Saturday
September 26, 2020

WATCH BOOK LAUNCH

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The Sighted See the Surface is an expansive project developed by Dorit Cypis over the course of seven years (2012-19). Sparked by the death of mentor and teacher Michael Asher, Cypis excavates her 40 year art practice by connecting disparate points from past to present while unearthing the complexities between sight and seeing, difference and the psychosocial relations within and between people. Works made during this period include animation, photography, prints and drawings.

In tandem, Cypis collaborated with LM Projects who mirrored her process, research and epiphanies into a nonlinear book form. Timelines, oral histories, archival material, original artworks and mediation methodologies intertwine on pages that shift in surface and scale. Cypis reconstructs a cannon all her own—one that integrates the conceptual with the political and deepens her investigation into aesthetics, ethics and engagement, the roots of her practice since the late 1970s. Printed in an edition of 134, each book is signed and numbered by the artist. A special edition of 10 books include a unique drawing.

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A Zoom conversation with 4 guests were invited to reflect on and weave together their unique threads of connection in the production of The Sighted See the Surface – Susan Morgan, writer/historian, Lawrence Lancaster and Clifford Burton, members of the Braille Institute for the Blind, and Simon Leung, artist.

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Books are available
in both a Standard and Special editions and may be purchased in our Shop page.

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Special Edition
No.'s 1-10: with unique drawing and hand sewn binding

The first 10 books include a unique drawing and the binding is hand sewn. Selected phrases excerpted from the the book are translated into visual braille and reordered into new poetic relationships. Drawing, 7 x 7 inches, pen and ink on vellum. Unique, 2020

VIEW SPECIAL EDITIONS

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Standard Edition:
No.'s 23-134
All books have a uniquely sized soft cover and bound with a stainless steel clip.

VIEW STANDARD EDITION BOOKS

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10% of all publication sales will be donated to the following organizations:

Youth Justice Coalition
challenging juvenile justice system policy

Artist Relief Fund
emergency resouces supporting artists

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BOOK DETAILS:

First edition 2019
11 in. W x 17 in. H
82 pages, 34 plates
Each softcover size is a unique size
Edition of 134, 2AP’s
Each book is signed and numbered by the artist

Publisher: LM PROJECTS
Forward Edited by: Susan Morgan
Copy Editor: Catherine Wagley
Designers: Lorraine Molina and Jennifer Rider
Contributors: Jennifer King, Lawrence Lancaster and Clifford Burton

Copyright 2019 © LM Projects
ISBN-13: 978-0-9838679-3-7

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ARTIST BIOGRAPHY

Dorit Cypis is an artist and mediator who has consistently explored the psychological, physical and social aspects of history, knowledge and experience that inform identity and social relations. At the core of her trans- disciplinary process, moving between the studio and the street is an exploration of the artist’s role as both private and public. Cypis has partnered with museums and galleries to present performances, photographs and immersive media installations. She has also worked with individuals, organizations and community groups, to design public programs and communication processes that shift personal and social conflicts into generative relations.

Cypis has exhibited internationally since the 1980s, at venues including the Whitney Museum of American Art, ICA/Boston, International Center of Photography, San Francisco Museum of Modern Art, Musée d’Art Contemporain de Montréal, Palais des Beaux-Arts, Brussels, Banff Center for the Arts, Isabella Stewart Gardner Museum, Walker Art Center, Orange County Museum of Art and Los Angeles County Museum of Art, and at galleries and community centers. Her essays on identity, social relations and empathy have appeared in art and mediation journals including “The Space of Conflict” in Handbook of Mediation, (Routledge, 2012). Cypis has taught on identity, social relations and conflict engagement, with an emphasis on experiential learning, across the United States, Canada, Holland, France, Switzerland, Germany and Israel.

Cypis has founded and developed complex social programs including North East Youth Council, to guide youth in community building and in leadership skills to enhance relations between North East Los Angeles community members and police; Mediators Beyond Borders, to build local groups’ capacities to engage conflict collectively and generatively; Kulture Klub Collaborative, to partner professional artists, arts and social service organizations in supporting artists and homeless youth working together towards generative social expression; Foundation for Art Resources, to develop partnerships between artists and public urban sites across Los Angeles, generating cultural discourse. Cypis’ work in mediation and conflict communication incorporates perceptual, reflective and critical thinking tools from the field of aesthetics, somatic practice from dance and healing and communication and negotiation skills from conflict resolution.

In 2014, Cypis was honored with a Guggenheim Foundation Fellowship, Robert Rauschenberg Foundation Residency and SpART (Social Practice Art) Award. Her previous awards and fellowships have come from the Japan Foundation; Bush, McKnight, Jerome, Irvine/Ordway and Durfee Foundations; City of Los Angeles Cultural Affairs; Fellows of Contemporary Art; and the National Endowment for the Arts. She earned a Bachelor of Fine Arts and Bachelor of Education from the Nova Scotia College of Art and Design, a Master of Fine Arts from California Institute of the Arts and a Master of Dispute Resolution from Pepperdine University.

Cypis was born in Israel and immigrated to Canada as a child and to the USA as a young adult. She currently lives in Los Angeles.

First edition 2019, 11 in. W x 17 in. H
82 pages, 34 plates
Each softcover size is unique
Bounded by stainless steel clip
Edition of 134, 2AP’s (Standard Editions are No.11-134)
Each book is signed and numbered by the artist

Publisher: LM PROJECTS
Forward Edited by: Susan Morgan
Copy Editor: Catherine Wagley
Designers: Lorraine Molina and Jennifer Rider
Contributors: Jennifer King, Lawrence Lancaster and Clifford Burton
Printer: Typecraft Wood & Jones

Copyright 2019 © LM Projects
ISBN-13: 978-0-9838679-3-7

PURCHASE STANDARD EDITION

—

The Sighted See the Surface is an expansive project developed by Dorit Cypis over the course of seven years (2012-18). Sparked by the death of mentor and teacher Michael Asher, Cypis excavates her 40 year art practice by connecting disparate points from past to present while unearthing the complexities between sight and seeing, difference and the psychosocial relations within and between people. Works made during this period include animation, photography, prints and drawings.

In tandem, Cypis collaborated with LM Projects who mirrored her process, research and epiphanies into a nonlinear book form. Timelines, oral histories, archival material, original artworks and mediation methodologies intertwine on pages that shift in surface and scale. Cypis reconstructs a cannon all her own—one that integrates the conceptual with the political and deepens her investigation into aesthetics, ethics and engagement, the roots of her practice since the late 1970s. Printed in an edition of 134, each book is signed and numbered by the artist. A special edition of 10 books include a unique drawing.

—
ARTIST BIOGRAPHY

Dorit Cypis is an artist and mediator who has consistently explored the psychological, physical and social aspects of history, knowledge and experience that inform identity and social relations. At the core of her trans- disciplinary process, moving between the studio and the street is an exploration of the artist’s role as both private and public. Cypis has partnered with museums and galleries to present performances, photographs and immersive media installations. She has also worked with individuals, organizations and community groups, to design public programs and communication processes that shift personal and social conflicts into generative relations.

Cypis has exhibited internationally since the 1980s, at venues including the Whitney Museum of American Art, ICA/Boston, International Center of Photography, San Francisco Museum of Modern Art, Musée d’Art Contemporain de Montréal, Palais des Beaux-Arts, Brussels, Banff Center for the Arts, Isabella Stewart Gardner Museum, Walker Art Center, Orange County Museum of Art and Los Angeles County Museum of Art, and at galleries and community centers. Her essays on identity, social relations and empathy have appeared in art and mediation journals including “The Space of Conflict” in Handbook of Mediation, (Routledge, 2012). Cypis has taught on identity, social relations and conflict engagement, with an emphasis on experiential learning, across the United States, Canada, Holland, France, Switzerland, Germany and Israel.

