| March 19, 2010 | ||
| 8:00 pm | to | 10:00 pm |
Monthly Archive for February, 2010
| March 6, 2010 | ||
| 7:30 pm | to | 9:30 pm |
Mommy, Mommy! Says WE HEART BIRDS OF LACE
Join us for an evening of performative readings with Birds of Lace authors:
christine v. nguyen
Niina Pollari
Rhani Lee Remedes
Anna Joy Springer
christine v. nguyen loves small houses painted different colors sat on crooked streets in the early morning, and the quiet calm of childhood rooms. she’s been writing since her mother sat with her at tables, molding the shape of her letters. born and raised in the bay area, she lives on the west coast, where she can see the water.
Niina Pollari is a writer, translator, and pony of some few other tricks living in Brooklyn, NY. She recently completed a collaboration with the Finnish search-engine poet Tytti Heikkinen, and has work found or forthcoming in Bitch, Post Road, Bateau, Finery, and other publications.
Rhani Lee Remedes is a sparkly rascal who was raised on psychic televangelists and riot grrrl rants. Her writing has appeared in That’s Revolting; Queers Strategies For Resisting Assimilation, LTTR, BTFA, MGMT, ETC, She is the author of the S.C.U.B. Manifesto and was the front woman the band Veronica Lipgloss & the Evil Eyes. She currently makes posters and plays with the band Bangs of Hunger in Sandy Francisco.
Anna Joy Springer has toured the U.S. and Europe as a singer for punk bands and with the legendary Sister Spit. Her first novel is The Vicious Red Relic, Love. Birds of Lace has just published her novella, The Birdwisher.
Birds of Lace is a feminist press born in 2005 and currently based in San Francisco. Recent publications include Anna Joy Springer’s The Birdwisher, Niina Pollari’s Fabulous Essential, and Christine Vi-Van Nguyen’s Blood and Jasmine When I Dreamed Her, as well as the literary and arts journal Finery. Birds of Lace loves glittering, love-ridden words with sick and saucy centers.
Mommy, Mommy! is curated by LES FIGUES PRESS, hosted by compactspace.
Gallery Hours • Tues-Sat - 11-6pm or by appointment
show reviewed by Venuszine HERE
Tim Schwartz featured in Modern Painter HERE
design by Carl Burton
compactspace, Los Angeles is proud to present and the world is ours – new works by Robert Twomey and Tim Schwartz, two artists who navigate the ample and ever-morphing territories of New Media art and culture.
Schwartz’s sculptural work Ruin, a giant stalactite deftly installed in the gallery’s ceiling, is a departure from the artist’s recent works dealing with cultural data analysis. Art writer Lamar Clarkson describes his piece Paris, a data mash-up sculpture forged from retired gadgets that was recently featured in Modern Painter Magazine: “ Paris is a device reminiscent of a temperature gauge whose needle wavers between the words Hilton and France depending on which Paris is more popular on the web at the moment…In commenting on our national attention span in the idiom of the thermostat, Paris renders an abstract data point suddenly, fancifully real.” Though Schwartz borrows a similar idiom for Ruin – one made nostalgic by the dilapidated conditions of its early industrial-age materials – the piece reaches much further back through geological time and space. As a giant iron-coated hunk of fiberglass constantly sprayed with acidic water, the piece has been corroding since its debut at the Oceanside Museum of Art this past winter. compactspace will be Ruin’s second home, gratefully accepting the rusty run-off from this monumental work of fantastically post-monumental sentiment.
Twomey offers up a different concoction of information based signifiers in Human Factors in Computing Systems: Studies and Saccade. The latter, driven with gaze-data from an eye tracking system, will greet its audience at the gallery entrance, offering an experience that re-stages the particular movements and fixations of a viewer’s eye as she considers a series of photos, re-contextualizing (and thus deconstructing) the act of looking at art. For Human Factors, the artist has hand-drawn images culled from photographs taken at the dawn of the computing age –smiling suit-clad technicians negotiate an arena of wires and buttons and big machines, revealing their industry’s initial stages of self-representation and identity formation. Though aesthetically removed, these two pieces mediate overlapping aspects of computer vision, human perception and historical gaze.
Please join our reception for the artists during Art Walk on February 11th from 6 to 9 pm. and the world is ours will be on view at compactspace through the end of March 2010.
- -glenna jennings
Click to Enlarge
| February 11, 2010 | ||
| 12:00 pm | to | 9:00 pm |
SHOW OPENING on 2/11 • 12 to 9pm
Gallery closed for installation 2/2 - 2/10
compactspace, Los Angeles is proud to present and the world is ours – new works by Robert Twomey and Tim Schwartz, two artists who navigate the ample and ever-morphing territories of New Media art and culture.
Schwartz’s sculptural work Ruin, a giant stalactite deftly installed in the gallery’s ceiling, is a departure from the artist’s recent works dealing with cultural data analysis. Art writer Lamar Clarkson describes his piece Paris, a data mash-up sculpture forged from retired gadgets that was recently featured in Modern Painter Magazine: “ Paris is a device reminiscent of a temperature gauge whose needle wavers between the words Hilton and France depending on which Paris is more popular on the web at the moment…In commenting on our national attention span in the idiom of the thermostat, Paris renders an abstract data point suddenly, fancifully real.” Though Schwartz borrows a similar idiom for Ruin – one made nostalgic by the dilapidated conditions of its early industrial-age materials – the piece reaches much further back through geological time and space. As a giant iron-coated hunk of fiberglass constantly sprayed with acidic water, the piece has been corroding since its debut at the Oceanside Museum of Art this past winter. compactspace will be Ruin’s second home, gratefully accepting the rusty run-off from this monumental work of fantastically post-monumental sentiment.
Twomey offers up a different concoction of information based signifiers in Human Factors in Computing Systems: Studies and Saccade. The latter, driven with gaze-data from an eye tracking system, will greet its audience at the gallery entrance, offering an experience that re-stages the particular movements and fixations of a viewer’s eye as she considers a series of photos, re-contextualizing (and thus deconstructing) the act of looking at art. For Human Factors, the artist has hand-drawn images culled from photographs taken at the dawn of the computing age –smiling suit-clad technicians negotiate an arena of wires and buttons and big machines, revealing their industry’s initial stages of self-representation and identity formation. Though aesthetically removed, these two pieces mediate overlapping aspects of computer vision, human perception and historical gaze.
Please join our reception for the artists during Art Walk on February 11th from 6 to 9 pm. and the world is ours will be on view at compactspace through the end of March 2010.
- -glenna jennings