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REST AREA: a collaborative installation

16 Sep

As part of the LA ROAD CONCERTS – Catalysis Projects’ Core Artist Kim Ye and collaborator Christine Wang give CP a sneak peak of their REST AREA project proposal. The project itself will be performed SUNDAY, 9/18/11 from 11am-2pm @ the intersection of Portia & Sunset in Los Angeles.

In Los Angeles, where cars are a near necessity and filters many a person’s perception of the world around them, drivers and pedestrians often experience the city completely differently. Often more than just a mode-of-transportation-choice, this split may trace real differences in the social/economic/geographic position between individuals. How can we navigate this difference in a way that can generate a sort of shared experience?

In this experimental installation, we would like to explore options for a public space that unites the comfort and shelter of the car, with the public social space of sidewalks, parks, and bus stops. Through the creation of a temporary shared oasis at the boundary between sidewalk and street, we hope to propose an alternative function for the automobile, while simultaneously modifying the bodily experience of the pedestrian. Through this act we hope to explore how the unit of the automobile may create new relational possibilities for the interaction between human bodies.

Christine Wang & Kim Ye, REST AREA (test), 2011

Two identical Toyota Sienna minivans are parked directly across the street from each other at either ends of a pedestrian crosswalk. Both side doors are open on the vans, and a ramp runs through the middle of each van; this creates a tunnel that pedestrians must pass through in order to cross the street. As pedestrians pass through the inside of the vans, there will be music, air-conditioning, and refreshments offered to them. They can rest in the back of the van for any amount of time they wish, before proceeding on to their destinations.

This installation was originally conceptualized for the crosswalk at Sunset and Portia in Echo Park, but can work anywhere with significant foot traffic and a crosswalk that can be parked in without obstructing traffic.

Narrow Lands Production: Deborah Martin Notes from the Studio

21 Jun

This NOTES FROM THE STUDIO column features CP Core Artist Deborah Martin,  a contemporary realist painter, fine art photographer and curator. Visit her work online here.


The Drawer 36 x 36″

Oil on Canvas

I am in a painting frenzy working on 10 paintings that will be shipped out to Cape Cod, MA in mid July. While I attended the Museum School of Fine Arts in Boston, I used to frequent Provincetown. Duirng one of my visits to Provincetown, I spent the night in the very house that several of the paintings and poems from this exhibit are based on. The house has since been abandoned. I actually had forgotten that I had slept in the house-with a gang of girls (strewn about on the floor.) The memory came back to me later while working on the selection of images for this series. I have made a complete circle.

NARROW LANDS is an ongoing multidisciplinary collaborative project between CP Core Artists Quintan Ana Wikswo and Deborah Martin. For any one living on the East Coast anywhere near Provincetown-I hope you will have a chance to see this exhibit.

Here’s a note from the press release:

Martin’s sea bleached and dusty-colored paintings exist in intimate conversation with Wikswo’s spare, sensual prose poems, yielding poignant and often enticing portraits of Provincetown buildings and the women who live and love within them.

Together, the works inhabit a uniquely Provincetown landscape, forming a powerful meditation on human erosion, transformation and renewal, and a powerful encounter with the Cape itself.

The fine art book NARROW LANDS: Paintings and Prose Poems has been published by CATALYSIS PROJECTS, and will be available in hardback and paperback.

Here is a preview of one of Quintan Ana Wikswo’s Poems that will be part of the upcoming exhibition and Narrow Lands Book.


by Quitnan Ana Wikswo

The veins on the back of her hand a delta, veins swollen and exposed. Under the nails – dulled and chipped – oyster shells nibbled in hopes of reaching the meat.

On her wrist, split blood vessels hunched and sharp as sea nettles.

Her nose arches over her long neglected mouth, and a dangling brown braid locked tight against the salt and moisture of the coast.

She wishes she’d been born looking like this, some fierce seafaring Venus sprung from a whale, split asunder and screaming on the shore.

But instead she’s grown this way, and slowly.

Slow enough to notice.

Hamper 36 x 36″

Oil on Canvas

This is a painting I am working on titled Hamper. I  have yet to tackle this hamper which is still outlined here in Pencil.

