FOR IMMEDIATE RELEASE
HEATHER CARSON, KATHERINE FINKELPEARL, ANTHONY MCCALL, IAIN SLACK
CURATED BY JULIE LAZAR
September 9 December 2, 2006
Reception for the Artists, Saturday, September 16th from 7 9 pm
ARENA 1 A project of Santa Monica Art Studios
3026 Airport Avenue, Santa Monica, CA. 90405
Directors: Sherry Frumkin and Yossi Govrin
(310) 397-7456, fax (310) 397-7459
Web site, http://www.santamonicaartstudios.com
Gallery Hours: Wednesday Saturday, 12 - 6 pm
(left to right)
Heather Carson, light/HANGAR 2006
Iain Slack, White Room (installation view)
Anthony McCall, Watertable
Katherine Finkelpearl, Three Trees
ARENA 1 is pleased to announce Light-Sensitive an exhibition of painting, sculpture and photographs that embody an internalized sense of spatiotemporal luminosity with a refined minimal aesthetic, organized by curator, Julie Lazar, director of ICANetwork, (formerly, director of experimental programs at The Museum of Contemporary Art, Los Angeles). Light-Sensitive will be on view at ARENA 1 beginning September 9 and will run through October 21, 2006. A reception for the artists is scheduled for Saturday, September 16th from 7 to 9 pm.
Heather Carson's LightHANGAR, 2006, directly utilizes the steel girders and loftiness of the ceiling in Arena 1, a renovated airplane hangar, in order to construct and deconstruct prismatic volumes of light. Comprised of industrial, off-the-shelf H.I.D. (high intensity discharge) lighting units controlled by 24 computerized relay switches, the newly created sculpture slowly shifts and changes over time, soaring aloft above the 12' high white gallery walls to an apex of 40 feet. In her designs for theater and opera, Carson creates light as, "a visceral, active presence that co-exists with action," while her sculptural installations explore physicality rather than opticality, and architectural rather than anthropomorphic scale.
Katherine Finkelpearl's most recent room-sized installations are constructed of untreated, uncolored, cut theater muslin that interrogate existing volumes of architectural spaces and available light, but for this exhibition, a selection of unstretched, unframed, diluted acrylic paintings are on view. Paintings of Japanese-influenced abstract circles are installed nearby those of tree silhouettes that the artist views throughout the year from the abundant windows of her studio in Shaker Village, Massachusetts. The untitled paintings of buildings and bridges--which she considers a kind of phantom architecture--are based on photographs of structures that Finkelpearl encountered at an earlier period in life when she and her family resided together in Pennsylvania.
Anthony McCall's Water Table, 1972, is a set of six 11 x 14" gelatin silver prints of an event that was staged for the camera. A long tabletop is cantilevered out into a New York loft space in such a way that it narrows in perspective as it thrusts toward a set of bay windows before the camera. Scavenged boards are laid at various angles widthwise across the table's surface in the first photograph of the series. In each subsequent picture, a number of boards are removed and replaced by horizontal lines of water intersected by vertical shadows defined by the architecture of the room--until no boards remain in the final photograph. The series of still photographs can be read simultaneously as an historical document of an ephemeral, sculptural "performance," or as frames in a continuous horizontal, stopaction animated film.
Iain Slack's two-room, site specific installation, Bird Watching, 2006, is comprised of a number of square, 6' x 6' or 8' x 8', black and white rubber 'paintings.' While the weight, materiality and casting of the individual elements are sculptural gestures, Slack honors the "muscularity" of several 20th Century master painters like Barnett Newman (whose quote Bird Watching refers to), Jackson Pollock, Piet Mondrian and Frank Stella without utilizing any painterly illusions or brushstrokes. Without unnecessary embellishment, or straying into self expressionism, the black 'paintings' introduce the spatial imposition of rubber while conversely; the white 'paintings' demonstrate its seeming invisibility.
ARENA 1 and Heather Carson gratefully acknowledge the Durfee Foundation for supporting the creation of LightHANGAR. Distributed Memory, two nights of projected images and live music also curated by Julie Lazar, will be presented at the Getty Center's Harold M. Williams Auditorium on October 6 and 7 at 7:30 pm.
Julie Lazar is Director of International Contemporary Arts Network based in Glendale, California, and an independent curator. She was a founding curator of The Museum of Contemporary Art in Los Angeles where she later served as Director of Experimental Programs. Lazar's work has encompassed all media (including TV, radio, film, video, Internet, digital media, and the plastic arts) in multiple disciplines (dance, theater, music, etc.), including the commissioning of new artists' works and the organization of exhibitions by John Cage, Peter Sellars, Renée Green, Gary Hill, Elizabeth Streb, Grahame Weinbren, and Do-Ho Suh, among others. In New York, she held key administrative positions at P.S. 1 Contemporary Art Center; The Hudson River Museum, Rockefeller University, The Museum of Modern Art, and Lincoln Center for the Performing Arts.
ARENA 1 is an exhibition space founded by Santa Monica Art Studios directors Yossi Govrin and Sherry Frumkin. Based in an historic hangar at the Santa Monica Airport, ARENA 1 invites internationally know as well as newly established curators to develop innovative and compelling exhibitions.