LA West

Renee Petropoulos

Renee Petropoulos

Bouquet, 2014
Stainless steel, mirrored stainless steel, paint, photograph

A bouquet of flowers as a gift and as a symbol of diversity, national identity, and beauty form the underlying motivation for the sculpture.  This idea has been developed through the form and the materials, which respond and correspond to the environment and the conceptual framework of the idea. The civic proximity and intimacy of domestic residences establish the framework for the gesture of bestowing a bouquet and cultivating an object that might suggest the connection between the two aspects.   Using a material such as stainless steel enhances the structural and visible dominance of the form, while the image presented of beautiful blooming flowers counterbalances this suggestion.  The reflection of the environment, provided by the reflective steel, dissipates the form by allowing it to ‘disappear’ from various viewpoints, thus allowing for an ever- changing experience.

Renee Petropoulos
Bouquet, 2014
Stainless steel, mirrored stainless steel, paint, photograph

Renee Petropoulos
Bouquet, 2014
Stainless steel, mirrored stainless steel, paint, photograph


Pamela Smith Hudson

Pamela Smith Hudson

Meditations for George Floyd, Meditations for Humanity, 2020
Cardboard, paper collage

Artist Statement
My work combines printmaking, layers of paint, wax, and collage to build textured surfaces on panels, canvas, and paper. I rely on the physical process to create my abstract landscapes and topographical works, where each layer is constructed, then deconstructed. Manipulating the materials with spontaneous and intuitive interactions and methods helps me explore limits. While it may be hidden, the energy of each layer is present within the work.

Pamela Smith Hudson
Meditations for George Floyd, Meditations for Humanity, 2020
Cardboard, paper collage

Biography
Pamela Smith Hudson lives and works in Los Angeles. Her artistic practice is a process of combining painting, printmaking, and collage to create abstract works that represent different views of our current landscape.She had her first solo show, Marking Space, at Chimento Contemporary in Los Angeles, California 2019. She has exhibited in a two person show, Charting the Terrain, at the California African American Museum 2018. Smith Hudson has collaborated with the Broad Museum and the Getty Museum on educational videos on Encaustic painting. Her works are included in the collections at the Los Angeles County Museum of Art and the California African American Museum of Art.


Matias Viegener

Matias Viegener

Hostage Situation, 2020
Rope, flour, water, salt, yeast
20 x 1 x 1 feet

Artist Statement
My recent art work has been about intimacy, technology and surveillance.  I’m interested in the overlap of formerly disparate territories, the private versus the public, personal interiority versus the parametrics of evidence and data.  “Hostage Situation” is an installation of bread on a rope dangling down from my living room window, 25 feet above the street.  It interrogates being hostage to an unhinged president, racist police violence, and far-right vigilanteism parallel to as the circumstances of epidemiological quarantine.

Biography
Matias Viegener is a writer, artist and critic who lives in LA and teaches at CalArts.  He is a cofounder of the art collaborative Fallen Fruit (2004-2013) and has exhibited and curated art at LACE, LACMA in Los Angeles, the Utah Museum of Contemporary Art, the Yerba Buena Center in San Francisco, ARCO in Madrid, Ars Electronica, and the Badischer Kunstverein. He’s the author of 2500 Random Things About Me and The Assassination of Kathy Acker, and editor of I’m Very Into You, the correspondence of Kathy Acker and McKenzie Wark, and co-editor of Séance in Experimental Writing and The Noulipian Analects.  He has published fiction and criticism in Afterimage, American Book Review, Artforum, Art Issues, ArtUS, Artweek, Black Clock, Bomb, Cabinet, Critical Quarterly, Fiction International, Framework, The Journal of Aesthetics & Protest, Mirage, Paragraph, Suspect Thoughts, and X-tra.  His work has been written about in The New Yorker, salon.com, The New York Times, Art in America, Frieze, Art:21, The Los Angeles Times, Hyperallergic, and The Huffington Post.


Alberto Cuadros (day + night)

Alberto Cuadros (day + night)

100 Strawberries: MALIBU, 2020
Flashe on canvas
dimensions variable (box truck)

Artist Statement
100 Strawberries is a social project. Each painting in the series is a stand in for an individual person, ultimately forming a network of loose associations. The iconic strawberry signs found along the coastal highways of California  serve as both an avatar for the artist, a native Californian, as well as a point of departure and framework for a meditative and personal painting series.

Alberto Cuadros
100 Strawberries: MALIBU, 2020
Flashe on canvas
dimensions variable (box truck)

Biography
Alberto Cuadros b. 1989, San Francisco Bay Area. Lives and works in Topanga, California.


