BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Human Resources - ECPv6.15.17//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Human Resources X-ORIGINAL-URL:https://www.h-r.la X-WR-CALDESC:Events for Human Resources REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20100314T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20101107T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20110313T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20111106T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20120311T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20121104T090000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20111029T000000 DTEND;TZID=America/Los_Angeles:20111029T000000 DTSTAMP:20260406T222441 CREATED:20160310T104303Z LAST-MODIFIED:20160310T104303Z UID:1104-1319846400-1319846400@www.h-r.la SUMMARY:00:00 RESET website launch party DESCRIPTION:performances and music / dance party URL:https://www.h-r.la/event/0000-reset-website-launch-party/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20111027T000000 DTEND;TZID=America/Los_Angeles:20111027T000000 DTSTAMP:20260406T222441 CREATED:20160310T104303Z LAST-MODIFIED:20160310T104303Z UID:1103-1319673600-1319673600@www.h-r.la SUMMARY:Cindy Bernard DESCRIPTION: URL:https://www.h-r.la/event/cindy-bernard/ END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20111022 DTEND;VALUE=DATE:20111114 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20170521T101213Z UID:1097-1319263200-1321163999@www.h-r.la SUMMARY:Molly Larkey - The Lost Alphabet\, Pants That Fit\, and Other Implausible Disguises DESCRIPTION:Opening Reception: Saturday\, October 22nd\, 2011\, 7pm-10pm \nHuman Resources is pleased to present Molly Larkey: The Lost Alphabet\, Pants That Fit\, and Other Implausible Disguises In her new body of work\, Larkey continues to investigate the boundaries between the self and the world\, by looking at the ways the individual is both hidden and revealed through representation in language and clothing. Including painting and sculpture\, the new works incorporate flatness and volume\, painted gestures and printed patterns\, symbolic language and raw materiality\, and evoke a bodily presence while remaining within abstraction. The variety of works in the exhibition – ranging from large sculpture to small painting – actively engage the viewer within the architecture of the exhibition space. \nIn making welded metal sculpture\, Larkey responds to a tradition of modernist male sculptors\, from Anthony Caro and Tony Smith to lesser known figures such as Julio Gonzalez and Jorge Oteiza. The sculptures reveal hidden subjects: phrases broken down into fragments of language\, and dress patterns made into armor-like edifices. By injecting familiar\, everyday content into this tradition of abstraction\, Larkey provides a slippage between looking\, reading\, and wearing – evoking and questioning the different ways that one interacts with an object in the world. \nSimilarly\, in the paintings\, what seems to be a straightforwardly painted surface reveals itself to be layers of raw canvas\, fabric\, clay fragments\, and paint. For “The Lost Alphabet\,” Larkey imagines an alternative to the basic elements of language\, suggesting that the world is not as fixed as it might seem\, and that new modes of communication are possible. In the series “Masks\,” each painting contains within it an abstracted face; the paint becomes a kind of make-up\, and the painted surface becomes a series of false fronts. Using different materials and techniques to extract both solid forms and subtle gestures\, the paintings confuse negative and positive space\, yielding lyrical shifts between the covering and the covered-up. \nMolly Larkey (b. 1971\, Los Angeles) lives and works in Los Angeles\, CA. She received a MFA from Rutgers University\, New Jersey and a BA from Columbia University\, New York. Her work has been featured in exhibitions at PS1 Moma\, New York; The Saatchi Gallery\, London; The Drawing Center\, New York; Horton Gallery\, New York; Samson Projects\, Boston; Bobbie Greenfield Gallery\, Santa Monica; Ochi Gallery\, Ketchum; among others. She is the founder of Statler Waldorf Gallery\, an alternative art space\, which she runs from her home in Echo Park. \nOn view October 22nd – November 12th\, 2011\, Thursday – Saturday 12-6pm URL:https://www.h-r.la/event/molly-larkey/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/Mask_1_WEB.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20111020 DTEND;VALUE=DATE:20111104 DTSTAMP:20260406T222441 CREATED:20160310T104303Z LAST-MODIFIED:20170521T101447Z UID:1102-1319090400-1320299999@www.h-r.la SUMMARY:Plain Brown Wrapper DESCRIPTION:Sophie Lee\nAnne McCaddon\nAllison Miller\nYunhee Min \nOpening Reception: Saturday\, October 22nd\, 7-10 pm \nA plain brown wrapper is used when something is too valuable – or too subversive – to reveal to the world. It’s a strategy of concealment\, so that the treasured object isn’t immediately recognized for what it is. It’s also an enticement; since only things of value are given a plain brown wrapper\, it creates an urgency to know what lies beneath the surface. “Plain Brown Wrapper” presents four LA-based artists – Sophie Lee\, Anne McCaddon\, Allison Miller\, Yunhee Min – whose work shares a seemingly straightforward\, humble presentation that leads to layered richness upon further looking. This exhibition is a joint venture between Human Resources and Statler Waldorf Gallery. \nOn view in the Upstairs Gallery: October 20th – November 2nd\, 2011\, Thursday – Saturday 12-6pm \nSophie Lee has a BA from Mills College and an MFA from the University of California\, Irvine. Her work is a response to the formal and psychological manifestations of spaces\, whether the frame of the paper or the architecture of a room. Incorporating a variety of found and traditional artist materials\, the work manifests as collage\, painting\, sculpture and installation. \nAnne McCaddon received her BFA from the School of the Art Institute of Chicago in 2002 and her MFA in Painting from the University of California\, Los Angeles in 2009. Solo exhibitions include Over-Under Worked\, with Artist Curated Projects at Parker Jones and The Alphabet Paintings at The Los Angeles County Museum of Art ARSG Special Exhibitions. McCaddon has exhibited with Statler Waldorf Gallery\, Los Angeles\, CA; Arena 1 Gallery\, Santa Monica\, CA; Steve Turner Contemporary\, Los Angeles\, CA; Black Dragon Society\, Los Angeles\, CA; Glu & Harvey Levine Temporary\, Los Angeles\, CA; and V&A\, New York\, NY. \nAllison Miller received her BFA in Printmaking from the Rhode Island School of Design and her MFA with a concentration in Painting and Drawing from the University of California\, Los Angeles. She has had solo exhibitions with and is represented by ACME.