Guggenheim Gallery

Presents, Sniff the Space Flat on Your Face Monday, August 25, 2014 through Thursday, September 25, 2014.

With artist, Brian Bess, Cameron, Marc Chagall, Animal Charm, Salvador Dali, India Lawrence, Max Maslansky, Juliana Paciulli, Dani Tull, Jeffrey Vallance and Matt Wardell.

L.A. RAW surveys the continuing presence of dark expressionistic work in Southern California, providing a fresh local heritage for the figurative art of today. The exhibition fills in a gap in knowledge about post World War II art, tracking figurative art through postwar existentialism, the Beat movement, 1960s politics, and 1970s feminism and performance -- the forces that lead to the explosion of body-oriented art in the 1980s.

Buried Doll, 1955

Oil on board

Collection of the Cameron Parsons Foundation

Dark Angel, 1955

Gouache on board

Collection of the Cameron Parsons Foundation

Peyote Drawing, 1957

Ink on paper

Collection of the Cameron Parsons Foundation

The exhibition leads viewers on a dynamic tour from the emergence of an indigenous strain of modernism evident in the hard-edge paintings, assemblage sculpture, and large-scale ceramics of the 1950s, to the subsequent development of iconic Pop images of the city in the 1960s, and the conceptual and material contributions of Light and Space art and process painting that fostered the advanced art of the 1970s.

Billy Al Bengston, Justin Beal, Scott Benzel, Gil Blank, Jennifer Bornstein, Carol Bove, Cameron, Anne Collier, R. Crumb, Lucy Dodd, Sam Durant, Roe Ethridge, Amy Granat, Ed Kienholz, Margaret Kilgallen, Nate Lowman, John McCracken, Adam McEwen, Dave Muller, Aleksandra Mir, Catherine Opie, Raymond Pettibon, Richard Phillips, Amanda Ross-Ho, Sterling Ruby, Ed Ruscha, Reena Spaulings, Vincent Szarek, Guyton \ Walker and Christopher Williams.

‘Self-Consciousness’ at VeneKlasen Werner, Berlin, is a group exhibition exploring the history and evolution of the portrait. Curators Hiltons Als and Peter Doig selected pieces that represent the diversity and evolution of modern portraiture: artists come from several generations, use varying media, and range from established to outsider. ‘Self-Consciousness’ juxtaposes distinct artists and their work in such a way that questions the definable qualities of portraiture. Despite myriad styles and genres, many of the artists share a common exploration of themes of sexuality, race, and gender. Among the featured artists are Boscoe Holder, Giorgio de Chirico, Alice Neel, Glenn Ligon, and Chris Ofili.

The artists in this exhibition, some more explicitly than others, sought after or seek spiritual truths through art making and employ an almost fervent and reverent experimentation to their practice, one that is both ritualistic and against the grain. This mystic behavior is what defines the show; the persistence on new and unorthodox visual experimentation reaches beyond the worldly sphere to heightened states of consciousness.

This exhibition is made possible, in part, by the generous contributions of William Breeze, Ordo Templi Orientis, Richard Metzger, John Contreras, Scott Hobbs, David Brafman, William Swofford Cameron, Hetty Maclise, and The Estate of Alfred Jensen.

Through a large selection of paintings, sculptures, installations and videos, Traces du Sacré brings together some 350 major works including a number of pieces displayed for the first time in France by close to 200 internationally-renowned artists.

The asserted play of the multidisciplinary approach, around the Traces du Sacré, makes use of all of the Centre Pompidou's components – Videodance, the Cinemas, the spoken Reviews, Society Forums, Live Entertainment, the Ircam (Institute for Music/Acoustic Research and Coordination) and the Public Information Library – to provide films, videos, a show, concerts, a cycle of conferences and a literary colloquium with the exhibition.

Having meandered across the country on a five-city tour, “Semina Culture: Wallace Berman & His Circle,” which originated at the Santa Monica Museum of Contemporary Art in late 2005, found its final destination at NYU’s Grey Art Gallery this January.

This survey is the first solo gallery exhibition of artist, performer, poet, and occult practitioner, Cameron (Marjorie Cameron Parsons Kimmel). A maverick follower of the esoteric mysticism of Aleister Crowley and his philosophical group, the OTO (Ordo Templi Orientis), Cameron was also an accomplished painter and draftsman and mentor to younger artists and poets such as Wallace Berman, George Herms, and David Meltzer.

The exhibition Semina Culture revolves around Wallace Berman-artist, poet, and, above all else, catalyst for a group of mid-twentieth-century artists, performers, and poets commonly referred to as Beat. Between 1955 and 1964, among his other activities, Berman published nine issues of the unbound magazine Semina, which he printed on a hand press and distributed to friends through the mail.

Organized by the Santa Monica Museum of Art and co-curated by Duncan and McKenna, this is the first major museum examination of the significance of the charismatic Berman — his eclectic worldview and non-nine-to-five lifestyle, Rowe said. It includes the complete loose-leaf run of Semina — a hand-printed, free-form art and poetry journal that Berman published and personally distributed — and artworks by contributors to Semina, as well as by those who were part of the close-knit “Semina Culture” community, largely people from the West Coast.

The Nora Eccles Harrison Museum of Art on the Utah State University campus opens the new year with a new exhibition and opening reception. Semina Culture: Wallace Berman & His Circle can be been Jan. 10-March 15, with an opening reception Jan. 10. Guest curators for the exhibit are Michael Duncan and Kristine McKenna.

The exhibition Semina Culture revolves around Wallace Berman-artist, poet, and, above all else, catalyst for a group of mid-twentieth-century artists, performers, and poets commonly referred to as Beat. Between 1955 and 1964, among his other activities, Berman published nine issues of the unbound magazine Semina, which he printed on a hand press and distributed to friends through the mail.