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Tag: Art Exhibition
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Sawako Goda
at Nonaka-HillThis exhibition features paintings, sketches, and ephemera from the estate of Sawako Goda (1940-2016). Goda’s oil paintings immerse the viewer into a strange urban sea in which the body merges with gems the size of appendages. Goda’s “story of the eye” shifted when she encountered the Eye of the Horus, an Egyptian symbol in which the eye is made of six parts, each corresponding to the anatomic location of a particular human sensorium. Moving between New York City, Tokyo, and Cairo, Goda refigured the Hollywood femme fatale and “vamp” as new creatures under or alongside glass: these women appear to be blissfully alone and entranced, completely unaware of the viewer. Rodney Nonaka-Hill first discovered Goda through her poster art from the 60s and 70s; this show beautifully showcases both the ephemeral and the monumental aspects of Goda’s corpus.
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Jaxon Demme and Paz de la Huerta
at Spy ProjectsThe damsel in distress; the innocent vindicated. These are relatively common motifs when it comes to trauma and recovery, yet Paz de la Huerta’s beautifully bizarre paintings make them feel new. Women and girls embrace while crowded by angelic creatures and wild animals, with nary an inch of negative space. Any cutesiness is countered by the artist’s penchant for frenzied maximalism—a princess’s pillows, for example, blend into a woman shielding her face and a small white dog. When the same tableaus recur, they do so as slightly warped versions of themselves: memories of memories. A smile appears slightly more serene or sinister; new limbs emerge from the ether. Jaxon Demme’s sculptures of big-headed, beady-eyed little girls are the perfect complement. Arranged in an arc, they serve as a strange tribunal—angels keeping watch or passing judgment, depending on your perspective. Altogether, the exhibition seems designed to rouse your inner child from a nightmare, walk with her to fetch a glass of water, and tuck her back into bed, still shaking but safe and sound.
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GALLERY ROUNDS: Arno Beck
Nino Mier GalleryDespite being mired in digital culture, the Bonn based artist Arno Beck makes analogue works. In his exhibition “Zen Them to Hell”, he presents typewritten landscape drawings. Each of the eighteen identically sized and shaped, framed works on paper juxtapose cartoon-like clouds, similar to the ones found in early computer games like the 8-bit Super Mario Brothers (also used by Cory Arcangel in his seminal 2002 work, Super Mario Clouds) with pixelated mountain peaks and landscapes usually associated with 18th-19th century paintings of the sublime. At 20 x 20 inches, they are larger than the size of a traditional carriage on a typewriter, and therefore beg the question, “how were they made?”
A video from the artist’s Instagram shows him aggressively typing away on a modified typewriter that holds large-scale pieces of paper. The works are created by tapping specific keys (plus signs, periods, colons and the space bar) over and over again as the paper moves across the carriage, developing the composition gradually along the way. Beck at times interrupts the flow, overtyping certain areas to achieve the necessary texture and darkness that coincide with the landscape to be represented. The process is physically taxing and time consuming. He ignores any errors that occur. From close-up, the works are grids of lines and dots and spaces that coalesce into an image from afar. Though made by hand (and not on a computer) the source images are found online and transferred to the typewritten medium. They also resemble plotter prints from the early days of computer art.
It is not a leap to equate the typed marks with pixels. As Beck has remarked, “The analog production process breaks and livens up the grid, which functions as a structuring system.” He is interested in the relationship between the digital and the analogue, and in his previous bodies of work, he has created paintings based on computer generated imagery. Reproducing low resolution computer graphics found in games, he meticulously recreated them by hand, focusing on the pixelated lines and jagged edges of the original graphics. While these landscapes could easily be rendered by a computer program or even as ASCII images, the wonder of the work is his process. As he says, “With my approach, I humanize technology, welcoming the glitches of the handmade – and the error is part of the beauty.”
While there are subtle variations in the typewriter drawings on view, they have similar compositions— a field or meadow leading to a row of trees or a jagged mountain peak rising into a sky which is comprised of rows of evenly spaced dots interrupted by billowing white clouds (areas without type) and outlined by a more concentrated presence of marks. Across the series, the number and placement of clouds change as does the shape and height of the peak as, in essence, Beck uses the same process to create each work. His methodology is in line with other ‘post-internet’ artists whose works examine the effects of the internet and digitally derived culture without necessarily using traditional digital tools. Beck’s conceptual works focus on the ways photorealistic landscapes can meld with kitschy clouds to create an analogue production of digital imagery.
