Both of these pieces will be exhibited at the Kirkland Arts Center in Seattle from September 11 through October 3rd, and the opening reception is Thursday, September 10, 2009.
Saturday, August 29, 2009
Jonathan Gitelson Showing at The Kirkland Arts Center
DNJ Gallery artist, Jonathan Gitelson, just completed a new piece entitled, Out Of This World which is based off of a Brady Bunch episode by the same title in which Greg Brady creates the illusion of a U.F.O. in order to fool his two brothers. This summer Jonathan attempted to replicate Greg Brady's U.F.O. and has documented his efforts in both poster form and in video.
Both of these pieces will be exhibited at the Kirkland Arts Center in Seattle from September 11 through October 3rd, and the opening reception is Thursday, September 10, 2009.
Both of these pieces will be exhibited at the Kirkland Arts Center in Seattle from September 11 through October 3rd, and the opening reception is Thursday, September 10, 2009.
Chris Verene's band to Headline A Show In Pasadena Tonight
Saturday, August 29th at The Levitt Pavillion in Pasadena Memorial Park 8pm
Chris Verene's band, Cordero, headlines a show at the amazing Levitt Shell.Fronted in Spanish and English by Chris Verene's wife, Ani Cordero, Cordero plays a great mix of dance music and serious alternative Latin Rock. They were recently featured in a rave review on National Public Radio's Fresh Air.
Levitt Pavillion
Pasadena, CA
Pasadena Memorial Park
91103
Free, All Ages
Come lounge on the grass & enjoy a free CORDERO show.
www.levittpavilionpasadena.org
HEAR CORDERO at: www.myspace.com/corderonyc
Chris Verene's band, Cordero, headlines a show at the amazing Levitt Shell.Fronted in Spanish and English by Chris Verene's wife, Ani Cordero, Cordero plays a great mix of dance music and serious alternative Latin Rock. They were recently featured in a rave review on National Public Radio's Fresh Air.
Levitt Pavillion
Pasadena, CA
Pasadena Memorial Park
91103
Free, All Ages
Come lounge on the grass & enjoy a free CORDERO show.
www.levittpavilionpasadena.org
HEAR CORDERO at: www.myspace.com/corderonyc
Friday, August 28, 2009
Chris Verene and Jona Frank Artist Reception and the Miracle Mile Art Walk With Artist Talk by Chris Verene
DNJ Gallery is pleased to announce its upcoming exhibition, Family featuring the photographs of artist Chris Verene. Gallery II features the work of Los Angeles based artist, Jona Frank in the show entitled Boys: In Progress. This exhibition runs from September 5 - November 7, 2009, and the opening reception will be held on Saturday September 12 from 4:30-8pm.
In addition, be sure to join us for the Miracle Mile Art Walk also being held on September 12 from 4:30-9pm! Artist Chris Verene will be giving an artist talk at 4:30 pm here at DNJ Gallery, so don't miss out! Be sure to join the after party being held at The Loft at Liz above Liz's Antique Hardware from 8:30-10:30 pm. For more information on participating galleries and events, please go to the Mid City West link found here.
In addition, be sure to join us for the Miracle Mile Art Walk also being held on September 12 from 4:30-9pm! Artist Chris Verene will be giving an artist talk at 4:30 pm here at DNJ Gallery, so don't miss out! Be sure to join the after party being held at The Loft at Liz above Liz's Antique Hardware from 8:30-10:30 pm. For more information on participating galleries and events, please go to the Mid City West link found here.
Saturday, August 1, 2009
New Summer Hours
Starting August 4 - August 29, 2009, DNJ Gallery will have new hours:
Tuesday - Friday 11 - 6
Saturday 12 - 6
If you have any questions, please fill free to call or stop by the gallery and have a wonderful Summer!
Tuesday - Friday 11 - 6
Saturday 12 - 6
If you have any questions, please fill free to call or stop by the gallery and have a wonderful Summer!
Friday, July 31, 2009
Laura Parker Honored With Pasadena's Individual Artist Grant
After receiving top scores, Laura Parker was awarded the Individual Artist Grant and $4000 from the city of Pasadena as part of their 2009 - 2010 Annual Grants Program. The award money will go will towards a solo show which will include photographs in filmic-sequence and new animations by Laura Parker, and will be shown at Pasadena's Armory Center for the Arts to be scheduled in 2010.
