Orien Lowell Greenough: Lives Matter

Johnny We Hardly Knew Ye

Orien Lowell Greenough: Lives Matter
January 18 – March 12015
Reception: Sunday, February 15, 201569PM
Extended Gallery Hours: Sunday, March 1, 9AM–5PM
Open Saturdays and Sundays, 9AM–12PM

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Press Kit

The life of Orien Lowell Greenough (1921–2008) is both shrouded in mystery and rich with influence and action. Greenough filed as a conscientious objector during World War II and was an outspoken critic of McCarthyism and a participant in anti-Vietnam protests like Mark di Suvero’s iconic Artists’ Tower of Protest. His artistic career and personal style underwent an increasingly radical transformation throughout the 1950s and 60s, as he developed an increasingly surreal, abstract, almost psychedelic style, while never losing sight of his calling to social justice concerns. – Shana Nys Dambrot, LA Weekly.

 

2A Gallery presents an exhibition of work by Orien Lowell Greenough running through February 152015. A  reception takes place on Sunday, February 15, 201569PM. The gallery will have extended hours on March 1, from 9AM till 5PM. The gallery is open on Saturdays and Sundays from 9AM till 12PM.

The exhibition consists of paintings and drawings by Greenough depicting the horrors of what he perceived as social injustice, particularly involving racism and relating to the various wars America was involved in after World War II.

Orien Lowell Greenough (1921–2008) was a visionary artist and committed antiwar activist. While serving in the United States Coast Guard between 1940 and 1944, his experiences led him to become a conscientious objector. On the strength of his convictions he went AWOL but eventually turned himself in to the authorities. He was incarcerated for a year in a military prison, where he met and was counseled by a Quaker volunteer. During this period he came to understand the nature of his pacifism, which became his lifelong commitment. After the war, Lowell entered art school and for several years studied under Emil Bisttram, the noted teacher and artist of the Southwestern United States.

It was during the 1950s that Lowell became more involved with antiwar activities – marching, protesting, and campaigning against the violence of war. This led him to begin painting and drawing about his antiwar and anti-racist convictions. The work in Orien Lowell Greenough: Lives Matter reflects his personal views on the prevalent violence and social injustice of the period. The works, which span from the mid-50s to the mid-60s, showcase Lowell’s later magical realist style of painting – similar to other noted artists from the era such as Ivan Albright and Irving Norman. Three strong works in the exhibition, Metamorphosis of Edward Teller, Buried In Uniform, and The Klansmen are all prime examples from this period. This exhibition provides a rare opportunity to appreciate the prescient nature of Lowell’s antiwar art, an artform that has become commonplace in today’s culture.

2A Gallery is located at 400 S Main St #2A, Los Angeles, CA 90013 on the second floor of the San Fernando Building. 2A Gallery is an independent artist/curator-run project designed to utilize a particularly unique space as a venue for creative production and exhibition. Exhibitions have an opening and closing reception. The gallery is open Saturday and Sunday from 9AM till 12PM. Otherwise, the space is open by appointment by emailing calvin@2AGallery.com.

Image: Orien Lowell Greenough, Johnny We Hardly Knew Ye, 1959. Oil on canvas, 18 x 12 inches. Courtesy of Tam Warner.

Julie Shafer: Fireside Lounge to 41.296111, -105.515000

Fireside Lounge to 41.296111, -105.515000

Julie Shafer
Fireside Lounge to 41.296111, -105.515000
November 2 – December 20, 2014
Artist Talk: Sunday, December 14, 1:30PM

2A Gallery is pleased to present Fireside Lounge to 41.296111, -105.515000, a solo exhibition by Los Angeles artist Julie Shafer. The images in Fireside Lounge to 41.296111, -105.515000 were created while driving the same path taken by two men in Laramie, Wyoming who kidnapped and murdered Matthew Shepard. The men enticed Shepard, an openly gay man, to follow them outside the Fireside Lounge where he was kidnapped, taken to a deer post five miles away, tied up, beaten, and left to die. He was found alive but unconscious the next morning by a cyclist who described his body as looking more like a scarecrow than a human. Matthew Shepard died in the hospital six days later.

In an attempt to create images that evoke unseen, silenced, and distorted histories, Shafer drove from the Fireside Lounge to the deer-post, photographing as she drove. Each photograph’s exposure lasted the duration of the drive, either from the lounge to the post or from the post back to the lounge.

The photos are arranged so viewers first encounter emptiness, then two images, each created through a single exposure, lasting the duration of the drive from the lounge to the deer post and back.

