ODD ARK • LA & BARKER HANGER PRESENTS: AN ART DEN


Sunday September 9th, 2018 12 PM - 8:00 PM
Viewing art in traditional and formal settings can be an alienating experience and physically unaccommodating, however, for many of us, art is a tonic, a soma, or even an analgesic... that calls for a more tangible and comfortable viewing experience.
AN ART DEN breaks down conventional systems of art viewing and invites visitors to sit comfortably on a pillowed floor and sift through works by over 100 artists. Works may be leafed through, held, shared and passed around to other attendees - not unlike an Opium Den or Hooka Lounge.
This direct and communal viewing experience opens up exciting possibilities of chance operation and conversation about the work that will hopefully be both deep and expansive.
All of the works will be for sale and affordably priced - ranging from $20 to $900 (with an average price $150). Purchased works will be available to take home.
Soothing sounds and served tea will add to a relaxing art viewing ambience. *this is a one day event only, not to be missed!
Participants include:
Aida Lugo
Akina Cox
Aline Cautis
Alex Andrew Sanchez
Alyse Emdur
Amir H. Fallah
Amy Bernstein
Aimee Goguen
Amy Bessone
Andrea Marie Brieling
Andrew Cameron
Andrew P Cortes
Anna Breininger
Anna Fidler
Antonia Pinter
Anya Roberts-Toney
Brian Randolph
Carly Jean Andrews
Carrie Cook
Casey Kauffmann
Chanel ​Von Habsburg-Lothringen
Chase Biado
Cheryl Bentley
Conrad Ruiz
Dan Gluibizzi
Dani Tull
Daniel Ingroff
Danny Bowman
Daniel Cummings
Danny Gibson
Delbar Shahbaz
Doug Crocco
Eddie Ruscha
Edward Cushenberry
Elizabeth Huey
Elizabeth Malaska
Elwyn Palmerton

Eric Ernest Johnson
Erin Morrison
Erin Trefry
Ezequiel Olvera
Forrest
Hayley Barker
Hayley Quentin
Howard Fonda
Ian James
Isa Radojcic
Jacob Melchi
Jake Kean Mayman
Jay Gaskill
Jamie Felton
Jennifer Remenchik
Jered Sprecher
Jesse Wiedel
Johnnie Jungleguts
Jonah Porter
Jonathan Apgar
Jonathan Casella
Joseph Imhauser
Josh Miller
Joshua Petker
Julia Schwartzman
Juliana Paciulli
Justin Dale Olerud
Justyn Hegreberg
Kara Joslyn
Kate O'Halloran
Keith Ballard
Ken Gunn Min
Kottie Paloma
Kysa Johnson
Lauren Kim
Laurie Nye
Lila de Magalhaes
Lindsay August-Salazar
Lindsey Lyons
Liv Aanrud
Liz Walsh
Matthew Anguiano
Maja Ruznic
Mario Ybarra Jr.
Megan Lindeman
Megan Mueller
MG Knight
Michael Carter
Michael John Kelly
Michael Lazarus
Michelle Blade
Molly Shea
Nicolas Shake
Pia Pack
Rema Ghuloum
Ryan Lynn Hurd
Sammie Cetta
Sarah Meadows
Sarah Mikenis
Shanna Waddell
Shaun Johnson
Shelley Holcomb
Sunny Samuel
Tami Demaree
Tanya Brodsky
Tanya Haden
Tessie Whitmore
Thomas Gamble
Trulee Grace Hall
Veronica Bruce
Virginia Broersma
Victoria Reynolds
Will Bruno
Yasmine Diaz
*And A selection of young people's work,
curated by Max Oppenheimer of MEATGRINDER LA
For more information please contact ​odd.ark.la@gmail.com ____________________________________________________________________________ ODD ARK • LA
7101 North Figueroa Street Unit E Los Angeles CA 90042 (323) 600-5768
oddarkla.com

“Burchfield’s Influence: Hayley Barker, Anna Fidler, Katy Stone” will be on view through Sept. 21.

“Burchfield’s Influence” presents the work of 20th-century artist Charles E. Burchfield, 1893–1967, in conjunction with three contemporary artists who count Burchfield among their most important influences.
 
Barker, Fidler and Stone draw inspiration from Burchfield’s belief in a spiritualized natural world, which he translated into landscape paintings.
The exhibition features a selection of Burchfield’s drawings and watercolor paintings, as well as wallpaper made according to his design; Barker’s paintings inspired by pilgrimage sites, divine experiences and landscape; Fidler’s works on paper, including new work made during a residency at the Sun Valley Center for the Arts in Hailey; and a site-specific installation by Katy Stone.