Laura Parker's exhibition, From the Range: pot bottoms and Naked Eye Objects, was shown at DNJ Gallery from September 13 - October 25, 2008. For more information about Laura Parker, please visit our web site or stop by the gallery!
Laura Parker, Naked Eye Objects (Aqua),
digital c-print, 26 x 26 inches
Laura Parker's exhibition, From the Range: pot bottoms and Naked Eye Objects, was shown at DNJ Gallery from September 13 - October 25, 2008. For more information about Laura Parker, please visit our web site or stop by the gallery!
Laura Parker, Naked Eye Objects (Aqua),
digital c-print, 26 x 26 inches
Tuesday, July 21, 2009
Jane O'Neal Featured in WHITEHOT Magazine
July's issue of WHITEHOT Magazine features a review of Jane O'Neal's Environmental Memory: Part - I Home Grown, which was on display at DNJ Gallery from April 25 - June 20, 2009. For more information about Jane's work, please contact the gallery.
Jane O'Neal, Orchid Cactus Flower #3,
2009, archival inkjet print, 44" x 30"
by: Shana Nys Dambrot
Jane O’Neal acquits her flatbed scanned portraits of flora and root systems with whiffs of the semi-clinical, sexualized near-abstractions of Edward Weston—an obvious comparison if for no other reason than subject matter. Due to advances in technology, the feats of the flatbed scanner, and her eye for fleshy, saturated palettes, her images are undeniably literal and escape all sentimentalism. There remains a bit of a lepidopterological feeling due to the march across the wall of mostly same-size/scaled, identically-framed specimens. There is also a definite anthropomorphism to her images of roots, flowers, and vegetables, which is hardly a scarcity in art’s big book of thematic tactics, yet never gets old. In this thread are the gnarled root-fingers of Root Ball (44 x 30 inches), and the clitoral character of Blue Java Bud (44 x 30 inches) with its cauterized umbilical stem nub and enfolding husks like a carved wooden mask or tribal talisman. But many aren’t about people at all. In Orchid Cactus Flower #1 (44 x 30 inches), the waxy texture of the leaf, like star fruit, is inviting rather than threatening. It has a bit of magic to its luminosity that seems to radiate from within, its translucent flesh refracting light like glazed pigment might in a painting. The flushed and ruddy, royal purple parchment skin and dynamic fling of glistening, intense spring green on Red Onion (44 x 30 inches) is impossibly gorgeous and hasn’t a thing to do with the human body. The approach to color and texture here is a painterly one, while the detail, the sheer amount of mass and surface, that it is possible to achieve in digital photography both supports and supplants that element of her style.
O’Neal’s subjects (aside from the fact that her real subject is photography itself,) in any case her “sitters” or pretexts are, so to speak, natural models, photogenic at every instant and from any angle. But eerily, it is also clear that nothing on display is still alive. It’s all been plucked, pulled from the earth, harvested in some way; it may be ripe and even edible, but it is all already dead and dying. That’s where some of the most humanity in the work reveals itself—not on the explicitly formal level of a Weston, but on the spiritual, existential level of an organic life. Orchid Cactus Flower #3 (44 x 30 inches) is the only picture that captures movement—there are petals photographed mid-fall; very sexy hot pink petals, seductive and alluring, on their way to hitting the ground with a dramatic flair, the up-arching stalk and face/center of the bloom straining toward the “sky” with poignancy; the humanoid stance to its bodily form and pose hinting at consciousness. This image is Romantic almost to the point of the tragic, chronicling the closest activity these inanimates can claim to a narrative arc. The diptych Cavendish Floral Bud and Cavendish Floral Stalk (2008, 44 x 30 inches each) adds the fraught energy of relationships to this equation with its male-female pairing. A richly detailed, multi-faceted bronze, muscular husk with its disheveled mop of curly “hair” and sweet cap of green stalks rests on one side, and a more feminine form of the same species, its dusky pink flower still modest but emerging from under the protective chastity of the husk rests on the other. They are separate but eternally linked, like sides of a coin, or the gender divide they represent as metaphor and metonymy—and there is more material for sexual projection in them as any Rorschach test-giver could dream of. But then again, people seem to love to see themselves in pictures.
