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The Salon at La THE SALON AT LA THE SALON AT THE W ING LA CURATED BY LOLITA CROS 8550 SANTA MONICA BLVD 3RD FLOOR, WEST HOLLYWOOD, CA Table of Contents 2 Judy Baca 6 Casey Baden 8 Jo Ann Callis 12 Katy Cowan 14 Yasmine Diaz 18 Lauren Greenfield 20 Adrienne Hayden 22 Serena Himmelfarb 26 Anastasia Jermolaewa 28 Sophia Le Fraga 30 Kelly Lynn Jones 34 Grace Lynne 36 Reilly Miller 40 Jordie Oetken 42 Louise Parker 46 Rachel Rottman 50 Gabriella Sanchez 52 Michelle K. Sauer 54 Linda Vallejo The Salon at The Wing is a permanent exhibition with rotating artwork by female identifying and non-binary artists displayed all throughout the spaces. Despite their undeniable influence, female identifying artists and non-binary folks in the arts have long faced the same exclusion and marginalization as they have in other industries. The works in The Salon at The Wing stand as a statement of the power and creative force of these artists. Curated by consultant and member Lolita Cros, the show includes over 58 pieces by 19 artists. Similar to the warmth of a collector’s home, the viewer is privy to the unique experience of seeing fashion photographers and painters displayed alongside sculptors and illustrators. Bringing established and up-and-coming artists together, Cros assembled the works to interact with each other, outside of the traditional hierarchy of the art world. The show captures a dialogue between artists of varying ages, identities, and nationalities—reflecting the heterogeneity of The Wing’s mission and members. Breaking down the barrier between the art world and the everyday, The Salon creates a space for members and guests to engage with important personal, political, and societal issues through the lens of art. Judy Baca B. 1946 HUNTINGTON PARK, CA What sets Judy Baca’s work as a visual artist apart is an inspired ability OPPOSITE PAGE to teach and a creative pursuit of relevance in developing educational Hitting theWall: Women in the Marathon, 1984, and community-based art methodologies. Baca is a painter, muralist, Color pencil on paper, monument builder, and scholar who has been teaching art in the University preliminary drawing for of California since 1984. She was the founder of the first City of Los Angeles proposed mural Mural Program in 1974, which evolved into a community arts organization 24 x 36 inches known as the Social and Public Art Resource Center (SPARC), which has NEXT SPREAD been creating sites of public memory since 1976. Baca’s public arts 01 Hitting theWall: Women initiatives reflect the lives and concerns of populations that have been in the Marathon, 1984 historically disenfranchised, including women, the working poor, youth, Pencil on paper, preliminary the elderly, LGBTQ and immigrant communities. drawing for proposed mural 28.25 x 40.25 inches The works on view at The Salon are initial drawings of her work “Hitting 02 Hitting theWall: Women the Wall”. Baca undertook the project of this mural on commission from in the Marathon, 1984 the city of Los Angeles to commemorate the 1984 Los Angeles Olympics, Final coloration, color pencil on paper marking the first time that women were able to run in the marathon. 22 x 73.75 inches The full-size work is painted along Los Angeles 110 Freeway, and in 2013 03 Hitting the Wall: Women was damaged by a CalTrans “paint over program”. This damage highlights in the Marathon, 1984 the ephemerality of much of Baca’s work, which these works on this Final drawing, pencil display necessarily fight against. Throughout Los Angeles, and increasingly on paper in international art venues, Baca’s projects have often been created in 22 x 73.75 inches impoverished neighborhoods that have been revitalized and energized by the attention these works have brought and the excitement they have generated. Baca has been the recipient of many awards, including a United States Artist Fellowship, a John Simon Guggenheim Fellowship, the “Through the Flower” Pioneering Feminist Artist Award by the Judy Chicago Foundation, as well as a grant from the National Endowment for the Arts. Her work has been exhibited across California, including her participation in The Artist’s Museum: 147 of Los Angeles’ Most influential Artists, at The Los Angeles County Museum of Contemporary Art, Los Angeles, CA. 3 THE SALON LA 02 01 03 Casey Baden B. 1991 HOUSTON, TX Casey Baden creates artworks in a wide variety of media including OPPOSITE PAGE cyanotypes, photography, painting, textile works and quilting, 01 Better Than Pretending, 1984 furniture, and installation. Across these different mediums, Baden Cyanotype on canvas utilizes varying material interventions to define a relationship 48 x 48 inches between the artistic processes of intervention and recording. Using 02 Effigy Compilation, 2017, pattern to mask or abstract the picture plane, Baden creates work Cyanotype on paper that presents bodies in various environments; places to hide 36 x 24 inches behind or within, calling up ideas of repetition, geometry, nature, 03 Better Than Pretending, and ritual or habit. 