All three of the images included in this blog post are based on the house in Provincetown I made reference to. I hear that the house is owned by Penny and Chuck who are residents of Provincetown. My dear friend Linnie relayed that she ran into Penny and Chuck and had told them about these paintings coming to Provincetown. I wonder if they will come to the opening. As I write this I am thinking how strange this all is and how somehow we are all connected…

The Narrow Lands exhibit opens August 5th -24th, 2011 (opening reception  Friday August 5,  6-9pm) at The Patty Deluca Gallery in Provincetown, MA (courtesy of The School House Gallery.)

The work will be on display at The School House Gallery opening Labor day weekend September 2-21st, 2011 (with an opening reception on Friday Sept 2 7-10pm.)

Hanger 36 x 36″

Oil on Canvas

CP Interviews Steve ‘Espo’ Powers about his graffiti installation collaborations with Barry ‘Twist’ McGee and Todd ‘Reas” James

25 May

INTERVIEW BY RACHEL MATOS. Introducing our second in a series of interviews and reviews by CP guest blogger Rachel Matos. An exhibited artist, educator and professional performer, Rachel studied at the School of Visual Arts and Columbia University, and has since worked for LACMA, Norton Simon Museum, The Guggenheim, The Met, The Bronx Museum, Montclair Art Museum, Smithsonian Cooper Hewitt and thePhiladelphia Museum of Art.

Nothing is more exhilarating than entering a museum space and feeling as though you are in another time and place. MoCA, as an institution, has been transformed into a small international urban space encompassing the histories of street art in its current exhibition ‘Art in the Streets’. In my opinion, one of the most captivating areas within the museum had to be Street Market.

The space felt nostalgic and new all at once. The installation is incredibly detailed, completely layered with neon lit signs that illustrate an urban wit that can only come from the genius minds of Todd ‘Reas’ James, Barry ‘Twist’ McGee and Steve ‘Espo’ Powers,  who brought in their own experiences from the streets of San Francisco, New York and Philadelphia.

A church front, a gated store and pay phone are just a few elements throughout the small avenues In Street Market. From this native New Yorkers’ perspective, it feels like Canal Street in the 80s and 90s. The visual language was very familiar to me. I had the hardest time stepping outside of myself and my childhood memories in order to view the show as a spectator.

I couldn’t leave the exhibit without digging a bit further so I decided to start an email dialogue with Espo. I can’t say it was the most in-depth conversation. But, our chat was certainly in the spirit of what this installation all about – Go see it yourself, create your own dialogue, and anything you need to know, really, is in the show.

RM: Do you feel the messages in Street Market lose or gain anything when the audience is from Los Angeles – a city known for being an urban sprawl?

SP: MOCA is in Little Tokyo and close to downtown LA, so I think it makes perfect visual sense in that setting.

RM: Are your signs and murals influenced by the context of the environment they’re in?

SP: Always

RM: What are your thoughts on traditional advertising?

SP: I steal from it what I need. And try not to get mad when they steal from me.

RM: When did you realize that letter styles of signage and info graphics would make for such powerful artistic statements?

SP: When God wrote on the wall in fire in Daniel 6:6

RM: When did creating installations to compliment the art, become the art itself?

SP: For me and todd? Circa 1999

RM: Can you leave the readers with your thoughts about the importance of having a collaborative approach to art?

SP: 3 heads are better than one. And a whole neighborhood is much better than 3! That’s the new math.

And there you have it. Is it because Espo is an artist that ‘three heads is much better than one’ sounds so profound? I mean, after all, collaborative efforts in art make for an interesting dialogue when multiple perspectives are married together. I tend to think so. Perhaps I am reading too much into it, as Espo’s verbiage would have me do so.

Either way, if you are one of the very few people who have not gone to see Art in the Streets, the show will be up until July 8th.

ARTIST INTERVIEW: Ichiro Irie on paperclips, artistic discomfort, and interdisciplinary portraiture

22 Apr

REVIEW BY RACHEL MATOS. Introducing our first in a series of articles by CP guest blogger Rachel Matos. An exhibited artist, educator and professional performer, Rachel studied at the School of Visual Arts and Columbia University, and has since worked for LACMA, Norton Simon Museum, The Guggenheim, The Met, The Bronx Museum, Montclair Art Museum, Smithsonian Cooper Hewitt and thePhiladelphia Museum of Art.  

Ichiro Irie

Have you been to the Torrance Museum of Art lately? The museum is in the midst of its first in a series of international exhibitions representing artists with similar cultural backgrounds. The first is Gateway Japan, where I had the privilege of viewing works by Japanese and Japanese American artists. The show ran the gamut of disciplines from three-dimensional portraits atop of mobile phone canvases to sumo-wrestlers creating footprints on a clay fighting ring.

