http://carterandcitizen.com/ Carter & Citizen is a contemporary art gallery located in Los Angeles, CA. We are committed to providing a forum for art that engages in the social, cultural and aesthetic conditions of our time. en Copyright 2013, carterandcitizen Tue, 21 May 2013 04:31:02 -0400 <div class="exhibition-subtitle">Weirding Way</div> <div class="exhibition-dates">May 4 - June 8, 2013</div> <div class="exhibition-opening">Opens Saturday, May 4, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/2436"><img border="0" src="http://carterandcitizen.com/static/dyn-images/54/54855.jpeg" alt="Too Transparent (detail) 2013 C-print, cracked acrylic 40.5 x 30.5 inches edition of 3, frame unique" height="333" width="500" /></a> <p><p>Too Transparent (detail)<br /> 2013<br /> C-print, cracked acrylic<br /> 40.5 &#215; 30.5 inches<br /> edition of 3, frame unique</p></p> <br /> <div class="exhibition-description"><p>Carter &amp; Citizen is pleased to present Heather Cantrell "Weirding Way". The exhibition opens May 4th and closes June 8, 2013. The gallery will host a reception for the artist on Saturday, May 4th, from 6 to 9pm. This is the artist&#39;s first solo exhibition with the gallery.</p> <p>Heather Cantrell&#700;s newest body of work, an introspective series of self-portraits were created after a turbulent move (of both her studio and home) from Los Angeles to New York in 2012. The artist&#700;s materials include torn and scratched C-prints, shattered acrylic, painted-over and re-photographed images as well as non-traditional framing devices, including sequined fabric. These intensely cathartic works give us a window in which to observe the artist&#39;s personal struggle with transformation and a mirror reflecting our own experiences of radical dislocation.</p> <p>In "Weirding Way", Cantrell&#700;s self-portraits draw upon ancient myths and legends, exploring the heroic cycle of death and rebirth. She examines the intimate voyage to the underworld, with its archetypal characters and experiences, and the essential wisdom and insight gained by such encounters. The exhibition&#700;s confrontational collages are composed of both allegorical and literal elements, encompassing and compressing the spectrum of emotions and personae inherent in the classical quest for self-knowledge. With each iteration of the self, Cantrell addresses issues of the real and the perceived.</p> <p>"Weirding Way" juxtaposes portraiture and ordinary artifacts to suggest polar states of being. Simultaneously, viewers encounter a range of thought, feeling and identity that suggest the beginning and end of the transformative process in a single moment. This exhibition presents the primal growth of the spirit: in the face of destruction, despair and suffering, we find cathartic release and consolation.</p> <p>Heather Cantrell&#39;s work has been seen nationally and internationally in solo exhibitions at venues such as <span class="caps">MOT</span> International (London), Newman Popiashvilli (New York), Kinkead Contemporary (Los Angeles), sixspace (Los Angeles) and Sandroni Rey Gallery (Los Angeles). Cantrell has been included in group shows throughout the <span class="caps">U.S. </span>and abroad in venues such as Wonderland Art Space (Copenhagen, Denmark), The Luckman Fine Arts Complex at <span class="caps">CSULA </span>(Los Angeles), and the <span class="caps">CCA</span> Wattis Institute (Oakland, CA). Reviews of her work have been published in Artforum, the New York Times, Frieze, LA Weekly, and the Los Angeles Times. Cantrell received her <span class="caps">MFA </span>from <span class="caps">UCLA </span>in 2001 and her <span class="caps">BFA </span>from the Maryland Institute, College of art in 1995. She currently lives and works in Los Angeles and New York.</p></div> http://carterandcitizen.com/exhibition/view/2436 <div class="exhibition-subtitle">Everything is Broken</div> <div class="exhibition-dates">March 23 - April 27, 2013</div> <br/> <a href="/exhibition/view/2422"><img border="0" src="http://carterandcitizen.com/static/dyn-images/54/54617.jpeg" alt="Everything is Broken installation detail" height="333" width="500" /></a> <p><p>Everything is Broken <br /> installation detail</p></p> <br /> <div class="exhibition-description"><p>Carter &amp; Citizen is proud to present David McDonald: "Everything is Broken". The exhibition opens March 23 and closes April 27, 2013. The gallery will host a reception for the artist on Saturday, March 23, from 6 to 8pm. This is the artist&#700;s second solo exhibition with the gallery.