Latest Events in Venice(March Updated)

At the core of On Matter is a significant presentation of paintings and sculptural works by Charles Arnoldi. For more than five decades, Arnoldi has examined the structural and expressive potential of wood by cutting, assembling, carving, and translating the physical language of sticks and beams into a rigorous visual syntax that moves between abstraction and objecthood. His practice dissolves distinctions between painting and sculpture, treating line as both gesture and armature.

Dating from the 1950s, 1970s, and 1980s, the three groupings of artworks in this exhibition demonstrate the recurring formal preoccupations with structure, movement, and perspective that define Diebenkorn’s endlessly powerful and mysterious oeuvre. These artworks also illuminate the approaches and motifs that captured the artist’s attention at particular points in his career, including the meaningful employment of color, the translation of landscape into two-dimensional terms, and a fascination with spade and club forms. Intimate in scale and medium, this exhibition communicates the poetic sensitivities inherent to Diebenkorn’s work and deepens our understanding of the artist’s distinct visual vocabulary. The earliest works in this presentation, dating from 1950 to 1955, are characterized by harmonized arrangements of blue and black ink, crayon, and charcoal, set against a white paper ground. Cups and patterns appear as quotidian markers within fields of abstraction, expressions of Diebenkorn’s known reverence for his immediate surroundings: In this rendering of everyday objects a reversal occurs, grounding the lyricism of free-flowing shapes in reality and signaling that these images are drawn from life. The use of just one color, a ‘Diebenkorn blue,’ underscores the philosophical weight the artist perceived in humble observations and the spiritual satisfaction he found in the distilled hues of the sky and ocean. Diebenkorn’s gouache paintings and etchings from the 1970s similarly engage with the beauty and truth to be found in simplicity as dynamic achromic lines prudently dissect each picture plane. Expanding on the legacy of Mondrian, a significant influence, Diebenkorn’s works diagram land- and cityscapes through transcendent geometric delineations, a feature which also defines the epic cycle of paintings and drawings. Aerial photographs taken by the artist verify that these compositions are akin to maps, distinguishing Diebenkorn from other Modernists as a figure who created across the continuum of abstraction and representation. The spade and club are significant motifs which captivated Diebenkorn’s attention and appear in full force in the mixed media works from the 1980s. Prior artworks, like those of the 1950s, anticipate this fascination through bulbous curves and other sensuous forms. It was primarily, however, from 1980 to 1982 that the artist devoted himself to these symbols, first encountered as a child, as if to process a lingering subconscious fixation. The personal significance of these shapes to the artist is unknown and secondary to their iconic value, dubbed ‘heraldic imagery’ by contemporary critics. These works stand out not only for their mysterious symbolic allusions, but also through a clear figure-ground relationship that suggests an association with the human figure. Even in a presentation across three time periods of the artist’s oeuvre, this collection of artworks illustrates the distinct and ranging poetry of Diebenkorn’s creative inquiries. Indeed, a trajectory of thought is detectable between the inky dividing lines of the earliest works and the thoughtfully segmented compositions from the 1970s, and the curvature of the symbolic spade appears more evident with each consideration. What is offered by these works on paper are the revelations of an extraordinary mind, one which saw composition in all things. — Richard Diebenkorn Born over 100 years ago, Richard Diebenkorn (1922–1993) produced a body of work whose beauty and mysteriously empathic nature has long attracted many devotees worldwide. He lived during the period of America’s great surge onto the world stage of visual art, working alongside the likes of Willem de Kooning, Philip Guston, and Joan Mitchell, but forging a decisively independent style. While still in his twenties he moved briefly to New York from his San Francisco region, realizing that its artistic climate was the most stimulating locus in the United States, but soon returned to California where, aside from two important early years in Albuquerque, New Mexico, and a year teaching in Urbana, Illinois, he remained. From a glorious early flowering in the language of Abstract Expressionism, where he responded directly to the light and landscapes of New Mexico and the urban Midwest, Diebenkorn turned to a prolonged period of making figurative and landscape art, going very much against the grain of his generation. A leader in Bay Area figurative painting, Diebenkorn produced work that was received with enormous affection and excitement by a wide audience. Then, quite abruptly in 1966, he turned to a new form of abstraction, again decisively different from his peers. Moving from Berkeley to Los Angeles, he proceeded to make the monumental abstract works known as the “Ocean Park” series, incorporating the lessons of two of his key influences, Henri Matisse and Piet Mondrian. — Jane Livingston

