On View May 6 - June 25, 2016
Friday, May 6, 2016
6:30 – 8:30 PM, Artist talks at 6 PM
how2magpie features the work of residents participating in the tenth round of the Lawndale Artist Studio Program, Bradly Brown, Cobra McVey and Anthony Sonnenberg.
As an embrace of fetishized environments and historical modes of production Bradly Brown presents the viewer with multiple investigations and stage elements from act three of a four act play. An entire body of work is developed for each act, and the objects exist as research and props for the production as well as art objects when put into context. The material aspects of the play are created before the narrative is written, and are a direct response to the work created during Brown’s residency at Lawndale.
Cobra McVey presents Stuff Love, a satirical fan magazine showcasing a new breed of media darling. Representing the fallout from widespread industrialization, the stars of Stuff Love are born of consumer culture, new life forms mutated from orphaned thrift store objects and mass-produced “stuff.” Inspired by popular teen idol publications like Tiger Beat, 16 and Bop, these mutant celebrities are elevated to heartthrob status with autographed pinups and suggested gossip columns. The presentation of these unexpected stars in the glossy pages of Stuff Love speaks to the modern consumer’s infatuation with material goods.
Anthony Sonnenberg constructs a site specific and interactive installation entitled Rococo Tent Fort. His goal is to employ the same principle used when creating a quilt to building an environment, which is to merge seemingly low and disparate materials together through labor and time to create something of beauty and sumptuousness that is greater than the sum of its parts. Sonnenberg will sew, arrange and nail together found objects, fabrics and even old artworks that have been collected from across the country to create an intimate space where viewers will be able to lounge in extravagance.
With an arsenal of 0.40-millimeter pens Christopher Wallace and Samantha Persons tackle notions of narrative, pattern and obsession. Surface Dwellers consists of drawings, wallpaper, sculpture and nostalgia, with a dash of science-fiction. Persons and Wallace create non-hierarchical drawings using color as a means of collage and differentiation. The eye becomes visual saturated from the artists’ kenophobia. Looking to the history of printmaking—particularly Dürer, Goya abd Schirmer—Wallace narrates such themes as nostalgia, technology, myth and Internet culture. Using hand-drawn pattern and symmetry Persons creates the illusion of mechanical production, highlighting topics of feminism, textiles and gender/queering. Embracing the empirical flatness of paper, Persons and Wallace question what it means to be terrestrial beings trapped in a self-contained starship traveling 1.3 million miles an hour through space.
May-Can-Will transforms the Grace R. Cavnar Gallery into a space referencing public restrooms. The works utilize the formal quality and utilitarian conventions of stainless steel and porcelain within the habitat of the installation. Such un-defaceable materials flaunt the ability to deny users the power of play by refusing their misuse. As visitors navigate the installation, they may be called to accept the space as it directs them, or challenge the limits laid out by the objects around them. This exhibition not only exposes of the minute oppressive forces within conventional urban space, but also reminds the public of its capacity to live openly as participants within the space of their city.
Diorama, a word commonly linked to the representation of a deep view on a curved wall, means “to see through.”
To see the installation, one must pass through one of three doors, identical, but eccentrically placed along a long corridor. The redundancy comes from a design that was never finished. What was intended as three entrances to three rooms became an unplanned gallery nested in a suite of offices. Triptych considers the strangeness of this condition through the construction of a partition wall. It doubles the existing threshold, drawing its form from conflicting interpretations of foreground and background.
BioCity is a cross-disciplinary, six-month-long performance-art-sculpture scheduled to begin at Lawndale Art Center in January of 2016. The project will involve the creation of numerous small-scale structures each one timed, designed and tuned to attract, interface, or illustrate indigenous and migratory life on the site. The project seeks not only to create a beautiful, quasi-natural urban landscape but to address the decline of biodiversity in urban areas.
Part art-sculpture, part habitat; part man-made and part animal-made - our intention is that this Bio-inclusive eco-performance-artwork will transgress, distort and alter anthropocentric world-views by delivering a message of eco-awareness, biodiversity and cross-species collaboration.
These rocks are you.
This wall is your wall.
These are your rocks.
Like eyes from a page.
Like eyes from a screen.
Like eyes on the ground.
Write your sentences.
Do your time.
Over and over.
Until you’ve learned your lesson.