Aaron Wrinkle

July 10-31, 2010

Summer gallery hours: Thursday-Saturday  12-6pm

LCP Special Project
AARON WRINKLE

Las Cienegas Projects and Guests

To help mark its first year anniversary and kick off its summer programming, Las Cienegas Projects is pleased to announce Las Cienegas Projects and Guests, a Special Project by Los Angeles artist Aaron Wrinkle.  In both consecutive Special Projects scheduled for July through early August, LCP’s evocative yet highly idiosyncratic building is either acknowledged or utilized in a manner slightly outside of the normal gallery schema.

In Las Cienegas Projects and Guests, Wrinkle conceived of a site-specific project heavily influenced by- and taking place within- the formal dynamics of the building’s historical bow-truss ceiling.  Taking a stance both personal and conceptual,  he re-presents recurring elements used in past works—here, a lifetime’s collection of assorted pop cultural, music, skateboarding, art, film, and tv-related posters, all of which hung at one time or another in his bedroom of childhood/teenage years and more recently in past studios. Bypassing the white gallery walls and working directly up within the roof’s structural framework, he attempts to activate the beautiful-though slightly dilapidated- wooden ceiling form through its hybrid crossing with his collected ephemera, while at the same time utilizing the joists and the roof’s skeleton as a means of production and material placement to further reflect the aesthetics of the gallery space below.  Other personally-charged artifacts also take on the literal architecture, including Wrinkle’s colocation of previously used studio and gallery walls, from his ongoing gallery project Dan Graham, onto LCP’s own project space walls. Planting performances into the project’s opening, he initiates a conversation literally from the ground up, ultimately proposing a language of context and content co-mingling.

Aaron Wrinkle (Aurora, Missouri, 1978) received an MFA from CalArts and BFA in painting from the Kansas City Art Institute.  His paintings, photographs, billboards, and sculptures engage with the politics of art history, frequently incorporating the exhibiting art institution itself. His work questions the sorting and ranking of objects that are exhibited in museums and galleries (Younger Than Jesus: Artist Directory, New Museum & Phaidon Press, 2009). Recent projects include his current role as director of the conceptual art space Dan Graham in Chinatown, Los Angeles; Demolition, Construction and Exhibition Space Build Out, Original Dan Graham, Echo Park, Los Angeles, 2008-2010; and Full Restoration of Conceptual Artist Douglas Huebler’s 1977 Volvo, CalArts, 2007-2008.  Curatorial projects include Summer Dudes, 2010; In conversation w/ Dan Graham, Pavilions Documented, 2010; Dan Finsel and Cary Georges, 2009, all at Dan Graham, Los Angeles; and Collection of Diana Zlotnick: Works by Baldessari, Burden and Pettibon, Studio City, CA, 2010.

Sandy de Lissovoy and David Kelley / Tanya Haden / Beatriz Monteavaro

June 5 – July 3, 2010

Main Gallery
SANDY DE LISSOVOY and DAVID KELLEY

Survival-based Camp

Sandy de Lissovoy and David Kelley have engaged in a year-long, bi-coastal collaboration ultimately aimed at the installation of a fluid set of sculptures, performances and videos. Evolving from multiple points of departure, the collaboration includes the use of fragments of screens and sets, the allure of silhouetted construction sites, and the combination of functional sculptures with figures performing in relation to them. They took on notions of the hinge and its suggestions for performance, the ephemeral installations of Helio Oiticica, Land Art, the movable sculptures of Lygia Clark, and the resistance of a geographically distant partnership. The resulting formation, Survival-based Camp, stakes a claim for contingent beauty by setting up juxtapositions of objects, screens, and corresponding actions.

The screen plays an integral role in this collaboration. The artists engage the screen in their sculptures as both a surface through which to see, as well as an obstruction or camouflage. For Las Cienegas Projects, hinged and moveable screens stand in as fragments of space and demarcate a specific place and moment. Films of various performances with these sculptures are projected on and around the sculptures themselves. Silent exercises of choreographed and improvised movement, the films are further iterations of different bodies and their relationships with the sculptures they are manipulating, the spaces they occupy, and their own bodies. The films also work to bring the outside landscape and distance into the static interior space of the gallery, and emphasize a crucial aspect of de Lissovoy and Kelley’s use of hinged screens, to simultaneously separate and connect people and places. Visitors to the exhibition are implicated in this structured and demarcated way of being and seeing as the artists open again that contested area of how we use public space and impose ourselves upon it.

Sandy de Lissovoy was born in Berkeley, CA, and lives in Los Angeles. He received an MFA from UC Irvine and a BFA from California College of the Arts, San Francisco. His projects have recently been seen at LAXART, Chung King Project, and Las Cienegas Projects, Los Angeles. His work evolves from the expanded sculptural range that is not-architecture and not-landscape, while investing personal memory into a medium that he composes in the boundaries between sculpture, painting and architecture.

Born in Portland Oregon, David Kelley lives in Brooklyn, New York, and is currently teaching photography and video at Art Center College in Pasadena. Working interchangeably between photography, video, sculpture and installation, Kelley is critically engaged with the subjects of performance and realism. Kelley’s works have shown recently at MASS MoCA, North Adams, MA; Museum of Modern Art, New York; Gallery Gabriele Maubrie, Paris; and Franco Soffiantino Contemporanea, Turin. Concurrent to Survival-Based Camp at Las Cienegas Projects, Kelley is showing his new video installation Sieve at Art in General in New York, June 11-26 as part of the Whitney Museum Independent Study Program exhibition.

Special thanks to Simon Leung

PRESS

Civin, Marcus. Event Score for Hinges. (Review of Survival-based Camp at Las Cienegas Projects). ArtSlant, Los Angeles (www.artslant.com), June 21, 2o10

http://www.artslant.com/la/articles/show/17252

Project Space
TANYA HADEN

The Thoughts and Feelings of an Elephant

The drawings of Tanya Haden are steeped in pyschologically charged fantasy narratives. Working primarily with pencil and ink, her background as an animator lends to the creation of drawings that explore childhood memories, fears, and the boundaries in familial relationships. She often employs humor that skillfully represents the fragility and power of innocence, innocence lost, and general power structures in all aspects of life. For the Project Space, Haden will present The Thoughts and Feelings of an Elephant, an expansively scaled gouache work on paper. Continuing an ongoing series of animal drawings, this giant elephant’s insides are pictorially stuffed with elephant references and influences of increasing personal interest.

