CSUN Arts Alumni Small Works Show
in conjunction with an installation by CSUN Professor Emeritus Kim Abeles in The Closet in Shoebox Projects, a part of The Shed Collective, a new alternative art space.
660 South Avenue 21 #3 LA Ca 90031
Reception - Sunday July 8th 1-4pm
Participating artists so far: Ashley Hagen, Emily Wiseman, Nurit Avesar, Emily Sudd, Erika Ostrander, Elizabeth Tinglof, Farnaz Sabet, Garen Novruzyan, Sara Alavikia, Stuart Rapaport, Theresa Knopf Morgan, Zeina Baltagi, Kristine Schomaker, Rain Lucien Matheke, Nicole Guerrera, Cintia Segovia, Catherine Bennaton, Cory Sewelson, Holly Boruck, Monica Sandoval, Alexsandra Papoban
PLUS we have a framed print from Lynn Aldrich which will be raffled off. We are super excited about this!
(If you are a CSUN Arts Alumni and would like to participate you can get more info here on how to submit. There is still time: https://www.facebook.com/events/619931545008643/
We are a young alumni chapter of the CSUN Alumni Association with a goal to keep connections through both exhibition and curatorial opportunities, artist talks, social gatherings and promoting the accomplishments of our incredibly talented alumni.
Please support the CSUN Arts Alumni Association through this Fundraiser Art Exhibition. 50% will go to artist with 50% to CSUN Arts Alumni Association to help fund future exhibitions, portfolio reviews, critiques and more.
Lynn Aldrich print (image in thread)
People in Real Estate, 1997
Iris print on cotton paper, Edition of 6
For a year of Sundays, I went through the “Your Valley” editions of the Los Angeles Times, checking out the black and white portraits of real estate agents in the advertising supplement. Every week, new faces of men and women, posed by professional photographers, appeared beside their sales promotions and accomplishments. Finally, I selected twenty-five of the women only, arranged them in a grid, and printed it with the fonts lifted from the newspaper.
In many ways, this print helped identify my major themes moving forward as an artist. I would collect objects from the consumerist culture, particularly with the oddly suburban/celebrity glam of the San Fernando Valley/Hollywood influence. Then back in the studio, I would arrange them in a simple accumulation, with little manipulation on my part. My work became more three-dimensional, but I never lost the desire to reveal layers of metaphor buried in the most obvious of objects and situations.
In art school, I remember thinking too bad I can’t have Urban Angst. Didn’t seem appropriate in El Lay. We seem to have more of an underlying anxiety – humor comingled with pathos, extravagance covering over loss, dreams flirting with disaster.
Image in cover photo a detail of work by Emily Sudd