Jan 242014
 January 24, 2014

Photo by Geoff Tuck 2013


January 27 – February 28, 2014

Artist Reception and Catalog Release: Sunday, February 23 from 4-8pm

Hours: Monday — Friday, 12 — 5PM; Saturday, 11AM — 4PM
Chris Burden, Molly Corey, Cayetano Ferrer, Dan Graham, Lia Halloran, Olga Koumoundouros, Aaron Garber Maikovska, Alex McDowell, Isaac Resnikoff, Geoff Tuck, curated by Marcus Herse

The Guggenheim Gallery at Chapman University is pleased to present Your Shell is made of Air. The guiding focus of this survey is the shifting idea of how urban space is perceived. Spanning the period from the late 1960’s until today, these conceptions range from political and utopian approaches, to performative interventions and visions of imagined cities.

City space is a manifestation of human life, like a cast that forms in response to human behavior and desire. The shapes of the city, the buildings, streets, squares, shopping malls and residential areas, are the habitat within which we perform our moves, physically and intellectually.

When every environment is only as rich as the actions it allows for, it is a matter of investigating these places for possibilities and applications that are not originally inherent to them. It is the search for these air pockets that brings the artists in the show together. Deviating from this commonality, the searches touch upon ideas of the city as a playground, a sociopolitical laboratory, a psychological dérive, and the exploration of future urban systems in sci-fi cinema.

An artist reception will be held on Sunday February 23, 2014 from 4-8pm, coinciding with the release of the exhibition catalog designed by U&I Design, and featuring essays by Jan Tumlir, Amy Howden Chapman and Marcus Herse.


Chris Burden was born in Boston, Massachusetts in 1946. He moved to the California in 1965 and obtained a B.F.A at Pomona College, Claremont, California in 1969 and later a M.F.A at the University of California in 1971. During the early seventies, Burden’s first mature works were characterized by the idea that the truly important, viable art of the future would not be with objects; the things that you could simply sell and hang on your wall.  Instead art would be ephemeral and address political, social, environmental and technological change. Burden, with his shockingly simple, unforgettable, “here and now” performances shook the conventional art world and took this new art form to its extreme. The images of Burden that continue to resonate in public mind are of a young man who had himself shot (Shoot, 1971), locked up (Five Day Locker Piece, 1971), electrocuted, (Doorway to Heaven, 1973), cut (Through the Night Softly, 1973), crucified (Trans-fixed, 1974), and advertised on television (4 TV Ads, 1937–77).

His work has subsequently shifted, focusing now on monumental sculptures and large scale installations, such as B-Car, 1975, The Big Wheel, 1979, A Tale of Two Cities, 1981, Beam Drop, 1984,Samson, 1985, Medusa’s Head, 1990, L.A.P.D. Uniforms, 1993,Urban Light, 2008 and Metropolis II, 2010. These works often reflect the social environments, make observations about cultural institutions, and examine the boundaries of science and technology.

Chris Burden works and lives in California and has been represented by Gagosian Gallery since 1991. He has had major retrospectives at the Newport Harbor Art Museum, Newport Beach, California (1988) and the MAK-Austrian Museum of Applied Arts, Vienna (1996). In 1999 Burden exhibited at the 48th Venice Biennale and the Tate Gallery in London. And in the summer of 2008, Burden’s 65 foot tall skyscraper made of one million Erecter set parts, titled What My Dad Gave Me, stood in front of Rockefeller Center, New York City. Burden’s installations and sculptures, which have been exhibited all over the world, have continually challenged viewers’ beliefs and attitudes about art and the contemporary world.

Molly Corey’s work examines the malleability of memory and the way history is interpreted, revised, and received. Her art is driven by history: art history, social history, political history and personal history. Through the use of photography, film, video, sculpture and installation her work investigates the political implications of images, the contradictions found in representation and the slipperiness of “truth and history.” Most recently she has shown her installation, Letter From an Unknown Woman at the MAK Center/Schindler house in West Hollywood. She has exhibited The Dome Project at The Project in New York, Occidental College in Los Angeles and the UAG in Irvine. Her writings have been published in The Benefit of Friends Collected, A Journal of Artist-on-Artist Critical Writing, ArtUs, and the Trenchart, Casement Series. She is currently the Board President of Les Figues Press, a non-profit alternative literary publisher. Corey received a BA in anthropology and photography from the University California at Santa Cruz, a MFA from Otis College of Art and Design and a MA from UCLA’s Critical and Curatorial Studies program. She currently teaches at Loyola Marymount University and University of Southern California. She lives and works in Los Angeles.

