Ami Tallman

2010-11-18T09:23:00.000-08:00

2 in a series tentatively titled "relations with the man"

"bring it on"

"fatherly patience, firmness, moral generosity #1"

from an ongoing catalog of expressions, the parameters of which will be articulated at another time

"pouts 3 & 4"

(one of a set of panels in process, the rolling stones at the chateau recording beggar's banquet.)

2009-10-26T04:41:00.000-07:00

CATHERINE TAFT'S ROUND-UP OF THE BEST SHOWS IN LOS ANGELES

Published on 07-10-2009 at Saatchi Online Magazine

Ami Tallman
Circus Gallery
Through October 17
www.circus-gallery.com

Ami Tallman's most recent exhibition of figurative paintings revolves around the idea of charisma through an intimate depiction of actors, musicians, historical figures, and political activists. Developing her signature brand of portraiture, Tallman's most recent works on paper are looser and more layered with a sharp attention to color as seen in the fiery red-haired Ziggy Stardust, the saturated coat of a young JFK Jr., and Iggy Pop's snarling pink lips for example. Tallman's Technicolor compositions seem as imaginary as they are drawn from life.

http://www.saatchi-gallery.co.uk/blogon/art_news/catherine_tafts_round-up_of_the_best_shows_in_los_angeles/5932

2009-09-09T04:59:00.000-07:00

(Jackie O on Jason Yates)
Fey Fists and Pretty Things: Ami Tallman at Circus Gallery
Opening reception Friday, September 11, 7 - 9PM
Sept. 11 - Oct. 17, 2009

Circus Gallery
7065 Lexington Ave.
Los Angeles, CA 90038
(Cross street is LaBrea)

2009-09-02T08:22:00.000-07:00

ULLI AND LUCRECIA'S LUSTIGE GRUPPENAUSSTELLUNG MIT PARTY,
LOS ANGELES 2009
SEPTEMBER 18, 2009 - OCTOBER 11, 2009
OPENING DANCE PARTY: FRIDAY NIGHT, SEPTEMBER 18TH, 8PM - 12AM

CURATED BY:
LUCRECIA ROA AND ULRICH WULFF

PRESS RELEASE:
Five Thirty Three is pleased to announce Ulli and Lucrecia’s Lustige Gruppenausstellung mit Party, Los Angeles 2009. In the tradition of creating group shows on their various journeys, André Butzer, Thomas Winkler, and Ulrich Wulff enjoy bringing people together to share ideas and experiences. This September, Ulrich is visiting Los Angeles sans Butzer and Winkler, but has decided that, with Lucrecia Roa, this visit was a good enough reason to organize another group exhibition. This show is envisioned to create its own purpose, leaving the environment to operate organically by the work displayed and the people who engage with the space. Friends from Los Angeles, Berlin, Paris and Japan have been asked to participate. The show will consist of drawings, in conjunction with performance, and of course, followed and completed by an opening party. The works will be limited to pencil on paper, not only for transportation reasons but also to share the unique experience of getting back to quintessential tools that most of us used when discovering how to express ourselves. As in the previous shows, “Niveaularm” (Austria), “Die Prof. Winkler Kunst und Literaturtage Los Angeles 2005” or “Kommando Giotto Di Bondone” (Milan), the opening of this show will also be an event. A book will be published following the closing of the show with contributions from various writers and artists along with documentation of the show by the small publishing company, Heckler and Koch, run by Butzer, Winkler, and Wulff.

ARTISTS:
JULIA ABSTADT, ANNE-KATHRIN AHRENS, MECCA ANDREWS, DANIELA BELLM, SEBASTIAN DACEY, LINA DALY, HANK SCHMIDT IN DER BEEK, TJORG DOUGLAS BEER, SARAH BOHN, HEATHER BROWN,ANDRE BUTZER, SARAH CROMARTY, EDUARDO CONSUEGRA, HEATHER COOK, SUMMER COOPER, MARIO CORREA, CHRISTIAN CUMMINGS, GREG DALTON, GERALD DAVIS, DOMINIC, SIBYLLA DUMKE, FABIAN FOBBE, THOMAS GROETZ, DOUG HARVEY, JUSTIN HANSCH, LISA HERFELDT, HAZEL HILL, LEIKO IKEMURA, CHARLES IRVIN, BARRY MACGREGOR JOHNSTON, NORA JOUNG, VISHAL JUGDEO, WINSTON AND SAM KAHN, PETER KLARE, HEIKE KELTER, FELIX EDLER VON KREPL, PAUL J. EDLER VON KREPL, BETTINA KRIEG, JEFF KOPP, PETER KLARE, HEIKE KELTER, FELIX EDLER VON KREPL, PAUL J. EDLER VON KREPL, BETTINA KRIEG, JEFF KOPP, JOCHEN LENGENFELDER, JOACHIM LENZ, DENNIS LOESCH, LIA LOWENTHAL, RENE LUCKARD, BRETT LUND, LEE LYNCH, SAMANTHA MAGOWAN, MAX MASLANSKY, ZOE CLAIRE MILLER, ADAM MILLER, JESSICA MINCKLEY, SHINJI MINEGISHI, LESLEY MOON, JOSHUA NATHANSON, PAT NGOHO, JONAH OLSON, NORA JEAN PETERSEN, YOANN PISTERMAN, CECILE QUILTU, HEATHER RASMUSSEN, LUCRECIA ROA, JEREMY ROCINE, OLGA SAGAY, JEFF SCHOEN, MEIK SCHLITZ, ROUVEN SCHMITT, FABIAN SCHUBERT, ALLISON SCHULNIK, PHILIP SCHWALB, TIF SIGFRIDS, NATASCHA SNELLMAN, CAMERON SOREN, ADAM STAMP, MARLENE STARK, VALERIE STAHL VON STROMBERG, AMI TALLMAN, MATEO TANNATT, SAMANTHA THOMAS, BRENDAN THREADGILL, LIA TRINKA-BROWNER, HENRY VINCENT, RAUL WALCH, TIM WANDELT, LANDON WIGGS, THOMAS WINKLER, DOMINIC WOOD, BOBBI WOODS, PETER AND SAMANTHA WU, ULRICH WULFF,
ERIC YAHNKER, COCO YATES, JASON YATES