Using specialized processes, Julie Shafer creates photographic images that evoke the presence of unrepresented individuals and histories. She has investigated themes of race, gender, and queer politics. Her work subverts the legacy of the idealized landscape through processes that allow a give-and-take with the land, examining the tension between real and imagined borders while focusing on socio-political, geological, current and historical applications of photography.

Julie Shafer is an artist living and working in Los Angeles. Her work has been shown throughout Southern California, Los Angeles, and San Francisco. Most notably she has shown at the California Museum of Photography in Riverside, CA, the Los Angeles Municipal Art Gallery at Barnsdall Art Park, The Luckman Fine Arts Gallery at CSULA, at the Kellogg Museum at CSU Pomona. At the end of 2013 she presented a lecture on her project Conquest of the Vertical for a TEDx conference. This lecture is available on-line through the TED conference YouTube channel. She received her B.A. from UC Irvine, and her M.F.A. from USC.

5 mile drive from the Fireside Lounge to 41.296111, -105.515000; Looking out the rear driver-side window, 2012 Inkjet photograph, 33 x 24 inches.

5 mile drive from the Fireside Lounge to 41.296111, -105.515000; Looking out the rear driver-side window, 2012
Inkjet photograph, 33 x 24 inches.

5 mile drive from the Fireside Lounge to 41.296111, -105.515000; Looking out the passanger-side window, 2012 Inkjet photograph, 33 x 24 inches.

5 mile drive from the Fireside Lounge to 41.296111, -105.515000; Looking out the passenger-side window, 2012
Inkjet photograph, 33 x 24 inches.

5 mile drive from 41.296111, -105.515000 to the Fireside Lounge; Looking out the driver-side window, 2012 Inkjet photograph, 33 x 24 inches.

5 mile drive from 41.296111, -105.515000 to the Fireside Lounge; Looking out the driver-side window, 2012
Inkjet photograph, 33 x 24 inches.

5 mile drive from the Fireside Lounge to 41.296111, -105.515000; Looking out the driver-side window, 2012 Inkjet photograph, 33 x 24 inches.

5 mile drive from the Fireside Lounge to 41.296111, -105.515000; Looking out the driver-side window, 2012
Inkjet photograph, 33 x 24 inches.

5 mile drive from the Fireside Lounge to 41.296111, -105.515000; Looking out the rear-passanger side window, 2012 Inkjet photograph, 33 x 24 inches.

5 mile drive from the Fireside Lounge to 41.296111, -105.515000; Looking out the rear passenger-side window, 2012
Inkjet photograph, 33 x 24 inches.

Ines Kivimaki: Point De Capiton

Point De Capiton

Ines Kivimaki
Point De Capiton
September 14 – October 26, 2014
Opening Reception: September 14, 2014, 6-9PM

2A Gallery is pleased to announce Ines Kivimakiʼs site-specific installation, Point De Capiton. Literally translating, as “upholstery button” in French, Point De Capiton is also a term used by 20th century psychoanalyst, Jacques Lacan, to translate the provisional conclusions and make-believe anchoring points that loosely predicate larger ideological systems. Kivimaki questions the authenticity of todayʼs online “user experience”, drawing a paradox between the experiences we recognize and trust to be real, and the artificial interactions we surmise to articulate as experience.

This body of work is interested in the Internetʼs totalized point of view on information as an infinite source of freedom with unlimited access and endless communication, facilitated by specific corporate aesthetics, often involving images of the night sky and outer-space as signifiers for the unlimited and the sublime. In this case, through a highly choreographed Internet surf session, a tactile piece of moon estate and a living screensaver. A meta-narrative around illusions of freedom and control is proposed through a poignant investigation of perpetual archive, iconography of interfaces and appropriated corporate visuals.

An exploration of space, literally and metaphorically, Point De Capiton fastens links between high-tech fetishism, New Age utopianism and the dream of land tenure and ownership, revealing points where seemingly disparate ideologies overlap.

Ines Kivimaki (b. 1990) was born in Paris, France and currently lives and works in Los Angeles. Kivimaki received her Bachelor of Fine Arts from Art Center College of Design in 2014. Her work has been included in exhibitions at Roberts & Tilton, Culver City, CA; Art Center College of Design, Pasadena, CA; SOSM Gallery, Los Angeles, CA; Arkadia Gallery, Helsinki, Finland.

2A Gallery is located at 400 S Main St #2A, Los Angeles, CA 90013 on the second floor of the San Fernando Building. Founded in August 2013, 2A Gallery is an independent artist/curator-run project designed to utilize a particularly unique space as a venue for creative production and exhibition. 2A Gallery occupies a small office space in a renovated downtown building. Each exhibition has an opening and closing reception. Otherwise, the space is open by appointment by emailing calvin@2AGallery.com or calling 213.924.3472.