Talent Contest - Open Call!
Phyllis Stein Art
207 W. 5th Street
Los Angeles, CA 90013
Tel: 213.622.6012
Email: peggy@phyllissteinart.com
Website: phyllissteinart.com
Saturday, August 16, 2008 - 3pm to 6pm
Open talent contest for performance artists (dancers, street performers, musicians, jugglers, clowns, actors/actresses, conceptual artists, comedians, social commentators, ranters, philosophers, rappers, poets, soap box all-stars, ministers, contortionists, social activists, EVERYONE IS WELCOME!!!!!!)
Performers are asked to think about how they can use their talents to call attention to the uniqueness of life in a world that struggles to recognize the existence of art as an important and necessary factor in everyday life.
Please contact the Gallery via phone or email to confirm your attendance. If you do not confirm prior to, your performance will be a first come first serve basis.
The Gallery is approx. 1800 square feet with a 25’ ceiling.
There is no time limit, however, be aware there will be a gong!
Prizes will be awarded by the Panel of Judges and winners will be asked to perform at other Phyllis Stein events, dates TBA
Spectators welcome!
**Performances will be recorded, video taped, and posted on the Phyllis Stein Art website.
Saturday, August 2, 2008
Welcome! PSA Gallery Interns
The folks at PSA would like to take a moment and introduce everyone to our Interns, or as Peggy (the head honcho) prefers to call them, Gallery Assistants: Jaime Harke, Jennifer Canendo, Soojin Park, Dawid Jaworski, Jennifer Schellbach, Desiree Cormier, Ezra Bassin-Hill, and Tina Wallin.PSA could not live without the help of our assistants. Their experience and backgrounds are well rounded and an asset to the inner workings of the Gallery. Some have already graduated with degrees focusing on Fine Art or Art History, while others are working towards these same degrees, and all have taken on an Internship to help pursue their goals in the art world.
One important aspect of our assistants many tasks, is writing review’s of the PSA Openings, as well as other local and surrounding area Art Galleries. Being well informed about what is going on around us is beneficial to any rising artist. PSA supports and encourages all the Assistants to spread their wings and explore.
In an effort to encourage them to keep pushing forward, we have posted some of their reviews here, and will continue to do so for future shows.
Check them out and enjoy!
- Tina Wallin
The Embarassing Moment - Gallery Assistant Soojin Park
Entering my freshmen year in Rhode Island School of Design was an honor and a surprise for me. I was not only required to learn and create art but also to learn about the history of art and literature. RISD overwhelmed me with its endless workload and restless, sleepless nights. It was difficult and challenging having multiple tasks to manage all at once, yet it greatly improved my knowledge and artistic skills.
Freshmen at RISD start off with a foundation year where the students are trained in studio work such as drawing two-dimensional, and three-dimensional figures. Additionally, it was necessary to take liberal arts classes in literature and art history in order to give students a more well rounded approach to art. All students take a basic art history that overviews the general ideas of art history from African art to Contemporary/Modern art. But, for me, the studio classes were the most essential class for me because I learned unique techniques in each one of them. The professors have such powerful characters and styles that it is easy to learn a lot from them during the course.
My fall semester drawing class was taught by Professor Lieu. Just by looking at her and feeling the atmosphere in the classroom was frightening enough. She seemed tough and clearly told students what she wanted. All of her policies were extremely important because she had the power to kick people out or fail them. Everything was required to be almost flawless and exactly the way she wanted. She was detail oriented and authoritarian about how students hung their work on the wall, organization of the work, cleanness to the paper, clear explanations of the work, and required everyone to be involved in group critiques. She looked for good, standard techniques and drawing skills with creativity and deep meaning. When she told us our compositions were to be done in large scales up to four feet by four feet I knew this was not going to be an easy class.
My first assignment critique turned out to be an embarrassing experience. I did not follow her instructions carefully or seriously. While everyone else used the scale she wanted and used imagination and transformation in their work, I used an exact scale of the object. The critique started and my professor wasted no time in making my work a prime example of what never to do again. She even took out her measuring ruler to show that my paper size was wrong which made me feel stupid.
Professor Lieu humiliated me by criticizing my work in a disrespectful manner. I was embarrassed and angry the entire day. I wanted to give up on my first day of school. But this was just the start of RISD. I knew deep inside me that I did not come all the way here from Korea to allow myself to beaten and broken like this and resolved to do better with my talent. With regained confidence, I began to work for days without sleeping; only staying awake by consuming unhealthy amounts of Red Bull energy drinks.
