Monday, December 3, 2012
Tuesday, November 27, 2012
Naomi Eller - Nothing is set in stone
Naomi Eller
Nothing is set in stone
21 November - 9 December 2012
"Adam
and Eve are the generic representations of man and woman, the snake as a
force of life, death and choice. The use of the three fates through
many cultures each control aspects of our time on Earth. Birds since the
time of antiquity have been the ethereal beings, the divinities."
Ancient artifacts beautifully crafted from ceramic in the 21st century studio of Naomi Eller.
Tuesday, October 2, 2012
Kirsten Perry - Stevie Dreams
Stevie Dreams
Until 13 October 2012
Charming manipulations of ceramic and other materials in response to Dreams by Fleetwood Mac
Wednesday, August 1, 2012
Aesthetics Room
Mr Kitly
381 Sydney Road, Brunswick
381 Sydney Road, Brunswick
July 6 - 22, 2012
Carson Fisk-Vittori (Chicago), Sol Hashemi (Seattle), Leah Jackson, Antuong Nguyen & Adam Wood
Curated by Kim Brockett
Curated by Kim Brockett
Tuesday, July 31, 2012
This is nothing new
Arranging things and objects is nothing new. Sometimes arrangements can create good fortune (風水 or Feng Shui, the Chinese practice of unlocking personal prosperity through object/geographical orientation), bring bad tidings (ominous planetary alignments) or generally bring aesthetic pleasure (生け花 or Ikebana, the Japanese art of floral design). Whether deliberate, casual or inevitable, it would appear that arranging things is unavoidable and is in many cases embraced and even glorified.
As there are many names for object-arrangement, there are as many ways of considering its aesthetic value. One such approach that is particularly sensitive to material is Mono-ha, a post-war Japanese aesthetic literally meaning ‘School of Things’. The movement was characterised by its interest in the encounter between natural and artificial materials. Consisting mostly of large-scale gestures, of which the most well known (or at least most referenced) is Nobuo Sekine’s displaced columns of packed earth, Mono-ha concerned itself with the affective relationship experienced in the presence of such contrasting materials.
While the works in Aesthetics Room do not share the same grand scale as Sekine’s imposing landmass, the artists in this exhibition work with a variety of natural and artificial materials at their disposal. The vocabulary of Mono-ha ranges from hard (iron, steel, granite) to soft (cotton wool, wax, paper), and it is clear that the more disparate the materials, the more gripping it becomes. In Aesthetics Room these five artists have selected from their immediate domestic and cultural environments, picking things that are familiar to their respective surroundings. Soft and hard almost meet in Seattle-based Sol Hashemi’s untitled (bagel) where a bagel accompanies a rock embedded on a CD spindle – an object that can be ‘life-hacked’ to serve as a bagel box. Antuong Nguyen and Adam Wood nod in the direction of Sekine with their hypercoloured reference to sedimentary layers, a playful combination of silicon, foam and Tic Tacs. Leah Jackson’s ceramic tiles hang from the ceiling, framing the space it occupies through shape and line. Their titles reveal Jackson’s interest in the artifice of reality television, specifically the carefully fashioned reality in Keeping Up With The Kardashians. Carson Fisk-Vittori employs a combination of found objects and flora, literally borrowing from her environs in Earth Friendly, a hanging planter inscribed with the word ‘stupid’ which the artist copied from a graffitied flower pot in a Chicago park.
By presenting things in their natural state, the main objective of Mono-ha was to draw attention to the visual conversations being had by these naked objects. Likewise, the arrangements in Aesthetics Room are alluring, constructed coincidences of material and form. These are arrangements, not choreographies. I feel like to use the latter is to imply the expectation of some kind of performance from the material. There is no performance here, only conversation.
Though the language is prosaic and the objects are reassuring, these works are not meant to be reminiscent of familiar scenarios. Removed from consumption and their native environs, these objects are isolated from function. By thinking about art as being ‘arranged’ rather than made, Aesthetics Room seeks to consider the hidden potential of everyday objects. This is nothing new, but it can be new if you know how to look.
Kim Brockett
2012
Arranging things and objects is nothing new. Sometimes arrangements can create good fortune (風水 or Feng Shui, the Chinese practice of unlocking personal prosperity through object/geographical orientation), bring bad tidings (ominous planetary alignments) or generally bring aesthetic pleasure (生け花 or Ikebana, the Japanese art of floral design). Whether deliberate, casual or inevitable, it would appear that arranging things is unavoidable and is in many cases embraced and even glorified.
As there are many names for object-arrangement, there are as many ways of considering its aesthetic value. One such approach that is particularly sensitive to material is Mono-ha, a post-war Japanese aesthetic literally meaning ‘School of Things’. The movement was characterised by its interest in the encounter between natural and artificial materials. Consisting mostly of large-scale gestures, of which the most well known (or at least most referenced) is Nobuo Sekine’s displaced columns of packed earth, Mono-ha concerned itself with the affective relationship experienced in the presence of such contrasting materials.
