1. art and entertainment

INDIVIDUAL ARTIST
FELLOWSHIPS
ARTISTS
20I5
COLA
2O
15
DEPARTMENT OF
CULTURAL AFFAIRS
COLA
CITY OF LOS ANGELES
INDIVIDUAL ARTIST
FELLOWSHIPS
PREFACE
COLA 20I5 INDIVIDUAL
ARTIST FELLOWSHIPS
DEPARTMENT OF
CULTURAL AFFAIRS
CITY OF LOS ANGELES
This catalog accompanies an exhibition sponsored by the City of
Los Angeles Department of Cultural Affairs (DCA) featuring its
C.O.L.A. 2015 Individual Artist Fellowship recipients.
ERIC GARCETTI
Mayor, City of Los Angeles
...................................................................................................
LOS ANGELES CITY COUNCIL
GILBERT CEDILLO
PAUL KREKORIAN
BOB BLUMENFIELD
TOM LABONGE
PAUL KORETZ
NURY MARTINEZ
FELIPE FUENTES
BERNARD C. PARKS
District 1
District 2
District 3
District 4
District 5
District 6
District 7
District 8
District 9
District 10
MIKE BONIN
District 11
MITCHELL ENGLANDER District 12
MITCH O’FARRELL
District 13
JOSE HUIZAR
District 14
JOE BUSCAINO
District 15
CURREN D. PRICE, JR.
HERB J. WESSON, JR.
...................................................................................................
MIKE FEUER
RON GALPERIN
Los Angeles City Attorney
Los Angeles City Controller
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EXHIBITION DATES
CULTURAL AFFAIRS COMMISSION
MAY 17–JUNE 28, 2015
Los Angeles Municipal Art Gallery
Barnsdall Park
OPENING RECEPTION
MAY 17, 2-5 PM
...................................................................................................
ERIC PAQUETTE
President
Vice President
CHARMAINE JEFFERSON
MARIA BELL
MARI EDELMAN
JAVIER GONZALEZ
JOSEFINA LOPEZ
SONIA MOLINA
...................................................................................................
ABOUT THE
CITY OF LOS ANGELES
DEPARTMENT OF
CULTURAL
AFFAIRS
The Department of Cultural Affairs (DCA) generates and supports
high-quality arts and cultural experiences for Los Angeles’ 4 million
residents and 40 million annual visitors. DCA advances the social and
economic impact of the arts and ensures access to diverse and enriching cultural activities through grantmaking, marketing, development,
public art, community arts programming, arts education, and building
partnerships with artists and arts and cultural organizations in
neighborhoods throughout the City of Los Angeles.
DCA’s Community Arts Division manages numerous neighborhood arts and cultural centers, theaters, historic sites, and educational
initiatives. The division offers high-quality instruction in the arts;
produces solo and group art exhibitions; creates outreach programs
for underserved populations; develops special initiatives for young
people; and promotes numerous events during the year that celebrate
the cultural diversity of the community.
DCA’s Marketing and Development Division has raised $34
million over the last 12 fiscal years to fund LA-based artists and arts
and cultural organizations, and to support DCA’s special programming and facilities by marketing arts and cultural events through
development and collaboration with strategic partners, design and
production of creative catalogs, publications, and promotional materials, and management of the culturela.org website visited by over 3
million people annually.
DCA’s Grants Administration Division invests approximately
$2.3 million in project support annually to more than 280 local artists
and nonprofit arts and cultural organizations. Since 1990, DCA has
awarded over $62 million through its grantmaking.
Project support of more than $1.5 million is also awarded
annually from funds raised by DCA from other government agencies
and foundations for a total of approximately $3.8 million invested
each year in LA’s creative community.
DCA’s Public Art Division also significantly supports artists
and cultural projects by administering a recent portfolio of $16.5
million in PWIAP and ADF funds. Of this amount, typically 15
to 20 percent, or between $2.5 and $3.3 million, is attributable to
artists’ fees.
...................................................................................................
DEPARTMENT OF CULTURAL AFFAIRS
DANIELLE BRAZELL
MATTHEW RUDNICK
WILL CAPERTON y MONTOYA
FELICIA FILER
JOE SMOKE
LESLIE THOMAS
General Manager
Assistant General Manager
Director of Marketing and Development
Public Art Division Director
Grants Administration Division Director
Community Arts Division Director
TABLE
OF
CONTENTS
10INTRODUCTIONS
DANIELLE BRAZELL
JOE SMOKE
14
General Manager
Department of Cultural Affairs
City of Los Angeles
Grants Administration Division Director
Department of Cultural Affairs
City of Los Angeles
CURATOR’S STATEMENT
SCOTT CANTY
Curator
Los Angeles Municipal Art Gallery
Department of Cultural Affairs
City of Los Angeles
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20
28
36
44
52
60
68 76
84
92
100
COLA 2015 INDIVIDUAL ARTIST FELLOWSHIPS
MIYOSHI BAROSH
KELLY BARRIE
BAUMGARTNER + URIU (B+U)
JEFF COLSON
MARCELYN GOW
ALEXANDRA GRANT
HAROLD GREENE
SHERIN GUIRGUIS
ELIZABETH LEISTER
ALAN NAKAGAWA
BARBARA STRASEN
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COLA 2015 ARTISTS’ BIOGRAPHIES
120
COLA 2015 EXHIBITION CHECKLIST
124
COLA HISTORY
125
COLA INDIVIDUAL ARTIST FELLOWSHIPS
139
COLA PAST CATALOG DESIGNERS
141
ACKNOWLEDGEMENTS
142
COLOPHON
COLA 20I5
PREFACE
INTRODUCTIONS
INTRODUCTIONS
1
On behalf of Mayor Eric Garcetti and the Los Angeles City Council,
I am proud to introduce the twelve distinguished artists who are
the 2015 City of Los Angeles (C.O.L.A.) Individual Artist Fellows.
Honoring a selection of master artists who are among our city’s best
and brightest is one of the of the most meaningful duties the City of
Los Angeles Department Cultural Affairs (DCA) undertakes.
C.O.L.A. fellowships acknowledge and support the significant contributions artists make to our city. In a region fueled by
creativity with employment options in the commercial industries,
these artists have taken a "road less traveled" by committing to artistic
practice and dedicating their ideas to artistic expression, each one
surpassing fifteen years of creative production and presentation.
Their vision, passion, and ability to develop their craft—honing their
practices to the highest degree—make them worthy of our praise.
We are fortunate they have shared the fruits of their labor with us.
The yearlong application and reward cycle involves DCA’s
Grants Administration Division, Community Arts Division, and
Marketing and Development Division. I extend my grateful appreciation to our team that assisted with this labor-intensive collaboration,
putting the artists, and their work, front and center at every stage of
the process. These program experts serve as the caretakers of this
initiative and of our fellows.
I hope you will enjoy the C.O.L.A. Individual Artist Fellowships
exhibition at our Los Angeles Municipal Art Gallery (LAMAG) in
Barnsdall Park, as well as the exhibition website and catalog. As
you will see, the artistic statements made by the 2015 C.O.L.A.
fellows reflect the cultural and creative consciousness of our time. DANIELLE BRAZELL
10
General Manager
Department of Cultural Affairs
City of Los Angeles
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COLA 20I5
2
PREFACE
Lately, while reading articles and books on the topic of creativity,
I have been mindful of social psychology. I have been thinking a lot
about erotetics (the branch of logic that analyzes questions and
answers) and the vital role of artists in promoting personal curiosity
and developing collective imagination. As a result, I have been reflecting on my personal schedule of art activities as a mental exercise
routine to build openness and awareness.
More steeped than ever in relevant literature, I feel certain
that a key function of artistic practice is to turn unimaginable elements into acceptable truths, and that the primary educational
function of aesthetic appreciation is "wonder-connection." The City
of Los Angeles (C.O.L.A.) Individual Artist Fellowships showcase a
spectrum of the city’s respected master artists and their talents at
inspiring new meanings, for themselves and for us.
While you are investigating the 2015 C.O.L.A. exhibition,
gallery activities, website, and catalog, I encourage you to ask yourself the following kinds of questions:
What is it about this vision that moves me?
Is it this?
Maybe it is that?
Perhaps it is a combination of X and Y that provides me with
a gasp-and-release effect that tingles the cortex of my brain
and my limbic emotions?
I encourage you to ask others the same questions as well. In
return for your intellectual effort, the cognitive and social energy of
interpretation and reconciliation can refine our connectedness, both
inside and out.
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INTRODUCTIONS
Neuroscientists are beginning to track and consider the analytical connections between imagination and belief. Already, most of
them agree that imaginings and beliefs are:
produced by the same inferential procedures
affect the same emotional interactions
result in the same cerebral regeneration No doubt in the near future (when art audiences are studied
scientifically), the mental health benefits of aesthetic comprehension
will become quantifiable in completely new ways. Today, generally
and anecdotally, we understand that testing and rebuilding our
reasoning powers gives us new assurances and higher levels of
relational capacities.
In total, when considering the full process of art activity, from
seeking to accepting, we can ask greater questions such as, "In these
years, which seem especially strained with moral tensions, how can
dreams become reforms?" The answer might be that sociopolitical
crises become more common when we increasingly limit our associations with strangers, perplexing ideas, and unexpected values.
As such, please join me in extending gratitude to the 2015
City of Los Angeles Individual Artist Fellows for surprising us, puzz­
ling us, and astonishing us.
JOE SMOKE
Grants Administration Division Director
Department of Cultural Affairs
City of Los Angeles
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COLA 20I5
PREFACE
CURATOR’S
STATEMENT
The Los Angeles Municipal Art Gallery (LAMAG) proudly hosts the
Department of Cultural Affairs’ eighteenth annual City of Los Angeles
(C.O.L.A.) Individual Artist Fellowships exhibition. The C.O.L.A.
fellowships started in 1997 to foster the creative arts in Los Angeles
with a focus on honoring midcareer and established practitioners in
the visual arts, performance, dance, design, and literature. Fellows
are selected by a peer-review panel of established arts professionals and previous C.O.L.A. award winners, this year comprised
of Hirokazu Kosaka, Nery Gabriel Lemus, Amy Pederson, and Carolyn
Ramo. The grants give artists the opportunity to create work outside
the normal scope of their practices. Most have spent a year or more
in their studios preparing to surprise us with the projects on view. As
gallery curator for the past thirty years, I am still amazed by the
quality of artists in Southern California, for their ideas and craftsmanship are truly remarkable.
Recent programming has increased LAMAG’s audience significantly, with one exhibition breaking records by drawing more than
8,000 visitors in its first two weeks. We are proud to have hosted a roster of leading exhibitions including Auguste Rodin’s Figures d’ombres;
Doris Duke’s Shangri La: Architecture, Landscape and Islamic Art;
Shangri La: Imagined Cities; Robert Williams: Slang Aesthetics!; and
Twenty Years Under the Influence of Juxtapoz. Our mission speaks of
the promotion, interpretation, and presentation of artists from culturally diverse Southern California, and of benefiting the public of the
City of Los Angeles—and we continue to achieve that mission.
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CURATOR'S STATEMENT
The C.O.L.A. exhibitions generally are recognized for their
unexpected range of images and challenging themes. This year’s presentation continues that legacy.
Miyoshi Barosh, recently awarded a 2015 Guggenheim
Fellowship, works in diverse media to investigate the sociopolitical
underpinnings of American culture, merging craft and folk traditions
with digital methods.
Kelly Barrie’s latest work depicts one of the many olive trees
lining the Israeli-Palestinian border; once emblems of reconciliation,
the trees are being torn down to make way for the West Bank separation wall. Barrie executed Olive Tree 472 over six months, using
meditation and time-intensive drawing methods to signify the
region’s prolonged turmoil.
The design team of Baumgartner + Uriu (B+U) created
a large-scale installation whose organic forms expand in different
spaces within the gallery in contrast to the existing geometric
architecture.
Jeff Colson’s project includes a number of untitled objects
that resemble shacks or shanties. But what appear to be crude
assemblages of random wooden boards are, in fact, meticulously
crafted sculptures of cast fiberglass and bronze.
Marcelyn Gow’s work Semblances challenges the conventional relationships between architectural drawings and models and
the built structures they aim to inform. Addressing the question of
mutability in this process, she considers how the inevitable presence
of descriptive anomalies yields architectural objects that exist in
multiple guises.
Alexandra Grant’s newest painting series, Antigone 3000,
references imagery from the psychological Rorschach test. Halving
these complex abstract shapes, she presents them as stains metaphorical of the passion, violence, and shame within the Greek tragedy
from which her work takes its title.
Harold Greene’s woodworking and design practice is
grounded in his fascination with trees indigenous to Southern California. Inspired by scraps of the Acacia that contained his childhood
15
COLA 20I5
PREFACE
tree house, Greene began crafting small objects. He moved on to
methodically teaching himself the names and characteristics of
trees in his local environment. The colors and textures of this native
wood—in his words, "pure gold"—inspired his C.O.L.A. project.