PERFORMANCE: MECCA ANDREWS, SARAH CROMARTY AND CHARLES IRVIN, FIREWORKS, TIF SIGFRIDS, ULRICH WULFF

533 South Los Angeles Street
Second Floor
Los Angeles, California 90013

HOURS BY APPOINTMENT:
info@fivethirtythree.org

2009-09-01T08:08:00.000-07:00

http://www.whitecolumns.org/view.html?type=exhibitions&status=current&id=465

WHITE COLUMNS

Other People's Projects 2nd Cannons Publications

September 10-October 24, 2009

In our Project space – as part of our ongoing ‘Other Peoples Projects’ series - we are proud to present recent books and editions published by 2nd Cannons Publications, the innovative Los Angeles-based press founded in 2005 by the artist Brian Kennon. The display consists of all books and editions published to date (2005-2009), including two earlier publications by Kennon that precede his inauguration of 2nd Cannons Publications. For more information visit: www.2ndcannons.com

Books by: Brian Kennon, Natascha Sofia Snellman, Bruce Hainley, Ami Tallman, Meg Cranston, Julie Lequin, William E. Jones, Darren Bader, Jan Tumlir and Brian Kennon, Flora Wiegmann and Drew Heitzler, Darren Bader, Brian Kennon and Chris Lipomi, Brendan Fowler, and David Horovitz.

Editions by: Doug Skinner and Michael Smith, Brendan Fowler, Sayre Gomez, Jim Skuldt, Brian Kennon, Darren Bader, David Horvitz, Lisa Williamson, Matthew Chambers, Bobbi Woods, and Michael Smith.

To coincide with this presentation Brian Kennon has made a new issue of White Columns’ ‘zine ‘The W.C.’ entitled ‘2nd Cannons Publications: Complete Books 2005 – 2009’, which is available from the gallery priced $2.00. Books and Editions from 2nd Cannons Publications can be purchased from White Columns, Printed Matter, or directly from the 2nd Cannons Publications website.

320 West 13th Street
(Enter on Horatio Street, between Hudson
and 8th Avenue)
New York, NY 10014
212 924 4212
212 645 4764 Fax

Gallery Hours
Tue - Sat, 12–6 PM

info@whitecolumns.org

2009-04-21T09:34:00.000-07:00

The Green Gallery East presents:

Lovable Like Orphan Kitties and Bastard Children
curated by Kristin Calabrese and Joshua Aster

Opening Reception: May 9th 2009 4-10 PM

On May 9th, 2009 Milwaukee will be given the opportunity to survey a sampling of the LA contemporary art scene. Seventy-eight paintings, 11 x 11 inches and under, by seventy-eight different artists, will be brought from Los Angeles via bag check and carry-on by LA based artists Kristin Calabrese and Joshua Aster. The artists differ in their aesthetics, their styles, as well as, their stages of development and exposure but they will all be converging from May 9th until June 6th in Milwaukee's Green Gallery East.

The Green Gallery East

1500 N Farwell Ave

Milwaukee, WI 53202

phone: 414.226.1978

www.thegreengallery.biz

2009-03-26T07:09:00.000-07:00

details from some brand new acolyte drawings

these first three are colored pencil and enamel on polypropylene

this last one is enamel, housepaint, ink, oil, acrylic, and watercolor on gessoed handkerchief.

2009-03-26T02:15:00.001-07:00

2009-03-11T16:56:00.000-07:00

pictures of some of the work from my Circus show, "Ecstatic Crush"

installation shot

detail

terrible shot, so sorry.

detail

installation shot by julie lequin

2009-02-20T16:45:00.001-08:00

"Ecstatic Crush" will be on view at Circus Gallery,
Upstairs from Sky Burchard's solo show,
"All Year Round Falling in Love"
February 28 - April 4
Reception: Saturday, February 28, 7 - 9pm

Circus Gallery
7065 Lexington Ave.
Los Angeles, CA 90038
(Cross street is LaBrea)

Tuesday - Thursday, 11 am - 5pm
Friday - Saturday, 11 am - 6 pm

(323) 962-8506
info@circus-gallery.com

2009-01-15T15:05:00.000-08:00

2008-12-02T08:52:00.000-08:00

Cocktail Hour with Skip Arnold and Friends...

Curated by Matt Wardell
at Bonelli Contemporary

943 North Hill Street
Los Angeles, CA 90012
Chinatown

Opening Saturday, December 6th, from 6 - 9?

‘Cocktail Hour with Skip Arnold and Friends’ merges the sensibilities of the Dean Martin Variety Show or a Bob Hope Christmas Special (circa 1970) with Tom Marioni’s participatory work ‘The Act of Drinking Beer with Friends’ (which has been orchestrated since 1970). Video and performance artist Skip Arnold serves as host and protagonist to a barrage of international talent. While sipping vodka (pronounced ‘vodker’) in a cozy second floor loft with guests, work from across all disciplines cover the floors and walls. Not quite a one-night mash-up, not quite a ‘holiday show’, but a week and a half of Skip’s friends, associates, and in the fashion of a network variety show, a slew of characters that Skip knows nothing of.

The general premise of the show is rooted in Skip Arnold’s self-determined oeuvre of being “Skip” and its related ‘doings, “actions,” and “choices.” ‘Cocktail Hour with Skip Arnold and Friends’ aims to present a regular occurrence in the life of Skip Arnold.

Artists include Meagan Boyd, Young Chung, Janine Cortez, Michael Decker, Michael Dee, Kim Dorland, Spencer Douglass, Martin Durazo, Katie Herzog, Bettina Hubby, Aragna Ker, John Knuth, Kristi Lippire, Karen Lofgren, Amy Maloof, Adam Miller, Devon Oder, Archie M. Purvis, Michael Rabbit, Michael Rey, Rick Robinson, Michael Salerno, Greta Svalberg, Ami Tallman, Goody B.Wiseman, Matt Wardell, and Eve Wood.

