Oct 182016
 October 18, 2016

Daniel Mendel-Black, The Weight of Yellow (Detail), 2016, Acrylic on canvas over wood panel, 60″x40″

Truth Syrup

Josh Atlas
Nicole Van Beek
Richard Bott
Michael Kennedy Costa
Chet Glaze
Daniel Mendel-Black
Florian Morlat
Nora Shields

Curated by Marcus Herse

October 10, 2016 – November 6, 2016
Guggenheim Gallery at Chapman University
One University Drive, Orange CA 92866

Please join us for the artist reception on November 6, 2016 from 3 – 5 P.M.


I would be at great pains to say ‘where’ is the painting I am looking at. For I do not look at it as a thing; I do not fix it in its place. My gaze wanders in it as in the halos of Being. It is more accurate to say that I see according to it, or with it, than I ‘see it’.

Maurice Merleau-Ponty: Basic Writings


A painting is an object that is like you and me part of our world. Yet, art historically speaking until recently, we did not primarily perceive it as a thing, because painting’s intrinsic quality, the disruption and displacement of the spatial continuity of the world lies precisely in the fact that real space plays a subsidiary role. It is thought to refer to a world beyond our own. The countless comparisons of painting to the window, the portal and the many paintings that literally show windows and frames seemingly corroborate the view that painting reports an objectivized exterior to the interior of our minds.

With the minimal and post-minimal experiments and their production of objects developed from the concerns of painting, real space was thematized in the context of pictorial thinking. The objects and their critical analysis tied in with the same view that sees the object of art as an exemplary representation of correspondences of form. Figure-ground relationship was transposed from the 2nd into the 3rd dimension and was now a conversation between physical objects and the gallery space, but it did not lead to a qualitative change in the discourse of the reality of painting. It was still seen externally, logically and scientifically.

More recently the influence of poststructuralist discourse emphasizes painting’s status as visual text. Visual idioms are reduced to the model of written discourse, and painting is proposed as a field that produces meaning to communicate ‘legible’ content. If we understand painting in this way we reduce it to a model based on conceptions of instrumental reason and marginalize the act of making in favor of the consumption of meaning.

Here the thinking of French phenomenological philosopher Maurice Merleau-Ponty presents a radically different view of the objecthood of painting: Rather than seeing the world as a compilation of things in space, which also contains our bodies and which can be ‘reported’ via painting, the emphasis is put on recognizing spaciality as part of our Being. We only ‘have’ space and the things in it because it is our condition as Beings to be physical, corpo-real, and not because we ‘understand’ space abstractly-scientifically from a speculatively proposed outside. Rather than seeking the view into an idealized world or reducing painting to an instrument of logical reason, a carrier of information that can be read, an emphasis is put on the mobility of the body, and how we access the world through it.

In a historically unprecedented moment in which a never-ending stream of digital quasi immaterial images zip through our minds it is this exhibition’s concern to recall that paintings, as the ancestors of these images are things that are made of the same stuff as we are and share our reality. The artists gathered in the exhibition may or may not see themselves first and foremost as painters; Their commonality is an interest in simultaneously rupturing and conciliating the spatial continuity of the art object in relation to our world.


Josh Atlas is a sculptor based in Los Angeles. Though the forms and means of creation often change, he is working towards an aesthetic sensibility that emphasizes tenderness, vulnerability, empathy, and humility. Atlas studied art at Carnegie Mellon University, receiving his BFA in 2005. His work has been included in exhibitions at MAMO (Marseilles), Klowden Mann (Los Angeles), Regards (Chicago), and Raid Projects (Los Angeles).

Richard Bott is an artist living in Los Angeles. His production works across genre employing video, performance, media installation, painting, and drawing. His work has been notably presented by the Hammer Museum as part of Made in LA : Los Angeles Biennial, The Whitney Museum of American Art, Centre Georges Pompidou, and a solo show at China Art Objects Los Angeles. Bott is also part of the performance/installation duo, Animal Charm.

