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Welcome to Venison's Weekly Blog! Here you will find advice, show reviews, thoughts and short articles by the Venison Team. We welcome your input comments and thoughts in return! 
​Thanks for reading Venison Magazine!

Quarterly

Opening | A Sense of Things

10/11/2017

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A Sense of Things
presented by Durden and Ray & Paper
1923 S. Sante Fe Avenue
Los Angeles, CA 90021
​
​Opening Reception | Saturday, November 4th, 2017, 4pm -7pm 
Exhibition Dates | November 4th - November 25th, 2017
Gallery Hours | Tues - Sat 10am - 6pm

FOR IMMEDIATE RELEASE — The Sense of Things follows on from the exhibition The Surface of Things presented at PAPER gallery in Manchester over the summer. That exhibition drew inspiration from Piet Mondrian’s 1911 scribble on a note in his sketchbook, "The surface of things gives enjoyment; their interiority gives life." This was the starting point that led him inexorably towards a pure abstraction in the years that followed. 
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Sharon Leahy-Clark // Ghost Hand // watercolor and ink on hanmade paper // 40 x 34cm // 2017
​As might have been anticipated, this move towards abstraction did not hail the death knell of figuration in painting and drawing, particularly in those artists who strive to challenge and conceptualize a figurative practice.​ The Sense of Things, therefore, attempts to represent a group of contemporary artists, whose work has emerged through the 20th century rhetoric that sought the death of realism swiftly followed by painting. In no way is this exhibition anti-abstraction; instead the work presented here has developed from the symbiotic dialogue of abstraction and figuration in contemporary painting. These artists are adept at shifting between the two poles of abstraction and figuration as they seek to find their own language within painting and drawing, whilst simultaneously providing a commentary on the society in which they live and work. ​
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David Leapman // Breath be rude // watercolor on paper // 22 x 30" // 2017
This exhibition also comes out of a dialogue between the USA and the UK and Ireland. Never before have the populations of these two countries become more polarized. In a climate of openly hostile, far right extremism, now more than ever is there a need for artists to speak out. Within the work of these artists is a desperate need to voice their concerns. Yet there is no sloganeering, each artist has subtly embedded their concerns within the surreal, the abstract. They challenge the audience to seek out their meaning and engage in dialogue. These are dreadful times, yet there is a spark of hope below the surface of things, a sense of things in motion and transition. ​
The Sense of Things showcases the work of established, mid-career and emerging artists, all of whom believe passionately in the capacity of painting and drawing to offer a purposeful means of examining the world and our relationships, our exteriority and interiority, and meaning beneath and beyond the sense of things.
Featuring works by:
​Tom Dunn, Jack Duplock, Roni Feldman, Jon Flack, David Hancock, Thomas Wittaker Kidd, Ilona Kiss, Paraic Leahy, Sharon Leahy-Clark, David Leapman, Richard Meaghan, John Mills, Sarah Sparkes
Picture
Paraic Leahy // The unknown part of the self // watercolor on paper // 65 x 50 cm

Facebook: @DurdenandRay
@PAPERgalleryManchester
Instagram: @durdenandray
@papergallerymanchester
Media Contacts: Dani Dodge, dani.dodge@gmail.com
 Sean Noyce, sean.noyce@gmail.com
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Summertime Views

8/2/2017

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We've compiled a list of shows we're excited about this summer. Here's just a fraction of what's happening along the west coast.

Picture

​Satisfactual
Heidi Schwegler + Derek Monypen

​THRU Media
1706 NW Gilson St, suite 7,
Portland OR 97209

On view:
July 2017

​New Modernism

group show
Math Bass - Pat Boas - Chris Gander - Chris Johanson - Samuel Levi Jones -Joanna Pousette-Dart - Amanda Wojick​

Elizabeth Leach Gallery
417 NW 9th avenue
Portland OR 97209

On view:
​July 20th - September 2nd, 2017
Tuesday - Saturday
​1030am - 530pm
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Chris Johanson // Do You Know the Anser to the Riddle (Perceptions #3) // color sugarlift aquatint // 28 x 25" // 2007 // ed of 30
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​Wolf Haven:
​Annie Marie Musselman
​
Charles A. Hartman Fine Art
​
134 NW 8th Avenue
Portland OR 07209