December 2nd - December 13th
Tuesday - Saturday 12-6pm

2008-11-28T19:41:00.000-08:00

From Frieze Magazine, Nov 2008

Against the Grain

Los Angeles Contemporary Exhibitions

‘Against the Grain’, an exhibition organized by the artist Christopher Russell for Los Angeles Contemporary Exhibitions (LACE), has been marketed as a sequel to the ‘seminal’ LACE exhibition ‘Against Nature: A Group Show of Work by Homosexual Men’ (1988). Organized by Dennis Cooper and Richard Hawkins, the original exhibition was mounted in the midst of the AIDS crisis, on the one hand as a rebuttal to the socio-political rhetoric of the right, and on the other to emphasize the transgressive potential of personal expression and unfettered sensual indulgence at a time when the most visible leftist art tended towards disembodied polemical sloganeering, group activism and the imperative of social responsibility (‘Knowledge = Power’).

The titles of the two exhibitions reflect slightly different translations of the title of J.-K. Huysmans’ decadent feast, A rebours (1884), but the most significant and obvious distinction is Russell’s decision not to employ a clarifying subtitle for the recent show. While the oppositional social ambition of Cooper and Hawkins’ 1988 exhibition is obviously determined and delimited by its subtitle, what Russell’s show works ‘against’ is, by contrast, left undefined. For artists included in ‘Against Nature’ the conventions of the straight world was the quarry, and consequently much of the work embodied forms of decadent (some would claim irresponsible) social resistance enacted on a highly personal micro-scale.

Russell’s exhibition, by contrast, seems to take aim at complacency, particularly within the art world. Drawing on themes of violence, morbidity, decadence, abjection, deformation and the uncanny, this challenging show suggests that a small subset of artists today are expressing their distaste for the safe, commercial proclivities of the art world establishment by broadening the address of 1980s’ essentialist radicalism and turning those strategies against the logic of the market and the work it encourages.

It should come as no surprise, then, that one is unlikely to see much of the work in ‘Against the Grain’ in profitable commercial spaces. There are some obvious exceptions – Julian Hoeber, Anna Sew Hoy and Ryan Taber among them – but on the whole the work is messy, openly combative and often quite abject. Indeed, four photographs by Hoeber of a bronze portrait bust riddled with what might be bullet-holes or open sores, nestled in a sea of sequins, are both ravishingly beautiful and viscerally repellent, powerfully embodying an attraction to debasement and the unsafe that permeates this show.

Among the most unsettling works in the exhibition is an unevenly hung suite of quietly grotesque paintings by Ami Tallman, rendered in oil and watercolour. These modestly scaled works are like painting-by-numbers exercises dreamt up by a designer with a keen but subtle eye for the morbid and uncanny. The most arresting of these is a portrait of a man with dead eyes and a pale, lacerated face lying inert in a pastoral landscape, while in a nearby work a pack of crudely rendered orange wolves stare menacingly at the viewer.

The sense of a world in decline implied in Tallman’s work is made more disquieting and explicit in Robert Fontenot’s wall-bound sculpture Captains of Industry (2008). Fontenot’s work is a chaotic storyboard of deformed figures rendered in bread and wire that details various acts of cannibalism and dismemberment. Particularly troubling is the implication that this dark fairy tale describes the descent of a nuclear family into Lord of the Flies-like depravity. Brian Bress’ haunting Disaster Family (2007) depicts a family swaddled like post-apocalyptic outlaws in makeshift protective garb, their grey felt-like shrouds identified by the wall label as ‘disaster blankets’. Symmetrically arrayed for the viewer’s consumption like a cautionary natural history panorama, Bress’ sculpture speaks of a civilization’s improvised attempts to survive in the face of an unspecified threat. More oblique in its address, but no less sinister in affect, is Amy Sarkisian’s Godzilla (2008), a sculptural work composed of bat houses, vicious-looking spikes and lustrous black paint; fortress-like and menacing, it is as though this confrontational structure began life as a utilitarian object only to morph into the functionless decadence of Gothic ornament.

No other work embodies the ethics and aesthetics of menace and counter-commercial antagonism quite as plainly as John Knuth’s oddly scaled cardboard model of a decaying city Building (1983–2008), whose narrow streets lead the viewer to the exhibition’s most abject moment: Knuth’s installation Assault (2008), composed of just two elements, salt and a dead rat. As this unnerving work makes clear, the object of ‘Against the Grain’ is not to advance a particular social, political or personal agenda but rather to agitate the field of art production generally and, in the process, to reclaim the space of the gallery as an outlaw context where it is safe, and even encouraged, to be unsafe.

Christopher Bedford

http://www.frieze.com/issue/print_back/against_the_grain/

2008-08-07T18:18:00.000-07:00

AROUND THE GALLERIES
By Leah Ollman, Special to The Times August 8, 2008

A show's artists in a state of unrest

"Against the Grain," part of LACE's 30th-anniversary celebration, reflects back on another LACE show organized during the art center's 10th year. In the 1988 exhibition "Against Nature: A Group Show of Work by Homosexual Men," 30 artists negotiated the intersecting forces of illness, loss, decadence, artificiality, AIDS, gay male sexuality and the production of art.The earlier show's mix of irreverence and anxiety (to borrow the curators' terms) informs the current show, as well, for which artist Christopher Russell selected 14 L.A. artists (male and female), who adopt, in one way or another, a socially critical stance. Russell suggests the contemporary Gothic as a curatorial frame, for its thematic stew of "destruction, violence, anger, macabre."

Some of the work comes across as gentler than that: Anna Sew Hoy's hanging web of tie-dyed T-shirts is a benignly charming exercise in resourcefulness; Kelly Sears' short video docu-collage is more wry than radical. But unrest does prevail, with or without a declared object.

Brian Bress' "Disaster Family" is a work of breathtaking sobriety. A group of four figures fashioned from the thick felt of disaster blankets, the family doubles as angels of death and their victims. John Knuth's desiccated, affecting take on a city going down is countered by the pseudo-levity of Amy Sarkisian's Ensor-like laughing/grimacing heads and the exuberant strangeness of Wendell Gladstone's slickly painted visions. Ami Tallman's watercolors and drawings of animal corpses range from slight to disarmingly gorgeous. Robert Fontenot spells out the basics of the eternal power struggle in a comic storyboard of bread-dough figures: Big folk oppress the little folk; little folk rise up and take the big folk down.

Works by all of the artists in the show (the others are Tom Allen, Matt Greene, Julian Hoeber, Brian Kennon, Ryan Taber and Cheyenne Weaver) incorporate decay or its stagier twin, decadence, but many lack the self-sufficiency to thrive in such a heady context. In the end, the show wears its premise like an oversized flak jacket, heavier and denser than what it encloses.

