trouble. Let’s Hang. Breathe. Oxygenenergizer. Becoming With. Genderless Breath. Animal Creature Plant Breath Soul. Air For Free. Do spiders breathe? The Multiple Amorphous Us. Crown Chakra – Sahasrara Rising. Nova, Cloaca Projects, San Francisco; Direct Contact, D21, Leipzig; School for Endurance Work, Cal State La, Los Angeles; Pie of Trouble. Let’s Hang. Air for Free. Uncertainty. Absurdity. You look at it but it doesn’t exist. Anahata. Vishuda rising. Unpredictability, Cirrus Gallery, Los Angeles; When the sea looks back. A Serpent’s Tale. The Many Headed Hydra #02, District, Berlin; Pie of Trouble. Let’s Hang. You look at it but it doesn’t exist. Air for free and The Elegant Universe, The Pit, Los Angeles, CA; Unblinking Eye, Kavi Gupta Gallery, Berlin, Germany; and informell natur, Sabine Knust, Berlin, Germany. Her show at Cloaca Projects, San Francisco was reviewed by Brian Karl in Artforum, may 2018.