November 9, 2012 – January 12, 2012
July 1 – 29, 2010
A group exhibition featuring Jan Handtmann, Susan Gesundheit, Carly Levy and Gary Brown
Co-Curated by Homeira Goldstein, Chairman of the Board of ARTS Manhattan and Ruth Weisberg, artist and Dean of the USC Roski School of Fine Arts, Arts Manhattan is pleased to present Four Artists: Singular Impressions, an exhibition of monotypes by Gary Frederick Brown, Susan Gesundheit, Jan Handtmann and Caryl Levy. These four artists are friends and have worked together for more than five years in printmaking workshops at the University of Southern California, in Carpinteria and in Florence and Giogalto, Italy.
Monotypes are a hybrid of painting and printmaking techniques where an image is worked on a plate and then rolled through the press. In contrast to etching, woodcut or lithography, only one print can be pulled. Monotype workshops, led by Ruth Weisberg, provided a refreshing contrast to the isolation many artists experience in Los Angeles. Working in a communal context has greatly benefited each of the artists and synergies have developed between them. They share a very rich, textural and tactile use of the media and their imagery tends toward the abstract but often with reference to more personal content. Their process of collaborative independence is a valuable model for other contemporary artists.
Caryl Levy has made innovative use of her grandmother and great aunt’s sewing patterns in order to construct ambitious iconic female figures. Jan Handtmann’s sensitivity to collage materials is combined with autobiographical references and a wonderful structural sense. Susan Gesundheit often uses an architectural point of departure in prints that utilize the interplay of screens and patterns. Gary Frederick Brown’s images are the most celestial, highlighting his deep interest in physics with an emphasis on string theory.
Arts Manhattan is a non-profit independent and privately funded art organization in Manhattan Beach committed to bringing contemporary art to the Greater South Bay to enhance the quality of cultural life and art awareness in the community.
November 18, 2009 – January 14, 2010
Curated by Homeira Goldstein, Chairman of the Board of ARTS Manhattan,”My World” presents watercolor works of intense reflections and inspirations done by artist Gayle Garner Roski, a native of Los Angeles. She studied Fine Arts at the University of Southern California, and her vibrant watercolors have been exhibited extensively in museums and galleries from Southern California to Scotland.
A Plein-air watercolorist, a lover of L.A. and avid world traveler, Roski has visited neighborhoods all over in her native City and explored some of the most remote parts of the globe diving un-chartered waters off New Guinea and climbing the summit of Mt. Kilimanjaro, always with paints and sketchbook in hand amalgamating the nature and her art capturing the essence and beauty of her subject matter in brilliant and exuberant colors. One of the great joys of travel for her is seeing how creativity is expressed throughout the world. Connecting to the Art and Artisans of different cultures gives her a profound inspiration.
Gayle is also an illustrator. She has illustrated children’s books a first of which is: “Meiling in China City”, a multi cultural book based on a true story of events during World War II in Los Angeles China City and is working on a U.S.C. Alumni Association cookbook, which will be released this month with original paintings to be exhibited in January 2010.
Roski bridges her fine art career with her civic dedication. She is Commissioner of Cultural Affairs for the City of Los Angeles and has headed Public Art projects throughout the City, including the LA Angel project. Roski is also Chairman of Art for the Cathedral of Los Angeles. She also serves on the Executive Board of the California Art Club and the University of Southern California, School of Fine Arts which bears her name.
June 17, 2009 – August 6, 2009
Curated by Homeira Goldstein, Chairman of the Board of ARTS Manhattan, Frozen & Fluid focuses on three of seven photographic projects by Gil Garcetti; the abstract beauty of the Walt Disney Concert Hall; the soaring spirit and beauty of the Cuban dance; the head-turning sight of women, wonderfully attired in Parisian fashion as they ride their bicycles in Paris.
In the course of his career, Gil was the District Attorney at Torrance Branch office, which he left in 1992 to serve as Los Angeles County District Attorney. Now, 17 years later, he returns to the South Bay not as a politician but as an artist. He believes in the wonders of serendipity and the wonders of life guiding us in our lives.
Gil has explored different styles in his photography. His first two projects focused on the Walt Disney Concert Hall.
IRON (not presented in this exhibition) captures the ironworkers, the beauty of the raw steel and the hard work that goes into a building like this to make it a reality.
FROZEN MUSIC attempts to capture the soaring spirit of the music hall when one sees the building.
DANCE IN CUBA was his effort to show Americans and others that you do not need all the material items to enjoy the wonders of life. Cubans are very poor and have few personal “things”, and yet, when they dance, you can sense their joy and their spirit for life.