Sherin Guirguis’s new painting series examines the relationship between historical evidence and reconstructed memory.
Guirguis, who emigrated from Egypt as a teenager, used fleeting
memories and incidental photographs of the now-destroyed family
home in Luxor as source material. Shaped in distinct geometric patterns, the paintings deploy motifs from traditional Arabic art.
Elizabeth Leister’s dance and performance work, the invisible
lake called telepathy, is the final piece of an autobiographical multimedia trilogy. During the C.O.L.A. exhibition, she will perform in
the gallery with a dancer. Using audio and video projections, Leister
will trace the dancer’s movement in charcoal on the walls, giving the
action of drawing a parallel choreography.
Alan Nakagawa, whose installations combine video, sound,
and performance, departs from his usual practice with a piece that
explores personal history. OYAJI; Breakdown of the Bicameral
Mind, is inspired by memories of his "old man"—in Japanese, his
oyaji—a father who during his life was for Nakagawa a figure
of mystery.
In the latest work for her series Wallpaper for the Twentyfirst Century, Barbara Strasen investigates images and detritus
scavenged from the streets of East Los Angeles. Taking on a scale
and composition inspired by Peter Paul Rubens, her wallsize piece
evokes comparisons with poetry and music.
We are extremely grateful for the support of the Department
of Cultural Affairs (DCA) and the Barnsdall Park Foundation. As
LAMAG’s cuator, I am delighted to have a dedicated staff and the
administrative support for our facility and our programs. Special
thanks to Gabriel Cifarelli, Education and Gallery Support Coordinator;
Marta Feinstein, Education Coordinator; Michael Miller, Chief
Preparator; and Mary Oliver, DCA Slide Registrar.
16
CURATOR'S STATEMENT
C.O.L.A. has no closer allies than DCA’s executive team:
Danielle Brazell, General Manager; Matthew Rudnick, Assistant
General Manager; Will Caperton y Montoya, Director of Marketing and
Development; and Leslie Thomas, Community Arts Division Director.
The C.O.L.A. initiative is alive and well thanks to Joe Smoke, DCA’s
Grants Administration Division Director, and his supportive staff.
The Los Angeles Municipal Art Gallery stages first-class
exhibitions each and every time, because of its hard-working
educators, preparators, clerks, and gallery attendants. For this
reason, I also thank Joan Bacon, Danny Banerje, Michael Avery Bell,
Diane Del Monte, Jacqueline Dreager, Omar Ibarra, Randy Kiefer,
Daniel Lavitte, Carrie Lockwood, Mark Lucero, Kevin Morales,
Michele Murphy, Albino Najar, Gloria Plascencia, Michael D. Sage,
Mark Salazar, Nancy Stanford, and Nan Wollman.
I want to express our appreciation to the writers of the engaging catalog essays: Kathy Battista, David DiMichele, Kate Durbin,
Marcelyn Gow, Harold Greene, Noel Korten, Carole Ann Klonarides,
William Mohline, Sue Ann Robinson, Susan Rosenberg, and Francesca
Sonara. I also want to recognize Louise Sandhaus, Kat Catmur, and
Colomba Cruz Elton for their design expertise and leadership in producing the C.O.L.A. website, catalog, and invitation, and to thank our
editor, Anne Thompson.
Finally, my most gracious thanks are reserved for all of our
friends and artists in the Southern California art communities. Our
highly valued relationships throughout the region are due, in large
part, to your generous, decades-long support of the Los Angeles
Municipal Art Gallery.
SCOTT CANTY
Curator
Los Angeles Municipal Art Gallery
Department of Cultural Affairs
City of Los Angeles
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ARTISTS
COLA 20I5
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ARTISTS
ARTIST NAME
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COLA 20I5
ARTISTS
MIYOSHI BAROSH
MIYOS
BARO
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COLA 20I5
SHI
OSH
ARTISTS
Miyoshi Barosh is a conceptual artist working in diverse media with
an interest in the sociopolitical underpinnings of American culture.
Increasingly, her work points to the current shift in responsibility
from society to the individual to create and sustain meaningful lives.
The materials she uses are industrial and domestic; she merges craft
and folk traditions with digital methods to present contradicting
ideas about progress and technological determinism. Arcadia, with
its geometric patterning, is a quilt made from repurposed and
hand-distressed fabrics interspersed with floating kitty heads that
Barosh "grabbed" online and printed on fabric, a perspectival illusion
that is a crude stand-in for the Internet. With material, process, and
text (attached vinyl lettering spells out the work’s title), the piece
manifests competing emotions around cultural conceits and identity
politics through a handmade carnivalesque, a mischievous confrontation between internal and external realities.
Just as Arcadia is a handmade depiction of digital networks,
Perspective Distortions is a steel-and-glass freestanding sculpture
that refers to a surrealistic inner vision in the form of a elemental
construction of neurological complexity. Questioning the uniqueness of an integral "self," the work contains glass eyes enmeshed in a
triangulated web of chaotic metal that resembles a child’s toy
design­­ed to improve creative thought and motor skills. "Mindfulness"—
an institutionalized thought-training application to eliminate unnecessary inner voices that cause anxieties and neuroses—is the new
panacea for our ills. We learn to become better focused on ourselves
and not question the context and/or conditions of our unhappiness.
Extending this critique, Receiving/Leaving refers to a phrase
that can be used in meditation practices—meaning to breathe in and
breathe out— but here alludes to cultural narcissism: to be seen is
to be happy, to not be seen is to disappear and be sad. A combination of steel, fiber, glass, and neon, the sculpture signs "happy/sad"
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MIYOSHI BAROSH
COLA ARTWORK
Rainbow of Tears; Perspective
Distortions; Drawing for
Receiving/Leaving;
Triumph of the Therapeutic
(Majestic Mountains)
with its tubular mouth in a witty reference to the early work of Bruce
Nauman, who used neon to achieve, in his words, "an art that would
kind of disappear—an art that was supposed to not quite look like
art." The face is barely there, mirroring our own narcissistic investment in our reflection. Once past the face, there is a void with no place
to project one’s subject.
Bringing the archaic notion of the id into the landscape,
Barosh’s Monument to the Triumph of the Therapeutic is a handpainted digital photogravure from vintage postcards of scenic
America—the projected landscapes of our collective national consciousness. The utopia envisioned by the constructivists having
never materialized, Barosh’s proposed series of public monuments,
Monuments to the Failed Future, are antimodernist, phantasmagorical, bloated, and irrational. The built environment is a projection of
ourselves; the objects within them are our projected ideas, hopes, and
dreams of who we are. Today, with the rapid growth of technological
innovation, the denial of negative emotions has taken the place of any
progressive social action. This, and the decentralization of power, has
made the monument superfluous.
Hanging from the ceiling to the floor, Rainbow of Tears is
made from discarded afghans, or "love objects." Sewn into cartoon
drops, this utopian surplus made by anonymous labor cascades from
the top of the wall to end in a purple puddle of a dystopian future.
A culturally mandated will to happiness buttresses a profusion of
consumer prophylactics to prevent sadness and to procure pleasure.
Rainbow of Tears is a commemorative sculpture of self-mocking tears
to all the unappreciated art objects and their makers.
Carole Ann Klonarides
Identity politics
through a
handmade
carnivalesque
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COLA 20I5
ARTISTS
MIYOSHI BAROSH
PAST WORK
1. Perspective Distortions
(drawing), 2015
Graphite and color pencil
9 x 12 inches
1
2
3
2. Arcadia, 2013
Burned and bleached
inkjet-printed fabric and
batting, vacuum-
formed letters, and
fiberglass
78 x 118 x 7 inches
Courtesy Luis De Jesus
Los Angeles
Photo credit: Jeff McLane
3. Going Commando, 2011
Found T-shirts and knit
fabrics
53 x 48 x 25 inches
4. Soft Intervention, 2011
Found afghans and polyester filling
60 x 48 x 22 inches
5. Receiving/Leaving
(drawing), 2015
Collaged inkjet prints,
graphite, color pencil, pen,
and tape
11 x 8 1/2 inches
COLA PROJECT
on following pages
6. Perspective Distortions
(detail), 2015
Steel, glass, and rubber
79 x 70 x 41 inches
Courtesy Luis De Jesus
Los Angeles
Photo credit: Jeff McLane
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ARTISTS
COLA 20I5
ARTISTS
KELLY BARRIE
KELLY
BARR
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COLA 20I5
Y
RIE
ARTISTS
There are many points of entry into the work and process of Kelly
Barrie. Indeed, the most fascinating aspect of his practice is that
it has no single most fascinating aspect. From conceptualization to
execution, Barrie’s pieces are best characterized by their undeniable aura. Working since 2000, the artist has touched on subjects
ranging from Hurricane Katrina to the "junkyard" playgrounds of
the 1960s to California ’70s skateboard culture. While these topics
seem disparate, he unites them by tapping the potent themes of "site"
and "time" lurking beneath the surface. "I was always aware of how
single images in the media would try to sum up big events— like 'oneshot wonders,'" Barrie says. "I want to revive images of times and
places and expand them through my artistic reconsideration."
When Barrie found a newspaper clipping of a flooded house
in Louisiana, he was struck by the photo’s haunting nature, seeing
it as metaphorical of how Katrina has become a "ghost" within our
collective consciousness. Images of its aftermath barraged viewers
for weeks, then months, and then, as with so many tragedies before,
visions of the trauma receded into the background. Employing his
unique blend of performance, drawing, and photography, a process
that can take weeks or sometimes months, Barrie set out to "revive"
this fragile image. After transferring the photo to a transparency to
use as his guide, Barrie set a sheet of black paper on his studio floor.
Using photo-sensitive powder as paint and his feet as brushes, he
walked the image onto the paper. This performative aspect gratifies
conceptually— the artist literally operates from within a history as
he works to recover it—and it compels visually: his footsteps bring
an expressionistic quality into the final digitalized image, made from
photographs Barrie took and then stitched together via computer.
Mirror House ultimately depicts a large, bare tree, with only an apparitional hint of the destroyed house behind it. A decade after Katrina,
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KELLY BARRIE
COLA ARTWORK
Olive Tree 472
Barrie’s piece maintains the catastrophe’s impact and anguish by
forgoing sentimentality for gravitas.
This lack of sentimentality is a consistent strength. Rather
than playing to the viewer’s surface emotions, Barrie engages on a
deeper level by reflecting on subjects chronologically or geographically distant, a favorite theme being the "disaster tree." His Tree of
Tenere, for example, documented an Acacia that stood isolated in the
Sahara until a Libyan truck driver hit it in 1973 and left it to perish.
"The tree is ubiquitous across so many different landscapes," Barrie
says. "I think of all they have born witness to."
Barrie’s latest work depicts one of many olive trees lining
the border between Israel and Palestine, emblems of reconciliation
that are, ironically, being torn down to make way for the West Bank
separation wall. Using graphite, Barrie executed Olive Tree 472 over
six months, meditating throughout on what it could signify in the
context of the region’s interminable struggle. "We are constantly
receiving images from the frontlines of world events. We have no
space to digest what we are seeing or hearing anymore. I make my
work in a way that allows time to creep back in, hoping it allows us to
make sense of what is really happening—and why." Amid an onslaught
of imagery, Barrie’s reflective documentations demonstrate that, at
its best, contemporary art pushes us forward by encouraging us to
pause and look back.
Francesca Sonara
Forgoing
sentimentality
for gravitas
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COLA 20I5
ARTISTS
KELLY BARRIE
PAST WORK
1. Name Trees, from the
series Between the Blinds,
2009
Archival LightJet print
46 x 78 inches, framed
2. Twenty Grand, from the
series Between the Blinds,
2009
Archival LightJet print
86 x 44 inches, framed
1
2
3
3. Burial Tree, from the
series Between the Blinds,
2014
Archival LightJet print
42 x 87 inches, framed
4. Mirror House, from the
series Between the Blinds,
2010
Archival LightJet Print
94 x 124 inches, framed
Collection of the Albright
Knox Gallery, Buffalo, NY
5. Tree of Ténéré, from the
series Between the Blinds,
2008
Archival LightJet print
82 x 72 inches, framed
COLA PROJECT
on following pages,
from left to right
6. Olive Tree 472 (detail),
2014
Archival LightJet print
96 x 72 inches
7. Olive Tree 472, 2014
Archival LightJet print
96 x 72 inches
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5
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COLA 20I5
ARTISTS
BAUMGARTNER + URIU (B+U)
BAUM
+ URI
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COLA 20I5
ARTISTS
BAUMGARTNER + URIU (B+U)
MGARTNER
IU (B+U)
Strange Familiarities
"What space and essence have in common is that both are
cases of fusion…. Qualities are fused with an object that we
do not normally associate with them." Graham Harman, from
Weird Realism: Lovecraft and Philosophy
The "strangely familiar" suggests something known or recognizable
yet detached from its usual associations, evoking Viktor Shklovsky’s
description of how to "transform an object into a fact of art."1 The
work of B+U produces strange familiarities in order to reposition
the architectural object in relation to the viewer. In B+U’s C.O.L.A.
project, Apertures, several aspects transform familiar architectural elements. Edges, which normally imbue a form with legibility
by establishing thresholds and distinguishing the interior from the
exterior, here have the potential to be misconstrued. Myriad creases
in the ensemble of forms that comprise the installation conflate lines
and surfaces. The relationship of discrete parts to the larger whole
is destabilized through the disappearance or emergence of cusps.