</p> <p>David McDonald&#700;s newest body of work addresses accumulation and emptiness through materials common in their everyday use. Weathered wire, plaster, wood, dirt, cardboard and acrylic are brought together in these sculptures to create space and void. The open spaces created with wire and pegs function like drawings - where line creates an open space and McDonald&#700;s gesture through material creates a paradox - volume without mass.</p> <p>Here, everything is at once broken and yet, connected. Some elements within the sculptures appear to barely hold together at some points, while others are sturdy and worn in<br /> their state of simply being. Anchored to the floor, the work appears fragile in areas where McDonald has stitched together wire to create a snarl of netting around and out of the other fragments. A sense of abandonment surrounds these humble gestures while seemingly disparate scraps come together to cause the viewer pause while considering color, texture and scale.</p> <p>The title of the exhibition is taken from Bob Dylan&#700;s 1989 song of the same name, where detachment from the world rules. "Broken bottles, broken plates, broken switches, broken gates, broken dishes, broken parts, streets are filled with broken hearts. Broken words are never meant to be spoken, everything is broken." But if everything is broken, why do we remain steadfast in our attempt to put it back together? Here, McDonald attempts to make sense of our collective damage in sculptures that honor our ability to put the busted pieces back into place.</p> <p>McDonald received his <span class="caps">MFA </span>from California Institute of the Arts and has exhibited extensively at venues such as the Torrance Art Museum (CA), Jancar Gallery (Los Angeles), Irvine Fine Arts Center (CA), <span class="caps">ACME </span>(Los Angeles), <span class="caps">C24</span> Gallery (New York) and Newspace (Los Angeles) among others. McDonald has been awarded the Santa Monica Artist Fellowship (2012) and the Pollock Krasner Foundation Grant. He lives and works in Los Angeles.</p></div> http://carterandcitizen.com/exhibition/view/2422 <div class="exhibition-subtitle">The Dutch Ager</div> <div class="exhibition-dates">February 16 - March 16, 2013</div> <div class="exhibition-opening">Opens Saturday, February 16, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2419"><img border="0" src="http://carterandcitizen.com/static/dyn-images/54/54229.jpeg" alt="installation detail" height="446" width="500" /></a> <p><p>installation detail</p></p> <br /> <div class="exhibition-description"></div> http://carterandcitizen.com/exhibition/view/2419 <div class="exhibition-subtitle">Samara Golden | Kelly Kleinschrodt | John Opera | Antonio Adriano Puleo | Analia Saban | Max Springer | JPW3</div> <div class="exhibition-dates">January 12 - February 9, 2013</div> <div class="exhibition-opening">Opens Saturday, January 12, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/2394"><img border="0" src="http://carterandcitizen.com/static/dyn-images/53/53795.jpeg" alt="The New Now installation detail" height="333" width="500" /></a> <p><p>The New Now installation detail</p></p> <br /> <div class="exhibition-description"><p>The New Now brings together a group of artists whose practices cross reference multiple media and blur the boundaries traditionally associated with painting, sculpture, photography and installation.