June 27, 2010–September 12, 2010
John Baldessari is one of the most influential American artists working today. This long overdue retrospective will feature more than 150 works spanning the artist's career from 1962 to the present day, and include works on canvas, photography, videos and artist's books. Baldessari's text and image paintings from the mid-1960s are widely recognized as among the earliest examples of Conceptual Art, while his 1980s photo compositions derived from film stills rank as pivotal to the development of appropriation art and other practices that address the social and cultural impact of mass culture. Throughout and continuing today, Baldessari's interest in language, both written and visual, raises questions about the nature of communication. The exhibition is curated by LACMA's Leslie Jones, Prints and Drawings, with Jessica Morgan, Contemporary Art, at Tate Modern. It will also feature a special installation conceived just for this retrospective.
One of the ultimate brand names in comedy, National Lampoon has helped to define the sensibilities of the Boomer Generation, Generation(s) X, Y, and now Z, as its legacy is still felt today across the cultural landscape. National Lampoon's magazines, stage shows, and films launched the careers of the most esteemed groups of entertainment alumni ever come to from one place -- writers, actors and directors of virtually every '80s comedy smash (Caddyshack, Vacation, Ghostbusters, Ferris Bueller's Day Off) seemed to get their start there. A vast swath of your favorite things to laugh along with ("Saturday Night Live", "South Park", The Hangover and the like) might never happened without National Lampoon's groundbreaking mixture of savage satire, wicked spoofs and all manner of shocking, brash, game-changing humor -- and tonight, we we pay our respects to this venerable institution with a 40th anniversary tribute featuring rare and underseen Nat Lamp nuggets, including: Lemmings, a document of the seminal early '70s Woodstock parody featuring soon-to-be megastars Chevy Chase, John Belushi and Christopher Guest; Disco Beaver From Outer Space, the rude, crude and crazy '78 HBO special that blows apart the piccadillos of the Carter era; and, Class of '86, the yuppie-skewering off-Broadway stage show. Capping off the evening is a 35mm show of Animal House, still the defining "slob comedy", and still funnier than ever. FOOD FIGHT!!!! National Lampoon guru Matty Simmons will be at the Cinefamily in person for a Q&A after the show, along with other special National Lampoon guests.
Based on Bennett and Kun's findings, Jews on Vinyl spans the history of Jewish recorded music from the 1940s to the 1980s, weaving an account that begins with sacred songs and ends with the triumvirate of Neil Diamond, Barbra Streisand, and Barry Manilow. Set in a retro 1950s-style living room equipped with listening stations, the exhibition features a soundtrack of LP highlights—much of it no longer available in any format—providing an unprecedented opportunity to experience lost moments in American Jewish pop history and new perspectives on Jewish identity. Complementing the music will be an abundance of often kitschy and surprising album art to discover and enjoy.
This new installation of the Hammer Contemporary Collection features approximately 42 significant additions to the collection by Mel Bochner, Andrea Bowers, Mark Bradford, Llyn Foulkes, Evan Holloway, Monica Majoli, Charles Ray, Frances Stark, Alina Szapocznikow, and Gillian Wearing, among others. Several of the works have never been seen in Los Angeles, such as Paul Chan’s multi-channel video Sade for Sade’s Sake, (2009), which debuted at the 2009 Venice Biennale and Kara Walker’s 20-part painting installation, Every Painting Is a Dead Nigger Waiting to Be Born (2009).
Arshile Gorky (b. c.1902, Khorkom, Armenia; d. 1948 Sherman, Conn.) was a seminal figure in the movement toward abstraction that transformed American art in the middle of the 20th century. Born in an Armenian village on the eastern border of Ottoman Turkey, Gorky was a first-hand witness to the Turkish government's Armenian Genocide of 1915, which led the artist’s family and thousands of others to flee. In 1920, Gorky emigrated to the United States and eventually settled in New York, where he became a largely self-taught artist.
At a time when the American avant-garde privileged originality over traditional working methods, Gorky was a nonconformist who developed his personal vocabulary through a series of intensive apprenticeships to the styles of other artists, including Paul Cezanne, Pablo Picasso, Fernand Leger, and Joan Miro, before developing his own unique and deeply influential visual language in the early 1940s. Gorky’s prominence in the New York art scene led him to befriend Andre Breton and Roberto Matta—fellow emigres and key figures in the surrealist group—who came to have an enormous impact on Gorky’s mature style.
