PLEASE NOTE THAT OUR WINE TASTING
HAS BEEN RESCHEDULED FOR FRIDAY JUNE 7th, 2013
CLICK HERE FOR DETAILS

Our annual nature show takes a turn, winding its way through country vineyards,
examining the rich cultural history of viticulture.  Earliest records have shown the discovery of fermentation as early as 7000 BC and its influence on the world of art is undeniable.
Wine has been celebrated and stored artistically for centuries for spiritual rituals,
religious ceremonies, medicinal purposes and social occasions.
Our featured artists explore these rich histories – creating works
‘under the influence’ in a manner of speaking.
Join us in celebration as The Loft at Liz’s
welcomes you to raise a glass
for Oenophilia.

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The Projects Room at The Loft at Liz’s hosts The International Photography Award (IPA)
winners for a second consecutive year.

“ONE SHOT Spaces: Inside, Outside and the Spaces Between” opens during Month of Photography LA (MOPLA) sponsored by The Lucie Foundation.  Inspired by the theme, curator Liz Gordon offers a look beyond the physicality of Spaces.   Our main gallery space will feature works from five top photographers in thematic relation to the IPA’s annual ONE SHOT competition.

Artist Clayton Campbell literally turns his poignant images of Abu Ghraib, inside and out,
creating large-scale geometric abstractions.  His geometric banding is reminiscent of
maladjusted picture tube television images, wherein the artist implies our readiness
to accommodate and compromise our points of view.

Photographer Franklin Londin offers up spaces in glorious 3D, with stereoscopic images presented via his sculptural custom-designed viewing systems.

Mark Steven Greenfield features lenticular works from his series “Incognegro”.  Using appropriated photographs of white people in blackface, just as whites appropriated African American culture, Greenfield offers alternate context wherein a photo negative image is the default lenticular image. His work exposes and dramatizes the complexities surrounding issues of race, identity and perception.

Physical spaces or a subsequent lack thereof are explored in the works of artists
Helen K. Garber, Louis Jacinto and Ave Pildas.

GALLERY MAIN

Franklin Londin
Clayton Campbell
Mark Steven Greenfield
Helen K. Garber
Louis Jacinto
Ave Pildas

PROJECTS ROOM

IPA Competition Winners
Featuring Photographers:

Thomas Ahern
David Airob
Alma Photos
Marioandrea Barbantini
David Barbe
Mary Ellen Bartley
Drora Bashan
Franck Bohbot
Corrado Chiozzi
Matteo Cirenei
Kathy Corday
Gabriele Croppi
Seulki Ki
Thiemo Kloss
Daniel Seung Lee
Angie McMonigal
David Oliete
Thomas Pololi
Vin Rathod
Andy Rudak
Laura Sauchelli
Yingting Shih
Kathrin Simon
Marleen Sleeuwits
Kjetil Vatne
Zoe Wetherall
Georg Worecki

Exhibit Featured 03.30.13 – 05.06.13

OPEN SHOW LA
In Conversation With The Photographers
TUESDAY APRIL 16, 2013
7:30 – 9:30pm

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Clayton Campbell

Artist Statement- ONE SHOT : [SPACES] Inside, Outside and The Space Between

The work I do as an artist using photography deals with the intentional corruption of digital imagery so they become a departure point for visual opportunities not possible in the original image.

What I mean by this is that I like to mess it up and work with what other people think of as mistakes. I’m an artist who uses photo shop to create fictional narratives. I most often have people in my finished works, and they are there to tell some kind of story that relates to our times, the issues of our day, and the emotional and spiritual states of mind we pass through.

Formally, I go “inside” the digital jpg file by opening up its code and reprogramming it to “corrupt”. I scramble the information, and when I re-open the file as a jpg it breaks apart into shards and bands of information, creating an abstraction of the original. This process is very much like the ‘controlled accidents’ of action painters like Jackson Pollock that I learned as a boy. And so I am using the same methodology, randomness with intention.

I use the corrupted image as a background, and then work on top of it layering in colors, brushwork and other images. In this show, I have chosen works that are challenging. The two large photographs are appropriated from the Abu Ghraib torture photos made by United States military personnel. The other works are slide shows of images from my series Sex in California: Parts 1 through 8”. These pornographic images were appropriated from primetime Cable TV on major networks.