Cypis has founded and developed complex social programs including North East Youth Council, to guide youth in community building and in leadership skills to enhance relations between North East Los Angeles community members and police; Mediators Beyond Borders, to build local groups’ capacities to engage conflict collectively and generatively; Kulture Klub Collaborative, to partner professional artists, arts and social service organizations in supporting artists and homeless youth working together towards generative social expression; Foundation for Art Resources, to develop partnerships between artists and public urban sites across Los Angeles, generating cultural discourse. Cypis’ work in mediation and conflict communication incorporates perceptual, reflective and critical thinking tools from the field of aesthetics, somatic practice from dance and healing and communication and negotiation skills from conflict resolution.

In 2014, Cypis was honored with a Guggenheim Foundation Fellowship, Robert Rauschenberg Foundation Residency and SpART (Social Practice Art) Award. Her previous awards and fellowships have come from the Japan Foundation; Bush, McKnight, Jerome, Irvine/Ordway and Durfee Foundations; City of Los Angeles Cultural Affairs; Fellows of Contemporary Art; and the National Endowment for the Arts. She earned a Bachelor of Fine Arts and Bachelor of Education from the Nova Scotia College of Art and Design, a Master of Fine Arts from California Institute of the Arts and a Master of Dispute Resolution from Pepperdine University.

Cypis was born in Israel and immigrated to Canada as a child and to the USA as a young adult. She currently lives in Los Angeles.

The first 10 books of The Sighed See the Surface include a unique drawing and the binding is hand sewn. Selected phrases excerpted from the the book are translated into visual braille and reordered into new poetic relationships.

Drawing, 7 x 7 inches, pen and ink on vellum. Unique, 2020

All 10 Special Editions can be view on our shop page.

PURCHASE SPECIAL EDITION

—

First edition 2019, 11 in. W x 17 in. H82 pages, 34 plates
Each softcover size is unique
Special Editions have hand sewn binding
Edition of 134, 2AP’s (Special Editions are No. 1-10)
Each book is signed and numbered by the artist

Publisher: LM PROJECTS
Forward Edited by: Susan Morgan
Copy Editor: Catherine Wagley
Designers: Lorraine Molina and Jennifer Rider
Contributors: Jennifer King, Lawrence Lancaster and Clifford Burton
Printer: Typecraft Wood & Jones, Pasadena CA

Copyright 2019 © LM Projects
ISBN-13: 978-0-9838679-3-7

-

The Sighted See the Surface is an expansive project developed by Dorit Cypis over the course of seven years (2012-18). Sparked by the death of mentor and teacher Michael Asher, Cypis excavates her 40 year art practice by connecting disparate points from past to present while unearthing the complexities between sight and seeing, difference and the psychosocial relations within and between people. Works made during this period include animation, photography, prints and drawings.

In tandem, Cypis collaborated with LM Projects who mirrored her process, research and epiphanies into a nonlinear book form. Timelines, oral histories, archival material, original artworks and mediation methodologies intertwine on pages that shift in surface and scale. Cypis reconstructs a cannon all her own—one that integrates the conceptual with the political and deepens her investigation into aesthetics, ethics and engagement, the roots of her practice since the late 1970s. Printed in an edition of 134, each book is signed and numbered by the artist. A special edition of 10 books include a unique drawing.

ARTIST BIOGRAPHY

Dorit Cypis is an artist and mediator who has consistently explored the psychological, physical and social aspects of history, knowledge and experience that inform identity and social relations. At the core of her trans- disciplinary process, moving between the studio and the street is an exploration of the artist’s role as both private and public. Cypis has partnered with museums and galleries to present performances, photographs and immersive media installations. She has also worked with individuals, organizations and community groups, to design public programs and communication processes that shift personal and social conflicts into generative relations.

Cypis has exhibited internationally since the 1980s, at venues including the Whitney Museum of American Art, ICA/Boston, International Center of Photography, San Francisco Museum of Modern Art, Musée d’Art Contemporain de Montréal, Palais des Beaux-Arts, Brussels, Banff Center for the Arts, Isabella Stewart Gardner Museum, Walker Art Center, Orange County Museum of Art and Los Angeles County Museum of Art, and at galleries and community centers. Her essays on identity, social relations and empathy have appeared in art and mediation journals including “The Space of Conflict” in Handbook of Mediation, (Routledge, 2012). Cypis has taught on identity, social relations and conflict engagement, with an emphasis on experiential learning, across the United States, Canada, Holland, France, Switzerland, Germany and Israel.

Cypis has founded and developed complex social programs including North East Youth Council, to guide youth in community building and in leadership skills to enhance relations between North East Los Angeles community members and police; Mediators Beyond Borders, to build local groups’ capacities to engage conflict collectively and generatively; Kulture Klub Collaborative, to partner professional artists, arts and social service organizations in supporting artists and homeless youth working together towards generative social expression; Foundation for Art Resources, to develop partnerships between artists and public urban sites across Los Angeles, generating cultural discourse. Cypis’ work in mediation and conflict communication incorporates perceptual, reflective and critical thinking tools from the field of aesthetics, somatic practice from dance and healing and communication and negotiation skills from conflict resolution.

In 2014, Cypis was honored with a Guggenheim Foundation Fellowship, Robert Rauschenberg Foundation Residency and SpART (Social Practice Art) Award. Her previous awards and fellowships have come from the Japan Foundation; Bush, McKnight, Jerome, Irvine/Ordway and Durfee Foundations; City of Los Angeles Cultural Affairs; Fellows of Contemporary Art; and the National Endowment for the Arts. She earned a Bachelor of Fine Arts and Bachelor of Education from the Nova Scotia College of Art and Design, a Master of Fine Arts from California Institute of the Arts and a Master of Dispute Resolution from Pepperdine University.

Cypis was born in Israel and immigrated to Canada as a child and to the USA as a young adult. She currently lives in Los Angeles.

Len Lye
Robert Rauschenberg
Peter Fischli & David Weiss
Nova Jiang
Jacob Tonski

September 5 – November 14, 2009

Robert Rauschenberg, “Open Score,” Performance presented as part of 9 Evenings: Theatre and Engineering,
The 69th Regiment Armory, New York, N.Y., United States, October 14-23, 1966

LM PROJECTS is please to announce its first exhibition, “Cause and Effect,” showcasing a collection of video based performances and kinetic sculpture from the mid 1960′s to the present. Though the discourse surrounding each of the selected works diverge from one another and their classification as kinetic art, they nonetheless are linked through their mechanical, temporal, and movement based components. Len Lye’s “Trilogy: A Flip and Two Twisters” serve as a point of departure for the rest of the exhibition as performance and theatrics commingle with art and engineering. Rauschenberg’s “Open Score” and emerging artist Jacob Tonski’s “Balance Study, Threshold” are performative works dependant on the action of participants, while Peter Fischli and David Weiss rely on the chain reactions of common place objects and combustibles in “The Way Things Go.”

Len Lye often defined his practice as ‘composing figures of motion.’ His interests rest not as much in the technological feats of his work, but in their relationship to the primal body and mysticism. Lye was a pioneer of kinetic sculpture, making his first experiments in 1920. The 1977 work, “Trilogy: A Flip and Two Twisters,” is one of his best-known kinetic sculptures. Three separate bands of 20-foot long steel suspended from the ceiling run through a programmed choreography of motions wherein the two vertical bands twist at a frightening speed and the center, looped band periodically flips inward, then outward. These produce alarming sounds of metallic thrashing and a deep gong, and have been described as having a ‘barbaric energy.’ In 1966 Lye produced a half-scale version of the piece that evolved overtime to the larger scale. Much of Lye’s kinetic work developed over large spans of time and a few were produced after his death. This work will be shown as video documentation.
 