</p></div> http://carterandcitizen.com/exhibition/view/2394 <div class="exhibition-subtitle">Kelly Kleinschrodt | solo presentation</div> <div class="exhibition-dates">December 5 - December 9, 2012</div> <br/> <a href="/exhibition/view/2396"><img border="0" src="http://carterandcitizen.com/static/dyn-images/53/53278.jpeg" alt="UNTITLED. installation view" height="333" width="500" /></a> <p><p><span class="caps">UNTITLED. </span>installation view</p></p> <br /> <div class="exhibition-description"><p>Dec. 5 -9 | Miami Beach</p> <p>http://art-untitled.com/</p></div> http://carterandcitizen.com/exhibition/view/2396 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 27 - December 15, 2012</div> <div class="exhibition-opening">Opens Saturday, October 27, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2349"><img border="0" src="http://carterandcitizen.com/static/dyn-images/52/52380.jpeg" alt="Elusive Eureka 13 1977 acrylic on canvas board 6 x 9 inches" height="333" width="500" /></a> <p><p>Elusive Eureka 13<br /> 1977<br /> acrylic on canvas board<br /> 6 &#215; 9 inches</p></p> <br /> <div class="exhibition-description"><p>Carter &amp; Citizen is proud to present an exhibition of paintings by Norman Zammitt (1931 - 2007). The exhibition opens October 27 and closes December 15, 2012. The gallery will host a reception on Saturday, October 27, from 6 to 8pm.</p> <p>This exhibition highlights a group of small paintings executed in the 1970s by Norman Zammitt, a pioneer of the Light and Space movement in Southern California. Though largely under-appreciated during his lifetime, Zammitt&#700;s work has recently been reconsidered, due in large part to The Getty&#700;s Pacific Standard Time initiative.<br /> Zammitt was intently focused with the consideration of colors effect on each other and how light penetrates and emanates from color. His linear geometric abstractions were approached in a rigorous scientific manner, as he worked with physicists and mathematicians to perfect his formula for blending acrylics. This precise approach is easily forgotten when looking at the paintings, as their ethereal and nuanced surfaces mesmerize the viewer. Simply put, these paintings reward the act of looking.</p> <p>This exhibition was initially conceived in collaboration with Joni Gordon (1936 - 2012) of Newspace Resales (Los Angeles). Gordon was a fierce champion of Zammitt and the current reexamination of Zammitt&#700;s work is in no small part due to Joni&#700;s efforts. In part, this exhibition serves as a billet-doux to both Zammitt and Gordon, whose visions were authentic and original; a way of looking, creating and being that defies the cynicism and conceptual heavy-handedness often seen in art today.</p> <p>Norman Zammitt (1931-2007) was born in Toronto, Canada, raised on an American Indian reservation in New York State, and moved to California with his family in 1945. He studied at Pasadena City College and went on to earn his <span class="caps">MFA </span>at Otis Art Institute in 1961, where he created collages and abstract paintings inspired by the landscape. In 1964 Zammitt turned from oil paint to acrylic plastic resin, producing box-like sculptures that explored color and transparency. By the early 1970s, he returned to painting, continuing his investigations of color relationships through precisely rendered striped paintings. Zammitt&#700;s mathematical color combinations produce the illusion of deep dimensionality and dramatic optical effects. Zammitt&#700;s painting North Wall (1977) was included in The Getty&#700;s Pacific Standard Time exhibition in 2011.</p></div> http://carterandcitizen.com/exhibition/view/2349 <div class="exhibition-subtitle">Portraits and Ropes</div> <div class="exhibition-dates">September 8 - October 20, 2012</div> <div class="exhibition-opening">Opens Saturday, September 8, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/2348"><img border="0" src="http://carterandcitizen.com/static/dyn-images/51/51760.jpeg" alt="Portraits and Ropes installation view" height="288" width="500" /></a> <p><p>Portraits and Ropes installation view</p></p> <br /> <div class="exhibition-description"><p>Carter &amp; Citizen is proud to present April Street Portraits and Ropes, the artist&#39;s first solo exhibition with the gallery. A reception for the artist will take place on September 8, 2012 from 6 pm until 9 pm. The exhibition runs through October 13, 2012.