Arshile Gorky: A Retrospective positions Gorky as a crucial founder of abstract expressionism, but also as a passionate and dedicated artist whose tragic life often informed his groundbreaking and deeply personal paintings. The first full-scale survey of Gorky’s work since 1981, this timely exhibition features Gorky’s most significant paintings, sculptures, and works on paper, including two masterworks from MOCA’s permanent collection—Study for The Liver is the Cock's Comb (1943) and Betrothal I (1947).
Because this is the first entry in that cycle, representing the time that exists between conception and the determination of sexual identity, it begins in an idyllic state. It is the only segment of the series that does not feature Barney in any of the roles, instead attempting to convey the state of gender neutrality by featuring a cast composed entirely of similar looking, platinum blonde women. They seem to represent the chromosomal pool of X chromosomes before the entry of a Y, and the definition of maleness, became a possibility.
Set on and above a football field where a gaggle of women perform elaborate, Busby Berkeley-style dancing routines, seemingly at the whim of a controlling figure who floats in a pair of blimps above, Cremaster 1 acts as an introduction to the heavily coded symbolism that Barney employs. The environment is a macrocosmic system that represents the first stirrings of an organism’s development.
The blimps, each emblazoned with the Goodyear logo, represent the gonads (not yet either male or female at this time, they could become either testicles or ovaries). The girls on the field below seem to stand in for the chromosomes, their dance an organizing cellular process. Within each blimp, there are similar contents: a table laid out with grapes (red grapes in one blimp, green in the other), a sculpture that resembles the gonadal structure (either of female ovaries and fallopian tubes or the male testes and vas deferens), several nearly identical flight attendants, and, most significantly, a woman under each table who seems increasingly in control of the
Cremaster 2 (1999), a hallucinatory work featuring writer/director Matthew Barney as Western outlaw Gary Gilmore and Norman Mailer as Harry Houdini, is an eclectic mix of gender-bending sexuality and athleticism, obscure historical references, high fashion, remote locations, lush music and a range of category-defying mythopoeic imagery.
"WATER: OUR THIRSTY WORLD" will run through June 13, 2010
Aiko, Banksy, Beejoir, Blek le Rat, Dan Baldwin, Boxi, Bumblebee, C215, Henry Chalfant, Martha Cooper, D*Face, Brad Downey, Eine, Ericailcane, Escif, Faile, Shepard Fairey, Stelios Faitakis, Gaia, Hush, Mark Jenkins, Dave Kinsey, Know Hope, Labrona, Anthony Lister, Lucy McLauchlan, Aakash Nihalani, Walter Nomura (a.k.a. Tinho), Other, Steve Powers (a.k.a. ESPO), Lucas Price (a.k.a. Cyclops), Retna, Saber, Sam3, Sixeart, Slinkachu, SpY, Judith Supine, Titi Freak, Nick Walker, Dan Witz and WK Interact
With a large selection of books and magazines from
Drago, Gingko Press, Murphy Design, Prestel, SCB Distributors, Studiocromie, Very Nearly Almost, Zupi and more.
Saturday, June 5 2010
Opening Reception 6 - 8 PM
The gallery will be open from noon - 6 PM for Culver City Art Walk 2010 with live Jazz from 3 -6 PM
Please RSVP to rsvp at carmichaelgallery dot com
5795 Washington Blvd
Culver City, 90232
The exhibition is open to the public through July 3 2010
One of the world’s most respected artists by the time of her death, Bourgeois had an exceptionally broad career that was notable for its slow beginnings. Born in Paris to French tapestry restorers in 1911, she worked as an assistant for the artist Fernand Leger before moving to New York in 1938. She did not have her first solo exhibition until June 1945, when she was shown at New York's Bertha Schaeder Gallery, three months before the end of World War II. After experimenting with painting early on, Bourgeois devoted herself to sculpture in 1949, though she occasionally also produced prints and drawings. Of her decision to abandon painting for sculpture, she told the critic Amei Wallach, “When you go from painting to this, it means you have an aggressive thought. You want to twist the neck of a person. I became a sculptor because it allowed me to express … what I was embarrassed to express before.”