Created for the 1966 event “9 Evenings: Theater and Engineering,”Robert Rauschenberg‘s”Open Score” reflected two of his concerns in the ’60′s – technology and performance. 9 Evenings was a set of performance and theatre based collaborations between artists and engineers from Bell Laboratories that took place at the 69th Regiment Armory in New York. At the time, the Armory had served as a venue for tennis matches inspiring Rauschenberg to stage a match between artist Frank Stella and his tennis partner Mimi Kanarek. The match was played using tennis rackets rigged with FM transmitters and contact microphones. Each time the ball was hit the vibrations of the raquet strings emmitted a loud bong triggering one of the lights illuminating the performance to switch off. As the lights went out the game continued until the Aromory was completely dark. Rauschenberg was interested in the ability of the tennis match to become a “formal dance improvisation” and act as orchestra. Two additional sequences followed: a choreographed cast of 500 performing in darkness filmed with infrared cameras and projected onto white screens; and Rauschenberg carrying a girl in a cloth sack while she sang a Tuscan folk song. Following 9 Evenings, Rauschenberg’s interest in technology and performance led him to become one of the founding members of Experiments in Art and Technology (E.A.T.).
 

Jacob Tonski‘s human-scale apparatuses, both amusing and threatening, find an uncanny identity between toys and tools. For “Balance Study, Threshold” Tonski created a video based performance that mediates on the dynamic and disorienting nature of power in relationships through metaphors of scale, momentum, and balance. The performance creates a perfect duality between man and machine. Inside a 10- foot tall wooden wheel, a concave structure is designed to fit a freestanding person inside its core center. Mounted to the wheel is a camera recording Tonski using the action of his body to roll the structure back and forth building momentum as he shifts his weight between his heels and toes. As the camera rotates with the wheel it continues to film upside down while Tonski remains standing right side up. The apparent effect of this on camera is that of gravity shifting its orientation, (a well known film technique as seen with Fred Astaire dancing on walls, or the loss of gravity in “2001, A Space Odyssey”). The experience is a tangible mediation on the physical interplay between inertia and change, control and boundary, or threat and attraction.
 

Since the beginning of their collaborative practice in the late 1970′s, Swiss art duo Peter Fischli and David Weiss have engaged in dry wit, humor, and the absurd through their transformation of everyday objects in film, sculpture, installation and photography. In the much loved 1987 film, “The Way Things Go,” Fischli and Weiss meticulously construct a 100-foot long sculpture of everyday objects set to orchestrate a massive cause and effect performance of crafted chaos in the flavor of a giant Rube Goldberg machine. Explosives, chemical spills and fireworks interact with strategically positioned ladders, tires, teapots, chairs, and the like construct a precarious balance between triumph and catastrophe.
 

Nova Jiang’s practice conceives viewers and the public as integral partners of the work she produces. She creates playful narratives and scenarios, from video to interactive mechanical installations, in which she seeks to open up the possibilities of expression and communication amongst her audience by facilitating play. Jiang aims to provide scenarios reminiscent of childhood activities based on simple interactions, referencing Surrealist attempts to reach the unconscious through games, as well Dada and Fluxus uses of chance, happenings, and play, For “Hull Loss” she installs a hand-held device built for participants to launch paper airplanes they’ve made into the air. The planes must pass through obstacles of wooden structures equipped with mechanized scissors in order to land in the safety of a suspended and elongated gauze-like net. Very few of them reach their destination and most are left fallen, strewn about the floor. The game-like quality of the installation becomes a playful vehicle allowing participants to become performers, test designs, and compete with and support one another through success, failure, and challenge.

Rebeca Mendez
“At Any Given Moment, Rivers and Fall”
6 min. loop, single channel video, Ed. of 7

February 17-21, 2010

The series currently consists of At Any Given Moment, Fall; At Any Given Moment, Grass; At Any Given Moment, Rivers and Fall; and At Any Given Moment, Mist.

These works explore issues of perception, specifically our relationship to technologically mediated nature. In At Any Given Moment, River and Fall, the repetitive rhythm, tight cropping, and large-scale image emphasize the work’s particular organizational logic in time and space, and assemble a more compact environment, one that the body can engage with physically. The cross-rhythmic tensions between simple elements—water flowing at variable speed and under variable light conditions—create visual difference and reveal the patterns that one simple element produces through relationships and complex organization. The large-scale projection with its engulfing force and meditative recurring cycles, enter in relation with our own human rhythms, resulting in a seemingly mutual modulation. This phenomenological approach allows us to view ourselves from the outside—as part of the representation—and thus to learn about ourselves and challenge preconceptions of our surroundings, specifically of the nature of matter. Nothing exists in the natural world that does not manifest itself as a vibratory or rhythmic phenomenon. Through this artwork series I affirm what composer Karl Heinz Stockhausen said: “We are all transistors, in the literal sense. People always think they are in the world, but they never realize they are the world.”

The At Any Given Moment series was filmed in Iceland between 2006 and 2008 with a Bolex H16 Reflex 16mm film camera and transferred to high-definition video. Video projection: Duration: 6 minutes.

KCHUNG Radio
Hosted by Ronni Kimm
Sept. 7, 2014, 6-8pm

This conversation will serve as an extension to a recent studio visit with LA-based artist John Houck. Houck‘s art practice has moved seamlessly across disciplines from programming, architecture, photography and most currently painting. Join John and Ronni as they discuss the complexities amongst concepts in photography, computation and his interest in psychoanalysis in relation to art and art production.

This series of ARTISTS AT WORK? is recorded in front of a live audience in the garden of LM Projects studio. The recording of this program will air on
KCHUNG Radio. Listen at 1630 AM or streaming at KCHUNG

Based in Los Angeles, John Houck studied architecture as an undergraduate at Colorado University, Boulder and received his MFA from UCLA in 2007. Further education includes the Whitney Independent Study Program, NY in 2010 and the Skowhegan School of Painting and Sculpture, ME in 2008. Houck has had solo exhibitions at Max Wigram Gallery, London, On Stellar Rays, NY and Kansas Gallery, NY. Notable group exhibitions include; “Fixed Variable,” at Hauser & Wirth, NY “Halftone: Through the Grid” at Galerie Max Hetzler in Berlin and Paris, “Museum of Modern Art and Western Antiquties,” curated by Jen Hoffmann at Marian Goodman Gallery, Paris and “Murmurs: Recent Contemporary Acquisitions,” at the Los Angeles County Museum of Art. Writings of his work have been published in Mousse Magazine, X-TRA, Art in America, Artforum, the New Yorker and The New York Times amongst others. Houck’s work is in the collections of the Solomon R. Guggenheim Museum, NY and the Los Angeles County Museum of Art, CA in addition to numerous private collections worldwide.

Ronni Kimm is the organizer and host of ARTISTS AT WORK?, a radio show which presents studio visits, interviews and other research formats with an eye towards the future and an expansive curiosity of art.

Dorit Cypis
“To See,” 2013
30″ x 22,” Hanemuhle Rag paper
Stone Press Lithograph
*Edition of 2, + 1 AP
Courtesy of the artist and LM Projects

This work is dedicated to the late Michael Asher who serves as a catalyst for Dorit Cypis’ ongoing research project The Sighted See the Surface. Asher’s critique of institutions shaping what is made visible and not visible to the public has inspired Cypis to work with the Braille Institute in Los Angeles as a site for study and collaboration. Since June 2013, Cypis has been volunteering at the Braille Institute’s Telephone Reader Project, reading weekly the daily newspaper for sight challenged people.

Cypis’ work with the non-sighted has deepened her investigation into esthetics, ethics and engagement – the root of her art practice since the late 1970’s. The Sighted See the Surface presents an in depth inquiry into comprehending the complexities between sight and seeing, otherness and difference and the relationships between the interior and exterior self.

Since the inception of this project in 2012, Cypis has produced sets of text-based work, photographs, drawings and writings. LM Projects is pleased to be part of this project by collaborating with Cypis to produce a set of three text prints as stone press lithographs.

