Opening reception: Saturday, October 10th, 5-8
A new text based installation that will span the space of the elephant art gallery.
September 4 - October 2, 2015
Opening reception: Sunday, September 13, 3 - 6 pm (Micheladas and BBQ)
Special performance by Ghanaian Xylophonist SK Kakraba promptly at 6 pm.
In his new body of work, Funk City, Leonardo Bravo stretches elements of scale and a complex visual vocabulary to explore states of fluidity, transition, and continuous movement. The individual works point to the constructs of the urban environment; the inherent tensions, pressures, and counter logic that form narratives of individual and collective loss. Yet they also position these as sites of unfettered liberation, boundary traversions, and ultimate shape shifting. Through the inherent tension between lines, colors, and space the works in Funk City are akin to visual mappings or wall markings calling forth a collision of histories, voices, imaginings, and incantations. Although these works are not by themselves illustrations of a rich source of inspiration, they function as evocations to be read, suggestive of a complex and compelling symbol system.
Leonardo Bravo's paintings draw upon the language of modernist geometric abstraction through complex structures and systems in saturated colors that suggest a constant state of becoming and unfolding. These works take their cues from a variety of sources including Bauhaus master weavers Gunta Stolzl and Ani Albers, the wall drawings of Sol LeWitt, the works of Brazilian artist Helio Oiticica, and traditional South American woven tapestries. Inherent in these structures is the visual tension suggested by the relationship of each color form to the other, and the way in which negative space becomes a counterpoint to each fixed form. The complexity of these structures suggest an architecture of time and space in which forms continue to build and collapse upon each other, emanating new relationships, and suggesting pathways that open up to limitless possibilities, questions, and complexities.
Born in Santiago, Chile, Leonardo Bravo earned his BFA from OTIS Institute of Art & Design and MFA from the University of Southern California.
The son of the world renowned master xylophonist Kakraba Lobi, S.K. Kakraba Lobi undertook traditional training in xylophone from a young age. He was a xylophone instructor at the International Centre for African Music and Dance, University of Ghana, Legon and a member of Hewale Sounds.
The Gyil is an important instrument among the Lobi, Sisala and Dagara people of the Upper regions of Ghana, who employ them for both funerals and festivals and one of the grandparents of the mallet keyboard family. It is made from fourteen wooden slats that are suspended, on a frame, over calabash gourds. Its sound is like the Western marimba, yet more "earthen” in character. It is the national instrument of the Lobi and Dagara people of Ghana, Burkina Faso and Cüte DÃIvoire.
Throughout West Africa, the people believe that its “woody” sound comes from a vibration of water that physically balances the water in the bodies of humans and animals.
Weekend gallery hours by appointment. Email Leonardo Bravo at email@example.com
Opening Saturday, August 8, 6-10pm
Gallery Hours: Saturdays & Sundays 1-4 pm
And by appointment: firstname.lastname@example.org
Pulsating forces crashing against our temples, all objects and space vibrate with a nauseating fourth dimensional steam.
Scanning the room, we search for an anchor to balance the clashing forces between static and variable.
Look. Look. Survey.
Arresting our eyes on the water damaged surface along the wall, we continue propelling our bodies as oscillating vehicles that resist the fixed and unfixed.
<< spinning & spinning >>
Each revolution condenses the field between watermark and space. Spot…Spot…Spot.
Suspended fields between macro and micro, our vision agitated between the hazy and focused.
“Do we need a better prescription?”
Untethered by this erosion between source and loop, we throw our bodies against gravity. Spiraling into blurred points of intrusion, the watermark burns into our optics.
by Matt McAuliffe
Opening Friday, May 8, 7-10pm
On view by appointment, May 8-30
Secret Menus is an exhibition presenting a recent body of work by Minneapolis based artist Matt McAuliffe. The show will feature new objects, paintings and photography. McAuliffe continues his work recontextualizing objects and events to bring out latent and new narratives and multiple readings. For Secret Menus McAuliffe presents a constellation of work that interrogates subversive social desires of an individual and their role in a society that attempts to normalize and regulate them.
McAuliffe has been featured in shows at Yale University’s Green Gallery, The Suburban in Chicago, Samson Projects in Boston,The Bindery Projects in Minneapolis and Art of This in Minneapolis. He has curated shows at Julius Caesar Gallery in Chicago and Bindery Projects. He most recently participated in the show “A Study In Midwest Appropriation” curated by Michelle Grabner that also will have a forthcoming book accompanying it to be released by Poor Farm Press with essays by Grabner and conversations with the participating artists.
two bodies of work by Janne Larsen
More Capable, More Functioning
Elephant will be exhibiting two bodies of work by Janne Larsen.
More Capable, More Functioning opening Saturday, April 4th at 7 pm
Original Seed opening Friday, April 17th at 7 pm with a dinner performance by Dining Collective, Inner Dinner (Chris Niemi, Andrew Choate, Janne Larsen).
Gallery hours: Sundays from 1-4 and by appointment.
Closes Sunday, April 26th.