Both images are highly sexualized and their juxtaposition, if you don’t know the titles, are almost interchangeable. Viewers will have different experiences based on their own moral compass. The Abu Ghraib photos are almost pleasing to look at but are derived from truly corrupted pictures of torture on unwilling victims. Because they are abstracted I try to seduce the viewer back into the often ignored human rights discussion by not showing the actual image that is too easy to become numb to and dismiss. The pornography shown on nightly TV becomes more erotic and perhaps pleasing to look at when corrupted, and often involve people who are willing to be in those positions, no pun intended. Between Abu Ghraib and Sex in California, the links between sex, violence, pleasure, exploitation and abuse are all there to be reflected upon.”

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Louis Jacinto began photographing in Los Angeles in 1975 and is noted for his iconic images of the Punk Rock music scene in Los Angeles from the late 1970’s.  While several books from that seminal period in American music have since appeared, Jacinto’s images captured highly influential, yet overlooked musicians including Nervous Gender, The Know, The Go-Go’s with original member Margot Olivera, and The Bags, among others.

Both Jacinto and the East Los Angeles art collective, ASCO crossed artistic paths throughout the 1970’s and 80’s, most notably in Jacinto’s series of photographs documenting an art exhibit and Punk Rock music show, “GRONKPATSSIPARTY”, curated by ASCO artists Patssi Valdez and Gronk on October 31, 1978.  Three images from that limited edition series are featured in the ASCO Retrospective which opened in 2011 as part of the regional Pacific Standard Time:  Art In Los Angeles 1945 – 1980.



In 1981 and 1982 Jacinto was the official photographer for the Sunset Junction Street Fair in Los Angeles.  His images captured a neighborhood coming together – gang involved youth and the gay and lesbian community – and working side by side for the betterment of all Los Angeles.

In 1988 Jacinto began a series of photographs of the word “Los Angeles” as it appears in the environment.  One image from this series was given an award at the Los Angeles Municipal Art Gallery in 1989.  Throughout the 1980s and early 1990s Jacinto participated in the art collect LA ART.

Since 2006 Jacinto has published several books of his photographs including PUNKROCK LOSANGELES, Edge of the World:  Self-Portraits 1976 – 2007, GRONKPATSSIPARTY, The Bags, Hope Fading, The Beatles In Los Angeles, The Umbrellas Project and Patti Smith ‘78.

Since 1980 Jacinto has exhibited throughout the greater Los Angeles area as well as at the American University Museum, Washington, D.C.; El Museo de las Artes, Guadalajara, Mexico; Los Angeles Municipal Art Gallery; Claremont Museum of Art, Claremont, California; Los Angeles County Museum of Art; Williams College Museum of Art, Williamstown, Massachusetts; Vincent Price Art Museum, Los Angeles, California; University Museum of Contemporary Art, Mexico City.

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In 1971 Pildas began working at Capitol Records in Hollywood as Art Director and designed and photographed album covers for Capitol’s recording artists. He launched a career as a freelance photographer and designer soon after, specializing in architectural and corporate photography.

His photographs have been exhibited in one man shows at the: Contemporary Arts Center, Cincinnati, Photographers Gallery, London, Janus Gallery, Los Angeles, Gallerie Diaframma, Milan, Cannon Gallery, Amsterdam, Gallerie 38, Zurich and numerous group shows. They have been featured in: The New York Times Magazine, ‘ZOOM’, ‘PHOTO’, ‘CAMERA’, ‘photographic’ and many publications both in the United States and abroad . Photographs by Ave Pildas are included in the collections of the Museum of Modern Art, New York; the Bibliotheca National, Paris; the University of Arizona as well as numerous other public and private collections. He is a Professor Emeritus at Otis College of Design.

Ave currently lives in Santa Monica, CA in the solar powered, xero scaped home and studio he collaborated on with W3 Architects. He is digitally archiving his vintage work, and continues with new projects while inspiring, polishing and guiding young talent.