Geometrically, the cusp is the point where two arcs intersect. The
multiplication of the cusp throughout the geometry of Apertures
produces the impression of fluting, or ornamental grooves used in
the classical architectural orders to accentuate the verticality of a
column. Here, the fluting is estranged from its conventional context
as an articulation of gravitational force; it shifts scale and orientation,
producing a differentially articulated mass. Apertures conjures
the strange effect of buoyancy rather than the inert heaviness of
a column. This drift of line work in relation to structure creates a
productive ambiguity.
The title Apertures alludes to the presence of an opening or
orifice that communicates between two adjacent spaces, as in the
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COLA ARTWORK
Drawings of the 233
Individual Panels; Pod
Drawing; Nine Pods;
Apertures
aperture of a camera lens that admits light to the darkened interior
chamber. B+U’s installation acts as a series of large-scale thresholds
communicating between spaces in the gallery. The familiar architectural element of the window is implied through a series of openings
that provide visual access to the interior of the installation but do not
look like conventional windows. The apertures have distinct formal
features, implying a countenance that endows the form with
character. Within each aperture, the literal openings are doubled and
the edges multiplied in order to exfoliate layers of interiority and exteriority within the architectural form. These layers produce an
estrangement of the architectural envelope in relation to the body of
the viewer. B+U presents a weird realism through a processing of the
environment by relying on representational modes that engage forms
of both abstraction and resemblance but align fully with neither.
Rather, the work produces a strange fusion of the two.
Marcelyn Gow
Openings are
doubled, edges
multiplied
1. Viktor Shklovsky, Theory of Prose,
trans. Benjamin Sher (Champaign:
Dalkey Archive, 1990) 61.
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COLA 20I5
ARTISTS
BAUMGARTNER + URIU (B+U)
PAST WORK
1. Taipei Performing Arts
Center, 2008
Rendering of 400,000square-foot performing
arts center in Taiwan
2. Animated Apertures,
2015
1/8-inch-scale model
of housing tower in
Lima, Peru
Nylon 3D Print and ABS 3D
print, finished and painted
1
2
3
3. Animated Apertures,
2012
Rendering of housing
tower in Lima, Peru
4. City Futura, 2010
Model for urban megastructure commissioned
by the City of Milan
5 x 6 inches
ABS 3D print, finished
and painted
5. Pedestrian Bridge, 2012
Model for the Hermitage
Amsterdam 2 x 4 feet
ABS 3D print, finished
and painted
6. Animated Apertures,
2012
Rendering of housing
tower in Lima, Peru
COLA PROJECT
on following pages
7. Apertures, 2015
Thermoformed plastic
and paint
14 x 14 x 16 feet
4
40
5
6
41
ARTISTS
COLA 20I5
ARTISTS
JEFF COLSON
JEFF
COLSO
45
COLA 20I5
ARTISTS
JEFF COLSON
COLA ARTWORK
Blockhouse; Hovel; Pavilion;
Pentoga; Redoubt
The legacy of early-twentieth-century modernism includes both
the sublime and the ridiculous, a duality evident in the work of Piet
Mondrian and Marcel Duchamp. These art-historical giants and
exact contemporaries seem to represent polar-extreme sensibilities
within modernism: Mondrian the Utopian yearned to achieve timeless perfection within the consummate balance of colored rectangles,
while Duchamp the Provocateur managed very early on to make us
see the lowest object as high art. These seemingly antithetical inclinations also are present in two current directions in art, abstraction
and conceptualism. Although usually thought of as unconnected, they
are unaccountably reconciled in the work of Jeff Colson.
Colson’s recent work includes a number of untitled sculptures
that seem to resemble shacks or shanties, but practically everything
about these constructions is not what it seems. The sculptures appear
to be crude assemblages of random wood boards but are actually cast
fiberglass and bronze, produced in a lengthy process involving the
creation of an original form from which a mold is taken, and, from
it, a new object is cast, refined, and painted. Paradoxically, achieving the casual look of a cobbled-together object requires enormous
technical skill. This contradictory quality is only the beginning of the
perplexing nature of these objects in terms of where they stand as
works of art.
For example, are these shacks or sculptures of shacks?
Absent of architectural elements such as doors or windows, the pieces
suggest shanty-ness in their deployment of boardlike units that signify
a structure that has been haphazardly nailed together. Not pictorial
in reality, these objects must be seen as abstract sculpture, yet the
persistent shanty reference problematizes this reading. The works
flip from the referential to the abstract and back again as we struggle
to assign them a known category. Unlike contemporary art that easily fits into a convenient box—here’s an abstract painting!—these
ON
46
singular sculptures confound our efforts to fathom their identities
as being art in the first place. They recall the early works of Jasper
Johns: is he making targets or paintings of targets? This confounding
aspect also is reflected in the bases Colson creates for his sculptures,
which seem at first to be pieces of furniture such as dressers or cabinets but on close examination prove to be functional only as vehicles
for display. At the same time, details that signify "furniture," such as
moldings and cornices, cause us to continue to perceive the bases as
familiar domestic objects.
It is these multiple slippages that make these unconventional
works so intriguing: they transform from sculpture to shack, from
high modernism to low construction, from the perfection of De Stijl
to the chaos of demolition. This same duality is evident in highly representational sculptures such as Roll Up, a large work crafted from
wood that seems, at first, to be junk jammed into and cascading
from a self-storage space. The random and debased appearance
of the piece is contradicted by the expert craftsmanship and the
Bauhaus–like relational design concepts evident in Coulson’s
arrangement of the various items of household detritus. Though
differing greatly in style, both the "shacks" and the mimetic sculptures
personify the same high-low duality. Embodying two of the great
branches of modernism, the formal and the conceptual, Colson’s
sculptures unite these usual opposites into baffling and perplexing
objects that are some of the most original and fully realized sculptures
being made today.
David DiMichele
Shacks or
sculptures of
shacks?
47
COLA 20I5
ARTISTS
JEFF COLSON
PAST WORK
1. Roll Up (detail), 2014
Painted wood
96 x 120 inches
2. Stacked Desk, 2015
Acrylic paint, urethane
resin, and wood
72 x 60 x 31 inches
3. Inner Tube, 2010
Oil paint and fiberglass
60 x 60 x 18 inches
1
4. Jumbo Cube, 2010
Painted wood
60 x 60 x 60 inches
2
COLA PROJECT
on following pages,
clockwise from top left
5. Blockhouse, 2014
Urethane resin, acrylic
paint, and wood
53 x 20 x 20 inches
6. Pentoga, 2014
Fiberglass, steel, acrylic
paint, and wood
65 x 36 x 18 inches
7. Pavilion, 2014
Urethane resin, acrylic
paint, and wood
41 x 22 x 22 inches
3
48
4
49
COLA 20I5
ARTISTS
MARCELYN GOW
MARC
GOW
53
COLA 20I5
ARTISTS
CELYN
"The room, shrunken or immense, according to the time the
words took to cross it and to come back to him; sometimes
he said to himself: they will not come back." Maurice Blanchot
Acts of translation deal with the shift from one mode of description
to another, creating gaps in perception that challenge what can be
construed, or misconstrued, as being real or fictive. Differentiating
itself from literal translation (metaphrase) or parallel translation
(paraphrase), the architectural work of Marcelyn Gow instead
produces translations that attempt to render something through
various mediums and with differing degrees of perceived accuracy.
These renditions merge with their source material in some instances.
Her project Semblances takes its name from the appearance of
something that is not actually there or the condition in which the
reality of something is different from how it seems from the outside.
The legible correlation between things inherent to the practice of
architecture—between a drawing and a model, or a drawing and a
building—involves varying degrees of specificity. The conventions of
architectural notation and what is considered germane to a particular context drive the inclusion or exclusion of certain information
within a given format. Paradoxically, a degree of generalization is
often required in the interest of enhancing legibility. Gow’s work
challenges these conventions and considers how the presence of
descriptive anomalies yields formal anomalies and produces architectural objects that exist in multiple guises. Semblances questions
the status of image in relation to object. It expatiates on the idea that
geometry, here in the form of a drawing, is underspecified in relation
to its material manifestations. Any act of transmutation—of moving
from geometry to object—may thus be corrupted or eschewed. The
work situates the uncertain status of geometry, invisible and exact,
as it relates to a set of objects that are derived from it. All the pieces
54
MARCELYN GOW
COLA ARTWORK
Semblances
in the project are composed of the same geometry and reference
the same set of drawings, but each has a different physical form.
The drawings do not adhere to the conventions of an architectural
elevation, contour drawing, or sectional cut and thereby allow for
multiple forms of legibility to occur within the space of the drawing.
The project reflects on the idea that the capacity to describe a thing
through images may be such that the description of the object, in
some instances, coincides with the object itself. The documentation
of sites, objects, and spaces is transformed to engender multiple
authenticities. Translations between drawings and objects produce
a coalescence between architectural form and constructed forms of
nature. Semblances addresses the question of mutability through the
production of drawings and images that simultaneously define objects
geometrically and anticipate their potential for transformation.
"The area within which understanding might be sought
and secured, like a precious pebble among ordinary gravel,
constitutes a gray zone where everything loses contour and
distinction… an interruption or a caesura, that infinitely
small rupture that keeps cause and effect apart. A microchasm. Whoever enters this area, thin as a threshold and as
lasting as a ring on water, must relinquish certitude. To begin
with." Aris Fioretos, from The Gray Book
William Mohline
The uncertain
status of
geometry
55
COLA 20I5
ARTISTS
MARCELYN GOW
PAST WORK
1. Spoorg, 2007
Vacuum-cast plastic
(PETG) and electronics
Dimensions variable
Photo: Joshua White
2. Spoorg, 2007
Vacuum-cast plastic
(PETG) and electronics
Dimensions variable
Photo: Joshua White
1
2
3
3. Aqueotrope, 2013
Vinyl transfer
96 x 96 inches
Photo: Ulrika Karlsson
4. Aqueotrope, 2013
Concrete
Dimensions variable
Photo: Karim Attoui
5. Aqueotrope, 2013
Concrete and blown glass
Dimensions variable
Photo: Joshua White
6. Aqueotrope, 2013
Concrete and blown glass
Dimensions variable
Photo: Joshua White
COLA PROJECT
on following pages
7. Semblances (detail),
2015
Digital prints
36 x 36 inches each
Cast objects
8 x 8 x 8 inches each
4
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5
6
57
ARTISTS
COLA 20I5
ARTISTS
ALEXANDRA GRANT
ALEXA
GRAN
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COLA 20I5
ARTISTS
ANDRA
NT
It is apt that Los Angeles painter Alexandra Grant’s newest series,
Antigone 3000, is inspired by images of the Rorschach test, though
cut in half so what’s left appears as a stain. Whether full or partial,
a Rorschach reveals only the viewer—nothing of itself. It is a mirror
in which we face our deepest desires and fears. When it comes to
Antigone, the half-Rorschach-as-stain is an ideal emblem. This
revolutionary figure—created by Sophocles in ancient Greece,
radicalized by director Jean Anouilh as a subversive symbol of
Nazi resistance, and recently stripped bare by poet Anne Carson
in her book Antigonick—is experiencing a new rebirth in our era of
economic disparity and climate injustice. The famous psychological
stain of duality, that beautiful, messy abstraction, a kind of explosion, embodies not only what Antigone has meant thus far, with her
polyphony of interpretations and colors, but also the rich potentials
still unrealized within her, that is to say, within us.
Antigone has often signified danger—in her boldness and
her unwillingness to compromise, even in the face of certain death.
But she holds another, perhaps more treacherous, risk in her openness to interpretation. Is her desire to bury her brother motivated by
ethics or born of something less nameable, a kind of morally indefensible passion?
Grant’s paintings do not answer this question, this crux at the
heart of Antigone. Instead, the paintings perform the question, posing it again and again. Unlike her prior series, Century of the Self,
this new body of work offers us very few avenues for interpretation.
The large paintings are stunning, literally—shocks of ornate color
disrupt clean, black-and-white lines made with a ruler (the lines of
the state, the rule of law). They are also disturbing in the associations
they conjure: wine spilled on an expensive dress, blood appearing suddenly on a white wall. The blooms of color have textures rough and
bumpy over smooth lines below. One can’t help but feel a sense of the
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ALEXANDRA GRANT
COLA ARTWORK
Antigone 3000
uncontainable when looking at them, a fear for what they might do
to whoever witnesses them, what they might stir up within.