Cayetano Ferrer (b. 1981) received an MFA from the University of Southern California Los Angeles, in 2010, and in 2006 a BFA from the School of Art Institute of Chicago. Recent exhibitions include: Made in LA, at The Hammer Museum, LAXART, and the LA Municipal Art Gallery Los Angeles (2012); forecast the days [...], at Galerie Max Mayer, Düsseldorf, Germany (2012); Saul Borisov Archive, at the Roski MFA Gallery at USC, Los Angeles (2011); The New Verisimilitude, at Francois Ghebaly & M+B Gallery, Los Angeles (2011); Forced Perspective, at Mayerei, Karlsruhe, Germany (2010); FIESTA / LA ANONIMA, as part of Works Sited @ Los Angeles Public Library. Ferrer has won several awards including: Artadia Los Angeles Award (2013); the California Community Foundation Emerging Artist Fellowship for Visual Arts (2013); the USC Kathleen Neely Macomber Travel Award (2010); and the Union League Civic and Arts Foundation Visual Arts Award (2006).

For fifty years, Dan Graham has traced the symbiosis between architectural environments and their inhabitants. With a practice that encompasses curating, writing, performance, installation, video, photography and architecture, his analytical bent first came to attention with Homes for America (1966–67), a sequence of photos of suburban development in New Jersey, accompanied by a text charting the economics of land use and the obsolescence of architecture and craftsmanship. Graham’s critical engagement manifests most alluringly in the glass and mirrored pavilions, which he has designed since the late 1970s and which have been realised in sites all over the world. These instruments of reflection – visual and cognitive – highlight the voyeuristic elements of design in the built world; poised between sculpture and architecture, they glean a sparseness from 1960s Minimalism, redolent of Grahams’s emergence in New York in the 1960s alongside Sol Le Witt, Donald Judd and Robert Smithson. Graham himself has described his work and its various manifestations as ‘geometric forms inhabited and activated by the presence of the viewer, [producing] a sense of uneasiness and psychological alienation through a constant play between feelings of inclusion and exclusion.’ The pavilions draw attention to buildings as instruments of expression, psychological strongholds, markers of social change and prisms through which we view others and ourselves.

Dan Graham was born in Urbana, Illinois in 1942 and lives and works in New York. He has had retrospective exhibitions at the Museum of Contemporary Art, Los Angeles (2009), Castello di Rivoli Museo d’Arte Contemporanea, Turin (2006), Museu Serralves, Porto, (2001), Museum of Modern Art, Oxford (1997), Van Abbemuseum, Eindhoven, (1993), Kunsthalle Berne (1983) and the Renaissance Society, University of Chicago (1981). He has participated in documenta 5, 6, 7, 9 and 10 (1972, 1977, 1982, 1992, 1997). Among numerous awards he received the Coutts Contemporary Art Foundation Award, Zurich (1992), the French Vermeil Medal, Paris (2001) and was honoured by the American Academy of Arts and Letters, New York in 2010.

Lia Halloran grew up in the Bay Area surfing and skateboarding while developing a love of science at her first job in high school at the Exploratorium in San Francisco doing cow eye dissections and laser demonstrations. She received her BA from UCLA in 1999, attended SACI 1997-1998 and continued to take astronomy class while in her MFA painting Program at Yale. Halloran’s work often uses concepts in science as a bounding point for her work, exploring how perception, time, and scale informs the human desire to understand the world and our emotional and psychological place within it. Her work has been acquired by the Solomon R. Guggenheim Museum New York, The Speyer Family Collection, New York, The Progressive Art Collection, Cleveland and the Art Museum of South Texas. Solo exhibitions have been held at venues in New York at DCKT Contemporary, Miami at Fredric Snitzer, Boston at la Montagne Gallery, Los Angeles at Martha Otero Gallery, Pulse in London, Barry Whistler Gallery in Texas, and currently in Vienna, Austria at Hilger NEXT. Halloran’s work has been featured in publications including The New York Times, The New Yorker, The BostonGlobe, The Los Angeles Times, ArtNews, and New York Magazine among others. She lives and works in Los Angeles and currently serves as a Assistant Professor of Art at Chapman University and oversees the Painting and Drawing Department where she teaches painting, drawing and courses that look at how Art and Science intersect. She is currently represented by Martha Otero Gallery in Los Angeles, and DCKT Contemporary in New York.

Olga Koumoundouros was born in New York, NY and lives and works in Los Angeles CA. She received her MFA from the California Institute for the Arts. Koumoundouros’ work has been exhibited at venues nationally and internationally including Armand Hammer Museum, Los Angeles, REDCAT, Los Angeles, Salt Lake City Art Center, UT, The Studio Museum in Harlem, NY, Stadshallen Bellfort, Bruges, Belgium, Project Row Houses, Houston, TX, The Tang Museum, Saratoga Springs, NY among others. She is the recipient of both a Creative Capital and Creative Time commissions. She is represented by Susanne Vielmetter Los Angeles Projects.

