"Erotic Codex" Group Exhibition @ Honor Fraser Gallery, Los Angeles - Curated by Jamison Edgar and Alice Scope

Erotic Codex

Curated by Jamison Edgar and Alice Scope

Honor Fraser, Los Angeles

April 6 — June 1, 2024

Honor Fraser presents Erotic Codex, a group exhibition that surveys the liberatory affordances of sex, and the erotic devices that artists use to harness power in an evolving digital landscape. Featuring fifteen artists who embrace the body as a site for rupture, rapture, and reconciliation, the exhibition asks how emerging technologies reconfigure cultural norms around sex, just as they shape the political impact of sexuality at home and in public. In turn, Erotic Codex illuminates the entangled ways that we understand intimacy, artificiality, and our own bodies through the prolonged relationships we share with the technological objects at hand.

Cocurators Jamison Edgar and Alice Scope arouse influential essays by Audre Lorde, Legacy Russell, and Leah Lakshmi Piepzna-Samarasinha to examine the fantasies our erratic media ecosystems engender. Their exhibition is indebted to these three trailblazing scholars and the theories of power, glitch, and care that they forward. In turn, Erotic Codex champions the nuanced ways that queer, femme, and disabled people claim agency, autonomy, and pleasure on their own terms. “The device,” seen as both a technological companion and a rhetorical instrument, is taken up to observe the divergent modalities of sex across fleshy-messy networks on– and offline.

In her 1978 essay “Uses of the Erotic: The Erotic as Power,” Audre Lorde outlines the ways that men weaponize and distort erotic desire against people who do not fit neatly into the categories of traditional masculinity. Lorde argues that, as a result, the erotic has long been underestimated as a source of empowerment. In the years since its publication, however, “Uses of the Erotic,” has become a cornerstone of feminist literature, and Lorde’s call to embrace the power of self-realized desire has catalyzed rigorous debates on the utility and ethics of body autonomy, pornography, sex work, and gendered labor. Erotic Codex continues in this tradition—asking visitors to contemplate the devices that generate erotic power in an era of accelerating technological proliferation.

Drawing upon nearly three decades of research in the fields of art, technology, and performance, Scope and Edgar cruise the archives of hybrid desire, transforming Honor Fraser into a multisensorial compendium that is at once seductive, deviant, and full of pleasure. Visitors to the gallery will find Honor Fraser veiled in the hued tones of a red-light district, peppered with sculpture and media installations that divide the gallery into four erotic zones.

In the gallery’s largest exhibition hall, a grouping of seven artworks by Bora, Ayanna Dozier, Lolita Eno, Xia Han, Huntrezz Janos, Maggie Oates, Antigoni Tsagkaropoulou, Miyö Van Stenis dance across a company of suspended video monitors. These pole-dancing avatars greet, tease, and flirt with visitors as they navigate an erotic gym caught between intimacy and exhibitionism. Past the gym, Lucas LaRochelle mounts a large-scale installation of their geolocated web browser, Queering the Map, along with QT.Bot, an artificial intelligence model trained with the textual and visual data of the community mapping platform.

In the gallery’s screening room, soft cushions adorn the floor in front of Mariana Portela Echeverri’s filmed performance, “La Parte De Mi Más Lejos De Mi Es La Punta De Mi Lengua” (The Part of Me Furthest From Me is the Tip of My Tongue). During the durational video, Portela Echeverri adorns erotic prostheses to propose new methods for sensing the body at its furthest limits.

Finally, visitors are guided into a sensual library where the sticky materiality evoked in the exhibition’s title becomes tangible and interactive. Panteha Abareshi, Lena Chen, Nat Decker, Sarah Friend, Matthew McGaughey, Sybil Montet, and Maggie Oates each forward their own entry into the mounting codex. The seductively spot-lit room of sculptures, videos, and games renders in real time the erotic power of emerging technologies while antagonizing the sexist and dehumanizing tactics that adjacent media fantasies help to perpetuate.

Exhibiting artists: Panteha Abareshi, BORA, Lena Chen & Maggie Oates, Nat Decker, Ayanna Dozier, Mariana Portela Echeverri, Lolita Eno, Sarah Friend, Xia Han, Huntrezz Janos, Lucas LaRochelle, Matthew McGaughey, Sybil Montet, Antigoni Tsagkaropoulou, Miyö Van Stenis

VIEWER DISCRETION ADVISED: Erotic Codex contains explicit depictions of sexual acts and explores mature themes not suitable for all ages.