Nicole van Beek received her BFA from The Cooper Union, New York, NY in 1998 and her MFA from the University of California, Santa Barbara in 2007. She received a 2012 New York Foundation for the Arts Fellowship in Painting and a 2011 Socrates Sculpture Park Emerging Artist Fellowship. Her work has been exhibited at Geoffrey Young Gallery, Morgan Lehman Gallery, Brian Morris Gallery, Susan Inglett Gallery and in The Last Brucennial, 2014. She lives and works in Brooklyn, New York.

Chet Glaze is an LA based artist who has exhibited nationally and internationally.  Recent shows include Island Magic at Patrick Painter Inc, and Second Wave: Aesthetic of the 80′s in today’s Contemporary Art at UC Riverside’s Culver Center of the Arts.  Glaze is represented by Patrick Painter Inc., Santa Monica, CA.  He is a recent addition to the permanent collection for UC Riverside’s Sweeney Collection.

Michael Kennedy Costa (b. 1982 in Northampton, MA) lives and works in Los Angeles.  He received his BFA from Boston University in 2006 and his MFA from Virginia Commonwealth University in 2011.  He has participated in numerous exhibitions in New York, Houston, Los Angeles, and elsewhere.   Recent exhibitions include “Bougainvillea Begonia” at Jonathan Hopson Gallery in Houston, and “Raking the Though” at Bikini Wax and No Space in Mexico City.   He has also recently given readings at Motel Gallery in Brooklyn, NY, Chin’s Push in Los Angeles, and Central Park Gallery in Los Angeles.

Daniel Mendel-Black has exhibited widely in the U.S. and abroad. Recent shows include Pretty Lips Are Red at China Art Objects Galleries in Los Angeles, and André Butzer, Marcel Hüppauff, Daniel Mendel-Black, Philipp Schwalb at Galerie Bernd Kugler in Innsbruck, Austria. Mendel-Black’s work is represented in a number of public collections. In Los Angeles his paintings are included in the collections of the Museum of Contemporary Art and the UCLA Hammer Museum.

Florian Morlat (B. Munich, Germany) lives and works in Los Angeles.  He attended the Kunstakademie Dusseldorf and received an MFA from the University of California Los Angeles.  He has had solo exhibitions at Cherry and Martin LA, Galerie Ben Kaufmann Berlin, Daniel Hug Gallery LA, and Rowley Kennerk Gallery Chicago, among others.  Recent group exhibitions have included The Pit, 11R NYC, MCA Santa Barbara, and Renwick Gallery NYC.  Modern Painters, the New York Times, and the LA Times have reviewed his work. Morlat will have a solo exhibition with the Pit in early 2017.

Nora Shields (B. Pittsburgh, PA) lives and works in Los Angeles and received a B.A in Art History/ English Literature from the University Of Canterbury, Christchurch, New Zealand and an M.F.A from Art Center College Of Design. Her work has been exhibited in group exhibitions at venues such as JB Jurve, Los Angeles, Actual Size, Los Angeles and has recently has had a solo show at The Pit II titled “Int/Ext” in 2016.

Sep 022016
 September 2, 2016

Jennifer Sullivan, Window Kitty, 2015, HD Video, Sound, 3:18 min

My Skin is My Krustle (Pink Marble)

Carmen Argote
Lynda Benglis
Young Joon Kwak
Lila de Magalhaes
Jennifer Sullivan
Xina Xurner

curated by Marcus Herse

August 29, 2016 – September 25, 2016
Guggenheim Gallery at Chapman University
One University Drive, Orange CA 92866

Please join us for the artist reception and catalog presentation on
September 25, 2016 from 3:00 P.M. to 5:00 P.M.

Showing video works at the interstice of self awareness, identity politics and the normative offerings of mass and social media, this exhibition presents a selection of feminine perspectives on the sensual realities of excessive acquisition and collecting (hoarding), appearance enhancement (cosmetics), sexual selection (dating), and free time.

