FOR IMMEDIATE RELEASE
Ferro . Gantman . Salerno
Through March 9, 2009
Reception: Thursday, February 26, 5:30pm-8:30pm
107 West Fifth Street, Los Angeles, CA 90013
Contact: Rex Bruce
Web site, http://www.lacda.com
Gallery hours, Wednesday Saturday, 12-5pm
Coordinated with the attendees of the College Art Association’s 2009 Annual Conference, held in Los Angeles this year, neighboring galleries will be hosting concurrent closing receptions, Thursday, February 26, 5:30 - 8:30 p.m.
Bert Green Fine Art
Sandra Yagi, Jessica Curtaz, Doug Cox
In the Project Windows: Richard Ankrom “Water and Power”
Marina Fortsmann Day, Cheryl Ekstrom, Margaret Lazzari, Suzanna Schulten, Michelle Weinstein, Suzan Woodruff
The Los Angeles Center for Digital Art is pleased to present recent work by Los Angeles artists Jean Ferro, Martin Gantman and Michael Salerno
Jean Ferro, “Ducks in a Row” (detail), 2009, archival ink on paper, 44” x 44”.
Throughout the '80s, Ferro's fine-art self-portraits (1974-present) received international recognition from magazines such as ZOOM magazine and French Photo, along with US national TV magazine shows for CBS and ABC TV networks. The Women In Photography New Photographers Lecture Series presented "Jean Ferro's Eye To Eye, the Art of Self-Portraiture.
Ferro's "Statue of Liberty" project marked her transition from fifteen years of traditional photography into "Photo Art," mixing various mediums. A City of Los Angeles Cultural Affairs award enabled Ferro to create "Through Our Own Eyes, Self Portraits by People Without Homes," a compelling 30-minute photo/video documentary of Los Angeles' homeless community.
"Global Liberty," her photo-based mixed media work using international newspapers from 42 countries, was exhibited at the Bridge Gallery, Los Angeles City Hall. Fine art photographer Edmund Teske was quoted as saying, "...Your show, Jean Ferro!--is the essence of Walt Whitman and Edward Steichen's great show 'Family of Man."
Ferro most enjoys the unknown; from reworking existing work into new dimensions, challenging the original concept to test its endurance, its creative identity to repositioning her thinking to produce something fresh and spontaneous.
left: Martin Gantman, “Empire: Davos. 25 Big Macs”, 2009, archival ink on paper, 42” x 54” right: detail.
Martin Gantman is a Los Angeles based artist and writer who has exhibited internationally in such venues as the Alternative Museum, New York; A.R.C. Gallery, Chicago; HAUS, Pasadena; POST and Seyhoun Gallery, Los Angeles; Artetica, Rome and Villaregio, Italy; and La Coruna, Spain. His recent solo show at HAUS Gallery, "Tracking Identity," was reviewed in the January, 2008 issue of Art Ltd. He is currently working on a multi-faceted undertaking entitled "Tracking Empire." His project, "See you when we get home." was featured in Art Journal magazine and his most recent project, "Atmospheric Resources Tracking Incorporated" was shown at the Seyhoun Gallery in West Hollywood last year. Recent published writings include: "The Irresolute Potential in the Unimagined Possibility," "Swingin' in the Slammer," "The Word Was Charm," "DuSable Park: An archeology," "Notes on the Oddness of Things," and "Mapping the Lost Idea." He also co-edited "Benjamin's Blind Spot: Walter Benjamin and the Premature Death of Aura" for the Institute of Cultural Inquiry, distributed by DAP Publications.
Michael Salerno, “Era of Tears”, 2009, archival ink on paper, 44” x 90”.
Michael Salerno has a special relationship to the line as a formal element of drawing. Lines traditionally delineate space. Rarely can an artist use one element exclusively and arrive at form without shape, and fewer still can manage such a conjecture with the linear element. But there it is, nothing but lines, or perhaps, everything possible of line.
Beyond this essence, the doors are wide open to almost any perception. The rigidity of definition associated with line is hardly extant. Your imagination is required. While some artists have arrived at all-over pictures in color and shape, Salerno has approached the magnificence of the irresolute in his own manner. That which would stand as a border is the device manifesting the borderless.
The current work is a true hybrid of painting as effected by Salerno's own recipe of digital processing.