"André Malraux invented the 'imaginary museum' in 1947. He arranged hundreds of images of works of art in free association and allowed them to form new connections."
Jacobine moved from The Netherlands to Los Angeles in 1998 to work as a special effects artist in the film industry creating prosthetics, hyper realistic human bodies, body parts, animals and surreal creatures. Some of her favorite film projects she participated in were by Matthew Barney and Paul McCarthy.
They shed perpetually, the ones who look like me.
2021, color pencil, watercolor, acrylic and collage on paper, 19x24 in.
Formed by Hand and Integrated on Panel
27" x 18" x 5"
Oil on Canvas
"Leaping Through Moments of Becoming"
Oil, graphite, wax pastel on canvas
48 x 36 inches
Electrical metallic tubing, Rose stems,
"LA Woman - This City of Angels"
archival pigment print on Hahnemühler cotton rag paper
" Mojave Burning No. 1"
Mixed media including layered images on transparencies and gold leaf
15 1/2-by-13 inches framed
70” x 107” x 36”
“Black Swan Theory”
wood,green screen,mesh,felt, cable
8.5'h x 9'w x 20_d
8.5 x 11 inches
M_M_Artspace is the art space (studio) of Monika Dahlberg and André Smits in Kattendijke/Goes/Zeeland. Their international network (ARTISTINTHEWORLD) is the basis for this special art spot (incubator) in Zeeland.
All artwork for sale, please inquire!
She kept working for McCarthy, as head of his LA studio sculpture department for many years. She always made her own work, painting in her early 20’s in Amsterdam and venturing out into sculpture, installation and improvisational experimental sound performance ( in costume as The Brutal Poodle). The juxtaposition of the artificial and the natural is central to her work. Geometric architectural forms interfere or communicate with organic shapes, the work process is a rhythm of premeditation and improvisation and artificial and natural materials are often used in contrast or together.
Jacobine now lives and works in a remote part of the Mojave Desert outside of LA and has recently focused on drawing, back to the source. Her environment is changing rapidly. The summer heat is getting more intense every year. The fragile ecosystem is suffering under an explosion of tourism and illegal pot farming, trash is left behind and water sources are depleted. Wildfires, sometimes visible in the mountains, produce so much smoke that being outside is not an option. It still is The Wild West. With the most amazing sunsets.
‘SHED/ They shed perpetually, the ones who look like me’, became a self portrait.
The painting is a still life of trash I collect from the streets of Los Angeles on my daily walks. It reflects the hyper consumption and waste of our culture but also the beauty in the objects we discard. I have been influenced by historical still life in my attention to detail and aesthetics, but my focus on environmental issues is wholly contemporary.
"Megan Koth grew up in Cave Creek, Arizona. She attended Arizona State University, where she graduated with a Bachelor of Fine Arts in 2014. In 2018, she moved to California to pursue a Master of Fine Arts at the University of California, Santa Barbara, where she completed her degree in June of 2020. Her work resides in private collections throughout the US, and has appeared in Voyage-Phoenix, Lum Artzine, LA Weekly, Hyperallergic, and Phoenix New Times. Through a decidedly queer, feminist lens, Koth addresses the often fraught relationship that can exist between the topography and interiority of the body. Viral internet imagery, contemporary makeup trends, and the traditions of painting and self-portraiture converge to address themes of body horror, obsessive self-evaluation and maintenance, and the liminal space of self-care. Drawing from her own experiences with chronic health issues, Koth interrogates how personal grooming in the form of skincare and beauty rituals can be a crucial exterior reaction to interior anxieties towards exerting, and sometimes losing, control over one’s body and health."
In 2019 I began working on a large lion sculpture. Conceived of as both an object and a costume, it was inspired by a proclamation, articulated in the Bhaga- vad Gita, that we change our bodies (lives) like we change our clothes. I constructed a wire armature for the body on a clothing display rack and fitted the removable head form to my own head. Thus began the procedure of fabricating the creature from Aquaresin and foam sheeting. The COVID 19 quarantine and shutdown were imposed just as I began the preparation of the fiber for the final surface coating. It was a long process of unraveling, cutting and combing dozens of yards of material. I finished in June 2020, just in time to celebrate my seventi- eth birthday.