<br /> <br /> The paintings included in Portraits and Ropes are a fictional familial construct that overlap, rebel against, and conform to their relatives and their imagined lovers through body language, compositions of movement, and color deposits that create a "generational aesthetic". The gravitational configurations evoke ideas of skin and duration, posturing and adaptation, packaging and labor, as well as action paintings&#39; relationship to feminism. Street&#39;s palette is plucked from fantasy art and impressionist landscapes combined with skin mimicking textiles as the paintings drape and extend onto the walls of the gallery via corsage pins and copper tacks. Some paintings within the exhibition are spun into ropes ending in cast bronze knots where they meet the wall, These spun paintings act as strands of <span class="caps">DNA </span>that would unravel without the weight of their fixtures. <br /> <br /> The paintings begin with a performative act we are not allowed to witness, wherein the artist wraps herself in hosiery materials to enact a series of body positions (recorded while sleeping) into pools of paint on canvas. The impression made by this act is rinsed away while the paint is still wet, where then the memory of the gesture is painstakingly repainted by the artist. The result is the intuitive stippling of her ideal fantasy of what happened in the original. Street&#39;s labor and fantasy life then create yet another fiction when it is physically covered. The hosiery, used as the brush in the beginning of the process, is now the subject in control of its own history. Hidden underneath the folds of hosiery is an image that Street only teases us with knowing fully. These veils of fabric become their sole identity inside the gallery space and outside the protective world of the studio. What begins with the artist&#39;s private performances ends with the psychological construction of public image.<br /> <br /> The work within the exhibition addresses adaptation of an intimate activity placed in a public space. Posturing and social awkwardness, sexual identity and the hiding of labor to feed particular social longings are all tied up in the painting&#39;s reactions to each other. Street alludes to the shifting relationships between objects of action, while acknowledging the identity shifts and role-play that occur when one takes their art from private to public. This tension between object, narrative, and illusion is a constant in Portraits and Ropes. The paintings reverse and reconnect their roles in their ultimate incarnation for the gallery, as a community of gestures, packaged for their public moment. </p> <p>April Street studied at The Art Institute of Chicago and in central Italy learning traditional bronze casting. She received an <span class="caps">NEA </span>project grant for her video collaboration, Imaging Appalachia. Her paintings were the focus of a recent solo exhibition at Rosamund Felsen Gallery in Santa Monica, CA and she was chosen by Julie Joyce, Curator of Contemporary Art at the Santa Barbara Museum of Art, as one of the 13 LA Artists for the 2012 Baker&#39;s Dozen IV Exhibition at the Torrance Art Museum. She currently lives and works in Los Angeles.</p></div> http://carterandcitizen.com/exhibition/view/2348 <div class="exhibition-subtitle">Ruins</div> <div class="exhibition-dates">June 30 - August 11, 2012</div> <div class="exhibition-opening">Opens Saturday, June 30, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/2316"><img border="0" src="http://carterandcitizen.com/static/dyn-images/50/50893.jpeg" alt="Ruins installation detail" height="334" width="500" /></a> <p><p>Ruins installation detail</p></p> <br /> <div class="exhibition-description"><p>"Ruins", Heather Brown&#700;s first solo exhibition at Carter &amp; Citizen, concedes that all bright new things become timeworn. This exhibition highlights the artist&#700;s preoccupation with the expansion and contraction of meaning that exists alongside the layers of context assigned to an object or ritual (and painting in particular). These rough and craggy geometric abstractions reveal Brown&#700;s source material - from Art Deco pattern and architecture to Mayan relief and decoration.