Los Angeles Contemporary Exhibitions, 6522 Hollywood Blvd., (323) 957-1777, through Sept. 21. Closed Mondays and Tuesdays. www.welcometolace.org

Copyright 2008 Los Angeles Times

2008-08-03T03:20:00.000-07:00

FREE LOVE GODS: Works on Paper from the Wild East and Far West
Opening Wednesday August 6th 530-730 pm and Thursday August 7th 530-8pm

Pulliam Deffenbaugh Gallery
929 Flanders St
Portland, OR 97209

AUGUST 5-30. 2008

Work by:

Reed Anderson (Brooklyn)
Erik Bluhm (LA)
Brian Bress (LA)
Chris Jahncke (NYC/New Orleans)
Benjamin Lord (LA)
Rebekah Miles (Santa Barbara)
Ami Tallman (LA)

Curated by Anna Fidler

PULLIAM DEFFENBAUGH GALLERY

929 NW Flanders Street | Portland, OR 97209

503.228.6665 | www.pulliamdeffenbaugh.com

2008-06-24T03:30:00.000-07:00

"Bliss, Synanon, 1973"
ink and acrylic on acetate on enamel on paper
11x14 inches
Ami Tallman 2008

2008-06-20T21:54:00.000-07:00

"Love Bombing, Miami, 1978"
ink, gouache, and acrylic on acetate (detail)
11 x 14 inches, 2008
Ami Tallman

"Ecstatic Encounter, Just Outside Bhagwan's Rolls, 1983"
ink, watercolor, and acrylic on acetate (detail)
11 x14 inches, 2008
Ami Tallman

2008-06-13T13:32:00.000-07:00

See Line Gallery
1812 Berkeley Street,
Santa Monica, CA 90404
tel 310 829 1727 fx 310 829 3164
www.seelinegallery.com

Ami Tallman
When the Sun Shines, It Does Not Need Proof
June 21 – July 26, 2008
Opening Reception: Saturday, June 21, 6-9pm

FOR IMMEDIATE RELEASE

See Line Gallery is pleased to present Ami Tallman’s first solo exhibition, When the Sun Shines, It Does Not Need Proof.

This body of work by Ami Tallman muses on the shared qualities of gurus and dictators, in particular the aesthetic devices used by both to inspire awe and ecstatic devotion amongst their followers. Tallman’s practice draws on images and phrases culled from idiosyncratic research. As she sought materials for this show, Tallman observed a recurrence of charismatic leaders in the 20th century who employed extravagant and sophisticated spectacles to create new, insular societies comprised of fiercely committed followers. The movements these men created usually slipped into violence and paranoia, ending in purges of their inner circles, scandal, and dissolution.

With a lush use of color, Tallman’s use and choice of materials is promiscuous. She combines colored pencil, oil, and ink with other materials, on a wide range of surfaces, yielding a tactile variation which echoes her subjects’ shifts from beatific to vengeful, doting to aloof, delphic to precise. Her work is tinged with foreboding, and both broods and frets on themes of power, hope, bliss, and betrayal. Her whimsical line slips into doubt, its cheer faltering as it encounters gaps on the page. The resultant series of images includes depictions of pageants, expectant throngs, blissed out hippies, banks of microphones, banner-lined streets, shrines, thrones, and of course, gurus and dictators.

Ami Tallman lives and works in Los Angeles. She completed her MFA at Art Center College of Design in 2006. She has exhibited in Los Angeles, New York, and San Francisco and was most recently included in Against the Grain, a group show at Los Angeles Contemporary Exhibitions that runs concurrently with this exhibition. She was featured in “15 Artists Under 35” in the May 2008 issue of Art ltd magazine.

Gallery hours Wednesday- Saturday 11am - 6pm and by appointment

2008-06-02T11:32:00.000-07:00

more dead lovelies for the lace show.

2008-05-09T03:50:00.000-07:00

An asofyet untitled dead hare for LACE.
oil and enamel on paper, 2008.

12 June - 10 August 2008
Los Angeles Contemporary Exhibitions

AGAINST THE GRAIN
Curated by Christopher Russell

Curated by Los Angeles-based artist Christopher Russell, Against the Grain seeks inspiration from the seminal show, Against Nature: A Group Show of Work by Homosexual Men (1988), curated by Dennis Cooper and Richard Hawkins. In a politically and socially conservative era, Cooper and Hawkins responded to the AIDS epidemic with rich, decadent work, grappling with the subject's inherent morbidity. Utilizing Against Nature as a point of departure, Russell has selected 12 local artists that seek a similar critical position in our social climate today -- Tom Allen, Brian Bress, Robert Fontenot, Wendell Gladstone, Julian Hoeber, Anna Sew Hoy, Brian Kennon, John Knuth, Ryan Taber, Ami Tallman, Kelly Sears and Cheyenne Weaver. Against the Grain is not a restaging of the prior show, instead Russell looks at the theme of decadence in a present day context. In turn, the artists use visual and narrative devices in their paintings, sculpture and installations to assert the individual, idiosyncratic worlds they have created in response to the one we all inhabit.

2008-05-08T23:10:00.000-07:00

2008-04-20T02:04:00.000-07:00

The first of the Gurus.
2008, oil/canvas

From Sam (theologian and writer) Keen's keynote speech for the 1973 Esalen sponsored conference given in San Francisco, generously brought to my attention by Robert Nichols:

Title: The Tyranny Game, or, How to Play Follow the Leader

The rules of the game:

(1) It takes two to play; there can be no tyranny without somebody ready to be tyrannized.

(2) It begins with the the presumption that something is wrong with the patient/client/disciple.

(3) In order to play the game, the patient/client/disciple must be taught the rules according to the therapist/guru and must accept the rightness of that specific set of rules.

(4) The goal has to be set so high that nobody can ever get there, since getting there would render the therapist/guru obsolete.

(5) The payoff is the illusion of power - that we can control life.

Source: pp 263-264, The Upstart Spring, Esalen and the Human Potential Movement: The First Twenty Years, by Walter Truett Anderson, iUniverse/Backinprint.com (can be found on Google Books).

