Sam Durant Lecture 7pm 5/7 @ 8535 Warner Drive, Culver City
Sam Durant is a multimedia artist whose works engage a variety of
social, political, and cultural issues. Often referencing American
history, his work explores the varying relationships between culture and
politics, engaging subjects as diverse as the civil rights movement,
southern rock music, and modernism. His work has been widely exhibited
internationally and in the United States. He has had solo museum
exhibitions at the Museum of Contemporary Art, Los Angeles, Kunstverein
für die Rheinlande und Westfalen, Dusseldorf, S.M.A.K., Ghent, Belgium
and the Govett-Brewster Art Gallery in New Zealand. His work has been
included in the Panamá, Sydney, Venice and Whitney Biennales. Durant
shows with several galleries including Blum and Poe in Los Angeles,
Paula Cooper Gallery in New York, Praz-Delavallade in Paris and Sadie
Coles Gallery in London. His work has been extensively written about
including seven monographic catalogs and books. In 2006 he compiled and
edited a comprehensive monograph of Black Panther artist Emory Douglas’
work. His recent curatorial credits include Eat the Market at the Los Angeles County Museum of Art and Black Panther: the Revolutionary Art of Emory Douglas
at The Museum of Contemporary Art in Los Angeles and the New Museum in
New York. He has co-organized numerous group shows and artists
benefits and is a co-founder of Transforma, a cultural rebuilding
collective project that began in New Orleans. He was a finalist for the
2008 Hugo Boss Prize and has received a United States Artists Broad
Fellowship and a City of Los Angeles Individual Artist Grant. His work
can be found in many public collections including The Art Gallery of
Western Australia in Perth, Tate Modern in London, Project Row Houses in
Houston and the Museum of Modern Art in New York. Durant teaches art at
the California Institute of the Arts in Valencia, California.
Seattle, Washington 1961
Lives and works in Los Angeles, CA
is Professor of Studio Art at the University of California, Irvine. She is a writer, artist, and curator whose work addresses issues of feminism, cultural politics, and colonialism.
She is the author of two text/image experimental narratives, (University of Texas Press) (L’une bevue, Paris). Her critical essays and fiction have been published in , , , , , , , , , and , as well as the collections , , , , , , , , and . She is currently collaborating with Richard Meyer on a book titled (Phaidon Press) and a text/image project titled, .
Lord’s work as a visual artist was included in the 1995 inaugural of Site Santa Fe, and has been shown at the New York Gay and Lesbian Film Festival, Post Gallery, Thomas Jancar Gallery, Los Angeles Gay and Lesbian Center, and other venues. Her site-specific project To Whom It May Concern was included in the exhibition Cruising the Archive: Queer Art and Culture in Los Angeles, 1945-1980, which opened at ONE National Gay & Lesbian Archives in October, 2011 (http://cruisingthearchive.org/towhomitmayconcern).
I tend to . I work in the minefields between image and text, fiction and fact, the personal and the theoretical. I don’t rest upon a particular practice. I like theories more than the prose in which theory is generally couched. I trust images more than words. Fractionally. Thus I consider myself a visual artist.
I seek stories that can’t find a route to the surface of the archive, stories hidden in plain sight, stories drawn between the lines. I photograph ink on paper. I photograph, with care, statements that cause something to be true by the act of making the statement.
In the series, the statements are the dedications slipped between the title page and the frontispiece of queer books. These dedications can be retrieved only by touching a dying medium. Dedications are at once intimate and irrevocably public. Though everything happens in code, the diptychs are not footnotes to a story told elsewhere. My interest is not particular identities, but a network of generosity. My quarry is the skin of the gift, the cuts and bruises and stains by which queer culture is formed.
- Exhibition at Jancar gallery, 2011: http://www.jancargallery.com/show.php?num=204
- The Effect of Tropical Light on White Men: http://creative-capital.org/projects/view/174
Brad Eberhard's studio, in the garage of the Lincoln Heights house he shares with two friends, sits at the top of a narrow, perilously steep street, with a spacious view across what is, with all the winter rain, a vividly green hillside. A spare and comfortably tidy space, with a worktable, several shelves of books, a pair of vintage armchairs and an upturned milk crate coffee table, it is a congenial setting for an abstract painter with a taste for color and a propensity for philosophical inquiry.