FOR IMMEDIATE RELEASE

Contact:Tim Ericson
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THE FIRST ANNUAL L.A. WEEKLY BIENNIAL

State of Emergence: Unsuspected Cracks in the Art World Infrastructure
curated by Doug Harvey

and

Selected L.A. Weekly Cover Art and Artists
curated by Shelley Leopold

October 15–November 12, 2005
Mid-show celebration October 28, 7 P.M. to 11 P.M.

26 September, 2005, Santa Monica––In celebration of L.A. WEEKLY’S FIRST ANNUAL ART ISSUE, Track 16 Gallery and the Weekly co-host the First Annual L.A. Weekly Biennial. The inaugural show, “State of Emergence: Unsuspected Cracks in the Art World Infrastructure,” curated by Weekly art critic Doug Harvey, includes works by Glenn Bach, Brian Bress, Sarah Cromarty, Christian Cummings, Joe Deutch, Adrian Ellis, Erik Frydenborg, Margarete Hahner, Elliott Hundley, Ryan Johnson, Avigail Moss, Mary Pongratz, Amanda Ross-Ho, Jeff Wells, and Brenna Youngblood. An accompanying show, curated by Weekly associate creative director Shelley Leopold, showcases artists whose work has appeared in the Weekly, including design uberman Shepard Fairey, political collage artist Winston Smith and the Weegee of hipsterville, photographer Mark “Cobrasnake” Hunter. The mid-show celebration on Friday, October 28 from 7 to 11 P.M., will feature new performance art by Joe Deutch and visionary art-rock band Fireworks as well as a DJ set by Shepard Fairey.  Regular gallery hours are Tuesday through Saturday from 11 A.M. to 6:00 P.M.

L.A. Weekly’s first annual Art Issue, surveying the dynamic Los Angeles art scene and its extraordinary players will be released on October 27. The blow-out issue will feature the Weekly 100, a list of artists (iconic to mid-career to emerging), curators, gallerists, collectors and museum directors who make Los Angeles one of the most dynamic art communities in the world. Other features include the mainstreaming of Low-Brow; a guide to L.A.’s best graffiti and street art; a survey of the changing gallery scene; a profile of MOCA curator Paul Schimmel and an interview with UCLA Hammer Museum director Ann Philbin; “Public Art: The Good, the Bad, the Just Plain Ugly”; digital Los Angeles; Sandow Birk’s Inferno; artists who collect; LACMA’s Lee Mullican retrospective; an insider’s tale of the UCLA student performance that caused Chris Burden to quit; and much more.

Also on view from October 15 through November 12, “The Neo-Fake: Paintings and Stencils by Scott Williams.” Williams is best known for his intricate stencil work which ranges in form from handmade artists’ books, to textile design, to paintings on canvas and other media. His rich and layered imagery includes architecture, appropriations from West Coast popular culture (i.e. Hollywood, pulp fiction), as well as historic and political figures.

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