Aaron Garber-Maikovska (b. Washington, D.C.) lives and works in Los Angeles, CA. He received his B.F.A. from the University of California, Los Angeles. Recent solo exhibitions include Standard (Oslo, Norway), Greene Exhibitions (Los Angeles, CA), and The Green Gallery (Milwaukee, WI). He has participated in group exhibitions at Kavi Gupta (Berlin, Germany), David Castillo Gallery (Miami, FL), China Art Objects (Los Angeles, CA), Rental Gallery (New York, NY) and Karma International (Zürich, Switzerland).

Alex McDowell RDI, Professor of Practice, USC School of Cinematic Arts, Media Arts + Practice, Director, USC World Building Media Lab, Creative Director and Founder, 5D|GlobalStudio

Alex McDowell is one of the most innovative and influential designers working in narrative media. With the impact of his ideas extending far beyond his background in cinema, he advocates an immersive design process that acknowledges the key role of world building in storytelling.

In his 30+ years as a narrative designer, Alex has worked in commercials and cinema with renowned directors Alex Proyas, David Fincher, Steven Spielberg, Terry Gilliam, Andrew Niccol, Tim Burton, and Zack Snyder, amongst many others. He has designed for consumer, corporate, live performance, and interactive, immersive user space.

From 1999-2001 he worked with Steven Spielberg to production design and develop a world for the film Minority Report, prior to a completed script. The process that evolved changed the nature of his film design process from analogue to digital, and profoundly affected the nature of all digital production, pushing a radical shift towards a non-linear workflow. Since then his work has built on the dynamic relationship between creativity and emergent technologies.

Alex recently designed Man Of Steel, Zack Snyder and Chris Nolan’s retelling of the Superman origin story, where he used world building practice and process to build the holistic world of Krypton, its history and its integration with our present day world.

As visiting artist at MIT’s Media Lab from 2006-2011 he designed the robot opera Death and the Powers for composer Tod Machover. He is a Getty Research Institute scholar, a member of the Academy of Motion Picture Arts and Sciences SciTech Council, and on the executive board of the AMPAS Design Branch. In 2006, he was awarded Royal Designer for Industry by the UK’s Royal Society of Arts, and in 2013 the D&AD President’s Award.

McDowell is a Professor of Practice at the USC Cinematic Arts divisions of Interactive Media and Games, Production, and Media Arts and Practice (iMAP), where he is also creative director of the USC World Building Media Lab and the thought leadership network 5D Institute.

He is also the founder and creative director of 5D | Global Studio, an interdisciplinary, multi-platform, and cross-media design studio.

Isaac Resnikoff (b. 1980, Berkeley CA) received an MFA from the University of California Los Angeles in 2009 and a BFA from Cooper Union in 2002. Recent solo exhibitions include Slow Days, Fast Company (Louis B. James, New York), Foundation for a House Made of Air (UCSB AD&A Museum, Santa Barbara), and The Things That Happened (Steve Turner Contemporary, Los Angeles). His work has been included in numerous group shows including exhibitions at Francois Ghebaly (Los Angeles), Samuel Freeman (Los Angeles), Marine Salon (Los Angeles), Rivington Arms (New York), and Pennsylvania Academy of Fine Arts (Philadelphia), and he is also included in The Younger Than Jesus Artists Directory (New Museum and Phaidon Press). He lives and works in Los Angeles.

Geoff Tuck is an artist and writer who divides his time between Los Angeles and Parkfield, CA. He is an autodidact, and received his education in libraries and in conversations. Tuck is the publisher of the online journal Notes on Looking. He has shown his art work in group and solo exhibitions in Los Angeles and internationally.

Sep 192013
 September 19, 2013


Kaucyila Brooke, Kelly Cline, Veronique d’Entremont, Danielle Dean, Lecia Dole-Recio, Patricia Fernández, Margaret Honda, Alice Könitz, Bessie Kunath, Young Joon Kwak, Gina Osterloh, Gala Porras-Kim, Jen Smith, Ariane Vielmetter, Brenna Youngblood

September 23 — October 25, 2013

Artist Reception & Catalogue Release: Sunday, October 20, 1PM — 4PM

Location: Guggenheim Gallery @ Chapman University, One University Drive, Orange, CA 92866

Hours: Monday — Friday, 12 — 5PM; Saturday, 11AM — 4PM

The Guggenheim Gallery at Chapman University is pleased to present Demolition Woman, an exhibition curated by Commonwealth & Council, September 23 to October 25, 2013. The exhibition assembles an intergenerational sisterhood of artists whose projects re-envision our shared habitat through inflections of difference.