2008-04-19T17:57:00.000-07:00

an older piece, from a series of portraits of men in think tanks.
ink on tissue paper, 11x14 inches, 2005

2008-03-23T05:32:00.000-07:00

2007-11-29T01:52:00.000-08:00

An installation shot from
Compound Objects from the Spy Who Loves You
at The Confederacy of Creative Ephemera
inside Circus Gallery
Opening December 1, 2007 from 7-9 PM

2007-11-21T02:57:00.000-08:00

2007-11-21T01:55:00.000-08:00

something i'm working on.
i'm thinking about cowardice.

2007-11-21T01:50:00.000-08:00

some additional work underway on the topic of cowardice

2007-11-21T01:43:00.000-08:00

2007-11-07T16:35:00.000-08:00

i've curated a show.
it will be awesome.
you should come.

2007-10-31T16:34:00.000-07:00

some dead pheasants, kissing cows, a shed full of fox, and rabbit corpses back from new york.
ink and oil on sanded paper 2007

2007-10-31T16:06:00.001-07:00

some preparatory drawings i made for matt chambers' show at blanket gallery in toronto. i gather they'll be there too.

2007-10-22T16:44:00.000-07:00

DON’T TORTURE THE ROTTEN DUCKLINGS
Organized by Gean Moreno and Nicholas Frank

Kevin Arrow • Jesse Bercowetz • Jesse Bransford • Tobias Buche • Bobby Ciraldo • Jennifer Cohen • Nathan Danilowicz • Michelle Elzay • Gaylen Gerber • Ian Hokin • Juliette Jacobson • Brian Kennon • Gardy Loo • Lorenzo de Los Angeles • Rebecca Morris • Dan Ollman • Mike Paré • Adam Putnam • Antonio Rocha • Randy Russell • Aaron Sandnes • Andrew Swant • Ami Tallman • Michael Tedja • Amanda Tollefson

With film/video by Mark Borchardt, Tony Conrad, Hollis Frampton, Takahiko Iimura, Ken Jacobs, Peter Kubelka, Adam Putnam,
Peter Tscherkassky and others.

Structuralist Films! One Night Only! Special Event during Opening Reception, Saturday, October 27!

Institute of Visual Arts
Inova/Kenilworth, 2155 N. Prospect Ave.
University of Wisconsin
Milwaukee, Wisconsin

Gallery hours: Wednesday & Friday-Sunday, 12 noon-5 pm; Thursday, 12 noon-8 pm.
The gallery will be closed November 22-25 for Thanksgiving recess.
Information: 414.229.5070
inova@uwm.edu

2007-09-03T16:06:00.001-07:00

2007-09-02T14:55:00.000-07:00

Le Flâneur.
Joshua Callaghan, Christopher Davison, Christiane Feser, Bas Louter, Adrien Missika, Aya Saito, and Ami Tallman.

September 7 - October 13, 2007.
Opening Reception for the Artists | Friday, September 7, 2007, 6-9 pm.

fette's gallery is delighted to present Le Flâneur, a group show with Joshua Callaghan (us), Christopher Davison (us), Christiane Feser (de), Bas Louter (nl), Adrien Missika (ch), Aya Saito (jp), and Ami Tallman (us).

For this exhibition, we invited seven artists to visually discuss their relation with the flâneur - a 19th century character portrayed by the French as a well dressed man, strolling through the Parisian arcades to pass the time, free to explore his surroundings to gather inspirational substance.
According to Walter Benjamin, the flâneur rose to prominence primarily because of an architectural change in the city. While Baron Haussmann was redesigning boulevards and tearing up many of the old twisting streets, the flâneur became the anonymous face in this revived crowd.

Re-defining flânerie in a current context within the Los Angeles boundaries appears quite foolish, yet it is compelling.
While the urban sprawl that is the city of LA remains fairly discouraging to the strolling of the Beaudelarian character, it still allows for a new genre of wandering poetry to be generated. Artists such as Ed Ruscha, Charles Bukowski and Andrea Zittel, whose work is heavily influenced by the atmosphere of their surroundings and daily routines, come to mind. The anonymity, compartmentation and luxurious façade of the vast LA suburban area greatly influenced new artistic vocabularies.

With this new exhibition we will gather alternative meanings associated with the historical flâneur in this current context of changes.

Los Angeles based Joshua Callaghan re-appropriates plastic and other found objects and solicits the viewers to reshape their experiences toward the medium. Often cynical, Callaghan's installations ressemble allegoric landscapes from consumers' reports. For this show, the artist will create a site specific installation revising the concept of flânerie from a suburban point of view.
Callaghan was recently included in the group show Rogue Wave '07 at LA Louver.

Christopher Davison is based in Philadelphia where he graduated last year from Tyler School of Art. His body of work includes mostly drawings and paintings on paper, their colorful and naive quality resonating within the narrative. Inspired by Bosch, his pieces carry layers of dark humor and disturbing accounts.
Davison's work was recently included in two paper based group shows, one at Tower Gallery in Philadelphia and another at V1 Gallery in Copenhagen.

Christiane Feser lives in Germany. She takes photographs which she subtly alters digitally to question our aptitude to recognize truth and habits. The two images featured in the show are from the series Strassen (Roads) in which traces of the human interaction between the inside and the outside have been removed. By reducing the buildings and roads to their surface, these landscape describe new journeys and unfamiliar uses.
She recently received the Charlotte Prinz Fellowship from the city of Darmstadt in Germany.

Often, the protagonists drawn by Amsterdam based artist Bas Louter, are depictions of power and absurd arrogance. For this show, Louter will present a new charcoal drawing on paper. The character in this piece, although fictional, carries the aesthetic of the classic surrealist's muse. She posses the attributes of a willful, dark, yet sensitive and imaginative individual. One can reflect on her radiance and witness the changes her historical figure embodies.
The artist just had his first solo show at fette's gallery which was in part founded by a grant from the Fonds BKVB.

Adrien Missika will present four photographs from his series Safari Classique. These intimate sized works picture the wild dioramas, sans animals, which one can observe at the Natural History Museum in New York. These inanimate sceneries reflect on our aptitude to romanticize, yet organize our surroundings.
Missika just graduated from ecal in Lausanne, Switzerland. This is his first show in the US.

Japanese artist Aya Saito creates large oil, acrylic and ink works on paper. By mixing these mediums, she achieves an intricate and expressionist palimpsest of texture and matter. Often dark and engaged, her work grabs the viewer to question what he recognizes.
A catalogue of her recent work was recently published by Little More. Last year, she participated in the 8th Gunma Biennial for Young Artist at the Museum of Modern Art of Gunma, Japan.