More Capable, More Functioning
“Our tentative conclusion is that it is reasonable to equate the habit system with unconscious processing and the non-habit system with conscious processing. We further argue that both systems are capable of sensory processing and action but utilize different brain regions, have access to different forms of memory, and excel at different computations.” - John Lisman, Ph.D.
Janne Larsen’s exhibition, More Capable, More Functioning, presents drawings, wall hangings and laser cut acrylic sculptures as visual diagrams of human functioning. New brain research has discovered that the human brain can simultaneously handle learned habit tasks (like driving) and more difficult non-habit tasks (like planning a presentation). This dual system allows humans to multi-task. It’s why someone can plan their day while driving during a morning commute, and when they get to work remember their schedule but nothing about the commute itself. In this body of work Larsen explores the unconscious tasks that are associated with parenthood and domesticity; functions that exist in a matrix of banality, repetition, and exhaustion.
Food, in the end, is something holy. It’s not about nutrients and calories. It’s about sharing. It’s about honesty. It’s about identity. - Louise Fresco
The act of putting into your mouth what the earth has grown is perhaps your most direct interaction with the earth. - Frances Moore Lappé
Patent exhaustion does not permit a farmer to reproduce patented seeds through planting and harvesting without the patent holder's permission. - Opinion of the Court, Bowman vs. Monsanto
In Original Seed, Larsen looks to the language of Monsanto patent lawyers to elucidate our complex relationship to food. Four traditional watercolors that portray Monsanto employees as heroic crusaders against world hunger are paired with four sculptures that borrow the language of the lawsuit Bowman vs. Monsanto. The watercolors are humorous attempts to visualize Monsanto’s stated commitment to end world hunger, protect rural communities and grow food more efficiently in order to help farmers stay in business. The silicone sculptures utilize Monsanto legalese to explore how we have become very submissive about food. Together they explore how the food industry has transformed a nation of farmers and people who worked the land into passive consumers that buy food without thought about it’s source or progeny. We have casually given our power away. The work attempts to explore with humor why we have chosen to do that.
Janne Larsen is a Los Angeles based artist and educator. She has designed theater, opera, dance and installations throughout Los Angeles and New York. She has exhibited her artwork locally and internationally. Her work has been seen at Symphony Space, Pomona College, Cal State Los Angeles, Califonia Institute of Technology, California Polytechnical Institute, Horsetrade Theater, Los Angeles Municipal Gallery, Workspace, Weekend Gallery, Telic Art Exchange, Outpost for Contemporary Art, The Municipal Gallery of Assisi and The Washington Museum of Art. Janne received her MFA from CalArts in 2007.
Larsen’s work may be viewed at jannelarsen.com
Announcement images by Kimo Proudfoot.
March 6-29, 2015
Opening Reception: Friday March 6, 7-10pm
Closing Reception and Performances: Sunday, March 29, 5-9pm
Gallery Hours: 1-5pm March 8, 14, 15, 21 & 28
and by appointment, contact email@example.com
Possession and the séance experience, therefore, bore witness not to the emergence of particular sexual drives or needs as in the binary model of sexual difference, but rather to the discourse of the polymorphous, paradoxical, deviant, erratic, eccentric, even scandalous nature of desire—and its enactment. The materialisation séance, like a theatrical or fantasized scene, established the conventions which made possible the staging of desire.
—Alex Owen, The Darkened Room
Cindy Rehm’s exhibition, Psychical Research, features a series of collage drawings and video inspired by Victorian mediumship and the book Phenomena of Materialization. The text documents séances between 1909 and 1914 featuring the medium Eva C., and includes reports of sittings, maps of the séance room and detailed accounts of the medium’s gestures, utterances, and materializations. Like women stricken with hysteria, the mediums of the early 20th century fell into trances and challenged conventions of proper feminine conduct through a wide variety of erratic behavior including bodily contortions, spontaneous vocalization, automatic writing, channeling sprits, and the production of ectoplasmic forms.
Rehm looks to the liminal space of the trance as a rich site for the creation and vocalization of potent female narratives. She blends fragmented found images of the body and natural forms to reflect on the expansiveness of female experience, spirituality, and desire. In her video Double Thread two young women engage in an imagined preparation for a séance. The women enact quiet rituals as they interact with mysterious materials that mimic the white gauzy substance known as ectoplasm. The looping video speaks to the intimate bonds between women and to the ceaseless generative potential of their performing bodies.
The exhibition will close on Sunday, March 29th with performances by Rebecca Bruno, Cindy Rehm, and Chelsea Rector. The closing will run from 5-9pm with performances commencing at 7:30pm.
Cindy Rehm is a Los Angeles based artist and educator. She is the co-founder and director of Craftswoman House Temporary Residence a project dedicated to presenting feminist centered works in Southern California. She is a member of the Association of Hysteric Curators and former Director of the Baltimore installation space spare room. Rehm is the recipient of an Individual Artist Fellowship in Media from the Tennessee State Arts Commission, Learning to Love You More Grant, and a Faculty Development Grant from Middle Tennessee State University.