Dorit Cypis is a visual artist as well as an innovative professional mediator. She has moved fluidly between studio practice, educator, mediator and community builder since the 1980’s. Her strategies of performance, photography, text, immersive installation and social sculpture explore relationships between psychological and social/political aspects of history, knowledge and experience. Her practice as a conflict mediator extends her exploration of human relations into the public domain. Cypis has taught on identity and social relations across the USA, Canada, Holland, France, Switzerland, Germany and Israel.

Cypis has exhibited internationally including at the Whitney Museum of American Art, International Center of Photography, San Francisco Museum of Modern Art, Musee d’Art Contemporain/Montreal, Musee des Beaux Arts/Bruxelles, Walker Art Center, and locally at the Hammer Museum, Orange County Museum of Art, Los Angeles County Museum of Art, Bank Art, Las Cienegas Projects, Tom Jancar, RedCat, Greene Exhibitions, Hinge Modern and LM Projects.

Cypis reshaped Foundation for Art Resources, 1979-1982, Los Angeles, to model partnership between artists and public sites, inspiring interaction and discourse; founded Kulture Klub Collaborative, 1992-active/Minneapolis, bridging survival and inspiration by partnering artists and homeless youth to build their self knowledge and expression; founded Foreign Exchanges 2007, bridging aesthetics and mediation to innovate engagement and conflict transformation capacity across personal and cultural differences. Cypis is a founding member of Mediators Beyond Borders International.

In 2014 she was honoured with a Guggenheim Fellowship and SPArt Award. Other awards include Japan Foundation, Bush, McKnight, Jerome, Ordway and Durfee Foundations, City of Los Angeles Cultural Arts, Fellows of Contemporary Art, and the National Endowment for the Arts. She holds a Bachelor of Fine Art and Bachelor of Education from Nova Scotia College of Art and Design, Masters of Fine Art from Californian Institute of the Arts, and Masters of Conflict Resolution, MDR, from Pepperdine University.

Dorit Cypis was born in Israel, immigrated to Canada as a child and to the USA as a young adult. She currently lives in Los Angeles.

Scoli Acosta
Beck Beasly
Justin Coombes
Kim Schoen

February 6 - March 13, 2010

A group exhibition of video, photography, sculpture and text, “A Man Asleep” brings together four artists connected by a strong relationship with art and literature. Taking its title from a novella by Georges Perec, “A Man Asleep” is the story of a man slowly withdrawing from life. His observations of the details of his diminishing world and increasing isolation is an exhaustive exploration of the terrains of both melancholy and indifference. All the artists in the exhibition offer perspectives on withdrawal and engagement in relation to the art object.

Central to the exhibition are found literary works from deceased authors chosen by each artist as a formal investigation into his or her own theories and methodologies in art making. Coupled with these writings are original texts from each artist collected in the form of a journal/exhibition catalog and presented as part of the exhibition.

Cody Trepte
Ethan Breckenridge
Kim Schoen
Kori Newkirk

January 19 – 22, 2012

Book Edition 1 of 10
included with an 11 x 14
collage on pigment print, unique

Books are printed in an edition of 120
Signed and numbered
First edition 2013

Book No.’s 1-10 contain original materials, drawings, photographs, appropriated images, hand-cut stencils etc., chosen by Newkirk from his studio archives. These unique pieces of studio ephemera are randomly tucked among the pages of each book. The edition is enclosed in a tinted transparent vinyl slipcase sewn by the artist. 

Published by LM Projects
A collaboration between Kori Newkirk and LM Projects

Contributors: Daniel Joseph Martinez, Jason Meadows,
Lorraine Molina, Soraya Murray,  Matthew Schumand Chris Oatey.

Contributing Editor: Matthew Schum
Copy Editor: Carol Cheh
Designers: Lorraine Molina and Jennifer Rider
Production: Emily Rose Kamen
Printer: Typecraft Wood & Jones, Pasadena, CA
Bindery: A-1 Bookbinding, Los Angeles, CA

Book Size: 6.875 x 9.32
Pages: 160
Hardcover
Color, 156 plates

ISBN: 978-0-9838679-2-0

LM Projects is pleased to announce a special edition bookwork by Los Angeles based artist Kori Newkirk. Sometimes Always Perhaps Never, invites viewers to glimpse into Newkirk’s studio practice and process, a space unseen by the public and very private for the artist. Borrowing the visual language of an artist journal, this book collects the materials, found objects, studies, references, experiments and sketchbooks that have collectively contributed to Newkirk’s bodies of work from 1990 to the present. Interwoven throughout are excerpts of informal conversations with Soraya Murray, Jason Meadows, Matthew Schum, Chris Oatey, Lorraine Molina and Daniel Joseph Martinez.

–
Book No.’s 1-30 contain original materials, drawings, photographs, appropriated images, hand-cut stencils etc., chosen by Newkirk from his studio archives. These unique pieces of studio ephemera are randomly tucked among the pages of each book. The edition is enclosed in a tinted transparent vinyl slipcase sewn by the artist.

Book No.’s 1-10 also include an 11×14 in. collage on pigment print. Newkirk layers a photograph of hand-cut stencils from his seminal ‘shark and snow’ work of 2003-2005 with found photographs and materials from his archive. Each collage is unique.

–
Born in 1970 in the Bronx and based in Los Angeles, Kori Newkirk works seamlessly across multiple disciplines often sourcing common and everyday materials to speak about personal history, remembrance, popular culture and identity. Newkirk received his BFA from the School of the Art Institute of Chicago and his MFA from the University of California, Irvine. In 2007, a survey of his work was presented at the Studio Museum in Harlem, New York and the Pasadena Art Museum, CA. He has had solo exhibitions at LAXART, Los Angeles; the Museum of Contemporary Art, San Diego; and Jessica Silverman Gallery in San Francisco. Notable group exhibitions include the 2006 Whitney Biennial, New York; ‘The Artist’s Museum’ at the Museum of Contemporary Art, Los Angeles; and ‘Blues for Smoke,’ at MOCA at the Geffen Contemporary, Los Angeles and the Whitney Museum, New York. Newkirk’s work is in the collections of the Hammer Museum, Los Angeles; the Museum of Contemporary Art, Chicago; The Museum of Contemporary Art, Los Angeles; the Art Institute of Chicago; Henry Art Gallery, Seattle; and the Los Angeles County Museum of Art.

Cody Trepte
Ian Pedigo

January 27-30, 2011

Editions 31-120

Books are printed in an edition of 120
Signed and numbered
First edition 2013

Published by LM Projects
A collaboration between Kori Newkirk and LM Projects

Contributors: Daniel Joseph Martinez, Jason Meadows,
Lorraine Molina, Soraya Murray,  Matthew Schumand Chris Oatey.

Contributing Editor: Matthew Schum
Copy Editor: Carol Cheh
Designers: Lorraine Molina and Jennifer Rider
Production: Emily Rose Kamen
Printer: Typecraft Wood & Jones, Pasadena, CA
Bindery: A-1 Bookbinding, Los Angeles, CA

Book Size: 6.875 x 9.32
Pages: 160
Hardcover
Color, 156 plates

ISBN: 978-0-9838679-2-0

LM Projects is pleased to announce a special edition bookwork by Los Angeles based artist Kori Newkirk. Sometimes Always Perhaps Never, invites viewers to glimpse into Newkirk’s studio practice and process, a space unseen by the public and very private for the artist. Borrowing the visual language of an artist journal, this book collects the materials, found objects, studies, references, experiments and sketchbooks that have collectively contributed to Newkirk’s bodies of work from 1990 to the present. Interwoven throughout are excerpts of informal conversations with Soraya Murray, Jason Meadows, Matthew Schum, Chris Oatey, Lorraine Molina and Daniel Joseph Martinez.

–
Book No.’s 1-30 contain original materials, drawings, photographs, appropriated images, hand-cut stencils etc., chosen by Newkirk from his studio archives. These unique pieces of studio ephemera are randomly tucked among the pages of each book. The edition is enclosed in a tinted transparent vinyl slipcase sewn by the artist.