\, Los Angeles and has a forth-coming solo exhibition at Susan Inglett\, New York. Group exhibitions include: New Art for a New Century\, Orange County Museum of Art\, Newport Beach\, Meet Me Inside\, Gagosian Gallery\, Los Angeles\, Tables and Chairs\, D’Amelio Terras\, New York\, Something About Mary\, Orange County Museum of Art\, LA Now\, Las Vegas Museum of Art\, softcore HARD EDGE\, The Art Gallery of Calgary\, and a four person exhibition at Redling Fine Art\, Los Angeles. Her work has been reviewed in Flash Art\, Artforum\, Frieze\, and the Los Angeles Times. In 2009\, she was included in Painting Abstraction: New Elements In Abstract Painting\, by Bob Nickas\, published by Phaidon Press. She has lectured at various colleges and graduate programs and has taught at the University of California\, Los Angeles\, the University of California\, San Diego\, the University of California\, Irvine\, the University of California\, Riverside\, Anderson Ranch Arts Center and Claremont Graduate University. \nYunhee Min holds a BFA degree from Art Center College of Design and a MA degree from Harvard University. Solo exhibitions include LAX ART\, Los Angeles\, The Amie and Tony James Gallery at The City University of New York\, The Pasadena Museum of Contemporary Art\, The Museum of Contemporary Art\, San Diego (Circa Series)\, ArtPace\, San Antonio\, TX; Yerba Buena Center for the Arts\, San Francisco\, CA; and the Luckman Gallery\, California State University\, Los Angeles\, CA. Min has been included in exhibitions at Silvershed\, New York\, NY; Sweeney Art Gallery\, Riverside\, CA; the Weatherspoon Museum\, Greensboro\, NC; the CCAC Wattis Institute for Contemporary Arts\, San Francisco\, CA; the Seattle Art Museum\, Seattle WA; Artists Space\, New York\, NY; in “Snap Shot”\, UCLA Hammer Museum\, Los Angeles; in the Altoids Collection at The New Museum\, New York\, NY; the California Center for the Arts\, Escondido\, CA; and the San Francisco Art Institute\, Walter/McBean Gallery\, San Francisco\, CA. \nStatler Waldorf Gallery is an artist-run exhibition space located in a private residence in Echo Park. We are open by appointment only. For more information\, please email: info@statlerwaldorfgallery.com. URL:https://www.h-r.la/event/darin-and-molly-show-upstairs/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/4_play.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20111015T000000 DTEND;TZID=America/Los_Angeles:20111016T000000 DTSTAMP:20260406T222441 CREATED:20160310T104303Z LAST-MODIFIED:20160310T104303Z UID:1101-1318636800-1318723200@www.h-r.la SUMMARY:HDTS DESCRIPTION: URL:https://www.h-r.la/event/hdts/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20111013T180000 DTEND;TZID=America/Los_Angeles:20111013T210000 DTSTAMP:20260406T222441 CREATED:20160310T104303Z LAST-MODIFIED:20180725T213253Z UID:1099-1318528800-1318539600@www.h-r.la SUMMARY:Dawn Kasper\, Karen Adelman\, Tara Jane ONeil\, Alejandra Herrera\, and Marilyn Arsem\, Free Clinic #2\, curated by The Action Bureau DESCRIPTION:Alejandra Herrera “Sagrado y Profano” (2011) Photo credit: The Action Bureau \nTHE ACTION BUREAU is pleased to present FREE CLINIC #2\, the second installment in an ongoing series of of action-based\, body-centric performance events. FREE CLINIC #2 will take place on Thursday\, October 13\, 2011 from 6pm-9pm and is hosted by Human Resources\, the performance-focused art collective in L.A.’s Chinatown gallery district. \nThe FREE CLINIC provides a platform for Los Angeles-based artists to connect with the larger international performance community. By pairing artists with intersecting methods and practices\, The FREE CLINIC aims to engage the local public with the growing discourse surrounding the performance art medium. Each Clinic in the series will include a publication featuring photographs and writings on the artists’ work\, to be distributed free-of-charge to attendees. \nFREE CLINIC #2 will bring together Internationally renowned artists Marilyn Arsem (Boston\, MA)\, Alejandra Herrera (Los Angeles\, CA\, b. Santiago\, Chile)\, and Dawn Kasper (Los Angeles\, CA) to present new performance work in Los Angeles. Unintentionally coinciding with the October full moon\, the event on the 13th will feature three of today’s most exciting performance artists that all share a distinct investment in the unique properties and conditions of live performance. These include the fundamental centrality of the subjective body\, the role an audience plays in relation to the performer\, and the transformation of a material’s meaning through action. \nThere is no charge for admission\, and complimentary refreshments will be provided. \nPlease help keep the Free Clinic FREE! This event is funded by donations\, large and small\, from generous individuals like yourself. Please show your support by donating now\, and receive your choice of Action Bureau/Free Clinic gifts. \nAbout the Artists \nMARILYN ARSEM has been creating live events since 1975\, ranging from solo performances to large-scale works incorporating installation and performance. She has presented work at festivals\, alternative spaces\, galleries\, museums\, conferences and universities throughout Europe\, Asia\, North and South America. In many of her recent performances\, Arsem has focused on current political issues. Her site-specific performances respond to both the history of the site\, as well as to the immediate landscape and materiality of the location. The events are designed to implicate the audience directly in the concerns of the work\, to create an experience that is both visceral and intellectual. To accomplish this\, she incorporates a broad range of media\, and often engages all the senses. Sites have included a former Cold War missile base in the United States\, a 15th century Turkish bath in Macedonia\, an aluminum factory in Argentina\, and the site of the Spanish landing in the Philippines. She is a full-time faculty member at the School of the Museum of Fine Arts\, Boston\, where she teaches performance art\, and is a graduate advisor. \nALEJANDRA HERRERA is a visual artist and performer from Santiago (Chile)\, currently living in Los Angeles (USA). She has presented her performances in numerous galleries and festivals in South and North America as well as Europe. She was Assistant Professor at the Performance Art Workshop of Alexander Del Re in Valparaíso. Her works usually include woman’s being as an object in and of itself\, sometimes in contrast to the male being\, exploring sensuality and materiality in relation to her body\, both in digital pictures and in performance. She has produced and organized visual arts shows\, such as the Annual Showcase of Students of the Arts Faculty of the University of Chile\, exhibitions at the Museum of Contemporary Art of Santiago\, “Av-ant Perfo”\, the first international performance art show in Valparaíso\, and “Perfo Puerto”\, the First Latin American festival of performance art in Chile. \nDAWN KASPER is an active Los Angeles based performance artist. Kasper has performed and exhibited internationally at galleries and institutions including the Migros Museum Für Genenwartskunst in Zurich\, LISTE Basel\, the J. Paul Getty Museum\, Art Basel Art Positions Miami\, LACMA\, LACE\, The Hammer Museum\, MOCA\, Newman Popiashvili Gallery New York\, Anna Helwing Gallery\, Circus Gallery\, Leo Koenig Inc.\, Projekte New York\, Art in General New York\, Copy Gallery Philadelphia\, and David Castillo Gallery Miami. Kasper is currently one of the acting co-directors of the performance and experimental art venue Human Resources in Los Angeles. \nAbout the Organizers \nTHE ACTION BUREAU is a curatorial collective founded by artists Parker Davis and Paul Waddell\, and now includes Catherine Taft. 