As I entered the gallery, I noticed black canvases that evoked a series of emotional range. From afar, I could see a monochromatic portrait of a woman singing and a man laughing. Up close, I noticed the portraits were all made with staples on blocks of wood transforming the illusion of representational work into abstraction.

Interested in Ichiro’s interdisciplinary approach to portraiture and his participation in Gateway Japan, I asked the artist a few questions about himself, his work and what’s next.

CP: You were born in Tokyo, raised in Los Angeles, but you don’t consider yourself Japanese or American. You say you feel ‘Angelino’. What does being an Angelino mean to you?

IRIE: Technically I’m both Japanese and American.  I was born in Japan from Japanese parents.  I was brought to L.A. when I was 2, but I spoke Japanese at home, ate Japanese food at home everyday, and went to Japanese school on Saturdays.

Ichiro Irie

Ichiro Irie

On the other hand, outside of the house, I’ve lived my life mostly like any kid in L.A., my friends and acquaintances from all walks of life.  Well, I grew up in West L.A. and Brentwood, went to middle school and high school in Santa Monica, and Santa Barbara.  Most of my peers were Caucasian with a sprinkle of other races and ethnicities.  My connection to the Japanese and Japanese American communities here outside of family and a handful of friends had been limited at best.  I should also mention that I just became a U.S. citizen last year.

Nevertheless, because of my appearance, people who see or meet me here for the first time see me as the other.  Heck, I even saw myself as the other, and perhaps I still do.  My favorite movies, my favorite bands, my favorite actors and actresses, people on T.V., girls I liked, my best friends… nobody looked like me.

In Japan, I look, more or less, like everyone else, but after a few minutes of conversation, it becomes pretty obvious that I’m not completely one of them.  Often in a good way, because, when I visited Japan as a child or as a young adult, people were curious to get to know me, kind of like the exotic strange animal at the zoo.  I didn’t mind that for some reason.  In short, I’ve always been the token Japanese kid here, and the token Gringo Japanese in Japan.

I feel like an Angelino, because my identity and my outlook towards the world have been totally shaped by my experience here.  For all its politically correctness, progressive thinking, yoga, and health consciousness, life in Los Angeles is defined by racial politics.  I’m not saying anything that’s hasn’t been said 1000 times before, but just go to any restaurant in Brentwood, Melrose, Beverly Hills or Santa Monica… 90% Caucasian.  The busboys, dishwashers, housekeepers, gardeners, and day laborors… Latino.

Ichiro Irie

I have a son in grade school now.  Investigating which public schools have the highest level of education, the highest standardized test scores are in predominantly White and Asian communities.  The school in the bottom half are all Black and Latino.  This reality is not only sad, it’s criminal, although I’m not exactly sure who to blame.

I’ve read a couple statistics, one that Asian men are the most single (as in available) segment of the population, and another that they have the highest average income.  In what kind of f’d up society is the richest guy considered the least desirable?

Los Angeles is also home to Hollywood.  There are an unusual amount of people who want to be famous here.  There are an unusual number of people with cosmetic surgery.  Los Angeles is home to the San Fernando Valley, the porn capital of the world.  Los Angeles is a city where people are very isolated.  I visited New York for the first time since 2005 this year for a show.  I was shocked how random people actually walk up and talk to you.  It made me uncomfortable, and I liked it.

So, as I hope you can see, my relationship to the rest of the world, I believe, is measured against all of my experiences here in Los Angeles.  I’m a product of this city.

CP: Was there a pivotal moment that brought you awareness about the self importance and the over-glorification of oneself as an artist? Are the mediums you choose a reflection of those feelings? 

IRIE: I think those were the words of Heather Jeno Silva who wrote about my work.  Although I don’t necessarily disagree with her, I don’t make work in order to prove some point against self-glorification either.  I just try to do what comes the most naturally at any given moment.  Even when I’m being ironic from time to time, I simply try to do what feels like a sincere pursuit of my artistic concerns.  My work is diverse, dispersed, and spans media and disciplines, because of this.  I get bored easily.  I’m interested in a lot of different things.  I want my body of work to reflect an expanded definition of identity without being didactic.  I can only accomplish this within my means and my limitations, both economic and personal.  It is certainly not the most efficient strategy towards achieving commercial success or branding my self as an artist.  Maybe this is being humble, or maybe I’m trying to bite off more than I can chew.