Utilizing a symbolic stratagem that undergoes both physical and contextual transformations, Demolition Woman dismantles shoddy infrastructures of knowledge and social order by regenerating an open system for grafted realities and truths. Adopting various epistemologies of material process, Kaucyila Brooke, Kelly Cline, Veronique d’Entremont, Danielle Dean, Lecia Dole-Recio, Patricia Fernández, Margaret Honda, Alice Könitz, Bessie Kunath, Young Joon Kwak, Gina Osterloh, Gala Porras-Kim, Jen Smith, Ariane Vielmetter, and Brenna Youngblood synthesize permutations of language, history, and memory toward divergent forms and meanings.

An artist reception will be held on Sunday, October 20, 1PM—4PM, coinciding with the release of the exhibition catalogue designed by New Byzantium and featuring an Eknæs font/cover design by Nicolau Vergueiro and essays by Doris Chon, Chương-Đài Võ, and Catherine Wagley. Printed in an edition of 196, each copy of the catalogue contains a unique print that functions as a 1:1 scale segment of the walls, floor, or ceiling of the bathroom from Margaret Honda’s 4366 Ohio Street, an ongoing, full-scale reconstruction in paper of the artist’s childhood home.

Special thanks to: Sue Ann Robinson and Candice Reichardt at Long Beach Museum of Art; Nadja Quante and Anja Casser at Badischer Kunstverein; Karisa Morante, Tyler Park, and Francois Ghebaly Gallery; Honor Fraser Gallery; Marcus Herse and Guggenheim Gallery at Chapman University; Blake Besharian/New Byzantium; Nicolau Vergueiro; Doris Chon; Chương-Đài Võ; Catherine Wagley; and the artists.

Sep 052013
 September 5, 2013

Closing Reception Syrop&Chang: Wednesday September 11, 2013, 6-9pm, Guggenheim Gallery at Chapman University

Visual Thinkers Lecture Series with Mitchell Syrop and York Chang: Wednesday September 11, 2013, 7-8pm, Moulton Hall 213

Please join us for a double feature night in Chapman University’s Art Department. We will hold a closing reception for Syrop&Chang from 6pm-9pm in the Gallery. From 7pm -8pm in Moulton Hall 213 Mitchell Syrop and York Chang will discuss their show at the Guggenheim Gallery. As part of the Visual Thinkers Lecture Series they will give an overview of their work and contextualize the exhibition within their respective oeuvres.

Jun 262013
 June 26, 2013
June 30, 2013 – September 14, 2013
Opening Reception on June 30, 2013 from 11am – 2pm
Artist Reception on September 11, 2013 from 6-9pm

The Guggenheim Gallery at Chapman University in conjunction with the 2013 California Pacific Triennial is pleased to present Syrop & Chang. York Chang’s and Mitchell Syrop’s exhibition explores the artists’ interest in the fabrication of narratives and supposed truths through the authority of text and context.

Mitchell Syrop has been investigating the written word in previous bodies of work, hereby drawing connections between text and its qualities as an image. His maniacally written abstracts, blow-ups of scribbled notes are concerned with ambiguities of language, the visual properties of its presentation, identity, and interchangeability. The physio-psychological aspects of the work and its self-deprecating content are disrupted by the technical sophistication and confidence of the final image, evidence of performative actions, presented in a distanced manner.

York Chang’s interest in text lies with its possibility to create history. Via the construction of a fictitious historical art movement, the “visceral realists” and the re-enactment of actions attributed to the group, he challenges the notion of the grand historical narrative, which contemporary art is committed to. He exposes it as similarly arbitrary, playing with its function as creating meaning, and makes us aware of a society drawing conclusions based on truths, which are always created one-sidedly, as is mostly the case, by the ones in power. The notion of the type of political and actionist artist that the visceral realists promote is an option that although it never existed, indeed had its moment in time. Chang poses questions of identity and authorship in creating these heroes, which are not a romantic fantasy, but rather a poetic improvisation on art history’s keyboard. This in turn is utterly contemporary.

Where Syrop is direct, expressive and sometimes goes blue, Chang answers in his deadpan, sly and calculated style. The pairing of their different methods of investigation provides commonalities, and exciting new constellations and timbres of their respective work, while showing the continuation of conceptual approaches in L.A.’s most recent art history.