HONOR FRASER GALLERY

2622 La Cienega Blvd, Los Angeles, CA 90034

www.honorfraser.com

Howardena Pindell @ Honor Fraser Gallery, Los Angeles, CA

Howardena Pindell 

Honor Fraser Gallery, Los Angeles 

Through October 31, 2015

Honor Fraser Gallery presents the first one-person exhibition of works by Howardena Pindell on the west coast of the US.

A significant figure in the discourse around abstract painting, conceptual art, and identity politics, Howardena Pindell has explored the potential for abstract painting and process-based practices to address social issues throughout her career. This exhibition looks at two facets of Pindell's practice that have remained consistent through five decades of artmaking: abstract paintings and constructions on canvas, paper, and board; and a body of work Pindell calls "video drawings", an ongoing series of photographic prints that arise from her unique hybridization of photography, video, and drawing. 

HOWARDENA PINDELL - BIOGRAPHY

Born in Philadelphia, PA in 1943 and based in New York City since 1968, Howardena Pindell earned her Bachelor of Fine Arts at Boston University in 1965 and her Master of Fine Arts at Yale University in 1967. She holds honorary doctorates from the Massachusetts College of Art and Design and Parsons The New School for Design. Between 1968 and 1978, she was on the curatorial staff at the Museum of Modern Art where she organized exhibitions for the Department of Drawings and Prints and the Department of Prints and Illustrated Books. Pindell's work as a curator led to travels to places around the world where her research and experiences impacted her curatorial, artistic, and personal growth. The burgeoning feminist art movement of the 1970s provided an influential though fraught context for her work. Pindell was a co-founder of the seminal A.I.R. Gallery in 1970, and while feminism was a crucial element in her developing worldview, she also encountered racism that worked at cross-purposes to the positive growth of a progressive feminist politics in the movement. 

Howardena Pindell's particular mode of abstraction continually insists on a confluence of geometric forms (circles and grids) and organic gestures. By pushing the grid beyond its capacity to contain and create order, Pindell challenges its authority both pictorially and culturally. Using small bits of paper cut with hole punches, she has been constructing textural, large scale paintings that pin directly to the wall since the late 1960s. Monochromatic from afar, these immersive works reveal themselves to be made up of countless tiny gestures and bits of varying color upon closer view. Unafraid of radical shifts in scale, Pindell also creates diminutive, vibrant collages that sing with moments of hand drawn arrows and numbers running through their constituent parts. Often starting with a drawing on paper that she folds up and cuts with a hole punch, Pindell fashions organic shapes that defy categorization from her accumulation of circular cut-outs. In a body of work from the 2000s, Pindell's ongoing exploration of two contrasting forms is explicit as numbered circles vie for space amid rigid grids in small assemblages on board. 

To make her video drawings, Howardena Pindell photographs televisual images, overlays the resulting photograph with drawn numbers and arrows, and then re-photographs the drawing. The works are finally realized as photographic prints. Deploying images from sporting events; documentary programs on nature, war, and history; and television shows aired in some of the many foreign countries Pindell has traveled to, the video drawings offer up a critique of media while also asserting Pindell's constant return to process as a means through which to generate form. These moments that have been extracted from a perpetual stream of moving images provide rich backgrounds to which Pindell can react. As she has described, "Formally, the lines and numbers represent areas of tension in the interface of the image and the lines, force and energy, real and imagined."