Tanya Haden received an MFA in experimental animation from CalArts in 2000. She has participated in group and solo shows in Los Angeles including Faces and Places and Things That Once Were, Angstrom Gallery, Los Angeles (2006), and contributed to several book publication/exhibition projects curated by Steven Hull, including Ab Ovo, Nothing Moments Project, and Song Poems. Also a musician, Haden has performed with artists Mike Kelley and Marnie Weber, including vocal and cello performances for Weber’s band, Spirit Girls. Haden lives and works in Los Angeles.

Back Room
BEATRIZ MONTEAVARO

We Saw Creatures

“We saw creatures… These things that are swimming around in the air, they fill it, all the time.”

– Jeffrey Combs (From Beyond)

Inspired by dark carnival rides–particularly haunted houses–, album cover art, including the front cover of Pavement’s recent Quarantine the Past LP, and pulp horror movies like The Haunted Palace and From Beyond, Beatriz Monteavaro’s drawings depict glowing monsters and demons, vampires and giant brains, all residents of childhood nightmares. For Las Cienegas Projects, Monteavaro will create a destabilizing black-lit environment with drawings and sculpture, including transparent packing tape sculptures resembling amorphous shapeshifting specters, caught in a moment between materialization and dematerialization.

Beatriz Monteavaro was born in Cuba, and received a BFA from Tyler School of Art of Temple University. Her work has been exhibited in venues such as Annina Nosei Gallery, New York; Museum of Contemporary Art, North Miami; Centro Cultural Español, Miami; NFA Space, Chicago; The National Museum of Women in the Arts, Washington D.C; Tent, Rotterdam; Galerie Edward Mitterrand, Geneva; and Galerie Emmanuel Perrotin, Paris, among others. She has had solo exhibitions at Fredric Snitzer Gallery, Miami; Derek Eller Gallery, NYC; Galerie Baumet Sultana, Paris; and The Gulf Coast Museum of Art in Largo, FL. Her work has been reviewed and featured in Flash Art, ArtUS, ArtNews and Art Papers, and she was selected by Gean Moreno to produce an artist book through [NAME] Publications, called Quiet Village, which was published in 2009. Monteavaro has been playing drums in bands since 1991 including The Human Oddites, Floor and Cavity. Her current band, Beings, will be releasing a 12” through Amnesian Records this year. She lives and works in Miami.

Cannon Hudson/Alex Klein/Vishal Jugdeo

May 1-29, 2010

Main Gallery

CANNON HUDSON

New Paintings and Sculpture

In this exhibition of new work, Cannon Hudson presents a number of large-scale monochromatic paintings and constructed sculptures which investigate the duplicity between representational and abstract imagery.

Interested in the built structures that surround us, Hudson’s paintings depict domestic interiors, which in turn contain representations of paintings and sculptures. The sculptures, as if emerging from the paintings, are made of steel, wood, plexiglass, polymer coating, and chrome. The paintings construct actual and fictitious interiors as contextual setting for the sculptural work, which projects past experiences into the future by reassembling the past. The more tangible aspects of their subject matter tend to erode into simple forms that float in mercurial and reflective spaces, which might be seen as stylistic stand-ins for the original thing.

While the paintings use the interior as a starting point, the familiar often gives way to the artifice and ambiguity of fiction. In many of the works the recognizable objects and materials erode through the amorphous nature of the medium of paint. The physicality of the built world breaks down into emergent or rudimentary forms, simple nuance, shade and tone. In both the painted works as well as the sculptures, the objective references are reduced to the point that we can no longer hold on to them, evoking psychological tension and creating broader spaces for interpretation.

Cannon Hudson has had solo shows at Feature Gallery, NYC, Acme Gallery, Los Angeles, White Columns, NYC, Galleria Marabini, Bologna, Italy, Oliver Kamm Gallery, NYC, and Dennis Anderson Gallery, Los Angeles among others. His work has been included in numerous group exhibitions including: “The Painted World” at PS1, NYC, “Out of Site” at the New Museum, New York, “Officina America,” Galleria d’Art Moderna, Bologna, Italy, “Mood Painting” Curt Marcus Gallery, NYC, Daniel Reich Gallery, NYC, and “Departure Lounge” the Clocktower, NYC. A recipient of a Guggenheim Fellowship in 2003, Cannon Hudson lives and works in Los Angeles and Joshua Tree, California.

PRESS

Knight, Christopher. Art Review: Cannon Hudson at Las Cienegas Projects. Culture Monster, losangelestimes.com, May 13, 2010.

http://latimesblogs.latimes.com/culturemonster/2010/05/art-review-cannon-hudson-at-las-cienegas-projects.html

Project Space

ALEX KLEIN

Person to Person

Person to Person, 2010. 16mm film transferred to video, color, silent

Alex Klein’s work investigates issues of historical mediation and the materiality of ideas. In her photographs, films, and videos she examines the ways in which abstract concepts, philosophical impulses, and political subjectivity are made legible through their physical and material manifestations, particularly in mass culture, subcultural formations, and design.

Klein’s two-channel, film-to-video work, Person to Person (2010), takes its cue from a moment in pop music on the cusp of the video age. Here, the concept of “the group” is distilled to a series of procedural movements and gestures, forming an intersection where avant-garde practices, media rhetorics, and popular memory align. In the accompanying poster and photographs, this diagrammatic approach is extended to implicate both acoustic and cinematic space.

Alex Klein is an artist based in Los Angeles. She received her MFA from UCLA, her MA in the History of Art from the Courtauld Institute of Art, London, and her BA from Columbia University, New York. Her work and writing have been exhibited and published both nationally and internationally. She recently edited the essay collection Words Without Pictures (LACMA / Aperture, 2010) and is a co-founder of the independent publishing imprint Oslo Editions. She is currently a Lecturer in the Roski School of Fine Arts at USC.

Back Room

VISHAL JUGDEO

Violent Broadcast

Still from Violent Broadcast, 2010. High definition video projection with sound, 8 minutes

Vishal Jugdeo’s new video installation Violent Broadcast (2010) is structured around a series of brief episodic fragments, performed by three actors and filmed within a stylized set in the artist’s studio. The scenes are edited into a looped narrative sequence that is layered, convoluted and cyclical, rather than linear. Consistent with much of his recent work, Violent Broadcast mines such varied genres as modernist theatre, experimental film and daytime television to explore the subtle discordances and asymmetries of power that lie beneath the surface of social interaction.