Skin, next to eyes, ears and nose, connects our inner experience to the exterior as one of the body’s sensual boundaries, and is only the first layer within which we live and relate to the world. Our skin gives us an instantaneous impression of our surroundings, and we notice if it’s warm, cold, wet, dry, still or breezy. Through it we understand the broad palette of human interaction, from our parents’ affection to our lovers’ touch. The importance of our largest organ is reflected in a trove of idioms. We feel at home in our skin, my sister is thick skinned and last nights movie got under my skin. We take care of it with baths and lotions, and we use it to communicate our identity, with make up, or using permanent images, wearing Brandings or tattoos.

As we zoom out, and away from the body, clothing and architecture appear as secondary and tertiary layers of protection and identity. While important to one’s well-being, they are not directly part of the body, and successively have more to do with communicating our self image and our status within society; Modes to show one’s convictions, preferences and personality.

The triage of skin, clothing and habitation lies at the core of the individuals’ sense of identity. Navigating between the possibilities and constraints of these forms the works in the exhibition explore notions of home and the meanings of inhabiting any one of these realms. From the contacts we make to the stuff we collect, to the the right place or person that makes you feel at home; Our skins can be krustles indeed.

Carmen Argote is a Los Angeles based artist who’s work focuses on the exploration of personal history through architecture and the spaces that she inhabits.
Argote received her MFA from UCLA in 2007 and attended the Skowhegan School of Painting and Sculpture in 2009. Argote exhibited at the Vincent Price Museum 2013, and was commissioned for the Metro Expo Line station at 17th/SMC station in Santa Monica.  A Vast Furniture, opened April 2015 at the MAK Center for Art and Architecture and in the desert at a Hight Desert Test Sites location in Wonder Valley. This year, Argote opened two solo exhibitions, Mansion Magnolia at Shulamit Nazarian Gallery and Alex’s Room at Commonwealth and Council. Argote will be featured in Mi Tierra: Contemporary Artists Explore Place at the Denver Art Museum opening 2017Argote’s work will also be included in The Getty Foundation’s Pacific Standard Time: LA/LA  Home-So Different, So Appealing exhibition, which will be held at the Los Angeles County Museum of Art in 2017.

Lynda Benglis was first recognized in the late sixties with her poured latex and foam works. Benglis’s work created a perfectly timed retort to the male dominated fusion of painting and sculpture with the advent of Process Art and Minimalism. Known for her exploration of metaphorical and biomorphic shapes, she is deeply concerned with the physicality of form and how it affects the viewer, using a wide range of materials to render dynamic impressions of mass and surface: soft becomes hard, hard becomes soft and gestures are frozen.

Lynda Benglis resides in New York, Santa Fe and Ahmedabad, India. She is the recipient of a Guggenheim Fellowship and two National Endowment for the Arts grants, among other commendations. Benglis’s work is in extensive public collections including: Guggenheim Museum; Los Angeles County Museum of Art; Museum of Modern Art, New York; The National Gallery of Victoria, Melbourne, Australia; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis and the Whitney Museum of American Art, New York.

Roberta Smith wrote in The New York Times on February 17, 2011 of Benglis’s retrospective, “Whether you have been watching Ms. Benglis’s varied career for decades or know her primarily from the latex pieces and her star turn in Artforum, this exhibition pulls together and elaborates her remarkable career in a thrilling way. It proves her work to be at once all over the place and very much of a piece, as well as consistently, irrepressibly ahead of its time. This would seem to be every renegade artist’s dream.”

Young Joon Kwak is a LA-based multidisciplinary artist, founder of the performance collaborative Mutant Salon, and lead performer in Xina Xurner. Kwak has had solo exhibitions in Chicago, LA, and South Korea, most recently at Commonwealth and Council (LA, 2014), and has performed and exhibited at venues such as the Hammer Museum, REDCAT, Honor Fraser Gallery, Night Gallery, LACE, the Broad (LA), Southern Exposure (San Francisco), Regina Rex and Smack Mellon (NYC), and Pavillon Vendôme Centre d’Art Contemporain (Clichy, France).