Please visit us online at http://actionbureau.tumblr.com/ \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \nAlejandra Herrera “Sagrado y Profano” (2011) Photo credit: The Action Bureau \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \nDawn Kaspar featuring Karen Adelman and Tara Jane O’Neil “Meditations in a Fucked Up Emergency” (2011) \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\nMarilyn Arsem\, “Dissolution”\, (2011). photo credit: The Action Bureau URL:https://www.h-r.la/event/free-clinic-2/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:one-time event at HR ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/tumblr_lt958kPcQs1ql9tcvo1_1280.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20111012T000000 DTEND;TZID=America/Los_Angeles:20111012T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160310T104302Z UID:1098-1318377600-1318377600@www.h-r.la SUMMARY:AD HOC concert DESCRIPTION: URL:https://www.h-r.la/event/ad-hoc-concert/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110919T000000 DTEND;TZID=America/Los_Angeles:20110919T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160310T104302Z UID:1096-1316390400-1316390400@www.h-r.la SUMMARY:Metal Rouge show DESCRIPTION: URL:https://www.h-r.la/event/metal-rouge-show/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110916T000000 DTEND;TZID=America/Los_Angeles:20111007T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20200410T084204Z UID:1093-1316131200-1317945600@www.h-r.la SUMMARY:Eros and Civilization DESCRIPTION:Eros And Civilization \nSeptember 16 – October 7\, 2011 \nOpening reception: Friday\, September 16\, 7-10 PM \nHeather Cantrell\nDawn Kasper\nTricia Lawless Murray\nDavida Nemeroff\nAmy Sampson \nCurated by Benjamin Lord \nEros And Civilization gathers together the work of five female artists based in Los Angeles who use photography to explore the relationship between desire\, power\, and the act of looking. Where classical theories of art associate femininity primarily with the power of seduction\, these artists explore an active female observer that negotiates a complex\, polymorphous range of positions between the liberated post-feminist subject\, the objectively distanced genderless observer\, and the subjected sex object. \nThe title of the exhibition is borrowed from Herbert Marcuse’s famous book\, a critique of Freud that became a philosophical touchstone of the New Left\, and of the 60s counterculture in general. Marcuse broadly argued that Freud’s separation of the libido and the repressive superego was oversimple\, and that Eros was not merely a chaotic but rather a constructive force. In Marcuse’s vision\, it was the task of classical art to orchestrate a return of the repressed\, not only on the individual but also on the generic-historical level. “The imagination shapes the ‘unconscious memory’ of the liberation that failed\, of the promise that was betrayed.” But in the era of capitalism’s highly structured exchanges\, Marcuse argues\, it is not enough for art to espouse a merely uninhibited or utopian pre-genital sexuality. In order to negate the unfreedom of capitalism\, it is paradoxically necessary to at first represent that very unfreedom within the artistic work. Writing in 1955\, he claimed that “at the present stage\, in the period of total mobilization\, even this highly ambivalent opposition [that of catharsis] seems no longer viable. Art survives only where it cancels itself\, where it saves its substance by denying its traditional form and thereby denying reconcilation…” \nA half century later\, these aesthetic theories have percolated into the mainstream of artistic practice. In wildly disparate fashion\, each of the artists in this exhibition employ a creative strategy that can be described as an oscillation between power and subjection\, in which utopic fantasies of liberation are tempered and sustained by darker fantasies of subjection and unfreedom. These artists take up the reality principle of the photographic camera\, which instantly sketches the known surfaces of things\, and collide it with deeply personal\, unstable\, and hermetic realms of uncivilized fantasy\, which the camera by its very nature ultimately refuses to be fully reconciled with. This failed reconcilation becomes an aesthetic success\, however\, to the extent that it presents a true image of the our own civilization. \nWithin the exhibition: \nHeather Cantrell\, known for her photographic portraiture\, will debut The Looker\, her first video. The piece broadly alludes to the famous sequence in Antonioni’s film Blow-up\, in which a female model is ravished by a male photographer\, and photography becomes a substitute for sex. In Cantrell’s scenario\, however\, it is the female who controls the camera. The artist (and her “double\,” a friend who stands in for her at one point) unfold a scenario in which the female photographer directs and controls a male model\, played by Cantrell’s real-life fiancé. \nDawn Kasper will show a new photographic diptych. Kasper has described the two dimly lit images as existing in relationship to an intimate dreamlike state of consciousness but also as an implied image diary\, referencing the passage of time in monotonous day to day living.  As inspiration for this piece\, she references a passage from Freud’s Civilization and its Discontents: “the struggle between human instincts and the conscience of repression (superego) which is self-repressing trying to follow society’s mores and norms…” \nTricia Lawless Murray will exhibit an installation of photographs that explore the theme of masochism. Harshly lit images of the artist’s bruised body are shown alongside landscapes and interiors\, creating a fractured tapestry that depicts a broken narrative addressing sexuality\, desire and loss. \nDavida Nemeroff‘s new work explores the nature of spectatorship through the thematic device of the gorilla habitat at the Los Angeles Zoo. Large scale color photographs made with a consumer camera are mounted onto a sculptural support of intersecting planes\, placing the gorillas near life size. The photographs are at once formal motion studies\, self-conscious meditations on the act of display\, and comments on the zoo as a constructed metaphor for primitive desire. \nAmy Sampson will show two new large works. First\, the large installation The Last Photo I Took of Heather is an sprawling archive of photographs of the artist’s friend and occasional muse. Produced over a period of a decade\, the images mix fact with fiction\, dress-up with undress\, and intimacy with estrangement\, narrating a tumultuous relationship in a complex\, diaristic style. Second\, the sculpture Total Depravity is a lifesize sculptural casting of the artist’s own naked body\, covered in sushi\, displayed on a glass table. Evoking the international feminist furor over nyotaimori\, the Japanese practice of serving sushi off of a nude model\, the sculpture calls into the question the very act of aesthetic consumption. \nThe exhibition will be accompanied by a makeshift photocopied lettersize publication\, which does not document the work in the exhibition so much as expand upon its multiple contexts. The publication responds to