Install shots of "take care" GAS, at BBQLA, June 2018


Photos courtesy GAS, 2018

take care, at GAS LA


take care,
June 9–July 20, 2018
Featuring:
Hayley Barker, Darya Diamond, Ian James, Young Joon Kwak, C. Lavender, Sarah Manuwal, Saewon Oh, Amanda Vincelli, and SoftCells presents: Jules Gimbrone
Location and hours:
Saturdays, noon–6 pm
BBQLA
2315 Jesse Street, Los Angeles CA 90023
Other times and locations, check Twitter @gasdotgallery
Opening reception Saturday June 9th at BBQLA 8pm-Midnight.
A limited-edition car air freshener by Ian James will be available for sale during the run of the exhibition for $10, both on-site and online at gas.gallery/editions.
A zine publication featuring an interview with theorist and scholar Sun-ha Hong, and contributions by exhibiting artists will be available for free on-site and online at gas.gallery/publications.
Amanda Vincelli’s REGIMEN (2015–17) will be available for viewing at the gallery’s website (www.gas.gallery) during the exhibition’s duration.
Please direct all inquiries to ceci@gas.gallery.
How do radical ambitions of “self-care” persist or depart from capitalist society’s preoccupation with wellness and the industry surrounding it, particularly when filtered through technological advances? How can we imagine personal wellness that complicates or diverges from capitalist and consumerist tendencies? Taking its name from the common valediction, which is both an expression of familiarity and an instruction of caution, take care, is a group exhibition that considers the many tensions surrounding the possibilities of self-care.
Long before it was a popular hashtag, self-care emerged from twentieth-century social justice movements. To take care of oneself correlated to the greater health of a community, an urgent issue in the face of widespread inequality and violence. As Audre Lorde famously stated, “Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.” More recently, the term “self-care” has been commercially co-opted to sell products like spa treatments and skin cream. Further, bodies are thoroughly quantified with tracking devices, habits are caught up in cycles of accelerated production, and self-regulation exists in tandem with complex algorithmic processes that profit from individual surveillance. In order to ask what “self-care” means given this current scenario, take care, simultaneously looks back at potent activist histories and forward into speculative futures.
Some works in the exhibition explore normalizing conceptions of health and oppressive systems of diagnosis...
(Above image by Darya Diamond :)

Good Smoke / Good Poke at 0-0 LA


Good Smoke & Good Poke by Binder of Women
June 8-July 21, 2018

Good Smoke: Hayley Barker, Michelle Blade, Claire Colette, Jamie Felton, Kysa Johnson, Lindsey Lyons, Bruna Massadas, Maysha Mohamedi, Erin Morrison, Laurie Nye, Hilary Pecis


Good Poke(curated by Binder of Women): Hayley Barker, Michelle Blade, Claire Colette, Yasmin Diaz, Jamie Felton, Shaun Johnson, Kysa Johnson, Natasha Khan, Lindsey Lyons, Bruna Massadas, Sarana Mehra, Maysha Mohamedi, Erin Morrison, Laurie Nye, Hilary Pecis, Anna Shachte, Kira Shewfelt, Maureen St. Vincent, Erin Trefry. 

Companion Pieces at ANYTIME DEPT

FOR FRIENDSHIP IS COMMUNITY, AND AS WE ARE IN RELATION TO OURSELVES, SO WE ARE IN RELATION TO A FRIEND. AND, SINCE THE PERCEPTION OF OUR OWN EXISTENCE (AISTHESIS OTI ESTIN) IS DESIRABLE, SO TOO IS THAT OF THE EXISTENCE OF A FRIEND.

ARISTOTLE, NICOMACHEAN ETHICS , TRANS. CHRISTOPHER ROWE (OXFORD: OXFORD UP, 2002) 237-240

Barry Schwabsky and “The Divine Joke” on TWO COATS OF PAINT


Contributed by Sharon Butler

"Poet and art critic Barry Schwabsky curated a group show, on view at Anita Rogers through June 2, in the spirit of a Mina Loy essay in The Blind Man, a 1917 Dada journal of essays and poetry produced by Marcel Duchamp, Beatrice Wood and Henri-Pierre Roché. In the short piece Schwabsky references, Loy writes that art is akin to “The Divine Joke,” something that the public could easily understand and enjoy. I think her implication was that certain art movements, such as Futurism, were too dense and rarefied to capture the public’s imagination, but that  overt humor and irreverence could better entice ordinary people to engage with the visual presentation. In Schwabsky’s group show, titled “The Divine Joke,” he attempts to gather work that pulls off the same trick".... READ MORE on the blog!
 

liminal bodies at Gallery Also


Liminal Bodies
3754 N. Mission Road LA, CA 90031
May 19, 8 PM - 11 PM — Ends Jun 17, 2018
Work by Hayley Barker, Cheryl Bentley, Andrea Brown, Carrie Cook, Kira Shewfelt, and a performance by Andrea Marie Breiling and Jennifer Remenchik at 10PM

Install shots from "The Divine Joke" at Anita Rogers Gallery


The Divine Joke
Curated by Barry Schwabsky
April 25 – June 2, 2018

Over Land Art Book Fair at Waking Windows, Portland ME: Saturday, May 5 from 1-7pm