L.A. Louver is proud to present sculpture by Luis Bermudez (1953-2021). This survey exhibition of work made between 1986 and 2014 demonstrates the artist’s lifelong preoccupation with the interconnected nature of place, identity, and materiality, and the relationship between the physical and the spiritual. Entitled Sobre La Vida, which translates to “About Life,” the presentation celebrates the creative developments of a beloved cultural figure, who was an influential force in the lives of artists both within and outside of Los Angeles throughout the course of his career as an artist, educator, and curator. Bermudez’s aesthetic and philosophical vocabulary is embodied by the artworks of the La Caja series. Though differing in their unique textures and colors, the conceit of these works is the same: two complimentary forms poised on the cusp of interlocking engagement. Made from Bermudez’s distinctive, bespoke castable refractory – a material between cement and clay – these sculptures conjure a sensorial experience through their gritty, scaled, surfaces, and earthen coloration. The La Caja works consist of one ‘negative’ and one ‘positive’ element, evoking tension through a feeling of anticipated contact left unsatisfied. Moksha, M-10, a mossy-textured work from 1986, literally builds upon these engaged forms, crowned by a stepped vortex. Weighty and architectural, these works display sophisticated engineering of material and form. Existing as objects of positive and negative space, the sculptures evoke physical and metaphysical forces that evade language – a common thread throughout Bermudez’s oeuvre. Vulnerable Offering and Ultimate Offering similarly embody tension and contrast as gentle, unglazed porcelain bowls balance atop winding reptilian bodies. Redolent of Pre-Columbian iconography and objects of religious ritual, these works emit a mystical aura. Other sculptures like El Caracol, C6 of the Sacred Structures series illustrate the same reliquary quality: a delicate vessel (formed from a modified sake bottle) stands as a metaphor for the human figure, protected by a larger, stronger covering; every surface exquisitely textured. Bermudez intended for these works to be viewed from all sides, their physicality encouraging a performance of circumambulation. In Othila (Separation) (2013-2014) of the Runes series and El Cenote, C-3 (2006) of the Sacred Places series, Bermudez’s invitation to view from all angles endures. In addition to offering unique and phenomenological experiences, these sculptures present a metaphor for nonlinear time and narrative. Drawing on philosophical traditions, both ancient and modern outside of the Western perspective, Bermudez subverts the notion of prescribed interpretation and interaction despite their specific forms. Finding inspiration in both the natural world and his Mesoamerican heritage, these works are simultaneous representations of environmental sites and objects of transcendent, ancestral contemplation. The ultimate fulfillment of Bermudez’s interests in negative space, spiritual symbolism, experiential architecture, and environmental importance is accomplished in the immersive, room-sized Sobre La Vida (1993-1994). The installation is made of multiple facets including four walls punctuated by ceramic portals and paneless windows, a suspended yoyo-like luna, a tree fashioned in castable refractory and steel, and a human-scaled guardian figure whose silhouette is echoed in the doorway of the structure. Through its semi-abstracted forms and interactive nature, Sobre La Vida recreates and reframes our subjective experiences of perception and interaction through the presentation of a multiplicity of perspectives. Bermudez’s persistent quest to portray the interstitial seam of the subjective and universal is further demonstrated in the La Cueva and La Cabeza series. Wall-mounted, these works confront their viewer with faces existing at varying degrees of abstraction and representation, ranging from the melting, viscouslooking La Cueva, C-5 to the mirrored, iconographic symmetries of La Cabeza (Duality) to the zoomorphic states of Pre-Columbian deities seen in La Cabeza (Alter Ego) and La Cabeza (Seeking). Perhaps the most striking of these mysterious, cephalic sculptures are those entitled La Cabeza (Self Portrait) in which Bermudez’s head emerges from the mouth of a sharp-toothed creature. It is within these self-portraits that Bermudez lays explicit claim to his heritage, inserting himself within a lineage of artistic creation that gives form to the immaterial fabric of reality. About the artist A revered teacher and advisor, Bermudez held positions at several California Institutions including California State University, Northridge, the University of California, Los Angeles, and Otis College of Art and Design. He was as professor at California State University, Los Angeles, a position he held from 2002 until his untimely death in 2021. He is remembered by his students as a mentor who struck a potent balance between generosity and rigor, guiding them to hone their own skills and passion. Bermudez was recognized for his curatorial projects, notably the UCLA Ceramics Invitational of 1992, and worked with the Consulate General of Mexico to present NEPANTLA DREAMS: Cal-Mex State L.A. (2004-2005). Bermudez’s work has been shown at the Everson Museum of Art, the American Museum of Ceramic Art, the Museum of Contemporary Crafts (today the Museum of Art and Design), and the Armory Center for the Arts, among others. His work is held in the permanent collections of institutions including the Los Angeles County Museum of Art, the Hammer Museum, the Crocker Art Museum, the Scripps College Ceramic Collection, and the Long Beach Museum of Art. Most recently, Luis Bermudez received acclaim for his inclusion in the Hammer Museum’s 2023 biennial exhibition Made in L.A.

