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Art & Cake LA: Review of Marvel

April 8, 2017 - Amy Kaeser

Now through May 6th Kendell Carter’s solo show, Marvel is at Edward Cella Art & Architecture on La Cienega Boulevard, Los Angeles. An innovative set of site-specific installations, or “environments” as Carter prefers to call them; Marvel attempts to present meditations on race, gender, material culture, and shared history. As an artists who’s practice has continually transected the divide between art and life, Carter’s latest show casts its net far and wide to critique contemporary issues and policies: the police shootings of Keith Lamont Scott and North Carolina’s abject neglect of its LBGTQ communities, to representations of the South’s notorious “Jim Crow” laws of the 1950s. Carter’s willingness to confront and renegotiate the meaning of objects and attitudes of our highly charged socio-political moment is indicative of an artistic practice that is aware of the impact of visual culture.

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Artforum: Alex Schweder's ReActor

April 5, 2017 - Cynthia Davidson

The rituals of domesticity have long been a focus for cutting-edge practices in both art and architecture. Examples abound: Architects Elizabeth Diller and Ricardo Scofidio slyly subverted the politics of gender and labor underpinning household chores in their Bad Pres: Housework Series, 1993-98, which included a set of men's dress shirts pressed into bizarre shapes according to "Instructions for a Dissident Ironing"; artists Arakawa and Madeline Gins literally recalibrated the topography of the domestic landscape in their 2008 Bioscleave House (Lifespan Extending Villa), which sought nothing less than to challenge humankind's acceptance of its own mortality. Over the past ten years, the artists Alex Schweder and Ward Shelley have made a significant contribution to this ongoing and  cross-disciplinary inquiry, teaming up to test the relationships between architecture and domestic inhabitation in four performance projects, the most recent of which is ReActor, 2016, a boxcar-like-structure balanced on a single column and set on a hilltop at the Omi International Arts Center in Ghent, New York. 

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St. Louis Magazine: Kendell Carter

April 1, 2017 - Chelsie Hollis

"Transparency Shade: Seeing Through the Shadow," examines postcolonial identity at projects+gallery

Next week, St. Louis will have the chance to view new work from contemporary artists hailing from Antwerp, England, California, Johannesburg, Frankfurt, New York—and St. Louis. Curated by Senegal-born, Portland-based multi-disciplinary artist Modou Dieng, Transparency Shade: Seeing Through the Shadow is a group exhibition of 2- and 3-D artworks opening at projects+gallery in the Central West End on April 7. The show will feature work by Philip Aguirre y Otegui, Zoe Buckman, Kendell Carter, Ayana Jackson, Michael Riedel, and Hank Willis Thomas. St. Louis is represented by Kahlil Irving, who is currently best-known for his sculptural vessels, but who produces work in multiple mediums, including printmaking. Transparency Shade's theme is the complex system of signs and symbols that arise around race, gender, and self-concept, and how they continue to develop in new trans-cultural and hybrid forms. The artists are working in wide spectrum of media, including photography, printmaking, sculpture, and ceramics; pop culture is an inspiration for several of them, and many tend to mix, match, and hybridize forms. "We have about 25 pieces in this show—and of course few of them comprised of multiple objects in an installation form," Dieng says.

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Visual Art Source: Patti Oleon

March 31, 2017 - John Zotos

Patti Oleon’s newest series of paintings are grouped under the title “Neither Here Nor There.” They represent the fruits of a 2013 Guggenheim fellowship that allowed Oleon to travel Europe for source material. In her visits to Budapest, Prague, Venice, Berlin and Istanbul, she photographed the interiors of restaurants, hotel lobbies, museums, palaces and theaters, chosen for their historical significance. These public spaces were often teeming with people, something you would never know looking at the final product, wherein Oleon edits the images, concentrating on the physical surroundings.  Her interest lies in the manipulation of pictorial space through the reorganization, layering and mirroring of interior and architectural design elements. Her particular talent lies in creating mysterious virtual worlds filled with compelling reflections of light, sometimes in deep focus.

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Artscope Magazine: Guerrero at Eastern Connecticut University

March 31, 2017 - Kristin Nord

 Guerrero and Wright: Architecture Stories: Photographs by Pedro E. Guerrero at The Art Gallery at Eastern Connecticut State University

Willimantic, CT  – The year was 1939 — when the then 22-year-old Pedro E. Guerrero, his portfolio in hand, arrived at Taliesin West in Scottsdale in search of a job. Frank Lloyd Wright, in the midst of building the campus, needed someone to document the process. Despite the paltry pay and lack of job security, Guerrero signed on.