Book No.’s 1-10 also include an 11×14 in. collage on pigment print. Newkirk layers a photograph of hand-cut stencils from his seminal ‘shark and snow’ work of 2003-2005 with found photographs and materials from his archive. Each collage is unique.

–
Born in 1970 in the Bronx and based in Los Angeles, Kori Newkirk works seamlessly across multiple disciplines often sourcing common and everyday materials to speak about personal history, remembrance, popular culture and identity. Newkirk received his BFA from the School of the Art Institute of Chicago and his MFA from the University of California, Irvine. In 2007, a survey of his work was presented at the Studio Museum in Harlem, New York and the Pasadena Art Museum, CA. He has had solo exhibitions at LAXART, Los Angeles; the Museum of Contemporary Art, San Diego; and Jessica Silverman Gallery in San Francisco. Notable group exhibitions include the 2006 Whitney Biennial, New York; ‘The Artist’s Museum’ at the Museum of Contemporary Art, Los Angeles; and ‘Blues for Smoke,’ at MOCA at the Geffen Contemporary, Los Angeles and the Whitney Museum, New York. Newkirk’s work is in the collections of the Hammer Museum, Los Angeles; the Museum of Contemporary Art, Chicago; The Museum of Contemporary Art, Los Angeles; the Art Institute of Chicago; Henry Art Gallery, Seattle; and the Los Angeles County Museum of Art.

Kim Schoen and Cody Trepte discuss the links between their practices organized around a series of paired works, shared in a diptych slide show. The pairs were selected to outline the threads that run between their practices — covering process, themes of science, language, and the pleasure in uncertainty.

Cody Trepte & KIM SCHOEN

Heisenberg, Heisenberg / NO SAYING NO
Uncertainty Twice / 74 STEPS
Twenty Most Frequently Used Words (Written and Spoken) / SHESELLSSHELVES
So This Is / UNTITLED SEQUENCE
(for Alan Turing) / ABSALON ABSALON
On Exactiude in Science / TWHATIN
Untitled / IS IT THE OPERA OR IS IT SOMETHING POLITICAL?
It’s Hard to Remember, It’s Hard to Forget / ARUNAWAYHORSE

Editions 11 -30

Book No.’s 11-30 contain original materials, drawings, photographs, appropriated images, hand-cut stencils etc., chosen by Newkirk from his studio archives. These unique pieces of studio ephemera are randomly tucked among the pages of each book. The edition is enclosed in a tinted transparent vinyl slipcase sewn by the artist.

Books are printed in an edition of 120
Signed and numbered
First edition 2013

Published by LM Projects
A collaboration between Kori Newkirk and LM Projects

Contributors: Daniel Joseph Martinez, Jason Meadows,
Lorraine Molina, Soraya Murray,  Matthew Schumand Chris Oatey.

Contributing Editor: Matthew Schum
Copy Editor: Carol Cheh
Designers: Lorraine Molina and Jennifer Rider
Production: Emily Rose Kamen
Printer: Typecraft Wood & Jones, Pasadena, CA
Bindery: A-1 Bookbinding, Los Angeles, CA

Book Size: 6.875 x 9.32
Pages: 160
Hardcover
Color, 156 plates

ISBN: 978-0-9838679-2-0

LM Projects is pleased to announce its invitational for 2013; a special edition bookwork by Los Angeles based artist Kori Newkirk. Sometimes Always Perhaps Never, invites viewers to glimpse into Newkirk’s studio practice and process, a space unseen by the public and very private for the artist. Borrowing the visual language of an artist journal, this book collects the materials, found objects, studies, references, experiments and sketchbooks that have collectively contributed to Newkirk’s bodies of work from 1990 to the present. Interwoven throughout are excerpts of informal conversations with Soraya Murray, Jason Meadows, Matthew Schum, Chris Oatey, Lorraine Molina and Daniel Joseph Martinez.

–
Book No.’s 1-30 contain original materials, drawings, photographs, appropriated images, hand-cut stencils etc., chosen by Newkirk from his studio archives. These unique pieces of studio ephemera are randomly tucked among the pages of each book. The edition is enclosed in a tinted transparent vinyl slipcase sewn by the artist.

Book No.’s 1-10 also include an 11×14 in. collage on pigment print. Newkirk layers a photograph of hand-cut stencils from his seminal ‘shark and snow’ work of 2003-2005 with found photographs and materials from his archive. Each collage is unique.

Join us Sunday, January 5, from 4-6pm at Art Catalogues at LACMA celebrating the launch of this publication

–
Born in 1970 in the Bronx and based in Los Angeles, Kori Newkirk works seamlessly across multiple disciplines often sourcing common and everyday materials to speak about personal history, remembrance, popular culture and identity. Newkirk received his BFA from the School of the Art Institute of Chicago and his MFA from the University of California, Irvine. In 2007, a survey of his work was presented at the Studio Museum in Harlem, New York and the Pasadena Art Museum, CA. He has had solo exhibitions at LAXART, Los Angeles; the Museum of Contemporary Art, San Diego; and Jessica Silverman Gallery in San Francisco. Notable group exhibitions include the 2006 Whitney Biennial, New York; ‘The Artist’s Museum’ at the Museum of Contemporary Art, Los Angeles; and ‘Blues for Smoke,’ at MOCA at the Geffen Contemporary, Los Angeles and the Whitney Museum, New York. Newkirk’s work is in the collections of the Hammer Museum, Los Angeles; the Museum of Contemporary Art, Chicago; The Museum of Contemporary Art, Los Angeles; the Art Institute of Chicago; Henry Art Gallery, Seattle; and the Los Angeles County Museum of Art.

So This Is, (diptych) 2011
Silver gelatin print on fiber-based paper,
3.135 x 4.705 inches and
silkscreen on paper with color shifting ink,
8.135 x 9.705 inches (unframed),

Edition of 10

Trepte’s labor-intensive but minimal, evocative but recondite work, like any epistemic puzzle, requires investment and patience from the viewer-the willingness to look twice and think beyond what is immediately present. For example, one half of the diptych So This Is (2011) features the titular phrase silk-screened on to paper with UV-sensitive ink that appears and disappears according to its exposure to sunlight. Notable, the o in So is filled in to create a solid form that rhymes with the other half of the diptych: a small photographic print doctored so that its solitary subject, a midcentury woman in clown attire in the desert, appears to hold a matching black ellipse or hole. The absurdity and narrative opacity of the found, altered image suggest that here, as in much of Trepte’s output, what is omitted or obscured is more significant that what is readily apparent.”

- Kurt Mueller, Made in L.A. 2012
exhibition catalog, Hammer Museum/Delmonica Prestel

—-
LM Projects is pleased to announce its newest invitational for 2011; a multiple from Los Angeles based artist Cody Trepte. This project continues Trepte’s interest in language and appropriated imagery yet serves as a precursor to a new body of work that investigates meaning through omission.

Trepte pairs a found silver gelatin photograph with a text based silkscreen to be displayed either as a diptych or in disparate locations within a single space. Unique to the silkscreen is a UV sensitive ink that reveals the phrase “So This Is” upon direct exposure to sunlight. Absent of light, the print returns to a state of invisibility, or a mere ghost of itself. Over the course of its lifespan (an unknown point in time) the phrase will eventually fix in a gradation of warm tone ink. The photograph is curious and comical with a clown like character at its center bathed in hard sunlight in a nondescript location. Its meaning and provenance remain a mystery. Like the silkscreen, it pulls the viewer in to decipher meaning, a relationship or clue. The works carry a durational quality, slowly revealing new sets of questions or inquiry over time.

Amongst the subtle similarities, the two share the form of an ellipsis – held up high by the costumed character in the photo and in place of the ‘o’ in “So This Is.” This is a critical gesture for Trepte as he refers to the ellipsis in linguistics as a strategy to question meaning through the omission of content. In linguistics, the ellipsis refers to the deliberate removal of one or more words in a phrase without the phrase losing its meaning (i.e. “Fire when ready” understood as “Fire when you are ready”). Meaning is understood based on context not necessarily on content. For Trepte, this elliptical construction serves as a new vehicle for approaching subject and thinking about how work is understood independently, in relationship to a pair or any given multitude. The viewer is asked to play an active participant in distilling these complexities.