The side of our efforts dedicated to artist books is working with Burlington-based Flatlander Press to launch Vermont’s first and only art book fair: Over Land Art Book Fair. Extending our exhibition model in non-traditional spaces, we will host pop-up fairs in different places around the country, the first iteration of which will occur this coming May in collaboration with the music festival Waking Windows

Sited within Winooski's festival, OLABF will present a curated selection of regionally-based sellers and small presses, including Benjamin Ogilvy ProjectsBorder PatrolBread and Puppet PressGreen Mountains ReviewRuth Stone FoundationWilt PressWing ClubWords & Pictures, as well as tables from Flatlander Press and Overnight Projects featuring artists that we have worked with, hope to work with, or who we just really like. The fair will take place on Saturday, May 5 from 1-7pm at 41 Main Street in Winooski's Rotary. 

Please consider supporting OLABF and/or other summer programming: http://overnightprojects.com/summer-programming/

The Glendale Biennial at the Brand Library, Curated by the Pit


Participating Artists: Hayley Barker, Olivia Booth, Lindsay Brant, Aline Cautis, Ian Davis, Harry Dodge, Roy Dowell, Ryan Fenchel, Karin Gulbran, Shaun Johnson, Silke Otto Knapp, Spencer Lewis, Caitlin Lonegan, Shana Lutker, Adam D. Miller, John Mills, Olivia Mole, Adam  Novak, Devon Oder, Adrian Paules, Hilary Pecis, Ryan Perez, Corrina Peipon, Lari Pittman, Iris Porter, Rachel Roske, Kathleen Ryan, Betsy Lin Seder, Nicolas Shake, Mungo Thomson, Kerry Tribe, and Edward Weston. 
Conceived and organized by The Pit, an artist-run gallery located on Ruberta Street in Glendale, Vision Valleyfeatures works in a variety of mediums including painting, sculpture, drawing, printmaking, video, photography, and film. There are no conceptual, political, or philosophical themes upon which the exhibition turns, and it does not claim to distill a particular trend, aesthetic, or idea. Instead, what is on view is a diverse selection of works that are part of an ongoing, dynamic multilogue between 32 artists living or working in the specific geographical area of Glendale, with the exception of famed photographer Edward Weston (1886-1958). Weston first visited Glendale (then known as Tropico) in 1906, subsequently setting up his photography studio in 1910. His inclusion enriches the exhibition with a significant bit of Glendale history.       

A limited edition poster has been designed, printed, and published by The Pit and will be available at the opening.

Vision Valley will be on view at Brand Library & Art Center (1601 W. Mountain St. Glendale, CA 91201), from May 5, 2018 through June 22, 2018. The opening reception on Saturday, May 5 from 6-9pm is FREE and open to the public.

The Divine Joke Curated by Barry Schwabsky, April 25 – June 2, 2018


One hundred and one years ago—it seems like only yesterday! Or maybe it’s still tomorrow? April 10, 1917: Henri-Pierre Roché, collaborating with Marcel Duchamp and Beatrice Wood, published the first of what would be two issues of The Blind Man. A fourth contributor was the poet Mina Loy, who contributed the little magazine’s closing piece, titled “In . . . Formation.” There she wrote: “The Artist is jolly and quite irresponsible. Art is The Divine Joke, and any Public, and any Artist can see a nice, easy, simple joke, such as the sun; but only artists and serious critics can look at a grayish stickiness on smooth canvas.”
Reading this, I began to wonder: Would it be possible to go against the spirit of our time as Loy and her friends went against the spirit of theirs, and in so doing reclaim for art something of this solar humor, this celestial irresponsibility?—to present such a notion without entirely losing one’s status as a serious critic.
I thought I’d better try.
The idea would be to present some paintings, or works in the vicinity of painting (some of them are really photographs), that seem to me to embody the divine joke that Loy cracked a century ago. Some would be by artists whose work I’ve followed for some time, but others would come from practitioners I’ve only recently discovered—for spontaneity is essential to humor, isn’t it? In the end I chose a geographically and generationally dispersed six:
Hayley Barker lives in Los Angeles. Her visionary paintings are relentless storms of mark-making that always have a face; it might evade your glance or stare you down. Varda Caivano—born in Buenos Aires but a longtime Londoner—makes some of the most elusive paintings being done anywhere today; they turn their maker’s dissatisfaction with almost any solution into a kind of involuntary ecstasy. Embracing the ambiguity between figuration and abstraction, Brooklyn-based Sarah Faux creates visual metaphors for jouissance and they practice what they preach. Los Angeleno Adam Moskowitz also cultivates the edge where images go abstract, but his photographs printed on concrete bliss out on space and structure rather than dwelling in the organic. The ever-mutating fields of Francesco Polenghi’s paintings recall the sea, whose constantly fluctuating surface reflects its immovable depths: constant transformation as the appearance of a stable and unchanging underlying process is the subject of this Milanese artist’s work. Finally, Puerto Rican-born, Brooklyn-based Rafael Vega has spoken of wanting painting to “force its immediate past into a state of ‘vibration’ (try to imagine a delocalized electron), by small tweaks”; his recent unstretched canvases let that vibration get stronger than ever. All six of them fulfill Loy’s definition of The Artist—and yes, she always capitalized the word and put it in bold—as someone who can “never see the same thing twice.”
—Barry Schwabsky

