Intersect Palm Springs
February 9 - 12, 2023
Booth 310
Louis Stern Fine Arts will be participating in this year's Intersect art fair at the Palm Springs Convention Center.
Artists:
Karl Benjamin
Kymber Holt
Heather Hutchison
Mark Leonard
Helen Lundeberg
Khang Nguyen
Anita Payró
Mary Anna Pomonis
February 9 - 12, 2023
Booth 310
Louis Stern Fine Arts will be participating in this year's Intersect art fair at the Palm Springs Convention Center.
Artists:
Karl Benjamin
Kymber Holt
Heather Hutchison
Mark Leonard
Helen Lundeberg
Khang Nguyen
Anita Payró
Mary Anna Pomonis
Transcendent at Louis Stern Fine Arts
Curated by Michael Duncan
Opening: Dec. 10, 4-7 pm
December 10, 2022 - January 28, 2023
Artists:
Eric Beltz
Sharon Ellis
Nancy Evans
Kymber Holt
Laura Lasworth
Stephen Mueller
Lee Mullican
Khang Nguyen
Mary Anna Pomonis
Frederick Wight
Tom Wudl
“Stemming from the achievements of Kandinsky, Malevich, Mondrian, and Hilma af Klint, ensuing generations of artists have desired to create spiritually illuminating abstract art. The Transcendental Painting Group of the 1930s (TPG) - surveyed in the traveling exhibition Another World: The Transcendental Painting Group (opening at the Los Angeles County Museum of Art on December 18) - was dedicated to the creation and promotion of art that carried painting beyond the appearance of the physical world, utilizing the rich symbolic connotations of geometry and form.
The artists of this exhibition continue that pursuit in various ways. In 1960 TPG founder Raymond Jonson selected works by Frederick Wight for a solo exhibition at the University of New Mexico. After Wight’s 1973 retirement as Director of the University Art Gallery at UCLA, he devoted himself full time to painting, creating a large body of hallucinatory landscapes and luminous seascapes. New York painter Stephen Mueller’s richly hued lyrical abstractions were inspired by Tantric sources, German Romanticism, Islamic art and Eastern philosophies. Enhanced by shimmering desert light, Lee Mullican’s abstractions reference Native American spirituality and artifacts. Now living near the former studio of TPG master Agnes Pelton, Sharon Ellis creates works that transfigure our perceptions of nature into cosmic realms. Nancy Evans’ poetic responses to nature result in metaphorically rich luminous abstractions. Khang Nguyen, Mary Anna Pomonis, and Eric Beltz explore the power of geometry to evoke contemplative thought and resonant emotions. Kymber Holt exposes the evocative connotations of macrocosmic and microcosmic vision. Finally, in a quiet vein, Tom Wudl and Laura Lasworth offer mandala-like paeans to the potential beauty and serenity of thought and nature.
In an art world steeped in cynicism, political rancor, and frenzied commerce, the works of Transcendent offer an alternative, transformative, and more hopeful vision of our place in the universe.”
- Michael Duncan
This show is in conjunction with the exhibit Another World: The Transcendental Painting Group at LACMA, curated by Michael Duncan
December 18, 2022 - June 19, 2023
Curated by Michael Duncan
Opening: Dec. 10, 4-7 pm
December 10, 2022 - January 28, 2023
Artists:
Eric Beltz
Sharon Ellis
Nancy Evans
Kymber Holt
Laura Lasworth
Stephen Mueller
Lee Mullican
Khang Nguyen
Mary Anna Pomonis
Frederick Wight
Tom Wudl
“Stemming from the achievements of Kandinsky, Malevich, Mondrian, and Hilma af Klint, ensuing generations of artists have desired to create spiritually illuminating abstract art. The Transcendental Painting Group of the 1930s (TPG) - surveyed in the traveling exhibition Another World: The Transcendental Painting Group (opening at the Los Angeles County Museum of Art on December 18) - was dedicated to the creation and promotion of art that carried painting beyond the appearance of the physical world, utilizing the rich symbolic connotations of geometry and form.