For Violent Broadcast, Jugdeo has composed a series of dialogues that draw from the television talk-show format in which hosts and guests converse about often psychologically charged topics within a highly decorous context of public address. The talk-show scenes are intercut with theatrical vignettes for which the set is dismantled and repurposed into other imagined spaces, such as a bar and a massage parlor.

Jugdeo’s work often simulates the clichéd modes of scriptwriting, acting, camerawork, and editing that are dominant in mainstream forms of production, only to unravel them and bare the social relationships they conceal. Instances of humor, absurdity, abstraction and hyperbole are woven throughout Violent Broadcast in order to contrast the ambivalent uses of language heard throughout the actors’ performances. Such strategies of disruption undermine the semblance of a master narrative, and offer reprieve from a rather bleak outlook on contemporary social culture.

Vishal Jugdeo is a Canadian artist currently based in Los Angeles. Recent exhibitions include solo shows at LAXART in Los Angeles and The Western Front and Helen Pitt Gallery in Vancouver. Jugdeo is currently working on a performance for live broadcast which will air on public access television in San Francisco, in conjunction with an exhibition at Queens Nails Projects. Jugdeo completed a BFA at Simon Fraser University in Vancouver, and a MFA at UCLA.

Photos by Kelly Barrie

Millie Wilson / Bari Ziperstein / Vincent Johnson

March 27-April 24, 2010

Main Gallery

MILLIE WILSON

I am not here anymore but I am fine

Las Cienegas Projects is pleased to present I am not here anymore but I am fine, a new solo exhibition by Millie Wilson. An artist who uses installation, her work has primarily sought a relationship between modernist art practices and modernity’s production of deviance, particularly regarding lesbian stereotypes. Wilson has used humor, parody, and beauty as disruptive strategies to insist on a dyke presence in postmodern revisionism, mixing queer girl culture with modernism to intervene critically.

Recently, Wilson has shifted her investigation to a more iconic way of looking, creating a digital archive- or “inventory of consciousness”- comprised of approximately 13,000 family and other vernacular photographs gleaned from the internet. She has  collected and sorted the pictures to allow an array of possible readings ranging from formal qualities, gestures, and normative relations (i.e. “daddy’s girl photographs”) to industry, labor, holidays, manufactured objects,  gender, oddities/anomalies,  “ghosts”, and the telling detail.

For Las Cienegas Projects, Wilson’s appropriated, mostly black and white photographs are presented as 20 small light box transparencies in a darkened gallery surrounding a large chrome cage sculpture. Full of apothecary and other glass objects, the sculpture catches light and refers  to  the Wunderkammer- “cabinets of wonder”. These 17th and 18th century colonial collections were precursors to the modern museum, chosen and arranged by the wealthy. I am not here anymore but I am fine presents one layer of possible relationships in the photographic archive, with formal and aesthetic choices at work, much in the way the Wunderkammer objects might have been constructed, in search of an underlying yet subjective order. Wilson points out that what is shown in the picture and what is not shown but alluded to allows the possibility of something else/the uncanny to emerge upon further inspection.

Millie Wilson has exhibited her work internationally and is Regular Faculty at the School of Art at CalArts. Select exhibition venues include the Whitney Museum of American Art, Matthew Marks Gallery,  the New Museum of Contemporary Art, White Columns, Walker Art Center, Carnegie Museum of Art, SITE Santa Fe/Museum of Fine Arts, San Francisco Museum of Modern Art, Santa Monica Museum of Art and Los Angeles Contemporary Exhibitions. She has received numerous grants including an NEA Visual Artists Fellowship, a Pollock-Krasner Foundation Fellowship and a City of Los Angeles Artist Grant. Wilson lives and works in Los Angeles.

Millie Wilson would like to thank the Faculty Development Fund at CalArts for its generous support of this exhibition.

Photo by Robert Wedermeyer

Photo by Robert Wedermeyer

Project Space

BARI ZIPERSTEIN

Decorative Protection<Protecting Decoration

Found advertisements, 1980

Bari Ziperstein’s inventive sculptures explore, through collage aesthetics and the lens of domesticity, America’s love of excess and desire to collect.  For the Project Space at Las Cienegas Projects, Ziperstein will debut Decorative Protection < Protecting Decoration, a pair of forced perspective domestic window frames which transform a 33’ wall into a perceptual haven of uncanniness. While her previous work has been primarily concerned with the nature of domestic objects and the absurd culture of collecting, she now turns her attention to the domestic house itself, which protects those collected objects.  Here, Ziperstein’s windows are treated as sculptural portals between the private and public world – concerned with the economy and security of domesticity.

Influenced by a 1980’s decorative metal gate advertisement urging Los Angeles residents to buy ‘non prison-looking bars’ for a key to their own security, Ziperstein’s mutated tableaux depicts a pair of skewed windows transposed with a photographic view of a lusciously overgrown domestic garden in L.A., decades of debris collected and scattered about including lamps, cars, shoes, rotting wood, and stage sets.  This would-be future site of an archeologist’s dig on American culture is seen through a domestic curtain featuring hand-drawn security bars and offering sporadic views of the garden.  Two altered slip cast ceramic figurines adorn the windows, equally protected with decorative armor hats shielding their faces.  Engaging and fanciful, what initially appears as a celebration ultimately critiques the politics and economy of protecting ones security and domestic space.  Ziperstein asks us who, what, and why are we protecting ourselves from modern living if only to feed into a paranoid American culture?

Bari Ziperstein is a site-specific sculptor, photographer, collage, and ceramic artist who is interested in activating space through intervention and organization. Her artistic practice is engaged with the architectural history of Los Angeles and can be read as an investigation of how urban landscapes are defined by consumerism. A selection of recent solo shows includes Project Space, Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga (2010); Perk, See Line Gallery, Pacific Design Center, Los Angeles (2009); and (This Isn’t Happening) Popular Hallucinations For Your Home, Bank, Los Angeles (2007). Ziperstein holds an MFA from CalArts and double majored at Ohio University to receive a BFA in painting and a Women’s Studies Degree. She lives and works in Los Angeles.

Back Room

VINCENT JOHNSON

Cold War Photomontages

Abomb (2nd Version), 2008. Photo montage, 30 in. X 40 in.

