Search 2016 featured in a group exhibition at an artist studio complex in the Downtown Art’s District , Los Angeles. Curated by artist, Orly Ruaimi.
B.A.D. Summer is a multidisciplinary collaboration including works by Jonathan Casella, Mark Cooper, and Kim Eull. This exhibition highlights the nature of each artist’s practice as they navigate commercial signifiers, art historical tropes, and contemporary kitsch aesthetics. This exhibition will be on display at Baik Art from June 16, 2018, through September 8, 2018. An opening reception will be held on Saturday, June 16, 2018, from 6pm-8pm.
As the lines between globalized spectacle and institutional preservation become increasingly blurred, it is imperative to approach such endeavors in ways that prove adaptive and experiential. This exhibition reflects on the ability of creative practices to traverse both informed viewership and mass accessibility by blending a multitude of cultural signifiers. The vibrant and encompassing installation looks to challenge notions of taste and connoisseurship as well as the role of craft objects within the canon of fine art.
The show’s emphasis on traditionally industrialized motifs such as clocks, shelving units, and books examine the commercialized exchanges around art and the resulting cultural homogenization that occurs within domestic and institutional spaces. Distinctions between academic austerity and marketability are then renegotiated through the artist’s contrasting use of fine art objects, stylized furnishings, and omnipresent barcodes. A point further highlighted by the storefront’s eccentric retail-esque display.
Akin to other artist groups such as Danish collective, Superflux, B.A.D. Summer’s collaborators look to develop experimental and participatory experiences that challenge socio-economic status, art historical tradition, and cultural representation. This grouping of internationally based visual artists aims to build on Baik Art’s continued focus on global collaboration, experimentation, and ideological exchange.
Origin is a group exhibition curated by Joshua Hashemzadeh and includs works by Yang Jung Uk, Sydney Croskery, and Maryrose Cobarrubias Mendoza. This show aims to highlight their respective practices as they look to sourcing found objects as a way to convey contemporary critical discourse and autobiographical narratives. This exhibition will be on display at Baik Art from May 19, 2018, through July 28, 2018. An opening reception will be held on Saturday, May 19, 2018, from 6 pm – 8 pm.
Does the protective packing of art, for the purpose its preservation, add to its intrinsically sculptural quality? Are the painterly representations of archived ephemera akin to the readymade materials they hang beside? Or does illusion and context construed ones understanding to mirror that of the authors? It is these lines of thought that structure the following artist’s contemplations on found materials as both displaced commodity and anecdotal signifier. Considering the “found object” as a societal residue of sorts, the artists in this exhibition aim to manipulate the viewing of banal objects through industrialized re-packaging, juxtaposition, and idiosyncratic reinterpretation.
Displayed works revolve around the continuous sourcing and altering of mass-produced products, as they relate to social experience. Pieces such as Mendoza’s, Brown, illustrate the various ways in which color can be classified through divisive branding, causing the interpretation between existing materials to transform greatly, despite offering congruent practical functions. It is this uncanny play on our understanding of the familiar that blurs the lines between interpretation and fact.
Jung Uk’s use of kitsch items within larger constructions deepens sentiments of ideological displacement and cultural specificity. His meticulously composed shipping materials, which engulf locally sourced readymades, insinuates a necessity for industrialized aesthetics and commercial viability within an artwork. Authenticity then, becomes perversely transformed when faced with consumer demand and economic pressure, further robbing objects of their original intentions.
Furthermore, interdisciplinary wall installations like Croskery’s, Think/ Believe, perpetuate discourses involving found materials and the nature of their representation. In this work, one may notice allusions to Rene Magritte’s allegorical pipe. Much like his 1928 painting, “Treachery of Images,” Croskery’s work grapples with the documentation of objects as they exist in the material and digital sphere. Thus, highlighting current conflictions involving our collective aptitude to identify context and discern between truth and fiction.
MRG Fine Art is pleased to present B.O.G.O., an exhibition of new work by Joshua Hashemzadeh. This showing marks the artist's fourth solo exhibition with the gallery and will be open June 24 and remain on view through July 4th. An opening reception will be held on Saturday, June 24, 2017, from 7 pm - 10 pm.
Joshua Hashemzadeh builds on the relationships between language, and its visual representations. The artist, having focused primarily on text as a point of inspiration thus far, presents a new collection of “Value Paintings” which examine and critique modes of contemporary art production and viewership. The paintings throughout the gallery depict banal retail verbiage and modernist color pallets to create a tension that touches on notions of austerity, kitsch, the conceptual, and the decorative.
