LA West

www.davidschafer.org

Artist Statement
This work is compiled from ten corporate trademarks and logos that represent ownership by companies including fast food, automobiles, gas, banks, media, and credit cards. The texts and specific identifying content was removed from each one to leave the abstract form and colors of the logo itself. The word Logos is not only plural for more than one logo, but is also a term used in Theology, Linguistics, and Philosophy to represent different ways of theorizing the concepts of center, presence, ground, or origin.

In addition there will be a selection of audio comprised of corporate jingles, spoken word, instructional, and self help records that will be emitted from an outdoor PA speaker. Viewers are invited to roll down their windows, or park and sit in the grass in front and listen.

Biography
David Schafer is an artist based in Los Angeles. His practice integrates sculpture, sound, text, and digital print elements for individual works, installations, and public art. Schafer often appropriates and reframes cultural motifs, site, and structures in order to investigate systems of historical and cultural memory, built space, and language. He is interested in producing collisions, contradictions and convergences at the intersection of sculpture, architecture, sound, and language in order to disrupt communication intentionally through strategies of interruption. One-person exhibitions have been presented at Diane Rosenstein Gallery, Samuel Freeman Gallery, Shoshana Wayne Gallery, Works on Paper, Los Angeles, CA, Glendale College Art Gallery, Glendale, CA, Studio 10 Gallery, Brooklyn, NY, Sara Meltzer Gallery, New York. Group exhibitions include More Light, JOAN, Siren, FiveCarGarage, Los Angeles, Re-modeling: New Ideas on the Form and Function of Architecture Models, Long Beach Museum of Art, Long Beach, CA, LOL: A Decade of Antic Art, The Contemporary Museum, Baltimore, MD, Think Pink, Sarah Gavlak Gallery, Palm Beach, FL, Futureways: The Middleburg Triennial 2304, De Vleeshal, Middelburg, NL, In Exile, Space Debris, Istanbul, Turkey, LaLaLand, Tent Gallery, Edinburgh, Scotland. Schafer is the recipient of the Pollock-Krasner Foundation Award, Center for Cultural Innovation Grant, Visions and Voices Arts Initiative USC, National Endowment for the Arts, NY. His work has been written about in ArtForum, Arts, Art News, Art Issues, ArtWeek, The Wire, Metropolis, Cabinet Journal, Documents Journal, Los Angeles Times, New York Times. Schafer is an Associate Professor of Fine Art at Art Center College of Design in Pasadena, CA. 

www.lucasreiner.com
IG @lucasreinerstudio

A palm tree is felled by construction workers on Centinela Avenue using a chainsaw and a backhoe on May 4th, 2020, 11:57 am. A live musical composition made in response will accompany the projection.

Artist Statement
For the past 20 years I’ve been painting, drawing and filming urban trees around Los Angeles and on my travels.

Biography
Lucas Reiner has widely exhibited internationally and his work is represented in public and private collections. Please visit website for more information.

www.xiouping.com
IG @xiouping

Artist Statement
This performance video installation investigates the relationship between this historic pandemic and the self through introspection, vulnerability, & the body. Universal language is expressed through the body; happiness, sadness, love, hate, etc. The work is meant to be open to each viewer’s unique interpretation.

Biography
Xiouping is an American multi media new genres, performance/video artist, and film photographer. She is currently a MFA student at Otis College School of Art & Design. She has lived in San Francisco, New York and now resides in Los Angeles.

www.nicolenadeau.com
IG @nicolenadeau

Artist Statement
“Flower By Another Name” started as a sculptural interpretation of a drawing Nicole Nadeau made as a child, is a conversation between present and past. The fiberglass sculptures, initially studied in ceramic, are the artist’s interpretations of the drawing and her form explorations. Nadeau became interested in the flowers and how they rendered as iconographic symbols in their anthropomorphic form; their gestural postures conveying different personalities. In order to better understand the subconscious messages embedded in the flowers, Nadeau had her twin sister, Coryn Nadeau, a clinical art therapist, psychoanalyze the original drawing using assessment symbology. She suggested the flowers were an abstract representation of the members of Nadeau’s family. Noting we have a capacity for symbolization in art, whereby we unconsciously project transitional objects or the family dyad onto the work.