HOWARDENA PINDELL's work has been exhibited widely since 1971 including one-person exhibitions at Just Above Midtown, New York (1977); Birmingham Museum of Art, Birmingham, AL (1985); The Studio Museum in Harlem, New York (1986); Wadsworth Atheneum, Hartford, CT (1989); Georgia State University Art Gallery, Atlanta, GA (1993); and Heckscher Museum of Art, Huntington, NY (1999 and 2004). Thematic exhibitions featuring her work include Contemporary Black Artists in America, Whitney Museum of American Art, New York (1971); 1972 Annual Exhibition: Contemporary American Painting, Whitney Museum of American Art, New York (1972); Rooms: P.S.1, Queens, New York (1976); Thick Paint, Renaissance Society at the University of Chicago, Chicago, IL (1978); Afro-American Abstraction: An Exhibition of Painting and Sculpture by Nineteen Black American Artists, P.S. 1 Contemporary Art Center, Queens, NY (1980-1984; touring); Making Their Mark: Women Artists Move into the Mainstream 1970-1985, Cincinnati Art Museum, Cincinnati, OH (touring); Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History, Hammer Museum, Los Angeles, CA (1996); Strange Days, Museum of Contemporary Art, Chicago, IL (2003); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum, Houston, TX (2005); High Times, Hard Times: New York Painting, 1967-1975, Weatherspoon Art Museum, University of North Carolina, Greensboro, NC (2006-2007; touring); WACK! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles, CA (2007-2009; touring); Lines, Grids, Stains, Words, Museum of Modern Art, New York (2007-2009; touring); and Variations: Conversations in and around Abstract Painting, Los Angeles County Museum of Art, Los Angeles, CA (2014-2015). Pindell's work is held in public collections such as the Metropolitan Museum of Art, New York; Museum of Contemporary Art, Chicago; Museum of Fine Arts, Houston; Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; Academy of Fine Arts, Philadelphia; Smithsonian Museum of American Art, Washington, D.C.; The Studio Museum in Harlem, New York; and the Whitney Museum of American Art, New York. She has been a professor at State University, New York at Stony Brook since 1979.

Honor Fraser Gallery, Los Angeles,California 

www.honorfraser.com

Color Field Works from the 1960s and 1970s @ Honor Fraser Gallery, Los Angeles, curated by Hayden Dunbar

Openness and Clarity: Color Field Works from the 1960s and 1970s
Honor Fraser Gallery, Los Angeles
June 7 — August 2, 2014

Honor Fraser Gallery presents Openness and Clarity: Color Field Works from the 1960s and 1970s, curated by HAYDEN DUNBAR. The show includes works by Josef Albers, Anthony Caro, Helen Frankenthaler, Morris Louis, Robert Motherwell, Kenneth Noland, Jules Olitski, and Frank Stella.

Assembling works rarely exhibited in Los Angeles, Openness and Clarity seeks to examine the pivotal role that Color Field painters and their direct predecessors played in the evolution of abstract art, while also proving the work's persisting ability to captivate the contemporary eye. The title of the exhibition references CLEMENT GREENBERG's catalog essay for his seminal 1964 exhibition, Post Painterly Abstraction, which championed a new group of artists that rejected painterliness in favor of an "openness and clarity" in color and contour. Organized for the Los Angeles County Museum of Art, the exhibition introduced thirty-one artists whose restrained arrangements of saturated color in vaporous soft-edged shapes and geometrical hard-edged forms reacted to the dense, gestural brushwork and raw emotion of the Abstract Expressionists. Diminishing distinctions between object and ground, these paintings formed a cool-headed and fresh visual language that de-emphasized line to privilege the perceptual effects of color: "What sets the best Color Field paintings apart is the extraordinary economy of means with which they manage not only to engage our feelings but also to ravish the eye." (Karen Wilkin, Color As Field: American Painting, 1950 – 1975, p. 17.)

Marking the fiftieth anniversary of LACMA's historic exhibition, Openness and Clarity presents a selection of exceptional works by five artists who were integral to Clement Greenberg's thesis and were instrumental in advancing abstraction in the 1960s and 1970s: Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, and Frank Stella. Though not included in Post Painterly Abstraction, the works of JOSEF ALBERTS establish a direct link between these artists' early and ongoing emphasis on color and form. As a teacher at Black Mountain College and Yale University, his work and ideas set a foundation for younger artists to expand upon and rebel against. His inclusion in this exhibition also underscores the social framework within which all of these artists were working and which provided a sphere of mutual influence. Josef Albers's Homage to the Square: Warm-Near (1966) is an example of his commitment to pure geometry and the interaction of color.

