Los Angeles, California 11/12/17
Binder of Women - an artist-led project - is a folio of ten works is available in an edition of 20 for $500 each. To purchase, contact The Pit or go to thebinderofwomen.com beginning December 3. An Artist Print edition is also framed and installed in the Pit's zine shop, and this fully framed AP edition is available for $2,000 and on view December 3-18.
Artists Hayley Barker, Michelle Blade, Claire Colette, Jamie Felton, Kysa Johnson, Lindsey Lyons, Maysha Mohamedi, Erin Morrison, Laurie Nye, and Hilary Pecis have contributed works on paper ranging from representational and unique paintings to abstract and gestural forms with pressed paper for this first release. Conceptualized in Los Angeles this year by painter Hilary Pecis, Binder of Women is an independent platform for contemporary artists to directly share their work as they see fit. This is a unified move to empower female artists, expand their reach, broach the topic of equality and consent in the art world, and take action to grow the number of works by female identifying artists in contemporary art collections.
The Pit is pleased to announce an installation of a new folio of printed works by The Binder of Women, a group of ten LA based artists, in our zine shop.
Hayley Barker, Michelle Blade, Claire Colette, Jamie Felton, Kysa Johnson, Lindsey Lyons, Maysha Mohamedi, Erin Morrison, Laurie Nye, Hilary Pecis
Release party Sunday 12/3/17 from 3-6pm
Binder of Women is an artist-run project creating a collective folio of limited edition works. Artists Hayley Barker, Michelle Blade, Claire Colette, Jamie Felton, Kysa Johnson, Lindsey Lyons, Maysha Mohamedi, Erin Morrison, Laurie Nye, and Hilary Pecis have contributed works on paper ranging from representational and unique paintings to abstract and gestural forms with pressed paper for this first release. The project offers twenty limited edition sets containing a signed work by each of the ten artists.
Conceptualized in Los Angeles this year by painter Hilary Pecis, Binder of Women is an independent platform for contemporary artists to directly share their work as they see fit. This is a unified move to empower female artists, expand their reach, broach the topic of equality and consent in the art world, and take action to grow the number of works by female identifying artists in contemporary art collections.
Surfing the Apocalypse, enamel paint on plaster and cardboard, 2017
TAKEOVER is an art zine project created in 2017 by artist Serena Cole as a means of showcasing outstanding contemporary artwork by female and genderqueer artists which is often under-recognized, as well as an opportunity to foster important conversations about what it means to be a female or gender non-binary person today. TAKEOVER features artwork and thoughts by 36 artists and 1 curator working from a variety of locations such as London, New York City, Portland, Minneapolis, Los Angeles, San Francisco, and Beaumont, TX.Participants include Teresa Baker, Kim Bennett, Lukaza Branfman-Verissimo, Mia Christopher, Sydney Cohen, Serena Cole, Melissa Dickenson, Christina Empedocles, Kristin Farr, Terri Friedman, Rema Ghuloum, Bean Gilsdorf, Stef Halmos, Julie Henson, Elise Irving, Mary Anne Kluth, Koak, Danielle Lawrence, Ace Lehner, Lana Licata, Bruna Massadas, Brigid Mason, Em Meine, Ashley Stull Meyers, Maysha Mohamedi, Kate Nartker, Cate Nelson, Crystal Quinn, Megan Reed, Elizabeth Russell, Sky Shapero, Sarah Thibault, Leah Thomason Bromberg, Tracy Timmins, Jamie Vasta, Marci Washington, and Carmen Winant.
Artists You Should Know
Starting with a small, single guiding idea, Maysha Mohamedi’s minimal paintings offer seeming resolution and careful decision-making through an associative process. The artist sets her own limitations—how far her arm can reach, or toys instead of brushes—as parameters for her own experiments. She balances the liminal expectations of the artist with the rigorous approach of the neuroscientist she once was.In trying to discover meaning, whether it be of the Sublime, or existential anxieties, Mohamedi gestates the idea into forms and shapes with an intuitive resonance. The bodily aspect to her movement and relationship to the canvas implies a performative element, as does the inclusion of everyday objects from her environment— objects through which she engages the paint. She makes a painting about making a painting, told through the narrative of her daily life. Her tool-box of moves and counter-moves set up their reading as self-reflexive but informal, a taxonomy of gesture that is non-monumental, poignant and intimate.
Although they play with symmetry, Mohamedi’s paintings skillfully avoid that deadening trap by allowing a wide latitude to the reflective aspects. The need for balance and order is never allowed to dominate the requirements of the painting. Compositional complexity is enhanced with these off-set versions of mirroring.
The raw backgrounds allow for a more conceptual reading of the stages and relationships between marks; heightening the delicacy and immediacy of the paintings while increasing the sense of transience and fragility. They are moments in time, staged for our consideration, ready to disentangle and disappear like smoke rings: www.mayshamohamedi.com. (MP)
This Week's Must See Art Events in LA:
Kayla Ephros Zen Yenta at in lieu
Zen Yenta is a series of different rooms, all of your best friends finding time to unwind, and the curtain billowing in the breeze.