EDUCATION

1964-67 Kunstgewerbeshule Basel, Switzerland
Graduate Studies
1959-63 Art Academy of Cincinnati, B.A. Design
1957-59 School of Architecture, University of Cincinnati

TEACHING EXPERIENCE

2008-12 Professor Emeritus,
Otis College of Art and Design, Los Angeles
2006-08 Professor of Design,
Otis College of Art and Design, Los Angeles
2001-07 Chair, Communication Arts Department
Otis College of Art and Design, Los Angeles
2003-04 V.P. of Education, AIGA, Los Angeles
2002 Guest Lecturer, IVE, Hong Kong
1996 Director of Publications
Otis College of Art and Design, Los Angeles
1995-96 Interim Chair, Communication Arts Department
Otis College of Art and Design, Los Angeles
1989 Guest Lecturer, Ravensborne College of Art
Ravensborne, England
1982-83 Guest Lecturer, Leichester Polytechnic Institute
Leichester, England
1981-82 Lecturer, School of Architecture
University of California, Los Angeles
1981-2007 Professor of Design
Otis College of Art and Design, Los Angeles
1976-79 Instructor, Art Center College of Design, Pasadena
1976-79 Instructor, California Institute of the Arts, Valencia
1968-71 Assistant Professor of Design
Philadelphia College of Art, Pennsylvania
1967-68 Instructor, Graphic and Package Design
Layton School of Art, Milwaukee, Wisconsin

PROFESSIONAL PRACTICE

1975-2012 Freelance Photographer and Designer
1974-75 Designer, Gambit magazine, KCET, Los Angeles
1973 Co-founder, “Plug In, Inc.”, Los Angeles
1971 Art Director, Capitol Records, Capitol Industries’
Los Angeles
1970-71 Art Director, American German Review,
Philadelphia, Pennsylvania
1963-64 Designer, Gateway & Pitt Studios, Pittsburgh
1960-63 Art Director, Public Library of Cincinnati and
Hamilton County, Cincinnati, Ohio

SELECTED EXHIBITIONS

2010 “Paper Movies” PØST Gallery Los Angeles
2009 “10 Jazz Greats + 4”, Jazz Bakery, Culver City, CA
2008 “Emphasis: Santa Monica”, Barrett Gallery, Santa Monica City College, Santa Monica
2006 “Omage” Track 16 Gallery, Santa Monica, CA.
1992 “Sixth International Photo Salon”, Uzvara, Latvia
1992 “Nudes in the Town Hall Prison”, Estonia, USSR
1992 “150th Anniversary of Photography”, Riga, Latvia
1988 “Universal/ Unique”, University of the Arts, Philadelphia, PA
(traveling)
1987 “International Photo Salon”, Novosibirsk, USSR
1982 Solo exhibition, Leichester Polytechnic Institute, Leichester, England
1981 “Photoflexion”, L.A. Center for Photography
1979 “L.A. by L.A. Artists”, Los Angeles Municipal Art Gallery, Barnsdall Park
1979 “Photographic Directions”, Security Pacific Bank Gallery, Los Angeles
1978 Solo exhibition, Janus Gallery, Venice, California
1978 Solo exhibition, Galleria Diaframma, Milan, Italy
1977 Solo exhibition, Contemporary Arts Center, Cincinnati, Ohio
1976 Solo exhibition, Gallerie Image, Liege, Belgium
1976 “Sequences”, Stedelijk Museum, Amsterdam, Holland
1976 “Second All California Photography Show”, Laguna Museum of Art,
Laguna Beach, California
1976 Solo exhibition, Gallerie Paule Pia, Antwerp, Belgium
1975 Solo exhibition, Gallerie 38, Zurich, Switzerland
1975 Solo exhibition, Photographers Gallery, London, England
1975 Solo exhibition, Galleriea Diaframma, Milan, Italy
1975 Solo exhibition, Galleriea Dell’Imagine, Varese, Italy
1973 Solo exhibition, Soho Photo Gallery, Los Angeles

BOOKS PUBLISHED

2000 Movie Palaces. Los Angeles: Hennessy & Ingalls
1981 Movie Palaces. New York: Crown Publishers
1978 Art Deco Los Angeles, New York: Harper & Row

SELECTED PUBLICATIONS

1997 CMYK, San Francisco / New York
1994 Confetti, New York
1984 24 Hours In The Life Of Los Angeles
1984 Photographic Encyclopedia International, M.et M. Auer, Geneva, Suisse
1978 P.S.A. California
1978 New York Times Magazine, “Op Ed”
1977 New West L.A.
1976 Picture, United States
1976 Zoom, France
1975 DU, Switzerland
1975 Creative Camera, Great Britian
1975 Fotographia Italiana, Italy
1972-75 Photographic Magazine, United States
1972 Photographic Quarterly, Winter, United States