Mitchell Syrop was born in Yonkers, New York and lives in Los Angeles. He earned his BFA in 1975 at Pratt Institute, Brooklyn, NY, and his MFA in 1978 from the California Institute of the Arts, Valencia, CA. Many of the methodologies and concerns found in his early work, remain fundamental elements of his work to this day. He often returns to earlier works and starts again where he left off, almost following a psychoanalytic model. Over the course of his career he has worked with a wide range of materials and approaches including photography, film, video, sculpture, writing, performance, as well as, computer based production and presentation methods. Although his practice is frequently regarded as “conceptual”, it is not theory driven. Additionally for the past 24 years he has taught at a number of academic institutions in the Los Angeles area including faculty positions at ArtCenter, CalArts, USC, Otis, and Chaffey Community College.

He has been exhibiting his work for the past 30 years, throughout the United States, Europe, and Asia. Significant exhibitions include: Avante-Garde In The Eighties, Los Angeles County Museum of Art, Los Angeles, CA (1987), Striking Distance, Museum of Contemporary Art, Los Angeles, CA, (1988), The Photography of Invention: American Pictures of the Eighties, National Museum of American Art , Washington DC (1989), A Forest of Signs: Art in the Crisis of Representation, Museum of Contemporary Art, Los Angeles, CA (1989), Constructing A History: A Focus on MOCA’s Permanent Collection“, MOCA, Los Angeles, CA (1990), Special Collections: The Photographic Order from Pop to Now, Int’l Center of Photography, NYC (1992), Tomorrow Land: A Tribute to CalArts, Museum of Modern Art, NYC  (2006

York Chang (b. 1973, St. Louis, MO) is a conceptual artist and painter who manipulates the cultural projection of ideology, fanaticism, identity and political power. He creates immersive “total” installations, exploring the exhibition construct’s potential for literary fiction writing and turning forensic and archival information systems into supports for poetic gestures. Chang’s work often explores fiction and deception, blurring conventional notions of authorship, appropriation, and credibility in cultural production. He earned both his BFA (1996) and Juris Doctorate (2001) from University of California, Los Angeles (UCLA). York Chang lives and works in Los Angeles, CA.

Select exhibitions include York Chang: The Winners, Greene Exhibitions, Los Angeles, CA (2013), Ping Pong at Art 43, Basel, Switzerland (2012); Incognito at Santa Monica Museum of Art (2011); The Workers at MASSMoCA (2011); Suelto at La Central Gallery, Bogotá, Colombia (2011); Open Daybook at Los Angeles Contemporary Exhibitions (2011); ARCO Madrid with g727, Madrid, Spain (2010); ZOOM at the Torrance Art Museum, Torrance, CA (2009); The Search for the Visceral Realists at the Federal Art Project, Los Angeles, CA (2009); Asian New Media, Center for Democracy at Japanese American National Museum, Los Angeles CA (2008); Hard Left, at Merry Karnowsky Gallery, Berlin, Germany (2008); Legally: An Unethical Happening at the Hyperion Tavern, Los Angeles, CA (2007); Santa Monica Originals at the Arena 1 Gallery, Santa Monica, CA (2005); Open Show 2004, curated by James Elaine, Hammer Museum Curator, Gallery 825, Los Angeles, CA (2004).

Co-curated by Marcus Herse in conjunction with the 2013 California Pacific Triennial curated by Dan Cameron

Jun 072013
 June 7, 2013

California Visual Music

Three Generations of Abstraction

May 20, 2013 – June 15, 2013
Please join us for the opening reception on May 25, 2013 from 5-8pm

Heather Brown
Tony Delap
Michael Dopp
Roy Dowell
Craig Kauffman
Ed Moses
Michael Rey
Brian Sharp
Jay Sagen
Patrick Wilson
Bobbi Woods

The Guggenheim Gallery at Chapman University in conjunction with Chapman University’s Escalatte Collection is pleased to presentCalifornia Visual Music – Three Generations of Abstraction. The exhibition brings together work from L.A.’s vital art scene with selected pieces from the Escalate Collection that exemplify key innovations in abstract art.

Abstraction’s debut on the California stage was initiated by pioneering gallerist Felix Landau and the legendary Ferus Gallery in the 1950’s. The 1960s and 70s brought Finish Fetish and Light and Space, distilled from op art, minimalism and geometric abstraction, which are identified with the American West and are tied to a unique period in which many California artists investigated the picture plane beyond the concerns of the canvas and representation. Craig Kaufman, Tony Delap and Ed Moses, whose works are highlights of California Visual Music, developed a discourse with regional specificity in company with artists such as Robert Irwin and James Turell.