</p> <p>Brown considers painting a battle over space, which she demonstrates by absorbing, processing and depositing multiple layers of meaning and paint in the work. Here, some layers become indecipherable from one another (grafted and sanded down), while others are clearly distinguished. These paintings wear a humble and labored skin while remaining confident and sturdy. Their physical surface points to the removal and reclamation of meaning and through her investment in the repetition of simple form, Brown continues to pursue "fluency in a dead, haunted language".</p> <p>Heather Brown received her <span class="caps">MFA </span>from <span class="caps">UCLA </span>in 2002 and a BA from <span class="caps">UCSB </span>in 1999. Brown&#700;s solo exhibitions include "Thank You For Your Childhood" (Parker Jones, Los Angeles), "Drawings" (Parker Jones, Los Angeles), and "Heather Brown: New Paintings" (Black Dragon Society, Los Angeles). Her work has been seen in group exhibitions at venues such at Weekend, (Los Angeles), Five Thirty Three (Los Angeles), Black Dragon Society (Los Angeles), Honor Fraser Gallery (Los Angeles) and Angles Gallery (Los Angeles) among others. She lives and works in Los Angeles.</p></div> http://carterandcitizen.com/exhibition/view/2316 <div class="exhibition-subtitle">Hanging Fire</div> <div class="exhibition-dates">May 19 - June 23, 2012</div> <div class="exhibition-opening">Opens Saturday, May 19, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/2315"><img border="0" src="http://carterandcitizen.com/static/dyn-images/49/49568.jpeg" alt="Hanging Fire installation detail" height="281" width="500" /></a> <p><p>Hanging Fire installation detail</p></p> <br /> <div class="exhibition-description"><p>Carter &amp; Citizen is proud to present Michelle Blade "Hanging Fire". The exhibition opens May 19th and closes June 23rd, 2012. </p> <p>How do we cope when monumental cultural shifts happen at a pace too rapid to process? We find ourselves at a moment when the apocalypse looms, either as fallacy or as fearful possibility. For her first solo exhibition in Los Angeles, Michelle Blade considers the concept of impending doom in relationship to cultural shifts currently underway. In "Hanging Fire:, she expands upon previous bodies of work, considering ritual and prophecy, the real and unreal, and our collective yearning to connect with the unfamiliar. </p> <p>The title "Hanging Fire" implies delay and the in-between space that exists while waiting for a monumental shift. Informed by Castaneda (and his studies under shaman Don Juan), Blade regards death as an ally that sits with us throughout our life forcing us to consider the inevitable and live accordingly. In this, she imagines a dreamy and indeterminate vision in sync with an imminent transition. Blade&#39;s psychedelic imagery also pays homage to romanticism while referencing personal echoes of secret, meditative moments of solitude within a California landscape. For this exhibition Blade brings together painting and sculpture to address our need to create ritual and myth around death, new beginnings and cultural awakenings. </p> <p>Michelle Blade holds a BA from Loyola Marymount University, Los Angeles and an <span class="caps">MFA </span>from the California College of the Arts, San Francisco. Her work has been featured at Western Exhibitions (Chicago), Jack Hanley (San Francisco), Triple Base (San Francisco), the San Jose <span class="caps">ICA,</span> Roberts &amp; Tilton (Los Angeles), Carl Berg Gallery (Los Angeles), Bravin Lee Gallery (NYC), Space 1026 (Philadelphia), Union Gallery (London), V1 Gallery (Copenhagen), and the Akademie der Bildenden K&uuml;nste (St&uuml;ttgart, Germany). She is a 2007 recipient of the Murphy-Cadogan Fellowship, A 2X2 Pro Arts Grant, an Alternative Exposure <span class="caps">SOEX</span> Grant, and was a SF <span class="caps">MOMA</span> Seca finalist in 2011. Blade lives and works in San Francisco, Ca.</p></div> http://carterandcitizen.com/exhibition/view/2315 <div class="exhibition-subtitle">Curated by John Knuth</div> <div class="exhibition-dates">March 30 - May 12, 2012</div> <div class="exhibition-opening">Opens Friday, March 30, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/2305"><img border="0" src="http://carterandcitizen.com/static/dyn-images/48/48493.jpeg" alt="installation detail" height="335" width="500" /></a> <p><p>installation detail</p></p> <br /> <div class="exhibition-description"><p>Heather Cantrell<br /> Craig Doty<br /> Jesse Fleming<br /> Cameron Gainer<br /> Julian Hoeber<br /> Cody Hudson<br /> Dawn Kasper<br /> James Krone<br /> Karen Lofgren<br /> John Seal<br /> Aaron Spangler<br /> Greg Wilken</p> <p>"The Paranoia of Time" brings together works that deal with the element of time - encroaching, inevitable, inescapable.