Using an all-over staining technique to achieve lyrical, floating shapes and radiant hues, HELEN FRANKENTHALER poured and applied washes of thinned paint with rags in works like Bach's Sacred Theater (1973). After Clement Greenberg showed him Helen Frankenthaler's work, MORRIS LOUIS followed her lead and embarked on intense experimentation with materials and color that led to the various acclaimed series he completed before his untimely death at age forty-nine. Kaf (1959-1960) is from his Floral series, an excellent and rarely seen example of Morris Louis's breakthrough work. Clement Greenberg also introduced KENNETH NOLAND to Hellen Frankenthaler's innovations, and like Louis (Noland's close friend) he embraced the potential of staining unprimed canvas with thinned pigments. A student of Josef Albers, Kenneth Noland invigorated his devotion to geometry with unusually shaped and stained canvases, as can be seen in works like Bolton Landing: Singing the Blues (1962) and Warm Weekend (1967). A close friend of Morris Louis and Kenneth Noland, JULES OLISKI was a bold colorist whose biomorphic forms alternately floated in monochromatic fields (as in Mushroom Joy [1959]) and pushed at the edges of the canvas (as in Z [1964]).

Known as an Abstract Expressionist and part of The New York School, ROBERT MOTHERWELL took a minimal approach to the use of color in the late 1960s, creating a series of expansive, nearly monochromatic canvases. Open No. 20: In Orange with Charcoal Line (1968) demonstrates Robert Motherwell's interest in color and composition as subjects. Like Robert Motherwell and Kenneth Noland, FRANK STELLA turned to painting as the subject matter for painting, pushing beyond the conventional rectilinear limits of the canvas and challenging notions of painting and objecthood. Sunapee IV (1966) from Franck Stella's Irregular Polygon series demonstrates his ability to marry color and form. On loan from the Museum of Contemporary Art, Los Angeles, Ctesiphon I (1968) is part of Franck Stella's Protractor Variation series and exemplifies the rigor and energy for which he became so well known. These radical geometries are echoed in ANTHONY CARO's Dumbfound (1976). On a 1960 visit from England to the United States, Anthony Caro met Clement Greenberg, Kenneth Noland, Morris Louis, and the sculptor David Smith, all of whom made a lasting impression on him. Returning to England, Anthony Caro developed a monochromatic collage style that favored open forms and horizontality, which can be seen in Dumbfound (1976).

Openness and Clarity pays tribute to the legacy of Color Field artists who paved the way for Minimalism, Conceptual, and Pop art, creating an enduring shift in the course of art history that can still be seen today.

HONOR FRASER GALLERY
2622 S. La Cienega Boulevard, Los Angeles, CA 90034
honorfraser.com

Andy Warhol: Robots & Space Ships, Honor Fraser Gallery, Los Angeles

Andy Warhol: Robots & Space Ships 
Honor Fraser Gallery, Los Angeles 
Through December 21, 2013

Honor Fraser Gallery presents its second ANDY WARHOL exhibition, this time focusing on his drawings and paintings of toy robots and space ships.

Throughout art history artists have created work incorporating toys, games, and play. The Surrealists famously invented the exquisite corpse, a game that liberated image making from the constraints of rational and discursive order, and resulted in an unexpected drawing. Games and play allow participants to perceive the world with new eyes, and most importantly, position established hierarchies at risk. The excitement exists in taking turns at playing different roles – the privileged or the underdog, the policeman or the robber – and foreseeing how events will unfold. If Surrealist games liberated the process of image making for artists, games provide a method for addressing conflict in a more manageable framework, that of popular culture. At play in this exhibition are Warhol's positive assessments of popular culture and his contributions to moments of hierarchical reversals of power.

Despite the small scale of the drawings and paintings in this exhibition, the work captures the grandiosity of the Warholian Pop Art strategies that transformed the art world from the late 1950s on, like no other series of works. These strategies include consumerism, appropriation, seriality, and abstraction. The work in the exhibition is from a series first exhibited in the 1980s by Bruno Bischofberger, a Swiss art dealer, and was intended to be hung low; a protest against the typical installation height. Warhol and Bischofberger selected a total of sixteen images for the series. The images do not reference the actual toys but the images printed on their packages, which is consistent with Warhol's interest in consumer culture, commodities, and the container, rather than the contained. The exhaustive repetition of the image, typical of Warhol as well, attests to his fascination with the proliferation of images in popular culture. His signature silkscreen style, where the overlaid fields of color do not match the line drawing, points towards Warhol's interest in abstraction. However, these drawings and silkscreens present a unique aspect in the Warhol saga: his unrealistic dream to be a machine, a conglomerate of author-free industrial products, or, to have a proxy robot that looked like him and would be his replacement when needed. These observations shed new light on the series, and in particular, to the somewhat anthropomorphic robot works. 

