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TERRA FIRMA: A Commentary on Land
Exhibition Dates: August 17, 2018 through October 14, 2018
Opening Reception: Friday, August 17, 2018 from 6:00 PM 9:00 PM
To discern an overall pattern from a mass of detail; to see the big picture, or the broader, more general situation. For more information, download the Terra Firma: A Commentary on Land Press Release (PDF).
Manhattan Beach Art Center (MBAC)
1560 Manhattan Beach Boulevard
Manhattan Beach, CA 90266
Wednesday through Saturday 10:00 AM to 6:00 PM
Sunday 10:00 AM to 5:00 PM
Monday, Tuesday, and Holidays Closed
Robert Glenn Ketchum
“Robert Glenn Ketchum: Color, Nature, and Beyond,” begins with a small selection of his traditional landscape work. These images are part of the No Pebble Mine/Save Bristol Bay campaign he worked on with many NGO’s, especially the Natural Resources Defense Council. The rest of the exhibit explores non-traditional imagery. The first of those will be the textiles created in the UCLA-China Exchange Program since 1985, including a loom-woven, 4-panel standing screen, and a 36”x 72” double-sided embroidery, hanging panel. The experimentation then expands to photographs evolved in the digital darkroom such as the 6-panel, 6ft. x 14ft., “Choose Joy” and the meditative configurations of the MANDALAC GARDENS series. Lastly, there will be several examples of fine silk scarves printed with images abstracted from nature by his fabric design company.
Robert Glenn Ketchum: Born, Los Angeles, December 1, 1947 lives in Manhattan Beach
BFA cum laude – Design/Photography, UCLA, 1970
MFA – Art/Photography, California Institute of the Arts, 1974
Honorary MS – Brooks Institute of Photography, 1995
By studying human discards archaeologists have reconstructed most of what we know about the past. It is through this kind of examination of flotsam that Nickel presents us with aspects of our present population's demographics and consumer habits. This artistic investigation into the phenomenon of beached rubbish can be subscribed by what has recently been defined as the “Anthropocene”. The term Anthropocene or Holocene Epoch begins when human activities started to have a significant global impact on earth's geology and ecosystems. The basic concept of Nickel’s art project can be strengthened by a perceptible model of a geological (human disposed) stratification. As a devoted beachcomber and lifelong roadside treasure hunter, Nickel sees these deposited materials as our own footprint to be weathered away into our own layered earth strata. The weathering forces of nature serve as the ultimate liberator of all man made materials... this does not come without alterations of risky consequence.“I have always enjoyed playing with the formal principals of art making. That said; it has also been my intention to venture beyond the specific problems of aesthetic resolution. I seek to invoke a lyrical rebirth of this subject matter, restated, cleansed and yet caustic. This strategy i.e. a renewal of this urban flotsam through recontextualization, whereas, rubbish with all its seasoned attributes somehow displays a breath and elegance. This artwork is designed and presented to slyly seduce the viewer, with or without an environmental narrative.”
* Marymount California University Arts and Media Press release, "Nothing New Again” 2016
Jacalyn Lopez Garcia and Nicholas Caesar Colon
Multimedia Artist, Jacalyn Lopez Garcia and Photographer, Nicholas Caesar Colon will be exhibiting works from their collaborative LAND-artproject that will offer a unique investigation of the feared San Andreas Fault which is believed could cause widespread damage to San Francisco, Los Angeles, Coachella Valley, and neighboring communities. Each project is conceived and designed to be experienced in both the physical and digital worlds of landscape photography. The LAND-artproject.com website will feature artwork from the TERRA FIRMA exhibition at MBAC and hosts traditional and non-traditional photographic images, poetry, videos and documented stories gathered from interviews with local community members and business owners living on or near the fault line, including other media sources. Visitor participation is highly encouraged to interact and explore the multimedia installations that will feature abstract and intimate landscape photography. 3D glasses and stereo viewers will be available and on display to view 3D photographs and stereographs at the exhibition. Interactive QR codes embedded in photographic works have also been designed to guide participants to explore additional photographic images, audio files and videos from the LAND-artproject.com website. Other LAND-artproject collaborators include poets Laura Salinas Araujo and Darren J. de Leon, storyteller and videographer Carlos Garcia, and digital composer djr3x. There will also be live demonstrations and performances by LAND-artproject artists at the artist reception on August 17, 2018 at MBAC.
