“Made in California”

Thursday evening June 25th to celebrate our Golden State with California artists and friends Peter Alexander, Stan Bitters, Kimberly Brooks, Jamie Daughters, Laddie John Dill, Ed Moses, Samuel Moyers and Daniel Wheeler. Special guest Eames Demetrios, pop-up store by our own Trina Turk. A portion of the evening proceeds to PS Arts.

THE GOLDEN STATE proudly features California- based designers including Amahlia Stevens, Ash Francomb, Calleen Cordero, Clare Vivier, Melanie Apple, Michelle Jonas, Rebecca Norman, Staci Woo, Trina Turk and products that reflect our lifestyle and culture. Opens June 2nd.

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Posted in Odds and Ends |

Venice Art Walk

The Venice Art Walk (this weekend, May 16 and 17) is the oldest, most adventurous event of its kind on L.A’s cultural calendar. And while it may be the only to charge (starting at $50 – actually a great value) it also offers the best opportunities in town to snap up remarkable works of art at a silent auction that includes more than 400 original works by many of the best artists now working in L.A. And it is for an extremely good cause – the Venice Family Clinic, now pushing 30 and the largest free clinic in the U.S., serving more than 23,000 Angelenos annually.

Posted in Odds and Ends | Tagged exhibition, John Baldessari, kimberly brooks, Venice Art Walk |

Exhibition: All Under One Roof: A Selection of LA Artists

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FOR IMMEDIATE RELEASE CONTACT: ELIZABETH WILLIAMS
(213) 627-5100
Exhibition: All Under One Roof: A Selection of LA Artists.
Guest curator: Yasmine Mohseni
Dates: April 10-May 8, 2009
Reception: April 10, 2009, 7-11pm
Location: Tarryn Teresa Gallery, 1820 Industrial St, #230, Los Angeles, CA 90021
Monday-Friday 11:00am-5:00pm, Saturday 11:00am-4:00pm

Tarryn Teresa Gallery is pleased to present a group exhibition by guest curator Yasmine Mohseni. The themed exhibition examines interpretations and representations of homelands. Adopted homes. Native lands. New homes. Temporary homes. The 10 exhibiting artists of varying ages and backgrounds examine this personal theme in different media and aesthetics. Where we are and where we are from are inextricably linked to our identity and the way we see the world. And all these artists live under one roof, the city of LA.

Roya Falahi, an Iranian-American photographer working in downtown LA, draws upon unique facets of identity and culture. In her technically stunning portrait series, Camo Tactics (Smells Like Blood), Roya adopts military tactics of camouflage to create phantasmagorical scenes. The disguised and veiled woman is further obscured by the all-red composition; all vestiges of her individual identity are removed. The viewer is left wondering if this woman is a victim of religious fundamentalism or if she’s toying with the portrayal of Iranian contemporary culture by western news media. In Irving Greines’ Working Girls photos, there is no veiling or obscuring; the mannequins’ faces are wholly visible. Irving has humanized these inanimate objects and pulls the viewer into their sad world. The layers of meaning attached to these 2 photos reflect the dichotomies of the artist’s native LA. At the height of their glory, these women may have graced the windows of high fashion stores on Rodeo Drive. Now they are old and broken with flaking skin. Found in the boutiques of Central LA, these working girls are not your typical mannequins: they raise issues of gentrification and class disparity in this decentralized sprawling city. Evoking differences between rich and poor, youth and aging, they suggest the often overlooked beauty that can be found amidst urban blight and ugliness.

Venice-based painter Kimberly Brooks’s representations of LA focus on the light and color of landscape. In her series Technicolor Summer, she melds compositional and thematic influences from David Hockney’s Los Angeles with the bold and decorative style of French Nabis artists like Pierre Bonnard and Edouard Vuillard. Kimberly paints scenes from a summer experienced in high definition. California becomes a living and breathing entity pulsing with vivid color, where the human figure is secondary to the landscape it inhabits. It is a life lived in technicolor. Multi-media artist Kristin Jai Klosterman captures a different aspect of California landscape. Images of oil jack pumps and windmills underscore a harnessing of Southern California’s natural resources. Kristin’s application of oxidized iron to the canvas heightens her work’s industrial aesthetic. And, while her subject matter deals with heavy industry, she
unearths an unexpected rhythmic grace and beauty from the machinery that dots the Southern California landscape from the coastline to the wind farms of Palm Springs.