From then on, Professor Lieu saw that I was improving and actually told me that she was impressed. I spent more time on my work, thinking and researching for days as well as making sure I used the correct paper size, had clear explanations, and creative and imaginative techniques I had developed. Before I knew it, I walked out of her class with one of the best relationship I had with teachers. Her class changed me in how I viewed and thought about creating art. Her strict rules gave me discipline. Even though I was enjoying drawing figures in charcoal, wet charcoal, crayons, and Indian ink, I most enjoyed thinking about the projects because it developed my mind to think further and create deep, bold meanings. I began to think about how I could intrigue the viewers and what I could say to bring difference to my work. If I had not experienced that unpleasant first day of drawing class, I would not have put all my effort and strength into my artwork.
It’s funny looking back at myself when I was so frustrated that I considered giving up on everything in the first semester. I slowly realized why this school had a great reputation and why I belonged in this school. I was challenged to work harder than ever and pushed to reach my dreams of becoming an inspiring graphic designer. Without RISD, I would not have grown that strong desire to become so passionate in art and design.
- Soojin park
Freshmen at RISD start off with a foundation year where the students are trained in studio work such as drawing two-dimensional, and three-dimensional figures. Additionally, it was necessary to take liberal arts classes in literature and art history in order to give students a more well rounded approach to art. All students take a basic art history that overviews the general ideas of art history from African art to Contemporary/Modern art. But, for me, the studio classes were the most essential class for me because I learned unique techniques in each one of them. The professors have such powerful characters and styles that it is easy to learn a lot from them during the course.
My fall semester drawing class was taught by Professor Lieu. Just by looking at her and feeling the atmosphere in the classroom was frightening enough. She seemed tough and clearly told students what she wanted. All of her policies were extremely important because she had the power to kick people out or fail them. Everything was required to be almost flawless and exactly the way she wanted. She was detail oriented and authoritarian about how students hung their work on the wall, organization of the work, cleanness to the paper, clear explanations of the work, and required everyone to be involved in group critiques. She looked for good, standard techniques and drawing skills with creativity and deep meaning. When she told us our compositions were to be done in large scales up to four feet by four feet I knew this was not going to be an easy class.
My first assignment critique turned out to be an embarrassing experience. I did not follow her instructions carefully or seriously. While everyone else used the scale she wanted and used imagination and transformation in their work, I used an exact scale of the object. The critique started and my professor wasted no time in making my work a prime example of what never to do again. She even took out her measuring ruler to show that my paper size was wrong which made me feel stupid.
Professor Lieu humiliated me by criticizing my work in a disrespectful manner. I was embarrassed and angry the entire day. I wanted to give up on my first day of school. But this was just the start of RISD. I knew deep inside me that I did not come all the way here from Korea to allow myself to beaten and broken like this and resolved to do better with my talent. With regained confidence, I began to work for days without sleeping; only staying awake by consuming unhealthy amounts of Red Bull energy drinks.
From then on, Professor Lieu saw that I was improving and actually told me that she was impressed. I spent more time on my work, thinking and researching for days as well as making sure I used the correct paper size, had clear explanations, and creative and imaginative techniques I had developed. Before I knew it, I walked out of her class with one of the best relationship I had with teachers. Her class changed me in how I viewed and thought about creating art. Her strict rules gave me discipline. Even though I was enjoying drawing figures in charcoal, wet charcoal, crayons, and Indian ink, I most enjoyed thinking about the projects because it developed my mind to think further and create deep, bold meanings. I began to think about how I could intrigue the viewers and what I could say to bring difference to my work. If I had not experienced that unpleasant first day of drawing class, I would not have put all my effort and strength into my artwork.
It’s funny looking back at myself when I was so frustrated that I considered giving up on everything in the first semester. I slowly realized why this school had a great reputation and why I belonged in this school. I was challenged to work harder than ever and pushed to reach my dreams of becoming an inspiring graphic designer. Without RISD, I would not have grown that strong desire to become so passionate in art and design.