This question of who will bear witness is one that Antigone
raises. Her brother happened to be on the losing side of a rigged game,
the game of war. This unlucky coincidence could happen to any of
us. So who will bear witness for us, in the event of our great shame?
Grant’s viewers must face this question when confronted by her paintings—for they are nothing if not confrontational—and the paintings,
in their silence that shouts volumes, implicate viewers as witnesses.
Grant’s vibrant stains force us to face our own unnamable passions,
those parts of ourselves turned off, shut down, hidden away from this
world, and for fair reason: so we can succeed socially, so that we can
survive economically and, if we are fortunate, get ahead.
So that we aren’t put to death, as we secretly fear we deserve.
But passion, Grant reminds us, cannot be contained. It spills
out, soiling everything it touches. It leaks from tiny cracks in our
guarded hearts. Her paintings reveal that Antigone never really dies
but is continually resurrected, revived out of our passion, a passion
that is life itself.
Kate Durbin
Antigone is
continually
resurrected
63
COLA 20I5
ARTISTS
ALEXANDRA GRANT
PAST WORK
1. I was born to love not
to hate (4), 2014
Mixed media on paper
backed with fabric
126 x 72 inches
2. I was born to love not
to hate (1), 2014
Mixed media on paper
126 x 72 inches
1
2
3
3. I was born to love not
to hate (2), 2015
Mixed media on paper
backed with fabric
126 x 72 inches
COLA PROJECT
on following pages,
clockwise from top left
4. Antigone 3000 (1), 2014
Oil on linen
90 x 80 inches
5. Antigone 3000 (3), 2014
Oil on linen
90 x 80 inches
6. Antigone 3000 (5), 2014
Oil on linen
90 x 80 inches
7. Antigone 3000 (6), 2014
Oil on linen
90 x 80 inches
8. Antigone 3000 (4), 2014
Oil on linen
90 x 80 inches
9. Antigone 3000 (2), 2014
Oil on linen
90 x 80 inches
Photo credit for all images:
Brian Forrest
64
65
ARTISTS
COLA 20I5
ARTISTS
HAROLD GREENE
HARO
GREEN
69
COLA 20I5
OLD
NE
ARTISTS
Southern California is a veritable botanic garden, with a variety of
trees that thrive in its Mediterranean climate. Many of the street
trees the City of Los Angeles planted in the 1950s and 1960s, as well
as ones planted by residents, are now mature specimens that enhance
the built environment with their beauty and cooling effects.
Yet, many trees fail to thrive because of natural and manmade events, from severe weather to urban renewal. Improperly
planted trees fall without proper support or because of rain-soaked
soil. Others grow too robustly: root systems under streets can lift
pavement and roads, creating safety hazards that lead to those trees
being replaced or removed.
I grew up on Summerland Street in the Los Angeles neighborhood of San Pedro. A street expansion in 1964 added sidewalks
but took away several trees—including a mature Blackwood Acacia
in front of my house. That Acacia contained a tree house my brother
and I built from wood scraps, nailing down boards to make platforms
between branches.
I was sad to see the tree go, but I didn’t give it much thought
until many years later, when my mother told me she had saved some
chunks from the old Acacia. She suggested I make something out
of it. I was 22 and had been making some well-designed but crudely
constructed wood furniture and other objects. Having wood from the
site of my childhood tree house was inspiring, and I set about making
small objects, such as letter openers and combs, which I gave to family
members. I still have a small piece of this wood today.
Acacia is similar in hardness to rosewood; it is very difficult,
using hand tools or machines, to cut and work with. It is reddish to
dark brown in color with black streaks, very beautiful. With some
effort, the wood’s surface can be sanded and waxed to a highly
polished and reflective finish. I learned a lot making those early
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HAROLD GREENE
COLA ARTWORK
Carved Panel; Desk;
Pepper Chair; Settee;
Tall Cabinet
pieces, and, in the process, became interested in studying the names
and properties of all the trees growing around Los Angeles.
Books from my local library provided information about
common and genus names, along with drawings, photographs, and
descriptions of leaves and bark. One of the Sunset garden books
became a great resource for identifying trees and shrubs in my area.
While driving, I would look at trees and name them to myself as I
passed each one. Trees I didn’t know I would look up later. Being
more aware of trees had its rewards. I often would pass by a house
where a tree was being cut down for any number of reasons. Nine
times out of ten, the wood could be had just for the asking.
Scraps were great for making small objects, but I needed
long flat boards for larger furniture. After much searching, I found
someone to mill wood into slabs up to 10 feet long. Over the years, I
learned the hard way about the importance of drying wood properly
and protecting it from bugs that wanted to eat it before I could use it.
I view the wood produced by our local environment as pure
gold. Its colors and textures—already integral to my process of
design and craftsmanship—are the inspiration for this new work.
Harold Greene
Chunks from
the old Acacia
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COLA 20I5
ARTISTS
HAROLD GREENE
PAST WORK
1. Entry Door (detail),
2011
Australian cypress
and mahogany
36 x 20 inches
2. Writing Desk, 2008
Mahogany, cherry, wenge,
palm, and bronze
29 x 54 x 22 inches
1
3. Salad Bowl, 2013
Olive burl
12 x 11 inches 2
4. Pedro’s Chair, 2005
Italian cypress, paper bark
tea tree, and carob
36 x 28 x 28 inches
COLA PROJECT
on following pages,
from left to right
6. Settee, 2015
American elm, sycamore,
ash, and carob
44 x 63 x 28 inches
7. Carved Panel, 2015
Cypress
53 x 30 x 3 inches
3
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4
73
ARTISTS
COLA 20I5
ARTISTS
SHERIN GUIRGUIS
SHERI
GUIRG
77
COLA 20I5
ARTISTS
IN
GUIS
"The work is concerned with the spiritual, the sublime, and
the universal as seen in the ancient tessellations of geometries found in domestic settings." Sherin Guirguis
Sherin Guirguis’s new works conduct a dialogue on the relationship
between constructed memory and personal history, between migration and politics. Shaped in distinct geometric patterns, including a
quadrilateral, a hexagon, a pentagon, and an octagram, each painting
derives from motifs found in traditional Arabic art. Guirguis had
previously employed these classical ornamental patterns, layered
with explosive areas of paint, to explore the tension between gestural
and geometric abstraction, as well as the symbolic divide between
public and private space. The cut-paper patterns may be read as the
mashrabeyas, or screens, that traditionally separate private and public
spaces—spaces that, today, are often sites of protest and activism.
Her new body of work, however, represents a transition from collective identity formation into more intimate and evocative depictions of family history. Guirguis emigrated from Egypt to the United
States as a teenager, and her presentation for the C.O.L.A. exhibition embodies this diasporic condition, elegantly capturing how time
erodes memories that become increasingly ephemeral and ghostlike.
Part of an ongoing series called Formulations, Guirguis’s
new paintings use her trademark layering of geometric forms with
expansive yet delicate distillations of paint on paper. The patterns
reference domestic ornamentation and are mirrored in the shapes
of the panels themselves. The artist’s birthplace and family home
in Luxor was demolished by the Egyptian government in 2007, thus
eradicating her last physical connection to her homeland and generations of family history. Guirguis used her fleeting memories and
incidental photographic images of the space as source material for
the new series. Here, her process of applying paint is more charged
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SHERIN GUIRGUIS
COLA ARTWORK
Untitled (hexagon);
Untitled (pentagon)
and organic, and the patterns have become increasingly fragmented,
symbolic of a grappling to capture a quickly disappearing past.
Guirguis also was inspired by the thirteenth-century Sufi poet
Rumi, whose poem "Who Am I," excerpted below, conveys the idea of
liminal space:
I am not of the East, nor of the West, nor of the land, nor of the sea;
I am not of Nature’s mint, nor of the circling heavens.
I am not of earth, nor of water, nor of air, nor of fire;
.................................................................................
My place is the Placeless, a trace of the Traceless;
.................................................................................
I have put duality away, I have seen that the two worlds are one;
One I seek, One I know, One I see, One I call.
Guirguis herself can be seen as a living embodiment of Rumi’s
words. Indeed, many of the new generation of Middle Eastern
artists exist in this interstitial space. Featuring echoes of traditional
forms, layered with personal and political meaning, some artists
have turned to figuration as a contemporary response. Guirguis,
instead, challenges the perceived notion of abstraction as neutral. In
this regard, she has referenced the early-twentieth-century Russian
Constructivists, who believed abstract painting could embody revolutionary political meaning. Seen in this light, her patterns originating
from sacred geometry appear more subversive than ornamental and
defy the notion of ornamentation as merely decorative. Her expressive and radiant colors break out of geometric boundaries, suggesting
simultaneous forces of construction and destruction. Like all the
best works of art, these paintings evoke ancient ideas relevant to
contemporary society, transcending any notion of fixed place or time.
Patterns more
subversive than
ornamental
Kathy Battista
79
COLA 20I5
ARTISTS
SHERIN GUIRGUIS
PAST WORK
1. Formulations II, 2014
Mixed media on
hand-cut paper
20 x 18 inches
2. Formulations I, 2014
Mixed media on
hand-cut paper
20 x 18 inches
1
2
3
3. Formulations V, 2014
Mixed media on
hand-cut paper
20 x 18 inches
COLA PROJECT
on following pages,
from left to right
4. Untitled (hexagon),
2015
Mixed media on
hand-cut paper
40 x 46 x 2 inches
5. Untitled (pentagon),
2015
Mixed media on
hand-cut paper
44 x 46 x 2 inches
80
81
ARTISTS
COLA 20I5
ARTISTS
ELIZABETH LEISTER
ELIZA
LEIST
85
COLA 20I5
ARTISTS
ABETH
TER
Elizabeth Leister’s the invisible lake called telepathy—the final
piece in an autobiographical multimedia trilogy—takes its title from
Hélène Cixous’s book Phillipines, a reverie on the telepathic as represented in fiction, experienced in life, and blurred in art. In a brief
discursion on memory and water, Cixious writes, "One must dive to
the bottom of the pond to re-member oneself." Around the time she
read this, Leister discovered (telepathically, perhaps?) footage of her
father shot at Nockamixon Lake, Pennsylvania, near her birthplace.
The sound of his voice catalyzed her interest in investigating lakes as
containers of memory, resulting in a work of live performance, video,
and three large drawings that reference significant moments in the
artist’s young adulthood.
Cumulatively, Leister’s use of these mediums reflects her
fascination with aspects of the self that might be excavated and
dislodged in the course of artistic research. The drawings, created
with hundreds of thumbprintlike marks of powdered graphite (similar
to Robert Morris’s Blind Time Drawings), were executed with open
eyes yet they plunged the artist into the terrain of the blind spot of
memory, a central concern in her works La Recherche (2012) and
Strange Loop (2013). The former is a video of drawings and erasures
that recounts Leister’s visit to a town in Belgium in search of an influential teacher. His elusive presence catalyzes a journey brimming
with urgency and melancholy as she discovers how little remains
from what she remembered. This visualization of the mind’s imperfect recall—and of the effort, through art, to communicate with
the past— continues in Strange Loop, a study of the reciprocal relationship between historical time and personal time.
In what initially appears to be a straight documentary,
Leister videotapes Iceland’s volcanic landscape, overlaying footage
with digital drawing and haunting changes of color. Defying nostalgia and asserting the virtual as imbued with telepathic potential,
86
ELIZABETH LEISTER
COLA ARTWORK
the invisible lake
called telepathy
her techniques evoke predecessors including Stan Brakhage,
Mary Ellen Bute, John Whitney, and Luther Price. In the video,
she explains that her images revisit landmarks documented by the
nineteenth-century photographer Frederick W. W. Howell, and she
marvels that two people from different eras could share a common
experience of a natural setting. Within the same project, the artist
extended the idea of a "strange loop" of time and history in a performance at Denver’s Counterpath, during which she cut up a Mobius
strip that contained a written and drawn inventory of every place she
remembers having been.
For the invisible lake called telepathy, Leister shot footage
at Nockamixon Lake and dove into a lake in Malibu, California,
(wearing a GoPro camera) to record three strata of these bodies of
water: the air above, the mirrorlike surfaces, and the murky depths.
Abstract digital drawings over the scenes bring a sensuous counterpoint to the artist’s spoken description of her voyage, which shifts in
tone between the clinical and the mournful.
Leister’s lake drawings, richly deep and black, manifest
long-duration work campaigns, a process that relates to two performances she will present during the C.O.L.A. exhibition. In the latest
iteration of a format she first used in Étoile, A Duet (2011), the artist
will project a video feed of a dancer onto the wall. Using charcoal,
Leister will fiercely trace the dancer’s moving image in a dance of her
own, producing what she considers a "low resolution" copy of the live
performance. Here, as in her other works, the disparity between corporeal presence—and its pale evidence in visual artifacts—becomes
a metaphor for the ineffable ephemerality of experience and memory.