​On view:
​July 20th - September 2nd, 2017
Thurs-Sat
11am - 5pm
Under Cover
Alison OK Frost

Fourth Wall Gallery
473 25th St 
Oakland CA 94612

​On view:
July 22nd - September 9th, 2017
Saturdays, 1 - 5pm
1st Fridays, 6 - 9pm & by appointment
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Miss Van //soft blindess I // pencil and acrylic on paper // 16 x 10" // 2016

​
​ONSET
​group show
Adele Renault - Bagger 43 - Basik - Caratoes - David Ryan - Jade Rivera - Jaime Molina - Joseph Martinez - Josh Grotto -
Lena Gustafson - Li-Hill - Lie -Miss Van - Roan Victor

First Amendment Gallery
1000 Howard St
San Francisco, CA 94103

​On view:
​July 20th - August 17th, 2017
Wednesday - Saturday 12 - 630pm
Currents
Paula Morales

R/SF
1050 Larkin St
​San Francisco CA 94109

On view:
July 28th - August 20th, 2017
Saturday & Sunday 8pm - 1030pm
​& by appointment
Picture
Picture




Me, Myself & Delerium

Michael Reeder

Cordesa Fine Art
942 2nd St #208
Los Angeles CA

​On view:​
July 8th - August 5th, 2017
Wed - Fri 2pm - 6pm
Sat 12pm - 4pm

Figurative Futures
group show
Jason Shawn Alexander - Christian Clayton - Richard Downs - Chambliss Giobbi - Hugo Crosthwaite - Joshua Hagler - Nate Harris - Trenton Doyle Hancock - Seonna Hong - Tim Hussey - Maria Kreyn - Sophia Narrett - Joakim Ojanen - Irene Hardwicke Olivieri - Robyn O’Neil - Erik Mark Sandberg - Larry Rivers - Kristen Schiele - Allison Schulnik - Rodger Stevens - Mark Whalen - Kent Williams - Martin Wittfooth - Marco Zamora

101/Exhibit

668 North La Peer Drive
Los Angeles CA

On view:
​July 22nd - August 26th, 2017
Tues - Sat 10am - 6pm
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Sophia Narrett // Along the Vein // Embroidery thread and fabric // 26 x 20" // 2015
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Loren Erdrich // I Will Touch A Hundred and Not Pick One // 30 x 22" // 2016


Wooleyes
group show
Miguel Aldaz - Thomas Birdsong - Christopher Brown - Nicolas Canales - JooYoung Choi - Seong Chon - Michael Crew - Sylvia Drzewieski - Scott Daniel Ellison - Loren Erdrich - Mandy Lyn Ford - Julio Galarza - Rema Ghuloum - Jamey Hart - Easton Miller - Alex Paulus - Larry Pearsall - Steve Remington - Dale Riley - Karen Veronica Taylor -

UCPLA Washington Reid Gallery
6110 Washington Blvd
Culver City CA 90232

Opening Reception:

August 5th, 2017
6 - 9pm​

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Gathering: Artist Bryan Kring

7/29/2017

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​Abrams Claghorn Gallery
1251 Solano Ave, Albany, California 94706

Showing July 5 - August 31, 2017
Recption: Saturday July 15, 5 - 7 pm 
Artist Talk: Saturday August 12, 5 - 7pm




​www.bryankringdesign.com

@bryankring
Bryan Kring shared, as Danielle introduced, "His enchanting images and dark humored writing... often enhanced with interactive mechanisms that pull you into another world held in the palm of your hand" in our Summer 2015 issue.

We're delighted to have Shared Illusion showing in our retrospective, now up for viewing at Abrams Claghorn through August 31st.  
Picture
Traveling together Apart // edition 40 // paper, ink, thread // 4" x 5" // intaglio and letterpress printed
Picture
Shared Illusion // woodblock print with painted figure // 10" x 4" x 4" // now on view at Abrams Claghorn

Bio: 

I originally wanted to be a writer but moved on to painting when I found that I didn't have any stories to tell. I went to art school and filled my home with large canvases. When there was no room left I switched to printmaking and working with small bits of paper. Now, after finding a few stories, I am working in book arts and am able to do a little of everything and am enjoying connecting the circle back to the writing.
​
I am also a graphic designer and run the creative firm Kring Design Studio.
Picture
Sea Monster // edition: 100 // paper, ink, brass, wood, acrylic // 2.75" x 3.5" x 3.25” // intaglio and letterpress printed with hand water coloring

See the work!