the expectations surrounding a group show catalogue\, but explicitly channels the production style of early 90s zines\, at the pivotal moment when affordable desktop publishing was radically transforming the visual style of DIY print production. The publication will include contributions from each of the artists\, along with texts from Eric Kroll and John Tottenham. Copies will be available for purchase at the gallery. \nPersonnel \nHeather Cantrell is best known for her photographic portraiture\, which considers the relationships between notions of self\, social status\, public performance\, and collective identity. She has had solo exhibitions at Kinkead Contemporary (Los Angeles)\, MOT International (London)\, Newman Popiashvilli (New York\, NY)\, sixspace (Los Angeles) and Sandroni Rey Gallery (Los Angeles). Group shows include Wonderland Art Space (Copenhagen\, Denmark)\, curated by Paul Pys; The Luckman Fine Arts Complex at CSULA (Los Angeles)\, curated by Annie Buckley; the 18th Street Art Center (Los Angeles)\, curated by Ciara Ennis and CCA Wattis Institute (Oakland); and the exhibition Likeness: Portraits of Artists by Other Artists\, curated by Matthew Higgs. Reviews of her work have been published in Artforum\, New York Times\, Frieze\, LA Weekly\, and the Los Angeles Times. Born in Louisville\, Kentucky\, Cantrell received her MFA from UCLA in 2001 and her BFA from the Maryland Institute\, College of Art in 1995. \nDawn Kasper is well known for her performances that explore language\, subjectivity\, the body\, and cultural norms of behavior. She has performed and exhibited at galleries and institutions including the Migros Museum Für Genenwartskunst in Zurich\, LISTE Basel\, the J. Paul Getty Museum\, Art Basel Art Positions\, Miami\, LACMA\, LACE\, The Hammer\, MOCA\, Newman Popiashvili Gallery\, New York\, Anna Helwing Gallery\, Honor Fraser Gallery\, Circus Gallery\, Leo Koenig Inc.\, Projekte\, New York. Her videos have been screened at Art in General\, New York; Copy Gallery\, Philadelphia; and David Castillo Gallery\, Miami. Kasper is one of the founding members of Human Resources. \nTricia Lawless Murray uses photography\, video\, and performance to document the interaction between personal fantasy and the mediated world of representation. She is represented by Jancar Gallery in Los Angeles and has exhibited her work in Germany\, Iran\, Poland\, Spain\, and Taiwan. Her work was included in The Collector’s Guide to New Art Photography\, Vol. 2 published in March 2011. She also curated eros/thanatos\, a project containing the photographic work of 36 artists\, which was first exhibited at PØST in Los Angeles before traveling to Project Space Kreuzberg in Berlin and then back to Southern California to be shown as part of the 12 Gauge Series at the Torrance Art Museum. Born and raised along the coast in Southern California\, she completed her BA in the History of Art at UC Berkeley and her MFA at the California College of the Arts in San Francisco. \nDavida Nemeroff works with the language of photographic print to explore how pictorial information is literally and metaphorically framed. She holds a BFA in Photographic Studies from Ryerson University (2004) and a MFA in Visual Arts from Columbia University (2009.) Her work has been exhibited in Canada\, The United States\, Germany and South Korea.  She is represented by Annie Wharton Los Angeles in the U.S. and by Katharine Mulherin Contemporary Art Projects in Canada. In addition to her work as an artist\, she is active as an organizer\, co-directing the nocturnal platform Night Gallery in Los Angeles. \nAmy Sampson has an MFA from California College of the Arts in Photography and a BFA from Sonoma State University in printmaking.  She has exhibited her photography and short films in the Moscow Biennial\, the Institute of Contemporary Art in San Jose\, The Valand School of Art in Sweden\, Tart Gallery in San Francisco\, the DiRosa Preserve\, Materials and Applications\, Los Angeles\, CA\, and The Silver Lake Film Festival. She is also active in the collaborative EarthBound Moon\, a group that produces site-specific sculptural projects internationally. \nBenjamin Lord received his MFA from UCLA\, and his BA from the University of Chicago. His artwork spans the techniques of photography\, video\, drawing\, sculpture\, and bookmaking. A solo exhibition of his work titled False Positives will be on view at Las Cienegas Projects in Culver City from September 10 – October 8\, 2011. Much of his work takes the form of a collection or sequence of images\, objects and texts. Most recently\, in 2010\, Humaliwo Chambers\, a set of twenty five color photographs in three portfolios\, was published in a large edition as the Norton Christmas Project. As a curator\, last year Lord organized Three Tall Men\, a group show with Erik Bluhm\, Paul Gellman\, and Peter Harkawik at Space 1520 in Hollywood. He is also active as a writer on art\, publishing feature articles in X-TRA\, Afterimage\, and other publications. URL:https://www.h-r.la/event/ben-lord-group-show/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/eros-and-civilization.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110907T000000 DTEND;TZID=America/Los_Angeles:20110907T010000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20200410T084502Z UID:1092-1315353600-1315357200@www.h-r.la SUMMARY:Chiara Giovando "Time Bodies" Performance Event DESCRIPTION: URL:https://www.h-r.la/event/chiara-g-time-bodies-performance-event/ CATEGORIES:one-time event at HR END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110902T000000 DTEND;TZID=America/Los_Angeles:20110902T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20200410T084521Z UID:1091-1314921600-1314921600@www.h-r.la SUMMARY:Marnie Weber and Fauxmish world premiere DESCRIPTION: URL:https://www.h-r.la/event/marnie-weber-and-fauxmish-world-premiere/ CATEGORIES:one-time event at HR END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110826T000000 DTEND;TZID=America/Los_Angeles:20110826T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160310T104302Z UID:1090-1314316800-1314316800@www.h-r.la SUMMARY:howardAmb and Leila Adu DESCRIPTION: URL:https://www.h-r.la/event/howardamb-and-leila-adu/ END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20110823 DTEND;VALUE=DATE:20110825 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160522T195729Z UID:1089-1314079200-1314165599@www.h-r.la SUMMARY:MGM Grand: NUT DESCRIPTION:“MGM Grand is coolness incarnate.” ~ New York Times \nNUT is structured like a nut: a fruit with a skin\, meat\, and a seed. NUT speaks to our relationship with dance\, as practice and as a discipline. NUT is MGM’s first dance created during the winter months. It questions the aesthetics of produced dance\, and how it is expected to affect an audience and a venue. NUT takes cues from diverse performance cultures and historical influences such as Motown\, elements of the mid-90’s NYC dance improvisation scene and Tommy DeFrantz’s dance class for undergraduates at MIT. \nMGM Grand (Modern Garage Movement)\, an (un)disciplined art dance group\, started as a threesome in a one-car garage in CA. Since 2005\, MGM has taken themselves on the road\, transforming spaces into arenas for audience-mobilizing