Where to find fantastic beasts? At Big Pictures Los Angeles' 'Airtight Garage'


In 1976, the French cartoonist Jean Giraud (also known as Moebius) created “The Airtight Garage,” a story about a pocket universe on an asteroid in the constellation Leo. Overseen by a mad scientist with all kinds of wild ideas about creativity, the miniature multiverse was a tinkerer’s paradise, a utopian society and the best studio an artist might imagine.
In it, visionaries and inventors did their thing: Dream up and deliver original worlds that inspired others to think more freely, act more boldly and never stop marveling at the magnificence of it all.
At Big Pictures Los Angeles, artist and guest curator Laurie Nye has made her own airtight garage
She has covered one wall and the entire floor of the gallery, which is about the size of a three-car garage, with pegboard panels. You get the sense that you’re in the weekend workshop of someone whose ambitions are not measured by common sense or constrained by practicality.
In place of the tools that usually hang above workbenches, Nye has installed 27 works by 19 artists (herself included). Each painting, sculpture, drawing and print is a world unto itself — and a whole lot more.
None has been made with an eye on what’s trendy or marketable. Each reflects the vision of an individual wholly dedicated to discovering something that satisfies inner needs — which may not be known until the art gets made.
Visitors experience similar epiphanies, which multiply as you move from one work to the next. No single principle, theme or idea holds the show together. That’s another way of saying that there is no sun (or center) around which all of its works orbit.
Yet chaos does not reign. Lots of links connect lots of works, forming clusters that overlap with other clusters.
For example, fantastic beasts appear in paintings by Andre Ethier, Helen Rebekah Garber, Rema Ghuloum and Aaron Morse. Figures populate many pieces, including Jennifer Rochlin’s inside-out diptych, Hayley Barker’s atmospheric abstraction, Erin Trefry’s whimsical assemblage, Jade Gordon’s enigmatic mask and Max Maslansky’s fleshy reverie. Neither category is mutually exclusive, with many works doing double-duty by fitting into both — and others.
Likewise the landscapes. The pictures by Kristy Luck, Spencer Carmona, Tyler Vlahovich, Brian Fahlstrom, Laurie Nye and Maysha Mohamedi have one foot firmly planted in the world of animated cartoons and the other in the reality of gestural abstraction. The combo sizzles.
--David Pagel, LA Times

Upcoming shows--- spring summer 2018


April 2018:
"The Barker Hanger I" at the first Artists' Swap Meet at ODD Ark LA. Sunday, 4/8/18 11am-4pm. @the_barker_hanger for more info. 

"The Divine Joke," Curated by Barry Schwabsky, Anita Rogers Gallery, NYC
Featuring works by:
Hayley Barker, Varda Caivano, Sarah Faux, Adam Moskowitz, Francesco Polenghi, Rafael Vega 

May 2018:
"Vision Valley," Curated by The Pit, Brand Library, Glendale, CA

Artist-in-Residence with Gas Gallery

June-July 2018:
"Take Care," Gas, Los Angeles, CA
Works by:  Agnes Bolt (soft cells), Ian JamesAmanda VincelliSaewon Oh and Sarah ManuwalDarya Diamond, and Young Joon Kwak

July 2018:
"Good Smoke," 0-0 gallery, with Binder of Women, Los Angeles

 

"The Airtight Garage" at Big Pictures LA


AIRTIGHT GARAGE 
CURATED BY LAURIE NYE
MARCH 17 – MAY 12, 2018


Featuring Hayley Barker, Fred Burton, Spencer Carmona, Andre Ethier, Brian Fahlstrom, Helen Rebekah Garber, Rema Ghuloum, Jade Gordon, Jasmine Little, Kristy Luck, Max Maslansky, Adam D. Miller, Maysha Mohamedi, Aaron Morse, JP Munro, Laurie Nye, Jennifer Rochlin, Erin Trefry, Tyler Vlahovich.  An opening reception will be held March 17th, 2018, 6pm – 9:30pm.

In 1976 The Airtight Garage, conceived by French cartoonist Jean Giraud aka Moebius, began appearing as a comic strip in the French magazine, Métal Hurlant. The garage refers to an asteroid contained in the constellation Leo, which houses a pocket universe of developing worlds, overseen by a space colonist. Collected into a graphic novel, Airtight Garage has been described as a “map of creation”, which goes beyond world-building to explore the creative act itself. The fantasy world of the Garage accommodated any idea and welcomed any representational style of self description.

