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September 24–December 5, 1993 |
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This mid-career survey of the work of Los Angeles artist Kim Abeles included
twelve different bodies of work produced since 1979. From her early kimonos,
books, assemblages, shrines, and boxes of the late 1970s to her large-scale
sculptures and installations of the 1980s and 1990s, Abeles's work addresses
contemporary cultural and social conditions, as she strikes a delicate
balance between the didactic and the poetic.
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July 30–September 5, 1993 |
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In this film installation, the Yonemoto brothers and John Baldessari
utilized archival rear-projection footage from 1930s Hollywood films to
transform the gallery into a 35mm film environment that explored the nature
of subjectivity. Three Locations/Three Points of View illustrated that in
film, as in life, we are never certain of the relative importance of things
and that perception is often a by-product of circumstantial phenomena.
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July 9–September 5, 1993
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This exhibition consisted of large-scale, close-range color photographs of
everyday objects by this contemporary French photographer. In this format
Tosani emphasizes the enigmatic beauty of the mundane to question the nature
of photographic representation and how we misread or misinterpret what we
see. The exhibition was curated by Sylvia Wolf and circulated by the Art
Institute of Chicago.
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July 9–September 5, 1993 |
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This exhibition surveyed a series of thirty-six small-scale collages created
by Los Angeles artist Roy Dowell over the course of one year beginning in
the summer of 1991. All of the images in the series are 6 x 9 inches and are
composed of scraps of found paper—used handbills, remnants of billboards,
advertisements, and posters—the recycled detritus of everyday life. Using
photo-based reproductions as source material for the collages, the artist's
collages suggest meaning as a hybrid of popular culture and a lexicon of
abstraction. |
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June 11–July 18, 1993 |
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Rowe's multimedia installation used sculpture, sound, video, slide
projections, text, and photography to recount the life of one "invisible
woman." The work questioned existence and the quality of existence as it
reiterated the artist's interest in the many anonymous people in our society
who live unnoticed by and "invisible" to those around them.
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June 3–June 27, 1993 |
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The Santa Monica Museum of Art hosted the Los Angeles Center for
Photographic Studies' 1993 Annual Exhibition. This exhibition of
photographic work by LACPS members from around the country was juried by Ann
Goldstein, Associate Curator for the Museum of Contemporary Art, Los
Angeles. |
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May 28 and May 29, 1993 |
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The Museum hosted two public concerts by noted electronic composer and
contemporary musician Morton Subotnick with the E.A.R. Unit ensemble. |
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April 16–May 23, 1993 |
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Nishio's mixed-media installation utilized ready-made surveillance systems
and security hardware designed to block or limit access. An assortment of
recognizable objects—chain-link fence, two-way mirrors, window guards,
railings, surveillance systems—created a psychological landscape that
portrayed our fears, anxieties, and our need for protection. These materials
were arranged to spell out such words as "S-A-F-E" and
"A-R-M-E-D-R-E-S-P-O-N-S-E." |
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April 16–May 23, 1993 |
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Aldrich's installation interwove visual images, forms, and media to create a
kind of "flight school" addressing real, imaginary, and desired experiences
of flying. Themes of bird flight or the "departure" of endangered bird
species, human flight through technology, and supernatural flight embodied
in notions of angelic beings were combined in a multimedia installation that
incorporated painting, sculpture, video, and music. |
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February 10–March 28, 1993 |
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Curated by Bill Lacy and Susan de Menil, this exhibition included work by
ten California architects whose work has been influential in fashioning a
new spatial aesthetic with which to view architectural design. While many of
the architects are not native Californians, they represent a "westward
migration"; they were the first generation to incorporate into their work
the look of California culture and the environment—roads and signs, the
chaotic clutter of freeways, strip malls, and frequent natural
catastrophes—reflecting a brash and idiosyncratic wit. |
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February 10–March 28, 1993 |
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This exhibition of works by New Orleans artist Robert Tannen focused on his
multidisciplinary work in sculpture, installation, urban design, and
architecture, spanning the preceding thirty years. The presentation focused
on ideas and the work as a creative activity rather than passive objects of
consumption. Citizen Artist was organized by the Contemporary Art Center in
New Orleans, Louisiana. |
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December 4, 1992–January 31, 1993 |
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LAX: The Los Angeles Exhibition was the first of an ongoing series of
biennial exhibitions held concurrently at eight venues across the Los
Angeles area. Included at the Santa Monica Museum of Art were Visiting
Hours, a performative installation by Bob Flanagan with Sheree Rose, and
Body Politic: Perception and Use of the Body as a Messenger of Social
Change, a group exhibition curated by Lizzetta LeFalle-Collins with work by
Michele Elizabeth (whose piece included a performance), Todd Gray, and Lyle
Ashton Harris.
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