Susan Rosenberg
The virtual
imbued with
telepathic
potential
87
COLA 20I5
ARTISTS
ELIZABETH LEISTER
PAST WORK
1. Burn, 2013
HD video
3:20 min.
2. Strange Loop, 2014
HD video
6:48 min.
3. Étoile, A Duet, 2011
Video
4:30 min.
1
2
3
4. Duet #1, 2011
Performance with
Sofia Klass
4:30 min.
COLA PROJECT
on following pages
5. the invisible lake
called telepathy, 2015
Single-channel video
with sound, 4:40 min.
three graphite drawings;
and performance with
Samantha Mohr,
charcoal drawing, live
video feed, and sound,
12:00 min.
4
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89
ARTISTS
COLA 20I5
ARTISTS
ALAN NAKAGAWA
ALAN
NAKA
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COLA 20I5
ARTISTS
ALAN NAKAGAWA
COLA ARTWORK
OYAJI; Breakdown of
the Bicameral Mind
Within his multifaceted practice, Alan Nakagawa makes drawings,
collages, zines, mail art, and, most notably, sound pieces composed
from recorded, altered, and electronically generated material. He
often improvises during performance. The artist, who suffers from
tinnitus (the impression of sound ringing in ones ears), is influenced
not only by music but also by the physiology of hearing and the psychology of perception and consciousness. His unstructured mix
of "pure" sound, tonal and atonal, forces the audience to search for
familiar aural connections, sometimes in conjunction with images,
objects, and/or architectural spaces. Thinking and responding to
immediate input, unable to anticipate what will come next, listeners
may well find themselves awash in personal impressions.
Recently, Nakagawa mixed sounds recorded from the
Watts Towers, in Los Angeles, and the Sagrada Familia church, in
Barcelona. Entitled Conical Sound, the resulting composition reflects
his interest in the structure of these landmark architectural works
and the idealism of their respective creators, Simon Rodia and Antoni
Gaudi. In another recent work—titled for the organ of Corti, the part
of the mammalian inner ear that transmits amplified sound waves
to the brain—Nakagawa explored the physical experience of sound
emitted from speakers within aluminum "sound beds." Audience
members themselves functioned like organs of Corti as, wearing
earplugs, they sat or reclined on the beds and clutched balloons to
"feel" the surrounding waves. Both of these works exist as recordings
and in performance. Working live, the artist plays composed tracks
while he improvises with overlaid sounds generated with modulators,
oscillators, and other electronics.
Nakagawa’s C.O.L.A. project, OYAJI; Breakdown of the
Bicameral Mind, is atypical of his work in being rooted in personal
history. The artist’s Japanese parents fell in love on a freighter
bound for the United States after World War II. His mother was
AGAWA
94
immigrating, and his father, a crewman on the ship, decided to
follow her to Los Angeles. Nakagawa says his mother was an
amateur singer with an LA group, while his father did whatever
he wanted. He raised prize-winning Akita dogs, rode a motorcycle,
and owned a Japanese restaurant at the corner of Norton and
Olympic. Nakagawa, who worked at the family restaurant as a young
adult, remembers the rhythmic noise of his father’s massage chair,
a sound that, late at night, would signal that his father was finally
home. Nakagawa and his father were not close, and his father—his
oyaji, or "old man"—was a mystery to him.
After art school, Nakagawa received a prestigious Monbusho
Scholarship and spent two years studying in Japan. Before he
left, his father told him during a rare talk that in Japan he would
discover he was part of a very large family and that he would meet
and marry a Japanese woman. These predictions came true. He met
his father’s best friend, brothers, sisters, nieces, and nephews, and
he heard stories about a man he realized he didn’t know. In a dream
one night, Nakagawa saw a woman walking up a spiral staircase
holding a frail figure. When he awoke, the woman was sitting in the
room staring past him. They existed in the room together in silence
for several minutes before she disappeared. Thirty minutes later, the
artist learned by phone that his father had died. He was 49. Alan
Nakagawa recently turned 50, and as a result, his C.O.L.A. installation is dedicated to his oyaji. It represents a kind of reconciliation
between memory and the present.
Noel Korten
Physiology
of hearing,
psychology of
perception
95
COLA 20I5
ARTISTS
ALAN NAKAGAWA
PAST WORK
1. Moon Dog Pole,
2013–14
Performance with sound,
wood, string, tuner, microphone, amplifier, paint,
and sonotube
2. Royal Pain; Robert
Mapplethorpe, 2012–14
Candy wrappers, turntables, and paint on wood
4 x 35 x 5 inches
1
2
3
3. The Aleurone Layer and
the Cosmic Understanding
of Communication, 2015
Video projection
5:00 min., looped
4. Organ of Corti, 2013
Aluminum sound beds,
effect pedals, oscillators,
sound loops, iso cube, and
video projection
5. Organ of Corti Part 2/
Homage to Nancy Holt’s
Sun Tunnels, 2014
Installation with aluminum sound beds, lights,
single-channel projected
video, and sound loop
6. Organ of Corti, 2013
Aluminum sound beds,
speakers, vinyl sound suits,
sound loops, effect pedals,
and turntable
COLA PROJECT
on following pages
7. OYAJI; Breakdown
of the Bicameral Mind
(detail), 2015
Japanese paper, wood,
paint, lights, aluminum
sound beds, speakers,
and sound
4
96
5
6
97
ARTISTS
COLA 20I5
ARTISTS
BARBARA STRASEN
BARB
STRAS
101
COLA 20I5
ARTISTS
BARA
SEN
Artists for centuries have been making marks on walls—in caves,
castles, and homes. Barbara Strasen’s digital art gives a new twist to
this time-honored tradition. The latest piece in her series Wallpaper
for the Twenty-first Century, her C.O.L.A. project springs from her
explorations of the eastside neighborhoods of Los Angeles. Working
with a scale and composition inspired by Peter Paul Rubens, Strasen
combines abstracted and cutout fragments from little-noticed bits
of East LA— photos of socks, twisted barbed wire, car tires, fire
escapes, and fabric bolts—into a baroque mixture that roils, leans,
and twists. Simultaneously an explorer, collector, and creator, the
artist excavates image-based evidence of humans-as-makers and
merges these findings into a swirling accumulation for the viewer
to sift through, sort out, and savor. Her work evokes comparisons
with poetry and music, especially in its power to elicit recollections
of individual and cultural memories without nostalgia.
Since her study of painting at the University of California,
Berkeley, Strasen’s career has been extensive, starting with the
1979 Whitney Biennial and followed by exhibitions across a swath
of cultural platforms in cities including Austin, Texas; Basel,
Switzerland; Berlin; Budapest; London; Los Angeles; Marfa, Texas;
Mexico City; Miami; Milan; New York; Quebec; Rome; San Francisco;
and Sao Paulo. The imagery she explores suggests the scope of her
interests and enthusiasms, beginning with the underwater world in
the late 1970s. Decade by decade, she has looked at the connections
in nature, macro and micro, between humans and animals, past and
present. In the early 1980s, she examined the desert, deceptively
empty yet full of the evidence of epic change and human habitation.
In the 1990s, she paired contemporary and ancient images using
compositional modes that referenced Pompeii. Overall, she weaves
the threads of history into a harmonious whole. The long timetable
102
BARBARA STRASEN
COLA ARTWORK
Multiplex LA (with thanks
to Peter Paul Rubens)
of image making is open for excavation as she joins the particular to
the universal in her paintings, photographs, and installations. And
now, her focus is Los Angeles.
Strasen’s work investigates how our perceptions of the world
are altered by individual and collective memories, which shift over
time and change in their representations in cultural, historical, commercial, and archetypal images. "Memory is an ongoing process of
perception and re-perception, interpretation and reinterpretation,"
the artist writes. "It is not static and fixed. Images become juxt­aposed
both in our perception through time and in our memory." Likewise,
the media that Strasen uses shifts to best convey the fleeting nature
of memory. Whether painting, photography, collage, layered Mylar,
digital technology, or lenticular lenses, her chosen medium involves
the viewer as an active participant with the art— this is the case,
with her wall-size work for C.O.L.A. Strasen takes the seemingly
inconsequential, transitory materials that surround us, things we see
daily, and makes connections that lead us to a new appreciation of
our time and place. She writes that her work is "about finding beauty
and harmony in the turbulence and complexity of apparently unrelated and contradictory images. I am fascinated by the stuff of the
world—material and social—and have always been driven to make
art that looks at, comments on, and re-presents this stuff, seeking for
the interconnectedness of all things."
Sue Ann Robinson
Excavation
of images as
fragments
103
COLA 20I5
ARTISTS
BARBARA STRASEN
PAST WORK
1. Circuitboard Poolwater
(two views), 2006
Archival lenticular print,
edition of 10
23 1/2 x 23 1/2 inches
2. Iguana and William
Morris, 2011
Acrylic on canvas
Diptych, 48 x 72 inches
combined
1
2
3
3. Embroidery 2, 2010–11
Acrylic on archival
pigment print
25 x 31 1/2 inches
4. Mosaic Rocks, 2013–14
Archival pigment print,
edition of 10
22 x 28 inches
5. SuperMegaMultiplexorama (detail), 2004–05
Inkjet and Tyvek, with 30
inset lenticular panels
8 feet, 2 inches x 45 feet,
8 inches
COLA PROJECT
on following pages
6. Multiplex LA (with
thanks to Peter Paul
Rubens), 2015
Archival inkjet print
82 x 212 inches
4
104
5
105
APPEN
-DIX
COLA 20I5
APPENDIX
COLA 20I5
ARTISTS’
BIOGRAPHIES
MIYOSHI BAROSH
...................................................................................................
EDUCATION
MFA, California Institute of the Arts, Valencia, 1989
BFA, Rhode Island School of Design, Providence, 1981
...................................................................................................
EXHIBITIONS
2014 Miyoshi Barosh: FEEL BETTER, Luis De Jesus, Los Angeles
2014 BODY CONSCIOUS: Southern California Fiber, Craft in
America Center, Los Angeles
2013 Women, War, and Industry, San Diego Museum of Art,
California
2013 Size Really Does Matter, Los Angeles Municipal Art Gallery
at Barnsdall Park, Los Angeles
2009 I am the one in the crowd that will make a difference as
we march over the past into the future!, New Children’s Museum,
San Diego, California
110
ARTISTS’ BIOGRAPHIES
...................................................................................................
BIBLIOGRAPHY
Buckley, Annie. "Miyoshi Barosh: Feel Better," Artbound, kcet.org,
Jan. 31, 2014
Buckley, Annie. "We’re Not Here to Waste Time," Critics’ Picks,
artforum.com, Mar. 28, 2011
Kapon, Annetta. "Miyoshi Barosh," BOMB, Fall 2013.
Pincus, Robert L. "The Pranksters: Miyoshi Barosh’s works give
bad taste a good name," San Diego Union-Tribune, Apr. 10, 2008.
...................................................................................................
...................................................................................................
KELLY BARRIE
...................................................................................................
EDUCATION
Whitney Independent Study Program, New York, 1998
MFA, California Institute for the Arts, Valencia, 1997
BA, Hobart College, Geneva, New York, 1995
...................................................................................................
EXHIBITIONS
2013 Symbolic Landscape: Pictures Beyond the Picturesque,
UCI Contemporary Arts Center, Irvine, California (group)
2011 Mirror House, Santa Monica Museum of Art, Santa Monica,
California (solo)
2010 Negative Capability, LAXART, Los Angeles (solo)
2010 The Word Like Tomorrow Wears Things Out, Sikkema
Jenkins, New York (group)
2008 California Biennial, Orange County Museum of Art,
Newport Beach, California (group)
2008 Revolutions: Forms That Turn, 16th Biennale of Sydney,
Australia (group)
...................................................................................................
BIBLIOGRAPHY
Mizota, Sharon. "Kelly Barrie at LAXART," Los Angeles Times,
Dec. 3, 2010
111
COLA 20I5
APPENDIX
Ollman, Leah. "Kelly Barrie’s wondrous photographs join
engineering and play," Los Angeles Times, Mar. 21, 2013
Ollman, Leah. "Kelly Barrie at the Santa Monica Museum,"
Los Angeles Times, Oct. 13, 2011
Mount, Christopher. A New Sculpturalism: Contemporary Architecture in Southern California, exh. cat. (New York: Rizzoli, 2013)
Sejima, Kazuyo, People Meet in Architecture, exh. cat.,
12th International Architecture Biennale (Venice: Marsillio, 2010)
...................................................................................................
...................................................................................................
...................................................................................................
...................................................................................................
BAUMGARTNER + URIU (B+U)
...................................................................................................
JEFF COLSON
...................................................................................................
EDUCATION
Herwig Baumgartner
M.Arch., University of Applied Arts Vienna, 1996
Diploma for Computer Music and New Media, University of Music
and Performance Arts, Vienna, 1992
Scott Uriu
Diploma for Bachelor of Architecture, California Polytechnic
of Pomona, 1993
...................................................................................................