Las Cienegas Projects is pleased to present Cold War Photomontages, a solo exhibition by Vincent Johnson. Johnson’s work is a form of sustained cultural mining that engages both significant and neglected historical and contemporary cultural artifacts and is based on an intensive research of his subjects. Recent photographic works delved into architecture as fantasy, from the vernacular architecture of Los Angeles to that found throughout the American West. He has documented several of the no longer extant commercial vernacular structures in both South Los Angeles and the San Fernando Valley that came into existence during the birth of long distance family travel by car.

Johnson’s newest photographic works, presented in the Back Room at Las Cienegas Projects, are large-scale photographic montages, each of which confronts significant cultural figures and several dramatic signal events of Cold War era Western cultural history, including the advent of television, the launch of Sputnik and the Soviet space program, the American home-based bomb shelter program, and the war in Vietnam.  Gathering hundreds of found images from online sources, Johnson selects, juxtaposes and shifts in scale those images which best index the particular moment, personage or event.  A series of contrasting and rewarding visual modulations results in a flood of historical information, becoming a rigorous and relentlessly informative yet also poetic record.  Considering his use of found photography as a game that investigates both spoken and quiet language systems, Johnson also places emphasis on the human connection present in the work—that of the original photographer.

Vincent Johnson’s work has been exhibited both nationally and internationally including at LAXART, the Santa Monica Museum of Art; the P.S. 1 Museum; the Museum of Contemporary Art, Chicago; the SK Stiftung, Cologne; the Adamski Gallery of Contemporary Art, Aachen; the Studio Museum in Harlem; 18th Street Arts, Santa Monica; and the Boston University Art Gallery. Johnson received an MFA from Art Center College of Design in 1997 and BFA in Painting with studies in Avant-Garde Film History from the School of the Art Institute of Chicago in 1986.  He lives and works in Los Angeles.

PRESS

Phelps, Calvin. Millie Wilson/Bari Ziperstein/Vincent Johnson at Las Cienegas Projects. The  New Gay, April 1, 2010

http://thenewgay.net/2010/04/millie-wilsonbari-zipersteinvincent-johnson-at-las-cienegas-projects.html

Tuck, Geoff. Notes on Looking, from the Fellows of Contemporary Art, April 22, 2010

http://losangeles.foryourart.com/?s=know&item=330

Tami Demaree / April Totten / Sky Burchard

Main Gallery

TAMI DEMAREE

Noa Noa, Yes Yes

Sunsets, Sand, Nativism and Savagery. Tami Demaree’s solo exhibition Noa Noa, Yes Yes is a love story, a quest for paradise and a story of an artist finding himself through a muse. The show takes the form of an installation focusing on the romantic relationship between Paul Gauguin and Tehemana, his Tahitian lover. Through paintings, collages, sculptures and sound, Demaree creates an environment that attempts to prove her hypothesis that Gauguin made his best work while in love with his muse.

When Gauguin returned from Tahiti he wrote Noa Noa, which somewhat fictionally chronicles his luminous experiences on the island in 1891. In this self-published journal he romantically describes being inspired by “savage” Tahiti and, more importantly, his deep love for Tehemana, who functioned as a true muse not only as point of inspirational beauty but also as a teacher in the native ways and culture. Noa Noa literally means “fragrance, fragrance” but Gauguin used it to describe the intoxicating scent of the Tahitian women.

The work in the show ranges from the historical to the comical all while trying to tell a story about love and the artist. The installation includes a full-scale replica of Gauguin’s grave, large photomural collages, tikis and historical images of Gauguin, all in the midst of palm trees and sand. Demaree attempts to re-mythologize the “myth” of the artist using her own unique visual vernacular.

Tami Demaree has presented her work in a wide selection of solo and group exhibitions both nationally and internationally.  Recent solo shows include Half an Inch of Water and I Think I’m Gonna Drown (2008) and A Searing Lesson Every Girl Should Know (2006), Steven Wolf Fine Arts, San Francisco; and I’ll Cross My Fingers But I Won’t Hold My Breath, Angstrom Gallery, Los Angeles (2006). Demaree (1978, Huntington Beach, California) received an MFA from Otis College of Art and Design in 2003 and a BFA from UCLA in 2000.  The artist lives and works between Los Angeles and the Bay Area.

Project Space

APRIL TOTTEN

Out of Order

Out of Order (studio view), mountain sculptural element, 2010

Las Cienegas Projects is pleased to present Out of Order, a multi-media installation by April Totten. Totten works between the lines of personal and historical memory, particularly the fissures between psychosis, reality and fantasy. Through memory work Totten explores different aspects of psychosis from individual experience to psychoanalytic theory.

Due to her mother’s chronic and unmanaged mental illness, Totten grew up in a succession of low-budget motels situated between Disneyland and Knott’s Berry Farm. The artist’s work draws inspiration from the contrast between the hyper reality of the theme parks and her very real life in the working class areas of Southern California shadowed by the growth and power of these parks. Out of Order recreates the geographic schema of the artist’s childhood, juxtaposing a motel and elements of an amusement park.

In Totten’s film Blast View Motel, a model of a motel is destroyed in slow motion and edited in a loop that allows us first to witness, and then examine its destruction. Profoundly affected by Michelangelo Antonioni’s 1970 film Zabriskie Point, Totten pays homage to the film’s final sequence in which a home in the California desert explodes over and over again, blurring the lines between documentation and fetish.

The film is presented with a large-scale diorama, Out of Order, that evokes the Matterhorn attraction at Disneyland. Totten’s corrected Matterhorn, however, is skirted by a wishing well in which float mysterious and magical coins. If the architecture and landscape elements that make up Disneyland are a replica of some sort of fantasy reality, Totten’s sculptural elements are replicas of the replicas.

April Totten lives and works in Santa Paula, California. She received an MFA from CalArts in 2009.

Back Room

SKY BURCHARD

Trail of Broken Hearts

Unrequited Love Object #12 & #13 (Ladder and Magic Key) and Unrequited Love Object #10 (Magic Book), 2009. EPS foam, steel, Lucite, enamel, dimensions variable. Detail view, Wignall Museum of Art.   Photo by Jan Bolz

In his installation Trail of Broken Hearts, Sky Burchard makes the request: Show me the princess! Trophies earned along the journey to save the princess become tokens of unrequited love, the product of intense loneliness and longing. An artist who explains his work as “an interpretation of the relationships we form with the things which we can never attain”, Burchard has spent the past seven years focussed on the content both in (on the screen) and around (fan culture) video games. Here Burchard has chosen various pieces of treasure from the video game “The Legend of Zelda”.