Jane O'Neal, Orchid Cactus Flower #3,
2009, archival inkjet print, 44" x 30"
by: Shana Nys Dambrot
Jane O’Neal acquits her flatbed scanned portraits of flora and root systems with whiffs of the semi-clinical, sexualized near-abstractions of Edward Weston—an obvious comparison if for no other reason than subject matter. Due to advances in technology, the feats of the flatbed scanner, and her eye for fleshy, saturated palettes, her images are undeniably literal and escape all sentimentalism. There remains a bit of a lepidopterological feeling due to the march across the wall of mostly same-size/scaled, identically-framed specimens. There is also a definite anthropomorphism to her images of roots, flowers, and vegetables, which is hardly a scarcity in art’s big book of thematic tactics, yet never gets old. In this thread are the gnarled root-fingers of Root Ball (44 x 30 inches), and the clitoral character of Blue Java Bud (44 x 30 inches) with its cauterized umbilical stem nub and enfolding husks like a carved wooden mask or tribal talisman. But many aren’t about people at all. In Orchid Cactus Flower #1 (44 x 30 inches), the waxy texture of the leaf, like star fruit, is inviting rather than threatening. It has a bit of magic to its luminosity that seems to radiate from within, its translucent flesh refracting light like glazed pigment might in a painting. The flushed and ruddy, royal purple parchment skin and dynamic fling of glistening, intense spring green on Red Onion (44 x 30 inches) is impossibly gorgeous and hasn’t a thing to do with the human body. The approach to color and texture here is a painterly one, while the detail, the sheer amount of mass and surface, that it is possible to achieve in digital photography both supports and supplants that element of her style.
O’Neal’s subjects (aside from the fact that her real subject is photography itself,) in any case her “sitters” or pretexts are, so to speak, natural models, photogenic at every instant and from any angle. But eerily, it is also clear that nothing on display is still alive. It’s all been plucked, pulled from the earth, harvested in some way; it may be ripe and even edible, but it is all already dead and dying. That’s where some of the most humanity in the work reveals itself—not on the explicitly formal level of a Weston, but on the spiritual, existential level of an organic life. Orchid Cactus Flower #3 (44 x 30 inches) is the only picture that captures movement—there are petals photographed mid-fall; very sexy hot pink petals, seductive and alluring, on their way to hitting the ground with a dramatic flair, the up-arching stalk and face/center of the bloom straining toward the “sky” with poignancy; the humanoid stance to its bodily form and pose hinting at consciousness. This image is Romantic almost to the point of the tragic, chronicling the closest activity these inanimates can claim to a narrative arc. The diptych Cavendish Floral Bud and Cavendish Floral Stalk (2008, 44 x 30 inches each) adds the fraught energy of relationships to this equation with its male-female pairing. A richly detailed, multi-faceted bronze, muscular husk with its disheveled mop of curly “hair” and sweet cap of green stalks rests on one side, and a more feminine form of the same species, its dusky pink flower still modest but emerging from under the protective chastity of the husk rests on the other. They are separate but eternally linked, like sides of a coin, or the gender divide they represent as metaphor and metonymy—and there is more material for sexual projection in them as any Rorschach test-giver could dream of. But then again, people seem to love to see themselves in pictures.
Saturday, July 18, 2009
Jona Frank's Upcoming Exhibition and Book Review in THE Magazine
This September, DNJ Gallery will be showing images from Jona Frank's new series "Boys." A selection of images from this exhibition are on the DNJ website.
Frank's monograph Right: Portraits from the Evangelical Ivy League,
published by Chronicle Books in 2008, was recently reviewed by THE Magazine.
The book and series documents a group of students from Patrick Henry
College, known as "Harvard for Homeschoolers" which was created for young right-wing Evangelical Christians. As reviewer Julia Schlosser says about the book:
"Her insightful views allow the students to articulate their religious
values and aspirations, broadening our view of their lives."
To read the full review, click here for a downloadable version. If you are interested in purchasing a copy of this book, please contact the gallery.
Frank's monograph Right: Portraits from the Evangelical Ivy League,
published by Chronicle Books in 2008, was recently reviewed by THE Magazine.
The book and series documents a group of students from Patrick Henry
College, known as "Harvard for Homeschoolers" which was created for young right-wing Evangelical Christians. As reviewer Julia Schlosser says about the book:
"Her insightful views allow the students to articulate their religious
values and aspirations, broadening our view of their lives."
To read the full review, click here for a downloadable version. If you are interested in purchasing a copy of this book, please contact the gallery.
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