Sarrita Hunn

www.danidodge.com
IG @danidodge

Artist Statement
I am an installation artist who creates immersive, interactive environments that incorporate video, paint, sculpture and sometimes performance. In Choppy Waters I explore ideas of bodies out of place and time.

Biography
Dani Dodge uses unexpected sculptural materials to alter spaces. Her experience as an embedded journalist during the 2003 invasion of Iraq changed her forever. Since then, she has created art and installations that transform and challenge expectations. Within these works are often elements of magical realism. From brightening a black and white snowy forest in Ireland with luminescent tree stumps to turning a Los Angeles gallery into a gantlet of rotating car parts made from baby blankets, her works play with surrealist ideas using innovative forms. The works merge the rational and the dream state. Dodge has created site-specific installations at the Coos Art Museum, Lancaster Museum of Art and History, New Museum Los Gatos, Inland Empire Museum of Art, Inglewood Public Library, San Diego International Airport, San Diego Art Institute and more. Dodge’s installation/performance CONFESS at 2015’s LA Pride was named one of the outstanding public art projects of the year by Americans for the Arts.
Her work is included in four museum collections and has been shown across the U.S. and internationally. Dodge lives and works in Los Angeles.

www.yasminediaz.com
IG@yasminediaz

Artist Statement
These works are unique editions whose counterparts are currently installed in the exhibit, soft powers, at the Arab American National Museum. The museum closed its doors before the show had a chance to open, so this is a welcomed opportunity to share some of these works outside of the digital world. The exhibit reflects on coming-of-age nostalgia and Yemeni-American girlhood and addresses subjects familiar to many children of immigrants including code-switching, plural identities and conflicting loyalties.

Biography
Yasmine Nasser Diaz is a multidisciplinary artist whose practice navigates overlapping tensions around religion, gender, and third-culture identity. Her recent work includes immersive installation, fiber etching, and mixed media collage using personal archives and found imagery. Diaz has exhibited and performed at spaces including the Brava Theater in San Francisco, the Albuquerque Museum of Art, and the Torrance Art Museum. She is a recipient of the California Community Foundation Visual Artist Fellowship (2019) with works included in the collections of LACMA, UCLA, and the Arab American National Museum. She lives and works in Los Angeles.

www.nancybakercahill.com
IG @nancybakercahill / @4thwallapp

Method No. 13 was originally created for the 2018 Surveillance exhibition at @durdenandray  “A Matter of Public Record”. Method No. 13 addresses issues that often remain invisible to us in our current era; surveillance capitalism, data mining, misinformation campaigns and censorship. The title refers to the Orwellian clock striking 13, a reference that feels more salient today than ever. The artwork, which includes sound, will be experienced via the @4thwallapp above the southwest corner of Sunset & Wilton Pl.

HOW TO USE THE 4TH WALL APP:

1. Using Wifi, download the FREE 4th Wall AR public art app. The app works on all phones 6s and above and Androids with AR Core. 
2. Go to: the southwest corner of Sunset & Wilton Pl, Los Angeles, CA 90028
3. Select Coordinates. The app will direct you to the AR artwork, which floats overhead. Be sure to enable sound, and allow access to location and photos. 
4. After selecting Coordinates, follow the arrow on your screen to view Method No.13. Use the camera or video icon to record the experience. 
5. Share your photos and video recordings on any social media and tag @4thwallapp #4thwallapp 

Artist statement
My work interprets the human body as an intimate source of knowledge; a vulnerable and resilient territory.The contradictions inherent in immersive media– invisibility/visibility, real/virtual, embodied/disembodied–  resonate with me as they mirror the push and pull of opposing forces within the body.Our ideas and lived experiences of our bodies are increasingly mediated by advances in technology. The tools I use to explore these changes reflect these adaptations. In drawing, video, virtual reality (VR), augmented reality (AR), installation and original sound, I attempt to isolate ephemeral moments of exertion and stillness. I am equally interested in power dynamics and how they shift, strain and contract. Drawing in traditional formats and in VR allows for an empathic expansion of my ideas. On paper and in virtual space, my process is deeply physical. My hope is that this energy is present in the experience of the work. I created a free, AR public art app, 4th Wall, to invite a broadly embodied experience of my work outside the solitary confines of the white cube. AR allows for an inclusive means of reconsidering site, time and space in relation to our own bodies. The app is also a tool of public engagement and subversive social practice. In addition, I have collaborative public art exhibitions in 4th Wall which include AR artworks created by me and by fellow artists that activate the historically, politically or culturally significant locations we have chosen. Geolocation enables us to reveal untold stories and otherwise hidden ideas. By using deliverable technologies that are accessible, I hope to reach larger audiences. My goal with all of my projects is to offer unexpected embodied experiences that in turn provoke conversation and initiate a broader cultural dialogue.