Los Angeles based Ami Tallman draws opulent interiors and failed aristocratic gatherings. She colorfully rewrites history, combining elements of decor, ornamented generals, politicians in drag and disappearing fame.
For this exhibition, she will present new works on paper.
Her work was recently shown at Cirrus Gallery's Naive Set Theory group show curated by Catherine Taft and was also included in the last MOCA's silent auction. 2nd Cannons also published a book of her drawing.

fette's gallery
4255 baldwin ave.
culver city, ca 90232

g. 310 559 7733
c. 310 494 1588
contact@fette-gallery.com
http://www.fette-gallery.com

wed. to sat. | 11am to 5 pm

2007-06-24T23:35:00.000-07:00

RENTAL presents TRUDI: NO JERKS
120 EAST BROADWAY, 6th FLR NY NY 10002 T. 212.608.6002 WWW.RENTAL-GALLERY.COM
June 23 – July 20, 2007

For press inquiries contact: info@rental-gallery.com
Open Wednesday- Sunday, 12-6PM

Los Angeles gallery, TRUDI presents a group of international artists
in this exhibition curated by artist, Matthew Chambers and writer,
Catherine Taft. With west coast posturing, "No Jerks" aims to
disallow contempt and challenge cynicism, even at its most satirical.
The opening will feature performances and actions by artists E*Rock,
"Hurricane Nicholas" Nick Lowe and musician, Bobby Birdman.

Dain Blodorn
Brian Bresss
Kristin Calabrese
Matt Chambers
Heather Cook
Matthias Dornfeld
Bart Exposito
Aaron Garber-Maikovska
Drew Heitzler
Naotaka Hiro
Julian Hoeber
Raffi Kalenderian
Brian Kennon
Julie Lequin
Chris Lippomi
Nick Lowe
David Quadrini
Ami Tallman
Jonathan Thomas
Benjamin Weissman
Alexander Wolff

TRUDI is a small, experimental exhibition space location in Los
Angeles's Chinatown gallery district. It was established by Matthew
Chambers in April 2006 and features on-going solo exhibitions by
selected young artists.

Founded in 2005 by Joel Mesler and Daniel Hug, RENTAL was first
conceived of as a Los Angeles-based exhibition space available for
galleries to "rent" outside of their primary location. Establishing
this atypical approach, RENTAL curates galleries not artists.
Accordingly, the galleries selected to exhibit will present artwork
that reflects distinctive programs and international ideas.

2007-05-21T23:08:00.000-07:00

"Uncle Gusslethwait's Mastiff"
ink and colored pencil on paper
something like 7 x 9 inches
Ami Tallman 2007

this was in the trudi show

2007-05-21T22:41:00.000-07:00

installation shots from trudi show
memoriam for our gentle friends
photos: Dain Blodorn

2007-05-16T15:52:00.000-07:00

THE RAINBOW GOBLINS
Curated by Darin Klein

The Advocate & Gochis Galleries
The L.A. Gay & Lesbian Center
1125 N. McCadden Place
Los Angeles, CA 90038
May 31 - July 15
Opening Reception: Thursday, May 31, 7-9 p.m.

Adam J. Ansell, Erik Bluhm, BODEGA VENDETTA & PRVT DNCR, Nao Bustamante, Young Chung, Roy Colmer, Zackery Drucker, Julia Dzwonkoski, David Larsen, Matt Lipps, Jason Mecier, Lucas Michael, Billy Miller, Max Miller, Amir Nikravan, Coco Peru, Terri Phillips, Aaron Plant, Kye Potter, Steven Reigns, robbinschilds & A.L. Steiner, Christopher Russell, Ami Tallman, Joey Tang, Aiyana Udessen, Jim Winters
Featuring DJ Jeff Stallings

Gallery hours: Monday-Friday, 6-10 p.m.
Saturdays, 9 a.m.-5 p.m.

2007-05-16T15:34:00.000-07:00

timeline
at seeline gallery, santa monica.
june 9- july 20
opening june 9, 6-9 pm.
1812 berkeley street, santa monica ca 90404
kathrin burmester
chris oatey
ami tallman
maria von kohler

2007-04-30T02:52:00.000-07:00

our mimsy
9x12 inches
graphite on paper
Ami Tallman 2007

2007-04-30T02:00:00.000-07:00

2007-04-18T07:59:00.000-07:00

In Memoriam for our Gentle Friends.
New Work by Ami Tallman
Trudi
Opening Saturday, April 21
8-10 Pm
510 Bernard ST. Los Angeles, CA 90012.

www.hellotrudi.com

2007-04-17T02:59:00.000-07:00

he was a good goat

graphite on paper

9 x 12 inches

Ami Tallman 2007

2007-04-17T01:02:00.000-07:00

our lamb of god
9 x 12 inches
ink and graphite on paper
ami tallman 2007

2007-02-14T22:07:00.000-08:00

clearly, these installation shots from New York are less than ideal.
The text on the bottom piece says:
"Please select a dignitary for this sniper to assassinate"
Ami Tallman

2007-02-14T22:03:00.000-08:00

an installation shot of the legionnaires
from re draw, at Brooklyn Fireproof

Ami Tallman

2007-02-14T21:20:00.000-08:00

11 x 17 inches, water-soluble oil on paper
Ami Tallman 2007

The New York show is at a gallery called Brooklyn Fireproof

"Slouching Marble"
11x14 inches, water-soluble oil on paper, Ami Tallman 2007

"Oh to be a sailor"
6 1/2 x 7 1/2 inches, acrylic and ink on paper, Ami Tallman 2007

These are also pieces in the New York show. The interiors are from mansions designed by Robert Adam.

2007-02-14T21:15:00.000-08:00

Pictures in the New York show

"Greeting to the Sergeant"
11x14 inches, ink and watercolor pencil on paper, Ami Tallman 2007

this text reads:

"you've got a kind face, you old bastard,
you ought to be bloodywell shot,
you ought to be tied to a gunwheel
and left there to bloodywell rot"

"I want to go home"
11 x 14 inches, ink on paper, Ami Tallman 2007

(these texts are songs from the first world war.)

