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Blum & Poe : Standard Operating Procedures
No Person May Carry a Fish into a Bar
- 14 July 2012 to 25 Aug 2012

Current Exhibition


14 July 2012 to 25 Aug 2012
Hours -Tuesday - Saturday from 10:30 am to 6 pm
Blum & Poe
2727 S. La Cienega Blvd
CA 90034
Los Angeles, CA
California
North America
T: +1 (310) 836-2062
F: +1 (310) 836-2104
M:
W: www.blumandpoe.com











John Miller, Untitled, 2011
Standard Operating Procedures
Curated by Piper Marshall
123


Artists in this exhibition: Tina Braegger, Antoine Catala, Ida Ekblad, Nikolas Gambaroff, Nicolas Guagnini, Yngve Holen, Alex Israel, Helen Marten, John Miller, Olivier Mosset, Amy O'Neill, Greg Parma Smith, Sean Paul, Carissa Rodriguez, Alan Uglow, Hannah Weinberger, Frank Bender, Mike Bidlo, Andrea Bowers, Robert Buck, Mel Chin, John Divola, Honore Daumier, Gregory Green, Daniel Guzman, Victor Henderson, Elmyr de Hory, Adam Janes, William E. Jones, Joanna Hughes, Dawn Kasper, Les Krims, Suzanne Lacy, David Levine, Bill McRight, Ana Mendieta, Kori Newkirk, Lisa Oppenheim, Hirsch Perlman, Tom Sachs, anonymous photos from the collection of Luc Sante, Ted Soqui, Dirk Skreber, T.R. Uthco, Ant Farm


Standard Operating Procedures
Curated by Piper Marshall

July 14 - August 25, 2012
Opening reception: Saturday, July 14, 6-8 pm
Opening concert: July 14, 7:30pm

A Standard Operating Procedure (SOP) is a program or set of instructions detailing every step of an end-oriented process and its "best practices." SOPs are found in institutional and performance-driven contexts: health care, education, industry, and the military. Simultaneously contingent and specialized, an SOP is set up as a means of quality control, to be applied when volume is crucial and costs are suppressed.

Today, SOPs are determining the conditions of everyday life. The need for a guiding logic has been extended from the professional to the personal realm. Self-enrichment literature and performance manuals (cookbooks, business plans, travel guides, diet fads, and "how-tos") have emerged, instructing how to implement daily routines and encouraging automatic response as habit.

The prosaic tools crucial to quotidian existence--search engines, dating sites, and social networks--hinge upon mathematical algorithms. After tracking consumer habits--psychographic and behavioral variables--probability models assist in bombing us with targeted advertisements. These are vital applications. SOPs have reified everyday life and even love-in short, subjectivity as an abstract set of predictable maneuvers.

In this exhibition, we are invested in the contemporary, the framework governing conceptual art, and the system of logic grafted onto praxis. This in turn affects the mental capacity and physical ability to methodically complete daily operations--artistic pursuits or otherwise.

This exhibition brings together artists from different generations and backgrounds who engage SOPs: Tina Braegger, Antoine Catala, Ida Ekblad, Nikolas Gambaroff, Nicolas Guagnini, Yngve Holen, Alex Israel, Helen Marten, John Miller, Olivier Mosset, Amy O'Neill, Greg Parma Smith, Sean Paul, Carissa Rodriguez, Alan Uglow, and Hannah Weinberger. Their analysis of the SOP reconstitutes and renders visible its often-imperceptible economy. For if SOPs are omnipresent in aesthetics, what once was the domain of free activity, then the framework for viewing and reading has also been given in advance, requested to please not step outside the lines of the intended experience.

The summer group show, the mini-retrospective, the emerging artist, the re-emerging artist, the humanist, the poet, the dry intellectual--each one of these modes and categories is a strategy indivisible from a preconceived program that may as well come with a starter kit. Often SOPs are ascribed, without consent or mastery.