Cody Trepte works primarily in drawing, printmaking and photography. His work investigates the nature of paradox, using historical narratives, language and appropriated imagery. Trepte has exhibited at Eleven Rivington, New York; Centro di Cultura Contemporanea Strozzina, Florence; Steve Turner Contemporary, Los Angeles; Austin Museum of Art; Weatherspoon Art Museum; Kunstverein INGAN e.V., Berlin; and the Hammer Museum for the first Los Angeles biennial, “Made in L.A.” He has published writings in …might be good and The Highlights and recently curated the exhibition, “On the Line,” for Los Angeles Contemporary Exhibitions (LACE). Trepte received a B.F.A. from New York University in 2005 and an M.F.A. from the California Institute of the Arts in 2010.

Dorit Cypis
“To See,” 2013
30″ x 22,” Hanemuhle Rag paper
Stone Press Lithograph
*Edition of 3, + 1 AP
Courtesy of the artist and LM Projects

This work is dedicated to the late Michael Asher who serves as a catalyst for Dorit Cypis’ ongoing research project The Sighted See the Surface. Asher’s critique of institutions shaping what is made visible and not visible to the public has inspired Cypis to work with the Braille Institute in Los Angeles as a site for study and collaboration. Since June 2013, Cypis has been volunteering at the Braille Institute’s Telephone Reader Project, reading weekly the daily newspaper for sight challenged people.

Cypis’ work with the non-sighted has deepened her investigation into esthetics, ethics and engagement – the root of her art practice since the late 1970’s. The Sighted See the Surface presents an in depth inquiry into comprehending the complexities between sight and seeing, otherness and difference and the relationships between the interior and exterior self.

Since the inception of this project in 2012, Cypis has produced sets of text-based work, photographs, drawings and writings. LM Projects is pleased to be part of this project by collaborating with Cypis to produce a set of three text prints as stone press lithographs.

Dorit Cypis is a visual artist as well as an innovative professional mediator. She has moved fluidly between studio practice, educator, mediator and community builder since the 1980’s. Her strategies of performance, photography, text, immersive installation and social sculpture explore relationships between psychological and social/political aspects of history, knowledge and experience. Her practice as a conflict mediator extends her exploration of human relations into the public domain. Cypis has taught on identity and social relations across the USA, Canada, Holland, France, Switzerland, Germany and Israel.

Cypis has exhibited internationally including at the Whitney Museum of American Art, International Center of Photography, San Francisco Museum of Modern Art, Musee d’Art Contemporain/Montreal, Musee des Beaux Arts/Bruxelles, Walker Art Center, and locally at the Hammer Museum, Orange County Museum of Art, Los Angeles County Museum of Art, Bank Art, Las Cienegas Projects, Tom Jancar, RedCat, Greene Exhibitions, Hinge Modern and LM Projects.

Cypis reshaped Foundation for Art Resources, 1979-1982, Los Angeles, to model partnership between artists and public sites, inspiring interaction and discourse; founded Kulture Klub Collaborative, 1992-active/Minneapolis, bridging survival and inspiration by partnering artists and homeless youth to build their self knowledge and expression; founded Foreign Exchanges 2007, bridging aesthetics and mediation to innovate engagement and conflict transformation capacity across personal and cultural differences. Cypis is a founding member of Mediators Beyond Borders International.

In 2014 she was honoured with a Guggenheim Fellowship and SPArt Award. Other awards include Japan Foundation, Bush, McKnight, Jerome, Ordway and Durfee Foundations, City of Los Angeles Cultural Arts, Fellows of Contemporary Art, and the National Endowment for the Arts. She holds a Bachelor of Fine Art and Bachelor of Education from Nova Scotia College of Art and Design, Masters of Fine Art from Californian Institute of the Arts, and Masters of Conflict Resolution, MDR, from Pepperdine University.

Dorit Cypis was born in Israel, immigrated to Canada as a child and to the USA as a young adult. She currently lives in Los Angeles.

Dorit Cypis
“To See,” 2013
30″ x 22,” Hanemuhle Rag paper
Stone Press Lithograph
Unique + 1 AP
Courtesy of the artist and LM Projects

This work is dedicated to the late Michael Asher who serves as a catalyst for Dorit Cypis’ ongoing research project The Sighted See the Surface. Asher’s critique of institutions shaping what is made visible and not visible to the public has inspired Cypis to work with the Braille Institute in Los Angeles as a site for study and collaboration. Since June 2013, Cypis has been volunteering at the Braille Institute’s Telephone Reader Project, reading weekly the daily newspaper for sight challenged people.

Cypis’ work with the non-sighted has deepened her investigation into esthetics, ethics and engagement – the root of her art practice since the late 1970’s. The Sighted See the Surface presents an in depth inquiry into comprehending the complexities between sight and seeing, otherness and difference and the relationships between the interior and exterior self.

Since the inception of this project in 2012, Cypis has produced sets of text-based work, photographs, drawings and writings. LM Projects is pleased to be part of this project by collaborating with Cypis to produce a set of three text prints as stone press lithographs.

Dorit Cypis is a visual artist as well as an innovative professional mediator. She has moved fluidly between studio practice, educator, mediator and community builder since the 1980’s. Her strategies of performance, photography, text, immersive installation and social sculpture explore relationships between psychological and social/political aspects of history, knowledge and experience. Her practice as a conflict mediator extends her exploration of human relations into the public domain. Cypis has taught on identity and social relations across the USA, Canada, Holland, France, Switzerland, Germany and Israel.

Cypis has exhibited internationally including at the Whitney Museum of American Art, International Center of Photography, San Francisco Museum of Modern Art, Musee d’Art Contemporain/Montreal, Musee des Beaux Arts/Bruxelles, Walker Art Center, and locally at the Hammer Museum, Orange County Museum of Art, Los Angeles County Museum of Art, Bank Art, Las Cienegas Projects, Tom Jancar, RedCat, Greene Exhibitions, Hinge Modern and LM Projects.

Cypis reshaped Foundation for Art Resources, 1979-1982, Los Angeles, to model partnership between artists and public sites, inspiring interaction and discourse; founded Kulture Klub Collaborative, 1992-active/Minneapolis, bridging survival and inspiration by partnering artists and homeless youth to build their self knowledge and expression; founded Foreign Exchanges 2007, bridging aesthetics and mediation to innovate engagement and conflict transformation capacity across personal and cultural differences. Cypis is a founding member of Mediators Beyond Borders International.

In 2014 she was honoured with a Guggenheim Fellowship and SPArt Award. Other awards include Japan Foundation, Bush, McKnight, Jerome, Ordway and Durfee Foundations, City of Los Angeles Cultural Arts, Fellows of Contemporary Art, and the National Endowment for the Arts. She holds a Bachelor of Fine Art and Bachelor of Education from Nova Scotia College of Art and Design, Masters of Fine Art from Californian Institute of the Arts, and Masters of Conflict Resolution, MDR, from Pepperdine University.

Dorit Cypis was born in Israel, immigrated to Canada as a child and to the USA as a young adult. She currently lives in Los Angeles.

Ian Pedigo
Charlott Markus
Kathrin Sonntag
David Gilbert

Publisher: LM Projects
10 inches H x 8 1/4 inches W
40 pages, color, hardcover
Published on occasion of the exhibition, “Voluntary Sculptures.”

Twisted pieces of paper, toothpaste swashes and soap scum, were just a few of the odd findings and castoff materials Brassaï used as subjects in a 1932 photographic series he coined, ‘Involuntary Sculptures.’ The fetish of the found has a deeply rooted history within photography and sculpture and continues to thrive as a leitmotif well into the 21st century. The four emerging and established artists that dot the globe for ‘Voluntary Sculptures,’ relish the discarded and everyday, building upon traditions from 16th century still life painting to Dada and the readymade. The interplay between physical materiality, photographic representation and site specificity are explored.