Arno Beck
Zen Them To Hell
September 16 – Oct 22, 2022
Nino Meir Gallery -
FALL 2022 PREVIEW HIGHLIGHTS
Get ready for the big 2022 Fall art season. This is traditionally the biggest show of any other time in the art world where most galleries put their best foot forward with their September and October exhibitions. We’ve selected a few highlights coming this Fall in Southern California.
The Geffen Contemporary at MOCA
Judith F. Baca: World Wall
September 9, 2022–February 19, 2023
Museum of Contemporary Art,
Los AngelesHenry Taylor: B Side
November 6, 2022–April 30, 2023
The Broad
William Kentridge:
In Praise of ShadowsNovember 12, 2022–April 9, 2023
The Huntington
Gee’s Bend: Shared Legacy
September 17, 2022–September 4, 2023
Hammer Museum
Bob Thompson: This House Is Mine
October 9, 2022–January 8, 2023
Orange County Museum of Art
13 Women
October 8, 2022–October 1, 2023
The Getty Center
Cy Twombly: Making Past Present
August 2–October 30
USC Fisher Museum of Art
Louise Bourgeois: What Is The Shape Of This Problem?
September 6–December 23
Roberts Projects
Kehinde Wiley
TBD
Museum of Contemporary Art
San Diego in La JollaAlexis Smith: The American Way
September 15, 2022–January 29, 2023
Hauser & Wirth Los Angeles
Cindy Sherman: 1977–1982
October 27–December 30
Sprüth Magers
Nancy Holt: Locating Perception
October 28, 2022–January 14, 2023
Cindy Sherman, Untitled, 1981,chromogenic color print, 24 x 48 inches; © Cindy Sherman, courtesy the artist and Hauser & Wirth. 
Henry Taylor, Cora, (cornbread), 2008, acrylic on canvas, 62 5/8 x 49 7/8 x 3 1/8 inches; courtesy the artist and Hauser & Wirth; photo by Jeff McLane 
Charles Ray, Self-portrait, 1990. Painted fiberglass, clothes, glasses, hair, glass and metal, 75 x 26 x 20 in (191 x 66 x 51 cm). Collection of Orange County Museum of Art. Museum purchase, 1990.002. Courtesy Matthew Marks Gallery. © Charles Ray. Photo: Reto Pedrini 
Loretta Pettway, Remember Me, 2007. Color softground and hardground etching with aquatint and spitbite aquatint, 28 3/4 × 28 3/4 in. The Huntington Library, Art Museum, and Botanical Gardens. 
Bob Thompson, Bird Party, 1961. Oil on canvas. 54 3/8 × 74 1/4 in. (138.1 × 188.6 cm). Collection of the Rhythm Trust. © Michael Rosenfeld Gallery LLC, New York 
Ed Ruscha, Annie, 1965. Oil on canvas, 21-7/8 x 19-7/8 in (55.6 x 50.5 cm). Collection of Orange County Museum of Art. Museum purchase with additional funds provided by the National Endowment for the Arts, a federal agency, 1978.011. © Ed Ruscha 
Cy Twombly, Head of Emperor Marcus Aurelius, Roman,about 161–180 CE, marble, 19 5/16 x 11 13/16 x 11 13/16 inches; collection of Twombly Family, Rome; photo by Alessandro Vasari.
William Kentridge, Drawing for the film Other Faces, 2011, charcoal and colored pencil on paper, 221⁄2 x 31 inches; courtesy The Broad Art Foundation, Los Angeles -
GALLERY ROUNDS: Loft at Liz’s
Group Exhibition “Diverted Destruction 15: The Demolition Edition”Co-curated by Liz Gordon (of Loft at Liz’s) and Monique Birault, the 15th iteration of Gordon’s ecologically driven “Diverted Destruction” is both exciting, and more visually spare than past exhibitions. Rather than filling the main gallery space with smaller pieces created from recycled materials, this time around the artists confront waste created from construction and demolition materials.
Using concrete, asphalt, wood, drywall, brick, clay tiles, shingles, and metal, artists including Anna Stump, Sonja Schenk, Ben Novak, Joseph Salerno and Howard Lowenthal work in a variety of approaches to this material, while in the gallery’s alcove, a robust and ever-changing collection of materials are available for giveaways, with mixed media workshops encouraging their use.
