Daniel R. Small Return to Artist List Artist Statement & CV Artist Statement My current projects proceed by investigating the criteria that constitute a historical record, and whether the supposed objectivity of reclaiming the material evidence of the past in the present is even desirable since history is arguably written from the unreliability and partiality of lived and invested memories, myths, ideologies, stories, and dreams. Through this lens history has become a realist fiction privileged for its representation of the past that is constructed through truth claims and the conventions of temporal logic and verisimilitude comprehensible to those in the present. In a triangulation of past, present, and future my projects engage with representations and their subsequent re-presentations where the dubious unreliability of potentially wrong tales enhance their historical value in that they allow us to recognize the interests of the tellers, and the intentions and desires behind them. Some recent and ongoing projects include an archaeological excavation of a 1923 film set used in Cecil B. DeMille’s The Ten Commandments that was buried in Guadalupe California, a series of ten billboards installed along interstate 10 in New Mexico that depict a fabricated language based on a faux historical site in the state, and a Jacquard tapestry mimicking an ancient still life that was interpolated in the present to re-present it’s dubious provenance as a working Photoshop file. These recent projects come in a myriad of forms, and are concerned with becoming fully aware and productively suspicious that history is always being imaginatively figured as it is seemingly figured out. CV www.danielrsmall.com EDUCATION 2008...
Nevine Mahmoud Return to Artist List WorksArtist Statement "Slides", 2014, Hydrocal, plaster, pigment, fibreglass, ceramic, 50 x 22 1/2 x 15 in "black balls", 2014, ceramic, 9 x 9 x 8 in "Basketball", 2014, glazed ceramic, 9 x 9 x 8 in "slide (my tongue)," 2013, plaster, burlap, pigment, 70 x 12 x 28 1/2 in "Beachball (soft)", 2015, glazed ceramic, 16 x 16 x 16 in Installation view of Studio Part, 2015, laminate, aluminum, resin, pigment, alabaster, foam, dimensions variable "Beachball", 2015, glazed ceramic on linoleum, 16 x 16 x 16 in, installed at Arturo Bandini gallery "Watermelon", 2015, alabaster, resin, 8 x 5 x 3 in "Arrangement U/O/&", 2015, laminate, aluminum, 60 x 45 x 45 in / 12 x 30 x 10 in / 45 x 20 x 20 in (left to right) "Tied chunks and color box", 2015, laminate, aluminum, 50 x 40 x 5 in "Tunnel Chunk and color plane", 2015, laminate, aluminum, 10 x 10 x 8 in (detail) "Tunnel Chunk", 2015, laminate, aluminum, 96 x 50 x 3 in "Play/Set/Part", 2015, laminate, aluminum, dimensions variable, installed as part of New Babylon at Roberts and Tilton Installation view of Motorfruit at Blood Gallery "Peach/butt", 2015, calcite, 10 x 9 x 8 in "Tutti Laying", 2015, alabaster, resin, LED and battery, installed at 356 Mission road Artist Statement “Sculpture” for me is a lineage of gestures that extend the human subject into another three-dimensional form. The scenarios I create aim to redefine how we identify sculptures and ignite another kind of sensual relationship to the object. Both the...
Nick Kramer Return to Artist List WorksArtist Statement & CV The Quick Brown Fox Jumped Over the Lazy Dog and Went to Sleep Forever, 2013, METROPCS, Los Angeles The Part of the Ocean Closest to the Horizon, 2013, Painted aluminum. 25 x 40 x 1" Yellow Yellow, 2013, Ink and dye on aluminum. 24 x 18 x 2” Table Breath, 2013, Cast aluminum. 32 x 50 x 26” Table Breath, 2013, Cast aluminum. 32 x 50 x 26” (Detail) Egghead Broke-A-Yolk, 2014, Mixed media with foil, resin. 63 x 50 x 1" Egghead Broke-A-Yolk, 2014, Mixed media with foil, resin. 63 x 50 x 1" (Detail) General Tree, 2014, Mixed media with foil, resin. 59 x 47 x 1 1/2" Clown Town, 2014, Mixed media with foil, resin. 64 x 48 x 1" Shrimp Chip, 2014, Mixed media, resin. 63 x 47 x 1" Badge of the High I.Q. Community, 2015, Mixed media with foil, resin. 63 x 43 x 1" Birthmarker, 2015, Mixed media with foil, resin. 70 x 48 x1" Koi, 2015, Mixed media with foil, resin. 81 x 51 x 1" Shitpiss (Surd State), 2015 Mixed media with foil, resin. 63 x 47 x 1" Liberated Infant, 2015, Mixed media with foil, resin. 89 x 41 x 1", Arturo Bandini, Los Angeles Artist Statement Existing between sculpture, painting, and collage, my work is a meditation on permeable and changing bodies. With head- and hand-sized hollows as well as alluring color and texture, I try to disgustingly approximate a living thing. I seek out a moment of discovery where, through a...