A recurrent theme in Culver City-based artist Amir H. Fallah’s work is transient homes. In his series, I Put You on a Pedestal, he draws inspiration from diverse sources such as tree houses, tent cities, Al Qaeda bunkers and refugee camps. In these multi-media works on paper, the child-like innocence of the tree house coexists with ominous Al Qaeda bunkers. Tent cities and refugee camps address a nomadic existence, for both the willing and the unwilling participant. His theme is inclusive in that transience is a reality for a large part of the world’s population. Yet, his compositions seem to focus on the individual within the greater collective. In all 3 works, a single structure climbs vertically up the paper as though to reflect an individual’s solitary trajectory. Conceptual artist Gabriela Anastasio broaches a similar topic in a very different way. With her two monumental installations Cubiculum and Archetype, Gabriela considers the concepts of the individual and the collective. In her flagship piece, Cubiculum, the New York transplant handcrafted 402 individual wood cubes which she stacks and balances differently each time, depending on the space it inhabits. A process she documents in short tightly edited videos that demonstrate the delicate process of balancing and stacking each cube. Cubiculum bring to mind dichotomies of the individual and its place within a greater collectivity. Furthermore, the uniformity of the cubes emphasizes the notion of one among many. Her second installation, the monumental Archetype, explores the individual. This delicate skeletal armature is reinforced by bands of knotted cloth, the structure’s skin. Through its inanimate forms, the restrained elegance of Archetype emanates visual cues of human individuality. Archetype is an exploration of the individual within the greater context of Cubiculum’s collectivity.

About the Guest Curator

Yasmine Mohseni is a Los Angeles-based arts writer and independent curator. Her articles have beenpublished in magazines such as BlackBook, Discover, Newsweek, and Whitewall. She is the U.S.correspondant for the Dubai-based arts magazine Canvas and is a contributing writer at Artworks andForYourArt.com. Yasmine has an M.A. in Art and Design History from the Bard Graduate Center in NewYork City, a B.A. in Art History from Occidental College in Los Angeles, and a diploma from Christie’sEducation in Paris. She has worked at the Metropolitan Museum of Art in New York, Christie’s NewYork, and the Musée d’Orsay in Paris.

About Tarryn Teresa Gallery

Tarryn Teresa Gallery is a contemporary gallery dedicated to exhibiting conceptual art in all media. Thegallery seeks to recognize artists whose statement reflects a refined and perfected process in the service oflarger conceptual framework. Tarryn Teresa Gallery is committed to pursuing public art projects and installations.

Posted in Exhibitions/Events |

Michelle Obama’s White House Portrait

The White House revealed the new official White House Portrait of Michelle Obama today. I’m working on a series of portraits right now and am obsessed with the subject. Even though I love her signature bare arms, I found the blue curtain exploding directly above the center of her head a curious choice of composition, as well as the white rose blocking her hand.Michelle Obama Portrait

It reminded of John Baldessari’s “Wrong”, a photograph he made in response to a photography book telling would be artists that strong vertical design elements sprouting from people’s heads in a photograph or painting is wrong.

John Baldessari, “Wrong”

While he was surely mocking the idea of there being a “right” when you make art, I think this White House photographer needs a spanking.

Posted in Odds and Ends | Tagged "Wrong", John Baldessari, kimberly brooks, Michelle Obama, photography |

Michelle Obama, Master Colorist and Me

There is a riot of color issuing forth from the First Lady’s closet and I cannot wait to see what she wears next. Say what you will about whether or not it was “appropriate” to wear a cardigan to meet the Queen or whether that balloon skirt was flattering, Michelle Obama is a Master Colorist — and I as well as my artist friends could not be more ecstatic.2009-04-05-obamacollage.jpg
A Collage of Michelle Recent Outfits

A woman’s journey through fashion is a life cycle in and of itself. As I look at the bold strokes of Michelle’s color sense today I reflect upon Michelle’s journey in fashion and color as one that might parallel my own and other women like her.

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Behold Matisse

As a young girl, I thought of fashion and color as a means to make myself more attractive to the opposite sex. My grandmother once told me, “Red and yellow, catch a fellow; pink and blue, keep him true.” My entire sense of fashion was about sexualization and objectification. I essentially wanted to make myself look pretty for the boys I had crushes on. At camp I would look at Seventeen, Vogue, Cosmo and Bazaar. But when I went to college, I got serious about my studies and great literature and momentarily shunned fashion or looked down upon caring too much about it. This was not just because I didn’t have any money to pay for it. It was also due to the culture inside the Ivory Tower — and I believe many other Ivy League-type schools — which mostly eschews fashion in exchange for the idea that the main purpose of our bodies is to provide a container for our brains. So while I may have I swooned over the finery described in words during a Proustian night at the Opera, fashion stayed in my head whereas Levi’s, a comfortable Gap t-shirt and a cool leather jacket was my uniform.