Like the interstellar garage, holding an interconnected multiverse, the artists assembled for this exhibition represent a microcosm of visionary modalities. Each has developed a singular vision and created a new world born from various experiences and influences such as primitivism, psychedelic abstraction, and neo-symbolism. The artworks range from sculpture, painting, and drawing, and convey shifts between fantasy and reality. By being so thoroughly concerned with the worlds they describe these works create an interesting tension at the fringe of the contemporary art sphere, while being wholly modern in their timeless abandon.

Reading of VSH on Vimeo

To commemorate the end of my show at Williamson Knight and to celebrate the second edition of the book, I read the whole text of Vintage Self Help in my studio bed and posted it on Vimeo.

Enjoy.

My obsessive playlist on 'What Artists Listen To"


Listen to what I listen to, and hear me & Pia Pack talk about art, life, and PJ Harvey on this new podcast. My interview and playlist debuts May 22nd 2018.

'What Artists Listen To" explores the soundtracks of Los Angeles female artist’s lives through discussion of the tracks on the curated playlist.'

The podcats launches 17th March: on iTunes and www.whatartistslistento.com
 
@whatartistslistento on Instagram, Twitter and Facebook.
Subscribe, rate it, share it!

ISSUE FOUR: The Pattern launches Saturday, March 3!


Issue Four: The Pattern
launching March 3, 2018
at Charlie James Gallery

By Sacha Baumann

Our fourth issue will explore the appearance of sameness.
Collaborators will share systems of recurrences, whether found in nature, in society at large, or self-manufactured. The broadsheet will reveal repetition in our environment but also in behaviours, relationships, and personal routines. Artists, designers, and writers elaborate on the air of coherence, which is often the complete opposite: chaotic, messy, and wholly unique, despite its seeming monotony.

B.O.W. at otherwild!!!


Yes..... You can now pick up the Binder Of Women limited edition folio at Otherwild in LA and online!

DO it.

Spirit Bodies: on the work of Hayley Barker, by Jennifer Remenchik


It’s not five minutes into the studio visit and we are already talking about trauma. Initially I feel self-conscious about this because I am always talking about trauma.

by Jennifer Remenchik

Luckily, she has her own history and it’s one of her favorite topics, too. She offers me a drink of sparkling water which I readily accept as I take a longer look around the room.

What jumps out at me immediately is the singularity of her imagery; every painting and drawing visible contains the image of a face. Emmanuel Levinas once famously said that the face “presents itself, and demands justice,” and it is through this ethical sentiment that we can begin to confront the work of artist Hayley Barker.

In the aftermath of a trauma we often ask ourselves spiritual questions, and yet anyone who has been on a quest for meaning knows there are a lot of detours on the road to enlightenment, many of which involve money scams, half-baked ideas, and just plain disappointment. A painting “Opened my root chakra now what? Volcano” (2017) playfully alludes to this reality without coming across as disrespectful. Another drawing “i opened my eyes and chose not to see” (2017) sounds more serious in its ramifications. Did the “i” mentioned choose not to see because she’s found a deeper reality or truth, or would she simply rather remain in denial?

Barker describes her work as depicting “spirits and guides, goddesses and sometimes versions of myself, disembodied,” and the characters in her work do in fact feel bodiless. Built up of small, fragments of color that draw heavily on the legacy of pointillism, her spirits seem almost-invisible, caught in a space between arrival and exit. We end our evening that night with a promise of studio visit reciprocation, and in the morning I awake to a notification that barker_hayley mentioned me in a comment.

Barker has posted an image of a new “bed drawing,” an ongoing series of artworks she makes very early in the morning. The series depict a range of emotions, many of them veering towards angry, and contain the immediate simplicity of raw, honest communication. The comment beneath the image reads, “inspired by our talk last night @jennifer_remenchik,” and the title encapsulates our conversation in a question: “how can we show our traumas, how do we?”

Read on in the Curate LA Blog....


We Made BEDSHIRTS! Blair Saxon-Hill & Hayley Barker & Antonia PInter make teeeeez


Limited edition of 25
$50 Each
All are XXL
beddrawing by Hayley Barker
essay by Blair Saxon-Hill
designed by Antonia Pinter
hand-dyed & printed by Alex Seastrom in LA

Email me for your's.
hayleycbarker(at)gmail.com

The essay on the back of the shirt reads:
HAYLEY BARKER: 13 Paintings and some beddrawings
 
I always wanted to name something. Not a child, more avant-garde than that. Combines. A readymade. And then she did itHayley Barker started calling them beddrawings.  
 
Beddrawing names a condition of the artist’s body that is material to the works’ becominglying down or nearly at rest, not dreaming but in a site of dreamsBed is a place inhabited by illnesssex, waking, and retirement in all its meanings. These ways of being in bed serve as our bridge or boat between life and deathBarker elects to fall outside of time and the definitive—in bed on paper.  
 