Burchard’s objects each begin as a pixelated screen shot and are then isolated, magnified and taken into the third dimension using various 3D modeling software. After undergoing a rigorous process of analyzing this information, taking clues from shapes, shadows, textures, patterns and outlines, he is able to piece together a cohesive object. Using the computer model as a blueprint he “builds”, in cubes of foam, the finished sculpture. In this latest iteration of the artist’s work, the objects have been displayed in plexiglass boxes as precious objects, reiterating the desire that initiated their creation, and representing them, once again, as beyond our reach.

Burchard has shown extensively at Circus Gallery, Los Angeles and has had solo shows at Dangerous Curve, Los Angeles; Wignall Museum, Rancho Cucamonga; and More York, Eagle Rock. He has participated in various group shows in and around Los Angeles held at Black Dragon Society, The Smell, Raid Projects, Yutaka Sone’s Backyard, Domestic Setting, The Attic, Guggenheim Gallery, Torrance Art Museum, Long Beach City College and Cal State University Los Angeles.

Sky Burchard was born in Hollywood, California. He received his BFA from UCLA in 2000 and MFA from USC in 2002. He currently lives and works in Los Angeles.

Dante Brebner, Marcos Rosales and Francis Coy / Ismael de Anda / Trinie Dalton

Main Gallery

DANTE BREBNER AND MARCOS ROSALES in collaboration with FRANCIS COY

In the Interim Lies the Darkness

top- Dante Brebner, Elegantly lit, meticulously scarred and otherwise unraveled, 2009.  Mixed media,  8 x 7 x 12 in.   bottom- Marcos Rosales / Francis Coy, In The Interim Lies The Darkness, 2010. Film still.

In the Interim Lies the Darkness is the first collaboration between artists Marcos Rosales and Dante Brebner.  The collaboration first began when Rosales mined his collection of stream-of-consciousness writings to send to Brebner as inspirations.  Brebner in turn created small wondrous dioramas based on the surreal phrases that Rosales had given him, such as “Tender genocide” and “Elegantly lit, meticulously scarred and otherwise unraveled”. Interpreted by Brebner, these text fragments translated into painstakingly executed miniature worlds, at once theatrical, sinister and surreal.

The dioramas were then photographed and the resulting images sent to Rosales who wrote a script including them as the sets for the short film In The Interim Lies The Darkness.  The resulting film is a disjointed tale of a man named Hector Bravo and centers on Bravo’s trip from New York to Los Angeles for a weekend with friends, where an evening at local leather bar “The Interim” turns into a surreal tale of his disappearance and reappearance.  The details of his “lost time”, retold under hypnosis to a mysterious Japanese businessman and his young assistant, all take place within the miniature sets created by Brebner.  To create the film, Rosales teamed up with multi-media artist Francis Coy, whose expertise with cinematography and digital editing gives it a vast cinematic feel, while it was actually shot within the confines of Rosales’s small living room in his Brooklyn apartment. For the exhibition, Las Cienegas Projects will present both the film and an installation of the dioramas.

Dante Brebner has had solo shows at Gallery: Untitled, Dallas, TX, and E.I.E. Alternative Space, Brooklyn, NY, and has been included in numerous group exhibitions including Left Behind and Interior/Exterior, Tichava-Mills Fine Arts, Santa Fe, NM; Song Poems, curated by Steven Hull, held at Cohan, Leslie and Brown, NYC, Angstrom Gallery, Dallas, TX, and Rosamund Felsen, Santa Monica; and Landscape Memories, Rosamund Felsen, Santa Monica.  Other special projects include costume and set design for dance performance, including Tension Tamer, Moving People Dance Space and Lensic Theater, Santa Fe, NM, and There Is Something Under My Couch, Danspace Project, NYC.  Dante Brebner (Colorado, 1969) holds an MFA from CalArts (1994). The artist lives and works in Santa Fe, New Mexico.

Marcos Rosales has appeared in group shows at Peres Projects, Los Angeles, Green on Red Gallery, Dublin, and numerous other galleries in the US and abroad.  He has had solo shows at Angstrom Gallery, Dallas, Klaus von Nichtssaggend Gallery, New York, and Steven Wolf Fine Arts, San Francisco.  He has also staged performances at The Kitchen, NY and Movement Research at Judson Church, New York, and is actively involved in collaborations with contemporary choreographers, including Maria Hassabi and Jeremy Wade.  He is the recipient of numerous grants and awards including The Louis Comfort Tiffany Foundation and the DeGloyer Grant from the Dallas Museum of Art.  Marcos Rosales (Waco, 1967) holds an MFA from CalArts (1995). The artist lives and works in Brooklyn, New York.

Francis Coy is a multi-media artist working primarily in film and sculptural installations.  He most recently appeared in the exhibition Video Art in the Age of the Internet at The Chelsea Art Museum, New York, NY.  His most recent collaborations include creating the soundspace composition for the dance piece Facet by Gabriel Rivera presented at Dixon Place, New York, NY and art direction for the short films A Priori by Achim Neufeld and Housewarming by Yared Zeleke. He also created animation for The Unending Horrible by Matthew Brannon shown at PS1 Contemporary Art Center and South First Gallery, both in New York, NY. Francis Coy (Guatelmala City, 1976) holds a BFA in Sculpture and Video from The Art Institute of Chicago (1998). He lives and works in Brooklyn, New York.

Installation views

Views of select dioramas

Project  Space

ISMAEL DE ANDA

Shag Quixote

In the Project Space, Las Cienegas Projects presents Shag Quixote, the newest installation in Ismael de Anda’s series of Mutants. Mining the depths of personal memories from his Mexican-American upbringing as well as rearranging popular myths and stories, this new work reimagines fragments of 1970s domestic décor. The installation features Shag Quixote, a large carpet in the silhouetted shape of the epic fictional character Don Quixote, draping from the wall onto the floor. Viewers are encouraged to touch or walk on the piece, which, according to de Anda, “mixes paradoxes of suburban suffocating warmth” and sensations of “itchy, tickling comfort” and re-establishes the decorative cliché of this popular mythical and idealistic crusader for upward class mobility.

