Diane Rosenstein Fine Art is pleased to announce an Exhibition of Paintings and Sculpture and Photographs — a group show to celebrate our First Anniversary. This exhibition will present new work along with important highlights from previous shows, including Louise Nevelson (The Black Mirror), Thomas Downing (The Washington School) and Alexandra Hedison (Everybody Knows This Is Nowhere).
 
Our First Anniversary will also present new work from Arnold Helbling (drawings), Sarah Awad (paintings), and Carmen Argote (sculpture) — three artists who are exhibiting at the gallery for the first time. Mr. Helbling, who lives and works in New York, will return to DRFA in September with a solo survey exhibition of his abstract paintings and drawings (2002 – 2013). Sarah Awad will then show in mid-October, which is her first solo exhibition in Los Angeles. This summer, Miss Awad is also included in “Rogue Wave 2013” at L.A. Louver, Venice, opening July 18th.
 
The Anniversary Exhibition spans forty-two years, from Thomas Downing’s Grid 29 (1971) to Sarah Awad’s new figurative oil paintings of seated women. Its material scope includes Carman Argote’s Mascara, a painted and flocked tumbleweed, and Eben Goff’s aluminum, pigment and beeswax Channel Slope. John Sisley’s Water Drops are photographic records of works on paper, while Marco Breuer’s burned, scraped and folded cameraless photographs transcend convention.
 
Two artists offer botanical abstractions that explore largeness and smallness of scale. John Adelman’s 76,277 (Parts of a Tree), 2012 is an epic 12-foot long drawing of a dismantled and reassembled severed tree branch; Charles Fine’s mixed-media paintings depict cosmic flora realized in an intimate and enchanting form.
 
The exhibition includes work by fourteen artists: John Adelman, Carmen Argote, Sarah Awad, Marco Breuer, Thomas Downing, Charles Fine, Eben Goff, Cleve Gray, Alexandra Hedison, Arnold Helbling, John M. Miller, Louise Nevelson, Jose Alvaro Perdices, and John Sisley.
 
In our first year, DRFA held nine exhibitions, and presented the work of thirty-one artists. In April 2012 we opened a project space in Beverly Hills with a solo survey of abstract expressionist Cleve Gray (The Connecticut Paintings); followed by The Washington School: a group show of color field paintings by Morris Louis, Kenneth Noland and Thomas Downing. Last fall, we hosted two solo exhibitions – a survey of conceptual drawings by Texas artist John Adelman and new photographs of Malibu by Alexandra Hedison, who is based in Los Angeles. The Black Mirror (co-curated by James Welling and Diane Rosenstein) inaugurated our new gallery, a 4,300 square foot space on Highland Avenue in Hollywood. This spring, we hosted three solo exhibitions: John M. Miller (painting), Eben Goff (sculpture) and an acclaimed mid-career survey of experimental photographs by Marco Breuer.
 
The exhibition program includes solo exhibitions of emerging and mid-career artists, along with thematic group shows and historical exhibitions. The gallery is pleased to announce the representation of Alexandra Hedison, Eben Goff, and Sarah Awad.
 
The First Anniversary Exhibition of Painting and Sculpture and Photographs opens on Saturday, June 15th with a reception for the artists from 6 - 8pm.
The exhibition will be on view from June 15 – August 3, 2103.
Hours are 10am – 6pm, Tues – Sat.
 