These drawings are an intentional performance of awakening. Explicating the importance of the female artist body and her vagina in form and politic. Distinctly, Barker makes these performance documents undifferentiated sites of consciousness—inviting spiritual realms to her rising. 
 
The self in bed is a phenomenological self and an unassembled self. The beddrawings hold an otherwise unattainable purity of presence. Barker transcribes linguistic outcomes and visions from her Los Angeles based shamanic meditations. She writes words such as, “Friday, YEAH”, “Breaker Breaker”, “Vitality Leak”, “Let Me”, “AMPM” and “Free This Sorrow.”  Her morning practice invites the mind to be uninhibited and release concerns of healthlabor, saccharin horror, illness, love, friendship, capacity, news, and information—the now.  
 
Jewel-like forms and semiprecious words are slipped from the meditative bezel of her waking and directed into Barker’s drawings and paintings.  
 
Can a beddrawing be made out of bed? I must sleep in my studio in order to finish a body of work. Barker is known to sleep in her studio too. We have discussed the basics on the phoneclean underwear, arrowroot for oily hairand how being feral is essential to the evolution of commitment. So I’m not really sure that the beddrawings aren’t sometimes made in the studio, maybe on the studio couch or bedded down on the floor after kicking the tools of oil painting aside.  
 
Along with the evolution of the beddrawings came the dimly lit Instagram posts. Photographed at an angle, occasionally exposing the bumps of her knees under the covers, she assures us, that yes, indeed, these were drawn in bed and the sun hasn’t risen yet—it’s morning. These images are frequently posted with the hashtags #thewrongpen#thewrongpaperBarker is emphasizing the pleasure derived from medium—valuing the physical realm as much as what is intuited, felt and unseenAnd in fact, the wrong paper or pen at times, are in service of the paintings.  

Barker’s energetic works maintain a central composition; a reflection—a woman—she gazes outward or in towards us from the page. A guide. It reads as having been divinedAnd yet, ware at once reminded of Barker’s hand in its giddy quality, witnessing her play against the tooth of the paper; like a cat batting a mouse. Lines curve inward, moving from petal to spiral. They quiver, dot, dash, push and “x” before starring here and later on panelContorting her hand, Barker annunciates pleasureHer allover marks are often gentle—even when her figure’s eyes and mouth are possessed with an inaudible answer and outrage. I ask her, “Where are they angry?” She says, “In the mouths.” 
 
This is not a poem on a bedshirt. Presented in this exhibition is a series of intimate works on panel each produced in oil, pastel and color pencil. Thirteen paintings; guessed that this was a nod to a modernist titling convention. When I asked, Barker said, “Thirteen is unlucky, cursed, damned, and fated to suffer.” Following with“I don’t really believe in that.” Stating that she instead centers her belief on inherent goodness and forgiveness. In paint we see, “don’t mourn your darkness” and we gunna do it my way this time upholding joy as a contemporary shorthand for an ethic of survival and female power in perpetuity. These contradictions between expressed grace, strength and strife make these 13 paintings so utterly becoming not only in execution but also in their savvy to the manner of our daily currency. 
 
Barker published a book in 2017 entitled, Vintage Self Help, serving a raw and poetic account of the relation between her horrific, and life-threatening experiences released from her body and history, and the impact of those events on her practice. Today, Barker stands outside the Friday of our cultural thirteen. Now supporting herself against the many blows of our national trauma, she looks in and out to spiritsWe face her face and yet we are not fully enabled to see. She determines a flatness that reflects on perception itself. Fielding edges, it is she that will return to bed like a scribe vetting pen and paper as she does the morning. 

___
(c) 2018 Blair Saxon-Hill

Open Studio @ BozoMag: 13 PAINTINGS


Bozo Mag is pleased to announce "Open Studio", a showing of new works by Hayley Barker. 

This event will be the first in a series of engagements to occur in Bozo Mag's new, temporary location.

Opening reception: Sunday, February 4th, 2018
4-8PM

On view: 13 paintings by Hayley Barker

Also Featured: Selections from the "Bed Drawings" series. Copies of the second edition of "Vintage Self Help", a book of short essays on Trauma. Copies of "Beddrawings: Dark Goddesses, Queens, & Swamp Things", designed by Antonia Pinter. Limited-edition bedshirt in collaboration with Blair Saxon-Hill.

Open Sunday, February 4th until Friday, February 16th

Bozo Mag located: 5376 West Adams Blvd., Los Angeles, CA 90016
(Enter on S. Burnside Avenue thru the Gate door.)

bozomag.com • 323 896 0712 for more info

Closing wil be Friday 2/16/18 from 7-10 PM!

