AMIR zaki studio visit signup

please post name and desired meeting time.

2:00-2:30 mtg 1 - Masood
2:30-3:00 mtg 2
3:00-3:30 mtg 3
3:45-4:15 mtg 4
4:15-4:45 mtg 5
4:45-5:15 mtg 6


BYRON KIM, studio visits and artist talk 2/8

image: artist: Guerilla Girls. Poster 1995.

Byron Kim was born 1961. He lives and works in New York City. Byron
Kim's work insist on subjectivity, specificity, and content within
traditional paradigms of the sublime, painting, and minimalism. Based
in seeing, memory and visual phenomena Byron's work delicately
balances personal narrative with formal constraints and a muted
pallet. Byron Kim has had numerous solo exhibitions at venues
including Scottsdale Museum of Contemporary Art, The Berkley Art
Museum, Max Protetch Gallery, PKM Gallery, and James Cohan Gallery.
Notable group shows include 2008 "Color Chart: Reinventing Color, 1950
to Today", at the Museum of Modern Art, New York, NY. "Specific
Objects – The Minimalist Influence," at the Museum of Contemporary Art
San Diego and “Not for Sale,” at P.S. 1 Queens, NY. On of the most
significant group exhibitions was the 1993 Whitney Biennial. Described
as “a watershed” by Roberta Smith in her New York Times review, the
Biennial that year was both celebrated and reviled for its persistent
emphasis on what Smith writes as, “race, class, gender, sexuality, the
AIDS crisis, imperialism and poverty." Smith continues, "The work on
view touches on many of the most pressing problems facing the country
at the dawn of the Clinton Administration and tries to show how
artists are grappling with them.”

Kim’s work is in collections of numerous public institutions including
the Museum of Contemporary Art San Diego, The Brooklyn Museum, The
Hirshhorn Museum and Sculpture Garden, The National Gallery of Art,
Washington, DC the Wadsworth Atheneaum in Connecticut and the Whitney
Museum of American Art, NY.

Byron Kim is a senior critic at Yale University School of Art.


Amir Zaki Feb 1st, Studio vists and artist talk


Meditations on the Hollywood Juniper from Infinity Strap on Vimeo.
Amir Zaki is a practicing artist living in Southern California. He received his MFA from UCLA in 1999 and has been regularly and actively exhibiting nationally and internationally since. Zaki has had solo shows at the Mak Center Schindler House in West Hollywood, LAXART in Los Angeles, Perry Rubenstein Gallery in New York, James Harris Gallery in Seattle, and Roberts and Tilton in Los Angeles. He has been included in many group exhibitions including The California Biennial: 2006 at the Orange County museum of Art, the Whitney Museum of American Art in New York, Andreas Grimm Gallery in Munich, Germany, Harris Lieberman Gallery in New York, Shane Campbell Gallery in Chicago, the California Museum of Photography, and the San Jose Museum of Art. Zaki's work is part of numerous public and private collections across the country including the Whitney Museum of American Art, New York New Museum of Contemporary Art, the Henry Art Gallery in Seattle, Washington, the Orange County museum of Art, and the Santa Barbara Museum of Art. He has been included in the Phaidon Press anthology of contemporary photography, Vitamin Ph, and contributed to LACMA’s Words Without Pictures. Zaki recently completed his second monograph, a large format, limited edition fold-out book entitled Eleven Minus One, which was co-published by LAXART and Eighth Veil on the occasion of a solo exhibition at LAXART.
Zaki has an ongoing interest in the rhetoric of authenticity, as it is associated with photography as an indexical media. Simultaneously, he is deeply invested in exploring digital technology’s transformative potential to disrupt that assumed authenticity. While this may initially sound like a standard and tired postmodern trope, his interest is not in utilizing digital trickery as illustration to undermine a photograph’s veracity. In fact, Zaki often creates hybridized photographs that carefully use the vocabulary of the documentary style so that the viewer’s belief in its veracity remains intact, at least initially. He construct scenes that are somewhat off-register, ‘out of key’, and ever so slightly faux. He often uses the architectural landscape of Southern California as a subject, as it seems particularly appropriate to his process. This is largely because, either through media myth, reality or a combination of the two, the architecture and surrounding landscape in Southern California is itself an evolving bastardization of styles and forms, in other words a pastiche. Southern California is home to a collision of high modernist ideals, suburban McMansions, high-rise density, endless asphalt grids, deserts, mountains, beaches, Los Angeles urbanism, Inland Empire sprawl, Orange Curtain conservatism, the Crystal Cathedral, and the Integratron. It should be made clear that although Zaki is fascinated and inspired by this architectural and cultural entropy, his intention is not to record, replicate or simply document a preexisting postmodern pastiche. More precisely, his work begins with the familiar, by looking at objects, structures and locations that are often pedestrian and banal. And by capitalizing on the presumed veracity that photographs continue to command, along with the transformative, yet invisible digital alterations he employs, his images depict structures that that aspire to be added to the list of the hodge-podge built landscape that creates the Southern California mythology.