Jennifer Sullivan is a New York-based interdisciplinary artist. Solo exhibitions include Revenge Body at Five Car Garage, Los Angeles, CA (2016), House Cat at Arts + Leisure, New York, NY, (2015), Big Girl Paintings, Five Car Garage, Los Angeles, CA (2014), Adult Movie, Las Cienegas Projects, Los Angeles, CA (2011), and One-Week Walden, Freight + Volume, New York, NY (2010). Sullivan has also exhibited and performed in exhibitions at PS1, Essex Flowers, Pablo’s Birthday, 247365, Klaus Von Nichtsaggend, and Arthouse. Awards include a fellowship at the Fine Arts Work Center, and residencies at Skowhegan, Ox-Bow, and Yaddo. Her work has been reviewed in the NY Times, Artforum.com, and Art Papers, and her videos are included in the Geisel Library collection at the University of California in San Diego.

Lila de Magalhaes was born in Rio de Janeiro in 1986. She grew up in Zurich and received her MA at the Glasgow School of Art between 2004-08, where she lived until she relocated to Los Angeles to get her MFA at USC in 2011. She currently lives and works in Los Angeles. She was recently included in exhibitions at UP STATE, Zurich, Blood Gallery, NY, Freud Museum, London, Chin’s Push, LA, and DIANA, L.A.

Jul 192016
 July 19, 2016

Antonio Puleo, Untitled, 2016, wood, plaster, acrylic paint, 46″ x 63″ 


The Emblematic


Hilary Baker

Nate Fors

Keith Haring

David Kiddie

Elizabeth Murray

R.T. Pece

Antonio Puleo

Ken Price

Anna Sew Hoy

William T. Whiley


Co organized by Natalie Lawler and Marcus Herse

Guggenheim Gallery at Chapman University

July 18, 2016 - August 14, 2016

Please join us for the artist’s reception and catalog release

on August 14, 2016 from 3 – 5 P.M.


This exhibition brings together work from Chapman University’s Escalette Permanent Collection of Art with recent selections from Los Angeles.

From the exaggerated female shape of the ‚Venus of Willenberg’ some 35.000 years ago and sculptures of genitals found throughout antiquity, to heraldic flags and corporate logos; Abbreviated depictions have always been part of the human world.

Within the last decade their importance has taken on a new dimension. Anyone who owns a smartphone (which in today’s art world is everyone) knows that the ability to navigate your phone fast determines the number of shows you will see, and people you will meet on opening night. Society has been heavily primed for this hyperlexia of signs by over a century of mass media, mass communication and the necessity to simplify the messages of corporate industry and entertainment into quickly comprehensible abstractions.

‚The whole world at our fingertips’ we effectively spend hours of the day looking at a relatively small excerpt of that very world. Currently at a maximum resolution of 300 pixels per square inch we’re always on the chase for the next connection, linking meanings, people, times and places. And herein lies the trickery of the device, which always only mediates world, but never becomes real itself, even when it is an essential tool to navigate reality. It’s great for administration, not so great for contemplation.

But wasn’t contemplation inextricably tied to the two dimensional surface – and to looking at art more generally speaking – until recently? William Copley said something along these lines: “Paintings are subversive, because they are silently, but insistently showing their hidden messages. They are subversive, because they’re always there.”

It takes the artist focus and time to manipulate his materials, be it on the picture plane or in space, and in some way this has to be mirrored by the onlooker, to unravel the information the artwork contains. It is the opposite of the quick, scanning glance sliding around the smartphone’s display, Netflix’s homepage, or your Instagram feed. The works in the exhibition engage in the idea of emblematic concentration and abbreviated depiction, but at a pace that invites contemplation. So, let’s take it slow this summer, like we used to, and catch our breaths at the Guggenheim Gallery.



Feb 092016
 February 9, 2016



Dewey Ambrosino

Kristi Lippire

Renée Petropoulos

Margo Victor

Jennifer West

organized by Marcus Herse

February 1 – March 11, 2016

Please join us for the artist reception and catalog release on Sunday March 13, 2016 from 4-6 p.m.