dances: garages\, galleries\, alleyways\, schools\, movie theaters\, streams and valleys. NUT began in Cambridge at MIT\, premiered at The Kitchen\, was recently performed at the Museum of Contemporary Art Detroit (MOCAD) and will travel up the West Coast Aug/Sept 2011. \nMGM is Biba Bell\, Jmy Leary and Piage Martin\, with R McNeill. \nPrevious works include Oneness: Making It With Love (2010)\, Easy Royce (2010)\, Royce (2009)\, Dajointe (2009)\, Tonight (2009)\, New Gree (2008)\, THIS DANCE IS CALLED GREE\, IT IS FROM BEDSTUY. (2007) and Maynard (2005). \nMGM has performed at numerous places\, including American Dance Festival\, Durham\, NC; Artissima\, Turin\, Italy; Bohemian National Home\, Detroit\, MI; Callicoon Fine Arts\, Callicoon\, NY; Capital Theater\, \nOlympia WA; Creative Time OceanFront Pavilion at Miami Art Basel\, Miami\, FL; Esalen Institute\, Big Sur\, CA; Henry Miller Library\, Big Sur\, CA; Jack Hanley Gallery\, NY\, NY; MacArthur b Arthur\, Oakland\, CA; Milk & Honey\, Sebastopol\, CA; Massachusetts Institute of Technology\, Cambridge\, MA; Mission Creek Music Festival\, San Francisco\, CA; Museum of Jurassic Technology\, LA\, CA; Pace Wildenstein Gallery\, NY\, NY; Pacific Northwest College of Art\, Portland\, OR; Pleasure Pad\, San Francisco\, CA; Shane’s llama barn\, Portland\, OR; Subterranean Arthouse\, Berkeley\, CA; The Kitchen\, NY\, NY; and Twin Peaks Orchard\, Lincoln\, CA. \nFor more information\, visit www.moderngaragemovement.com.\nmoderngaragemovement@gmail.com URL:https://www.h-r.la/event/jmy-and-mgm-grand/ CATEGORIES:one-time event at HR ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/NUTband.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110819T000000 DTEND;TZID=America/Los_Angeles:20110819T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160310T104302Z UID:1087-1313712000-1313712000@www.h-r.la SUMMARY:Dorian Wood and Dave Dominique of Killsonic DESCRIPTION:pick one day for an opera and Dave Dominique to perform for a night URL:https://www.h-r.la/event/dorian-wood-and-dave-dominique-of-killsonic/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110811T000000 DTEND;TZID=America/Los_Angeles:20110905T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160523T095924Z UID:1085-1313020800-1315180800@www.h-r.la SUMMARY:Peter Harkawik/Group Show DESCRIPTION: URL:https://www.h-r.la/event/show-proposal-peter-harkawikgroup-show/ END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20110809 DTEND;VALUE=DATE:20110811 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20170521T103240Z UID:1084-1312869600-1312955999@www.h-r.la SUMMARY:The Action Bureau: Free Clinic #1 DESCRIPTION:Free Clinic #1\nOrganized by The Action Bureau \nJoe Deutch\nJeff Huckleberry\nJamie McMurry \nTHE ACTION BUREAU is pleased to present FREE CLINIC #1\, the first installment in a forthcoming series which features new works in performance by contemporary artists. FREE CLINIC #1 will take place on Tuesday\, August 9\, 2011 from 7pm-10pm and is hosted by Human Resources\, the performance-focused art collective occupying the former Cottage Home Gallery in Chinatown. The FREE CLINIC provides a platform for artists to explore action-based performance art and will pair Los Angeles-based artists with those from the performance community at large. The FREE CLINIC will also engage the local public with the growing discourse surrounding the performance art medium. Each clinic in the series will include a publication featuring photographs and writings on the artists’ work\, to be distributed free-of-charge to attendees. \nFREE CLINIC #1 presents live works by renowned artists Joe Deutch\, Jeff Huckleberry\, and Jamie McMurry. These artists have reputations for creating intensely visceral works which engage the audience in their highly personal\, often-times violent battle against the dominant moral economy. Through their unique methods\, each structures a sequence of actions\, which together describe a collision of physical and psychological space. Each artist has idiosyncratic means of attributing value to their own actions and in doing so\, they question the rationality that allows us to perpetuate cultural standards at the expense of our own desires. \nAbout the Artists \nJOE DEUTCH received a BFA from Webster University\, St. Louis\, in 2001 and an MFA from UCLA in 2007. Working in video\, installation\, and performance\, Deutch has been steadily barreling challenge against the rational. He has exhibited at PS1 MOMA\, and is represented in Los Angeles by Parker Jones Gallery. \nJEFF HUCKLEBERRY received his undergraduate and graduate degrees from the School of the Museum of Fine Arts\, Boston. Jeff has been performing art for the last 20 years\, both nationally and internationally. Upcoming exhibitions include TIME EATERS w/ Vela Phelan at Grace Exhibition Space\, Brooklyn\, NY September 8th\, and Préavis de désordre Urbain\, Marseille\, France\, September 17th-24th. \nJAMIE McMURRY has been an active organizer\, educator and artist in the fields of performance\, installation\, video and conceptual art for over fifteen years and is currently based in Los Angeles. His upcoming exhibitions include: SubStation Gallery\, Singapore; Existence Festival\, Brisbane\, Australia; Guangzohu Live\, Guangzohu\, China; and curator of “This Is Performance Art” exhibit\, CCA Glasgow\,Scotland. \nAbout the Organizers \nTHE ACTION BUREAU is a curatorial collective founded by artists Parker Davis and Paul Waddell.\nPlease visit us online at http://actionbureau.tumblr.com/ URL:https://www.h-r.la/event/action-bureau/ CATEGORIES:one-time event at HR ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/tumblr_lpu7wtmnhS1ql9tcvo4_r1_1280.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110803T000000 DTEND;TZID=America/Los_Angeles:20110805T020000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160310T104302Z UID:1082-1312329600-1312509600@www.h-r.la SUMMARY:Hana Van Der Kolk DESCRIPTION: URL:https://www.h-r.la/event/hana-van-der-kolk/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110802T000000 DTEND;TZID=America/Los_Angeles:20110802T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160310T104302Z UID:1081-1312243200-1312243200@www.h-r.la SUMMARY:max markowitz double feature DESCRIPTION: URL:https://www.h-r.la/event/max-markowitz-double-feature-2/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110730T000000 DTEND;TZID=America/Los_Angeles:20110730T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160310T104302Z UID:1080-1311984000-1311984000@www.h-r.la SUMMARY:Lady noise and friends DESCRIPTION: URL:https://www.h-r.la/event/lady-noise-and-friends/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110726T000000 DTEND;TZID=America/Los_Angeles:20110726T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160310T104302Z UID:1077-1311638400-1311638400@www.h-r.la SUMMARY:max markowitz double feature DESCRIPTION: URL:https://www.h-r.la/event/max-markowitz-double-feature/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110719T000000 DTEND;TZID=America/Los_Angeles:20110719T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160310T104302Z UID:1076-1311033600-1311033600@www.h-r.la SUMMARY:max markowitz double feature night DESCRIPTION: