Archive for 2011

KIMBERLY BROOKS: MOCA Contemporaries Art Panel

Wednesday, May 4th, 2011

Taylor De Cordoba Kimberly Brooks

The Museum of Contemporary Art invites you to

The Fashionable Body: An Art and Fashion Dialogue
Tuesday, May 3, 2011
Refreshments: 6:30pm Panel: 7–9pm
Ray Kurtzman Theater at Creative Artists Agency (CAA)
2000 Avenue of the Stars, Los Angeles, 90067

Join the MOCA Contemporaries for a discussion about art and fashion with celebrity stylist and Academy Award-nominated costume designer Arianne Phillips, fashion designer Michael Schmidt, and painter Kimberly Brooks, moderated by fashion and culture writer, curator, consultant, and the former West Coast bureau chief of Women’s Wear Daily, Rose Apodaca. The panelists will discuss the convergence of couture and pop culture as it relates to performance and visual art.

KYLE FIELD: Sugar Mountain

Saturday, April 30th, 2011

Artwork by Kyle Field included in The Sugar Mountain Festival in Melbourne. April 30, 2011.

Gallery Artists: Incognito 2011

Tuesday, April 26th, 2011

The gallery is please to announce that Chris Natrop and Kimberly Brooks are participating in Incognito 2011 at the Santa Monica Museum of Art.

INCOGNITO
Saturday, April 30, 2011, 7 – 10 pm
Doors open at 7 pm sharp

Santa Monica Museum of Art’s highly anticipated annual art exhibition and benefit, INCOGNITO, will return for its seventh year on Saturday, April 30. INCOGNITO features original works by 500 contemporary artists. (For the list of participating artists, please scroll down.) From sophisticated art patrons to first-time collectors – all guests are encouraged to trust their instincts to guide their selections. Each 8″ x 10″ work is signed on the back and artist identities are revealed only after purchase. Hundreds of artworks are available for only $300 each.

FROHAWK TWO FEATHERS: Art in America

Saturday, March 12th, 2011

Soul Searching in the U.S.A. by Michael Duncan. March 2011.

FROHAWK TWO FEATHERS: Crocodile Company, Part I. La Guerre Des Machettes Danseuses (The War of The Dancing Machetes)

Monday, March 7th, 2011

FROHAWK TWO FEATHERS: Crocodile Company, Part I.  La Guerre Des Machettes Danseuses (The War of The Dancing Machetes)

February 19 through March 26, 2011

Taylor De Cordoba is pleased to present Crocodile Company, Part I.  La Guerre Des Machettes Danseuses (The War of The Dancing Machetes), a new series of mixed media paintings and drawings by Los Angeles-based artist Frohawk Two Feathers. The exhibition will run from February 19 through March 26, 2011, with an opening reception for the artist on Saturday February 19 from 6-8pm. This is his third solo show with the gallery.

Frohawk Two Feathers continues to demonstrate his skill as a master storyteller, spinning tales of colonialism, imperialism and conquest with his wholly unique iconography. Blending his obsession with the history of conflict and pop culture influences from video games, films and TV shows, the artist tells a wartime narrative starring an imagined cast of fascinating characters. Using two classic traditions of both painting and map making, Two Feathers communicates a tragic, yet often humorous story that, through a slight of hand and bristle of the brush retell and reshape historical roles of race, class, and gender. Originally trained in photography, the artist uses elaborately staged photographs of friends and family as the source material for the final portraits on view.

As with his previous bodies of work, each series functions as a chapter in a never-ending tome. Set in 1789 in the Caribbean, “The War of the Dancing Machetes” is a story of assassination, slavery and the fight for power. Deadly clashes between the black ruling class and “The Crocodile Company” (the newly propertied “mulatto” soldiers), drive this story. While these themes of unrest are familiar in art history, Two Feathers approaches his subjects with a keen eye, creating a unique and memorable visual language. And as a viewer immersed in his storytelling, one cannot help but question whether the specifics come from the artist’s mind or straight from the history books. The artist loosely based this series on the actual “War of Knives” that was fought as a precursor to Haitian independence.