Uncertainty from Infinity Strap on Vimeo.


Annie Lapin studio visits

please signup with name and time, thanks!

3:00-3:30 mtg 1
3:30-4:00 mtg 2
4:00-4:30 mtg 3
4:45-5:15 mtg 4
5:15-5:45 mtg 5
5:45-6:15 mtg 6 - jonathan


Annie Lapin Studio Visits 1/25/2012

from LAtimes:

Indefatigable is the first word that comes to mind when looking at Annie Lapin’s new paintings at Honor Fraser. These canvases possess an energy so relentless it begins to feel a bit suspect — more affectation, perhaps, than affect. Many of the surfaces are busy in the way everyday, plugged-in life is busy, with an unproductive, self-important freneticism that feeds on itself, regenerating with false urgency. And yet, on plenty of occasions in this show, that urgency does feel real and wondrously integrated: mind, motion and matter in sync.
Lapin earned her master of fine arts degree at UCLA in 2007, and before that studied archaeology as an undergrad, noteworthy in that she takes into account a long history of art-making and her work presents itself as a record encompassing multiple strata of effort. Both the broader history and the individual record are given as unsettled — data, marks and meanings densely layered but ever in suspension. This tumultuous realm has something in common with the loosely narrative, action-packed canvases of Iva Gueorguieva, also L.A.-based. Both painters thrive on subverting resolution, purposefully denying fixed understandings of their imagery to echo the way certainties are denied to us in the larger scheme of experience and perception.
In her earlier work, Lapin often incorporated human figures within the unstable settings. The figures are now gone but the instability remains, a formidable force that proves seductive at times, and at others lapses into a murky, anarchic mess. When Lapin finds the right balance between chaos and coherence, the results are deeply absorbing. “The Frozen Aftervisions of Virtue,” for instance, is all motion and surprise. A luscious, birdlike burst in the center sports painterly plumage in glowing sunset orange, plum, mauve, olive and sienna. Perhaps that’s a sky in the distance, perhaps not. There are areas that suggest a cage or a window. In the few spots where they appear, flat opaque streaks of gray insistently cancel out the illusion of receding space.

Anya Gallaccio studio visits and artist talk 1/18/2012

Anya Gallaccio (b. 1963, Scotland) attended Kingston Polytechnic and Goldsmiths' College at the University of London. Gallaccio creates site-specific installations, often using organic materials as her medium.  Past projects have included arranging a ton of oranges on a floor, placing a thirty-two ton block of ice in a boiler room, and painting a wall with chocolate.  The nature of these materials results in natural processes of transformation and decay, often with unpredictable results.  Gallaccio has stated, "I see my works as being a performance and a collaboration . . . There is an unpredictability in the materials and collaborations I get involved in.  Making a piece of work becomes about chance - not just imposing will on something, but acknowledging its inherent qualities."

Gallaccio has exhibited extensively, including solo exhibitions at the Tate Britain, London (2003) and at the Ikon Gallery in Birmingham, England (2003). Recent exhibitions include solo shows at Camden Art Centre, London (2008 ); and The Eastshire Museum, Scotland (2010). The artist will be exhibiting at the Annet Gelink Gallery in Amsterdam, The Netherlands in May 2011. Gallaccio’s work is featured in numerous public and private collections such as the Tate Gallery, London; the Victoria & Albert Museum, London; the Museum of Contemporary Art, Sydney; and South Gallery, London. Anya Gallaccio lives and works in London.