Guggenheim Gallery at Chapman University

One University Drive

Orange CA

Aside from its meaning as a state of psychological well being, the word ‘high’ implies value and authority. High school, high art, and high culture are respectively the best versions, and prepending ‘high’ to these nouns attests to the quality of their objects. The German term “Hochdeutsch” (High-German) suggests that the most accent-free type of speech is superior to all other dialects, and that there is a right and a wrong way of speaking the language even though grammatically there is no difference. High can also imply unobtainability, a desired result may be out of reach, and of course we must ask– high in relation to what? Naturally, to its counterpart, ‘low’ – Go figure. Deepening this thought, however, we see that when speaking about high versus low culture we ultimately speak about the Judeo-Christian concepts of good and evil, Heaven and Hell, and all their implied value judgments. Through this language we inform our politics, ethics and philosophy and not, at last, our aesthetic decisions.

Well, how do you get high? – By going up.

Up, in contrast, speaks about directionality, and although it could be used to describe how to actually get from Hell to Heaven, the word leaves the destination undeclared. Even when you’re high you can still go up. While up is also situated within the polarity of high and low, it itself is relative to the individual agent’s position within the whole, as opposed to high which suggests an absolute point of reference, the final desired state. Up emphasizes the path, not the outcome, it emphasizes possibility along the way, rather than a value judgment.

Lastly the ‘up’ we are talking about must not be confused with the relentless brutality of the positivism prescribed by the media and the advertising industry. Our ‘up’ leaves questions of superiority and functionality behind, and asks for our position within the whole, the individual within the structures of our world, in which we move in more or less straight lines, upward-ish.

In this sense, up is the direction the artists in the show take, to elevate us and see our world from remote vantage points. Some literally lift the camera into the air or focus their lens onto celestial bodies, while others move up in spiritual ways, placing our understanding of the political, economic and scientific order ‘up and away’, outside of society’s usual lines of vision.
Dewey Ambrosino’s practice examines the presence of absence through subtraction and transmutation.  It explores how action can reveal cultural conditioning when applied to material elements and signifying objects.  It observes how the poetics of aesthetic phenomena combined with our longing for sensation create matrices of imagination and meaning.

Ambrosino exhibits and performs internationally, and is current faculty at Art Center College of Design.  Recent solo exhibitions include: Rosamund Felsen Gallery, Long Beach City College Gallery, Las Cienegas Projects.  Recent group exhibitions include: Sàn Art – Ho Chi Minh City, VietNam, Samuel Freeman Gallery, UCLA Hammer Museum, New Art Center, Newton, Ma, Earmeal Performance Series, 356 Mission Gallery, Picnic Invitational, ReModel Sculpture Symposium @ Claremont Graduate University, Trespass/Parade – LACMA & West of Rome Public Art, LACE, Goethe-Bunker – Denmark, MOCA LA, MOCA Miami, Municipal Art Centre Fundación Astroc – Madrid, Spain, ARCO International Contempoary Fair, Coachella, Nueva Cinema Festival – Laforet Museum Harajuku, Tokyo, Internationale Kurzfilmtage 49 – Oberhausen.


Kristi Lippire makes large-scale objects that reference the visual culture that surrounds her every day. Her work explores scale through materiality, skewing moments that emphasize humor within our complex social culture. Lippire received her MFA from Claremont Graduate University and BFA from California State University, Long Beach. Her work was included in the exhibition, Alexander Calder and Contemporary Art: Form, Balance, Joy that opened at the Museum of Contemporary Art in Chicago and travelled to Nasher Sculpture Center in Dallas, Orange County Museum of Art, and Nasher Museum at Duke University. She has had solo exhibitions with Commonwealth & Council, d.e.n. contemporary art and Ace Gallery and group exhibitions at Torrance Art Museum, Glendale College Art Gallery, and Riverside Art Museum. She recently completed a three-week residency and exhibition at Queiros Galeria in Guanajuato Mexico. Lippire is also an independent curator and recently completed a F.O.C.A. Curator’s Lab project in late Spring of 2015. This spring Lippire will be exhibiting a new outdoor sculpture as part of the Sam Maloof Foundation’s Biennial Garden Exhibition in Mira Loma, CA.


