NEWS
LAEMMLE THEATRE | EXTERIOR BLADE SIGN | GLENDALE, CALIFORNIA
The monumental blade sign for Laemmle Theatres was completed and installed in Glendale, California. This dimensional architectural feature was designed to float on the corner of a new mixed use development that includes retail, residential, and a movie theatre.
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NOOR DOCUMENTARY FOUNDATION, USA | WEBSITE AND BRANDING DEVELOPMENT
JOAN LOS ANGELES | MORE LIGHT | GROUP EXHIBITION
"Part I
It is one of the commonest of mistakes to consider that the limit of our power of perception is also the limit of all there is to perceive. –C.W. Leadbeater
Sometimes he saw his real face / And sometimes a stranger at his place / Even the greatest stars find their face in the looking glass. –”The Hall of Mirrors,” Kraftwerk
The darkest place is underneath the lamp. -Chinese proverb"
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ZILLI AT BATTAGLIA | BEVERLY HILLS
Designed, fabricated, and installed a halo lit channel letter sign for Zilli at Bataglia on Rodeo Drive in Frank Lloyd Wright's historic Anderson Court Shops Building (1952) in Beverly Hills, CA
VANS-THE GENERAL | WALL WORKS | BROOKLYN, NY.
Two permanent interior wall paintings, Stage 5, Gesso and Nova color, 156 X 78 inches, Vans - The General, Brooklyn, NY
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BRIDGE TIME | ESSAY
"These days no one has time to wait. Spare seconds, minutes, let alone half-hours and 45-minute sessions have become increasingly expensive in our high-speed, high-resolution, pay-per-download Wi-Fi culture. Everything must be NOW or it risks being at all. At least this is the ideology ushered in through e-commerce, mass media, and corporate capital.
But bridge time does exist. This is the in-between time that stitches together those almost imperceptible instants and forgotten thresholds of passing, segues, and crossovers. In the human world, bridge time is walking across the office, crossing the street, or waiting for someone to answer your call. In the world of computing, bridge time involves downloading, processing, saving, storing, encoding and decoding, transmission, and mass dissemination. In fact, there is a significantly grotesque amount of bridge time in the world of “high-speed” computation. Hi-tech industry may not want us to take much notice of the ubiquity of these in-between states, but they are there, and they are also the key to developing a richer understanding of ourselves and the culture we live in."
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ASPEN ART MUSEUM | ART CRUSH BENEFIT
Learn to forget, Urethane paint on stainless steel in artist frame 28 X 36 inches, 2016
Support the Aspen Art Museum, Aspen, CO
Held annually every summer, ArtCrush is the major fundraising event benefiting the Aspen Art Museum and Aspen’s premier summer gala.
Aspen Art Museum Website →
HART AND TOTH CABINET CO. | WEST HOLLYWOOD, CALIFORNIA
JOAN LOS ANGELES | BENEFIT
Issac (Yishaq), Acrylic paint and gesso pn cotton, 22 X 15 inches, 2017
Support JOAN LOS ANGELES
JOAN is a Los Angeles-based nonprofit space for exhibitions, performances, and screenings with a focus on emerging and under-recognized artists. Proceeds from this auction will directly fund programming at JOAN.
JOAN Website →
NADA | BASKETBALL COURT | NYC
New Art Dealers Association is teaming up for a 3-on-3 Street ball Tournament at NADA New York 2016. The court, designed by Michael Genovese, will be open for pick-up basketball culminating in men’s and women’s tournaments.
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ARTREVIEW MAGAZINE | REVIEW
"When the Dallas Museum of Art installs its Piet Mondrian collection, the result is illuminating. The museum has enough work, made over a long enough period of time, to allow one into the artist’s head, to see his particular form of pictorial reduction. In the world of popular Mondrian (in which his work is found on coffee cups, cupcakes and Yves Saint Laurent dresses), it is easy to forget the moody plein-air roots of the artist’s blocks of color and black lines. Mondrian painted liminal moments, when the fading sun threw dark shadows and stark contrasts across a row of trees. Analysing moments of transition or in-between spaces was how Mondrian attempted to show the structure of vision."
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THE MONOCLE ARTS REVIEW | EPISODE 215
"There is a real physicality to it. It feels like it’s an object, it doesn’t feel digital, it doesn’t feel like something clinical in that sense or digitized. You really feel like someone has painted it, which I think is quite important and interesting. Personally, I am really fascinated about our relationship to screens, which I think is very different from our relationship to say television or movies, that kind of cinematic heritage. I think now we have a much more intimate relationship to the screen object/the phone, we touch it in our pocket, it becomes a more extension of ourselves in a way."