We are now assigned the task of completing the following mental exercise: how much of a choreographed system resides in a work of art? The main goal of Standard Operating Procedures turns labor over to the user. The conjecture and reasoning is yours.

At 7:30, the gallery will present an opening concert, we would be pleased for you to join us.



No Person May Carry a Fish into a Bar
Curated by Julian Hoeber and Alix Lambert
July 14 - August 25, 2012

Opening reception: Saturday, July 14, 6-8 pm
Performance by David Levine: Saturday, July 21, 6:30pm

This exhibition seeks to ask, "what is a crime?" The exhibition title, derived from an obsolete law still on the books in Los Angeles, points to the definitions of criminal behavior as sometimes absurd, other times poetic, and occasionally magical. The exhibition includes traditionally understood artworks, as well as objects and images produced through committing crimes and solving crimes. Many pieces on view are simultaneously artworks and the works of criminals or crime solvers.

What constitutes crime is nearly as broad a question as what constitutes art. While crime's definition might seem static, it necessarily evolves alongside our culture's changing ideas of right and wrong. Violating rules, of course, exists beyond just legal definitions. It has been at the center of avant-garde strategies for a century. Looking at the ways that art has participated in crime, and how crime has generated art, gives us a better understanding of both.

The exhibition contains works by Frank Bender, Mike Bidlo, Andrea Bowers, Robert Buck, Mel Chin, John Divola, Honore Daumier, Gregory Green, Daniel Guzman, Victor Henderson, Elmyr de Hory, Adam Janes, William E. Jones, Joanna Hughes, Dawn Kasper, Les Krims, Suzanne Lacy, David Levine, Bill McRight, Ana Mendieta, Kori Newkirk, Lisa Oppenheim, Hirsch Perlman, Tom Sachs, anonymous photos from the collection of Luc Sante, Ted Soqui, Dirk Skreber, and T.R. Uthco and Ant Farm.



MAURIZIO VETRUGNO
Love, Commas and Asterisks
in the Garden Room

July 14 - August 25, 2012
Opening reception: Saturday, July 14, 6-8 pm

Blum & Poe presents a selection of work by Maurizio Vetrugno, his first one-person exhibition in Los Angeles. Vetrugno's practice alters everyday objects, such as cloth and tools, into wry commentary on popular culture of a bygone era. Hand-made, embroidered textiles, woven in Laos, depict the distinctive designs of vinyl record sleeves from the 1950s-1980s. The selected album covers reference the legacies of exotica, modernism, glam rock and the golden age of graphic design in music. Fashion has been a continuing influence on Vetrugno's work, as exemplified in his female portraits woven in monochromatic hues of blue and green. Sources for these works derive from black and white images taken from fashion magazines of the same time period as the album covers. Models such as Twiggy evoke mid-century popular culture and become self-referential in the works -- the cloth "wears" the model. There is a lushness and preciousness to these labor-intensive textiles, whose technique co-opts and contradicts the Pop content.

The exhibition also includes one lacquered sculpture made of recycled, teak wood. Lead Balloon is a boomerang resting on a plinth with the words "I love you" carved in high relief. The subtle joke plays with the contradiction of the function of a weapon with the message of love and serves as an ironic comment on the policy of diminishing returns in post-postmodern times.

Vetrugno was born in 1957 in Turin, Italy and currently lives and works in Turin and Bali, Indonesia. He has had solo exhibitions at Fondazione Merz, Turin and Accademia delle Belle Arti, Turin. Group exhibitions include Questo Mondo E' Fantastico, Palazzo Bricherasio, Turin; Sound and Vision, Palazzo delle Penne, Perugia, Italy; Aperto per lavori in corso, PAC, Milan, Italy; Il racconto del filo: Ricamo e cucito nell'arte contemporanea, MART, Museo d'Arte Contemporanea di Trento e Rovereto, Italy; and Melting Pot, Palazzo delle Papesse, Siena, Italy.

For further information, please contact the gallery at 310.836.2062 or info@blumandpoe.com.

Blum & Poe






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