The artists of this exhibition continue that pursuit in various ways. In 1960 TPG founder Raymond Jonson selected works by Frederick Wight for a solo exhibition at the University of New Mexico. After Wight’s 1973 retirement as Director of the University Art Gallery at UCLA, he devoted himself full time to painting, creating a large body of hallucinatory landscapes and luminous seascapes. New York painter Stephen Mueller’s richly hued lyrical abstractions were inspired by Tantric sources, German Romanticism, Islamic art and Eastern philosophies. Enhanced by shimmering desert light, Lee Mullican’s abstractions reference Native American spirituality and artifacts. Now living near the former studio of TPG master Agnes Pelton, Sharon Ellis creates works that transfigure our perceptions of nature into cosmic realms. Nancy Evans’ poetic responses to nature result in metaphorically rich luminous abstractions. Khang Nguyen, Mary Anna Pomonis, and Eric Beltz explore the power of geometry to evoke contemplative thought and resonant emotions. Kymber Holt exposes the evocative connotations of macrocosmic and microcosmic vision. Finally, in a quiet vein, Tom Wudl and Laura Lasworth offer mandala-like paeans to the potential beauty and serenity of thought and nature.
In an art world steeped in cynicism, political rancor, and frenzied commerce, the works of Transcendent offer an alternative, transformative, and more hopeful vision of our place in the universe.”
- Michael Duncan
This show is in conjunction with the exhibit Another World: The Transcendental Painting Group at LACMA, curated by Michael Duncan
December 18, 2022 - June 19, 2023
Pithoprakta at the Cooper Design Space
Curated by Helen Chung
Opening: Oct. 1st, 4-7 pm
October 1 - December 23, 2022
Artists:
Tomory Dodge
Iva Gueorguieva
David Lloyd
Amy MacKay
Dave Muller
Joshua Nathanson
Khang Nguyen
"Pithoprakta is inspired by a composition by Iannis Xenakis. He composed it in 1955 for string orchestra (with two trombones, xylophone and wood block).
‘Pithoprakta’ means “action through probability’. Breaking down his scheme for 46 string instruments, Xenaxis drew an analogy between the string instruments moving independently (effectively instrumental solos) through their respective pitch ranges towards variable rhythmic and harmonic intersections and points of convergence, and gas molecules moving at varying speeds through shifting distributions with corresponding fluctuating temperatures.
The show is intended to appropriate the ground-breaking aspect of Xenakis’ compositional orchestral scheme in particular, not the mathematical source from which his composition was written. Each artist’s work resonates with different aspects of music— gestural, rhythmic and lyrical, rigorous diagram - like designs addressing tone, pitch and color, or even inspired by iconic printed images we associate with our favorite bands. The pieces in the show, each being very different from one another, ‘sound off’ against each other to create harmony (and tensions) as well as unexpected segues.
Another aspect of Xenakis' work that seems to connect with painting is the overall impact of the piece resulting in a static or immobile totalizing effect. The great complexity of the progression of movements by 46 distinct voices, moving independently with an idiosyncratic synchronicity and somehow arriving at stillness, as if approaching the sort of thermal equilibrium the composer anticipated, and yet, retaining their energies independent of one another; not unlike the complexities of movements these paintings had undergone before arriving at stillness."
Curated by Helen Chung
Opening: Oct. 1st, 4-7 pm
October 1 - December 23, 2022
Artists:
Tomory Dodge
Iva Gueorguieva
David Lloyd
Amy MacKay
Dave Muller
Joshua Nathanson
Khang Nguyen
"Pithoprakta is inspired by a composition by Iannis Xenakis. He composed it in 1955 for string orchestra (with two trombones, xylophone and wood block).
‘Pithoprakta’ means “action through probability’. Breaking down his scheme for 46 string instruments, Xenaxis drew an analogy between the string instruments moving independently (effectively instrumental solos) through their respective pitch ranges towards variable rhythmic and harmonic intersections and points of convergence, and gas molecules moving at varying speeds through shifting distributions with corresponding fluctuating temperatures.