Biography
Nancy Baker Cahill is an artist working at the intersection of fine art, new media and activism. She is the Founder and Creative Director of 4th Wall, a free Augmented Reality (AR) public art platform. Through 4th Wall, she initiated Coordinates, an ongoing series of curated & site-specific AR public art exhibitions, including Defining Line (with artist Debra Scacco) along the LA river, and the city-wide Battlegrounds in New Orleans. She is the recipient of an ARC Grant from the Center for Cultural Innovation and has been profiled by numerous national and international publications. Baker Cahill is a TEDx speaker and was the subject of a 2019 Bloomberg Media Art + Technology short documentary. In 2019, she received an “Impact Maker to Watch” award at LA City Hall and was named by the LA Times as one of the ARTS Faces of the Year. She was a 2019 Desert X Biennial artist and created a combination analog and AR installation for Facebook’s AIR program in Los Angeles. In 2020 she featured an AR drawing in 360º at LA’s Hammer Museum and created a site-specific AR public artwork for SXSW (to be exhibited in 2021). She is one of ten artist scholars in the Berggruen Institute’s inaugural 2020 Transformations of the Human Fellowship. Upcoming projects include Liberty Bell, a national, multi-site AR public artwork commissioned by Art Production Fund. Baker Cahill served for years on the Hollywood Public Art Advisory Board, and currently serves as an advisory board member at Fulcrum Arts. She is the current Chair of the Board of Directors at LACE (Los Angeles Contemporary Exhibitions).

www.jennyyurshansky.com
IG @jennyyurshansky

As you are driving between various installed works stream this audio guide to listen to recordings of California’s blacklisted invasive plant species, many familiar to you, which you will see during your journey. Follow this link to listen as they recount their capricious experiences in settling here: https://soundcloud.com/jenny-yurshansky/sets/drive-by-art 

The accounts speak as much to these plants’ precarious place in California’s landscape as they are also the stories of the state’s human migrants. It is important to remember that these species arrived as companions to humans and their activities. The dates these so-called aliens came here correspond to the eras of colonial imperialism, manifest destiny, globalized shipping, and successive waves of multi-ethnic immigrant laborers. The narratives explore the themes of migration, national identity, and the disputable function of political borders. These voices encourage us to reflect on the botanical landscape as one that is cultural. Many thanks to the talented humans who have channeled these florae for our ears.

Artist Statement
My work is deeply informed by my experience as a refugee who was born stateless. Using material and critical parameters defined by a conceptual and research-based approach, I explore the trauma of displacement by interrogating notions of belonging and otherness through site, historical traces, and social constructions, often formally manifested as absence, loss or erasure. My work includes writing and working with a variety of materials such as cast, slumped and found glass, welded and charred steel, MDF manipulated to simulate antique display cases, embroidered textiles, hand-cut paper silhouettes of plants, laser-etched granite, and photographic installations. I have been connecting my work on the losses experienced by refugees and migrants to ecological collapse and the climate crisis. These subjects are all intertwined, and it is only through dealing with our political and environmental issues systematically can we hope to find solutions to these exponentially increasing problems.

Biography
Jenny Yurshansky received her MFA in Visual Art from UC Irvine and was a post-grad in Critical Studies at the Malmö Art Academy. In 2020 she had a solo show at Harvard-Westlake and will have a solo show at American Jewish University. She will also be the first Artist-in-Residence at Bemis and has been awarded the Light On Travel Fellowship. In 2019 Yurshansky received the City of Los Angeles Artist Fellowship along with an exhibition at Los Angeles Municipal Art Gallery. She had a solo exhibition at St. Mary’s College in Notre Dame, Indiana, and was part of the exhibition “A NonHuman Horizon” at Los Angeles Contemporary Exhibitions. In 2018 Pitzer College Art Galleries published her artist book and she was an Artist-in-Residence at Bemis Center for Contemporary Arts, along with being part of the 2018-19 Mexicali Biennial. In 2016 she was an Artist-in-Residence at Arts Initiative Tokyo. In 2014 she was the first Artist-in-Residence at Pitzer College Art Galleries followed in 2015 by her solo exhibition as part of the Emerging Artist series curated by Ciara Ennis. In 2015 Yurshansky was also a Guest Artist Researcher at the Royal Institute of Art in Stockholm, which she concluded with a solo show. In 2010 she was the first international artist awarded the Maria Bonnier Stipend from Bonniers Konsthall in Stockholm.