Most recently, the broad field of what abstraction could mean is being re approached by a new generation of L.A. artists. Some of the most vivid of these new positions are featured in California Visual Music alongside their predecessors. The exhibition examines the heritage and influence of classical abstraction while presenting a survey of strategies that continues to bring new insights, from the serendipitous experiments of light and space to the manias for new materials and properties of color.
Co-curated by Marcus Herse and David Michael Lee
Jan 222013
 January 22, 2013

Wir Drei

Figurative Painting
January 30 – March 1, 2013
Please join us for the opening reception on Friday February 1st,  2013, 6-9pm
with musical entertainment by No Vex - Lisa Madonna & Michael Dopp

Yesim Akdeniz
David Bell
Charles Garabedian
Roger Herman
Dietmar Lutz
Andre Niebur
Laura Owens
Suzanne Wright


The Guggenheim Gallery at Chapman University is pleased to present Wir Drei, a selection of contemporary figurative painting from Istanbul, Los Angeles and Düsseldorf. Nested symbolic systems, personal mythologies and psychological approaches are at the core of this exhibition. Coming from different backgrounds and generations, the eight artists in the exhibition employ a wide variety of figurative painting concepts.

The title, Wir Drei (We Three), is taken from a Yesim Akdeniz painting, which, in turn, is an homage to Phillip Otto Runge’s original work of the same title. Runge’s Wir Drei was painted in 1804 and destroyed by a fire in 1931 while in an exhibition at the Glaspalast in Munich. Typical for a romantic painting, it is full of symbolism and metaphor, filled with codes, hard to decipher today and leaves us wondering about what hidden desires and relationships are underneath the surface as the following quotes illustrate:

„The painting (depicting the artist with his wife and his brother) could be seen to exemplify the symbiotic romantic love relationship that is at the same time open to others. (…) it suggests a fusion of erotic love, which remains open to intimate friendship with others, (…)“—Encyclopedia of the Romantic Aera

“Philipp Otto Runge’s We Three is a “friendship picture”, a common genre in the Romantic age. (…) In the relationship between its three figures, you have the same sense of hidden depths that is characteristically found in the mono self-portrait (…) these depths are transmitted by faces (…) that both reveal and conceal the heart’s plots. We Three: you’ll never know.”—Tom Lubbock, The Independent

Akdeniz’s version of the picture alludes to this symbolism and enigma. The roles are reversed, though. Keeping the original composition for the most part, Akdeniz assumes the pose of the woman, (the wife in the original), who now has a man on each side. Is it a joke? Or rather the opposite: a postulate of female power? Maybe both. The two men look like twins. Are they brothers, or two aspects of the same personality? Or do they represent the dichotomist, possibly schizophrenic relationship of the author to one person? We won’t get a definite answer. What we get is a pictorial space that clears for possible answers, a space that clears for interpretation.

The exhibition embraces this space, which opens up somewhere between image and psychogram, between genre and confession. It is a possibility of painting, that slides in and out of popularity, but always remains at the heart of the craft: The complex relations between the painter, the painted and the viewer. We Three. - Marcus Herse

Yesim Akdeniz

Yesim Akdeniz’s stunning paintings have been shown at international contemporary art institutions such as MAK Museum, Vienna,Bonn Kunstverein, Stedelijk Museum Amsterdam, Museum de Paviljoens Almere, PAK Kunstverein Hamburg, Kunstverein Frankfurt and Saatchi Gallery London. The artist has graduated from the Art Academy Duesseldorf in 2002,  and then participated in residency programs of de Atelier’s, Amsterdam and Platform Istanbul. She lives and works in Istanbul and is represented by Dirimart Gallery.

Akdeniz reveals power structures and the visible and invisible control mechanisms on individuals and their unconscious. She draws her inspiration and her artistic language from the very environment that she lives in and she represents her very surroundings with a critical touch. Akdeniz transmits anything she sees, reads, listens to and experiences in her own artistic style through her paintings.

“By associating various cultural vocabularies within a cinematographic dramaturgy, Akdeniz grasps the transformative and tangible state of many current belief systems and worldviews, their clashes and possible downfalls…” Andrea Wiarda in Flash Art, 2005


David Bell

David Luc was Bell was raised on an ecological nature preserve in Murrieta, California.  He spent three years with the United States Forest Service fighting fires across Southern California and later worked as a Park Ranger in Central Florida until he decided to shift his focus to the arts. Bell then traveled overseas and attended Santa Reparata International School of Art & Design in Florence, Italy, where he studied architectural drawing and cartography. After finishing his B.A. in fine arts at UCLA, he attended Metafora School of Contemporary Art in Barcelona, Spain. Bell’s work aims to problematize human relationships with support structures that can be both physically and mentally obtrusive, often times reflecting on personal social experiences as a way to metonymically represent society as a whole. He currently operates a transient art space that aims to show conceptual work in non-traditional spaces, branded early on as Dave Gallery.