Gelare Khoshgozaran Return to Artist List WorksArtist Statement & CV video stills, “Undocumentary”, multichannel video (in progress) | Top: stills from a documentary on the Iran-Iraq war. Bottom: pages of Kayhan (Cosmos) newspaper through an overhead projector. video stills, “Undocumentary”, multichannel video (in progress) | Top and Bottom: detritus in the Mojave Desert, California. Middle: still from the footage of an explosion in the desert during the Iran-Iraq war. video stills, “Undocumentary”, multichannel video (in progress) | Left: stills from an Iranian TV stop-motion for kids, aired during the war. Right: stills from a French television documentary about the Iranian teenage hostages at an Iraqi camp. “U.S. Customs Demand to Know” | LED lit packages, dimensions variable, packages received from Iran over the period of the project during the U.S. Sanctions on Iran. “U.S. Customs Demand to Know” | LED lit packages, dimensions variable, packages received from Iran over the period of the project during the U.S. Sanctions on Iran. “U.S. Customs Demand to Know” | LED lit packages, dimensions variable, packages received from Iran over the period of the project during the U.S. Sanctions on Iran. video still, “Undocumentary”, multichannel video (in progress) video still, “Undocumentary”, multichannel video (in progress) untitled (displacement studies), digital photographs untitled (displacement studies), digital photographs untitled (displacement studies), digital photographs “Panoramic Oblivion”, 8.5 x 11, color prints | an ongoing collection of images selected from the panoramas of Tehran uploaded by Google users (currently 170). The collection forms a large scale panorama of the city composed of these fragments. “Panoramic Oblivion”, 8.5 x 11, color prints | an...
lick video installation. An old television wrapped in a lace tablecloth with a heavy jute rope.
Nobodies Fault. 2013 Fired clay, molten glass, mineral oxides. Life size. This work was build with the ability to wear it in mind. As a painter my figures were trapped in the space of the canvas looking out at the viewer. Still trapped the heads of these figures look back but also invade the three dimensional space of the viewer.
Nobodies Fault. The natural progression from two dimensions to three dimension would be the fourth time based dimension, allowing the faces/head/mask to come off of the walls and attach themselves to the viewer.
Blues Black and other analogous anecdotes/antidotes. This character points a finger in blame but also simultaneously alludes to creation mythology. It begs the question, “How often is ones identity shaped by guilt and shame?” In the corner hangs a heavy clay crown of heads. Guests of the exhibition were invited to try it on.
De crown. This is crown of clay heads dangling from jute rope. At once a metaphor for the many faces/hats we wear as individuals navigating the social political spaces of sex, race, culture, and class, it also speaks to violent historical and contemporary practices in the amassing of wealth and power. The title, “De Crown” plays with contemporary vernacular but also calls for the end of the cycle. I intend to build more crowns but also “DE Throne” and “De Veil”
De crown on instagram. 2013. Viewers were invite to wear de crown and post pictures to instagram #bluesblack. I am very interested in how people shape their identities on social media. I am also interested in the ways in which we all at times wear and/or support the metaphorical crowns.
he rope givers 2013. Fired clay, molten glass, acrylic, and jute rope. “Give them enough rope and…” Interested in the collage like aspects of installation as well as the sculptural linear quality of the rope.
The Rope Giver Detail. 2013 heavily influenced by Joseph Campbell’s ideas on comparative Mythology This character conflates Jesus and spider man.