Experience the transformative Goddess Awakening event in Los Angeles at Venice Beach on May 18, 2024. This gathering offers an opportunity to connect with inner power and embrace divine feminine energy. Attendees will partake in a variety of activities aimed at self-discovery, empowerment, and forming connections with like-minded individuals. Dive into practices designed to awaken the inner goddess and access divine feminine energy. The event features a Goddess awakening soundbath and meditation session, a beginner belly dance class, and an enlightened photoshoot to capture the essence of your transformation. To prepare for Goddess Awakening, attendees are encouraged to dress in their favorite Goddess Attire, adorn themselves with sensual oil or fragrance, and arrive with an open heart as their higher selves. This event is tailored to help participants embrace their true power and radiance. Don't miss this chance to elevate your spirit and step into your full potential at Goddess Awakening.

Experience the unveiling of "Creature" by Marsha de la O alongside guest poets Kim Young and Holaday Mason at the Beyond Baroque Literary Arts Center in Los Angeles. Celebrate the release of Marsha de la O’s latest work, a poignant collection delving into themes of love, destruction, and self within the realms of family and nature. The evening will feature readings in The Wanda Coleman Theater, followed by book signings and a reception. Doors open at 6:30 PM, with readings commencing at 7:00 PM on June 15, 2024. Marsha de la O's profound exploration in Creature, published through the University of Pittsburgh Press, promises an evening of literary depth. Kim Young, a distinguished writer and poet, will share select pieces, alongside Holaday Mason, a seasoned author with a keen eye for poetic storytelling. Attendees are encouraged to wear masks and maintain decorum throughout the event, respecting the space and fellow participants. Don't miss this opportunity to immerse yourself in the transformative power of poetry at the heart of L.A.'s vibrant literary scene. Tickets are free for all.

L.A. Louver presents the debut American exhibition of a new body of work by Los Angeles-based architect and artist Thom Mayne. Investigating the philosophical intersections of impermanence and materiality, Mayne demonstrates how technology – at the frontiers of computer language and object-creation – can reframe and readdress timeless questions at the essence of artmaking.