Schenk’s piece is a suspended, monumental work evoking memories of the 2001: A Space Odyssey monolith had it cracked into pieces and turned horizontally with her Solid, Void, Other (Red Shift) made from polystyrene, glass, and acrylic paint to float like a feather of detritus.
Anna Stump detail Stump’s approach is playful: her Mojaveland Jackrabbit Hole recreates a Par 3 hole from her artist-designed miniature golf course and art center in 29 Palms. Made of broken concrete bricks originally used to build 1950s-era desert homes, the mobile mini-golf puts these found commodities to cleverly visualized delightful use. Also on exhibit: a series of mix-and-match painted concrete bricks, some delightfully depicting exquisite jackrabbits.
Novak works in welded metal and plastic found objects, creating what he terms “environmental work” dedicated to sustainability. He uses vintage tools in a numbered Weisman Tool Series, and found metal objects to create fascinating, elaborate mini towers in his Pandemic Year 2 Series.
Howard Lowenthal detail Lowenthal, a.k.a. SMTDLR, shapes irreverently fantastical mixed media in his Terra Inifrma, crafted from aerosol, acrylic, and sculptural debris. Salerno’s work feels more substantial, using industrial materials with minimal touches of color, such as oriental pink marble in his Shelter the Weak, and a softly glowing beige travertine along with rebar and stone for his in a landscape. While the materials are primarily industrial, these works seem to inhabit an imagined natural geology, like new sedimentary rock formations.
The exhibition is on display through September 20th at Loft at Liz’s on La Brea, mid-city.
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GALLERY ROUNDS: Robert G. Achtel
Marshall GalleryThe City of Namara is a fictitious place created by Robert G. Achtel. In the photographs that define this curious and digitally fabricated location, Achtel presents Namara as a place devoid of people and filled with modernist architecture. Each building is shot straight-on and fills the frame. These evocative and precisely positioned structures are created by digitally compositing thousands of photographs of buildings, signage and the landscape, as well as fragments of sky and road that Achtel captured during visits to Nevada, Florida and California. Because they are digital composites, however seamless they might be, the works call into question the notion of photographic veracity. While Achtel begins with “real” physical forms, he changes the colors, proportions and relationships between the elements by using software, such as Photoshop, to create a heightened sense of place.
The Gateway (all works 2020) depicts the facade of a liquor store called Liquor Swamp. The scripted letters of the word liquor— white lines surrounded by black— are installed above diamond-shaped plaques with the letters S-W-A-M-P on a striated dark green facade of a midcentury modern building that has a Jetsons essence. Bisecting the building is a tall light pole supporting a sign that states, “No Parking: Drive Thru Only.” However, there is no visible drive-thru. Stone walls depicted in shadow make up the lower portion and are positioned on either side of the glass entrance. The building is set in a vast empty landscape with a few palm trees blowing in an invisible breeze. Telephone wires and the top of light fixtures provide a resting place for groups of birds that may or may not have been in the “original” photographs.
Robert G. Achtel, Jealousy, LightJet chromogenic print, 2020 In Jealousy, Achtel presents a stark white facade with nine tall recessed spaces, each casting slightly different sized shadows consistent with their positions in relation to the sun. The black block letters across the facade of the building announce “The Modern Gentleman” while in the window below, there appears a neon sign stating “Nudes 24/7.” As in The Gateway, the setting is devoid of life (except for occasional birds) and the landscape is a barren strip of road in a desert climate. To the left and just behind the central structure is a tall skyscraper jutting into the sky like a minimalist sculpture. To the right is another Jetsons styled modernist building with spiky yellow supports. At one time, this might have been a carwash or body shop, but in Achtel’s image the sign now reads “B-O-Y.”
Though each building is unique, Achtel’s process becomes a bit formulaic. In most photographs he sets the main structure against a distant landscape with palm trees and birds, as well as other modernist buildings placed at the edges of the image to emphasize a vanishing perspective. The buildings in Achtel’s city have specific functions — be it to entertain or heal— and Achtel reinforces this through the narrative implied by reading across the different fragments of signage. The facade of The Fix is a geometric design featuring bright green and blue interlocking diamond shapes. The patterned facade has nothing to do with the building’s function— it is a “drug” store called “World of Drugs” that advertises it as “Doc’s Choice.” Achtel includes a windowless building in the mid-ground called “Relapse” creating an ironic contrast. Relapse, replace, revive are all words easily associated with Achtel’s project. Many of the buildings photographed were once dilapidated, abandoned structures from bygone eras that Achtel has resurrected by compositing and then transforming myriad details from the originals.