Motivated by ideas of permanence, David Gilbert (Los Angeles) uses photography to document specific moments throughout the lifespan of his perpetual constructions of debris playfully staged out of his studio (once a former hotel room). Rubbish such as; eggshells, blankets, paper towel rolls and the like, exist fluidly between sculpture, installation and painting. Some arrangements are lucky enough to become forever immortalized in a photograph. Once documented, the humble and “…unapologetically crappy,” as Gilbert states, become monumental and heroic.

Likewise, Kathrin Sonntag (Berlin) begins with the studio as site for observation and excavation. For the exhibition, Sonntag presents “Heutu Bleibe Ich Daheim,” a slide projection piece that places the simplest of materials in the most precarious arrangements – a standing pair of scissors, an upside down bottle of soda, or a lamp caressing an apple. All found in her studio, each object evokes a quiet stillness with an odd injection of tenderness and humor.

Charlott Markus (Amsterdam) often performs site-specific interventions that disrupt or re-contextualize the natural order of things. Preexisting architectural anomalies within a given space can serve as a template for her photo-based sculptures. In the series ‘The Untitled,’ punctured walls of an abandoned medical clinic in NY become a surface to build abstract arrangements made with found fabric. Their flamboyant prints and colors act as graffiti or a form of mark making.

Ian Pedigo (New York) has been grouped with the likes Richard Tuttle, Ghedi Sebony, B. Wurtz and the long lineage of artists that transform low-grade scrap into prime source material for making work. Unique to Pedigo is his pairings of man made discards with organic matter like slate, birch branches, jasper and mica, often being sited as having spiritual or shamanistic undertones. His sculptures, reductive and fragile, give new meaning to the habits of an over consuming culture.

Special Edition

Drawing:
Charcoal and pastel on lithograph
12.5 inches (H) x 11inches (W)
Rives BFK, 250 gm
Printed by El Nopal Press
Edition, 40 signed and numbered

Artist book:
Hardcover, 10.25 inches (H) x 7.875 inches (W)
color, 61 pages
21 plates and illustrations
Edition: 215, signed and numbered
Publisher: LM Projects
Foreword: David Pagel
Editor: Elizabeth Pulsinelli
Designers: Lorraine Molina and Jennifer Rider
Printer: Typecraft, Pasadena CA

—

LM Projects is pleased to announce its first invitational for 2012, a limited edition publication by Los Angeles based artist Salomón Huerta. Part diary, part memoir, “Let Everything Else Burn” chronicles Huerta’s colored life through a collection of short autobiographical texts, paired with well known artworks and archived images of his personal history and past. Unique to this artist book are a selection of never before published images of his artwork since the 1990′s.

Huerta first published these anecdotes informally, as posts on Facebook beginning in 2009. Restricted by the 420 character limitation allowed for each posting, the narratives, though concise, truncated and fleeting, brim with humor and awe. Each story is presented non-chronologically and capture life growing up in east L.A. gang culture, the hidden dynamics of the art world and becoming a celebrated artist.

“Salomon Huerta: Let Everything Else Burn” has been printed in an edition of 215. Editions 1-40 are accompanied by a unique print with hand colored detail in pastel and charcoal by the artist.

—–
Artist Biography

Salomón Huerta resides and works in Los Angeles. He was born in 1965, in Tijuana, Mexico, and raised in Boyle Heights east of Downtown Los Angeles. He received his BFA from the Art Center College of Design, in 1991, and his MFA from the University of California, Los Angeles, in 1998. Huerta works primarily in representational painting, distilling elements of classicism with a modern social and cultural scrutiny. His distinct bodies of work can be linked through their shared investigations and considerations of identity, in the revealed and the concealed. Huerta’s work is subtle in both its subject matter and formal qualities, and its delicate balance between unassuming intimacy and careful reticence provokes self-reflexivity in its viewers.

Huerta’s work has been exhibited nationally and internationally. Select solo exhibitions include Mask, Patrick Painter Inc., Santa Monica, CA (2008); Portrait of a Friend, Patricia Faure Gallery, Los Angeles (2005); and New Paintings, Gagosian Gallery, London (2001). In addition, he has exhibited in a number of group exhibitions, including A Strange New World, Tijuana and the Santa Monica Museum of Art (2007); Art on Paper, Weatherspoon Art Museum, Greensboro, NC (2002); and The Whitney Biennial at the Whitney Museum of American Art, New York (2000). Huerta’s works are also included in the public collections of the Los Angeles County Museum of Art; the Museum of Contemporary Art, San Diego, CA; the Ulrich Museum of Art, Wichita, KS; and the Worcester Museum of Art, Worcester, MA. His work as been discussed in Art in America, Art Limited, Art News, The Los Angeles Times, and The New York Times. Huerta is represented by Patrick Painter Inc., Santa Monica, CA.

David Gilbert
Charlott Markus
Ian Pedigo
Kathrin Sonntag

Publisher: LM Projects
10 inches H x 8 1/4 inches W
40 pages, color, hardcover

Twisted pieces of paper, toothpaste swashes and soap scum, were just a few of the odd findings and castoff materials Brassaï used as subjects in a 1932 photographic series he coined, ‘Involuntary Sculptures.’ The fetish of the found has a deeply rooted history within photography and sculpture and continues to thrive as a leitmotif well into the 21st century. The four emerging and established artists that dot the globe for ‘Voluntary Sculptures,’ relish the discarded and everyday, building upon traditions from 16th century still life painting to Dada and the readymade. The interplay between physical materiality, photographic representation and site specificity are explored.

Standard Edition

Hardcover, 10.25 inches (H) x 7.875 inches (W)
color, 61 pages
21 plates and illustrations
Edition: 215, signed and numbered
Publisher: LM Projects
Foreword: David Pagel
Editor: Elizabeth Pulsinelli
Designers: Lorraine Molina and Jennifer Rider
Printer: Typecraft, Pasadena CA

LM Projects is pleased to announce its first invitational for 2012, a limited edition publication by Los Angeles based artist Salomón Huerta. Part diary, part memoir, “Let Everything Else Burn” chronicles Huerta’s colored life through a collection of short autobiographical texts, paired with well known artworks and archived images of his personal history and past. Unique to this artist book are a selection of never before published images of his artwork since the 1990′s.

Huerta first published these anecdotes informally, as posts on Facebook beginning in 2009. Restricted by the 420 character limitation allowed for each posting, the narratives, though concise, truncated and fleeting, brim with humor and awe. Each story is presented non-chronologically and capture life growing up in east L.A. gang culture, the hidden dynamics of the art world and becoming a celebrated artist.

“Salomon Huerta: Let Everything Else Burn” has been printed in an edition of 215. Editions 1-40 are accompanied by a unique print with hand colored detail in pastel and charcoal by the artist.

—–
Artist Biography

Salomón Huerta resides and works in Los Angeles. He was born in 1965, in Tijuana, Mexico, and raised in Boyle Heights east of Downtown Los Angeles. He received his BFA from the Art Center College of Design, in 1991, and his MFA from the University of California, Los Angeles, in 1998. Huerta works primarily in representational painting, distilling elements of classicism with a modern social and cultural scrutiny. His distinct bodies of work can be linked through their shared investigations and considerations of identity, in the revealed and the concealed. Huerta’s work is subtle in both its subject matter and formal qualities, and its delicate balance between unassuming intimacy and careful reticence provokes self-reflexivity in its viewers.