EXHIBITIONS
2014 Apertures, SCI-Arc Gallery, Los Angeles (group)
2013 Naturalizing Architecture: Archilab 2013, FRAC Center,
Orléans, France (group)
2013 A New Sculpturalism: Contemporary Architecture from
Southern California, Museum for Contemporary Art, Los Angeles
(group)
2010 12th Venice Architecture Biennale, Austrian Pavilion,
Venice, Italy
...................................................................................................
BIBLIOGRAPHY
12 Design Peak: B+U, monograph (Seoul: Equal Books, 2012)
Brayer, Marie-Ange and Frederic Migayrou. Naturalizing Architecture: Archilab 2013, exh. cat., FRAC Center (Orléans: HYX, 2013)
Lubell, Sam and Greg Goldin. Never Built Los Angeles (New York:
Metropolis, 2013)
112
ARTISTS’ BIOGRAPHIES
EDUCATION
BA, California State University, Bakersfield, 1979
...................................................................................................
EXHIBITIONS
2014 Roll Up, Maloney Fine Art, Los Angeles (solo)
2013 Size Really Does Matter, Los Angeles Municipal Gallery,
Los Angeles (group)
2013 Invitational Exhibition of Visual Arts, American Academy of
Arts and Letters, New York (group)
2010 Ace Gallery, Beverly Hills, California (solo)
1999 Jeff Colson, Ed Ruscha, Robert Therrien, Leo Castelli Gallery,
New York (group)
1999 Panza: The Legacy of a Collector, Museum of Contemporary
Art, Los Angeles (group)
...................................................................................................
BIBLIOGRAPHY
Baker, Kevin and Rebecca Morse. Panza: The Legacy of a Collector,
exh. cat. (Los Angeles: Museum of Contemporary Art, 1999)
Fehlemann, Sabine and Peter Frank. Sammlung Rosenkranz im
Von der Heydt-Museum, exh. cat. (Wuppertal: Von der HeydtMuseum, 2002)
Koplos, Janet. "Jeff Colson at Ace," Art in America, February 2004
...................................................................................................
...................................................................................................
113
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APPENDIX
ALEXANDRA GRANT
...................................................................................................
EDUCATION
MFA, California College of the Arts, San Francisco, 2000
BA, Swarthmore College, Swarthmore, Pennsylvania, 1995
...................................................................................................
EXHIBITIONS
2015 A Perpetual Slow Circle, Ochi Gallery, Sun Valley, Idaho (solo)
2014 Century of the Self, Lora Reynolds Gallery, Austin, Texas (solo)
2013 Forêt Intérieure/Interior Forest, Mains d’Oeuvres,
Saint-Ouen, France (solo)
2010 California Biennial, Orange County Museum of Art,
Newport Beach (group)
2008 A.D.D.G. (aux dehors de guillemets), Honor Fraser Gallery,
Culver City, California (solo)
2007 MOCA Focus: Alexandra Grant, Museum of Contemporary
Art, Los Angeles (solo)
...................................................................................................
BIBLIOGRAPHY
Barry, Robert. "Review, Alexandra Grant," frieze.com,
Nov. 14, 2013
Fee, Brian. "Soul Seeking: Alexandra Grant at Lora Reynolds
Gallery," New American Paintings, 2014
Tompkins Rivas, Pilar. "Welcome to Alexandra Grant’s Interior
Forest," kcet.com, Sept. 6, 2013
...................................................................................................
...................................................................................................
HAROLD GREENE
...................................................................................................
EDUCATION
Los Angeles Harbor College, 1972-75
...................................................................................................
114
ARTISTS’ BIOGRAPHIES
EXHIBITIONS
2012 Out of the Woods, Gallery Neuartig, San Pedro,
California (group)
2012 Reflections on the Harbor: Our Stories and Memories,
Angels Gate Cultural Center, San Pedro, California (group)
2010–12 Contemporary Crafts Market, Santa Monica, California
(solo booth)
2008 Orange County Fair, Visual Arts Pavilion, Costa Mesa,
California (featured artist)
...................................................................................................
BIBLIOGRAPHY
Barrera, Sandra. "Fine art crafted from wood, forged in fire by
Southland artists," la.com, Sept. 15, 2012
Barrera, Sandra. "Making your home a gallery with art you can use,"
Pioneer Press, twincities.com, March 13, 2010
Greene, Harold. "Sculpt Your Own Hardware,"
Fine Woodworking, 2009
...................................................................................................
...................................................................................................
MARCELYN GOW
...................................................................................................
EDUCATION
Sc.D, ETH Zürich, Switzerland, 2007
MSAA, Columbia University, New York, 1998
AADipl., Architectural Association School of Architecture,
London, 1992
...................................................................................................
EXHIBITIONS
2013 Naturalizing Architecture: Archilab 2013, FRAC Centre,
Orléans, France (group)
2013 Aqueotrope, SCIArc Gallery, Los Angeles (solo)
2008 Youniverse, Seville Contemporary Art Bienniale, Seville,
Spain (group)
115
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APPENDIX
2006 GenHome, MAK Center for Art and Architecture,
Los Angeles (group)
2004 Glamour, SFMOMA, San Francisco (group)
2003 Non-Standard Architectures, Centre Pompidou, Paris (group)
2003 ReShape, IASPIS exhibition at the 50th Venice Art
Biennale, Venice (group)
...................................................................................................
BIBLIOGRAPHY
Brayer, Marie-Ange and Frederic Migayrou. Archilab: Naturalising
Architecture (Orléans: FRAC Centre, 2013)
Rosa, Joseph. Glamour: Fashion, Industrial Design, Architecture
(San Francisco: Rizzoli, 2004)
Migayrou, Frederic and Zeynep Mennan. Architectures
Non Standard (Paris: Centre Pompidou, 2003)
Weibel, Peter and Marie-Ange Brayer. Youniverse: Seville
Contemporary Art Bienniale (Seville: Fundacion BIACS, 2008)
...................................................................................................
...................................................................................................
SHERIN GUIRGUIS
...................................................................................................
EDUCATION
MFA, University of Nevada, Las Vegas, 2001
BA, College of Creative Studies, University of California, Santa
Barbara, 1997
...................................................................................................
EXHIBITIONS
2014 The Avant-Garde Collection, Orange County Museum of Art,
Newport Beach, California (group)
2014 Color Dialogues, Sharjah Art Museum, Sharjah, United Arab
Emirates (group)
2013 Rogue Wave, LA Louver, Venice, California (group)
2013 Passages//Toroq, The Third Line Gallery, Dubai, United Arab
Emirates (group)
116
ARTISTS’ BIOGRAPHIES
2012 Duwamah, Gallery Wendi Norris, San Francisco (group)
2010 Qasr El-Shoaq, LAXART, Los Angeles (group)
...................................................................................................
BIBLIOGRAPHY
Kalsi, Jyoti. "Long walk to freedom," Gulf News, December 2013
Seaman, Anna. "Exploring new passages in art", thenational.ae,
Dec. 2, 2013
Battista, Kathy. "Dr. Kathy Battista Speaks with Artist Sherin
Guirguis," Paddle8 Blog, Feb. 25, 2013
...................................................................................................
...................................................................................................
ELIZABETH LEISTER
...................................................................................................
EDUCATION
MFA, Milton Avery Graduate School of the Arts, Bard College,
Annandale, New York, 1999
BFA, Tyler School of Art, Temple University, Philadelphia, 1986
...................................................................................................
EXHIBITIONS
2014 Strange Loop, Counterpath Gallery, Denver (solo)
2013 I Can See You. You’re Not Here, performance, Remote
Encounters: Connecting Bodies, Collapsing Spaces and Temporal
Ubiquity in Networked Performance, conference at Cardiff School
of Creative and Cultural Industries, Cardiff, Wales
2012 Disappeared, performance, Perform Chinatown at PO
Vevolving Gallery, Los Angeles
2012 Low Lives, International Symposium on Electronic Art:
Machine Wilderness, Albuquerque, New Mexico (group)
2011 Marking, Very, Nearly, Away, Highways Performance Space
and Gallery, Santa Monica, California (solo)
2006 Every Body is Everywhere and Nowhere, Morris Gallery,
Pennsylvania Academy of Fine Arts Museum, Philadelphia (solo)
...................................................................................................
117
COLA 20I5
APPENDIX
BIBLIOGRAPHY
"Elizabeth Leister on her upcoming exhibit," counterpathpress.
blogspot.com, May 2014
Stern, Jeremy, Joy Garnett, and Mira Schor. Myself, A Survey of
Contemporary Self-Portraiture, exh. cat., Sheppard Fine Arts Gallery, University of Nevada, Reno, 2011
STIGMART10 / Videofocus 14, http://issuu.com/stigmart10press/
docs/stigmart _ videofocus _ - _ special _ issue, 2014
...................................................................................................
...................................................................................................
ALAN NAKAGAWA
...................................................................................................
EDUCATION
MFA, University of California, Irvine, 1988
BFA, Otis Art Institute, Los Angeles, 1986
...................................................................................................
EXHIBITIONS
2014 Faces/Homage to Nam June Paik, Document, Los Angeles
(group)
2014 Lime Light/Organ of Corti Part 2; Homage to Nancy Holt’s
Sun Tunnels, Cordary Arts, Hawthorne, California (group)
2014 Conical Sound Test 2, Ohrenhoch, Berlin (solo)
2014 Reverb/Conical Sound Test 1, Torrance Art Museum,
California (group)
2013 Art Sonor/Pintura, NIU, Barcelona, Spain (solo)
2013 Organ of Corti, East LA Rep, Los Angeles (solo)
...................................................................................................
BIBLIOGRAPHY
"Alan Nakagawa," artist profile on Vimeo, forthmagazine.com,
Jun. 16, 2014
"Artbound Episode: Virtual Remains," kcet.org, Nov. 7, 2014
Williams, Maxwell. "Alan Nakagawa’s Conical Sound Project,"
kcet.org, Sept. 15, 2014
118
ARTISTS’ BIOGRAPHIES
...................................................................................................
...................................................................................................
BARBARA STRASEN
...................................................................................................
EDUCATION
MFA, University of California Berkeley, 1975
BFA, Carnegie Mellon University, Pittsburgh, 1972
...................................................................................................
EXHIBITIONS
2015 The Art of Barbara Strasen, Long Beach Museum of Art,
California (solo)
2013 Flow and Glimpse, installation at Los Angeles International
Airport Terminal 2, commissioned by the Los Angeles Airport Art
Program (solo)
2003–04 Truth & Beauty, commissioned installation for The
Wellcome Trust, London. Travelled within the United Kingdom to
Yard Gallery, Nottingham, Center For Life Sciences, Newcastle,
and Q Gallery, Derby; to Galeria Palacio, Porto, Portugal; and to
Groningen University, The Netherlands (group)
1999 Barbara Strasen, Galerie Neue Anstandigkeit, Berlin (solo)
1990 Barbara Strasen, Het Apollohuis, Eindhoven,
The Netherlands (solo)
1980 Ecosystem Allegories, MoMA PS1, New York (solo)
...................................................................................................
BIBLIOGRAPHY
Frank, Peter. "Barbara Strasen at George Billis Los Angeles,"
Haiku Reviews, huffingtonpost.com, March 31, 2012
Spurlock, William. Dialogue/Discourse/Research, exh. cat.
containing the artist’s book Desert Notes (Santa Barbara:
Santa Barbara Museum of Art, 1980)
Spurlock, William. "Out of the Studio and Into the World:
Social and Ecological Issues in Contemporary Art," National Arts
Guide 2, no. 7, April 1980
Tobia, Blaise and Virginia Maksymowicz. All Manner Of Things:
The Art of Barbara Strasen, illustrated monograph with essay, 2013
119
COLA 20I5
APPENDIX
COLA 20I5
EXHIBITION
CHECKLIST
EXHIBITION CHECKLIST
BAUMGARTNER + URIU
(B+U)
Drawings of the 233
Individual Panels, 2015
Ink on paper
36 x 72 inches
Pod Drawing, 2015
Ink on paper
36 x 72 inches
Nine Pods, 2015
Ink on paper
Nine drawings,
24 x 24 inches each
MIYOSHI BAROSH
Rainbow of Tears, 2015
Found afghans and
polyester fiberfill
216 x 79 x 14 inches
Perspective Distortions, 2015
Steel, glass, and rubber
79 x 70 x 41 inches
Courtesy Luis De Jesus
Los Angeles
Photo: Jeff McLane
Drawing for Receiving/
Leaving, 2015
Collage
11 x 8 1/2 inches
120
Triumph of the Therapeutic
(Majestic Mountains), 2013
Gouache on digital
photogravure print
9 x 13 1/2 inches
Courtesy Luis De Jesus
Los Angeles
Photo: Jeff McLane
Apertures, 2015
Thermoformed plastic
and paint
14 x 14 x 16 feet
...............................................