Robert G. Achtel, The Fix, LightJet chromogenic print, 2020 What is most striking about Achtel’s images is the Bechers-like straight-on presentation of these fabricated facades. Though different, they exist in the same space, set back from the white or yellow striped road surrounded by blue sky. Achtel purposely creates over-determined spaces that are reminders of both past and present. The images allude to a dystopia. Is this dream city heaven or hell? The facades in The City of Namara with their modern enhancements are drawn from the landscape discussed in Learning from Las Vegas and reference 1950s architecture found in both Las Vegas and Miami. Achtel imbues his city with texts that speak to loss, love and dependence, while simultaneously celebrating the visual power of “Modernist” architecture.
Robert G. Achtel
The City of Namara
Marshall Gallery
July 9 – August 20, 2022
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OUTSIDE LA: Natalie Strait
NY: Charles MoffettIn “Monsoon Season,” her first ever New York solo show, on view at Charles Moffett, Natalie Strait presents new paintings of women that explore climate change, gender, queer culture and the experience of being a woman today. The women in Strait’s paintings are all shown alone or in pairs. Every figure is depicted topless, though this fact seems almost inconsequential. Their bare chests are not exaggerated or made to draw attention, but rather normalized and presented with the same straightforward, matter-of-fact treatment as the rest of their bodies. Strait’s subjects derive from media and popular culture. She takes inspiration from the long legacy of the female body being put on display for consumption. From vintage photography to Playboy to advertisements and social media of today, the image of the female body has been objectified and consumed. The works in the show seek to break down some of the tropes and visual cues used to create identity. Reclaiming the male gaze, Strait avoids over-sexualizing or objectifying her figures. Rather, she navigates the complexities of being a woman who is at once confident and vulnerable.
The exhibition title, Monsoon Season, reflects the period of heavy rain in Strait’s native Phoenix, an annual occurrence that locals have come to rely upon for respite after the summer. As with the rest of the world, Phoenix has seen the effects of climate change and now experiences reduced monsoon seasons, if any, leading to increasingly arid land and fires, along with the polluted skies that follow. A hazy, smoky landscape is seen in Superstition (2022), in which a woman holds a chihuahua in front of what appears to be an actively burning hill. Though a shocking, devastating site to behold, the scene is familiar both in Phoenix and in Los Angeles, where Strait lives and works today. The figure’s apparent indifference to the smoky sky attests to the increasing normality of such a phenomenon.
Natalie Strait, Superstition, 2022. Image courtesy of the artist and Charles Moffett. A similar sky is seen in the background of Day Off (2022), in which a reclining woman lounges against a chain-link fence. The position and form of the figure in Day Off, seen also in Electric Blanket (2022), recall the relaxed, recumbent women that were favorite subjects of famed sculptor Henry Moore. Strait’s reclining figures might also bring to mind Aristide Maillol’s cast lead sculpture, L’Air (1938, 1962), that greets visitors to the Getty Center in Los Angeles. Modern imagery like a bag of Cheetos and an industrial cityscape reinvent the reclining woman trope with a contemporary twist.
Such statuesque forms appear throughout Strait’s works, in particular the two semi-nude women in Moonrise on the Lake (2021). Standing in a half embrace and holding each other’s hand at waist-height, the two figures appear to be posing for a classical portrait. They look relaxed and self-assured, yet the clasped hands are protective, acknowledging their vulnerability as they pull each other in closer. The figure on the right looks off into the distance while the figure on the left looks directly at the viewer with an ambiguous, semi-guarded expression. Somewhat stoic, her face is also soft and tired, as if prepared to defend herself and her companion, yet retaining the capacity to let the viewer in.