Ichiro Irie

The materials I choose, and the images I create are a result of questioning to my self, why a person like me or just people around me in general would end up in a place like this, at this particular age.  When you are surrounded by these materials and images, they become normal, and almost invisible.  For example, with my accumulations series, I observe, depict, accumulate, and transform everyday objects such as paperclips, staples, screws, poster putty, and hair clips.  By bringing these entities to the foreground, I’m trying to show how unusual these things really are.  Imagine landing in the world today from, say, just 200 years ago.  All of these things would seem so bizarre.

This idea of transformation and humor has been particularly important to me recently, because it allows the possibility for subtle defiance, active participation and pleasure within a set of parameters, even if it is only within my tiny corner of the world.

CP: Have the tragic events in Japan changed or influenced the direction of your work in any way?

IRIE:  Yes, in 2009, I did a series of ink drawings of two adolescents, one boy and one girl, surrounded in the aftermath of some catastrophic event.  In spite of the bleak environments depicted, I believe they were hopeful pictures.  I wanted to expand on this series by doing larger drawings and paintings of a similar nature.

Because of these recent events in Japan, I’ve decided not to continue this series anymore, because I’m worried that people will think that I’m doing these works as a result of the Japanese earthquake/tsunami.  I’m worried that the works would now seem opportunistic.

CP: Can you share what you are working on and what we can look forward to?

IRIE:  I’ve been teaching at Santa Monica College and Oxnard College the past 4 years.  I feel a little bit like the catcher in the rye, trying my best to not let these kids and adults slip through the cracks.  Several of the more fortunate ones are doing remarkably well.  It’s a very rewarding process to see your students evolve.

I’ve invested so much energy in the teaching process, and with many of my students, a relationship emerges that is beyond academic or professional.  I’ve been reading up a little on the concept of transference and counter transference in relation to psychoanalysis, and playing with the idea that most of these students are trying to transfer to a 4 year university, MFA program, or simply to the next stage of their lives and careers.  My most current work revolves around these ideas of transfer and transference.

I’ve been in 5 shows in L.A., New York, Mexico City and Frankfurt in the last 4 months, and I feel a little spread thin in terms of exhibiting, so I probably won’t be showing my own work again until August.  I will be showing work at Gallery Lara in Tokyo at the end of the summer, and will be participating in the Sur Biennial curated by Ronald Lopez this fall.  I’ve also been invited to participate in a show in Berlin called “La Vida es Cruel” curated by artist/curator Florian Heinke.

In the meantime, we will continue our curatorial projects at JAUS, a small artist run space I direct in West L.A.  I’ll have my summer off for the first time since returning to L.A. from Mexico City in 2006.  I’m looking forward to spending more time in the studio, developing new works and getting some much needed R&R.


An exhibited artist, educator and professional performer, Rachel Matos studied at the School of Visual Arts and Columbia University specializing in painting and the history of modern art. She has worked for LACMA, Norton Simon Museum, The Guggenheim, The Met, The Bronx Museum, Montclair Art Museum, Smithsonian Cooper Hewitt and thePhiladelphia Museum of Art, among many others.  She is often sought to develop educational programs for art institutions and to serve as a guest lecturer and curator. Her works have been exhibited at the Woodmere Art Museum, the Colombian Consulate, the Society of Illustrators, and Rockefeller Center. Learn more about Matos here.

The Salton Sea History Museum

17 Feb

by Deborah Martin

This week your friends at Catalysis Projects introduce the second in our series of new columns – brief notes  from the “lost and found” desks of our Core and Resident Artists. In these posts, our artists offer a glimpse into one of their interdisciplinary, collaborative projects, including artifacts from the flotsam and jetsum that litter their creative spaces
This week features our Core Artist Deborah Martin, who works in photography and painting.

I’m immersed in producing an inaugural exhibition for the Salton Sea History Museum. The Museum is located inside the newly renovated Historical North Shore Beach & Yacht Club. If your first reaction is whut? That was my initial reaction too. The last time I visited there were a whole lot of pigeons held up inside there. Here’s an image of the North Shore Yacht Club back in the day.

The building was designed by famed mid-century architect Albert Frey.

Jennie Kelly, Director of the Salton Sea History Museum and Commissioner with the Riverside County Historical Commission, began her journey into ‘history’ with a heroic effort to save the threatened Rancho Dos Palmas in North Shore. During that intense two-year effort, Kelly requested and received cooperation from then Riverside County Supervisor, Roy Wilson.