The exhibition is accompanied by a new publication, Andy Warhol: Robots & Space Ships, with an essay by Vincent Fremont. 

Upcoming exhibitions:
Annie Lapin, January 11 - February 22, 2014
Meleko Mokgosi, April 19 - May 31, 2014

HONOR FRASER, LOS ANGELES 
www.honorfraser.com

Andy Warhol: Camouflage, Honor Fraser Gallery, Los Angeles

Andy Warhol: Camouflage

Honor Fraser Gallery, Los Angeles

October 30, 2010 — February 5, 2011

Honor Fraser presents Andy Warhol: Camouflage, an exhibition that includes silkscreens on canvas, unique trial proofs on board, and screenprints. This marks the first comprehensive west coast exhibition, in over ten years, of Andy Warhol's late series, the Camouflage works. The exhibition is accompanied by an exhibition catalogue with an essay by Vincent Fremont. Please find excerpts from his essay below.

While Andy Warhol was still alive, I can only remember on one occasion that a Camouflage painting of his was exhibited. It was a 72 x 72-inch fluorescent, hot-pink, and yellow version that was included in a group show in 1986 at the Tony Shafrazi Gallery in New York City.

The Camouflage paintings were not shown publicly until six years after Andy's death. In September of 1993, with the cooperation of the Andy Warhol Foundation, an exhibition entitled Andy Warhol Abstrakt opened at the Kuntshalle in Basel, Switzerland. For the first time ever, large Camouflage paintings measuring from 50 x 198-inches to 116 x 420-inches were presented in a groundbreaking and intriguing survey of the work resulting from Andy's interpretation and experimentation with abstract painting.

The Camouflage paintings were a personal vision of Andy's. No gallery had commissioned him to create these paintings for an exhibition. It all started in 1986 when Andy asked his art assistant, Jay Shriver (who was also an artist) what he was working on. Andy had agreed to let Jay work four days a week as long as Jay created artwork in his own studio on his day off. Jay told Andy that he was making small abstract paintings by pushing paint through the mesh of a piece of military camouflage cloth. Andy immediately realized making paintings of the actual camouflage shapes and patterns would be a great idea. He sent Jay off to the local Army/Navy store on Fifth Avenue near Union Square to buy some camouflage fabric. When Jay returned they photographed the cloth and the project began. Andy had the mesh pattern removed from the pictures of the camouflage cloth so just the shapes remained. Andy had a good experience creating this series of Camouflage paintings; from the very large-scale to the very small-scale versions measuring only 9 x 9-inches. He was so pleased with the results of the paintings he decided to publish his own limited edition of Camouflage prints.

Andy asked Rupert Smith, the printer who had also worked on the paintings, to make trial proofs for the print edition. Rupert made eighty-four 38 x 38-inch trial proofs and Andy selected eight to be printed, with the same colors and imagery, for the regular and artist proof editions. Each of the 84 trial proofs is unique, one of a kind, and that is what makes them extraordinary, especially within the Camouflage series.

This exhibition offers a rare chance and arguably the first chance to see a group of Camouflage paintings paired with a group of Camouflage trial proofs.

HONOR FRASER GALLERY

2622 S. La Cienega Blvd., Los Angeles, CA 90034

www.honorfraser.com 

Tom Wesselmann, Honor Fraser Gallery, Los Angeles

Tom Wesselmann

Honor Fraser Gallery, Los Angeles

November 1 — December 20, 2008

Honor Fraser presents a retrospective of works by Tom Wesselmann.

This exhibition brings together a collection of works that span the career of this Pop Icon. From his brash and bold series of American Nudes to slick and evocative Smokers Studies, the exhibition highlights the career of one of the countries breakthrough voices from the Sixties.

Growing up in suburban Ohio,Tom  Wesselmann came to painting late, first starting to cartoon while enlisted in the Korean War. After returning from the army and with the support of the G.I. Bill, he attended the University of Cincinnati and received a degree in psychology and began studying art. Finding his voice in cartooning, he was able to sell his work to magazines and at the urging of an art professor in Ohio, he moved to New York to study at the Cooper Union. There he started to collage and was trained under the electric shadow of Abstract Expressionism. Wrestling with all of these new influences, Tom Wesselmann fought to find his artistic voice, focusing on a new path in a return to a figurative framework. Experimenting with the boundaries of the painted plane, he flattened images and gave his work an immediacy and slick monumental feel no matter what scale he chose to work in.