Rehm’s work in drawing, performance, and video has been shown at national and international venues including: Woman Made Gallery: Chicago, LACE; Los Angeles, Goliath Visual Space; Brooklyn, Paul Robeson Gallery; Rutgers, ARC Gallery; Chicago, Transformer; Washington DC, Interaction IV; Sardinia, Italy, and the Archeological Museum; Varna, Bulgaria and at Mains d’Oeuvres; Saint Ouen, France.
Rehm’s work may be viewed at cindyrehm.com
February 7-28, 2015
Opening Reception: Saturday February 7, 6-10pm
Artists: Matt Allison, Cathy Ellis, Alexis Granwell,
Ryan Carr Johnson, Patrick Melroy, Trish Tillman
Curated by: Megan Mueller and Sam Scharf
“We are the things that know us.”
Elephant is pleased to present Materialist, a group exhibition featuring the work of six artists at the forefront of exploring the potential of material as subject. Materialist investigates strategies of production that consider site specificity, function, artifact, and redirection. The materials used by each artist create pluralistic interpretations of the objects as they are presented. Resisting traditional classification, the works exist as both ruin and artifact, serious and whimsical, unresolved and rigorous. While maintaining a transformational ambition, the artists create a tangible energy that derives from the investigations and demands placed upon the materials they’ve chosen. From carrying objects on our backs to presenting previously unknown relationships between materials, this exhibition displays a full range of work that embodies the Materialist
Matt Allison investigates the way people make places for themselves, with a particular enthusiasm for acts of intervention and repurposing. He has completed site-specific projects in Florida, New York City, and California. He recently created an installation at University of California, Santa Barbara in response to the disappearing lake system of Keystone Heights, FL and the grassroots activism it has inspired. He received his BA from Ringling College of Art and Design in 2004, and will receive his MFA from the University of California, Santa Barbara in the spring of 2015.
Cathy Ellis received her BFA from Sonoma State University and her MFA from the University of California, Santa Barbara in 2014. She has exhibited nationally, including exhibitions at The Museum of Contemporary Art, Santa Barbara, Minan Gallery, Los Angeles, CA, Cal State Channel Islands, Camarillo, CA, 186 Carpenter, Providence, RI, Sonoma Valley Museum, Sonoma, CA, SFMOMA Artist’s Gallery, Trillium Press, and Southern Exposure, San Francisco. She is currently a Teaching Fellow at the College of Creative Studies, University of California at Santa Barbara, and the 2014 winner of the Howard Fenton Award for Painting.
Ryan Carr Johnson earned his Bachelors of Fine Art in painting from the Corcoran College of Art + Design and his Master of Fine Arts degree from American University in 2013. Ryan currently lives and works in greater DC area. His work has been shown repeatedly in the Strickly Painting exhibitions, both Pulse and Scope Miami, galleries, universities, and museum exhibitions. Most recently his work was included in the Bathesda 10th annual Painting Awards, in addition his first solo exhibition at McLean Center for the Arts entitled “Remember Me as I was.” Materialist will be his first time exhibiting his work on the west coast.
Alexis Granwell has exhibited internationally and nationally, including exhibitions at Europos Parkas Museum, Vilinius, Lithuania, IPCNY, NY, Momenta Art, NY, Hemphill Gallery, Washington DC, University of Richmond Art Museum, VA, Arlington Center for the Arts, VA, The Print Center, PA, Fjord Gallery, PA, Lawndale Art Center, TX and Bryan Miller Gallery, TX. She recently had solo exhibitions at Towson University, MD and Giampietro Gallery, CT Her work has been reviewed in The Philadelphia Inquirer, The Washington Post, The Globe and Mail and New American Paintings. Granwell received her MFA at the University of Pennsylvania. She teaches at Tyler School of Art and Moore College of Art and Design. She is one of the founding members of Tiger Strikes Asteroid, an artist collective, in Philadelphia.
Patrick Melroy currently maintains a studio practice in the city of Santa Barbara California. Melroy’s practice exists most often as interactive objects and experiences designed to engage an audience. His work has appeared in shows from Belgrade Serbia to Los Angeles California. He was a founding member of the influential Uppur Bunk Collaborative and a charter member of Bottled Lightning Projects in Portland Oregon. Currently Melroy can be heard as the host of the podcast Towned produced by Pullstring Press. He received his MFA from the storied Department of Art at the University of California at Santa Barbara.
Trish Tillman received an MFA from School of Visual Arts and a BFA from James Madison University, with additional studies at the University of Wolverhampton, UK. She is a recipient of the Joan Mitchell Foundation 2009 MFA Grant and has received grants through the D.C. Commission on the Arts and Humanities as well as the Baltimore Office of Promotions and the Arts. She has most recently exhibited her work with Emerson Dorsch, Miami, FL; Regina Rex, NY; Present Company, NY; Slag Gallery, NY; Nudashank, MD; and Civilian Art Projects, Washington, D.C. Tillman is a Professor of Art and Design and has taught at Monmouth University, George Washington University, Rutgers University and the University of Maryland. She has an upcoming solo exhibition at Asya Geisberg Gallery in New York.