Through this collaboration, space for a museum was offered to Kelly in the renovated Albert Frey-designed North Shore Beach & Yacht Club. Although Kelly received small grants from Supervisors Benoit & Ashley and the Imperial Irrigation District to get the museum open, it remains otherwise self-funded through memberships and sales.

The inaugural exhibition: Valley of the Ancient Lake: Works Inspired by the Salton Sea is curated by Deborah Martin with Historical works and Memorabilia by Jennie Kelly.

The Exhibit runs April 1-30, 2011 with a reception on April 3, 3-7pm. For those of you who are open for an adventure and a drive out to the Salton Sea, I hope you will Join us!

The Museum is open daily 10-4pm Closed Wednesdays & Thursdays.

Catalysis Projects is publishing a catalog for the exhibition with text by Ann Japenga. Ann is a Palm Springs writer specializing in stories about the California deserts and the West. As a staff writer for the Los Angeles Times, she developed a love for tales tied to the Western landscape. After moving to Palm Springs more than a decade ago, she zeroed in on “deserata”–the natural and human history of the California deserts from the San Gorgonio Pass to the Colorado River.

Here is the list of Artist’s with a preview of  some of the work I have chosen for the exhibition and catalog.


Joan Myers’ photographs span the last quarter of the twentieth century and several locales. She is known for her platinum-palladium prints, a hand-coating process where the image becomes part of the drawing paper on which it is printed. Myers’ work is in the Museum of Modern Art, the Center for Creative Photography, the George Eastman House, The San Francisco Museum of Modern Art, and the National Gallery of Art, Washington.

Myers is the photographer of Salt Dreams: Land and Water in Low-Down California, written by William deBuys Winner of the 1999 Western States Book Award for Creative Nonfiction and the William P. Clements Prize for the Best Non-Fiction Book on Southwestern America.

Above Image: Joan Myers Salton Sea Building,  19″x15″, platinum-palladium print with watercolor. Edition of 12 with 3 artist’s proofs

A photographer and historian, Christopher Landis combines art and historic documentation in his visual record of the Salton Sea, begun in 1990. Landis’ dramatic Iris prints focus not on the human presence at the Sea but on the human relics in this desert landscape. The marks left by humans bear testimony to their dreams, enterprise, folly, greed, and that perennial battle for control of the environment. Christopher is the author and photographer of In Search for Eldorado: The Salton Sea published by the Palm Springs Desert Museum in 2007.

Image Left: Christopher Landis, Salton Bay Yacht Club, 1990.

Kim Stringfellow’s projects have been commissioned and funded by leading organizations including the California Council for the Humanities, Creative Work Fund, Graham Foundation for Advanced Studies in the Fine Arts, and the Seattle Arts Commission. Her work has been exhibited at the International Center for Photography, Los Angeles County Museum of Art, Los Angeles Contemporary Exhibitions among others.

Her photographs are included in the permanent collection at the Nevada Museum of Art in Reno and the Margulies Collection at the Warehouse in Miami. Her work has been featured in the New York Times, Los Angeles Times, SF Camerawork Quarterly, Sculpture, Photo Metro, Leonardo, and Artweek.

Her first book, Greetings from the Salton Sea: Folly and Intervention in the Southern California Landscape, 1905–2005 was published by the Center for American Places in 2005. The website for Greetings from the Salton Sea was featured in Ecotopia: The Second ICP Triennial of Photography and Video in New York City in 2006/07.

Above Image: Kim Stringfellow, Abandoned Trailer, Bombay Beach, CA, 2000, 38″ x 30.5″ Lightjet digital c-print, edition of 10 prints.

I shot a Polaroid in 2006 of the Yacht Club when it had Aces & Spades painted on the outside of it from a previous film shoot. At the time I had no idea this was once a popular Yacht Club. I thought perhaps it had been a bar. Here is an image of the painting I created to document this building. Above Image: Deborah Martin Aces & Spades, Oil on Canvas, 36 x 36″ (2009) The North Shore beach & Yacht Club as it appeared in 2006.

App or Art?