“if a stanza is a room then I’ll be the freelance temple designer for all the children with custom religions written out on sheets of notebook paper“
(Lincoln Heights, Thursday 7-9pm)
MOCA Music: Teebs, Milo, Josef Leimberg, and DJ Nobody MOCA x SPACELAND presents a free, Summer concert with live music by Teebs, Milo, Josef Leimberg, and DJ Nobody. Alongside the performance is regular museum programming featuring Arthur Jafa's Love Is The Message, The Message Is Death. RSVP
(Little Tokyo, Thursday 6:30-9:30pm)
Why Art Matters! at Torrance Art Museum
Why Art Matters! is Torrance Art Museum's response to the potential defunding of the National Endowment for the Arts. The Museum has invited leading curators from across Southern California to nominate artists that reflect upon the project.
(Torrance, Saturday 7pm)
Maysha Mohamedi and Ryan Fenchel A Material Lab Bites a Peculiar Personified Alchemy at Dalton Warehouse Each artist's personal components get discovered throughout the painting process. The affect of Mohamedi and Fenchel’s artwork provides a cerebral treasure trove that fills up both eyeballs and that viewers can take home and keep as their own secret.
(Downtown, Saturday 6-9pm)
Daniel Gibson Tryin' To Stay On The Bully and Group Show Friends, Do Not Fear at New Image Art Daniel Gibson's new series of large-scale sumi ink paintings on canvas in Gibson’s scruffy yet sensual figurative style are featured in the Project Room. Curated by Daniel Gibson, Friends, Do Not Fear is a group exhibition showing in the Main Gallery.
(West Hollywood, Saturday 7-9pm)
Hannah Plotke Motel Ukiah and Group ShowBAR OSLO at SADE In Motel Ukiah, Hannah Plotke presents a series of 6 diaristic paintings comprised of small tableaus from the artists chaotic and turbulent life spanning the past four years. BAR OSLO features eleven different artists in the project space.
(Lincoln Heights, Sunday 7-11pm)
FOR IMMEDIATE RELEASE
Opening Reception: Saturday, June 17th | 6-9pm
Exhibition Dates: June 17th - July 8th, 2017
Dalton Warehouse is pleased to present A Material Lab Bites a Peculiar Personified Alchemy, a two-person show with artists Maysha Mohamedi and Ryan Fenchel. Both artists approach their studio practice similarly, as an alchemist or material scientist working in a lab. The sciences are relevant to the background of both artists. Prior to considering herself a visual artist, Mohamedi was a neuroscientist. Fenchel references being influenced by Alchemy and natural science which are both regularly personified in his paintings as vessels.
Materially, both artists experiment with their painterly applications on canvas. Mohamedi uses unconventional approaches to painting, favoring using her hands, wrists, found objects and homemade tools that she stamps and drags across the surface. Fenchel experiments with surface texture by using oil sticks and chalk pastel. Both are painting scientists testing their own limits as well as the limits of the medium.
These two artists input- as in putting into a program- personal components that either get repeated over time or discovered throughout the painting process. Maysha’s forms relate to her ethnicity, personal life and background. Often pulling from images found in her own daily life or reusing a previous mark she made, her personality quirks pop up in her mark making. Ryan repeats his forms throughout his work, projecting his drawings of personified vessels. The vessels act as alchemists experimenting to create more vessels like themselves. The affect of Mohamedi and Fenchel’s artwork provides a cerebral treasure trove that fills up both eyeballs and that viewers can take home and keep as their own secret.
Maysha Mohamedi Artist Statement:
I invest each painting with a single idea that ignites an associative process inspiring my mark-making. The marks depict the extent of what I am able to do by stretching across, reaching, and balancing my body along the edges and seams of the surfaces, which lie side-by-side and flat on the floor. No brushes: I favor unorthodox paint application using my hands or wrists, found objects, and handmade tools that I stamp, drag, and pull across the painting’s surface.
I used to be a neuroscientist so I run my studio like a laboratory, with a lot of experimentation. I consider the marks I make as points of light reflected off the back of the retina, ultimately causing a psychological shift in the viewer. But, I also believe in the evocative power of color, shape, and line as a link to that which is holy.
My paintings could be about fate, existential matters, and what it’s like to be underwater for extended periods of time.
Ryan Fenchel Artist Statement:
Ryan Fenchel (b. 1981, United States) lives and works in Los Angeles, CA. He completed an MFA in Art Theory and Practice from Northwestern University in 2007. Past exhibitions include solo and group shows in Chicago, Philadelphia, Los Angeles, Germany and Tokyo. Fenchel is represented by Carrie Secrist Gallery.
Ryan Fenchel’s drawings and paintings depict shapes that resemble vessels – jars, flasks, vases and pitchers. Executed in chalk pastel and oil, the cryptological images yield a purposefully awkward sense of space and balance. Driven by a confluence of tropes, including alchemy, secret societies, Cubism and Surrealism, and natural science, Fenchel connects and combines known forms and meanings in order to generate unfamiliar values and interpretations.
Dalton Warehouse is a collaborative studio and exhibition space located in South Central LA, and run by artists: Katie Kirk, Aubrey Ingmar Manson, Lydia Maria Pfeffer, Daniel Schubert, and Keith Tolch. We believe in engaging and expanding a growing art community open to thought and provocation through a democratic system developed in our own sphere.
Dalton Warehouse 447 E. 32nd St. Los Angeles, CA, @dalton-warehouse www.dalton-warehouse.com
Open Saturdays, noon-6pm, or by appointment