Gathering: A Venison Magazine Retrospective
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Bestiario/Menagerie

1/16/2017

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San Francisco-based curator A.R. Vazquez-Concepcion untangles threads of history, knowledge production, and colonialism in Bestiario/Menagerie, a vibrant, 10-person group exhibition on view at Adobe Books Back Gallery through January 28.

Bestiario or “bestiary”, roughly translated, describes a compendium of animals – imaginary and real – that was bound in book or illuminated manuscript form. Dating to second century Greece, bestiaries reflected a desire to understand the natural and spiritual worlds through collecting, categorization, and comparison.

Review by Roula Seikaly

Picture
Abdiel Segarra Rios // No hay colonia como la mia (There is no colony like mine) Me equivoque pero lo hice con amor (I made a mistake but I did it with love) // 2016
​Centuries on, cabinets of curiosities were amassed as Enlightenment thinking and imperialist expansion brought western Europeans into contact with worldwide civilizations. Through dedicated study of physical artifacts, it was believed, a civilization’s value could be assessed. The sinister footnote to that ambitious effort is, of course, that colonized societies were treated as foreign, as the other, and in need of “civilizing” through paternalistic intervention.
The artifacts that were assembled in personal and later, public curio collections, were regarded as representations of the unfamiliar, and knowledge derived from observation was passed generationally as authoritative. In Bestiario/Menagerie, the objects and the artistic practices that produce them reject containment and the purported “authority” of knowledge through provocative juxtaposition.

Vazquez-Concepcion makes the most of Adobe Books’ intimate gallery, spacing each object to hold its own and, when considered relationally, deliver a deeper and decidedly more troubling understanding when viewed together. ​​​​
Picture
Lionel Cruet // Scatter Sky // 2013/17
Marcela Pardo Ariza’s “Dissident” (2016), in which a humorously unruly pencil line interrupts the banal familiarity of a Post-It note, is both funnier and more frightening next to Fernando Pintado’s “Non Nobis Domine Non Nobis” (Not unto us, O Lord, not unto us) (2016). Its title excerpted from a short Latin hymn that expresses humility and thanks for spiritual blessings, this four-panel charcoal and paint piece portrays crusading Knights Templar who waged multiple wars to reclaim Jerusalem from Muslim invaders. In this pairing, notions of rebellion expand and align an innocuous graphite mark and state-sanctioned terrorists bent on delivering apocalyptic violence in the name of Christianity.
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Fernando Pintado // Non Nobis Domine Non Nobis // 2016
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Marcela Pardo Ariza // Dissident // 2016
Stretching diagonally across the gallery, Santiago Insignares’ colorful biomorphic sculptures “Restriction”, “Implication”, and “Posthumous” (2016) address traumatic experiences and how memory enforces such events as mile markers in our lives. Without knowing that the meat of Insignares’ inspiration includes systematic massacre, displays of tortured bodies, and domestic violence, these sculptures might earn little more than a passing glance. Insignares interrogates authority’s unchecked abuses, and how knowledge is obscured to mask the gravest offenses.
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Mya Pagan_ // Monstrixt // 2017
Maria Guzman-Capron’s “El Tigre y Yo” (The Tiger and I) (2017), and Mya Pagan’s “Monstrix” (2017) recall the first bestiaries and later cabinets of curiosities as embodied versions of fantastical hybrid beasts, but with a subversive twist. Working with discounted fabrics, Guzman-Capron fashions a half-tiger, half-human sculpture that lounges atop a low plinth as though enjoying celebrity status. Mya Pagan offers a playful Pan-like creature revealed by a drawn curtain – again half human and half animal – covered in luxurious fur and crowned with flowers and horns. Engaging objects both, especially because their inclusion within this exhibitionary context points to the wholescale degradation colonized people – women in particular – faced as they were enslaved, displayed like circus attractions for lurid consumer satisfaction, and civilized (read: stripped of their individuality and autonomy) for their own good.
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Maria Guzman // Capron_El Tigre y Yo // 2017
The motley assemblage that is Bestiario/Menagerie demonstrates both the best and worst of human inclinations: curiosity is an evolutionary gift. Building knowledge through collecting, comparing, and analyzing has helped the human species amass a compendium more comprehensive than any bestiary or curio cabinet could contain. When knowledge, or presumed knowledge, is used to subjugate others, we lose our humanity. Through these objects and the juxtapositions they activate, the knots of history, knowledge production, and the ever-present danger of using it to exploit others begin to unravel.
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Paula Morales // Arqueologia Digital // 2017
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Maria Guzman-Capron // Black Sandals // 2015
Adobe Books
​Back Gallery