WOMEN ON BICYCLE, exclusively shot on the streets of Paris, previews some of the photographs, book soon-to-be-released (October 2009), of women dressed with flair, style, posture, and color coordination that often matches the bicycles they ride. They are doing everything that we do in our cars. Bicycles are used to commute to work, run errands, meet friends for coffee, catch a movie or go to the theatre. Here is where his training and experience as a prosecutor and elected official makes him some what different than other artists. He will use his advocacy skills to work with cities throughout southern California to bring the success Paris has recently found with its focus on bicycles as an element in reducing traffic congestion and improving air quality to our cities. His photographic art is his calling card.
Garcetti states: “What I have found in my art has been numerous opportunities to take my art and use it for purposes beyond which most artists create”.
November 19, 2008 – January 15, 2009
Curated by Homeira Goldstein, Chairman of the Board of ARTS Manhattan, DNA Evolution is selective works from 1987- present by Ed and Andy Moses(father and Son) marking their 5th show together.
Enjoying a reputation as one of the most forceful and consistently challenging abstract painters of his generation, Ed Moses remains a serious painter who deserves a much wider recognition. Born in 1926 near Long Beach, CA and Receiving his B.A. and M.A. from UCLA, he is one of the city’s outstanding abstract artists.
In the course of his career, Ed has explored many styles in his paintings, initially abstract expressionism, then interest in color field painting and in minimalism. His work ranges from compositions featuring repeated decorative and organic patterns to hard-edged geometric designs. Colors in his work rather establish pure aesthetic experience. One would think at age 82 Ed has done it all, and yet he presents the viewers with a whole new vision in abstract painting. Bold vertical striations dominate the multi-paneled canvases in his new works of 2008 and present the strength and power of this legendary Los Angeles artist. “I’ve been tracking paint on a wet surface for many years” Ed says. “There are no pre-imaging or pictorial ambitions. The tracking is very physical–pushing, shoving, looping, etc. I am not trying to express any image, except when the fool steps in. There are physical obsessions and procedures. The fallout can be apparitional imagery.”
Born in 1962 in Los Angeles, CA, Andy Moses received his B.A. from California Institute of the Arts Valencia, CA and he is one the two son’s of Ed Moses.
Deeply conversant by nature and physics and inspirited by patterns, Andy Moses contemplates on the matter of constant changes to the living world. Andy’ earlier works represent his challenge with the chaotic and mysterious images of the space and oceanic world, while his new series Latitudes express much deeper challenge and ongoing examination into the relationship between the processes of art making and the forms in natural world. In quest of recreating the conditions of geological and topographical evolution, Andy’s painting technique fairly embodies the earth’s volatility and evolution rather than just representational descriptions. His physically exhaustive and rather unpredictable approach to brushless notion has more in common with the performance art than with any traditional approach to depicting landscape. “People think rocks are done deals as objects,” says Andy, “but even they are in flux, it’s not over, it’s never over, maybe it’s measured in eons but it’s always changing.”
June 11 – July 24, 2008
Curated by Homeira Goldstein, Chairman of the Board of ARTS Manhattan, Poetry of Paper is the most recent work of Yoshio Ikezaki. A Professor at the Pasadena Art Center College of Art and Design, Instructor at the Southern California Institute of Architecture, Visiting Professor at Musashino Art university, Tokyo, Japan and an Instructor and special lecturer at Tama Art University, Tokyo, Japan, he lives in Japan and U.S.
Yoshio Ikezaki is an artist and papermaker. He creates his art with two basic materials, Paper and sumi-ink. He studied traditional Japanese papermaking under master papermaker, Shigemi Matsuo, in Yame, Japan for six years after having earned his MFA in painting from Florida State University. He creates paper for his own painting and sculpture in order to control uniform thickness and fiber distribution taking ink’s reaction to the paper into account and creating a ratio of different fiber materials.
The images in his sumi-ink paintings are deeply associated with the memories of landscapes he saw during his childhood in Kitakyushu Island, Japan. He visualizes them as if they were slow-moving photographs. To him, there are no man-made objects, but all natural elements like water, earth, sky, light, wind, and moon etc. He shares that experience with his audience through his art as all human beings have experienced similar memories to some degree.
His collages represent gathered images of the same landscapes. The selection and composition of painted landscapes and other images, like trees and plants, emerges through his artistic vision, as he sees the meaning, the relationship and how they are related to each other, which specifies the placement of images and choices of handmade papers.