Alongside the piece, a group of marbled mirrors forms an arabesque pattern on the wall in a hybrid of architectural motifs de Anda recalls from his past home in the West Texas desert.  Another mutant, Spirit Stinger, taking the outlined form of a giant scorpion filled in with a graphic of kitchen wallpaper kitsch, is painted directly onto the wall as a direct confrontation of desert-based childhood fears and humorous traumas.  Finally, a grouping of commercial whiskey decanters, originally released as a decorator series with artist-designed labels, are partially re-designed by de Anda as a means of communing with the original artists and exploring the oddity of these bottles as art objects.

De Anda has had solo shows at The Marfa Book Company, Marfa,Texas, Cerritos College Art Museum, Norwalk, CA, Sea and Space Explorations, Eagle Rock, CA, and has participated in various group shows held at Meridian Gallery, San Francisco, CA, Center for the Arts, Eagle Rock, CA, Side Street Projects, Pasadena CA, Torrance Art Museum, Torrance, CA, Rosamund Felsen, Santa Monica, CA, and Wintergarten, Vienna, Austria. De Anda received an MFA from CalArts in 2000. Ismael de Anda III was born in El Paso, Texas and lives and works in Mount Washington and South Pasadena, California.

Back Room

TRINIE DALTON

Zine/Bookmaking Workshop, Slide Talk and Exhibition

Trinie Dalton, 2005.  Pages from the book publication Dear New Girl or Whatever Your Name Is

Las Cienegas Projects is excited to welcome writer, editor and artist Trinie Dalton for a series of events including a slide talk, zine/bookmaking workshop and an exhibition curated by Dalton showcasing its results. The talk will be divided into 3 parts, covering Bruno Munari’s Xerografia project, Copy Art, and the History of Zines. For the workshop, Las Cienegas Projects has invited several Los Angeles-based artists to participate, and has additionally left open several slots to the public.

Dalton is perhaps most recognized for the publication she co-edited, Dear New Girl or Whatever Your Name Is, an assortment of drawing works by 35 visual artists in repsonse to a selection of high school notes passed by students and confiscated by Dalton during her days as a substitute teacher–when she often secretly delighted in reading them or applauded their creativity—and distributed to the artists who then responded in drawing form, incorporating pieces of text and doodles from the original notes. NPR’s Ketzel Levine noted “I am strangely mesmerized by this cross between a high school kid’s notebook and a 21st century pen and ink retrospective”.

Trinie Dalton has authored, curated, and/or co-edited five books: Wide Eyed (Akashic), A Unicorn Is Born (Abrams), Dear New Girl or Whatever Your Name Is (McSweeney’s), Mythtym (Picturebox), and Sweet Tomb (Madras Press). Her art books are often accompanied by visual art and exhibitions surrounding issues of art + text. Dalton makes zines and handmade books, curating shows around them. For her Werewolf Express, she curated part of “Zines Unbound: Werewolves, Kults, and Sarcastic Hippies” at San Francisco’s Yerba Buena Center.  For Mythtym, she has been presenting lectures on topics such as mirrors in horror and the history of photocopy art. She recently has done slide talk/workshops at the Observatory in Brooklyn and at Deitch Projects as part of the PIG Sunday School curated by Gelatin. A paper based on her slide talk/workshop for Las Cienegas Projects will publish in French in Les Editions Particules, and in English in  X-Tra.

Ray Barrie / David Lamelas / Betsy Seder

Main Gallery
Ray Barrie
Physical Limits

Physical Limits refers to a group of groundbreaking sculptures that Ray Barrie produced in 1967-68. For Las Cienegas Projects, he has undertaken what he calls a “three-dimensional documentation” of this work, not in order to reproduce the “original”, but to physically re-enact a process based on the evidence of drawings, photographs and commentary from his archive as well as recollection. Here physical limits pertain not only to the object, but also to the way memory elaborates and limits the interrogation.

Recalling the historical context of Barrie’s work inevitably evokes the transformative social movements of the late sixties as well as the artistic innovations that were eventually designated by Rosalind Krauss as “sculpture in the expanded field.” At St. Martin’s School of Art in London, in the wake of Anthony Caro’s pedagogy, which included New Generation sculptors such as William Tucker, Phillip King and David Annesley, a formal revolution erupted. Rejecting the armature, assembly and above all, the weld, a group of younger artists––among them, Roland Brenner, Roelof Louw and Roger Fagin as well as Ray Barrie, began working in the space carved out by American Minimalism, but at the same time, reacting to it. As Mel Bochner defined it, there was no essential and reciprocal unity of concept and object in American Minimalism. The work could be recreated at any time by anyone. According to Barrie, the British version was a more dynamic interaction with materials, “engineered rather than designed…hands on, rather than illustration or administration.” In a pamphlet, published in conjunction with the sculpture exhibition at Stockwell Depot, London 1969, Fagin said he wanted the work to be direct and unequivocal, “in much the same way as trees and bridges exist” and Brenner emphasized the value of experiment, “it’s the antithesis of making masterpieces.”

In 1969, at the Royal Academy of Art, in the exhibition Young Contemporaries, Barrie presented the wood, steel and blue rope work in the ephemeral form of 500 Xerox copies. Then, in the same year, he took the procedures of dynamic interaction, experiment and impermanence to their logical extreme in Unsculpt, the prologue to Ian Breakwell’s influential event, Unword, at the Institute of Contemporary Art, London. Barrie’s sculpture was installed as a conventional exhibition in the concourse gallery. During the opening, he entered the space, dressed in a boiler suit, carrying a tool box, then proceeded to disassemble the steel elements, saw up the wood structures and dispose of it all in twelve refuse bags that were tied and stacked. Some have viewed it as an explicit statement of disaffection with the commercialization of art, but Barrie insists that his implicit gesture of support for the striking Sanitation Workers was more important at the time. The ICA events also marked the convergence of objects and actions in performance art with the legacy of nuclear disarmament activism in Europe, most notably, the Destruction in Art Symposium, 1966, which was organized by Gustav Metzger, an advocate of Barrie’s interventions. Forty years later, Ray Barrie has constructed a “document” of the destroyed works for this exhibition, engaging us in a timely iteration of the past and of its unfinished business in the present.