</p></div> http://carterandcitizen.com/exhibition/view/2305 <div class="exhibition-subtitle">The Way We Tell The Stories That Tell The Way</div> <div class="exhibition-dates">February 25 - March 24, 2012</div> <div class="exhibition-opening">Opens Saturday, February 25, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/2278"><img border="0" src="http://carterandcitizen.com/static/dyn-images/45/45996.jpeg" alt="&quot;all that remains (installation detail)&quot; 2012" height="343" width="500" /></a> <p><p>"all that remains (installation detail)"<br /> 2012</p></p> <br /> <div class="exhibition-description"><p>Carter &amp; Citizen is pleased to present Dmitry (Dima) Strakovsky&#39;s first solo exhibition in Los Angeles. The exhibition, titled "The Way We Tell The Stories That Tell The Way" opens February 25th and closes March 24th, 2012. The gallery will host a reception for the artist on Saturday, February 25th, from 6 to 9pm.<br /> <br /> Dmitry Strakovsky playfully engages with the mechanisms of branding. Within the art world, and in the world at large, these carefully calculated, crafted and compressed stories make up an increasingly prominent part of our cultural landscape. Corporate and personal brands flow together to present slick narratives that avoid questions. Strakovsky&#39;s works focus on the slippages that occur along the way. They dwell on the awkward moments that expose the logic of the system. Oscillating between instances of homage and satire, this exhibition highlights three works by the artist that ask the viewer to consider how public images of brands and the stories we create around ourselves are produced, controlled and disseminated.<br /> <br /> "target.target.target"<br /> 1955 - Jasper Johns creates his iconic work "Target with Plaster Casts"<br /> 2007 - Target Corporation sponsors a solo show of Johns&#39; work at the National Gallery. The "Target" corporate logo is prominently featured in the press release next to Johns&#39; "Target with Plaster Casts."<br /> 2012 - Dmitry (Dima) Strakovsky completes the arc of signification by composing a set of targets<br /> from the Target corporate logo with text from the press release for the 2007 Johns show and shoots them up at a Kentucky gun range.<br /> <br /> "Contemplating Utopia"<br /> 1968 - Russian tanks enter Czechoslovakia, suppressing liberal reforms of the Prague Spring.<br /> 1969 - Rolan Bykov, a Russian director, begins filming a children&#39;s movie "Attention, Turtle!" USSR authorities nearly censored the film over the tank footage, which echoes the recent events. In the end, a clear choice to avoid a turtle that gets in their way, recasts the tanks in a "positive" light. They are seen as promoting an image of a humane and loving state. The film is released to the public the following year.<br /> 2011 - Strakovsky inserts a new character into the final scene of the film: a clay turtle (reminiscent of Rodin&#39;s Thinker). The intruder contemplates the fate of his comrade in his own anthropomorphized way. <br /> <br /> "all that remains"<br /> 1991 - Vija Celmins paints "Night Sky #2" The work is described as being "subtle and meditative."<br /> 2008 - A security guard at the 2008 Carnegie International, Timur Serebrykov, fails to have a transcendent moment with the work and keys it. The damage to the work is pronounced "irreparable". Museum staff members are forced to destroy the work in the presence of the underwriters&#39; agent in order to collect the insurance money.