Anchoring the exhibition is Great American Nude #38, 1962, a spectacular example of Tom Wesselmann's early work. The formal composition of the painting places a smiling nude amidst a sea of red, white and blue. The work meshes familiar icons, a 50's pin-up girl, an army poster and a distant view of an exotic vacation locale. Instead of overtly erotic, his portrayal of the female nude is raw and brazenly in your face, a thematic thread he continues through the following decades of his career.

Stemming from his love of collage, Tom Wesselmann dips into the visual imagery of Americana, creating a patchwork of the familiar that creates works of arresting color and form. Still Life #49, 1964, a three-dimensional collage of a Seven-up bottle and orange, is an exemplary piece by the artist and encapsulates this play on commonplace objects. His still-lifes are catalogs of graphic design, advertising logos, and billboards, all evidence of daily life.

Though Tom Wesselmann's work matured in the same era as Andy Warhol, Roy Lichtenstein, James Rosenquist and Claes Oldenburg, unlike these artists he chose not to transform his imagery through a filter, favoring a clear expression of the figural and visual form. His work is rooted in the American experience with an iconography reflecting the charged era of pop sensibility coupled with his deliberate honesty.

HONOR FRASER GALLERY

2622 S. La Cienega Blvd., Los Angeles, CA 90034

www.honorfraser.com

Ed Ruscha: Standard Stations, Honor Fraser Gallery, Los Angeles

Ed Ruscha: Standard Stations 

Honor Fraser Gallery, Los Angeles

March 1 — 29, 2008

This exhibition brings together works by ED RUSCHA that feature the Standard gasoline station, a leitmotif that runs throughout his work. It presents the Standard station depicted in photography, print, work on paper, book form, painting, as well as a sketch on a post-it note.

The earliest work on show, Standard, Amarillo, Tx (1962) is one of the series of photographs — featured in Ruscha's Twenty-six Gasoline Stations — taken on late 1950s' and early 1960s' road trips between Oklahoma City and Los Angeles. The ordinariness of the subject matter and "snapshot" style of the photographs were symptomatic of Ruscha's interest in an art form that could be neutral and objective, while the desolate feel of the images spoke of the emptiness of the American West. This neutral recording of the gas stations stood in contrast and opposition to the flamboyant, involved and entirely subjective works of the abstract expressionists, and resonated with Ruscha's interest in absence: of subject matter, of precedent, of meaning, and of the artist's hand. The word standard itself - connoting the suppression of individuality and the preservation of objectivity - expanded on those themes, and the Standard gasoline station, alone among the twenty-six others, continued to feature in several of Ruscha's works.

Ed Ruscha's Standard stations, as building types, do not change with the development of gas station architecture, but his expression of the subject evolves significantly. He found that the image of the Standard gasoline station lent itself particularly well to print, and in the late 1960s, he introduced composition, color, and atmosphere in iconic images such as Standard Station (1966) and Mocha Standard (1969). The dramatic angles and widescreen landscapes chimed with his interest in Hollywood, while standing in ironic contrast to the commonplace subject matter. Double Standard (1969) illustrates how the subject has lent itself to Ed Ruscha's interest in wordplay. The print also refers to Dennis Hopper's photograph of the same name taken in 1961. The Hopper image is also featured in this exhibition, in the form of an invitation to a 1964 show of Ruscha's work at the Ferus Gallery.

In its utter normalcy, the Standard station has also provided the perfect foil to the surrealism of some of Ed Ruscha's work, exemplified here in Cheese Mold Standard with Olive (1969), which leaves the viewer wondering how standard a gasoline station can be in the presence of a floating martini olive.

In later works, the building disappears and leaves the word silhouetted dramatically against the Western sky. Then in the 2003 painting Station, the word disappears leaving the building silhouetted against another Southern Californian landscape, just as the letters were. In the end, the image and the word are shown to be on some level interchangeable.

HONOR FRASER GALLERY

2622 S. La Cienega Blvd., Los Angeles, CA 90034

www.honorfraser.com