- Soojin park
Morono Kiang Gallery - Review by Gallery Assistant Jamie Harker
Quotidian Truths: Paintings by Li Yan
The Morono Kiang Gallery’s opening of the exhibit “Quotidian Truths” is a collection of paintings by Li Yan, the first in a three part series for Quotidian Truths. On September 6, 2008 the work of Xia Xing will be shown, and on November 8, 2008, the final part of the series, with the work of Xie Xiaoze, will open.
The gallery itself is spacious, almost empty. Li Yan’s work is shown in clusters on the pristine white walls, and no effort is made to fill in the remaining space. The one column in the middle of the room is solitary as the exhibit contains no other sculptures and the display of papers and leaflets is kept against the front wall so as not to interfere with the space. While perhaps this space was intended to be filled with visitors, the reception was in the afternoon and only a small smattering of people were present. Therefore the middle of the gallery, whether negligently or intentionally so, felt more like a void than anything else. Most guests hugged the walls while they examined the art, and only a brave few entered the empty space in order to speak with one another.
Li Yan utilizes classical artistic style while depicting modern subjects. His oil-on-canvas works seem almost like photographs, and only upon closer inspection have a Monet-like quality to disassemble before the your eyes. His subject matter is taken from pictures in the newspaper as well as his own experience. Each grouping of paintings encompasses the entire world in its scope; on the same wall there is a map of midwest United States and a portrait of Benazir Bhutto. The map of the Israel/Palestine area is made important when displayed next to the image of a decimated Jewish synagogue. Li Yan is also not afraid to paint extremely gruesome subject matter – the victim of a car crash bloodied and lying on a gurney, the lifeless body of soldiers hanging by the neck – all moving, and yet somehow portrayed with the detachment of a journalist. He is undoubtedly talented, his paintings an ease in the visible brushstrokes and slightly unblended colors. His palate is not overly colorful and captures the monotony of every day life.
All things considered, Li Yan’s work is the perfect start to the “Quotidian Truths” series. Though the gallery focuses on his Chinese background, his paintings capture precisely the truth of daily life on a global scale.
- Jamie Lynn Harker
Roark's Studio Gallery - Review by Gallery Assistant Soojin Park
Roark's Sutdio Gallery - Coolsville
From Roark’s Studio Gallery located in Laguna Beach, there was something very unique and different about the artwork there. They were distinct type of two-dimensional contemporary artwork and I noticed that most of his works were done in plastic.
The room was filled with intense, colorful images of people, animals especially zebras, repeated patterns, and objects such as shoes, hearts, and martini’s. Roark placed melted plastic sculptures as the main subject pasted on large canvases. The thick, colorful splashes of paint and exuberant patterns that were used in the background and on top of the sculptures caught my attention the most.
I enjoyed seeing the eye-catching cartoon characters and graphic images. These figures were bubbly and looked almost edible. On the contrary, I would have liked to see less complexity in colors and the placement of the artwork. I think that if the colors were simpler and included fewer images in one, it would look sophisticated. It was, however, pleasant to get a taste of creative art involving melted plastics.
PSA July 10th Opening - Review by Gallery Assistant Tina Wallin
My Inauguration to an InauguralPreface
It is officially my first day at the Phyllis Stein Art Gallery.
Excitement and anxiety are building.
Don’t want to be late so I make sure I have plenty of time to get there and park. I am unfamiliar with Downtown, so I have no idea how far my walk will be.
Get on the freeway and I am greeted by traffic.
Great. I’m going to be late my first day.
First impressions mean a great deal.
Surprisingly, I make it with just a few minutes to spare which fills me with a sense of rush.
Anxiety has faintly subsided, while excitement grows.
I am told to familiarize myself with the Artists, their work, and the environment.
I had committed to work the Galleries complementary bar from 6 to 7. It’s just a few minutes before 6 which does not leave much time; this worries me.
I grab the Artist information and hastily walk the Gallery.
I cannot focus on the work before me.
My mind keeps drifting…I’m excited to be here, want to meet everyone…I am suppose to be bar tending the event right now.
I take my obligations serious.
I feel there is not enough time to absorb everything.
I decide to work at the bar and get back to the art when the sense of rush subsides.
I quickly realize that escaping the bar of patrons and their demands for alcohol would not be an easy task.
After two hours, I was graciously asked to swap tasks with another intern and take photos of the event.
Finally, my moment has come to familiarize myself with the the work, the artists, and the night.