Blockhouse, 2014
Urethane resin, acrylic
paint, and wood
53 x 20 x 20 inches
KELLY BARRIE
Olive Tree 472, 2014
Archival LightJet print
96 x 72 inches
...............................................
...............................................
JEFF COLSON
Pavilion, 2014
Urethane resin, acrylic
paint, and wood
41 x 22 x 22 inches
Pentoga, 2014
Fiberglass, steel, acrylic
paint, and wood
65 x 36 x 18 inches
Hovel, 2015
Urethane resin, acrylic
paint, and wood
45 x 16 x 16 inches
Redoubt, 2015
Urethane resin, acrylic
paint, and wood
31 x 36 inches
...............................................
MARCELYN GOW
Semblances, 2015
Digital prints
36 x 36 inches each
Cast objects
8 x 8 x 8 inches each
...............................................
ALEXANDRA GRANT
Antigone 3000 (1), 2014
Oil on linen
90 x 80 inches
Antigone 3000 (2), 2014
Oil on linen
90 x 80 inches
121
COLA 20I5
APPENDIX
EXHIBITION CHECKLIST
Antigone 3000 (3), 2014
Oil on linen
90 x 80 inches
Tall Cabinet, 2015
Cypress, juniper, and glass
65 x 24 x 12 inches
ALAN NAKAGAWA
Antigone 3000 (4), 2014
Oil on linen
90 x 80 inches
Carved Panel, 2015
Cypress
53 x 30 x 3 inches
OYAJI; Breakdown of the
Bicameral Mind, 2015
Japanese paper, wood, paint,
lights, aluminum sound beds,
speakers, and sound
Antigone 3000 (5), 2014
Oil on linen
90 x 80 inches
...............................................
...............................................
SHERIN GUIRGUIS
BARBARA STRASEN
Antigone 3000 (6), 2014
Oil on linen
90 x 80 inches
Untitled (hexagon), 2015
Mixed media on
hand-cut paper
40 x 46 x 2 inches
Multiplex LA (with thanks
to Peter Paul Rubens), 2015
Archival inkjet print
82 x 212 inches
...............................................
HAROLD GREENE
Desk, 2015
Cypress and acacia
30 x 72 x 30 inches
S Chair, 2015
Carob
18 x 58 x 24 inches
Pepper Chair, 2015
Brazilian pepper
32 x 24 x 22 inches
Settee, 2015
American elm, sycamore,
ash, and carob
44 x 63 x 28 inches
122
Untitled (pentagon), 2015
Mixed media on
hand-cut paper
44 x 46 x 2 inches
...............................................
ELIZABETH LEISTER
the invisible lake called
telepathy, 2015
Single-channel video with
sound, 4:40 min.; three
graphite drawings; and performance with Samantha Mohr,
charcoal drawing, live video
feed, and sound, 12:00 min.
...............................................
123
COLA 20I5
APPENDIX
COLA
HISTORY
DEPARTMENT OF CULTURAL AFFAIRS
CULTURAL GRANT PROGRAM
The City of Los Angeles Department of Cultural Affairs awards
grants for the production, creation, presentation, exhibition, and
managerial support of art projects in the following areas: culture/
history, design, dance, media, music, literary arts, outdoor festivals/
parades, theater, traditional/folk art, visual arts, and projects which
are multi-disciplinary.
Grants are awarded on a competitive basis to bring the highest quality artistic and cultural services to Los Angeles residents
and visitors. Since 1990, the Department of Cultural Affairs has
awarded over $62 million dollars to local artists, arts organizations,
and arts events. In 2015–16, the department will offer approximately $2.3 million in project support to more than 280 local artists
and organizations through its Cultural Grant Program.
...................................................................................................
COLA INDIVIDUAL ARTIST FELLOWSHIPS
Each C.O.L.A. grant recipient was offered support to create new
work that is showcased in a non-thematic group presentation series.
This annual event greatly benefits general audiences and honors a
selection of established and creative artists who live and work in
Los Angeles.
124
INDIVIDUAL ARTIST FELLOWSHIPS
COLA
INDIVIDUAL
ARTIST
FELLOWSHIPS
2015
VISUAL / DESIGN ARTISTS
Miyoshi Barosh
Kelly Barrie
Baumgartner + Uriu (B+U)
Jeff Colson
Marcelyn Gow
Alexandra Grant
Harold Greene
Sherin Guirguis
Elizabeth Leister
Alan Nakagawa
Barbara Strasen
PANELISTS
VISUAL / DESIGN ARTS
Hirokazu Kosaka
Nery Gabriel Lemus
Amy Pederson
Carolyn Ramo
125
COLA 20I5
2013–14
EXHIBITION
May 4–June 15, 2014
Los Angeles Municipal
Art Gallery
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
PERFORMANCE
June 29, 2014
Grand Performances
350 South Grand Avenue
Los Angeles, CA 90071
VISUAL / DESIGN ARTISTS
Stephen Berens
Kristin Calabrese
Jennifer Celio
Elena Manferdini
Jessica Rath
Ross Rudel
Hector Silva
Corey Stein
Linda Vallejo
Kent and Kevin Young
LITERARY ARTISTS
Jen Hofer
Gabriel Spera
PANELISTS
VISUAL / DESIGN ARTS
Heather Flood
126
APPENDIX
INDIVIDUAL ARTIST FELLOWSHIPS
Alexandra Juhasz
Peter Mays
Steve Wong
PERFORMANCE ARTISTS
Malathi Iyengar
Michael White
VISUAL / DESIGN ARTS
Heather Flood
Diane Gamboa
Mark Steven Greenfield
Steve Hurd
Maryrose Mendoza
Rika Ohara
Anne Bray
Tony de los Reyes
Kathy Gallegos
John Spiak
PERFORMANCE ARTISTS
Paul Outlaw
Raphael Xavier
LITERARY ARTS
Cheryl Klein
Wendy C. Ortiz
2012–13
EXHIBITION
May 19­– July 7, 2013
Los Angeles Municipal
Art Gallery
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
PERFORMANCES
June 28, 2013
Grand Performances
350 South Grand Avenue
Los Angeles, CA 90071
VISUAL / DESIGN ARTISTS
Lisa Anne Auerbach
Krysten Cunningham
Ramiro Diaz-Granados
Samantha Fields
Judithe Hernández
Carole Kim
Nery Gabriel Lemus
Rebeca Méndez
Rebecca Morris
PANELISTS
PERFORMING ARTS
Adilah Barnes
Mitch Glickman
Romalyn Tilghman
2011–12
EXHIBITION
September 30–October 28,
2012
Los Angeles Municipal
Art Gallery
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
PERFORMANCES
June 29, 2012
Grand Performances
350 South Grand Avenue
Los Angeles, CA 90071
VISUAL ARTISTS
Lynne Berman
Martin Durazo
LITERARY ARTIST
Joseph Mattson
PANELISTS
VISUAL ARTS
Linda Arreola
Lauri Firstenberg
Sarah Bancroft
Jesse Lerner
Scott Ward
PERFORMING ARTS
Kevin Bitterman
Cheng-Chieh Yu
LITERARY ARTS
Marisela Norte
Justin Veach
2010–11
EXHIBITION
May 19–July 3, 2011
Los Angeles Municipal
Art Gallery
Barnsdall Park
127
COLA 20I5
4800 Hollywood Boulevard
Los Angeles, CA 90027
PERFORMANCES
June 17, 2011
Grand Performances
350 South Grand Avenue
Los Angeles, CA 90071
VISUAL ARTISTS
Anna Boyiazis
Heather Carson
Carolyn Castaño
Tony de los Reyes
Ken Gonzales-Day
Soo Kim
Yong Soon Min
Danial Nord
Dont Rhine
Mark Dean Veca
PERFORMANCE ARTISTS
Sheetal Gandhi
Ian Ruskin
PANELISTS
VISUAL ARTS
Amy Heibel
Carol Stakenas
Pilar Tompkins
PERFORMING ARTS
Alejandra Flores
Billy Mitchell
Lionel Popkin
128
APPENDIX
INDIVIDUAL ARTIST FELLOWSHIPS
2009–10
EXHIBITION
May 29–July 18, 2010
Los Angeles Municipal
Art Gallery
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
PERFORMANCES
June 18, 2010
Grand Performances
350 South Grand Avenue
Los Angeles, CA 90071
VISUAL ARTISTS
Fumiko Amano
Linda Arreola
Sean Duffy
Sam Erenberg
Mary Beth Heffernan
Jesse Lerner
Brian C. Moss
Michael Pierzynski
Rebecca Ripple
Tran T. Kim-Trang
LITERARY ARTIST
Fernando Castro
PERFORMANCE ARTISTS
maRia Bodmann
Ken Roht
PANELISTS
VISUAL ARTS
Richard Amromin
Joyce Dallal
Garland Kirkpatrick
Reina Prado
Alma Ruiz
LITERARY ARTS
Jawanza Dumisani
Tara Ison
PERFORMING ARTS
Adelina Anthony
Bonnie Homsey
George Lugg
2008–09
EXHIBITION
May 14–July 12, 2009
Los Angeles Municipal
Art Gallery
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
PERFORMANCES
June 19­–20, 2009
Grand Performances
350 South Grand Avenue
Los Angeles, CA 90071
David DiMichele
Bia Gayotto
Willie Robert Middlebrook, Jr.