He uses mulberry bark for his paper sculptures. He cooks them with soda ash for a few hours and beat them after rising with clear water. He uses Japanese Nagashizuki technique to form a sheet of paper. Each sculpture is about 50 to 150 sheets accumulated on top of each other and pressed with 400 pounds of weight to make the layers condensed and hard for 2 weeks. He sees the handmade paper as human skin and spirit. Each sculptural composition deals with the philosophical idea of Zen Buddhism thought of “Shogyou Mujyo” -everything on earth evolves, changes, and perishes but spirit remains to reborn a new life.
His current sumi-ink paintings and sculptures, express MA, Japanese aesthetic term to designate an artistically placed interval in time and space which include meaningful voids created by the deliberate use of blank space. The balance and unification between positive and negative space is the essential theme of his abstract landscape painting and his handmade paper sculptures.
December 3, 2007 – January 24, 2008
Included in several group exhibitions since 2001, “Manhattan Beach Project” is the 4th solo show of Nathan Hayden’s work. His work has been written about in publications including the L.A. Times and Art on Paper. He is currently a Regents Fellow working on his Master’s of Fine Art at the University of California, Santa Barbara.
In his large scale installations and paintings, daily experiences are synthesized into invented landscapes. Reminiscent of cartoons and biological illustrations, his work imagines pop-scientific narratives of worlds in flux. He has continued to develop site-specific installations of large-scale knotted webs made out of string, from which he has hung drawings and objects in elaborate patterns.
Within each of his drawings and paintings is a constructed environment, in which he projects an interest in relationships between plants, animals and mechanical shapes. These scenes and creatures reflect images from his childhood as well as anxieties and anticipation of the future of genetic modification, other emerging technologies, and the increasing amount of pollution to our environment that is often the result of such technological and scientific advances. The organic forms are reminiscent of cartoons or folkloric illustrations from children’s books such as Beatrix Potter, Grimm Fairy Tales, and Dr. Seuss. As individuals inhabiting their own ecosystems, they play active roles in their environments and reflect his interest in biology and storytelling. The ornate and excessive nature of his work mirrors the abundance of language in our media-saturated environment. In producing an atmosphere of symbols, he manipulates images like advertisers spin a product. In order to do this he uses humor and beauty to attract the viewer to pictures that reveal conflict and abjection.
The construction of these installations requires balancing and suspending the structure by tying strings together in overlapping patterns to allow the weight to be evenly distributed. As the building of each of his installations informs the next, they remain in tenuous suspension of fixed meaning. He is increasingly interested in the act of building these structures and the continuous incarnation of his installations as performance. The string structures were originally conceived as a method to display the drawings, but they have become interesting and complex forms unto themselves.
His site specific installation at the Creative Art Center in Manhattan Beach will resemble a computerized matrix of lines which will describe a solid form but also allow us to see through it. This effect will create a large hovering vortex suspended in three-dimensional form. The second component of this installation will consist of drawings and paintings arranged on the wall in a pattern that will hypnotically pull people in, and simultaneously change accordingly as they pass by. By bringing together two and three-dimensionality, this project will not only give an expansive experience of the space, but also invite viewers to feel as if they are a part of the hypothetical biological/industrial worlds before them.
June 27 – July 26, 2007
Curated by Homeira Goldstein, Chairman of the Board of ARTS Manhattan, Torsos and Gestures is the first solo show of Suzanne Erickson’s work. She recently graduated from Claremont University with an MFA degree.
Suzanne Erickson work is connected to female experience and drama. It is a decoding of her life. It is also a practice of disclosure. She exposes her life’s events and reveals some of her humiliations, failures, hopes and successes. She wishes to depict female hypersensitivity, emotionality, obsession and fear. She is also interested in how women act out their theatrical behavior, showing who they are, how they see themselves especially in relation to gender, which can be reoccurring themes.
Dealing with female forms and their emotional state of being, her work is comprised of TWO and THREE dimensional paintings. Erickson uses the process of documentation in creating her work. Depicting the emotional state, she photographs the position and then paints from the photograph.
Erickson’s oversized female sculptures gesticulate different psychological states. Intricate as the wire winds its way through and across these female torsos, the forms are awkward and uncomfortable insinuating another world in which they live, a space of chaos and emotional conflict. They are about gesture as a matter of psychological expression, so much that the women have vanished and only their gestures have remained. Nostalgic in their appearance as the pulling of the past drapery, these sculptures embark on now a contemporary female form. These female forms primarily in shades of grey, black, brown, white and red emote different emotional states like empty vacuums they stand, sit in a scale that is difficult to ignore.