<br /> 2012 - Strakovsky pays homage to Celmins and to the destroyed piece by creating an illusion of the night sky composed of several hundred computer generated images, pinned to the wall with over a thousand dressmakers pins. <br /> <br /> Dmitry (Dima) Strakovsky was born in St. Petersburg, Russia in 1976. He received his <span class="caps">MFA </span>from the School of the Art Institute of Chicago (2001). He has exhibited and performed internationally in venues such as the Moscow Biennale of Contemporary Art, <span class="caps">CCA</span> Ujazdowski Castle (Warsaw, Poland), <span class="caps">MASC</span> Foundation (Vienna, Austria), Grunt Gallery (Vancouver, Canada) and Tokyo National University of Fine Arts and Music (Japan). This is his first exhibition in Los Angeles. Strakovsky lives and works in Lexington, <span class="caps">KY.</span></p></div> http://carterandcitizen.com/exhibition/view/2278 <div class="exhibition-subtitle">Self-Portraits</div> <div class="exhibition-dates">January 7 - February 18, 2012</div> <div class="exhibition-opening">Opens Saturday, January 7, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/2257"><img border="0" src="http://carterandcitizen.com/static/dyn-images/46/46801.jpeg" alt="installation view" height="373" width="500" /></a> <p><p>installation view</p></p> <br /> <div class="exhibition-description"><p>Carter &amp; Citizen is proud to present "David McDonald: Self Portraits". The exhibition opens January 7th and closes February 18th, 2012. The gallery will host a reception for the artist on Saturday, January 7th, from 6 to 9pm.</p> <p>David McDonald&#700;s newest body of work is his most personal to date. These mid-size abstract sculptures (all self portraits) sit grounded with a central cylindrical core, whose smooth and tactile quality stands in contrast to the roughness of the surrounding materials. McDonald has used unassuming materials such as cement, found wood and fencing for years. Here, they operate on a very personal albeit distinctly formal level. The elements in each piece are constant, like the subject itself.</p> <p>The "Self Portraits" are an apprehensive turn inward for the artist, who has been living and working in Los Angeles for nearly two decades. They are full of engaging contradictions and function as an aesthetic paradox. The odd support systems that stack in and on each other act as both protector and protected, aware and oblivious of the foundations they keep. The scale of the work is at once awkward and inviting. They are vulnerable and shy, solid and satisfying. For McDonald, these contradictions are candid, thoughtful and earnest. Each work carries with it a distinct personality, slowly revealing the artist and his labor.</p></div> http://carterandcitizen.com/exhibition/view/2257 <div class="exhibition-subtitle">Eventide</div> <div class="exhibition-dates">November 5 - December 22, 2011</div> <div class="exhibition-opening">Opens Saturday, November 5, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/2236"><img border="0" src="http://carterandcitizen.com/static/dyn-images/45/45616.jpeg" alt="installation view" height="337" width="500" /></a> <p><p>installation view</p></p> <br /> <div class="exhibition-description"><p>Carter &amp; Citizen is pleased to present "Eventide" paintings by Leon Benn and photographs by Whitney Hubbs. "Eventide" opens November 5th and closes December 22nd, 2011. The gallery will host a reception for the artists on Saturday, November 5, from 6 to 9pm.</p> <p>"Eventide" displays Leon Benn and Whitney Hubbs&#700; shared practice of depicting darkness and intimate encounters with, and within, nature. For these two artists, landscape represents a constant and solitary inquiry; one which results in the dark and atmospheric paintings by Benn and dense black and white photographs by Hubbs. While some of Whitney Hubbs&#700; pictures are decidedly deliberate, others are filled with accidents and incidentals. A faith in the unknown also informs Benn&#700;s practice where night becomes a place of power and spirited imagination. Benn&#700;s paintings and Hubbs&#700; photographs function as fragments of travel and movement where passing moments are recorded, lest they be forgotten or lost.<br /> continued</p> <p>Leon Benn is currently pursuing his <span class="caps">MFA </span>at <span class="caps">UCLA.</span> His work has been included in group exhibitions at Postmasters Gallery (New York), Narwhal Projects (Toronto), The Columbus Museum of Art (Columbus, OH) and Palazzetto Cenci (Rome, Italy) among others.