BEDDRAWINGS: DARK GODDESSES QUEENS SWAMP THINGS


Buy the first book of Beddrawings!
DARK GODDESSES QUEENS SWAMP THINGS
2017
zine
Edition of 150


A selection from the first 350 drawings done during of the first year of beddrawing.....
Designed and edited by Antonia Pinter
For sale at Bozo Mag, Los Angeles

Feature Review of AMPM on Visual Art Source Online


Hayley Barker
Williamson/Knight, Portland, Oregon 
Recommendation by Richard Speer 

Continuing through February 24, 2018

Long a familiar presence in the Portland art scene, painter Hayley Barker has for the last three years been based in Los Angeles. In the mixed-media paintings that comprise “AMPM,” she depicts a goddess-like figure who confronts the viewer with an implacable visage, crowned by a floral headdress. Who is this proto-feminist idol, and is she a totem of pulchritude, fearsomeness, or both? Barker leaves such speculations to the viewer.  

The show’s title alludes to false dichotomies between day and night and the ways in which artists move fluidly between them. The painter has retained the dense jots and dashes that characterized her previous brushwork, but has pared back her lush impasto for a more graphical sensibility. Viewing the current compositions is like gazing through her older pictures with the benefit of X-ray vision: laying bare the maze of mark-making that undergirded those earlier works without the distraction of surface effects. The obsessively compact lines and reiteration of the same semblance in painting after painting yields fresh insights into the imagination of a painter intent upon themes of mysticism and metaphor.

AMPM at Williamson Knight + Reception: Friday, January 19, 2018


AMPM
Hayley Barker
January 19 – February 24, 2018
Reception: Friday, January 19, 2018
6:00 – 8:00pm
 
Williamson | Knight is pleased to announce AMPM, an exhibition of new paintings by Los Angeles artist Hayley Barker. The show will open January 19 and run through February 24, 2018. A reception will be held on Friday, January 19 from 6:00 to 8:00pm. Gallery hours are Thursday through Saturday, 12:00 to 5:00pm.

AMPM—like the convenience store. You walk in, looking to quench some kind of thirst. You want quickness and reach around, grabbing for something that does the job. All day. All night. Like dreams and psychological states. Spiritual experiences that you ultimately enter—knowing delicacy or disappointment. There is a little bit of everything in the store, but maybe not exactly what you want. Maybe it’s not enough. 

In dreams and in shamanic meditation, there comes a flow of both spiritual and mundane imagery. Messages from guides and one’s intuition. Meetings with spirits, goddesses, and versions of my-self. The paintings are self portraits; they are icons—reminders of who I have met, been, and could be in vast internal realms. They start with the “beddrawings” then become paintings. They include text and faces which come intuitively in morning drawing practices and reveal a woman-looking self in a slightly awake state. This is a state of desire, anger, exhaustion, and anxiety, all at once. 
+Vintage Self-Help, a new book of writings by the artist, will be released and available during the opening reception.

(Above Studio Photo of HB by Trulee Grace Hall (c) 2018)

It's OK


Charlie James Gallery is pleased to present “IT’S OK. ↘” a group exhibition curated by Sacha Baumann, featuring Nadege Monchera Baer, Hayley Barker, Megan Mueller, Stephen Neidich, Kottie Paloma, Molly Segal, and Luke Whitlatch.
 
John Laroche: You know why I like plants?
Susan Orlean: Nuh uh.
John Laroche: Because they're so mutable. Adaptation is a profound process. Means you figure out how to thrive in the world.
Susan Orlean: Yeah but it's easier for plants. I mean they have no memory. They just move on to whatever's next. With a person though, adapting is almost shameful. It's like running away.
excerpt from Adaptation, screenplay by Charlie Kaufman and Donald Kaufman, adapted from the book, The Orchid Thief, by Susan Orlean
 
Seven artists explore the profound process of adaptation, eschewing any shame. In fact, it’s OK to adapt in an effort to be well-suited for the current moment or for an imagined future, despite the awkwardness mutability may expose. The artists employ disparate approaches: adjusting art practice to the space in which it is displayed, creating icons based on truths, adapting by moving on, creating armors for  protection and dazzling displays, to both attract suitors and repel enemies. In “IT’S OK. ↘” adaptation is playful, practical, anticipatory, necessary, and sometimes excessive.
 
Nadege Monchera Baer’s mixed media drawing-paintings migrate between two poles, one that is intuitive and abstract and another built by definitive concepts. For this exhibition the work primarily begun in the latter mode of a specific event and then completed through the former exploratory path, allowing gesture, pattern and layering to animate and release inherently frozen moments into a complex less fixed and known, ultimately transformative. Hayley Barker's paintings and drawings are self portraits; they are icons. Images start with “beddrawings” and then become paintings. They include text and faces which come intuitively in morning drawing practices and reveal a woman-looking self in a variety of psychological states. Her small works draw from the worlds of dreams, mystical states and the mundane. Megan Mueller’s images are created by placing objects and photographs on a flatbed scanner, often inviting gesture and ambient light to distort the capturing of information.  Her projects engage gravity, the peripheral and timekeeping through an ongoing investigation of the spaces where the built and natural environment merge. Kottie Paloma’s new paintings are composed of muted colors and text portraying a rough poetry of daily life in which he describes as abstract narratives leading the viewer into snippets or chapters of a yet to be completed book. His sculptures evoke the idea of reuse, form over function, and serve as the 3-D component of his narrative style. Stephen Neidich’s kinetic sculptures are made of industrial metal objects and tools found in the studio and the outside world.  They leverage our familiarity of everyday objects against the experience and performance of making art. These gestural spinning and rotating sculptures make plain how, and from what materials they are made—they relish in the acrobatics of their production. Molly Segal’s paintings of oil fields, dying thistles, cacti, and cockroaches serve as reminders of cyclical interdependence.  She is concerned with the costs and limits of intimacy. The use of water-media on slick nonporous surfaces reveal what happens when boundaries begin to blur and bleed.  Luke Whitlatch’s mixed media paintings are visual representation of the ghosts of lore and personal experience. They are physical representation of the gray area involved in the passing on of stories. These abstract works act as a memorial for specific experiences that cannot be conveyed through conventional imagery.