Natalie Strait, Moonrise on the Lake, 2021. Image courtesy of the artist and Charlie Moffett. Subtle embellishments appear on select works, such as the tiny, glittery sequins outlining the top of a pair of pink cat-eye glasses in Palm Tree Fire (2022). Worn by a strawberry blond woman with bangs, the sparkly details draw the eye to the figure’s face. The work shows Strait’s exploration of the visual cues we use to define our outward appearances. The figure holds what appears to be a purple, feathered pom-pom or boa, and her bare nipple reveals a piercing. These objects, easily exaggerated to sexualize a woman, are all subtle and matter-of-fact. One could undoubtedly find a spread in Playboy with identical items, yet the figure appears to be wearing them for herself rather than to excite a viewer. Even the vantage point–slightly under her chest and tilted upwards–is a position that could be interpreted as sexual. However, Strait denies the viewer the authority to sexualize the imagery. Instead, the woman retains the power to be sexy if she wishes, or just exist in her semi-nude glory.
Natalie Strait, Palm Tree Fire, 2022. Image courtesy of the artist and Charles Moffett. If “Monsoon Season” represents Strait’s entrée into the New York art scene, it is undeniably a strong, successful one. Strait’s style is fresh, and her talent is unwavering. Above all, the issues she addresses and her navigation of the world as a woman are increasingly crucial as we see our rights challenged and stripped away.
Monsoon Season is on view at Charles Moffett, 431 Washington Street, New York through August 5th
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GALLERY ROUNDS: Nathan Redwood and Senon Williams
PRJCTLAA pair of exhibitions each in their own manner engage with formula and intuition. In Portraits: Invented Subjects and Divergent Styles, 90 works (all acrylic on paper, 30 x 22 inches, 2015-22) by Nathan Redwood form a tight procession flanking the walls in grids and groups. The overall effect despite a pure onslaught of visual information is holistic; each work is indeed an aesthetic and stylistic universe unto itself, yet crosscurrents of palette, gesture, and patterning motif create just enough continuity to cohere across the panoply. Less a series of actual portraits and more an alibi armature on which to hang years of wild, improvisational, art historical experiments in color and texture. A certain fondness for dusty ecru and radiant teal, a joy taken in rustic pointillism, a special way of mark-making that is neither line nor brushstroke but a fusion of the two — these elements appear and reappear across technicolor harlequins, moody maidens, charismatic characters, and more abstract arrangements of architecture and objects that approach symbolic portraiture.
Nathan Redwood at PRJCTLA, installation view, 2022. Courtesy of PRJCTLA. In Holy County Line, Senon Williams visits paintings, works on paper, and sculptures that all in some way incorporate text set against either organic color wash grounds or the reworked materiality of found objects, creating a balance of incongruities that are ambiguous but behave as though full of meaning. The eponymous “Holy County Line” (acrylic on canvas, 36 x 48 inches, 2022) offers peachy Agnes Martin-esque atmospherics; “Money for Dope” and “Lay Low Occasion” (acrylic on canvas, 24 x 30 inches, 2022) are darker, evocative of mountain ranges and cloudy skies — the brain wants to articulate the relationship between the image/mood and the text/narrative, and its struggle to do so is, in many ways, the work’s deeper subject. For sculptures, pun-emblazoned benches and flashcard interventions in game sets and freestanding anti-monoliths create moments of humor and subversions of function that serve to both highlight the appeal of repurposed materials and demonstrate that art can live anywhere.
Senon Williams, Holy County Line. Courtesy of PRJCTLA. Senon Williams, installation view. Courtesy of PRJCTLA. Nathan Redwood: Portraits Invented Subjects and Divergent Styles
PRJCTLA
May 28, 2022 to July 2, 2022Senon Williams: Holy County Line
PRJCTLA
May 28, 2022 to July 2, 2022 -
GALLERY ROUNDS: Luis De Jesus Los Angeles
Evita Tezeno; Laura Krifka; Nancy EvansThree fine solo shows of paintings offer personal perspectives as unique as the artists who created them: Laura Krifka, Evita Tezeno, and Nancy Evans.
Krifka’s “Still Point,” is a beautiful tribute to light, the human body, and the human heart. With domestic settings framing lustrous images, her stunningly accomplished work pulls at the heart and reaches the soul. In Dawn, an infant looks out through slatted blinds at the coming day, as rosy and new as the child. Sink or Swim offers a look at a beautiful seascape through a kitchen window. A bowl of vivid oranges near the kitchen sink catches the eye before drawing it to the azure sea. In Containment, Krifka imparts the ache of barely contained longing.