2018 Cyanotype on canvas In the work on view at The Salon, Baden depicts women within or 48 x 48 inches among suggestions of domestic space, interiors, and pattern. Stemming from her personal history as a gymnast and dancer, the figures often seem to be portrawwyed in motion, relating to the 01 transience of taking up a particular space. In this way, Baden views domestic space as an autonomous subject that is capable of forging intimate bonds with the people who inhabit it, which simultaneously reflects the selfhood of those people. This reflexive relationship elaborates the nature of boundaries, between persons and within spaces, as something that is unfixed and malleable. Casey Baden is a Los Angeles based artist pursuing her MFA. degree at California Institute of the Arts. She received her BA, from New York University in 2014. She has been awarded residencies at The Common House, Houston, TX, the Haystack Mountain School of Craft, Deer Isle, ME, and at the Vermont Studio Center, Johnson, VT. She has exhibited work across Texas and California, as well as in Paris, France. 02 03 6 THE SALON LA Jo Ann Callis B. 1940 CINCINNATI, OH Jo Ann Callis is a Los Angeles-based photographer who emerged in OPPOSITE PAGE the late 1970s as one of the first important practitioners of the 01 Forbidden Pleasures (XVII), 1994, “fabricated photographs” movement. Callis has made adventurous Archival pigment print contributions in the areas of color photography, sculpture, painting, 11 x 14 inches and digital imagery. For her, photography is another studio tool to 02 Forbidden be used, along with the sets she creates and the models she directs, Pleasures (II), 1994 to render the sensual tones and textures of fabric and food, or to Archival pigment print animate clay figures of her own making. The persistent inventiveness 11 x 14 inches of Callis’s work has made her a force in the Southern California art NEXT SPREAD scene and in recent photographic practice. 03 Forbidden Pleasures (V), 1994, In 1970, Callis enrolled at UCLA where she began taking classes Archival pigment print with Robert Heinecken, among other prominent artists. She started 11 x 14 inches teaching at CalArts in 1976 and remains a faculty member of the 04 Forbidden 01 School of Art’s Program in Photography and Media. She has continued Pleasures (VII), 1994 to photograph, draw, and paint. Her work has been widely exhibited Archival pigment print in such venues as the Museum of Modern Art, New York, NY; Los 11 x 14 inches Angeles County Museum of Art; Hammer Museum; the Museum of Contemporary Art, Los Angeles, CA; and the SFMOMA, San Francisco, CA. In 2009 a retrospective of her work, Woman Twirling, was presented by the J. Paul Getty Museum, Los Angeles, CA. Callis has received three NEA Fellowships and a Guggenheim Fellowship. 02 9 THE SALON LA 03 04 Katy Cowan B. 1982 LAKE GENEVA, WI In her work, Katy Cowan is able to seamlessly shift between media, from OPPOSITE PAGE painting to ceramics to textile to sculpture and back again. Each of these 01 Sock, Tape, Additions, 2016, transitions relies on a larger systematic way of thinking within Cowan’s Sun-sensitive paint on practice through alteration, repetition, and a conceptual emphasis on material cotton, dyed fabric additions choice. For Cowan, the serial repetition that occurs in the alterations made 84 x 24 x 2 inches on the sun-printed paintings encourage a new way of considering each 02 Brick, Feet, Rope, object, how they are physically handled, and their universal functionality. Additions, 2016 Sun-sensitive paint on Her works on view at The Salon fuses multiple sections of both naturally cotton, dyed fabric additions and artificially dyed cotton together, dissecting her painterly approach to 84 x 24 x 2 inches two-dimensional work with an abrupt gridded intersection of stitched fabric. The paintings allow her to look further inward, investigating her daily activities, physical movements, and the most fundamental decisions in her studio practice. With each form of Cowan’s artistic output, a dichotomy is at play. Her works are both simple and complex; raw and seemingly incomplete; decorative and functional; benevolent and sexual; child-like and sophisticated. Cowan received her BFA from University of Puget Sound in 2004 and her MFA from Otis College of Art and Design in 2014. She has been featured in solo and group exhibitions across Wisconsin, including at the Lynden Sculpture Garden, Milwaukee, and the Madison Museum of Contemporary Art, Madison. Her work has also been exhibited across the country including shows at the University of Puget Sound, Tacoma, WA; Philip Martin Gallery, Los Angeles, CA; Kate Werble Gallery, New York, NY; and Fourteen30 Contemporary, Portland, 01 02 OR.
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