The muted and often conservative hues, inspired by various 20th-century paintings, are branded by contemporary sales slogans which evoke disconnects between modern conceptions of tastefulness and industrialized signifiers. The clashing depiction of regressed artistic expression and the superfluity of corporate catch-lines is a relationship that becomes prevalent throughout the space. The contrasting dynamic suggests a growing lack of cultural literacy, homogenized production, and economic growth’s ability to trump intellectual progress. This allegorical portrait of creative subversion comes at a time when art is also increasingly commodified as a luxury object, and surviving artists, as retail brands. Hashemzadeh looks to recent articles such as “Connoisseurship and Critique” by Ben Davis and “Going Pro” by Daniel S. Palmer to deconstruct the intersections of artistic traditions and capitalism’s influence on the masses perception of the art-object.
The artist examines the idea of “artistic self-consciousness” by creating works that possess qualities of the “hand-made” as well as an overt commercial self-awareness. Although the work remains inevitably available to those of privilege, phrases like “Buy One Get One Free” and “0 Down” are appropriated from advertisements geared towards those of the proletariat. This inherent sense of irony plays on conceptions of “wage labor” and its consequential impact on social and fiscal disparity. Thus, defining the work as a symptom of various cultural influences spanning from references to philosophers Marx and Adorno, to the contemporary industrialization of the artistic practice. Despite the aesthetically minimal nature of the work, Joshua Hashemzadeh looks to use visual experimentation to create literate experiences that signify meanings beyond their immediate grammatical expression. It is in jest that the artist interprets the value of art objects that are deliberately created to have no practical function or permanent ideological or fiscal value.
Joshua Hashemzadeh (b. 1993, Los Angeles, CA) has a BFA from the San Francisco Art Institute. His work, often varying in mediums, is built around an investigation of language and its linkage to, artistic connoisseurship, socio-economic hierarchies, and creative mysticism. Recent works have been featured in several exhibitions throughout the United States with recent highlights being: Poster, Black Ball Projects, Brooklyn; LA Art Show 2017, Los Angeles; Enigma, MRG Fine Art, Los Angeles; LA Street Art Fair, Los Angeles; Critique of Reason, MRG Fine Art, Los Angeles; 32 Shades of Plastic, MRG Fine Art, Los Angeles; Our little Angle, Diego Rivera Gallery, San Francisco; Tethered, Like Minded Salon, San Francisco.
MRG Fine Art, Los Angeles
A Critique of Reason is Joshua Hashemzadeh’s third solo exhibition with MRG Fine Art. Recently obtaining a BFA from the San Francisco Art Institute, he presents us with a critical reflection of his experiences while in a pedagogical institution. The show takes its title from the famed literary work, “The Critique of Pure Reason” by Immanuel Kant, which evaluates the foundations and classifications of human knowledge. A premise Josh uses as the preliminary frame-work for his recent exposé, resulting in an examination of the financial burdens of higher-education, growing intellectual disparities, and the disingenuousness of industrialized accreditations.
The featured works are presented in the spirit of academic experimentation and have been accumulated throughout, as well as immediately after, Joshua Hashemzadeh’s time as an undergraduate student. Toying with materials such as physical currency, lithography, receipts, and his diploma he touches on a divide between students and their alma matter, insisting viewers re-examine the impact of institutional influence as well as the social and economic privileges associated with college-education in the United States.
“I’m fascinated by the ways we construct value in invaluable objects. Whether its printed word, currency, or art. The receipt paintings are a result of recorded purchases that collectively account for my time in university, and ultimately the cost of my degree… Its all just proof of sale. In the end, this paper is the only tangible trace of my time there. So if merit is, in large, defined by the validation of institutions and others then its my obligation, as an artist, to provide such documentation as art itself.”
Whether looking at haptic collage or ready-made objects the works constantly insinuate a contrast between physical presence and ideological fabrications of prestige. Josh divides the gallery space between moments of austerity and aesthetic play, causing the room to become an expression of institutional duality. Thus fluctuating between traditional displays of prominence and informal depictions of artistic inquiry. This expression of autobiographical interpretation forms a contemporary critique of the “educational complex.” An entity alluded to via central installation structured to the dimensions of the late Mike Kelley’s piece, by the same name.
Joshua Hashemzadeh (b. 1993, Los Angeles, CA) has a BFA from the San Francisco Art Institute. His work, often varying in mediums, is built around an investigation of postmodern conditions referring in detail to: millennial identity, social institution, and commerce. Recent works have been featured in several exhibitions in the San Francisco and Los Angeles areas with recent highlights being: Formal Attire Only, MRG Fine Art, Los Angeles; 32 Shades of Plastic, MRG Fine Art, Los Angeles; Tethered, Like Minded Salon, San Francisco.