For further information, please contact whitney@dianerosenstein.com

gallery km is proud to present The Conversation, our first solo show of work by Los Angeles-based artist Christine Frerichs. The
exhibition is presented in two distinct but related series in the west and east galleries, one featuring a series of ten sequentially
grouped mid-sized mixed-media paintings on canvas, and the second featuring one large and several small paired canvases. The
exhibition will take place from June 15 through July 27, 2013, with an opening reception for the artist on Saturday, June 15th, from
6-8pm.
In The Conversation, Frerichs presents work that integrates abstract and representational references to tell the story of reconciling and
expressing various sides of the self, and the interplay between passion, vulnerability and control. Through the use of densely textured
layers of interlocking paint, and the complex interplay between color and pattern, Frerichs creates abstract portraits in which colors
become stand-ins for people or places, transforming the pieces themselves into abstract diagrams of relationships, senses, events,
and the physical body. Each painting begins with a layer of textured paint forming a radiating figure”8” pattern, with the measurements
of the figure eight based upon Frerichs own body—the top loop corresponding to her eye level, and the base loop to her navel—and
with the form itself made by carving grooves into a thick layer of modeling paste. Superimposed on these textured foundations are
imagery and mark-making that oscillate between eruptions of color, light and form that read as spontaneous, to very controlled lines
and patterns, speaking to the range of emotional experience that Frerichs describes as moving from “explosively exaggerated
performance” to “a restrained seizing of the body”.
In these paintings, the physical body (as paint on canvas) receives, reflects and reveals, but also very definitely acts and projects. The
emotional content of past memory and the transformational potential of present experience abut and challenge one another, and often
do so with a powerful sense of play. Frerichs expects these conversations to provide a cacophony of possible dialogue, with actors
including body and mind, past and present, internasl and external, self and other, artist and audience, all available and collapsed into
fleshy, uncomfortable, beautiful, intelligent, messy and yet highly choreographed compositions. The titling of the pieces as
“conversations” invokes the social structure of interaction—the rules and conduct governing how we connect to each other—and the
constant tug of war between the desire to connect and the need for self/society-protective guidelines, as well as the tension between
controlled narrative and disruptive emotion.
The self, as represented in both physical and ephemeral form in Frerichs’ canvases, becomes memory’s receptacle and its visible
interpreter as it moves through the present. In the smaller series of paired paintings, each piece is formed by two canvases placed
next to one another, with a pattern similar to the figure eight but split and reoriented so that each half of the under-pattern faces
outward (instead of forming an internally complete whole). The paintings in this series more clearly invoke landscape as referent, but
they too remain a kind of portraiture, with the remembered or imagined landscape acting out the interplay between self and other, and
between self and self. Though doubling is present in both series through the underpainted texture and often through surface content,
Frerichs presents not duality but dialogue, opening space for multiple voices and levels of experience.
Christine Frerichs lives and works in Los Angeles, has exhibited at ACME, CB1 Gallery, Kaycee Olsen Gallery, and Young Art in Los
Angeles, Duchess Presents in Chicago, and the Museum of Contemporary Art in Tucson, among others, and was recently featured in a
solo exhibition of work with gallery km at VOLTA NY, New York. Her work has been reviewed by ArtForum and The Los Angeles Times,
and published in New American Paintings. She received her M.F.A. from U.C. Riverside in 2009, has taught at U.C. Riverside and U.C.
Irvine, and is currently Senior Lecturer at Otis College of Art and Design and Adjunct Faculty at East Los Angeles College.

Resurrected Pictures: from Piss Christ to Pussy Riot explores the relationship between three moments of heightened cultural anxiety: the Culture Wars, Second Wave Feminism and the present. The exhibition is anchored in the work of Robert Mapplethorpe, Andres Serrano, and David Wojnarowicz, whose funding and subsequent defunding by the National Endowment of the Arts infamously sparked controversy at the height of the Culture Wars and AIDS crisis. Resurrected Pictures locates precursors and predecessors similarly critiquing nationalism, religion and sexual norms. This exhibition argues that the narrative of the Culture Wars should include less notoriously censored but equally provocative works by feminist artists such as Judith Bernstein, Tee Corrine, Eunice Golden, Holly Hughes, Jacqueline Livingston, Paulette Nenner, Esther Parada, Faith Ringgold, Connie Samaras, Carolee Schneeman, Clarissa Sligh and Nancy Spero. And, presses on to chart this genealogy to the present through the digitally circulated works of Pussy Riot and Ai Weiwei.

Mark Moore Gallery and guest curator Caryn Coleman present Empty Distances, a group exhibition featuring works by James Aldridge, Darren Banks, Sean Higgins, Deborah Stratman, Alan Warburton, and a selection of episodes from “The Twilight Zone.” Playing on Eugene Thacker‘s idea of horror as the “paradoxical thought of the unthinkable,” Coleman has meticulously composed a show that illustrates the visualization and simultaneous abstraction of the unknown. Through an assortment of drawings, paintings, photographs, and videos, the artists in Empty Distances delve into creative perceptions of “the void” – a nebulous space that can refer to post-apocalyptic, pre-civilization, or even psychological vacuity.
 
Says the curator:
This exhibition stems from early 20th century theologian Rudolph Otto’s phrase “empty distances,” and his notion that the very act of depicting the void in pictures establishes darkness and silence as subject itself. The artists in Empty Distances vary in how they depict emptiness, but all evoke an imagining of this post-human existence. Black metal, horror films, science fiction, scientific research, and magical realism are all influences; pulling the viewer into a speculative new world.
 
These physical and mental chasms are astutely manifested in James Aldridge‘s (UK) Black Metal Theory-infused paintings and works on paper – which contend with our societal reliance on images to determine the natural world – as well as Darren Banks’ (UK) ink on paper “Blobs,” which act as tropes for the all-consuming fear of the unknown. Similarly, Sean Higgins‘ (CA) manipulated photographs assume intervening roles in the creation of landscape and cosmic imagery, while Deborah Stratman’s (IL) black and white film, “…These Blazeing Starrs!” (2011) depicts the macabre struggle for power between mortality and catastrophe. In using technology to visualize a true “world-without-us,” Alan Warburton (UK) animates the ghostly aesthetics of vacancy, using z-depth images to reference our cultural shortsightedness. Finally, Coleman will present several episodes from the classic sci-fi television series, “The Twilight Zone” (1959 – 1964) – created by Rod Serling. As an overarching depiction of fear and the unknown, the featured episodes in Empty Distances best exemplify Serling‘s cautionary narratives, which often oscillate between the horrific and fantastic. Despite being depicted as thrilling events in a parallel universe, Serling’s tales ultimately become allegorical omens for our own impending realities; perils for which we are often to blame.
 