PUBLIC COLLECTIONS

Atlantic Richfield Corporation, Los Angeles
Academy of Motion Picture Arts and Sciences, Los Angeles
Cincinnati Art Museum, Cincinnati, Ohio
Los Angeles County Museum of Art
Museum of Modern Art, New York
University of Arizona, Tempe
Whitney Museum of American Art, New York
Biblioteque National, Paris, France

PARTIAL CLIENT LIST

Atlantic Richfield Corporation, Los Angeles
Academy of Motion Picture Arts and Sciences, Los Angeles
Cincinnati Art Museum, Cincinnati, Ohio
Los Angeles County Museum of Art
Museum of Modern Art, New York
University of Arizona, Tempe
Whitney Museum of American Art, New York
Ampersand Inc., Los Angeles
Cincinnati Symphony Orchestra, Cincinnati, Ohio
East West Publications, Los Angeles
French American Line, Paris France
Getty Museum and Trust, Los Angeles
Grove Press Publishers, New York
Hughes Air West, Los Angeles
Island Records, Los Angeles
KCET Television, Los Angeles
M.C.A. Universal, Los Angeles
Metro Goldwyn Mayer, Los Angeles
Minolta Corporation, Newark, New Jersey
Motown Records, Los Angeles
Nationwide Papers, Hamilton, Ohio
New York City Aquarium, New York
Panda Corporation, Los Angeles
Peterson Publishing, Los Angeles
Philadelphia International Airport, Pennsylvania
Pittsburgh Plate Glass, Pennsylvania
Ron Rezek, Los Angeles
Shelter Records, Los Angeles
St. Francis Medical Center, Los Angeles
St. James Hotel, Los Angeles
Ultramar Oil Company, Montreal, Canada
U.S. Steel, Pittsburgh, Pennsylvania
Warner Brothers, Los Angeles
Westinghouse Corporation, Pittsburgh, Pennsylvania

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Mark Steven Greenfield will feature lenticular works from his series “Incognegro”.  Using appropriated photographs of white people in blackface, just as whites appropriated African American culture, Greenfield offers alternate context wherein a photo negative image is the default lenticular image. His work exposes and dramatizes the complexities surrounding issues of race, identity and perception.  These works will be featured during MOPLA (Month of Photography LA) in conjunction with the IPA (Int’l Photography Awards) annual ONE SHOT competition. Click here for exhibit details.

A native Angeleno, Mark Steven Greenfield studied under Charles White and John Riddle at Otis Art Institute in a program sponsored by the Golden State Life Insurance Company. He went on to receive his Bachelor’s degree in Art Education in 1973 from California State University, Long Beach. To support his ability to make his art, he held various positions as a visual display artist, a park director, a graphic design instructor and a police artist before returning to school, graduating with Master of Fine Arts degree in painting and drawing from California State University, Los Angeles in 1987. From 1993 through 2010 he was an arts administrator for the Los Angeles Department of Cultural Affairs; first as the director of the Watts Towers Arts Center and the Towers of Simon Rodia and later as the director of the Los Angeles Municipal Art Gallery. In 1997 he also joined the faculty at Los Angeles City College where continues to teach courses in Drawing and Design. In 1998 he served as the Head of the U. S. delegation to the World Cup Cultural Festival in Paris, France and in 2002 he was part of the Getty Visiting Scholars program. He has served on the boards of the Downtown Arts Development Association, the Korean American Museum, and The Armory Center for the Arts and was past president of the Los Angeles Art Association/Gallery 825.

Greenfield’s work has been exhibited extensively throughout the United States most notably at the Museum of Contemporary Art of Georgia, the Wignall Museum of Contemporary Art and the California African American Museum. Internationally he has exhibited in Thailand at the Chiang Mai Art Museum, in Naples, Italy at Art 1307, Villa Donato and the Gang Dong Art Center in Seoul, South Korea. His work deals primarily with the African American experience and in recent years has focused on the effects of stereotypes on American culture stimulating much-needed and long overdue dialog on issues of race. He is a recipient of the L.A. Artcore Crystal Award (2006) Los Angeles Artist Laboratory Fellowship Grant (2011), the City of Los Angeles Individual Artist Fellowship (COLA 2012), The California Community Foundation Artist Fellowship (2012) and the Instituto Sacatar Artist Residency in Salvador, Brazil (2013)

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Having always been surrounded by creative people, Kim Chasen was destined to become an artist.  With an active imagination fueled by the desire to express, Chasen gravitated toward the visual arts.  In all of her work, she’s created her own sense of unique color and sensuous texture.  Chasen’s objectives and methods are relatively simple with a conscious connection between the horizontal and the vertical.

