1. Mixed Greens is pleased to announce A Great Piece of Turf, their second solo exhibition with Pittsburgh-based artist Kim Beck. Beck takes her title from Albrecht Dürer’s 1503 watercolor by the same name (she substitutes “A” for “The”) and uses the word turf to refer to both lawn and territory.

    On view from April 24 – May 23, 2014

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  2. Mixed Greens is thrilled to announce Howard Fonda’s sixth solo exhibition with the gallery. In Everything and Nothing, he will exhibit a new series of largely autobiographical oil paintings and drawings. For Fonda, painting is a spiritual outpost, with the finished works existing as byproducts of instinct, thought, contemplation, and struggle.

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  3. A Film by Eric Minh Swenson.

    Ruth Pastine’s work is focused on the phenomenological investigation of color and its
    optical invocation of temperature, light, and spatial interplay. Her painting process
    explores the perceptual interaction of saturated and nuanced color relationships that
    explore the dialogue between object, presence, and phenomena.

    By utilizing a limited palette of specific complementary color systems Pastine is able to investigate infinite color experiences that transcend personal aesthetics. Working in oil on canvas, the countless small brushstrokes appear visually seamless. By carefully working these color systems through multiple layers she is able to push each painting beyond their own material substance and into a de-contextualized realm that speaks to the dialogue of materiality and immateriality, presence and absence, matter and light, surface and depth. Although the appearance of her brushwork remains indiscernible, the eye detects the presence of her hand in each work, informing the nuanced shifting of color and light, engaging the viewer in the present tense of discovery.

    In contrast to the continuum of the seamless surfaces of her earlier paintings, her new
    “Interplay” series uses the iconic structure of the canvas, predominantly the Suprematist Square, to reaffirm the internal architecture of the work. With the introduction of soft "edges" between hue, value and saturation separations, the parameters and margins present a subtle yet complex geometry. These parameters first appear structural, but paradoxically dissipate into pure atmospheric aura and light as the viewer attempts to focus on them.

    For more info on Eric Minh Swenson or project inquiries visit his website: thuvanarts.com
    ART FILM SERIES: thuvanarts.com/take1

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  4. Film by Eric Minh Swenson. On view at LACMA
    Robert Irwin as an artist, theoretician, and teacher, has over the last 50 years, played a pivotal role in the development of the unique tenants of Modern Art. Through his own personal Husserlian reduction, his work became the precursor for art outside the frame and object. This includes installation art, light and space art, art in public spaces, site specific art, and what he now terms, conditional art which draws the focus to the relationship and role of the sentient being vis-à-vis the cognitive self.

    Over the last 50 years Irwin has produced some extraordinary exhibitions and projects including: “Fractured Light – Partial Scrim – Eye Level” Museum of Modern Art, New York (1970-1971); “Black Line Room Division + Extended Forms” Whitney Museum, New York (1977); “48 Shadow Planes” Old Post Office, Washington DC (1983); “9 Spaces, 9 Trees” Seattle, Washington (1983); “Two Running Violet V Forms” Stuart Collection UCSD, California (1983); “Ascending” Musee d’ Art Moderne deVille Paris, France (1994); “Arts Enrichment Master Plan: Miami International Airport” Miami, Florida (1988); “Double Diamond” Musée d’Art Contemporain, Lyon, France (1997-1998); “1º 2º 3º 4º” Museum of Contemporary Art San Diego (1997); “Exercises” Dia Center for the Arts, New York, “The Central Garden” J Paul Getty, Los Angeles (1998); “Architecture and Grounds” Dia Beacon, New York (2003); and “Primaries and Secondaries” Museum of Contemporary Art San Diego (2007-2008).

    Irwin has received the Guggenheim Memorial Fellowship (1976), The MacArthur Fellowship (1984), and The Thomas Jefferson Medal for Architecture (2009). He also has been awarded a number of honorary professorships and doctorates. He is a Fellow of the American Academy of Arts and Letters. (courtesy of the Quint Gallery website)

    For more info on Eric Minh Swenson or project inquiries visit his website: thuvanarts.com
    ART FILM SERIES: thuvanarts.com/take1

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  5. Film by Eric Minh Swenson.

    Since the early 1980’s Lang has explored his Circles in concert with his Word Work, begun in the early 70’s. This exhibit is the first time the Words will be installed along with Lang’s Circles in a gallery. The Circles and the Words combine seemingly opposing elements: the rational and the emotional, the harmonic and the dissonant, and a high degree of controlled randomness.

    Lang is deeply devoted to the physical act of painting: that creative period when he focuses exclusively on the subtle interaction of brush, hand, paint and canvas. Lang states, “I ensure a free mind while applying paint to surface.” From a distance, all of his works appear to be precisely painted, almost machine-made, but up-close they are distinctly hand-made. In planning and executing the Circle Paintings, Lang first selects his palette, devising a chart to determine, or to use Lang’s word “navigate”, their sequence within the composition. “I do this preliminary work to eliminate the burden of mind while touching the surface with pigment.”

    Using these charts, simple mathematical models, and logic at the preparatory stage thus frees Lang to be “hyper-present” when painting. The process introduces a degree of chance and the unexpected into his works, which Lang relates to both musical compositions (especially the works and writings of John Cage) and the ambient sounds we hear everyday. When he was in his late teens, Lange began taping the random sounds he heard at home and while traveling. Seeking to depict in paint those indiscriminate passages of sound and silence, he invented numerous ways to introduce chance, lyricism, textures, and rhythms into his painting– a process that can extend over many months on a given work.

    Lang’s concepts relate most closely to marks and symbols that Paul Klee used in his paintings and drawings during the early 20th century, and the origins of trance works witnessed in the primal marks and geometry of Paleolithic sites in Europe and petroglyphs in California.

    The tradition of circle paintings is indelibly linked to the symbolism of the circle itself. As a sign of perfection, unity, wholeness, infinity, and cosmic order among many other associations, circle paintings date from pre-historic times. The circular composition or tondo became common in the fifteenth and early sixteenth centuries, when artists (particularly Botticelli and Raphael) utilized the shape to focus the viewer’s attention on center.

    “The Words help me unravel and process the horror and magic of people. The Circles have always been a vehicle for drawing the future my way while expanding the present... a kind of tow rope to eternity.”

    For more info on Eric Minh Swenson or project inquiries visit his website: thuvanarts.com. You can also visit the art film series page at thuvanarts.com/take1.

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