FROHAWK TWO FEATHERS: LA Weekly

Thursday, February 17th, 2011

Frohawk Two Feathers: Some Enchanted Faux-Naive, by Shana Nys Dambort, February 17, 2011.

FROHAWK TWO FEATHERS: New American Paintings

Wednesday, February 16th, 2011

Known for his master narratives, vivid re-imaginings of imperial history, and playful revival of colonial portraiture, Los Angeles-based artist Frohawk Two-Feathers directly references a legacy of historical art while troubling it with the modern. His upcoming solo show at Taylor De Cordoba, opening this Friday, is no different.

EC: You’ve been telling the history of the Frenglish Empire, a fictitious blending of 18th century imperial England and France, for some time now and this show focuses on your reinterpretation of the Haitian War of Knives… How has your work changed since your last L.A. show?
FTF: Instead of the whole Haitian Revolution, I’m focusing on parts, like a wide-angle and zoom lens at the same time. I’m peeling back the layers so my audience can see more of the characters. I have more of a handle on how I want to present the image and I’m getting more comfortable with compositions. It’s a perpetual learning process trying to narrow things down to get to the more intimate history that I’m recreating.

EC: I know a lot of people focus on the narratives behind each character and portrait, but I continue to be intrigued by the framing devices you use. I noticed that you shifted from the smaller, elliptical frame to a much larger frame with a rounded top and angular bottom.  What made you switch to this new shape?

FTF: The new shape has multiple meanings. I like the shape first and foremost. The frame I use to make the outline came from a mirror, so it’s like people are looking at themselves when they look at my portraits. The shape also references a gravestone because everyone in the series eventually dies. Additionally, it references an Egyptian cartouche pattern, which is fitting since Egypt factors into the symbology and secret orders I reference, including the Company Crocodile……

Reframing History: In the Studio with Frohawk Two Feathers, by Ellen C. Caldwell, February 16, 2011.

SASHA BEZZUBOV: Wildfire

Saturday, February 12th, 2011

Sasha Bezzubov: Wildfire,

January 8 – February 12, 2011

Taylor De Cordoba is pleased to present Wildfire, the galleryʼs third exhibition by Brooklyn-based photographer Sasha Bezzubov. The exhibition will run from January 8th through February 12th, 2011. The gallery will host an opening reception for the artist on Saturday January 8th from 6pm-8pm.

This exhibition consists of nine large-format color photographs that document the aftermath of wildfires in California between 2003 to 2007, including those at Running Springs, San Diego County and Cedar Glen. Bezzubov creates powerful images of mundane places that have been instantly transformed through the violent power of a natural force, into dreamscapes of apocalyptic proportions. The artist shows us the moments just after disaster strikes: a bare hillside with one precariously perched charred car; a spiral staircase jutting into the landscape surrounded by rubble of the home that once encased it; and eerily empty forests scattered with seemingly never ending rows of blackened trees. While these images evoke a post-apocalyptic sense of dread, there is something jarring in their quiet beauty.

With the photographsʼ muted, dusty palette and empty spaces, viewers often recall images of the “wild west” and the desert landscape of pre-development California. Russian born Sasha Bezzubov writes in his project statement that Wildfire “pays tribute to those earlier photographs, but also brings them and the landscape they helped to fashion into question.”Here, the artist presents a view that could be taken from a past period in history, just as easily as it could exist in a dystopic future. Yet, there is something undeniably calm about these images that are nearly devoid of any evidence of man and industrialization. Standing before these epic works, one canʼt help but reflect on how little control we actually possess when confronted with the unstoppable forces of nature.
Sasha Bezzubov is the recipient of numerous awards and grants for his photographic works, including two Fulbright Scholarship Awards for his work in Vietnam and India. He earned his MFA from Yale University in 1997. His work is in the collection of the Metropolitan Museum of Art, New York, and has appeared in The New York Times, Esquire Magazine, Newsweek, Details Magazine, The Village Voice and Blind Spot.

TIMOTHY HULL: From The Desk Of…

Thursday, February 10th, 2011



From The Desk of…Timothy Hull, February 10, 2011.

SASHA BEZZUBOV: The Huffington Post

Thursday, February 10th, 2011

Haiku Review, by Peter Frank, February 10, 2011.