www.jweststudio.com
IG @jwest20011

Saturday Night May 23rd 8-midnight
(best viewed from across the street)

6th Street Bridge Film (16mm color and black and white film prints submerged, floated, dragged, scratched and corroded in the water and cement of the Los Angeles River Bed by Jwest and Lucie Birney under the former 6th Street Viaduct – repaired, painted with dyes, etched and preserved – original 16mm shot in 2016 by Peter West and Jwest – bug driving by Lena Ruano with Micah Espudo – car driving by Finn West – appearances on film by Kate, Chris, Rocio and others) 9 minutes, 58 seconds, 2020 (16mm transferred to 4K) Commissioned in part by JOAN Los Angeles in conjunction with solo exhibition, “Future Forgetting”, curated by David Matorin

Biography
Jennifer West is an artist who has explored materialism in film for over ten years. Born in Topanga, California, West lives and works in Los Angeles.   Her solo exhibitions include: “Future Forgetting”, JOAN, Los Angeles, 2020;  “Emoji Piss Film”, Contemporary Art Museum, St Louis, 2018; ” Is Film Over?, Yuz Museum, Shanghai, China (2017); “Film is Dead…”, Seattle Art Museum, Seattle, 2017; “Action Movies, Painted Films and History Collage”, Museo d’Arte Provincia di Nuoro, Nuoro, 2017; “Flashlights Filmstrips Projections”, Tramway, Glasgow, 2016; “Aloe Vera and Butter, S1 Artspace, Sheffield, UK (2012); “Paintballs and Pickle Juice”, Kunstverein Nürnberg, Nuremberg, (2010); “Perspectives 171: Jennifer West”, Contemporary Arts Museum, Houston, (2010); Lemon Juice and Lithium, Transmission Gallery, Glasgow (2008); “White Room: Jennifer West”, White Columns, New York, (2007).  Her work is in museum and public collections such as and the Yuz Museum, Shanghai, China; Museum of Contemporary Art, Cleveland; Hammer Museum, Los Angeles; Kadist Foundation (San Francisco/Paris), Zabludowicz Collection (London); Los Angeles County Museum of Art; Depart Foundation (Rome); Museum of Old and New Art, Tasmania; Henry Art Gallery (Seattle); Rubell Collection (Florida); Saatchi Collection (London), among others. Significant commissions include Seattle Art Museum, Seattle, 2016-2017; Institute of Contemporary Arts, Art Night, London, 2016; High Line Art, New York, 2012; Aspen Art Museum, Aspen, 2010; and Turbine Hall at TATE Modern, London, 2009.  Select group exhibitions include: Yuz Museum, Shanghai, 2019-20; Whitney Museum, New York, 2017; Carnegie Museum of Art, Pittsburgh, 2015; Palais de Tokyo, Paris, 2013; Schirn Kunsthalle, Frankfurt, 2010; Musee d’Art Contemporain (CAPC), Bordeaux, 2008; Drawing Center, New York, 2008 and ZKM Museum for New Media, Karlsruhe, 2007. Her writing has appeared in Artforum, Frieze and Mousse Magazine. West has produced eleven Zine artist books which were recently acquired by the Getty Museum.  She received an MFA from Art Center College of Design in Pasadena, California, and a BA with film and video emphasis from the Evergreen State College in Olympia, Washington. She has lectured widely on her ideas of the “Analogital” and is an Associate Professor of the Practice of Fine Arts at USC’s Roski School of Art and Design.

www.danitull.com
IG @dani_tull

Artist Statement
SLOW BURNERS is an ongoing series of functioning lanterns whose forms are unrefined, raw and unmistakably made by hand. Each unique lantern is emotive, conveying ephemeral aspects of the human condition. The lanterns bulbs and wires harnessing an electric current can be seen as a representation of the human body and states of human consciousness. Previously, my lanterns have been exhibited in indoor exhibition spaces, for DRIVE-BY-ART (PUBLIC ART IN THIS MOMENT OF SOCIAL DISTANCING), I am interested in the opportunity to see and present them in an exterior public setting. Lanterns illuminate our path during times of darkness, to exhibit these works at this time takes on an additional tenor as our paths have been dimmed by so much uncertainty – collectively and individually. I hope these works conjure an inner meditative sense while simultaneously illuminating a sense of togetherness on the path of your art pilgrimage.