URL:https://www.h-r.la/event/max-markowitz-double-feature-night/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110717T000000 DTEND;TZID=America/Los_Angeles:20110717T000000 DTSTAMP:20260406T222441 CREATED:20160310T104302Z LAST-MODIFIED:20160310T104302Z UID:1075-1310860800-1310860800@www.h-r.la SUMMARY:Thank You Rosekind and Little Band of Sailors DESCRIPTION: URL:https://www.h-r.la/event/thank-you-rosekind-and-little-band-of-sailors/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110715T000000 DTEND;TZID=America/Los_Angeles:20110715T000000 DTSTAMP:20260406T222441 CREATED:20160310T104301Z LAST-MODIFIED:20160310T104301Z UID:1074-1310688000-1310688000@www.h-r.la SUMMARY:Grant Capes show DESCRIPTION: URL:https://www.h-r.la/event/grant-capes-show/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110714T000000 DTEND;TZID=America/Los_Angeles:20110714T000000 DTSTAMP:20260406T222441 CREATED:20160310T104301Z LAST-MODIFIED:20160310T104301Z UID:1073-1310601600-1310601600@www.h-r.la SUMMARY:Garbaej Kaetz DESCRIPTION: URL:https://www.h-r.la/event/garbaej-kaetz/ END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20110709 DTEND;VALUE=DATE:20110808 DTSTAMP:20260406T222441 CREATED:20160310T104301Z LAST-MODIFIED:20161218T213620Z UID:1072-1310191200-1312696799@www.h-r.la SUMMARY:mal-dis-tri-bu-tion - Scott Benzel DESCRIPTION:mal-dis-tri-bu-tion\, a solo show by Scott Benzel\nUpper Gallery \nDownload Maldistribution Publication for ipad/iphone epub format\, control click and save \n‘Maldistribution’\, solo show @ Human Resources at Cottage Home\, Chinatown\, Los Angeles\, through August 6 \nArtforum Review. pdf \nArtReview Oct. 2011 Review \nMaldistribution I pdf \nChecklist pdf Bison Dele pdf \n\n\nmal-dis-tri-bu-tion \n\nn. Faulty distribution or apportionment\, as of resources\, over an area or among a group. Maldistribution is a term generally applied to economic disparity: It most often refers to \nthe inequal distribution of resources or capital. \nIt is a term that also suggests ‘bad’ distribution- a common complaint of producers of cultural artifacts: records\, films\, mass-produced objects. In this context\, it refers to a lack of wide commercial availability of a specific product\, usually through the fault of the distributor. Maldistribution has poor consequences for mass-produced objects and good consequences for their opposite in the realm of distribution: objects of art. \nA work of art actually benefits from lack of accessibility\, from ‘bad distribution’. Its rarity is the source of much of its value. The editioned print or photograph\, the one-of-a- kind painting\, the small-print-run book are all infused with value through scarcity. Simultaneous with scarcity\, publicity plays a vital role in the value equation: the work must be visible through publicity\, reproduction\, and discourse while remaining physically inaccessible. Through the combination of publicity and scarcity\, the work of art’s physical existence is charged with value in a process dialectically opposed to that of the mass-produced object. \nThis is a collection of objects which have been repurposed in ways that generate ambiguity or friction within the continuum of intention and reception. The complex interactions between the roles of producer and distributor of mass-cultural artifacts in creating and reframing meaning inform the ‘afterlives’ of these objects- the ways in which they are processed and used exceed the scope of their original intent\, and contradictory effects ensue when an object’s original meaning-value is unhinged. \nThe complexity of these effects is similar to that of the ‘use’ of art upon reception by the art viewer and provides some insight into contemporary art making\, distribution\, and reception. Increasing difficulty and complexity in determining a static author of a show or an artwork and questions regarding artistic identity\, autonomy\, and artistic license are all outgrowths of these same effects. \nExamples of the phenomenon of ‘repackaging’ -with the term expanded to include censorship and withdrawal from distribution of works\, retooling existing works to maximize commercial opportunity\, counterfeiting\, and the manipulation of financial markets- are juxtaposed with examples of mimicry\, dissimulation\, and Trojan Horses. The resulting objects become articles of ‘bad faith’ in relation to their original intent within the culture: an American distributors’ repackaging and alteration of Jean Pierre Melville’s masterpiece Le Samorai into the subpar The Godson through dubbing and repackaging in an attempt to capitalize on the success of The Godfather and (the film’s star) Alain Delon’s trial for murder; a distributor’s non-sensical attempt to repress references to LSD in the marketing of the entirely LSD-themed film The Trip: the secret inclusion and reattribution on a Beach Boys album of a song written by Charles Manson; the manipulation of the BATS Index\, a financial market\, to create ‘drawings’ on the \n\n\n\n\ncharts; the Stuxnet virus\, a Trojan Horse regarded as the first piece of ‘war software’ -not so different from Linda Benglis’ sexually explicit ad in Artforum magazine which led to the resignation of several editors and creation of October magazine; and the Chinese counterfeiting of the never-produced Nike ‘Heaven’s Gate’ SB Dunk shoes -suppressed prior to release when a media storm ensued regarding the stylistic relationship of the shoes to the Heaven’s Gate cult suicide. \nThe counterfeit presupposes not only the existence but the value of the original- it is useless to counterfeit the worthless. The question of value here supersedes the seemingly a priori question of existence. The ‘afterlives’ of these objects presuppose and incorporate their original uses\, sometimes resolving their internal contradictions\, more often leading to a state of ambiguity and suspended animation: the objects’ are ‘value- added’ through misuse. URL:https://www.h-r.la/event/scott-benzel-upstairs/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/LipstickPipewDiagramWeb-600x412.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20110624 DTEND;VALUE=DATE:20110704 DTSTAMP:20260406T222441 CREATED:20160310T104301Z LAST-MODIFIED:20181022T210241Z UID:1069-1308895200-1309672799@www.h-r.la SUMMARY:Queering Sex DESCRIPTION:Queering Sex is a performance and video exhibition that features the work of artists who are dealing with gender and sexuality. This cross-generational\, trans-historical video program explores sex and sexuality via ideas and actions related to performance\, and thereby highlighting a relationship between performativity and identity. The exhibition includes the participation of over 40 artists from Los Angeles\, New York\, and abroad. \nA word from co-organizer and artist Kathryn Garcia: \nNowadays everything is queer; there are very few new frontiers of queer-dom yet to be explored. Probably because we’ve been there already. Masculinity\, femininity yeah we got that; we know the two from top to bottom\, left to right\, up down all around\, and from both sides. Men adopt the feminine\, women adopt the feminine\, men adopt the masculine\, women adopt the masculine – and now we’ve finally gotten to the point where we are adopting children. Milk won the Oscar\, James Franco kissed Sean Penn and probably Klaus