Maureen Selwood
Eloy Torrez
Shirley Tse
LITERARY ARTISTS
Gloria Enedina Alvarez
Bruce Bauman
PERFORMANCE ARTISTS
Alejandra Flores
Lionel Popkin
Houman Pourmehdi
Cheng-Chieh Yu
PANELISTS
VISUAL ARTS
Paul J. Botello
Lisa Henry
Cindy Kolodziejski
William Moreno
Aram Moshayedi
LITERARY ARTS
Michael G. Datcher
Katharine Haake
Oliver Wang
PERFORMING ARTS
Ben Garcia
Lynette Kessler
John C. Spokes
VISUAL ARTISTS
Natalie Bookchin
Jane Castillo
Joe Davidson
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COLA 20I5
2007–08
EXHIBITION
May 16–July 13, 2008
Los Angeles Municipal
Art Gallery
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
PERFORMANCES
June 13–14, 2008
Grand Performances
350 South Grand Avenue
Los Angeles, CA 90071
VISUAL ARTISTS
Judie Bamber
Erin Cosgrove
Joyce Dallal
Lewis Klahr
Suzanne Lacy
Timothy Nolan
Stas Orlovski
Louise Sandhaus
Alex Slade
LITERARY ARTISTS
Sesshu Foster
Tara Ison
PERFORMING ARTISTS
Adelina Anthony
John Malpede
130
APPENDIX
INDIVIDUAL ARTIST FELLOWSHIPS
Phranc
David Rousseve
VISUAL ARTISTS
Paul J. Botello
Aya Dorit Cypis
Caryl Davis
Andrew Freeman
Clement S. Hanami
Rubén Ortiz-Torres
Coleen Sterritt
Lincoln Tobier
Carrie Ungerman
J. Michael Walker
PANELISTS
VISUAL ARTS
Miki Garcia
Hirokazu Kosaka
Ali Subotnick
LITERARY ARTS
Teresa Carmody
Cyrus Cassells
Amy Gerstler
PERFORMING ARTS
Luisa Cariaga
Emiko Ono
William Roper
2006–07
EXHIBITION
May 4–June 24, 2007
Los Angeles Municipal
Art Gallery
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
PERFORMANCES
May 23–27, 2007
Barnsdall Gallery Theatre
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
LITERARY ARTISTS
Diane Lefer
Luis Rodriguez
PERFORMANCE ARTISTS
Hector Aristizabal
Phil Ranelin
Heather Woodbury
PANELISTS
VISUAL ARTS
Derrick Cartwright
Rita Gonzalez
Maria Louisa de Herrera
Asuka Hisa
Alison Saar
LITERARY ARTS
Ron Fernandez
Katharine Haake
Gary Phillips
PERFORMING ARTS
Nickie Cleaves
Peter J. Corpus
Pirayeh Pourafar
Renae Williams
2005–06
EXHIBITION
April 28–June 11, 2006
Los Angeles Municipal
Art Gallery
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
PERFORMANCES
May 19, 20, 21, 26, 27,
and 28, 2006
Barnsdall Gallery Theatre
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
VISUAL ARTISTS
Lita Albuquerque
Claudia Bucher
Sam Easterson
Margaret Garcia
Janie Geiser
Jeffery Keedy
Hirokazu Kosaka
Simon Leung
Fran Siegel
Janice Tanaka
LITERARY ARTIST
Terry Wolverton
131
COLA 20I5
APPENDIX
INDIVIDUAL ARTIST FELLOWSHIPS
PERFORMANCE ARTISTS
Dan Kwong
William Roper
Sri Susilowati
Denise Uyehara
Barnsdall Gallery Theatre
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
Paul Vangelisti
PANELISTS
VISUAL ARTS
Jade Jewett
Lothar Schmitz
Pamela Tom
Irene Tsatos
Takako Yamaguchi
LITERARY ARTS
Janice Pober
Eloise Klein Healy
David Hernandez
PERFORMING ARTS
Adilah Barnes
Michael Sakamoto
Dorothy Stone
2004–05
VISUAL ARTISTS
Kaucyila Brooke
Ernesto de la Loza
Cheri Gaulke
Wayne Alaniz Healy
William E. Jones
Cindy Kolodziejski
Lies Kraal
Steve Roden
Alison Saar
LITERARY ARTISTS
Katharine Haake
Eloise Klein Healy
PERFORMANCE ARTISTS
Ron George
Michael Kearns
Anne LeBaron
Paul Zaloom
EXHIBITION
May 13–June 26, 2005
Los Angeles Municipal
Art Gallery
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
Kim Abeles
Noriko Gamblin
Pat Gomez
Roberto Tejada
PERFORMANCES
May 14; June 3, 4, and 5; June
10; June 24, 25, and 26, 2005
Sherrill Britton
Wanda Coleman
Aimee Liu
PANELISTS
VISUAL ARTS
LITERARY ARTS
132
PERFORMING ARTS
Eleanor Academia
Tim Dang
Susan Rose
2003–04
EXHIBITION
May 5–June 27, 2004
Los Angeles Municipal
Art Gallery
Barnsdall Art Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
PERFORMANCES
May 9 and June 27, 2004
Barnsdall Gallery Theatre
Barnsdall Art Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
VISUAL ARTISTS
Cindy Bernard
Jack Butler
Ann Chamberlin
Habib Kheradyar
Dan McCleary
Renée Petropoulos
Tom Recchion
John Sonsini
Takako Yamaguchi
Jody Zellen
LITERARY ARTIST
Wanda Coleman
PERFORMING ARTISTS
Deborah Greenfield
Jude Narita
Pirayeh Pourafar
PANELISTS
VISUAL ARTS
Anne Ayres
Felicia Filer
Margaret Honda
Tim Wride
LITERARY ARTS
Gloria Alvarez
Sherrill Britton
Willie Sims
PERFORMANCE ARTS
Michael Mizerany
Johnny Mori
Licia Perea
Nicole Werner
2002–03
EXHIBITION
June 4–July 27, 2003
Los Angeles Municipal
Art Gallery
Barnsdall Art Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
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APPENDIX
INDIVIDUAL ARTIST FELLOWSHIPS
PERFORMANCES
May 10, 11, 17, and 18, 2003
Los Angeles Theatre Center
514 South Spring Street
Los Angeles, CA 90013
Petrula Vrontikis
Li Wen
DESIGN ARTISTS
Frederick Fisher
Cameron McNall
Warren W. Wagner
Michael Worthington
VISUAL ARTISTS
Deborah G. Aschheim
Andrea Bowers
Christiane Robbins
Connie Samaras
Lothar Schmitz
Susan Silton
Pae White
Norman Yonemoto
DESIGN ARTISTS
Gere Kavanaugh
Garland Kirkpatrick
PERFORMING ARTISTS
Lynn Dally
Heidi Duckler
Arthur Jarvinen
Larry Karush
Loretta Livingston
PANELISTS
VISUAL ARTS
Mark Steven Greenfield
Amelia Jones
Kris Kuramitsu
Tere Romo
Chris Scoates
DESIGN ARTS
PERFORMING ARTS
Julie Carson
Ernest Dillihay
Heidi Lesemann
Louise Steinman
2001–02
EXHIBITION
May 3–June 30, 2002
Japanese American
National Museum
369 East First Street
Los Angeles, CA 90012
PERFORMANCES
June 7, 8, 14, and 15, 2002
Los Angeles Theatre Center
514 South Spring Street
Los Angeles, CA 90013
VISUAL ARTISTS
Jo Ann Callis
Robbie Conal
Meg Cranston
Margaret Honda
Hilja Keading
Constance Mallinson
Frank Romero
Alexis Smith
Linda Stark
Daniel Wheeler
PERFORMING ARTISTS
Hae Kyung Lee
Victoria Marks
Tim Miller
Sophiline Cheam Shapiro
PANELISTS
VISUAL ARTS
Julian Cox
Carole Ann Klonarides
Linda Nishio
Carol Wells
Lynn Zelevansky
DESIGN ARTS
Barton Choy
Gloria Gerace
Allison Goodman
April Greiman
R. Steven Lewis
PERFORMING ARTS
Lynn Dally
Eric Hayashi
Laurel Kishi
Amy Knoles
Lee Sweet
2000–01
EXHIBITION
May 25–July 15, 2001
Skirball Cultural Center
2701 North Sepulveda
Boulevard
Los Angeles, CA 90049
PERFORMANCES
June 15­–23, 2001
Los Angeles Theatre Center
514 South Spring Street
Los Angeles, CA 90013
VISUAL ARTISTS
Laura Aguilar
Sandow Birk
Tom Knechtel
Robert Nakamura
John Outterbridge
Sarah Perry
Susan Rankaitis
Jennifer Steinkamp
Bruce Yonemoto
Liz Young
PERFORMING ARTISTS
Dulce Capadocia
Dan Froot
Jacques Heim
Licia Perea
Fred Fisher
134
135
COLA 20I5
APPENDIX
PANELISTS
John Divola
Robbert Flick
Michael Gonzalez
Daniel Joseph Martinez
Susan Mogul
Linda Nishio
Millie Wilson
VISUAL ARTS
Jay Belloli
Tomas Benitez
Shari Frilot
Karin Higa
Erika Suderburg
Tom Rhoads
PERFORMING ARTS
Luis Alfaro
Paul de Castro
Leigh Ann Hahn
Donald Hewitt
Elaine Weissman
1999­–2000
EXHIBITION
April 25–­June 4, 2000
UCLA Hammer Museum
10899 Wilshire Boulevard
Los Angeles, CA 90024
PERFORMANCES
June 10–30, 2000
Los Angeles Theatre Center
514 S. Spring Street
Los Angeles, CA 90013
VISUAL ARTISTS
Lynn Aldrich
Nancy Buchanan
Ingrid Calame
Carole Caroompas
Barbara Carrasco
136
PERFORMING ARTISTS
Amy Knoles
Michael Mizerany
Oguri
Melinda Ring
Rachel Rosenthal
PANELISTS
VISUAL ARTS
Todd Gray
Howard Fox
Susan Kandel
Carole Ann Klonarides
Michael Zakian
PERFORMING ARTS
Michael Alexander
James Forward
Luis Alfaro
Duane Ebata
Ellen Ketchum
Titus Levy
Claire Peeps
INDIVIDUAL ARTIST FELLOWSHIPS
1998­–99
EXHIBITION
May 5–June 20, 1999
Los Angeles Municipal
Art Gallery
Barnsdall Art Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
ARTISTS
Karen Atkinson
Miles Coolidge
Jacci Den Hartog
Sam Durant
Carlos Estrada-Vega
Tim Hawkinson
Anthony Hernandez
John Humble
Sharon Lockhart
Alma Lopez
Yunhee Min
John O’Brien
PANELISTS
VISUAL ARTS
Susan Sayre Batton
Bill Cahalan
Susan Cahan
Lance Carlson
Francesco Siquieros
PHOTOGRAPHY
Lane Barden
Claudia Bohn-Spector
Elizabeth Cheatham
Lyle Ashton Harris
Anthony Pardines
Jennifer Watts
1997–98
EXHIBITION
April 22–June 21, 1998
Los Angeles Municipal
Art Gallery
Barnsdall Art Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
ARTISTS
David Bunn
Eileen Cowin (photo)
James Doolin
Alice Fellows
Betty Lee
Robin Mitchell
Todd Gray (photo)
Bruce Richards
Sue Ann Robinson
Therman Statom
Erika Suderburg
Patssi Valdez
PANELISTS
VISUAL ARTS
Lance Carlson
Chusien Chang
Noriko Gamblin
Josine Ianco-Starrels
Rose Portillo
137
COLA 20I5
APPENDIX
Alison Saar
Thomas Schirtz
VISUAL ARTS
PHOTOGRAPHY
Nancy Barton
Robert Byer
John Huggins
Pilar Perez
Carla Williams
Tim B. Wride
1996–97
EXHIBITION
April 20–June 22, 1997
Los Angeles Municipal
Art Gallery
Barnsdall Art Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
ARTISTS
Kim Abeles
Michael Brewster
Carl Cheng
Victor Estrada
Harry Gamboa, Jr. (photo)
Tony Gleaton (photo)
Joe Edward Grant
Phyllis Green
Martin Kersels
Joyce Lightbody
Michael C. McMillen
Jorge Pardo
PANELISTS
Noriko Fujinami
Beverly Grossman
M. A. Greenstein
Victoria Martin
Stanley Wilson
Lynn Zelevansky
PHOTOGRAPHY
Glenna Avila
Todd Gray
Lorenzo Hernandez
Alma Ruiz
Venida Korda
PAST CATALOG DESIGNERS
PAST
CATALOG
DESIGNERS
2014
2008
Garland Kirkpatrick,
helveticajones.com
Susan Silton, SOS, Los Angeles
2013
Michael Worthington,
Counterspace
Michael Worthington and
Ania Diakoff, counterspace
2007
2006
Susan Silton, SOS, Los Angeles
Garland Kirkpatrick,
helveticajones.com
2011
2005
Jody Zellen
2010
Michael Worthington,
Counterspace
Jeff Keedy
2004
2009
Susan Silton, SOS, Los Angeles
2012
LSD (Louise Sandhaus Design)
138
139
COLA 20I5
APPENDIX
PAST CATALOG
DESIGN TEAMS FROM
OTIS DESIGN GROUP
2003
1999
Amber Howard
Rajeswaran
Shanmugasundaram
Sharleen Yoshimi
Heather Caughey
Henry Escoto
Vaughn Lui
2002
Lau Chi Lam
Sasha Perez
Jessie Pete Alvarez
Hesed Choi
Christa DeFilippo
2001
Bryan Craig
Allison Eubanks
Anouk de Jonge
Kevin Yuda
2000
Jessica Berardi
Amanda Cheong
Sayuri Dejima
Tritia Khournso
Christina Kim
Tatjana Lenders
140
1996–98
ACKNOWLEDGEMENTS
ACKNOWLEDGEMENTS
The City of Los Angeles Department of Cultural Affairs (DCA)
combined the efforts of its Grants Administration Division with
its Marketing and Development Division and its Community Arts
Division via the Los Angeles Municipal Art Gallery to produce
the 2015 C.O.L.A. Individual Artist Fellowships website, catalog,
and exhibition.
We would especially like to thank the following DCA employees for their dedicated work in making the exhibition engaging,
educational, and entertaining: Joe Smoke, Chris Reidesel, and
Alma Guzman from the Grants Administration Division; Scott Canty,
Gabriel Cifarelli, Marta Feinstein, Michael Miller, Mary Oliver, and
the support staff from the Los Angeles Municipal Art Gallery; and
Will Caperton y Montoya and Martica Caraballo Stork from DCA’s
Marketing and Development Division.
We also sincerely thank Louise Sandhaus, Kat Catmur, and
Colomba Cruz Elton for designing the catalog, and Pierre Nguyen for
programming the website.
141
COLA 20I5
APPENDIX
COLOPHON
CATALOG DESIGN AND PRODUCTION BY
LSD (Louise Sandhaus Design)
Kat Catmur and Colomba Cruz Elton
EDITED BY
Anne Thompson
ARTISTS’ PORTRAITS BY
Weng San Sit
PRINT
COLA 20I5
CATALOG
WEBSITE DEVELOPMENT BY
Pierre Nguyen
PRINTED BY
Paper Chase Press
...................................................................................................
Individual C.O.L.A. 2015 catalogs can be ordered online from Lulu
for $7.73 per copy.
http://www.lulu.com/content/paperback-book/cola-2015-individual-artist-fellowships/16727509
© Copyright 2015 by the City of Los Angeles Department of Cultural Affairs
Original artwork courtesy of the individual artists unless otherwise noted.
All rights reserved.
As a covered entity under Title I of the Americans with Disabilities Act, the City of
Los Angeles does not discriminate on the basis of disability, and upon request will
provide reasonable accommodations to ensure equal access to its programs, services,
and activities.
...................................................................................................
142
DEPARTMENT OF CULTURAL AFFAIRS
CITY OF LOS ANGELES
LOS ANGELES MUNICIPAL
ART GALLERY
201 North Figueroa Street, Suite 1400
Los Angeles, CA 90012
TEL 213.202.5500
FAX 213.202.5517
WEB culturela.org
Barnsdall Park
4800 Hollywood Boulevard
Los Angeles, CA 90027
TEL 323.644.6269
High quality books can be ordered from Paper Chase Press.
Minimum of 5 copies; quote on request.
Reference order number #16619 (C.O.L.A. 2015 Catalog) [email protected] or call (323) 874-2300
Download PDF of C.O.L.A. 2015 Catalog
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