26 Apr


Two weeks ago, I received an email from my friend/artist/curator Tobey Albright that started like this:

I’d like to invite you to an exhibition I’ve curated which is opening right now and running until April 24, 2010. This isn’t a typical exhibition insofar as it is taking place via a Firefox plug-in extension that replaces online advertisements with art-scientist/artist collaborations


Ever since taking a programming class from this guy in undergrad, I’ve been interested in web-experience as interactive art (for example: this or this). The show curated by Mr. Albright was made available through Add-Art, a Mozilla plug-in created with support from Eyebeam and Rhizome. Basically, Add-Art provides an interesting new way for users to experience contemporary art and curated bodies of work while internetting. Instead of being barraged with banner ads or animated .gifs for wrinkle cream or weight-loss supplement, one is exposed to new works from artists around the world in a totally innovative context. Amazing!

Luckily, Rhizome, which has been affiliated with the New Museum since 2003, shares my enthusiasm for web/art confusion and plays “an integral role in the history, definition and growth of art engaged with the Internet and networked technologies”. Recently, they held  Seven on Seven, a conference that paired 7 visual artists w/7 techies in teams of two to create and present a project within 2 days. One of the creations, brainchild of Graffiti Research lab’s Evan Roth and Matt Mullenweg, founder of WordPress, rewards bloggers with a congratulatory video upon the publication of their post! (I’ll be testing this feature shortly).

Though Tobey Albright’s show The Hustler and the Carer was only available via Add-Art through April 24th, you can find more info about the project here.

If sculptures could talk…

17 Mar

by Kim Ye

Recently, I took a trip up to Berkeley, California to install my work at the Alphonse Berber Gallery for the Works that Disturb the Moonlight group show. After 5 hours alone in a pick-up with no radio, and 72 hours of manual labor, the 7200 square foot gallery is now home to nearly the entire Autoerotic and Synapses Series. The show is up from February 11th until March 27th, so I guess technically it’s more of a sublet…

In any case, this is the largest number of my pieces that have been under one roof—an exponential increase in population density! For the reception, we had 7 performers modeling 5 worn latex pieces in 2 rooms.

One of the most interesting components of these performances is the interaction between audience and model. I view the reception as a site for observation and experimentation. What happens when art perceives you?

Interestingly, people were much more comfortable interacting with performers that were already coupled up. It seems that 2 already constitutes an environment—taking the pressure off the viewer. Take this guy for example:

If you watch or interact with a couple, or a group, you don’t feel as implicated. When you’re a voyeur of an individual, it’s a much more intimate relationship; you become responsible for the interaction, an equal partner. In their own words:

“The funniest thing about the audience, I thought, was that they would come up to me and poke me sometimes to see what I was made of…or to see if I was real? There was definitely a fusion between impersonal and personal interactions given I was the art that was on display.”—Anahid Modrek (Dress model)

“Some people wouldn’t even look in my direction, others would keep glancing, or if I stared at someone for a long time, they would often stare back. But all of these people would be reluctant to check me out (look me over completely). They would focus on my face. Only if I was looking in the mirrors, would they look at my tentacle boob-arms.” –Hanna Ashcraft (Shirtsleeves model)

“The audience was really respectful, but I was surprised how many people asked to touch my penis tumor. I was even more surprised how many people, after touching the penis tumor started touching me! I wasn’t sure how to react to that so I pretty much did what those Buckingham guardsmen do: stay completely still and emotionless.”—David Hubbard (Shorts model)

Post reception, all the worn pieces were displayed as skins—hung floating in space. At some point during this arduous process, I had a nice little exchange with Crystal Natsuko who blogs about it here.

Special thanks to Cameron Jackson and Jessica Cox, co-directors of Alphonse Berber. Also, thanks to performers Sarah MacLeod, Laine Foreman, Carly Helsaple, Steven Joseph Tritto, Anahid Modrek, Hanna Ashcraft, and David Hubbard.

Photos courtesy of Danielle Lee of AB Gallery.


6 Mar

On Exhibit Through Saturday March 6th, 2010

We are honored by and grateful for the tremendous acclaim and positive response that has greeted this gallery’s current exhibition: HOME ON THE STRANGE: IN SEARCH OF THE SALTON SEA. The show features nine new paintings by Deborah Martin, companion texts by Amy Sather Smith, and a remarkable video installation by Juli Vizza.

We are pleased to announce that CATALYSIS PROJECTS will be publishing a full-color, limited-edition art book catalog from the show, featuring polaroids and paintings by Deborah Martin, and text by writer Amy Sather Smith.

If you have not had a chance to see HOME ON THE STRANGE – or place your order for an advance copy of the book – we will be open through Saturday 1-6pm. The exhibit will be closing on Saturday March 6th.

For more information visit: Deborah Martin Gallery