3130 24th Street
San Francisco CA 94110
​

Exhibition dates | Jan 7th - 28th 2017

Closing Reception | Jan 28th 6 - 9pm
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Blind Spot at Design Matters, Los Angeles

12/2/2016

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Picture
Lauren McCarthy // still from Follower // performance and custom software // 2016
Blind Spot
Opening Reception | Saturday, December 10, 2–6pm
Opening night performance | Armando Cortes at 3:30pm 
Exhibition Dates| Dec 10th to Jan 20th, 2017  
Design Matters Gallery  
11527 W Pico Blvd, Los Angeles, CA 90064
Mon - Fri 9am - 6pm  
 
Featured Artists: Shiva Aliabadi, Jeremy Bailey, Armando Cortes, Matthias Dörfelt, Aaron Giesel, Kang Seung Lee, Lauren McCarthy, Patch Wright 
 

BLIND SPOT is a group show curated by Camella D. Kim presenting eight artists, each working in a distinctive art-making process and sharing a common theme: a ‘blind spot.’ It takes place at Design Matters Gallery in Los Angeles, from December 10th, 2016 to January 21st, 2017.
Picture
Jeremy Bailey // Jeremy Bailey Next // dimensions variable // 2016
In the human body, a blind spot refers to an area of the retina where there are no photoreceptors, resulting in an obscuration gap in the visual field. More commonly, a blind spot refers to a small area outside of a vehicle that drivers cannot see. In order to see what is in a blind spot, one must make a small shift in the way they look, alternating his/her/their positioning or gaze to glimpse what is hidden in a blind spot. It does ​not​ mean that what we cannot see does not exist. With this in mind, the show title references a broader, metaphorical notion of the phrase, highlighting that portion of the mind that houses hidden biases​--​: for the artists in their art practice, decision-making and creative process.
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Mattias Dorfelt // Disassembly // archival digital print on paper // 20" x 20" and variable x 20" // 2016
​Every artist has a bias about their work and the work of others; in being true to their art-making processes, artists cannot disguise their tastes and aesthetics. In choosing subject matter, materials, and the format by which an artist expresses an idea, image, emotion, or concept, the artist is also expressing their preferences, or, the particular perspective from which these choices are made. Moreover, the notion of a blind spot is also relevant from the viewer’s perspective, as they are unlikely to be informed or exposed to the artists’ processes. 
This bias is not an inherently negative quality. In fact, it is often what motivates artists, causing them to delve deeper into their interests and discover different approaches.​ ​Shiva Aliabadi’s ​Safety of Objects  (2016) candidly reveal through ​the use of obscure objects against the readily familiar to highlight a blind spot. ​Circumferencing Circle​ (2015) by Patch Wright reveals hidden space and ‘visible’ space through spatial play ​offering deeper insight into the meaning of privacy or lack thereof. ​Works like Aaron Giesel’s photography series and Kang Seung Lee’s artist book, ​Covers (2015), divulge the ideas often culled from their studio practices.
​Bridging those works are performance and custom software-based pieces by Jeremy Bailey, Armando Cortes, Matthias Dörfelt, and Lauren McCarthy that intentionally and, or inherently embody the invisible or hidden aspects of the art-making-- which are ultimately revealed in the final execution of their work. As a whole, BLIND SPOT amalgamates works ranging from ceramics, photography, sculptures, interactive installation, prints, and custom software that expand the definition of the blind spot, exploiting via art-making, the ambivalent blind spot of the human experience.
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Patch Wright // Circumferencing Circle // Drywall, paint, hardware, electric motor // 29" circle cut out at 58" center // 2015
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Shiva Aliabadi // Safety of Objects (triptych) // plastic, wood, cardboard, 30" x 22" x 4" // 2016
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Kang Seung Lee // Covers // Photocopy on wall, artist books // dimensions variable // 2015
Inquiries about the show: camelladaeunkim@gmail.com
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