Charles Garabedian

was born in Detroit in 1923, and moved to California at age nine. During World War II, he was a gunner on the B24 Bomber in the US Army Air Force stationed in England. Following the war, Garabedian studied literature and philosophy at UC Santa Barbara on the GI Bill. He went on to study history at the University of Southern California, and earned his BA in 1950. Thereafter, Garabedian pursued several occupations that included working for Union Pacific Railroad. Encouraged by his friend Ed Moses, he studied painting with Howard Warshaw, and at age 34 entered the University of California, Los Angeles. In 1961, he graduated from UCLA with an MA in art.

Garabedian’s work has been seen internationally, with his inclusion in important group museum exhibitions including the Whitney Museum of American Art Biennial, 1975 and 1985; San Francisco Museum of Modern Art, CA, 1976; the Venice Biennale, 1976 (also 1982, ’84 and ’85); the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., 1984; Brooklyn Museum of Art, NY, 1989; the Sezon Museum of Art, Tokyo, Japan, 1991; and the Corcoran Biennial, 1993.

Garabedian has been honored with several solo museum exhibitions: The La Jolla Museum of Contemporary, 1981; the Rose Art Museum of Brandeis University, Massachusetts, 1983; and the Luckman Gallery, California State University, Los Angeles (traveled to the Nora Eccles Harrison Museum of Art, Logan, Utah), 2003/2004. In 2011, the Santa Barbara Museum of Art held a retrospective of his work.

He received a National Endowment for the Arts Fellowship in 1977, a John Simon Guggenheim Memorial Foundation Fellowship in 1979, and the American Academy of Arts and Letters award in 2000. Garabedian lives and works in Los Angeles, and continues to paint. He is represented by L.A. Louver in Venice, CA.


Roger Herman

Was born in Saarbruecken, Germany in 1947.
He earned and MFA at the Akademie der Kuenste in Karlsruhe, Germany.

Roger Herman is a long-respected figure in the Los Angeles art world as an artist and professor (UCLA since 1976), who has been primarily known for the past 30 years for his large-scale paintings and woodcuts exploring abstraction and figuration.

He  has shown widely in the United States and Europe. Solo exhibitions include those held at Larry Gagosian, Los Angeles; Ace Contemporary Exhibitions, Los Angeles and New York; Froment Putman Galerie, Paris; the Santa Monica Museum of Art; Museo del Arte Contemporana, Mexico City; and the Los Angeles County Museum of Art. Herman’s many group exhibitions include The San Francisco Museum of Modern Art; National Gallery of Art, Washington, D.C.; P.S. 1, New York; Walker Art Museum, Minneapolis; Butler Institute of American Art, Youngstown, Ohio; Museum Ludwig, Saarlouis, Germany; and Art Museum of São Paulo, Brazil. Herman has been on faculty for the department of painting and drawing at UCLA since 1990. He was also the co-founder of the legendary Black Dragon Society in Los Angeles from 1998 – 2008. He lives and works in Los Angeles.


Dietmar Lutz

was born in 1968 in Ellwangen and lives and works in Düsseldorf, Germany.

He studied at the Kunstakademie (Academy of Fine Arts) Düsseldorf, and graduated in 1997. In the mid-1990ies he co-founded the Düsseldorf-London-based artist collective hobbypopMUSEUM.

His paintings have been shown internationally in galleries and art institutions such as Emily Tsingou Gallery London, Karyn Lovegrove Gallery Los Angeles, Center Berlin, Arquebuse Geneva, Alberto Peola Gallery Turin, Kerstin Engholm Gallery Vienna, Frankfurter Kunstverein, Seattle Art Museum, Kunsthalle Düsseldorf, Bloomberg Space London.

Exhibitions and projects of hobbypopMUSEUM include:

Raving Gardens at Eastside Projects Birmingham, Taking the Air at Right Window San Francisco (both 2010), Gamma Gamma at the Herzliya Museum Tel Aviv (2007), Mystica at Deitch Projects New York, Echo at Deste Foundation Athens (both 2005),

Melody of Destiny at Tate Britain (2003), London Onion Development at Anthony D’Offay Gallery London, After Show Party at Kunstverein Düsseldorf (both 2001)

In 2012 he spent 6 months in Bombay (India) with hobbypopMUSEUM as artist-in-residence of Kunststiftung NRW and Goethe-Institut Mumbai.


Andre Niebur

was born in 1973 in Rhede and currently lives and works in Düsseldorf, Germany.

He studied at the Kunstakademie Düsseldorf.

