16 Jan 2010 to 20 Feb 2010
Opening Reception:
January 16, 6:00pm � 9:00pm
The Torrance Art Museum
3320 Civic Center Drive
CA 90503
Los Angeles, CA
California
North America
p: +1 310 618 6340
m:
f:
w: www.torranceartmuseum.com
FYI - The Reflected Gaze - Self Portraiture Today Curated by Max Presneill January 16 � February 20, 2010 Opening Reception January 16, 6:00pm � 9:00pm
Justin Bower, Chuck Close, Emily Counts, Ariel Erestingcol, Mark Greenwold, Julie Heffernan, Damien Hirst, Per Huttner, KAWS, Tom LaDuke, Hung Liu, Jennifer Nehrbass, Gavin Nolan, Fahamu Pecou, Dane Picard, Frank Ryan, Peter Sudar, Terri Thomas, Holly Topping, Alexandra Wiesenfeld, Cindy Wright and Liat Yossifor
One of the basic primary forms of painting is the self-portrait. With a long and distinguished history the self-portrait has told us about people, their times and their attitudes. They tell us of scrutiny, of desire, of ego and of the passage of time too, but they can also seem like a whispered secret sometimes, that winks knowingly to us of shared knowledge and experiences and has the added frisson for us of knowing that this is the artist �talking� directly to us through time and geography. A great self-portrait tells you something of the artist but of ourselves too.
Following the first known self-portrait by Jan van Eyck, in 1433, to Durer�s self promotional works and the haunting self-portraits of Rembrandt, art history has since been full of the subjective gaze of the artist upon themselves. Today the practice continues, often for very widely differing conceptual reasons, but the telling self study still hints at mortality as well as exploring that strange meeting point where the introspective self gaze meets the objective outward look and attunes itself in order to displace the subjective/objective dichotomy.
These self-portraits acknowledge and play with this, telling us about the artist and telling us about modes of representation, about a time and place and last, but by no means least, about us.
Gallery Two
FAX Curated by Joao Ribas (The Drawing Center) and Independent Curators International, NYC January 16 � February 20, 2010 Opening Reception January 16, 6:00pm � 9:00pm
Kevin Appel, Julieta Aranda, Roy Ascott, Tauba Auerbach, Fia Backstr�m, Darren Bader, Cecil Balmond, BANK, Colby Bird, Pierre Bismuth, Barbara Bloom, Mel Bochner, Tobias Buche, Ian Burns, Cabinet Magazine, Etienne Chambaud, Cleopatra�s, Peter Coffin, Jan De Cock, Collage CenterWest, Alexandra Crouwers, Elaine Defibaugh, Liz Deschenes, Chris Duncan, HeHe (Helen Evans & Heiko Hansen), Morgan Fisher, Claire Fontaine, Yona Friedman, Aur�lien Froment, Ryan Gander, Martin Gantman, Wineke Gartz, Liam Gillick, Marisa Gonz�lez , Dan Graham, Joseph Grigely, Jo�o Maria Gusm�o & Pedro Paiva, Skuta Helgason, Charline von Heyl, Matthew Higgs, Elliot Hundley, Ichiro Irie, Kiel Johnson, Eduardo Kac, Natasja van Kampen, Matt Keegan, Zoe Keramea, Tom Klinkowstein, Germaine Kruip, Gil Kuno, Glenn Ligon, Ronald L. Mallett, Jackson Mac Low, Corey McCorkle, Josephine Meckseper, Eric Mitchell, Simon Dybbroe M�ller, Olivier Mosset, Sandeep Mukherjee, Warren Neidich, Kambui Olujimi, Serge Onnen, Hans Ulrich Obrist, Claudia Parducci, Hillary Pecis, Mai-Thu Perret, Michalis Pichler, William Pope.L, Seth Price, Jason Ramos, Blake Rayne, Tobias Rehberger, Steve Roden, Kay Rosen, Amanda Ross-Ho, Pamela Rosenkranz, Andrew Schoultz, Arnd Seibert, Matt Sheridan Smith, Sonia Sheridan, Alexandre Singh, Dexter Sinister, Josh Smith, Sumi Ink Club, Anne Tardos, Terri Thomas, Cheyney Thompson, Wolfgang Tillmans, Try Harder, Christian Tomaszewski, Edward Tufte, Stan VanDerBeek, Ryan Wallace, Olav Westphalen, Christopher Williams, Jack Whitten, Johannes Wohnseifer, Cerith Wyn Evans.
FAX invites a multigenerational group of artists, as well as architects, designers, scientists and filmmakers, to conceive of the fax machine as a tool for thinking and drawing.
Faxes by over 100 artists sent to the initial showing of FAX at The Drawing Center will form the core of the exhibition, and will include seminal examples of early telecommunications art; and each institution will invite up to twenty additional artists to submit works, which will be presented at successive venues. These works may be transmitted to each participating institution�s working fax line throughout the duration of the exhibition. The active accumulation of information�received in real time, in the exhibition space�will include drawings and texts, and even the inevitable junk faxes from telemarketers and local businesses as well. All the transmitted pages will be archived or displayed together with the active fax machine, which may produce new faxes from invited artists at any moment. The result�an ongoing cumulative project�is a show concerned with ideas of reproduction, obsolescence, distribution, and mediation. Here, reproducible yet erratic production via the fax machine displaces traditional notions of the hand� still commonly associated with the medium of drawing, and foreground the role of drawing as a generative process.