Huerta’s work has been exhibited nationally and internationally. Select solo exhibitions include Mask, Patrick Painter Inc., Santa Monica, CA (2008); Portrait of a Friend, Patricia Faure Gallery, Los Angeles (2005); and New Paintings, Gagosian Gallery, London (2001). In addition, he has exhibited in a number of group exhibitions, including A Strange New World, Tijuana and the Santa Monica Museum of Art (2007); Art on Paper, Weatherspoon Art Museum, Greensboro, NC (2002); and The Whitney Biennial at the Whitney Museum of American Art, New York (2000). Huerta’s works are also included in the public collections of the Los Angeles County Museum of Art; the Museum of Contemporary Art, San Diego, CA; the Ulrich Museum of Art, Wichita, KS; and the Worcester Museum of Art, Worcester, MA. His work as been discussed in Art in America, Art Limited, Art News, The Los Angeles Times, and The New York Times. Huerta is represented by Patrick Painter Inc., Santa Monica, CA.

Exhibition catalog and bookwork

A Man Asleep, features writings and artwork by Scoli Acosta, Becky Beasley, Justin Coombes and Kim Schoen

Publisher: LM Projects
6.5 inches H x 5.5 inches W, 52 pages, color, softcover
edition of 20

Our first publication “A Man Asleep,” was created on the occasion of the exhibition featuring Scoli Acosta, Becky Beasley, Justin Coombes, and Kim Schoen. This bookwork features original writings by each artist, color reproductions of artworks in the exhibition and selected texts from Marcel Proust, Georges Perec and others.

A group exhibition of video, photography, sculpture and text, “A Man Asleep” brings together four artists connected by a strong relationship with art and literature. Taking its title from a novella by Georges Perec, “A Man Asleep” is the story of a man slowly withdrawing from life. His observations of the details of his diminishing world and increasing isolation is an exhaustive exploration of the terrains of both melancholy and indifference. All the artists in the exhibition offer perspectives on withdrawal and engagement in relation to the art object.

ARTIST BIOGRAPHIES

Becky Beasley

(b. 1975, UK) Lives and works in Antwerp and London. She is represented by Laura Bartlett Gallery, London and Office Baroque, Antwerp. Recent solo exhibitions include ‘German Soup’ (2009) at Laura Bartlett Gallery and ‘Malamud’ (2008) at Office Baroque. Recent group exhibitions include ‘Karaoke – Photographic Quotes’ at FotoMuseum Winterthur and ‘The Malady of Writing’ at MACBA, Barcelona. In 2010 she will have a solo exhibition at Stanley Picker Gallery, Kingston, as the result of a year long residency in the Eadweard Muybridge archive of the Kingston Local History Museum. She was shortlisted for the 2009-2011 Max Mara Art Prize for Women. Her latest book, ‘Thomas Bernhard Malamud’, was published in 2009.

Justin Coombes

Justin Coombes’s art investigates relationships between history, memory and place. He works principally in photography, but also in text, video and performance. Recent solo exhibitions include ‘Grief Tree’ at Valentines Mansion, Ilford (2009), and ‘Urban Pastoral’ at Paradise Row, London (2007). Recent group exhibitions include ‘Le Weekend de Sept Jours’ at the Ecole de Beaux Arts, Paris (2010), ‘Flash Forward’ at Lennox Contemporary, Toronto, ‘Natural Wonders’ at Baibakov Art Projects, Moscow and ‘The La La’ at Praxis Project Space, Singapore (all 2009). His work is in a large number of collections including those of the British Government and the David Robert Foundation. He is represented by Paradise Row Gallery and is currently working towards an MPhil (by Practice) in Fine Art at The Royal College of Art in London.

Kim Schoen

Kim Schoen’s work in photography, film and drawing engages re-enactment and repetition, exploring the concept of repetition as the site or force that disrupts and reveals. She received her M.F.A. in photography from CalArts in 2005 and her Masters in Philosophy from the photography department at The Royal College of Art in London in 2008. Recent exhibitions of her work include Trust Fall, (The Whitechapel Gallery, London), The Awful Parenthesis, (Cirrus Gallery, Los Angeles), A Series of Catastrophes and Celebrations (Bank, Los Angeles), and Beyond Image: Photography and Contemporary Art (The Armory, Los Angeles). Her work has been written about in the Los Angeles Times and Art in America, and her essay “The Serial Attitude Redux” was recently published in X-TRA, Quarterly for Contemporary Art (Winter 2010/Volume 12.) Schoen is the co-founder and editor of MATERIAL, a journal of texts by visual artists.

Scoli Acosta

Scoli Acosta born (1973), lives, and works in Los Angeles. Studies and travels include the Kansas City Art Institute, Kansas City, Missouri (1992-’94), The Ultimate Akademie, Cologne, Germany (1995-’97), Brooklyn, New York (1997-’99), and Paris, France (2000-’04). Usually taking the form of site-responsive installations, his work relies heavily on the handmade, and the aesthetics of resourcefulness.

Recent solo exhibitions include Founded, Zoo Art Fair, London, (2009); Big Well Nada, Nada Art Fair, Miami, (2008); Carbon Footprint, Galerie Laurent Godin, Paris, (2008); Bountiful, LAXART, Los Angeles, (2008); Day was to Fall as Night was to Break, Daniel Reich Gallery, New York (2006). Recent group exhibitions include Flower Power, Villa Giulia, Verbania, Italy (2009); Phantom Sightings: Art After the Chicano Movement, LACMA, Los Angeles, (2008, and traveling until 2010); From and About Place: Art from Los Angeles, CCA, Tel Aviv, Israel (2008). Collections include the Museum of Modern Art, New York; Coleccion Jumex, Mexico City; Rubell Family Collection, Miami; and FRAC Limousin, France.

David Gilbert
Charlott Markus
Ian Pedigo
Kathrin Sonntag

July 9 – August 3, 2011

Twisted pieces of paper, toothpaste swashes and soap scum, were just a few of the odd findings and castoff materials Brassaï used as subjects in a 1932 photographic series he coined, ‘Involuntary Sculptures.’ The fetish of the found has a deeply rooted history within photography and sculpture and continues to thrive as a leitmotif well into the 21st century. The four emerging and established artists that dot the globe for ‘Voluntary Sculptures,’ relish the discarded and everyday, building upon traditions from 16th century still life painting to Dada and the readymade. The interplay between physical materiality, photographic representation and site specificity are explored. - See more at: http://lmprojects.net/gallery/involuntary-sculptures/#sthash.zl9Oujaq.dpuf

Motivated by ideas of permanence, David Gilbert (Los Angeles) uses photography to document specific moments throughout the lifespan of his perpetual constructions of debris playfully staged out of his studio (once a former hotel room). Rubbish such as; eggshells, blankets, paper towel rolls and the like, exist fluidly between sculpture, installation and painting. Some arrangements are lucky enough to become forever immortalized in a photograph. Once documented, the humble and “…unapologetically crappy,” as Gilbert states, become monumental and heroic.

Likewise, Kathrin Sonntag (Berlin) begins with the studio as site for observation and excavation. For the exhibition, Sonntag presents “Heutu Bleibe Ich Daheim,” a slide projection piece that places the simplest of materials in the most precarious arrangements – a standing pair of scissors, an upside down bottle of soda, or a lamp caressing an apple. All found in her studio, each object evokes a quiet stillness with an odd injection of tenderness and humor.

Charlott Markus (Amsterdam) often performs site-specific interventions that disrupt or re-contextualize the natural order of things. Preexisting architectural anomalies within a given space can serve as a template for her photo-based sculptures. In the series ‘The Untitled,’ punctured walls of an abandoned medical clinic in NY become a surface to build abstract arrangements made with found fabric. Their flamboyant prints and colors act as graffiti or a form of mark making.

Ian Pedigo (New York) has been grouped with the likes Richard Tuttle, Ghedi Sebony, B. Wurtz and the long lineage of artists that transform low-grade scrap into prime source material for making work. Unique to Pedigo is his pairings of man made discards with organic matter like slate, birch branches, jasper and mica, often being sited as having spiritual or shamanistic undertones. His sculptures, reductive and fragile, give new meaning to the habits of an over consuming culture.