Additional background on the lanterns: These works were initially inspired by spending a great deal of time in Barcelona amidst the great works of Catalan Modernisme (Modernism). While in Catalan region, I had some extraordinary and profound experiences of both extreme beauty and horror. My family and I were present during the terrorist attack a few years ago on Barcelona’s grand promenade Las Ramblas. While we are lucky to be alive, witnessing the event and participating in both the ensuing anti-terrorists demonstrations and the various memorials was a lot to process. Prior to the attack, I was deeply moved by many of Barcelona’s architectural landmarks, in particular the light spilling in through the Sagrada de Familia and The Church of the Colonia Güell (both by modernist architect Antoni Gaudí). I was also fascinated by the large gothic lamps around the narrow streets of the Barri Gòtic (Gothic Quarter), as well as the lamps and lanterns found in many of the region’s cathedrals and sacred sites. I had been struck by the relationship of natural light spilling into these structures during the day and the manmade light spilling out of the large lamps in the evening.

In the days following the terrorist attack, a number of spontaneous memorial sites sprouted up along the Las Ramblas promenade. Staying just around the corner, we visited and participated often. The sense of mourning expressed by the messages, objects and thousands of flickering candles placed by visitors, created one of the most beautiful and emotive participatory creations I have ever witnessed. My time in Barcelona was profoundly marked by and expressed by experiences of light and form.

Biography
Dani Tull lives and works in Los Angeles, California. He received his MFA from Stanford University in 1990 and a BFA from The San Francisco Art Institute in 1984. Tull has exhibited extensively in galleries and museums internationally with selected solo exhibitions including Blum and Poe (LA), Jack Hanley Gallery (SF), The Pit (LA), Kim Light Gallery (LA), Fredericks & Freiser (NY) Torch Gallery (Amsterdam). Recent exhibitions include On Stellar Rays (NY), Jacob Lewis Gallery (NY) and LAM Gallery (LA). Tull’s work has been featured in The New York Times, Los Angeles Times, Artforum, Art in America, I.D. Magazine, Wallpaper and Frieze amongst others. Tull is also an accomplished musician and has collaborated with a variety of internationally recognized artists such as Jim Shaw, Raymond Pettibon and Marnie Weber. Permanent collections include The Metropolitan Museum of Art, The Getty, The Laguna Art Museum and The Peter Norton Family Collection. Tull was cited by Ed Ruscha for a feature in Wallpaper* Magazine, “LA’s brightest new talent and truest voices.” As an accomplished musician and composer he has recorded and performed with a great variety of musicians. Recent musical projects include solo performances for SASSAS, West Of Rome and LAFMS. Dani Tull is also a member of D’red D’warf, a band project with artist Jim Shaw. Tull is also co-owner of ODD ARK LA gallery in Los Angeles.

www.janetsternburgphoto.com
www.janetsternburg.com
IG @janetsternburg

Through the Little Tokyo community spirit, Azay, this beloved restaurant at 226 First Street, between San Pedro and Los Angeles Streets is displaying the work of Janet Sternburg in their windows.

Artist Statement
My work is about revealing an interpenetrating world. To that end, I use no manipulation whatsoever. I work with single-use and iPhone cameras because their limitations give me what I want, images that are close to the way our minds work.

About Azay Restaurant
Azay is the homecoming of Chef Akira as he explores the intersection of history, cuisine, and community in the former space of Anzen Hardware, Little Tokyo. 

Born and raised in Kyoto, Japan, Akira trained in the French countryside of Azay-le-Rideau and Paris, having worked at Maxim’s de Paris and the hotel Nikko under Joël Robuchon. After being recruited to work at the esteemed L’Orangerie in Los Angeles, he and his wife opened a French restaurant in Kyoto, Japan then Pasadena, California, which closed in March 2019 after celebrating 20 years as Maison Akira. 

The new menu at Azay will celebrate his experiences professionally in the kitchens, gardens, and communities of the culinary world as well as the personal relationships he made along the way.

Biography
Janet Sternburg is a polymath: an artist of photography, a writer of literary books, a maker of theatre and films, an educator, all in the service of a singular vision which has always been at the forefront of cultural change. Since 1998 when she began taking photographs, her work has appeared in a portfolio in Aperture (2002), and that same year in a cover story and portfolio in Art Journal. Her photography has been exhibited in solo gallery shows in New York, Los Angeles, Berlin, and Milan, as well as at cultural institutions in Mexico and Seoul Korea where she received a commission for a full-building installation using projection and multiple monitors. A monograph of her photographs, Overspilling World: The Photographs of Janet Sternburg, was published in 2016-17 by Distanz Verlag with a Foreword by Wim Wenders. In 2018, the USC Fisher Museum of Art presented her solo show, LIMBUS.