Ray Barrie, Physical Limits, installation views:

Photos by Kelly Barrie

Back Room
David Lamelas
A Study of Relationships Between Inner and Outer Space

For this exhibition, Las Cienegas Projects will present a large-format video projection of conceptual artist and filmmaker David Lamelas’ first film, A Study of Relationships Between Inner and Outer Space. Filmed and screened during the run-up to the Apollo moon landing of July 1969, the film broke new ground in the history of conceptual art. Presented in London at the Camden Arts Center (June 26-July 27, 1969) for the exhibition Environments Reversal, the work methodically analyzed the architectural, social, climatic and sociological data that made up that exhibition’s spatial environment, including the room in which it was screened, the Arts Center itself, and the wider city of London at a time before the term “site-specific” had ever been coined, and when a divide was forming in the arts, according to Lamelas, “between object-oriented people and the conceptual”.

Beginning with the floor plan diagram, dimensions, lighting and acoustical documentation of the empty exhibition space, where the description is neutral and analytical, the film progressively expands outward, placing emphasis on all relevant functional elements, from the gallery’s electronic devices and employees, out to the city’s traffic regulation, communication and information media– including newspaper headlines of the day– and on to the climatic conditions of London. The whole of this analysis leads up to the film’s final section containing six interviews on the street regarding the much-anticipated news item of the moment: the upcoming landing of the first men on the moon, taking the viewer from the microcosm of the gallery to the universal macrocosm of space. Casting an oblique rather than a direct gaze at this history-making event, the interviews capture its anticipation (or lack thereof) before the event has even happened. The work thus becomes a commentary on information and the media, and even more importantly for Lamelas, how this “information gets through to people”.

Project Space
Betsy Seder
Time and Space Died Yesterday

Time and Space Died Yesterday (2009) is a body of work comprised of a series of 8 photographs, 5 of which are installed at Las Cienegas Projects. The series is inspired by Michelangelo Antonioni’s 1962 film, L’Eclisse, and the cityscape and architecture of EUR, a suburb of Rome established by Mussolini as the site of the never-realized World’s Fair of 1942 and the future seat of a Fascist Italian empire. In the 1950′s, EUR was revisited by Futurist architects who looked toward innovation and technology (rather than a heroic past) to inspire designs for a utopian city.

Using L’Eclisse (The Eclipse) as an outdated psychogeographic map to explore this site of intersecting and overlapping fascist and capitalist utopian visions, Seder creates a series of still images for a new imagined narrative. In her narrative, Seder pieces together fragments of other narratives from L’Eclisse, modernism, utopian visions, science fiction, dystopias, and personal events. The title of the series, swiped from Marionetti’s 1909 Futurist Manifesto, returns to the Futurists’ vision of the collapsing of time and history into a fast-moving, ever-renewing present and the potential violence that may erupt from such an act.

Landscape Memories Revisited/Patrick Killoran/Derek Boshier

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Main Gallery

Landscape Memories Revisited

Group Show

Las Cienegas Projects is proud to present Landscape Memories Revisited, a group exhibition curated by Steven Hull. Based around the notion of the landscape and its multiple interpretations, whether through memories or through pre-constructed images from literature and popular media, the exhibition takes the position that every fragment of the physical world exists only through our memories and experiences of it. Hence, the term “landscape” not only refers to physical settings but may also include people, events, ideas, and concepts subject to memory. These memories in turn become highly personalized landscapes.

The sequel to the 1999 exhibition Landscape Memories, originally hosted at Rosamund Felson Gallery, Landscape Memories Revisited will feature a range of works, diverse in both scale and medium, by an outstanding selection of local and international artists (the majority of whom were in the original exhibition) including Derek Boshier, Tami Demaree, Charles Gaines, Isabell Heimerdinger, Steven Hull, Jonathan Monk, Paul Noble, Stephan Pascher, Terri Phillips and Georgina Starr. A publication will accompany the exhibition, which features works by all the artists and two fictional texts by Tony White and Heidi-Annette Hall.

Project Space

Patrick Killoran

Immergence

Patrick Killoran, Immergence, 2009. Modified vending machine, doorway and temporary wall

In Immergence, Patrick Killoran’s installation for Las Cienegas Projects, a Coke machine is altered to serve as the new entrance and exit to the gallery’s exhibition spaces. Killoran has rebuilt the threshold of the gallery in an aggressive manipulation of the exhibition experience. Upon passing through the new doorway, visitors actually emerge from inside the machine, finding themselves, in this surprising moment, to be implicated in the artwork’s deceptive representation.

Central to Killoran’s strategy is the artwork that pretends to be something it is not, often times transitioning the viewer from unwitting observer to analyst. Immergence provides the participant with another such opportunity. According to Killoran, the vending machine’s capacity both to merge and define one’s surroundings is a quiet, systematic domination, and its association with an omnipresent corporate image is not a coincidence.

Located, both conceptually and spatially, at the threshold between the gallery and the outside, Immergence also makes its experience a non-negotiable access to the space: once inside the exhibition, the Coke machine is the only way out. And while humorous, the situation is unyielding and unavoidable, subverting the freedom to ignore, part of the basic contract between viewer and artwork. Similarly, our supposed freedom to disregard corporate imagery is questioned, underscoring our consistent bombardment with opportunities for consumption. Even if we avoid purchasing these products, their constant visual and cultural influence cannot be dismissed; they define our landscape and manipulate our appetites.

Back Room
Derek Boshier
Dark Web

Derek Boshier, The Urbanist, 2009. Acrylic on canvas, 72 x 60 inches

“Of all the British artists who emerged with the Pop Art movement of the 1960s, Derek Boshier has been perhaps the most continually inventive. Rather than settling into a signature style he has been constantly experimental, with the result that all the different Boshiers can hardly be discussed simultaneously: the pop artist, the minimal sculptor, the conceptual artist, film-maker, photographer, graphic designer, draftsman and painter. This diversity may be partly due to personal curiosity and intellectual restlessness… but it must also be because, of all the British artists of the second half of the 20th century, Boshier has been one of the most closely attuned and critically attentive in his work to cultural and political changes.

The fact that Boshier has lived and worked for long periods abroad, chiefly in Texas and Los Angeles, has also affected his visibility. There is no milieu that easily knows his work in its entirety.”