While the works in Aesthetics Room do not share the same grand scale as Sekine’s imposing landmass, the artists in this exhibition work with a variety of natural and artificial materials at their disposal. The vocabulary of Mono-ha ranges from hard (iron, steel, granite) to soft (cotton wool, wax, paper), and it is clear that the more disparate the materials, the more gripping it becomes. In Aesthetics Room these five artists have selected from their immediate domestic and cultural environments, picking things that are familiar to their respective surroundings. Soft and hard almost meet in Seattle-based Sol Hashemi’s untitled (bagel) where a bagel accompanies a rock embedded on a CD spindle – an object that can be ‘life-hacked’ to serve as a bagel box. Antuong Nguyen and Adam Wood nod in the direction of Sekine with their hypercoloured reference to sedimentary layers, a playful combination of silicon, foam and Tic Tacs. Leah Jackson’s ceramic tiles hang from the ceiling, framing the space it occupies through shape and line. Their titles reveal Jackson’s interest in the artifice of reality television, specifically the carefully fashioned reality in Keeping Up With The Kardashians. Carson Fisk-Vittori employs a combination of found objects and flora, literally borrowing from her environs in Earth Friendly, a hanging planter inscribed with the word ‘stupid’ which the artist copied from a graffitied flower pot in a Chicago park.
By presenting things in their natural state, the main objective of Mono-ha was to draw attention to the visual conversations being had by these naked objects. Likewise, the arrangements in Aesthetics Room are alluring, constructed coincidences of material and form. These are arrangements, not choreographies. I feel like to use the latter is to imply the expectation of some kind of performance from the material. There is no performance here, only conversation.
Though the language is prosaic and the objects are reassuring, these works are not meant to be reminiscent of familiar scenarios. Removed from consumption and their native environs, these objects are isolated from function. By thinking about art as being ‘arranged’ rather than made, Aesthetics Room seeks to consider the hidden potential of everyday objects. This is nothing new, but it can be new if you know how to look.
Kim Brockett
2012
Friday, July 20, 2012
Wednesday, June 27, 2012
Aesthetics Room
Aesthetics Room
Carson Fisk-Vittori (Chicago), Sol Hashemi (Seattle), Leah Jackson, Antuong Nguyen & Adam Wood
Curated by Kim Brockett
July 6 - 22, 2012
Wednesday, May 23, 2012
Friday, May 4, 2012
Thursday, April 26, 2012
Fruit & small sculpture
Los Angeles based New Zealand artist Fiona
Connor has spent ten weeks in Dunedin as part of the Gallery's Visiting
Artist Programme. Fruit & small sculpture has seen the artist
establishing a store front operation in which she sells a range of
goods, including fresh produce, printed matter and sculptures. In
addition to this enterprise Connor has conducted a series of workshops
and critique sessions with a range of local groups.
Where: Dunedin Public Art Gallery
Sunday, April 22, 2012
Gather & Fold
Gather & Fold offer insightful interviews with individuals across a broad range of creative fields. Click here to go through to their site.
In their own words:
Gather & Fold is an online design journal running on a referral
system between creatives of all disciplines. G&F aims to provide an
accurate snapshot of the design community - the relationships between
emerging, outsider, unknown and celebrated designers - through their
connections of mutual admiration.
Monday, March 19, 2012
Chinatown: the sequel
Chinatown: the sequel
7561 w. Sunset Blvd #103
Los Angeles CA 90046
Until 31 March 2012
Hany Armanious, Damiano Bertoli, Fiona Connor and Tahi Moore, Simon Denny, James Deutsher, Marco Fusinato, Matt Hinkley,
Leah Jackson, Helen Johnson, Raimundas Malasauskas, Joshua Petherick, Frances Scholz and Mark von Schlegell
Curated by Liv Barrett
Curated by Liv Barrett
Liv's accompanying text She Hold Me Like a Conversation can (should) be read from the ltd website also - perfection, as always!
PRESS RELEASE
Chinatown: the sequel
10 February – 31 March 2012
Chinatown: the sequel
10 February – 31 March 2012
Opening reception: Friday, 10 February 2012 7pm–9pm
Body Sharp
Saturday, 11 February 2012 10 pm - late
ltd los angeles is pleased to present Chinatown: the sequel, an exhibition featuring the work of Hany Armanious, Damiano Bertoli, Fiona Connor and Tahi Moore, Simon Denny, James Deutsher, Marco Fusinato, Matt Hinkley, Leah Jackson, Helen Johnson, Raimundas Malašauskas, Joshua Petherick, A Constructed World, Frances Scholz and Mark von Schlegell; curated by Liv Barrett.
A judgement upon an object of our delight may be wholly disinterested but withal very interesting, i.e., it relies on no interest, but it produces one. Only in society is it interesting to have taste — a point which will be explained in the sequel. — from a translation of Immanuel Kant's Critique of Aesthetic Judgement
In making Chinatown: the sequel there is a gentle acknowledgement of the narrative forces, or the social personality and scripted economy, that contribute to the compositions and constructions that end up in contemporary art galleries. The exhibition locates its place within cultural production as a sequel — a work that is complete in itself but continues the narrative of a preceding work (in this instance, what is being presented is the second and deeply altered incarnation of an exhibition Chinatown, which was never realized). The trace, the restructure is what is being given to contemplate.
Works in the exhibition arrange themselves in different proximities to the notion of the sequel — they elaborate on narratives, films, titles, casting, characters; often extracting new plots from an existing work or re-placing narratives or shifting composition and optics. Each work points towards another work that preceded it. Together in exhibition they propose that production has no end-point and a sequel is always receiving an invitation, whether or not it comes into being, where the suppleness and exuberance of culture allows artists to produce interest, without relying on an interest already in existence.
ltd los angeles is located at 7561 Sunset Blvd in Hollywood. ltd los angeles is open Tuesday thru Saturday from 11 am until 5 pm and by appointment.
Sunday, March 18, 2012
A gorgeous pic posted by Bree at Mr Kitly - the jug is mine, this spectacular mug, unfortunately, is not.
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