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Obama, Matisse and J. Crew

It is often after women leave the university and enter the workforce that a different sense of fashion emerges and we pick up the magazines again, first for ideas and then reading them with new eyes. I started to become more cognizant of fashion as a language. Navigating the workforce was confining for me at first and my leftover sexy sense of fashion led to unwanted passes. Even though my first job was in the design industry, it was a very macho, male-dominated environment, not unlike Mad Men. There was a need to balance looking creative, smart and tough if you were to be taken seriously. I opted for a reinvention/upgrade of my student self and learned that black boots or heels and a crisp white shirt is better for negotiating a room full of men. I lived in San Francisco. It was often grey and cloudy. And with the exception of an occasional red sweater, most of my wardrobe was black. It was very easy to go shopping. While I only touched color with cool scarves, I had unwittingly become a student of the silhouette. Languages, after all, must be learned one word and one phrase at a time.

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Obama, Cezanne, Narcisso Rodriguez

And this is where a lot of us working girls sleep walk well into our late twenties. We’re finally earning money and can afford a fabulous shoe. For me, I had moved to Los Angeles and the working girl uniform from San Francisco was no longer cutting it. (The different fashion styles of San Francisco and Los Angeles is a subject in and of itself.) I suddenly no longer saw fashion as a weapon of either sexuality or power in the work place, but rather as a universe of fabric, texture, color just as vibrant as the ones on my palette in the studio. I often dived into one color at a time, learning what works, what makes sense together and what looks best on me. After gaining a certain confidence, women learn to really celebrate themselves and life itself through what they choose to wear. That is what Michelle Obama is doing with color and so much more.

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Obama, Matisse

In reality, a woman’s journey in color and fashion is a sign of a healthy society. All the most oppressive regimes towards women cover them in black. I don’t care what the faux religious excuses of Saudi Arabia, Pakistan and Afghanistan are. The silence of color in an entire culture is emblematic of the suppression of women’s spirit and influence on it’s culture. Michelle Obama’s use of color and fashion is empowering and enlightening to the women in this country. It is the fashion equivalent of Walt Whitman’s “Leaves of Grass” and awakens in all of us the beauty of life and every day. As an artist, I am doubly appreciative of splashes of chartreuse and yellow, purple and green as fly across my television and computer screen. As an American Woman, I am filled with pride and hope it spreads like a California Wildfire.

Posted in Huffington Post Blog |

Exhibition: All Under One Roof: A Selection of LA Artists

FOR IMMEDIATE RELEASE
CONTACT: ELIZABETH WILLIAMS (213) 627-5100

Exhibition: All Under One Roof: A Selection of LA Artists

Guest curator: Yasmine Mohseni
Dates: April 10-May 8, 2009
Reception: April 10, 2009, 7-11pm
Location: Tarryn Teresa Gallery, 1820 Industrial St, #230, Los Angeles, CA 90021
Monday-Friday 11:00am-5:00pm, Saturday 11:00am-4:00pm

kb-technicolor.jpg

tarryn-teresa-gallery.jpg

Tarryn Teresa Gallery is pleased to present a group exhibition by guest curator Yasmine Mohseni. The themed exhibition examines interpretations and representations of homelands. Adopted homes. Native lands. New homes. Temporary homes. The 10 exhibiting artists of varying ages and backgrounds examine this personal theme in different media and aesthetics. Where we are and where we are from are inextricably linked to our identity and the way we see the world. And all these artists live under one roof, the city of LA. Continue reading

Posted in Press |

Time Magazine

The Oracle
(An Article about Arianna Huffington)
“…All the residents of Huffington’s large romantic stone house in Brenstwood, Calif., are female:  Huffington, her sister Agapi and her two daughters Christina, 19 and Isabella , 17.  The walls of the living room are adorned with paintings by Francoise Gilot, one of Picasso’s lovers and [Los Angeles-based female artist] Kimberly Brooks….”