Biesenbach as well or so the rumor goes. The Kids are All Right is all anyone could talk about for a while (although the film retreats safely back into heteronormative stereotypes). Until A.L Steiner dropped the bomb and shot a Community Action Center art “porn” and showed it at a Chelsea gallery\, then THAT was all anyone could talk about. AA Bronson curates a “queer ” Film Series at MoMA with no womyn in it and dykes start grumbling\, then we have the queers fighting amongst themselves for inclusion and so on and so forth\, a not-so-welcome throwback to the F.H.A.R . To make a very long story short – we’ve made some progress\, we’re doing it – we’re here and we’re queer. But perhaps the only thing queer about being queer at this point is the actual word “queer” and what does that mean anymore anyway when uh\, it’s all supposedly okay now?!! The kids are all right\, let’s go bare back in the mountains — We’re mainstream folks! G A S P — Normalcy oh N to the O. PANIC — Should dykes start fucking men and queens vice versa to break out of the neat little categories we’ve been placed in (or created for ourselves) and regain our queer-NESS? Because at this point with all of the stereotypes in place\, a queer fucking the opposite sex is what really seems queer. The point is what we’re doing today is no longer just queer (yes there’s a little bit of that ) but let’s be honest\, queer has become so prevalent that even my straight friends qualify. What we are as a whole is POLY: meaning more than one\, and that’s really all we’ve ever been\, because honestly it’s about inclusiveness\, not separation\, not binaries\, we’re not Queer because they’re Normal\, to us it is all valid (as long as it’s dirty). So we hope that you will join us at Human Resources to explore the multifarious meanings of the word SEX. \nSincerely\, \nKG \nAMAZING PERFORMANCE LINE-UP: \nJune 24   FINE ART UNION (Norway) \nJune 25   MATT GREENE (Los Angeles) \n                TALL PAUL \n                 U.S. Premiere of “9 Days of Cry Out” by TOSHINORI TANAKA \nJune 26   SPHINX (New York) \nJuly 2      DAWN KASPER (Los Angeles) \nPLUS MANY MORE SURPRISES and VIDEOS by: \nTheo Adams\, Skip Arnold\, CHOKRA\, Coco Dolle\, Zackary Drucker\, Juan Pablo Echeverri\, Fine Art Union\, Gordon Flores\, Kathryn Garcia\, Paul Gellman\, Katy Grannan\, Wynne Greenwood\, David Jones\, Dawn Kasper\, Brian Kenny\, Rosalie Knox\, Lynn Hershman Leeson\, Benjamin Alexander Huseby and Lars Laumann\, Bruce La Bruce\, Danielle Levitt\, Lovett/Codagnone\, Manon\, Nadja Verena Marcin\, Lucas Michael\, Slava Mogutin\, Tameka Norris\, ORLAN\, Maria Petschnig\, Genesis Breyer P-Orridge\, Hunter Reynolds\, Natalie Rodgers\, Michael Rudnick\, Ira Sachs\, Rafael Sanchez\, Carolee Schneemann\, Scottee\, Michael Sharkey\, Jack Smith\, Matthew Stone\, Toshinori Tanaka\, Tobaron Waxman\, Marnie Weber\, Samuel White\, Martha Wilson\, Rona Yefman… and more! \nQueering Sex considers how artists across generations are using sex as a way to understand and explore what lies at the core of one’s identity. Among the works included are a select group of videos created during the sexual revolution of the 1970s and the AIDS epidemic of the 1980s- both extremely significant decades that propelled the advent of identity and queer politics. We are intent on bringing together a disparate group of artists to open up the critical and institutional discourses surrounding these ideas. Instead of proposing one strict agenda\, the exhibition’s inter-generational and cross-cultural approach allows there to be room for numerous points of view. Inherent to the very nature of the content\, oftentimes the works in this exhibition directly or indirectly challenge normative binaries\, patriarchal institutions and other systems of control that consciously or unconsciously affect us. \nThe title of the exhibition is meant to expand upon queer notions of sex and challenge the idea of queer vs normal. For years\, the word could not have been used without derogatory connotations. Even before it was reclaimed by the gay community as a sign of defiance\, it was also used to define anything that was considered deviant\, outsider and/or abnormal. According to Judith Butler\, queer is “a site of collective contestation\, the point of departure for a set of historical reflections and futural imaginings”. In Queering Sex\, with its inter-generational approach\, we are positing that queer exists on multiple planes of non-linearity and is beyond hetero and homo-normative distinctions. Queer is an idea that is constantly evolving\, changing\, and adapting to its current climate. \nAs a whole\, Queering Sex proposes the question\, what does it mean to be “queer” nowadays? \n\n  \n\n\n\nLeft: Tall Paul (Gellman)\, curators Sarvia Jasso and Kathryn Garcia\, artist Matt Greene\, and Human Resources cofounder Eric Kim. Right: Fine Art Union. \n\n\nON THE EVENING of June 24\, as lawmakers legalized same-sex marriage in New York\, a group of artists and activists on the opposite coast were instigating a less normative (though perhaps no less traditional) celebration of sexuality: the opening night of “Queering Sex\,” a weeklong performance and video series at the downtown Los Angeles nonprofit Human Resources. While the event-cum-exhibition didn’t start any fires with the boilerplate press-release “positing” that “queer exists on multiple planes of non-linearity and is beyond hetero and homo-normative distinctions\,” the lineup itself comprised a group of folk whose varying practices demonstrate a happily nuanced take on sex (as a critical and aesthetic tool)\, with special emphasis on historical constructions of queerness\, the hyperbolic performance of “outness\,” and our (hopefully) evolving relationships to genders and identities. True to form\, the sizable crowd that spilled out of the gallery (a former movie theater in Chinatown) resembled the young\, aggressively polysexual (trans)demographic that curators (and Vicemagazine “power couple”) Kathryn Garcia and Sarvia Jasso aimed to represent: women in tailored blazers and work boots; men in girdles and Fluevogs; dads with babies; babes with daddies; femmes\, womyn\, twinks\, dykes\, beards\, “straights\,” a lady in a vagina costume—but mostly typical arty Eastsiders. People comfortable with quotation marks. \nThe exhibition commenced (after a successful Kickstarter campaign) with a screening to set the feel: works by Genesis Breyer P-Orridge\, Orlan\, Skip Arnold\, Nadja Verena Marcin\, Marnie Weber\, and Lovett/Codagnonem\, among many others. But I missed all that. So I jumped into the fray via a performance by the Norwegian collaborative Fine Art Union (artists Synnøve G. Wetten and Annette Stav Johanssen). The masked\, bald-capped glamazons crooned\, screamed\, toppled a cardboard monolith\, simulated fighting and fucking\, hurled turdlike rubber wads at the audience\, and smeared “menstrual-y” crimson paint onto each other’s faces. Against a backdrop of Freudian projections (a black hole\, a snake)\, Fine Art Union performed what could be considered a “girling” of femininity\, or id-like primitivism\, or the resignification of sexual subjectivity . . . but maybe it was all just a drag. After the performance\, artist Brian Getnick—the only viewer to throw