The lion is a universal symbol of courage and strength. As a representation of assertiveness and overcoming difficulty, it is relevant to these times. I have worked as an artist in many roles for more than forty years, and I know that flexibility and the willingness to adapt to changing circumstances are keys to survival. The pose suggests that I am ready to take on more challenges.
The piece I am sending you is part of series I’ve been working on for the past year. It borrows its title from the concept of Black Swann Theory - a way to consider the existence of anomalies and discordancies of thought and perception, false beliefs and actual realities. It's part of an ongoing series entitled “a sudden desire to collapse distance”.
The works are based on ladder units that can’t be climbed but rise from one place and imply another - a kind of impossible bridge. All the pieces hang from the ceiling and are derived from my personal connection to immigration, a movement across space and time. My family were WW2 political refugees from Germany. They came in 1939 and their difficulties adjusting to life in the U.S. is a vivid part of my childhood memories. Although they could have moved back after the war, they established themselves here but never lost their deep identification with their nationality.
I am in the middle of the difficult process of applying for citizenship in Germany; a kind of backwards immigration.
This series also bears in mind the terrible treatment of past and future immigrants to this country and the current crisis at the border of the U.S. and Mexico. These thwarted immigrants long for safety and freedom, to travel freely from one place to another - like the rungs of my sculpture, their travel must be delicately negotiated and is easily broken or interrupted.
Artist Statement: I feel as if my academic education hasalwaysandwill be very much imprinted in my paintings. It has taught me toexpress the best way I possiblycan. My love and admiration for 19thcentury coloredprints such as Honore Daumier, Gustave Dore, and Cruikshank’scharacter color plateslive largelyin my body of work. Of course, with additional camp, kitsch and color, they are representationsof not only the world at large but also my sense of self-deprecating humor. My idea is to make small sized graphic illustrationsgrand and strongenough to standon their own.
Bio: Lena Moross was born in St.Petersburg. She studied at the State Academy of Art in Russia. In America, Lena studied at the Pasadena Art Center College of Design as a student of Peter Lyashkov. Lena Moross earned hermaster's at Cal-Arts (California Institute of the Arts). She was a student of John Baldessari and John Borofsky.
Born in 1984 in Yokohama, Japan, Juka Araikawa received a BFA in Art at the University of California, Los Angeles (2006). Juka Araikawa works in painting with gouache and oil on canvas, watercolours and monotypes on paper, capturing figures in dream-like yet also uncannily familiar environments. She has exhibited in solo and group exhibitions around the world, and was selected for the 2013 European Capital of Culture K.A.I.R residency supported by the Japan Foundation. Her work has been featured in the New York Times and Architectural Digest, amongst other publications. Juka lives and works in Los Angeles.
Help artist Ami Tallman stay housed
"Ami has a master's level education, and is one of the most intelligent, talented, and optimistic people we have ever met. She was featured a BBC clip where she was living in a bridge in Los Angeles. As a struggling artist, she found a safe place on the streets that she jokingly refers to as "The Mansion". Here she had multiple rooms, murals on the walls, CDs on the ceiling to reflect light, and a safe place to live and create art. However, shortly after this clip aired she was forced to leave. The police confiscated her belongings including her art supplies. She was separated from her beloved dog, Lobo, for four weeks, causing him severe anxiety and trauma which he still suffers from today. Ami is currently in temporary housing, but will soon be forced back on to the streets. We are working as a team to find a more permanent solution for Ami, but your contribution can buy her time and keep her safe in her current housing until then." Any donation will help! And with a donation starting at $200 you will receive an original Ami Tallman painting!
Krister Olsson is a sculptor and media artist based in Los Angeles. He has exhibited work at the Tokyo Metropolitan Museum of Photography, Institute of Contemporary Arts, Singapore, Ginza Graphic Gallery, Tokyo, and New Langton Arts, San Francisco, among others. His work has been recognized by the Japanese Agency for Cultural Affairs and the New York Times, and he has lectured / taught at Art Center College of Design, UCLA, San Francisco Art Institute, California College of the Arts, and 21/21 Design Sight (Tokyo). He recently received a Google Focused Research Award in Machine Learning and was Typographer-in-Residence at the Hoffmitz Milken Center for Typography at ArtCenter College of Design. Krister has an MFA from UCLA and a BA in Computer Science from Swarthmore College.