Posted in Huffington Post Blog |

Facebook and The Death of Mystery

I received an email recently notifying me that I was “tagged” in a facebook entry called “25 Things You Don’t Know About Me” from an old friend. We actually went on a few dates many many years ago and I haven’t seen him in about three years, but we’ve remained friends. Curious, I clicked on the link and learned twenty five things about him I never knew, like the rest of his four hundred friends. He’s a very witty guy, so it wasn’t quite like “I like piña coladas and getting caught in the rain,” but in another way, it was oddly close. By tagging me he was requesting, or essentially daring me, along with the other nine friends he had tagged, to do the same thing. I impulsively started to do it and then never posted anything.

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My Facebook life started off about a year and a half ago with friends and people I know closely, then my family started dribbling in, and the next thing I knew my friends included that person from a job I had ten years ago, students I’ve taught at art school, that really weird guy from high school, and an old roommate in college… and on and on it continued. That was the first sign of “friend leakage”, where I had expanded beyond the scope of intimate friends and was venturing into people outside of my circle, but usually by only a few degrees — at least I knew them.

Then things started getting out of hand. It started with a friend who is a supreme animal rights crusader with a very sexy, come-hither thumbnail picture. I haven’t seen her in years but she wrote a book and is semi-famous for the cause, so because of her, I have about one hundred extra friends. I know this because when someone requests that they be my friend in Facebook, I can see all the friends we have in common. I kept seeing this one friend, and then I realized I had become a part of the save the animals movement because our mutual friends kept including the friends I had met through her. Honestly, I started to get a little loose about whom I would “friend”– that’s right, Facebook made me feel promiscuous– I would wait then say, “Oh what the hell, after all, we have mutual friends.” It was then when I truly appreciated the fractal component of the friending process.

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“The Facebook Friending Process” (Illustration courtesy of Mandelbrot)

When I joined initially, I saw in Facebook something that resembled the early days of AOL when people were giddy about first sending emails and buddy lists and instant messaging were all the rage. Unlike many other people, who put videos of their kid’s first step, pictures from their recent barbecue and the details of their love life (options are “single”, “in a relationship”, “married” and “it’s complicated”), I try not to reveal too much — at least I don’t think I do — but even that’s getting blurry. At some point I must have made the decision that because I am an artist, my work is something I want and need to share, and I think of Facebook as one of many tools to do that. I’ve also come to consider one’s digital footprint to be, in a sense, another form of existence outside of the physical body. And it’s scope and appearance needs to be tended to so that it compositionally represents the portrait you want to present to the outside world.

But what struck me as so odd about the request for 25 secret things about me was I instantly envisioned that I could be creating a white paper on my entire spiritual, intellectual and life DNA. Imagine getting friended by someone who you’ve been set up with on a date, and he goes on your site to read what would ordinarily be doled out like pearls rolling down a pillow after an intimate evening over months or years of getting to know each other. If you fully fill out the profile questionnaire, you could let someone know every movie or favorite song you like, your favorite hobby and, along with your photos, video and baby pictures, it would read like a map of your very essence.

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Kimberly Brooks. Detail from “Delivery” Oil on Panel. 2004

Ten years ago, I wouldn’t have believed that Amazon would close Cody’s Books on Telegraph Avenue in Berkeley, along with countless other independent bookstores; that I’d see a “going out of business” sign at the Tower Records down the hill; that bloggers and aggregators would somehow supplant (usurp?) journalists for news sources and that the New York Times (The New York Times!) would mortgage it’s building to stay alive.

I cannot help but to cast my mind forward. My ten year old son started a blog while we were at a dinner party. Now he wants to spend hours gathering cool content for it to show his friends. When he’s not begging me for a phone, it’s for me to blog about his blog so he can get a bigger audience. I wonder what they will call the generation who grows up with all this. I believe Time Magazine called mine “X” because it was right after the baby boomers and we hadn’t defined ourselves yet (well, we showed them). Then came “Generation Y” because it was after us. I would rename this one Generation “E” for “Exhibitionist”, (we can throw in “Exposure” and “Electronic” while we’re at it.) These social networking applications are grafted onto their gray matter and perhaps they might never know what mystery is. They’ll google or “friend” every classmate, teacher, co-worker, boss and know everything there is to know about that person. There will be no more boundary between “personal” and “professional”. Everyone will engage in wanton fractal friending and be connected with each other and Kevin Bacon. Maybe, if everybody becomes friends, this is how we will achieve Peace on Earth!