–Guy Brett, British art critic and writer, August 2009

MIND ur HEAD: an evening of out sound

Please join us this Saturday night, November 7 at 8:30 p.m. for MIND Ur HEAD, an evening of new music to consist of performances by three ensembles:

Métal Rouge

(helga fassonaki / andrew scott)

Still Life with Bomb

(ted byrnes / ari desano / gregory lenczycki)

Ur

(steve kim / ron russell / gabie strong)

Métal Rouge was formed in 2006 by Helga Fassonaki and Andrew Scott in Auckland, New Zealand with no aim but to open themselves to the spontaneous psych tonalism running through the underbelly of popular music like a vein of pure lightning. Birthed from the rich history of New Zealand underground music they began to mold a sound comprised equally of the forward motion of ecstatic jazz and the drugged stasis of NYC loft minimalism circa ’66. Using electric guitar, vocals and amplified santur as their primary instruments, they forged a new vocabulary of unrefined free spiritual music. Relocating to Los Angeles late 2006, they toured the states, adding lap steel and pedal steel to their arsenal. Related projects include Yek Koo (Helga solo), Nest (Andrew & Nigel Wright), Golden Krone (Andrew & Rohan Evans) and Huzun (Andrew & Tim Coster). Métal Rouge have releases on Root Strata, Not Not Fun, Stunned, and Digitalis.

The simultaneity of both minimalist and maximalist musical practices, the material origins of performance and a developing sense of otherness, contradiction and curiosity define the music of the Los Angeles trio, Still Life with Bomb. By any means necessary, Ted Byrnes (drumset/percussion), Ari Desano (accordion) and Gregory Lenczycki (electronics) conceive and deploy a music that lives between intention and action. Recent performances include the 11th Annual Eagle Rock Music Festival, mapping sound – SASSAS’ 10th anniversary concert, LACMA’s ArtWalk 2009, New Music Mondays @ Cycleway, and accompanying seminal Fluxus artist Jeff Perkins’ light show in Echo Park.

Ur explores the lower frequencies with three electric basses and processors. Wavering orchestral string tones hover in the space between composition and free improvisation. Their recent performance at LACMA was well received. They have also presented at the most recent High Desert Test Sites in Joshua Tree, CA as Sand and Sky Rituals with Helga Fassonaki and Andrew Scott.

Metal Rouge performance from Mind ur Head: an evening of sound

Ur performance

Kent and Kevin Young / Dani Tull / Andrew Freeman and Jay Needham

Main Gallery

Kent and Kevin Young

Supreme Court Justice Stevens Claims Shakespeare Was A Fake

–Mistaken identity, false identity, identity theft, fakes, cloning, identical twins–

Los Angeles-based artists Kent and Kevin Young present an extensive, ongoing series of collages and a drawing derived from the mass of information that is concerned, fascinated, and challenged by shifts and distortions of identity (personal, cultural, historical etc). Examining mass media representations regarding identity and the construction of the self, this work becomes a critique of the “individual”. The constant distortion of what is perceived as individual and the inability to segregate one’s own identity from the social context of our existence challenges any notion of individuality thus re-iterating its reliance on a social construction.

Kent and Kevin Young incorporate a variety of media including but not limited to performance, video, photography, painting, drawing, sculpture, digital technologies, writing, and the internet.

Kent and Kevin have exhibited nationally and internationally at such notable venues as: Steven Wolf Fine Arts, San Francisco; Silver Shed NYC; The Whitney Museum, NYC; Exit Art NYC; ACME, LA; Rosamund Felsen, LA; California Biennial, Newport CA; PILOT Projekt, Dusseldorf; Stalke Galleri, Copenhagen; and Kunsthalle Lophem, Belgium.

Project Space

Dani Tull

Gawdhead and the Cave Mind

“…Combining a lifetime’s accumulation of formal chops and unquenchable creativity with an unholy hybrid of introspective archival obsessiveness and smart-ass pop-cultural glossolalia, Tull has produced an orgy of interpenetrating bodies of work that are as superficially entertaining as they are emotionally and structurally challenging.”

–Doug Harvey, “A Tull Life. The not-so-lost decade”, L.A. Weekly, April 27, 2006.

In Gawdhead and The Cave Mind, artist, composer and musician Dani Tull presents a selection of recent paintings and sculpture.

Dani Tull has presented his work in a vast number of solo and group exhibitions both nationally and internationally, including solo shows in Galerie Haus Schneider Uschi Kolb, Karlsruhe, Germany; Wewerka Galerie, Berlin, Germany; Torch Gallery, Amsterdam, Netherlands; Jessica Fredericks Fine Art, New York, NY; Gallery 16, San Francisco, CA; and locally in Angstrom Gallery, Four F Gallery, Acuna-Hansen Gallery, Special K Exhibitions, and Kim Light Gallery, Los Angeles, CA; and Blum & Poe, Santa Monica, CA.

As a musician, Tull has also collaborated, recorded and performed with a multitude of well-regarded musicians including other multidisciplinary artists such as Marnie Weber’s The Spirit Girls and Jim Shaw, with performances in such prestigious locations as The Hammer Museum, Art Basel Miami and an upcoming performance for Artissima, the international contemporary art fair in Turin Italy.

Dani Tull, a California native, studied at Stanford University (MFA, 1990) and the San Francisco Art Institute (BFA,1988). The artist lives and works in Los Angeles.

Back Room

Andrew Freeman and Jay Needham

The Ground Falls Away: expansion

Inaugurating our new Back Room is The Ground Falls Away: expansion, a video and sound installation that looks at the terrestrial movement of conservation and economic expansion displayed in the landscape of Panama’s Canal Zone. Recorded on location in one of the world’s largest construction sites, artists Andrew Freeman and Jay Needham explore the physical and cultural conditions of the canal-zone as the metaphoric hourglass of the Americas. In this initial offering from their ongoing work in the region, the “expansion” project presents a fluid focal point for the artists; the installation points to a commercial and ecological zone where multinational pressures conspire to unearth the inevitable collision between global conditions and the environment. Produced in a partnership with the Panamanian NGO, la Asociación Panamericana para la Conservación, the work examines a newly widened canal that harbors a myriad of consequences in the wake of its prior existence as part of a transnational US military landscape.

Andrew Freeman (1962, Seattle, Washington) is a Los Angeles-based artist. His artwork includes photography, video, installation and writing. He has presented work in the United States, Asia, Central and South America, Europe and the Middle East. The publication (Manzanr) Architecture Double was published in 2006. His work is included in the permanent collection at the Los Angeles County Museum of Art.

Jay Needham (1963, Evanston, Illinois) is an artist, radio producer and composer. His sound and visual works address the politics of borders and the aesthetics of acoustic reception. His sound art and radio productions have appeared at museums, festivals and on the airwaves worldwide including the Sydney Opera House and the Kiasma Museum of Modern Art. Recent writings and selections of his sound works appear in Hearing Places, published by Cambridge Scholars Press.