Anita Bunn’s work is an investigation into the act of noticing, of turning away from spectacle and the obvious. Her photographs, digital videos, and prints explore an unfamiliarity with the familiar as well as how objects negotiate a shared space. Additionally, her work seeks out the subtle shifts in perception that occur over time and through repetition, allowing for different ways of looking at an object and crystallizing the complexity and nuance that exist within a seemingly simple construct.
The prints in the most recent body of work (“Index”) embody the unique relationship between the city of Los Angeles and its natural surroundings, especially during a time of drought, while referencing a personal love of botanical illustrations and traditional Chinese and Japanese representations of the landscape. Made with master printer Francesco Siqueiros of El Nopal Press, these portraits of plants native to Southern California, are original digital captures printed as continuous tone lithographs that address an ongoing interest in combining traditional analog techniques with contemporary digital photography.
Ms. Bunn grew up in Houston, Texas but has made Los Angeles her home for more than 25 years. Anita received a BA in Fine Art from Trinity University, a BFA in Photography from Art Center College of Design, and an MFA in Photography from Claremont Graduate University. She is currently Adjunct Faculty at several local colleges and universities, teaching black and white darkroom photography, digital photography, digital imaging, and studio lighting for photography. Anita exhibited locally with Offramp Gallery (recently closed) and regularly participates in group exhibitions and with local artist-run spaces. She shows her work both nationally and internationally, and is in many public and private collections, including the Wallace Annenberg Department of Photography at the Los Angeles County Museum of Art, Scripps College, and the Capital Group, Los Angeles.
Fatemeh Burnes was born in Tehran. She first came to the United States in 1973, spent a five-year period between three continents, and settled in Southern California in 1977. Classically trained in Persian art and verse (she was mentored by her uncle, poet Salek Esfahani, and was featured on several radio programs devoted to poetry), Burnes also studied biology, modern Persian poetry, and western artistic practice – including painting, drawing, printmaking, photography, art history, and exhibition design – in Iran, Europe, and ultimately in California, where she received her BFA and MFA in art and art history.
Burnes has taught fine arts, design, and art history at California State University Fullerton, the Art Institute of Southern California (now the Laguna College of Art and Design), Saddleback College, Fullerton College, and the Fashion Institute of Design and Merchandise (FIDM). She also led special programs in public art, which resulted in the creation of murals dealing with environmental themes, and has taught plein-air painting internationally.
Since 1992 Burnes has served as gallery director and curator as well as full-time professor of drawing and design at Mt. San Antonio College, focusing in particular on art education and curriculum development in exhibition organization and design. At the gallery she has curated over 100 exhibitions, authored numerous publications, conducted art-education documentaries, and worked with an international array of artists and art professionals. She has exhibited her own work extensively since the 1980s.
The last several years have been the most eventful of Burnes’ career. Since re-emerging in 2009 with new bodies of work in painting and photography, Burnes has earned the attention of top critics and curators in Southern California and has gained national and international recognition. In January 2012 Zero+ Publishing released Drift, a book of Burnes’ photographs, edited by critic and writer Peter Frank; and in March 2013 she published a 220-page full-color catalogue, Imprints of Nature and Human Nature, to accompany a solo exhibition at Mt. San Antonio College celebrating her two decades with the school. She has also exhibited at the Municipal Arts Gallery in Los Angeles, the Sturt Haaga Gallery of the Descanso Gardens in La Cañada-Flintridge, and at Laguna Beach’s George Gallery, which focuses on museum-caliber contemporary women artists. Her exhibitions have been reviewed in publications such as art ltd, ArtScene, and the Huffington Post.
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