turds back at the performers—whispered\, “I wish it was as cathartic for us as it was for them.” \n\n\n\nLeft: Sphinx in performance. Right: Artist Bobbi Woods and Joe Deutch with Semiotext(e)’s Hedi El Kholti \n. \n\n\nMatt Greene’s performance the following night was a comparatively repressed affair. As the audience found their seats\, two severe-looking women in black—artists Lisa Anne Auerbachand Jennifer Cohen—appeared carrying trays of meatballs (veggie and beef) to satiate the crowd. As a black-clad Greene joined them\, they took to a table at the center of the gallery and proceeded to read a hypnotizing narrative of dislocated desire: “There are those who in soft eunuchs place their bliss and shun the scrubbing of a bearded kiss [. . .] beautiful\, take-charge type females believe in loving but old-fashion type methods when dealing with haughty husbands [. . .] cuckoldry is not all that it is cracked up to be.” Playing the joyless ballbusters\, the women riffed on Greene’s self-deprecating delivery by subtly altering their vocal range from monotone to snobbish taunt\, at times almost panting. “I’ve been researching castration anxiety\, which Freud called the root of all fetishes\,” Greene offered after the action. “I also recently watched The Empress Dowager\, and the plot involves a fake eunuch. There’s a lot of comedy potential with a fake eunuch.” Slapstick may have been a more appropriate term. \nSpeaking of terms\, there was a lot of chatter all weekend around the word “queering”: “The queerest thing about the idea of queer is the word itself\,” summed up artist Spencer Douglass\, who then added\, “Why is queer so gay?” More clues came Sunday afternoon at a release party at a private home in Los Feliz (unrelated to Human Resources) for the fifth issue of writer Sarah Lehrer-Graiwer’s zine Pep Talk\, a collection of brilliant wordsmith Bruce Hainley’s writings and letters. The issue’s introduction offered a list of keywords for “getting in the mood”: ANAL\, LANA\, WARHOL\, FAGGOTRY\, ENGENDER\, (DIS)EMBODIED\, RAMIFICATIONS\, (GET A) LOAD\, BLEW (MY MIND)\, BLUELY\, BEAUTY\, AVITAL RONELL\, WITHDRAWAL . . . As I caught up with partygoers\, it seemed that just about everyone had their own publication to talk about: artist Brian Kennon’s latest 2nd Cannons release Alice Cooper/Suzi Simpson; artist William E. Jones’s Halsted Plays Himself; books in the works by Semiotext(e)’s Hedi El Kholti\, ZG Press’s Rosetta Brooks\, and art historian Jane McFadden; and more to come from Hainley on Sturtevant. Reflecting on the cool\, relaxed scene\, writer Jennifer Krasinski and artist Jeff Burton observed that only in LA do intellectuals sit around a swimming pool\, smoke pot\, and talk literature. “People in New York just don’t believe that this is what a typical party is like out here\,” mused Krazinski. And she was right—this was the third pool party I had stopped by over the weekend (and\, sadly\, the only one without skinny-dippers). \n\n\n\nLeft: Artist Dawn Kasper in performance. Right: Artist Jennifer Cohen. \n\n\nI slipped away from the bookishly chic affair and cruised back to “Queering Sex” in time to catch the last jewel tones of Jack Smith’s Normal Love flickering in lapidary complexity\, reflecting that parallel world where curiosities shape-shift into conventions. Garcia gave props to Gladstone Gallery for facilitating the loan of the film. “The fate of Jack Smith’s archive was so uncertain.” The rarely screened\, never-finished follow-up to the infamous/infectious Flaming Creatures was a wise inclusion in the program. Its decadent denizens and simulated screen sirens delivered the perfect filmic appositeness of (and also\, strangely\, escape from) so much queering. Alongside the many inclusions of “Queering Sex”—absurdist rock-’n’-rollerblader Tall Paul (Gellman); New York femdom-metal band Sphinx; the frenetic\, abstrusely feminist\, and gravity-defying actions of Dawn Kasper; the hypnotically hetero stoner slowness of Joel Kyack’s band Street Buddy; and countless other videos—Normal Lovestands out as a touchstone for generations fighting against sexual conformity in all its articulations. Let’s just hope the next generation of polysexuals\, et al.\, can plug a little realness into the new “normal.” \n— Catherine Taft URL:https://www.h-r.la/event/queering-sex/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:exhibition ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2016/03/70d128bf099518fced514b3a0fe4e7fd_original.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110622T000000 DTEND;TZID=America/Los_Angeles:20110622T000000 DTSTAMP:20260406T222441 CREATED:20160310T104301Z LAST-MODIFIED:20160310T104301Z UID:1068-1308700800-1308700800@www.h-r.la SUMMARY:Grant Capes music show DESCRIPTION: URL:https://www.h-r.la/event/grant-capes-music-show/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110616T000000 DTEND;TZID=America/Los_Angeles:20110623T000000 DTSTAMP:20260406T222441 CREATED:20160310T104301Z LAST-MODIFIED:20200410T080038Z UID:1067-1308182400-1308787200@www.h-r.la SUMMARY:NewVillager's Temporary Culture - Residency and Performance DESCRIPTION:NEWVILLAGER Residency at Human Resources \nAN INSTALLATION AT HUMAN RESOURCES GALLERY DESIGNED FOR LIVING\, SLEEPING\, PERFORMING\, AND AN INSTALLATION AT HUMAN RESOURCES GALLERY DESIGNED FOR LIVING\, SLEEPING\, PERFORMING\, AND GOING THROUGH STAGES OF CULTURE. \nhttp://www.newvillager.com/ \nPERFORMANCES: \nTh 16 – Ilirjana Alushaj (ApacheBeat) DJ\nFri 17 – Matt Kivel (Princeton) & friends\nSat 18 – JohnPaulJones (Worst)Friends) DJ\nSun 19 – Calmer + Julia Holter\nMon 20 – Emily Lacy + David Scott Stone\nTue 21 – NewVillager — Integrative Concert + IAMSOUNDsystem DJ set \nCONTRIBUTORS \nKatie Bachner\, Joseph Barber\, Benjamin Bromley\, Conor Buckley\, Ashley Carter\, Judge Dylan\, Sonya Genel\, Julia Holter\, Liz Janssen\, Kalen Kaminski & Astrid Chastka (for Upstate Clothing — www.youreupstate.com )\, Eli Langer\, Eric Lister\, Lucky Dragons\, BrianVillanuevaMendez\, Collin Palmer\, Blake Salzman\, Ross Simonini\, Cassie Thornton\, Zach Wojcik URL:https://www.h-r.la/event/new-villager-anh-do/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:exhibition,one-time event at HR ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/tempculture.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20110612 DTEND;VALUE=DATE:20110614 DTSTAMP:20260406T222441 CREATED:20160310T104301Z LAST-MODIFIED:20161218T205054Z UID:1066-1307858400-1307944799@www.h-r.la SUMMARY:Rats / Tes Elations / Town Hall (NY) / The Relatives (NY) DESCRIPTION:Some really great bands! \n5pm (Early Show)\n$5 cover \nRats –\nhttp://www.ratstheband.com/ \nTes Elations –\nhttp://www.facebook.com/teselations \nTown Hall –\nhttp://townhall.bandcamp.com/ \nThe Relatives –\nhttp://relatives.bandcamp.com/ URL:https://www.h-r.la/event/rats-show-with-seven-bands/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:one-time event at HR END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20110611T000000 DTEND;TZID=America/Los_Angeles:20110611T000000 DTSTAMP:20260406T222441 CREATED:20160310T104301Z LAST-MODIFIED:20160310T104301Z UID:1065-1307750400-1307750400@www.h-r.la SUMMARY:Fielded DESCRIPTION: URL:https://www.h-r.la/event/fielded/ END:VEVENT END:VCALENDAR