2007-02-14T21:11:00.000-08:00

from the new york show
"Lurke Here at Home"
9 x 12 inches
ink, water-soluble oil, and watercolor pencil on paper
Ami Tallman, 2007

2007-01-28T02:27:00.000-08:00

images from the seeline show

2007-01-28T02:14:00.000-08:00

this is an
installation shot from "braveland"
at seeline in santa monica,
which closed today

2006-12-08T14:36:00.000-08:00

Braveland
Chris Oatey, Greg Santos and Ami Tallman
December 16, 2006 – January 20, 2007
Opening Reception:Saturday, December 16, 6-9 pm
See Line Gallery1812 Berkeley St.
Santa Monica, Ca 90404
310 829 1727
info@seelinegallery.com
http://www.seelinegallery.com
gallery hours: wednesday-saturday, 11am-6pm or by appointment

2006-11-11T15:04:00.000-08:00

2006-11-11T13:35:00.000-08:00

2006-11-11T13:31:00.000-08:00

and still more images from the cirrus show

2006-11-11T13:27:00.000-08:00

more images from the cirrus show

2006-11-11T03:24:00.000-08:00

2006-11-10T11:03:00.000-08:00

some work that will be in the cirrus show,
opening saturday, november 11.

2006-11-10T10:54:00.000-08:00

Naïve Set Theory:

Brian Bress, Julie Lequin, Jennifer Sullivan and Ami Tallman
Curated by Catherine Taft

Exhibition:
November 11 – December 31, 2006

Reception:
Saturday, November 11, 2006; 6:00 – 8:00 p.m.

Cirrus Gallery
542 S. Alameda Street
Los Angeles, CA
California
North America
p: 1 213 680 0930
m:
f: 1 213 680 0930
w: www.cirrusgallery.com

Cirrus Gallery is pleased to present Naïve Set Theory, a group show of new work by Los Angeles-based artists Brian Bress, Julie Lequin, Ami Tallman, and New York-based artist, Jennifer Sullivan.

As a mathematical notion, Naïve Set Theory grew from an informal understanding of collections of objects in order to allow mathematicians to conceptualize infinite sets of elements. This exhibition casually draws from this idea to link the work of four emerging artists, all who construct a kind of forged innocence or blithe ambivalence through which to filter mature, meticulous, and often political expressions. Exploring issues ranging from psychological states, nationalistic identity, institutional authority, allegory, myth and popular culture, these four artists fashion loose and lively visual vocabularies from which to cull conceptual meaning. Though their stylistic choices and techniques are distinct, they are not unrelated, working in a variety of media, including video, collage, photography, MP3, sculpture, performance, drawing and painting, Bress, Lequin and Sullivan use the self as a conduit for ideas. While Tallman’s practice centers solely on drawing, her text and images allow greater social and cultural discourses to emerge in subtly provoking ways.

Brian Bress, Julie Lequin, Jennifer Sullivan and Ami Tallman are all recent MFA graduates. Since completing their degree, each has been exhibiting nationally in cultural institutions, including museums, universities, contemporary commercial galleries and other visual art spaces. For the occasion of Naïve Set Theory, the gallery will present a unique, interactive work by artist Jennifer Sullivan, created specifically for the Cirrus website, www.cirrusgallery.com

2006-08-30T03:41:00.000-07:00

2006-06-15T18:59:00.000-07:00

ink on paper 2006

2006-06-02T03:44:00.000-07:00

2006-05-26T23:26:00.000-07:00

if you want to see some pictures i took at
the atlantic center for the arts in new smyrna beach, florida,
click the plummeting helicopter.

ink on paper 2006

2006-05-26T23:19:00.000-07:00

work from the atlantic center--
some men and their avian counterparts

ink and colored pencil on paper 2006

ink and oil on paper 2006

ink and acrylic on paper 2006

colored pencil and ink on paper 2006

2006-05-26T23:17:00.000-07:00

some floridian bird watchers

ink on paper 2006

these girls like to watch from up close

colored pencil on paper 2006

acrylic and ink on paper 2006

both of these are watercolor and ink on paper 2006

2006-05-26T23:15:00.000-07:00

my studio wall at the atlantic center for the arts.

crowds, a series of three
ink and liquid acrylic on tracing paper

2006-04-27T05:14:00.000-07:00

the first thing one saw of my final show from outside

ink and gouache on paper 2006

2006-04-25T00:27:00.000-07:00

an installation shot from the boat show at high energy constructs!
(the red painting in the middle is by Jasmine Justice, and the three on the right are mine.)

2006-04-05T03:09:00.000-07:00

A detail from the installation "Stately Fellows" 2006.
this is ink and colored pencil on business stationary
8 1/2 x 9 1/2 inches.

2006-04-05T03:07:00.000-07:00

installation shots, mfa thesis show

2006-04-05T03:03:00.000-07:00

installation shots, mfa thesis show

2006-04-05T02:59:00.000-07:00

installation shots, final show

2006-04-05T02:55:00.000-07:00

installation shots, mfa thesis show

2006-04-04T08:44:00.000-07:00

Theater of War
Gouache on Paper 9 by 12 inches
2006

2006-04-04T08:41:00.000-07:00

Masked Suffering
Colored Pencil on Paper 9 1/2 by 11 inches
2006

2006-04-04T06:40:00.000-07:00

Stately Fellows
My Final MFA Show

2006-03-25T19:38:00.000-08:00

general peering into an abyss
from the installation "stately fellows" 2006
ink and colored pencil on business stationary.

2006-03-12T03:33:00.000-08:00

ink and gouache on rice paper. 2006. 24x36 inches?