Wright had made an uncanny choice in hiring the young man who’d just narrowly escaped the segregated schools and pervasive prejudice of Mesa, Ariz. Guerrero’s intelligence and quick wit would stand him in good staid with the boss, and his remarkable portraits of Wright suggest the ease with which the two took to each other’s company. There was no question but that Guerrero would play a significant role in reinvigorating Wright’s career; his iconic photographs continue to exert a force.

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Pedro E. Guerrero

February 3, 2017 - Scarlet Cheng

(Edward Cella Art & Architecture, Culver City) Pedro E. Guerrero was a photographer who is now being rediscovered, especially after the documentary "Pedro E. Guerrero: A Photographer's Journey" was aired on PBS a couple years ago. In 1939 when he was 22, he found his life's calling when hired by Frank Lloyd Wright to shoot the construction of Taliesin West. Wright so liked the results that he invited the young man to join his Fellowship, and Guerrero documented the architect's work for the next two decades. 

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Article: Albertini 2014

December 28, 2016 - Rosanna Albertini

So what does good art do in 2016 that is different from the time of the Renaissance. Satan took his revenge then more than now, killing the artists, and everybody else, at a very young age. If you take it cum grano salis, simply following your good sense, you might say ‘a lot,’ and yet there is no change in the dreamlike essence of art. Think of Piero della Francesca painted eyes looking into eternity, almost extracting their bodies from earthly, painful struggles for survival. Good artists know perfectly that names and images and facts are masks of inner uncertainties, like stickers we peel from the refrigerator. We still don’t remember what’s inside.The point is our presence in the landscape: and Jeffrey Vallance is the wizard artist showing our uncomfortable loss of power once our ordinary self confidence goes to hell. Satan’s most subtle intrusion. What happens then? There is no more separation between our animal self and the tentacular temptations of a rationalized landscape reducing to dead meat our hopes and desires.

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Celebrating a Rugged Vision of Landscape Architecture

December 23, 2016 - Alexandra Lange

A waterfall flows in downtown Portland, Ore., ribbons and rivulets of water cascading over slabs of rough, reddish concrete into pools filled with wading children in the summer. Down a tree-lined path, great planted hills pop from the sidewalk. A stepped basin opens up between buildings, looking like a natural spring bursting through the pavement.These bold environments, strung across an eight-block section in the city center, were designed by the modernist landscape architect Lawrence Halprin and his firm between 1965 and 1970, and listed on the National Register of Historic Places in 2013. They are celebrated, along with more than two dozen other parks, pools, and gardens, in "The Landscape Architecture of Lawrence Halprin” an exhibition in Washington commemorating Mr. Halprin’s centennial that runs through April 16.

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Datebook: Los Angeles Times

December 1, 2016 - Carolina A. Miranda

An artist known for drawing from a wide array of media that brings together both painting and performance, Vallance's latest exhibition takes on the election, among other subjects, in collages that feature political placards along with the artist's expressive drawings. These are visceral assemblages that wryly comment on the nature of beauraucracy, corruption, politics, and society-- in ways that are way more fun than CNN. 

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Review: Huffington Post

November 23, 2016 - Juri Koll

I was out gallery-hopping along La Cienega Blvd. one sunny day just before the election, and walked into Edward Cella's gallery. It was the end of the previous show. There were drawings leaning against the wall in the reception area that I recognized as Jeffrey Vallance's work, and inquired about one of the smaller ones (which later sold at the opening unfortunately). The Registrar, Sarah, and her gallery-mate John, were very open, enthusiastic about the show coming up. Later Mr. Cella came out and greeted me warmly - we had just met. To (perhaps) repeat an abused term, I immediately realized the uniquely casual atmosphere in the gallery reflected the artist’s ‘temperament’. Jeffrey’s work has always intrigued me because of the wide variety of media used, his relationship to his personal experiences, how he finds himself in unusual situations, to be absorbed, utilized, responded to. After a brief how-do-you-do at the opening I left him to his own devices, as he is engaging and conversational, anything but aloof to the attention paid to him in public. 

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