Caryn Coleman (b. 1977, Tampa) received her MFA in Curating – with distinction - from Goldsmiths College (UK). She focuses on the intersection of cinema and visual art with a focus on horror film’s influence on contemporary artists. She currently works in the Programming Department at Nitehawk Cinema and is the co-editor of the philosophy journal Incognitum Hactenus. She is the 2012 Creative Capital/Warhol Foundation Art Writers Initiative grant, and has curated exhibitions throughout the United States. Coleman lives and works in New York.

In the Project Room, Mark Moore Gallery proudly presents Untitled #160 (Balcombe) (2011-2013),
the latest video by gallery artist Josh Azzarella. Known for work that explores the power of context
in the authorship of memory, Azzarella oftentimes utilizes seminal moments in pop culture and
news media to create accessible confrontations with historiography. From his videos and
photographs, Azzarella meticulously extracts characters, shadows, and audio from each frame of a well known event or film. The resulting visuals consist of altered background scenes haunted by the absense of familiar narrative, and pose provoking questions about the disturbingly similar
dissemination of fact and fiction.
 
In Azzarella‘s newest project, F.W. Murnau’s 1922 German Expressionist classic “Nosferatu”
undergoes a comprehensive transformation. Adapted from Bram Stoker’s Gothic novel “Dracula
(1897),” Nosferatu is considered a silent masterpiece of psychological terror. Over the course of two years, the artist has painstakingly erased all evidence of the characters - including their
reflections and shadows - from the original footage, along with the film’s infamous soundtrack and
expository intertitles. Azzarella has re-built the vacant space left by his extractions pixel by pixel,
constructing an alternative rendition of the film that exemplifies his mastery of digital construction
through perfectly accurate imitation and craft. Added to each panorama is a reconstructed version
of the original Erdmann scores and ambient noises that reflect the atmosphere of the original film.
The outcome is an uncanny 90-minute portrayal of the original classic that identically matches
Murnau‘s lighting, film quality, and resolution, but abolishes its pioneering storyline and figures.
Despite the absence of these key elements, the film’s eerie and dark nature is practically amplified
through Azzarella's manipulations—doors open mysteriously, curtains sway, and dawn breaks to
ominous music, heightening the tension of implied action. The viewer watches each scene with the
feeling of anticipation, the desire to see something spectacular occur without the gratification. With
Count Orlok absent, the Gothic architecture and gloomy backdrops assume a characterization of
their own, unsettled in much the same way as the viewer—waiting for the film’s antagonist to
emerge yet unable to coax him into existence. Viewing the video, one gets a sense of how
existential characters, Vladimir and Estragon must have felt as they waited for Godot.
 
Azzarella (b. 1978, Ohio) was the recipient of the 2006 Emerging Artist Award and related solo
exhibition from The Aldrich Contemporary Art Museum (CT). He has previously shown at the
California Museum of Photography (CA), University Art Museum, Long Beach (CA), Vancouver Art
Gallery (Canada), Kavi Gupta Gallery (IL), Academie der Kunste (Berlin), Sean Kelly Gallery (NY),
Catharine Clark Gallery (CA) and DCKT Gallery (NY). His work is included in the permanent
collection of the San Francisco Museum of Modern Art (CA), The Los Angeles County Museum of
Art (CA), and Western Bridge (WA). He lives and works in Easton, PA.

 
Club Mood Swing
STEPHEN ALDAHL
June 15 - July 13, 2013
 
Young Art is pleased to announce Club Mood Swing, a solo exhibition by Stephen Aldahl. The opening reception will be held Saturday June 15th from 7-10pm and the show will remain on view through July 13, 2013.
 
For Club Mood Swing, Aldahl presents a group of new paintings on door-shaped canvases accompanied by an installation.
 
The door, a practical structure designed for a body to enter or exit while also possessing the symbolic weight of a passageway between worlds, in this case imposes an immediate obstruction as the images portrayed in Aldahl‘s paintings seem to extend horizontally beyond the confines of the canvas. Amorphous forms of subdued color create scenes of disorienting pastoral landscapes, bodies colliding, and architectural structures against uncertain surroundings. Most traces of painterly expression have been suppressed and while these surreal pictorial compositions move toward representation, their final image remains suspended. Vaguely alluding to larger narratives the way a mural would illustrate great histories or epic sagas the paintings fail to intimate any story.
 
For the installation, Aldahl has modified the gallery by concealing it’s distinguishing characteristics (the floor, windows and wooden pillars) with white masonite panels taped at the seams. Economical and ambient, the technique is reminiscent of art fair booths and other temporary exhibition spaces. Aldahl's gesture results in an improvised sensory environment which induces the experience of viewing the paintings while simultaneously asserting the frivolity of the act itself.
 
The formal conflicts in the paintings and contradicting effects of the installation only intensify the transformational quality of the work.
 
Young Art is located in Chinatown at 418 Bamboo Lane Unit B, Los Angeles, CA 90012.
For more images or information, please contact info@youngartgallery.com.