The show is intended to appropriate the ground-breaking aspect of Xenakis’ compositional orchestral scheme in particular, not the mathematical source from which his composition was written. Each artist’s work resonates with different aspects of music— gestural, rhythmic and lyrical, rigorous diagram - like designs addressing tone, pitch and color, or even inspired by iconic printed images we associate with our favorite bands. The pieces in the show, each being very different from one another, ‘sound off’ against each other to create harmony (and tensions) as well as unexpected segues.
Another aspect of Xenakis' work that seems to connect with painting is the overall impact of the piece resulting in a static or immobile totalizing effect. The great complexity of the progression of movements by 46 distinct voices, moving independently with an idiosyncratic synchronicity and somehow arriving at stillness, as if approaching the sort of thermal equilibrium the composer anticipated, and yet, retaining their energies independent of one another; not unlike the complexities of movements these paintings had undergone before arriving at stillness."
Repetition of Difference at the Torrance Art Museum
Curated by Khang Nguyen
January 22 - March 12, 2022
Artists:
Asad Faulwell
Ibuki Kuramochi
Khang Nguyen
Alicia Piller
Brian Randolph
Lorenzo Hurtado Segovia
Linnea Spransy
Kayla Tange
This exhibition contends that the innermost nature of living and material organisms is not homogeneous but rather is constituted by differential relations to alterity, thus acting to undermine hierarchies based on oppressive notions of identity and uniformity.
In regard to the relationship of identity (homogeneity) and difference (heterogeneity) in past philosophies, the former is conceived of as primary and intrinsic, and the latter as secondary and an extrinsic relation between two self-identical entities.
The subversion of this traditional assumption gives rise to the notions of “intrinsic difference” and “differential repetition”. Identity persists, but is now a secondary principle derived from a prior relation between differentials. Difference is no longer simply an extrinsic contrast between entities but becomes a genetic principle that constitutes the sufficient condition of intrinsic heterogeneity.
The concept of “differential repetition” is conceived of as the repetition or production not of an original self-identical entity but of difference. To be more specific, this concept denotes an ongoing process by which the inner nature of concrete entities is developed and differentiated through complex relations with otherness. Everything that exists only becomes and never is as it differs from itself in each moment by virtue of relations to alterity.
Difference, then, is within entities and not merely between them.
Together these notions of “intrinsic difference” and “differential repetition” constitute the genetic principle that accounts for the experience of concrete individuals in the present.
Curated by Khang Nguyen
January 22 - March 12, 2022
Artists:
Asad Faulwell
Ibuki Kuramochi
Khang Nguyen
Alicia Piller
Brian Randolph
Lorenzo Hurtado Segovia
Linnea Spransy
Kayla Tange
This exhibition contends that the innermost nature of living and material organisms is not homogeneous but rather is constituted by differential relations to alterity, thus acting to undermine hierarchies based on oppressive notions of identity and uniformity.
In regard to the relationship of identity (homogeneity) and difference (heterogeneity) in past philosophies, the former is conceived of as primary and intrinsic, and the latter as secondary and an extrinsic relation between two self-identical entities.
The subversion of this traditional assumption gives rise to the notions of “intrinsic difference” and “differential repetition”. Identity persists, but is now a secondary principle derived from a prior relation between differentials. Difference is no longer simply an extrinsic contrast between entities but becomes a genetic principle that constitutes the sufficient condition of intrinsic heterogeneity.
The concept of “differential repetition” is conceived of as the repetition or production not of an original self-identical entity but of difference. To be more specific, this concept denotes an ongoing process by which the inner nature of concrete entities is developed and differentiated through complex relations with otherness. Everything that exists only becomes and never is as it differs from itself in each moment by virtue of relations to alterity.
Difference, then, is within entities and not merely between them.
Together these notions of “intrinsic difference” and “differential repetition” constitute the genetic principle that accounts for the experience of concrete individuals in the present.