2006-02-06T23:07:00.000-08:00

CV
Ami Tallman

Born
1979 California

Education
Art Center College of Design
Master of Fine Arts, April 2006

New School for Social Research, Graduate Faculty of Political and Social Science
Graduate Philosophy Department. No Degree, 1999-2000

The San Francisco Art Institute
Bachelor of Fine Arts, May 1999

Exhibitions

2008
Against the Grain, Los Angeles Contemporary Exhibitions (12 June-10 August), curated by Christopher Russell
When the sun shines, it does not need proof (solo), See Line Gallery, Santa Monica (21 June- 26 July)
Free Love Gods, Pulliam Deffenbaugh Gallery, Portland (date unknown)

2007
Compound Objects from the Spy who Loves You, The Confederacy of Creative Ephemera at Circus Gallery, Los Angeles
Don’t Torture the Rotten Ducklings, Institute of Visual Arts, University of Wisconsin, Milwaukee
Le Flaneur, Fette’s Gallery, Los Angeles
No Jerks, Rental Gallery, New York
Timeline, Seeline Gallery, Santa Monica
Juvenilia, Koo's Art Center, Long Beach
Rainbow Goblins, Advocate Gallery, Los Angeles
Memoriam for our Gentle Friends, Trudi Gallery, Los Angeles
Paper Bombs, Jack Hanley Gallery, Los Angeles
re draw, Brooklyn Fireproof, Brooklyn, New York

2006
Braveland, See Line Gallery, Los Angeles
Naïve Set Theory, Cirrus Gallery, Los Angeles
Chainletter, High Energy Constructs, Los Angeles
Stately Fellows, MFA Thesis Show, Art Center College of Design, Pasadena, Ca
Boat Show, High Energy Constructs, Los Angeles
Supersonic 3, Barnsdall Art Park, Los Angeles

2005
Urban Birds II, Hang, San Francisco
Bedwetter Show, Paxico Gallery, Los Angeles
Conquest, Art Center College of Design, Pasadena, Ca

2004
Dark Side of the Sun Wight Gallery, University of California Los Angeles, Los Angeles, California
Power via rodents and celebrity jewel theives, Art Center College of Design, Pasadena, Ca
Pulp: Works of Paper, Worth Ryder Gallery, University of California, Berkeley
Urban Birds, Balazo Gallery, San Francisco
Battlefield, Art Center College of Design, Pasadena, Ca

1998
17 artists, 35 works, 500 guests, 976 Valencia, San Francisco, Ca

Bibliography

2008
Art Ltd, “Young at Art, 15 under 35,” profile, May 2008, Shana Nys Dambrot

2007
Artweek, “Braveland,” review March 2007, Shana Nys Dambrot
Artweek, “Naïve Set Theory,” review February 2007, Charlene Roth

2006
ArtUs, “Boat Show,” review, Issue 14, July-September 2006, Christopher Russell
I Heart Darkness, interview, 2nd Cannons Publications, Natascha Snellman

2004
Mission Arts Monthly, “Urban Birds at Balazo Gallery,” review, September 2004, Leena Prasad
ArtWeek, "Urban Birds", Volume 35, Issue 8, Alison Bing

Publications

2007
There Weren't Many Girls Around, So We Dated Ideologies. This Left Us Always on the Brink of War. We Often Discussed That a Likely Result of Battle Would Have Been More Girls to Go Around Amongst the Survivors, but We Quibbled Rather Than Acted, & Slept Alone in Our Cold Beds Dreaming of Glory. Artist's Book, 2^nd Cannons Publications

2005
After Such an Outburst of Emotion as is Represented by these Landscape, er, Renderings, We May Find it Necessary to Avoid all Future Contact with You (for the sake of some semblance of dignity) Artist's Publication with Christopher Russell

Portfolio #3, Analogue Press

2004
Bedwetter Magazine, Issues 7 through11

2001
Flash Art Magazine, The NY Decency Panel, Volume 34, Issue 218
Flash Art Magazine, Aperto San Francisco, Volume 34, Issue 217
Flash Art Magazine, Ultrabaroque, Volume 34, Issue 215

2005-09-19T18:03:00.000-07:00

This was another of the men in think tanks, also ink on tissue, 2005.

2005-09-19T16:12:00.000-07:00

These guys were something of a challenge to document. They were backlit when installed, because they were mounted on a window.

2005-06-15T19:12:00.000-07:00

From the series
Portrait of the Demographic Most Likely to be in Power
2005 ink on tissue

From the series
Portrait of the Demographic Most Likely to be in Power
2005 ink on tissue

From the series
Portrait of the Demographic Most Likely to be in Power
2005 ink on tissue

2005-06-15T19:09:00.000-07:00

2005 ink on paper

2005 ink on paper

2005 ink on paper

2005-06-15T19:06:00.000-07:00

2005 ink on paper

2005 ink on paper

"Polo Player of the Apocalypse no. 1"
2005 ink on paper

"Polo Player of the Apocalypse no. 2"
2005 ink on paper

2005-04-06T23:00:00.000-07:00

capacity to act, ink on paper, 2005

2005-04-04T09:07:00.000-07:00

2005: hybrid animals from medieval sources

seal

fieldmouse

rhino

bat

2005-04-04T06:22:00.000-07:00

conquest show, ink on paper, 2005

shrubbery series, ink on paper, 2004

2005-04-02T00:00:00.000-08:00

conquest show--fall 2005

All Images
9x12 inches, ink on paper
Copyright 2005 Ami Tallman

2005-02-06T23:04:00.000-08:00

mountain. ink on canvas. 18 x 24 inches. 2005

2005-02-06T23:03:00.001-08:00

mountain range, ink on paper, 9 x 12 inches. 2005

2005-02-06T23:03:00.000-08:00

expedition. ink on paper. 9 x 12 inches. 2005

2005-02-06T23:02:00.000-08:00

mountains with helicopters. ink on rice paper. 8 inches by 4.5 feet? 2005

2005-02-06T23:01:00.000-08:00

skunk. ink and goauche on paper. 9 x 12 inches. 2005

2004-10-09T02:07:00.000-07:00

Forest Scene from Very close up. Marker on Paper. 2004

Sedges from within. Marker on Paper. 2004

Lake Defying Edge. Colored Pencil on Paper. 2004

Topheavy Landscape. Colored Pencil and Highlighter on Paper. 2004

2004-06-15T19:33:00.000-07:00

precarious rodent
ink on paper 2004

dandy enough
ink on paper 2004

dreadful yelping
ink on paper 2004

a mother contemplates her eggs
ink on paper 2004

2004-03-06T23:02:00.000-08:00

tree with plane, ink on tracing paper, 8.5 x 11 inches. 2004

2004-02-06T23:06:00.000-08:00

bunker hill
ink on paper
2004

2004-02-06T23:04:00.001-08:00

battlefield (detail of corpse wallpaper). ink on paper. 2004

2004-02-06T23:04:00.000-08:00

fauve landscape 2004