Margo Victor is a Los Angeles based filmmaker, visual artist and musician. She has been making 35 & 16 mm avant-garde films, since the mid 90′s. While at the California Institute of the Arts she studied with Michael Asher and Jules Engel. Her films and installations have been exhibited in Los Angeles, NYC, Paris and Cologne; a solo exhibition of film and sculpture was at the Los Angeles Museum of Art (or LAMOA) in 2013 and she maintains a concept band with revolving personnel called Black Flower.


Renée Petropoulos has created projects and exhibited internationally. Most recently embarking on the project “Among Nations (Mostly)” with a performance “Analogue” (2012) at the MAK, Venice to Venice (2012)  as part of the Hammer Museum’s Made in L.A. and “Women in Surrealism” for LACMA (Los Angeles County Museum of Art). “Black Star”, begun in 2006, is a performance in continuum in Berlin.  Her most recent installment of “Prototype for the History of Painting: Eingrouping Social Historical” was installed in MARTE San Salvador, El Salvador.  Her recent film, “Two or Three Things I Know About Gas Station Mini Marts” screened at Screening, in Philadelphia.   The outdoor public sculpture project “Bouquet”(Flower Tower) Between Egypt, India, Iraq, the United States, Brazil, Ethiopia, and Mexico”, situated in Santa Monica, California at a street and pedestrian intersection was completed in spring, 2014.   An exhibit of related subject, “Bouquet(Flower Girl) Between Libya, the United States and Scotland”, was installed at LAMOA in Eagle Rock in May 2014.  Petropoulos’ monument drawings were also included in “Forms of the Formless” at Beijing Moca, curated by Marlena Donahue.

This past fall she presented a new project, From the United States to Mexico/ From Mexico to the Untied States, at Commonwealth and Council which included a choreographed performance. She is currently exhibiting Monument 1 – conjugation, with the Proxy Gallery in Paris. In 2016, a cd of sound work, Between Libya, the United States and Scotland, created with composer Greg Lenczycki, will be released.  In the fall of 2016 a new work will be performed with the Isaura String Quartet. She just returned from Naples Italy where she has been working on a collaborative project, with Neopolitan scholar, Denise Spampinato.


Jennifer West is an artist, who for over ten years, has gained international recognition for her explorations of materialism in film.  Significant commissions include High Line Art, New York and the Turbine Hall at Tate Modern, London, Aspen Art Museum, among others.   Her work is included in numerous public collections, including the Los Angeles County Museum of Art, Los Angeles, California; the Hammer Museum, Los Angeles, California; the Columbus Museum of Art, Columbus, Ohio; the Kadist Art Foundation, Paris, France, and San Francisco, California; the Saatchi Gallery, London, United Kingdom; the Rubell Family Collection, Miami, Florida; the Museum of Old and New Art, Hobart, Australia; the Zabludowicz Collection, London, United Kingdom.  West’s solo exhibitions include Lisa Cooley Gallery, NYC; Focal Point Gallery, Essex, UL; S1 Artspace, Sheffield, UK; Contemporary Arts Museum, Houston, Texas; Kunstverein Nürnberg, Germany; Transmission Gallery, Glasgow, UK; White Columns, New York; Vilma Gold Gallery, London and Marc Foxx Gallery, Los Angeles.  She is currently a resident at EMPAC, Renssalaer Polytechnic Institute, Troy, New York, and was an MIT List Visual Arts Center resident in 2011.  West’s work has been included in numerous group exhibitions internationally at such venues as Palais de Tokyo, Paris, France; Carnegie Museum of Art, Pittsburg, PA; Kunsthalle Schirn, Frankfurt, Germany; Saatchi Gallery, London, UK; Drawing Center, New York, NY, to name a few.  She has lectured widely at such venues at the Tate Modern; ICA, London; LACMA; Jewish Museum, New York, NY, among many others.  West’s writings have been published in Artforum, she has produced ten artist books and her work is the subject of a monograph   West is represented by Lisa Cooley Gallery, New York; Vilma Gold Gallery, London and Marc Foxx Gallery, Los Angeles.  West received her MFA from Art Center in Pasadena and her BA from the Evergreen State College in Olympia, WA.  She is an Asst. Professor of Fine Arts Practice at USC’s Roski School of Art and Design, Los Angeles.   Upcoming, she has solo exhibitions at Tramway Art in Glasgow Scotland and Seattle Art Museum in fall of 2016 and she will be staging an interactive film performance for Art Night presented by ICA London.

