As some of you may know, RAID Projects final show was the Superpositions show that closed Sunday. This site will remain as an archive of the activities of RAID version 3.0 (directed by Jason Ramos, Carrie McIlwain, Molly Shea and James Marshall 2010-2014) and version 2.0 (Dave DeBoer and Ryan Callis 2009-2010) and version 1.0 (Max Presneill, 1998-2008). Stay tuned to Facebook for more events and happenings at 602 Moulton Ave between now and September, when the space officially becomes…..
Annelie McKenzie, Lauralee Pope, and Emily Silver
Opening reception Saturday, January 25th, 7-10 pm
Sat, Feb 1, 1-4p
Sun, Feb 2, 1-4p
Mon, Feb 3, 11a-3p
Fri, Feb 7, 11a-3p
Sat, Feb 8, 1-4p
Sun, Feb 9, 1-4p
Sun, Feb 16:
Closing Reception & Artist Walk-Through
On first glance, the discreet works of McKenzie, Pope, and Silver appear to engage with some common assumptions about paintings and objects in ways that have gained recent traction within the current art dialog. Brought together, this interpretation is revealed to be but one possible configuration of each of their efforts. The entangled wavelengths of McKenzie’s lush “cover songs”, Pope’s assertions of painterly object-ness, and Silver’s glittery vanitas exist simultaneously to assert grander conceptual sums.
SHAGHA ARIANNIA & MEITAL YANIV of PROJECT FLOWER
ALMA LOVE with GALA PORRAS-KIM
KIM YE & VERONIQUE D’ENTREMONT
curated by MICHELLE CARLA HANDEL
7:00 – JAY ERKER: FREE CHILDCARE PROVIDED**
9:00 – MARISA WILLIAMSON**FREE CHILDCARE PROVIDED is a child-focused, participatory experimental action by JAY ERKER. All children welcome to participate. Action will take place during entirety of opening reception (7:00 to 10:00) allowing parents to do as they please. (Jay Erker is Heartsaver CPR and First Aid Certified.)
A performance installation by
Joe Biel and Nathan Bockelman
JUBILEE (second iteration)
A performance installation by
Joe Biel and Nathan Bockelman
Jubilee (second iteration) is an installation/performance work. The piece involves a performer enacting a series of determined actions with a series of determined objects, but the sequence and duration of actions is largely chance determined. The work is an amalgamation of strategies and has affinities to the actions of Bruce Nauman, the chance works of John Cage, and the absurdist theater of Samuel Beckett. Direct narrative is avoided in favor of a more allegorical approach, where the gallery/studio and subsequent actions within it, may suggest a wide range of possible meanings and associations. The nature of Jubilee is essentially modular and is designed so that it could be realized in a variety of future spaces and contexts.
7 PM Saturday June 29, 2013
Opening reception April 13th, 7-10 pm
On view by appointment until May 18th
Closing reception and performance May 18th
Daisy Chains is a site relative installation of connective fibers and skins where new parameters are constructed within the gallery space. Eberly creates an environment where everything touches, tugs and stretches another thing. Nothing is discrete. Nothing stands alone. Adorning rigid supports and bulbous forms with cast off knits, the elastic fabrics cover, transform, stretch, needle and shoot off every structure on which they come in contact. The space is held tight, blurred and split apart by warped divisions that unify the space into a zone of phenomenal contemplation. Not content to ascribe to any extant philosophical prescription, Eberly attempts to make a walk in sculpture that places the viewer in a tactile site meant for visual exploration. For Eberly, the process of making art is mechanical, intuitive and vampiric. Each attachment, weave and juxtaposition relies on the previous; thereby diminishing the possibility of finding starting and end points. Eberly melds a space where materials are transformed for the amelioration of the whole program—not for the individual object.
Born in July 1970 in Lancaster, Pennsylvania, Clifford Eberly’s formative years were spent in public school. Art and soccer were essential, youthful pursuits. After receiving his B.F.A. in Fibers from the Savannah College of Art and Design in 1992, Eberly apprenticed at the Fabric Workshop in Philadelphia prior to spending a pivotal, creative summer in Provincetown, M.A. Living in New York from 1995-2001, Eberly maintained an art practice and enrolled at Empire State College’s Studio in the City program. Fast forward to 2006, Eberly opened Parlor Gallery in Lancaster, PA where he partnered with emerging and under-represented regional and national artists to exhibit shows in an intimate residential space. In 2010, Eberly relocated to California and matriculated at the Claremont Graduate University. After receiving his M.F.A. in 2012, Eberly moved to Los Angeles where he currently lives and works. Daisy Chains is Eberly’s first solo exhibition in Los Angeles.
Opening reception: Saturday, February 16th, 7-10 pm
Nathan Danilowicz’s practice inquires at the intersection of art and mysticism. It is an exploration of high and low culture, the occult, and alternate realities– how mortality compliments growth and is made tactile in works that pull references from minimalism, sci-fi shamanism, and ritual. Combining highly crafted geometry with raw gestural accentuation, Danilowicz creates works that are an alchemical marriage of intuitive exploration and honed precision. Insistently contemporary, Danilowicz’s work nevertheless recalls the geometric abstraction of late modernism, and reflects the fractured psychologies that have arisen in the midst of our dystopian techno-isolation.