Laura Krifka, “Dawn,” 2022, Oil on canvas; © Laura Krifa. Courtesy of the artist and Luis De Jesus Los Angeles. Tezeno’s work is a delightful, vibrant mixed-media swirl of collage and acrylic. “My Life, My Story” is reminiscent of a quilt, a layered narrative of family life in which the textured mediums also convey the stories. The patterns and colors of Celebrate, Good Times are both cheerful and richly textile – as if the viewer were woven into a rich cornucopia of domesticity. Ain’t Got Nothin’ Else to Do But Work adds the dimensional aspect of collected buttons (her grandmother’s) to the image of a woman standing, garden implement in hand, a smattering of chickens behind her. Whether celebrating, working or singing—as in Play Me Some Toe Tapping Music, Tezeno invites us to enter the warm embrace of family and the magic of revisited memories.
Nancy Evans, Apple Moon, 2016, Acrylic on canvas; © Nancy Evans. Courtesy of the artist and Luis De Jesus Los Angeles. Nancy Evans focuses on a celestial landscape rather than a human one in “Moonshadow.” Hauntingly lovely, the moon a soft white pearl, it is circled in a halo of deep rose in Apple Moon, reflecting on a luminous pool of water through leafy branches in Wisteria Moon, and opalescent among shadows and clouds in Moon Flash. These are the images of dreams, beautiful ones, magnetic as the pull of the moon on an open sea.
Together, all three shows are a powerhouse of personal wonder.
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GALLERY ROUNDS: Ontario Museum Biennial
Ontario Museum of History and ArtThe act of self-disclosure is an intentional revelation of one’s thoughts, emotions, and feelings to another individual; it is part confession and part declaration. The 11th Biennial Ontario Open Art Exhibition at the Ontario Museum of History and Art was an aesthetic self-revelation by established and emerging contemporary artists. The widely varied works were both two and three-dimensional and employed a variety of media and subject matter, from textile to photography to clay and metal. Contemporary portraiture kept company with cat paintings and wide-angle photography was side-by-side with optical abstraction. With Kathy Ervin, Professor in the Department of Theatre Arts at Cal State San Bernardino as the juror, this show is truly an example of a collective community voice.
Patricia Jessup-Woodlin, Ancestral Reclamation, 2020 Of particular interest is Ancestral Reclamation (2020), a photomontage/assemblage by Dr. Patricia Jessup-Woodlin, a retired art education professor. On a narrow wooden panel, a portrait of a woman of color is elegantly rendered in fragments of torn collage. She is crowned with a pyramid of ascending cowrie shells and her mahogany eyes are proudly confrontational and penetrating. This work is suggestive of the recent Black Panther film and the woman portrayed—a fragmented portrait of all African women—appears to be reimagining a Black future. It is no coincidence that using cowrie shells extends the meaning of this work’s title. In Africa, Asia, Europe, and Oceania dating back to the 14th century, cowrie shells served as currency for goods and services. Ultimately, these shells constituted power and were used by Africans for protection. The significance of this work is twofold. First, it resists erasure the glorious past before African enslavement. Second, it illustrates the message of Haile Gerima’s 1993 film, Sankofa; the lessons learned from past function as a roadmap for actualizing a powerful future.
Lady Day’s Lyrics (2019) by Annie Toliver, an exhibition prizewinner, puts a fresh spin on the idea that relationships range from the toxic to transformative. In this portrait of Billie Holiday, rendered with fabric and ink embellishments, complementary hues jigsaw a profile. Holiday’s face is centered in the composition, floating above a background of sheet music that makes reading the titles of her greatest hits an irresistible pleasure.
Rick Cummings, Aluminum Dreams, 2021 Rick Cummings captures a hurried desperation in his mixed media Aluminum Dreams (2021) where a woman is depicted pushing a shopping cart filled with aluminum cans. Additionally, her yellow star (five pointed, not six) designed shirt alludes to an exploitative, capitalist America limping along economically amid a push to reopen the country immediately after a global pandemic has ravaged the planet.
This exhibition offers a glance into a talented community of artists. Professionally trained or self-taught their willingness to reveal themselves creatively encourages a reciprocal viewer response—actions that foreshadow a change in one’s thinking, not only about art but about ourselves. In Parable of the Sower (1993) Octavia Butler expressed it best by writing “All that you touch You Change. All that you Change Changes you. The only lasting truth Is Change.”
11th Annual Biennial Open Art Exhibition
Ontario Museum of History and Art
225 S. Euclid Ave. Ontario, CA 91762
May 6-August 15, 2021