Sep 232015
 September 23, 2015

Shila Khatami, Sonnenuntergang S K II, 2015

Stray Edge


Monique van Genderen

Shila Khatami

Lisa Williamson

Ulrich Wulff

September 28 – November 6, 2015

Guggenheim Gallery at Chapman University

One University Drive

Orange CA 92866

Artist Reception and Catalog Release Sunday November 1, 2015

Abstraction finally crystalized into the picture plane in high modernism when the German Bauhaus school and Dutch artist group De Stijl, and individuals auch as Piet Mondrian, Kasimir Malewitsch and Sophie Tauber-Arp, developed distinct styles using destilled geometric shapes in their compositions and designs.  In architecture of the time, a sobering developent took place, eliminating ornament, and with it, perhaps, some of its memory and history, from buildings, interior designs and furnishings. Painting discovered its materiality and began to see its surface as the actual drama, as if the viewer were to slowly zoom out of what was once the window into a different world onto its earthly, woven reality.

These reductive maneuvers, counteracting the logic of perspecitive and the mimicry of visual reality, were meant to highten awareness, sharpen the intuition, and express a universal truth and beauty. But it wasn’t long before capitalism deveoured and homogenized these honorable ideals, and led them ad absurdum. Today everybody can purchase a piece of that high modernist action or rather its broken limbs, the remains of a once vital utopianism by purchasing a ‚fjälkinge’ –shelf or a ‚stolmen’-storage system at their local Ikea.

What can abstract painting do to reclaim the philosophical vigor inherent in its modernist components? Does it even have to? Or have the goals of the abstract painter changed altogether?

Stray Edge brings together four artists that work with abstraction through painting and sculpture who are investigating the possibilities of the painted surrface in order to set in motion a play of perception and meaning. The pictures and three-dimensional works are equally open to figurative as well as conceptual or literal readings and set in motion a negotiation between arbitrariness and intentionality. Rather than seeking absolutes in truth and beauty, they are undogmatically propositioning the significance of the painted surface.

Jul 202015
 July 20, 2015

Paths and Edges:
Celebrating the Five-Year Anniversary of the Escalette Collection

John Baldessari
Edith Baumann
Mary Corse
Sam Francis
Frank Gehry
Betty Gold
Anne Hamilton
Al Held
Roger Herman
William Kentridge
Soo Kim
Roy Lichtenstein
Bruce Nauman
Michael Reafsnyder
Ed Ruscha
Richard Serra
July 20 – September 18, 2015

Reception and Catalog Release Sunday, September 13, 2015, from 4PM- 6PM

Opening hours: M-F 12:00pm - 5:00pm;

Sat 11:00am - 4:00pm


The Gallery will remain closed for the Labor Day Weekend from Saturday, September 5, 2015 – Monday, September 7, 2015.

We will be back on our regular schedule as of Tuesday, September 8, 2015.


The Guggenheim Gallery in conjunction with Chapman University’s Escalatte Collection is pleased to announce Paths and Edges: Celebrating the Five-Year Anniversary of the Escalette Collection. Please join us for the reception and catalog release on Sunday, September 13, 2015 from 4PM-6PM.

The Escalette Permanent Collection of Art was officially dedicated on May 4, 2010.  Thanks to the vision and generosity of Ross and Phyllis Escalette, Chapman University’s growing collection of contemporary and modern art was endowed with funds to grow, exhibit, and care for this prized resource on campus. This exhibition features a selection of key works their endowment has supported, and celebrates the Escalette’s dedication to supporting emerging artists as well as established figures in the contemporary art world.