Eric Smail - Press 1 for English
Visually, I am first drawn to Smail’s mural, Press 1 for English. It is large, grand, colorful, geometrical, and molecular; a scientific explosion that is very appealing to the eye. Strewn across the wall is a compilation of numbers. “The numbers are a code” Eric tells me, “You have to use your cell phone and relate the numbers with a letter to figure it out”. Unfortunately, I did not get the opportunity to do so, and instead chose to revel in the mystery of it.
There seems to be an architectural element to the work as each piece encompasses the space around it and building together to form one monument. This piece evokes a kinetic quality as well, and even though the work itself in immobile, it forces your eyes to dart about piece by piece, so in a sense it has it’s own life.
Smail’s work is quite intricate and takes you spinning back to those early school days when the Periodic Table had you utterly confused. It was hard to grasp at first, but when you spent enough time at the table, things begin to appear and make sense. This same patience is needed to enjoy Smail’s work. There are many elements to consume.
Jesse Chapo - Stateside
I was immediately drawn to Chapo’s work because of it’s kid and cartoon quality. On the surface it looks fun and playful, but once you delve in, you notice all the intricate elements that embodies the work as a whole. Regardless of their somewhat serious themes, it seems that Chapo has a great sense of humor and does not take himself too seriously. The playful images compel you to smile immediately and in some way are quite breathtaking.
Because these images are painted on wood, there seems to be a raw nature about them. It becomes accessible. There is no traditional “framed” boundaries, even though the wood serves as the frame. This allows the image to spill out beyond that and give you a sense there is more to it than meets the eye.
These striking, unknown characters and images make you wonder if Chapo has an overactive imagination. The choices in color emphasize the image and make it inviting in lieu of shocking. Although the foundation of each image is white, the selection and use of color in certain areas of the image have meaning and purpose. Although bright and bold in origin, they are not overpowering.
- Tina Wallin
PSA July 10th Opening - Review by Gallery Assistant Jamie Harker
The Phyllis Stein Art Gallery’s grand opening on July 10, 2008 displayed the work of two innovative young artists, Jesse Chapolito and Eric Smail. The colorful paintings, installations, and sculptures created by Chapolito and Smail bring a pulsing vibrancy to the gallery, resulting in an effect of organized chaos.
Chapolito’s work has the ability to evoke many messages at once with varying degrees of subtlety. Upon first inspection, Chapolito appears to be influenced by various cultural forms of expression. The brightly colored skulls that frequent multiple paintings draw from traditional Mexican art of Dia de los Muertos. The totem pole in the middle of the room plays on traditional northwest Native American worship of totem objects in order to make a commentary on what Americans consider sacred today. Many of Chapolito’s figures evoke Japanese anime figures. This is particularly clear in Untitled #3, where the painting could be from Miyazaki’s film Spirited Away.
Despite these influences, there is a unique quality to his work. Chapolito’s art is clearly an observation of American society and politics, however it is refreshing in its lack of self importance. For instance, his painting America Get Your Guns, in which rainbows of paint spill forth from cartoonish weapons provides a colorful interpretation of the general public’s inclination to stylize violence in such a way as to make it attractive and unrealistic. The figures in all of his work are monstrous yet humorous, allowing Chapolito to deal with the habits and customs of Americans in a satirical way. The use of acrylic paint on wood as the medium allows for a rapidity of expression, and the natural pattern of the wood grain enhances the organized chaos that characterizes the composition of his paintings.
Religion, violence, and money are all central themes that emerge in his work, however one is not inclined to be offended by the frank mockery that occurs in his work. His playful handling of these subjects in combination with his punch-bright paints and simple figures allows his art an honesty and originality that captures the feeling of the 21st century.
- Jaime Harker
Saturday, July 19, 2008
INAUGURAL GALLERY OPENING!!!
We had our very first gallery opening on July 10 featuring works by Eric Justin Smail and Jesse "Chapolito" Chapo. The opening was a rousing success with fun and free alcohol had by all :). But seriously now, it was the opening chapter in the history of Phyllis Stein Art, a history that hopefully will be long and rem
ain as fresh as the work we show. Even though the party is over, EVERYONE should come check out the gallery 
located at 207 W. 5th Street Downtown, and feel free to ask questions about the artists work as everyone who works in the gallery is friendly and knowledgable. Art for All and All for Art.
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