My husband is not on Facebook. I’m kind of jealous. He talks to a small group of people one-on-one via email. Because at the end of the day, and I mean that quite literally, Facebook has become another inbox for me to check. Maybe it’s because I always want to be mysterious or that as an artist, like Greta Garbo, “I just vant to be alone.”

(Published on The Huffington Post)

Posted in Odds and Ends |

Pen (Japanese Art Magazine)


Kimberly Brooks Technicolor Summer Exhibition
was featured in Pen, a widely circulated magazine in Japan.

Posted in Press |

artHAUS 2009

Group exhibition on Main Street in Venice for artHAUS. The exhibition features twenty five artists from Berlin and Los Angeles. The curator, Thomas Shirmboeck, flew in Wednesday from Germany to hang the show. Here are the details:The Opening Reception is Saturday Jan 24th at 5 PMAddress is 700 Main Street in Venice (Valet avail)It’s open during this weekend from 12-4 Saturday and Sunday, then by apt only. Www.arthaus.usartHAUS Banner

PRESS RELEASE

artHAUS 2009

los angeles | berlin

www.arthaus.us

FOR IMMEDIATE RELEASE

Exhibition: artHAUS 2009 Los Angeles – Berlin25 Artists 9 LoftsJan 24- Feb 24Reception: Sat June 24, 2009 5:00 pmOpening Weekend Sat/Sun 12:00-4:00Location: Dogtown Station700 Main StreetVenice, CAVenice, CA–artHAUS is a group show featuring twenty five artists from Los Angeles to Berlin curated by Thomas Schirmböck of Zephyr Gallery and the Reiss-Engelhorn-Museen in Mannheim, Germany. The works consist of photography, painting, sculpture and video and are spread throughout nine Manhattan-style lofts at Dogtown Station 700 Main Street in Venice, California. There will be a reception for the artists Saturday January 24, at 5:00 pm.

The theme of the show, Confrontation:Collaboration, portrays “…how two related but often enough misunderstood parts of the world meet in a fest for art” says Thomas Schirmboeck, Curator. “Abstract painting is confronted with self reflecting photography, sculptures which give us the idea to understand the world of creatures meet aerial photography; falling artists meet in video art the false beauty of the Oktoberfest. Art is always about the world and how to see her, transform her. This show brings splinters from different kinds of art together and lays them out like a mosaic in which colors, techniques and materials stand together.”

About artHAUS

ArtHAUS is a roaming international exhibition that integrates contemporary art and architecture by engaging world class curators to showcase cutting edge artwork– photography, video, sculpture and painting– in newly renovated, unfurnished residences that celebrate the newest local architecture of the host city.The ArtistsFeatured artists include painters Charles Arnoldi, Edith Baumann, Kimberly Brooks, Craig Butler and Myriam Holme; photographers, Douglas Busch, Ford Gilbreath, Werner Huthmacher, Ruth Hutter, E.F. Kitchen, Jenny Tall Kroftova, Robert Mack, Jurgen Nogai, Marc Raeder, Florian Reischauer, Stefanie Schneider, Bill Sosin, Joachim Seinfeld, Marvin Wax, Al Weber and Sascha Weidner; and sculptors Tom Chapin, Gwynn Murrill. Roughly half of the artists are based in Southern California and the other half from Germany.

About Thomas Schirmböck, artHAUS 2009

CuratorThomas Schirmboeck is the director of the Zephyr Gallery and curater for the contemporary photography for the Reiss-Engelhorn-Museen in Mannheim, Germany. Mr. Schirmboeck has produced eighty four shows internationally ranging from photography, painting and installation. From 1996 – 2004 he was founding manager of “Fotogalerie Alte Feuerwache”, a public space for photography and related media as one of the leading art spaces for contemporary media in Southern Germany. Before this he lectured in art history at the Manheim University. He is and was a member of several public commissions including Germaine-Krull-Foundation, Wetzlar, Germany, Welde-KunstPreis, Schwetzingen, and senior member of the board City Gallery of Mannheim. He studied art history, archaeology and political sciences at Heidelberg University. As an editor he has published numerous catalogues and written essays for book publishers.For more information about the event go to www.arthaus.usPress Inquiries contact Deborah Campbell using our contact form or call 310.457.5477###

Posted in Exhibitions/Events | Tagged artHAUS, berlin, curator Thomas Shirmboeck, exhibition, Germany, kimberly brooks, Los Angeles, Mannheim, Reiss-Englehorn-Museen, Zephyr Gallery |