After a year-long book tour for The Language of Fractions, author, Nicelle Davis is concluding this journey with the Moon Tide Press family at Beyond Baroque. Join us for the final reading of the tour celebrating this collection. Featuring Susan Hayden, Jeremy Ra, Brian Sonia-Wallace, Rich Ferguson, Terri Niccum, Daniel McGinn, Peggy Dobreer, and Nicelle Davis. Book signings will follow after the readings. Nicelle Davis's collection The Language of Fractions explores the question of whether we love wholly or only in parts. Employing found poetry, Davis raises issues of omphalophobia, love over time, missed communication, superficiality, and environmental destruction. Through her use of juxtaposing images and writing styles, Davis shows how love can be fragile and can often fail. The Language of Fractions does not simply comment on love, but also paints a picture of a broken world. It obsesses over the question: Do we love wholly or only in parts? 7:30 PM Doors Open I 8:00 PM: Readings Livestream:If you can’t join us in-person the event will be livestreamed on Beyond Baroque’s YouTube channel at the scheduled time of the event. A Link will be sent to you 24 hours prior to the event after registering. About the author Nicelle Davis is a California poet, collaborator, and performance artist. Her poetry collections include The Walled Wife (Red Hen Press, 2016), In the Circus of You (Rose Metal Press, 2015), Becoming Judas (Red Hen Press, 2013), and Circe (Lowbrow Press, 2011). The Language of Fractions was recently released from Moon Tide Press. Her poetry film collaborations with Cheryl Gross have been shown across the world. She has taught poetry at Youth for Positive Change, an organization that promotes success for youth in secondary schools, MHA, Volunteers of America in their Homeless Youth Center, and with Red Hen’s WITS program. She is the creator of The Poetry Circus and collaborator on the Nevermore Poetry Festival. She currently teaches Middle School. This event is Free & In-Person at Beyond Baroque. Masks are encouraged while inside our center. Event attendees are expected to behave in a respectful and considerate manner while in our space. Beyond Baroque reserves the right to remove individuals from our events, virtual or otherwise, if they are not respecting the space, fellow attendees, or performers. Information Source: Beyond Baroque Literary | Arts Center | eventbrite

"The Gallery: an art show" is set to take place in Los Angeles at the Roosterfish venue located at 1302 Abbot Kinney Boulevard, Los Angeles, CA 90291. The event is scheduled for November 7, 2024. This art show offers attendees the opportunity to explore a diverse range of artistic expressions, featuring works from both emerging and established artists. Admission to this cultural event is free, providing art enthusiasts with a fantastic opportunity to immerse themselves in the vibrant and dynamic art scene of Los Angeles. Don't miss this chance to experience the creativity and talent on display at The Gallery.

Artists: JOJO ABOT - Whitney Bedford - Tony Berlant - Rebecca Campbell - Richard Diebenkorn - Gajin Fujita - Vanessa German - David Hockney - R.B. Kitaj - Heather Gwen Martin - Michael C. McMillen - Alison Saar - Matt Wedel

The 6th annual Southern California Poetry festival kicks things off with thrilling performances by poet, lyricist, and musician Camae Ayewa, known for her exceptional work as Moor Mother. Her groundbreaking poetry collection American Equations in Black Classical Music (Hat & Beard Press) illuminates the stark realities and poignant struggles of the past and present. The evening will feature a fusion of spoken word and music, with alchemic verses hailing from San Francisco's Eighth Poet Laureate (2021-2023), Tongo Eisen-Martin and Linda Albertano Fellow, abbi page, in the Wanda Coleman Theater. Performances in the theater will be followed by a set in the Poets' Garden with one of L.A's most eccentric voices in Alternative Hip-Hop, Rhys Langston. Schedule: 7:00 PM: Doors Open 7:30 - 8:30 PM - Counting the Beat: A Performance with Camae Ayewa, Tongo Eisen-Martin, and abbi page in the Wanda Coleman Theater 8:30 PM - 9:00 PM - Book Signing 9:00 - 10:00 PM - Music Performance by Rhys Langston in the Poets' Garden Masks are encouraged while inside our center. Event attendees are expected to behave in a respectful and considerate manner while in our space. Beyond Baroque reserves the right to remove individuals from our events, virtual or otherwise, if they are not respecting the space, fellow attendees, or performers. Reservation Policy: Please RSVP if you are planning to attend this event. Limited seating is available in the theater, therefore seating may not be guaranteed in the case of a full program; we recommend arriving early. Information Source: Beyond Baroque Literary | Arts Center | eventbrite