Nicklas Stewart (day + night)

Nicklas Stewart (day + night)

It's A Hell Of A Time To Be Thinkin' About Heaven, 2020
Dritftwood, Metals, Shells, Enamel, Collected Materials

Artist Statement
Explorer of the unknown.

Nicklas Stewart
It’s A Hell Of A Time To Be Thinkin’ About Heaven, 2020
Dritftwood, Metals, Shells, Enamel, Collected Materials


The Window

The Window

The Window is a curatorial experiment in the window of 1909 7th Avenue, Los Angeles, California, 90018. Work is presented without names, press releases, or openings. There is no website, no social media, no archive, no secondary representation of the space. It has been running since November 2017 and has included work by an array of artists from Los Angeles and abroad.


Nina Waisman

Nina Waisman

Internatural 1.4, 2020
Archival prints on paper
17 x 30 inches
With thanks for the very generous support of Forest Island Project Residency and U.C. Santa Barbara'sThe Sierra Nevada Aquatic Research Laboratory

Reflections
If we don’t learn to think socially, as bacteria and virus wisely do, we will never succeed in living in equilibrium with the ecology we’ve been so fortunate to belong to.

Artist Statement
A small group of aliens arrive at Mono Lake.

Where they come from, the way to learn about
something is to synchronize with its rhythms and behaviors,
to let it tune them from the inside out.

On their first visit, they encounter water, tufa, cyanobacteria,
alkali flies, volcanos, gulls, humans. And digital logic.

With thanks for the very generous support of Forest Island Project Residency and U.C. Santa Barbara’s The Sierra Nevada Aquatic Research Laboratory

 

Nina Waisman
Internatural 1.4, 2020
Archival prints on paper
17 x 30 inches

Nina Waisman
Internatural 1.4, 2020
Archival prints on paper
17 x 30 inches

Biography
As a multimedia artist with a background in dance, Nina Waisman’s work is informed by the critical roles that movement and sensation play in forming thought. Scientists find such “embodied thinking” shapes all human logic: no human idea is actually rational. Waisman’s interactive sound installations, sculptures, videos and performance-works highlight the possible hacking of such embodied thinking, while focusing on related issues — surveillance, invisible labor, border control, machine-human feedback loops, cultural role programming. Recent works lead viewers to “try on” non-human behaviors, in hopes of learning from those who’ve survived longer than we — namely every non-human species on Earth — before it’s too late. Waisman has created artworks for venues including the Dorothy Chandler Music Center, Mono Lake, the Hammer Museum, 18th Street Arts, the City of Santa Monica, CECUT Tijuana, OCMA/California Biennial, House of World Cultures/Berlin, FILE/Sao Paolo, The Museum of Image and Sound/Sao Paolo, MOLAA, Zero1, ISEA. Waisman co-created and directs The Laboratory for Embodied Intelligences (LEI), a collective dedicated to exploring the role of embodiment in forming other-than-human intelligences, ranging from microbial on through plant, animal and extraterrestrial intelligences. With degrees from Harvard, Art Center College of Design and UCSD, she has taught at institutions including Art Center College of Design, Cal Arts, SFAI, UCSD, Casa Vecina in Mexico City and lectures internationally.


Tony De Los Reyes

Tony De Los Reyes

Artist Statement
For the past several years I have been making artwork about the US-Mexico border, regarding the magnitude and complexity of its environmental contexts, historic influences, cultural implications, and political consequences. My work offers viewers a diversion from popular misconceptions and tropes about the border, and allows for a personal interpretation through the experience of an otherwise traditional, and mostly apolitical, medium. For Drive-By-Art I am also making a limited-edition print, The Boat, based on my reaction to the current situation, and available for purchase at my kid’s socially-distanced, highly sanitized, take-out lemonade stand.

Tony De Los Reyes
The Boat, 2020
Silkscreen on paper
18 x 24 inches
Edition of 40 with 12 AP’s

Tony De Los Reyes
Big Jacumba, 2020
Oil and silkscreen on canvas
39 x 51 inches

Biography
Tony de los Reyes’ paintings and prints are based on personal and historical images of the US-Mexico border. By combining the seemingly disparate languages of abstraction and documentation, his work constructs metaphors for the border’s complexity and shifting reality. De los Reyes has been in numerous gallery and museum exhibitions, including On the Move: A Century of Crossing Borders, at the Los Angeles County Museum of Art, and the V Transborder Biennial, El Paso Museum of Art/Museo de Arte Ciudad Juárez. His work is in the collections of LACMA, the New Britain Museum of Art, the Santa Barbara Museum of Art, and the New York Public Library.