The core of Danilowicz’s practice begins with small ink drawings that he refers to as Quaternities. For Danilowicz, these daily drawings act like mandalas. In this instance, the act of creation is a means to harness both mental acuity and release. To date, Danilowicz has completed over 1300 of these geometric drawings. It is from these essential works that all of his additional artworks, whether they be paintings, sculpture, or of another medium, stem.
Shadowkings is an exploration of the (hidden) power influences that co-mingle throughout society. Using Chaos Magick as a central interest, Danilowicz enacts his will onto the world through painting and sculpture. Like the many intersecting lines that adorn Danilowicz’s work, the numerous exchanges between artist and viewer make palpable the specter of eternity in all its abstraction. Using found materials, such as wood, plastic, and metal, Danilowicz’s sculptures reference urban decay and renewal. They strike an uneasy equilibrium as they are at odds with their own being, at once in a state of becoming and unbecoming.
In Danilowicz’s work, the cosmetic cover of reality is bled to the surface with no resolution offered. It is in these types of psychic places and embodied movements that the artist calls to attention the modes of perception, and the liminal space between unknowing and understanding.
NATHAN DANILOWICZ (b. 1980 Pennsylvania, USA) received his MFA from the University of California, Los Angeles in 2007, and a BFA from the Maryland Institute, College of Art in 2002. A MacDowell Colony Fellow (2009), he has exhibited nationally and internationally. Solo exhibitions include Latned Atsär in Los Angeles (2011), Crisp London/Los Angeles (2008 and 2009/2010) and the H. Lewis Gallery in Baltimore (2004). His numerous group exhibitions include shows the Hammer Museum, Torrance Art Museum, Cal State University’s Luckman Gallery, Los Angeles Contemporary Exhibitions, The Santa Monica Museum of Art, Cirrus Gallery, Telic Arts Exchange, Raid Projects, Eighth Veil, 533 Gallery, Parendo Blanco, S1F Gallery, Bonelli Contemporary, Wonderloch Kellerland, Art Platform, and Art LA Contemporary in Los Angeles; Locust Projects and TwentyTwenty Projects in Miami; Hilary Crisp, OK By Gallery, and the Zoo Art Fair in London; EYEHEART, Local Projects, and The Hose in New York; Lust Gallery in Vienna; Galerie Françoise E.S.F in Baltimore; The Green Gallery East in Milwaukee; Queen’s Nails Annex at the Waypoint in Marfa, TX; and The Luggage Store gallery in San Francisco. He has written for artUS magazine, and his work has appeared in The New York Times, TimeOut London, Miami New Times, The Baltimore Sun, Baltimore’s City Paper, DIAGRAM, Penny Ante, PRISM Index, and Beautiful Decay.
While at UCLA, Danilowicz studied New Genres under Chris Burden, Jennifer Bolande, Andrea Fraser, Donn Suggs, Lari Pittman, Charles Ray, Mary Kelly, Roger Herman, Jeffrey Vallance, and John Baldessari. While at the Maryland Institute, College of Art, he studied art history and theory under T.J. Demos as well as poetry under John Yau. He has worked as a studio assistant for Jason Rhoades and later for Mike Kelley. More recently, he has collaborated on text/image projects with writer and theorist Lawrence Rickels as well as fiction writer and translator Brian Evenson.
Finished in L.A. features a variety of perspectives dealing with the apocalypse in Los Angeles. Showcasing paintings, drawings, sculptures, video and performance art; this is a swan song for our existence.
In addition to being the end of the world, it is also the end of the Countdown Series at Dutch Door. After 9 weeks in a row of performance art every Sunday with 10 different artists and a bevy of approaches, this was an experiment about community, coping and consistency.
Objects from the series, as well as video and additional works about our demise will be presented at RAID Projects.
There will be a screening of some of the performances from the series in the Dutch Door space.
Come celebrate our imminent doom with us. Wear something jazzy; it might be the last thing you wear.
Opening starts at 7:00pm 12-21-12.
Dance Party: 11:00pm
Ends: When We Do.
The Countdown Artists:
David Lucas Bell
Molly Jo Shea
Additional Work By:
Curated by Molly Jo Shea
Saturday, November 10th, 2012
RAID Projects is proud to present a solo exhibition of work by Hiromi Takizawa – Birds i view: traveling LIGHTly, including the work Sundown Spectacles and more.
Saturday, October 13th, 7-10 pm
Sundown Spectacles reflects on the seascape and harbors of the Pacific Ocean in Southern California. I work to capture and transform this everyday scenery into an imaginary landscape experimenting with optical illusion.
I have always been fascinated by the visual phenomenon that occurs when light is transmitted, reflected and refracted on, in and through glass materials. Integrating these optical phenomena into personal narratives shift perception that only the quality of glass itself can generate, transforming emotions into concrete material.
With my personal narrative I attempt to reflect on our contemporary society and a culture where we manage complex feelings and the conflicting emotions of our everyday lives.