</p> <p>Whitney Hubbs has exhibited in venues such as Roberts + Tilton (Los Angeles), Michael Maloney Fine Art (Los Angeles), Kinkead Contemporary (Los Angeles), <span class="caps">P.P.O.W. </span>(New York) and Sandroni Rey (Los Angeles). Hubbs received her <span class="caps">MFA </span>from <span class="caps">UCLA </span>and a <span class="caps">BFA </span>from California College of the Arts (Oakland, CA). She currently lives and works in Los Angeles.</p></div> http://carterandcitizen.com/exhibition/view/2236 <div class="exhibition-subtitle">distant already</div> <div class="exhibition-dates">September 10 - October 22, 2011</div> <br/> <a href="/exhibition/view/2215"><img border="0" src="http://carterandcitizen.com/static/dyn-images/44/44848.jpeg" alt="installation view" height="319" width="500" /></a> <p><p>installation view</p></p> <br /> <div class="exhibition-description"><p>Carter &amp; Citizen is proud to present the gallery&#700;s inaugural exhibition "distant already", a solo exhibition by Kelly Kleinschrodt. The show opens September 10 and closes October 22, 2011. The gallery will host a reception for the artist on Saturday, September 10, from 6 to 9pm.</p> <p>At the center of Kleinschrodt&#700;s practice, which includes video, performance and photography, is an exploration of the body. Within Kleinschrodt&#700;s work, the body is at once abstracted and sexualized. While maternity is Kleinschrodt&#700;s most current visual and conceptual field in which to examine a utilitarian and sexualized body, the nature of the imagery is both masculine and feminine. The body is undeniably present, yet indeterminate.</p> <p>In the video installation, titled "Sonata, first movement", a breast pumping milk is abstracted to a point of hyper and trophic sexuality. The shift between possibilities and functions of each (male and female) is also seen in Kleinschrodt&#700;s series of framed photographs and photograms, "falling" and "nappe," where fluids meet fabric and recondite images of functional objects (such as breast pumps).<br /> Kleinschrodt&#700;s performance piece, Theme and Variations (for solo violinist and breast pump), will take place throughout the run of the exhibition. A theme melody and a recording of a breast pump are acoustic anchors for the performance. The theme melody, composed by the artist, is subjected to systematic embellishments-variations-<br /> conceived of by the violinist (Morgan Paros) who loosely follows a score for the variations on the theme while improvisationally responding to the breast pump&#700;s own audible variations.</p> <p>An analogy between instruments-violin and breast pump-calls forth a lost moment of bodily exchange between mother and child. In addition, complex issues surface surrounding labor and surrogacy, specifically in terms of infant-rearing and artistic production. Just as the pump serves as a surrogate for the infant, the violinist acts as surrogate for the artist. Absence and responsiveness are central to this performance and to Kleinschrodt&#700;s body of work.</p> <p>Kelly Kleinschrodt received her <span class="caps">MFA </span>from <span class="caps">UCLA </span>in 2011. Her work has been exhibited and screened in the <span class="caps">U.S. </span>and abroad at venues such as Kavi Gupta (Berlin), Crisp London Los Angeles (London &amp; Los Angeles), Dan Graham (Los Angeles), and Museo Ex Teresa Arte Actual (Mexico City) among others. distant already marks her first solo exhibition with Carter &amp; Citizen. Kleinschrodt lives and works in Los Angeles.</p></div> http://carterandcitizen.com/exhibition/view/2215 <p>3 generations of Abstraction<br /> May 25 - June 22, 2013 <br /> Guggenheim Gallery at Chapman University<br /> Heather Brown<br /> Tony Delap<br /> Michael Dopp<br /> Roy Dowell<br /> Craig Kaufmann<br /> Ed Moses<br /> Michael Rey<br /> Brian Sharp<br /> Jay Sagen<br /> Patrick Wilson<br /> Bobbi Woods</p> http://carterandcitizen.com/news/view/2515 <p>Object Implied at Emerson Dorsch, Miami <span class="caps">FL.</span><br /> May 17 - June 8, 2103</p> <p>Kris Chatterson<br /> Dave Hardy<br /> Ryan Roa<br /> April Street<br /> Robert Thiele<br /> Odalis Valdivieso</p> http://carterandcitizen.com/news/view/2506