“My are represents the way I desire to live my life.  I want it to be simple and un-complicated while still being bold and exciting.   It does, however, require a lot from the viewer… a willingness to travel through the many layers.”

Kim seems to have an innate ability to coax a feeling of strength and vitality out of a few well chosen colors.  Lying  just beneath the surface, the paintings project a double life without compomising their integrity as pure abstraction.  The interior areas imply both deep space and a flat surface, making it appear as if the viewer is looking both at and through Chasen’s compositions.

Her modern approach toward expression is reflected by the fine line she has created between abstract and minimalism, rendered in a hip, retro style.  Her compositions speak of the more simplistic time of the 50’s era.

As Chasen continues her career, her paintings can be viewed in galleries throughout the U.S.

Group Exhibitions

2012 Studio D, Palm Springs, CA
2012 Joshua Tree Art Gallery, Joshua Tree, CA
2012 Joshua Tree Art Gallery, Joshua Tree, CA
2011 UC Riverside, Palm Desert, CA
2011 The Liberty Art Gallery, Long Beach, CA
2010 Second City Council Gallery, Long Beach, CA
2010 Studio 590, Pomona, CA
2009 Dezart One Gallery, Palm Springs, CA
2008 Gallery 33 East, Long Beach, CA
2006 Dezart One Gallery, Palm Springs, CA
2004 Artitude Gallery, Huntingdon, PA
2003 Anthony Kelly Gallery, New Orleans, LA
2003 Art Forms, Red Bank, NJ
2002 Design Metaphor, Palm Springs, CA
2002 Amby Edinger Art Gallery, Ellensburg, WA
2002 Anthony Kelly Gallery, New Orleans, LA
2002 Art Forms, Red Bank, NJ
2001 Dezart Studios, Palm Springs, CA
2000 J. Behman Gallery, Palm Springs, CA
1999 Chozen Gallery, Palm Springs, CA
1998 Beverly Hills Invitational, Beverly Hills, CA
1997 Malibu Invitational, Malibu, CA

Solo Exhibitions

2010 True World Gallery, Joshua Tree, CA
2009 Dezart One Gallery, Palm Springs, CA
1999 Chozen Gallery, Palm Springs, CA
1999 J. Behman Gallery, Palm Springs, CA
1997 Peabody’s, Palm Springs, CA

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In Kelly Berg’s paintings, a controlled chaos emerges from the overall compositions which are formed by intricate series of acrylic and ink layers.  Through her painting process, Kelly is interested in expanding the language of abstraction through the use of pattern, shapes and pictorial imagery, including self-portraits.  In reaction to the current state of our world where one is constantly receiving an overload of visual stimuli through television screens, billboards, the Internet and social media – her paintings capture the process of sorting through this imagery from an autobiographical point of view.  The paintings act as metaphors for excavation and invite the viewer in to explore and uncover the many kaleidoscopic layers that echo the cultural influences they’ve been drawn from.

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“By speaking clearly in a nonobjec idiom, the goal is to make art that is reflective of modern day life. My process consists of layering spontaneous random marks that are sometimes completely obscured. By working and reworking surfaces, I expose the varying depth of color which creates spaces that expand contract, communicating the work’s shifting moods.”

In the “Manhattan Series”, Downs creates densely layered paintings that dance on the picture plane to openings that disclose colored layers underneath. His compositions display such a deep engagement with the formal and esthetic potential of paint on canvas that they do not fit easily within any recognizable category of contemporary art. The works bring one word to mind-
energy, a sense of action.

The strength in these works is in the artist’s understanding of color, balance and simplicity. His canvases emit a sense of risky adventure.  They are created not of one heavily worked surface, but with four to five hundred painted layers of varying thickness and transparency, all of which subtly interact.

Downs deconstructs layers of his paintings to reveal individual elements, which create the surface tension essential to animating his abstracts. The smallest patch of pigment can be taken as a
whole, complete unto itself.

Downs has been painting professionally for over 28 years and has exhibited nationally and internationally. His work has been included in group shows with noted artists such as Andre Miripolsky, Mark Mothersbaugh, Mark Kostabi and Karl Bemjamin. Downs’ works are included in private collections throughout the world.

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