Francesca Gabbiani (night only)

Francesca Gabbiani (night only)

HIDE OUT FOR NUMBER4 AND NUMBER5
This work is part of the LA landscape and exists on its own

To access: Get on 101 Freeway South on Sunset Blvd and get off on Western, right before the Western exit look to the right out your window and there is the place I want the viewer to see.

Due to the fact that it is on city property I was unable to place a sign on the premises, so some detective work from the viewer might have to be involved. It will be a drive by glancing through the window. The experience is definitely enhanced at night because of the eerie nature of the building.

Artist Statement
What do we do in LA ? We drive often, and often we drive on freeways. We see a large part of the LA landscape this way. As an artist I get ideas when driving around the city, commuting from one place to the other, alone with my thoughts in my car. Coincidentally this landmark on Western Ave freeway exit is right on the cusps off east and west side of the drive by project which is kind of a nice place to be. I have driven in front of this unremarkable little house with a green light, and its precarious adjacent staircase, over and over again. At night it looks like a secret place where my imagination can be at work . The green light gives it an eerie LA noir quality.

When I first moved to LA, I would drive around and recognize places from books and movies. All of them were mostly murder places from writers like James Ellroy and movie (among others) by John Cassavetes : “the killing of a Chinese Bookie” The place I chose for this experience is coincidentally a very vivid place for my husband, who as a kid lived nearby and had some fantasies shared with his father about the house.

Francesca Gabbiani
HIDE OUT FOR NUMBER4 AND NUMBER5
This work is part of the LA landscape and exists on its own

Biography
Born 1965- Studied in Switzerland (ESAV), The Netherlands ( Rijskakademie van Beeldende Kunsten), UCLA MFA. Represented by Gavlak Gallery (LA and Palm beach FL), Lora Reynolds Gallery in Austin TX, Monica de Cardenas (Europe). Major Museums Collections US : Hammer Museum, LACMA, MOCA, Metropolitan Museum of Art, MOMA. Europe: MAMCO, KUNSTHALLE Bien, KUNSTHALLE Aarau, Kunsthaus Basel, Kunsthaus ZURICH, FRAC Normandie to name a few.


Nicole Rademacher

Nicole Rademacher

Separate/Together
Community engagement, sidewalk, chalk, performance, and mindfulness
*IN ORDER TO KEEP WITH QUARANTINE GUIDELINES, PLEASE SIGN-UP BELOW TO PARTICIPATE

Separate/Together invites community members to make art sharing their lived experiences of being in quarantine, on the sidewalk outside of the artist’s home via an art therapy directive. The idea of art as medicine dates back to antiquity, and the act of creating art has been linked to improvement in emotional well-being. Separate/Together hopes to help us cope with the stressors of COVID-19 and to give the community a way to connect in this bizarre time of social distancing.

In order to keep with quarantine guidelines, please sign-up to participate here. Each time slot is set up to provide ample time and space on the sidewalk for one person or family to make art together––plan for about 30-45 minutes.

No arts skills required! All materials will be provided in specially created and sanitized art-packs. Don’t forget your masks!

Artist Statement
Nicole Rademacher is an artist and Marriage and Family Therapist & Clinical Art Therapist in training. In her art practice, she explores and questions concepts around belonging, intimacy, and emotional exploration through video, collage, photo, text, ethnography, psychology, and intimate events and workshops in the community. As an adult adoptee in reunion, Rademacher is deeply involved in the adoption community facilitating healing workshops, being a digital advocate for adoptee and birth mother narratives, and serving on the board of Celia Center, Inc.

Nicole Rademacher
Separate/Together
Community engagement, sidewalk, chalk, performance, and mindfulness

Nicole Rademacher
Separate/Together
Community engagement, sidewalk, chalk, performance, and mindfulness

Nicole Rademacher
Separate/Together
Community engagement, sidewalk, chalk, performance, and mindfulness

Biography
Nicole Rademacher has an MFA in Electronic Integrated Arts from Alfred University and a BFA from the School of the Art Institute of Chicago. She is currently an MA candidate in the Marital & Family Therapy with specialization in Clinical Art Therapy Program at Loyola Marymount University in Los Angeles, CA. Selected honors include an artist residency at La Cité Nationale des Arts in 2010, receiving an Artistic Community Engagement Grant from the Rema Hort Mann Foundation in 2016 and a Veridian Community Engagement Fellowship Award in 2017, and being awarded the Maxine B Junge Scholarship to begin her studies in art therapy in 2018. Rademacher has exhibited and screened work worldwide including Transmediale, Harvestworks, LOOP Video Art Festival, 18th Street Arts Center, and at LAX Airport.