Since 1998 he is a member of  the Düsseldorf-London-based artist collective hobbypopMUSEUM.

André Niebur exhibited in various galleries and art institutions such as Gowen Contemporary and Arquebuse Geneva, Eastside Projects Birmingham, Mother´s Tankstation Dublin, Kunstverein Düsseldorf, Center Berlin, Eva Winkeler Frankfurt,  Adeline Morlon art directions Düsseldorf and Murray Guy New York.

Exhibitions and projects of hobbypopMUSEUM include:

Raving Gardens at Eastside Projects Birmingham, Taking the Air at Right Window San Francisco (both 2010), Gamma Gamma at the Herzliya Museum Tel Aviv (2007), Mystica at Deitch Projects New York, Echo at Deste Foundation Athens (both 2005),

Melody of Destiny at Tate Britain (2003), London Onion Development at Anthony D’Offay Gallery London, After Show Party at Kunstverein Düsseldorf (both 2001)

In 2012 he spent 6 months in Bombay (India) with hobbypopMUSEUM as artist-in-residence of Kunststiftung NRW and Goethe-Institut Mumbai.


Laura Owens

Laura Owens is among a select group of artists credited with the rebirth of painting in the 1990’s.  Since her first exhibitions in the mid 90’s, Owens has developed a style all her own, moving from landscape to abstraction with energetic thick brushstrokes, fanciful childlike doodles, or sophisticated fine line drawings.  At once seductive and disconcerting, her work makes painting a cognitive adventure for the viewer, fusing the traditions of art history with those of applied art, themes of abstraction with representation, and artistic-conceptual stringency with lightness and visual fascination.  Her recent work continues to expand the domain of her medium and has included large scale paintings, an ongoing clock series, as well handmade artists books.

Laura Owens was born in Euclid, Ohio, 1970.  Receiving her B.F.A. at the Rhode Island School of Design, RI, in 1992, Owens went on to study at the Skowhegan School of Painting and Sculpture in Maine in 1994, and the California Institute of Arts in Valencia, California, where she earned an M.F.A. in 1994. A solo show of her work is currently on view at the newly opened Mission Road space in Los Angeles, California.  Previously, her work has been the subject of major solo exhibitions at international venues such as the Kunstmuseum Bonn, Bonn (2011), Bonnefantenmuseum, Maastricht (2007: cat.); Kunsthalle Zürich, Zürich (2006 and tour: cat.); and the Museum of Contemporary Art, Los Angeles (2003 and tour: cat.).   Her work is included in many of the world’s leading public collections, including the Centre Georges Pompidou, Paris; the Metropolitan Museum of Art, NY;  the Guggenheim Museum, NY; the Whitney Museum, NY; the Museum of Contemporary Art, LA; the Los Angeles County Museum, LA; the Carnegie Museum of Art, Pittsburgh; the Art Institute of Chicago, Chicago; among many others.  Owens lives and works in Los Angeles, CA.


Suzanne Wright

Suzanne Wright was born in New London, Connecticut. She earned her BFA at Cooper Union, her MFA at the University of California San Diego and she also attended Skowhegan School of Painting and Sculpture. Most recently she had a solo show with Commonwealth and council called “Exiting the deathstar”. In 2011 she had two person exhibitions at Commonwealth & Council and ACP (Artist Curated Projects), and was included in Object-Orientation: Bodies and/as Things at Cerritos Gallery, and Somatic SENSOR at Highways, all in Los Angeles.

Wright has had solo exhibitions at Dechira/Stewart Gallery, Stefan Stux, and Monya Rowe, all in New York, and has been included in group exhibitions at Stephen Friedman Gallery, London and at Wizenhausen, Amsterdam. Recent group exhibitions include Récits des trois perverses: femmes seulement, Jancar Gallery & Tilt shift LA, Luis De Jesus, in Los Angeles CA, Empire of This at Claire Oliver Gallery and Sexy Times at Morgen/lehman Gallery, both in New York and I-podism in Galway, Ireland. In March 2010, she was a Darin Klein & Friends artist-in-residence at Amy Adler’s Echo Park Studio in Los Angeles, which resulted in a series of exhibitions of her own work as well as weekly public programs. Suzanne Wright’s work can be seen in many publications including, Feminist Landscapes, Strange Attractors,Armpit of the Mole and Into the Abyss (Adam Putnam, editor) and Art and Queer Culture (Phaidon, 2011). She is presently teaching painting at Chapman University in California and sculpture at University of California Los Angeles. In 2006 she Co-founded Future 86, a bi-annual art event showcasing the work of contemporary artists at her home in the Catskills in New York. She is in the process of creating a summer exhibition space.