The artist intention is for the viewer to identify with their own personalities or characteristics in the gestural forms of the varying sculptures.

Biography
Through a range of mediums, artist Nadeau explores the notions of ritual and identity, even going so far as to ritualize many elements of her practice. Her perspective is influenced by her role as a fraternal twin; granting a heightened awareness of similarity and distinction. Trained in industrial design, her work blends the manufactured with natural materials and techniques to create uncanny installations & sculptures. This implicit tension is indicative of her ongoing work. Informing Nadeau’s study of objects, she implements design language in her art like a tool or material. Nadeau often uses these structures as themes relating to the body & nature, exhibiting their perceived strength and fragility. Nadeau’s heritage of generational craftsmanship makes her a 5th generation maker.

Nicole Nadeau (b. 1984, Cromwell, CT) currently lives between New York and Los Angeles. She received her BFA from Parsons School of Design in 2007, and has studied at Rochester Institute of Technology (2002-2005) and Wesleyan University (1998). Nadeau’s work has been the subject of solo exhibitions at Portraits of Origin, Y Gallery (2012). Her work was included in Tool, at Cooper-Hewitt Smithsonian Design Museum (2014); Design Autopsy, Rochester Institute of Technology (2014); Littlest Sister, Spinello Projects (2015); Spring Break Art Fair NYC (2016, 2020); Fact and Fiction, Spring Break Art Fair LA (2019); site specific installation, Everyone Thought I Was You, Collective Design fair (2016); Velvet Elvis, Christy’s Art Center (2017); Reimagine the Domestic, Salomon Contemporary (2019); and solo show curated by Kyle DeWoody, “A Flower by Another Name”, That That Gallery (2018). Her art objects can be found at The Whitney Museum shop, Hammer Museum shop, The Street & The Shop, and 56 Henry Gallery.

www.rhlevinson.com
IG @rhlevinson

Artist Statement
The anonymous female subject of Vermeer’s Woman Holding a Balance stands before an open window, possibly pregnant, holding a delicate silver scale on a chain between her fingers. The scale, hovering nearly-balanced in midair, is a breathtaking pictorial moment: the illusion of barely-perceptible weight on the scale’s tiny plates is stunningly precise, depicting something seemingly impossible to capture. At the same time, it’s a metaphor for painting itself: carefully rendered, the illusion awes us not because we mistake it for the real thing, but because we acknowledge how nearly it approaches reality without actually arriving there. Minute formal decisions and intimate knowledge of the medium allow for a relationship between painter and subject that hangs in the air like this scale.

At the Mulholland Overlook, we’re crossing from the city to a fast-snaking road that eventually will lead us to Topanga. Phone service drops as we approach a curve that also drops, on the passenger side, down a steep mountain-face that frames a panoramic view of Los Angeles. The sprawl is picturesque, but we stare straight ahead. Distraction could literally pitch us off a cliff. Slowing down will not slow down the SUV careening from a blind turn just beyond us. Suspense holds up the curve like Vermeer’s balance: the astonishment of a view also contains the spectre of a crash; the euphoria of speed in a car acknowledges a danger just evaded.

In the confines of my house, the difference between today and yesterday is as small as whatever we’ve talked about. My face and my hands could make you sick; our groceries are shapes swaddled in plastic wrap and ammonia. Outside, the freedom of sunlight is a touch that feels as loving as nutrition. The passage of a month is marked by outgoing birthday calls, how many children in the street, how many bodies in the freezer truck. The line between boredom and anxiety is one I walk along holding a balance: what I know will harm me weighs on one silver tray, what I don’t know starts to gently tip the other. What I love more than before weighs on one tiny plate, the terror of loss shifts the other. 

Biography
Rebecca Levinson is an artist based in Los Angeles, where she also was born and raised. She has a BA in history from Brown University and studied painting at the New York Studio School. Twin fascinations with the human need for narrative and the illusory nature of memory have driven all creative and academic pursuits. Her current work explores the possibility of a painting’s setting – landscape, cityscape, and interior – as its primary narrative force.

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.