About the curator: Sacha Baumann is an artist, designer, and arts business professional living and working in downtown Los Angeles. She is the curator and publisher of FULL BLEDE, a free, independent contemporary broadsheet featuring art, writing and design; Issue Four: The Pattern is currently in production. Sacha is a Master of Art, Art Business candidate at Claremont Graduate University, Sotheby's Institute of Art / Drucker School of Management. She holds a Bachelor of Arts degree in Visual Communication from San Francisco State University.

Fresh Start at LAVA projects


The exhibition opening reception is Sunday Jan 14th from 4 - 7pm. and has 29 fab artists in it. @lava_projects

Ceci Moss with her mobile Gas Gallery will be parked outside for the opening too!  @gasdotgallery

Fresh Start will run January 14 through February 25th.
 

Shows this Winter 2018


"Fresh Start," Group Show: LAVA Projects, Los Angeles, Opens 1/14/18

"AMPM," Solo Exhbition: Williamson Knight, Portland OR, January 2018

Group show at Charlie James, Chinatown, LA, Opens 1/22/18

Group Show curated by Laurie Nye: Big Pictures Los Angeles, February 2018

(Image above, "Zero Tolerance" is part of the Angry Suite of #wrongpen #wrongpaper Bedddrawings to be shown at WIlliamson Knight in January 2018)

The Binder of Women


Limited Edition box of prints by 10 LA Artists:
Lindsey Lyons
Laurie Nye
Hilary Pecis
Kysa Johnson
Maysha Mohamedi
Erin Morrison
Michelle Blade (not pictured)
Hayley Barker
Claire Collette
Jamie Felton

Release party at The Pit on December 3rd!

The Binder is also available on https://www.thebinderofwomen.com/
 
Binder of Women is an artist-run project creating a collective folio of limited edition works. Artists Hayley Barker, Michelle Blade, Claire Colette, Jamie Felton, Kysa Johnson, Lindsey Lyons, Maysha Mohamedi, Erin Morrison, Laurie Nye, and Hilary Pecis have contributed works on paper ranging from representational and unique paintings to abstract and gestural forms with pressed paper for this first release. The project offers twenty limited edition sets containing a signed work by each of the ten artists.
 
Conceptualized in Los Angeles this year by painter Hilary Pecis, Binder of Women is an independent platform for contemporary artists to directly share their work as they see fit. This is a unified move to empower female artists, expand their reach, broach the topic of equality and consent in the art world, and take action to grow the number of works by female identifying artists in contemporary art collections.

LA Weekly Pick, Week of August 16, 2017


5 Free Art Shows to See in L.A. This Week
WEDNESDAY, AUGUST 16, 2017 
 
By Catherine Wagley
 
Goddess ghosts
A face painted on plastic hangs at the top of the carpeted stairs leading up to Abode Gallery. You have to push past it or duck under it to enter the rest of the space, where Hayley Barker has installed her exhibition “New Paintings” (nomadic exhibition program BozoMag is presenting the show while Abode’s founder, Katie Bode, takes a break until fall). In an elegant handout placed on the mantel, Barker describes these paintings as spirits, guides and goddesses. The faces she depicts appear vaguely feminine and vague in general. It’s hard to tell where the speckles and marks end and the face begins in a painting hanging inside the defunct fireplace. The figure in BAT TIME (hands cover face), hanging above a kitchen table, is ghostly and obscured by flowerlike shapes, as if she’s haunting a garden on a rainy day. 840 N. Wilton Place, Hollywood; through Aug. 27. bozomag.com

 

Install Pics Up


Install picks of New Paintings are up!

I'll be gallery sitting this Sunday August 13th from 12:00pm-5:00pm.

Come by and see the show.

XO

#beddrawings & slow jamz


This Sunday, 7/30/17, join me, the #beddrawing binders, and Bozo Mag for slow jamz and pink wine in my show, NEW PAINTINGS at Abode. 

840 N Wilton Place, Los Angeles, CA 90038

Gallery hours Sundays through 8/27, noon- 5pm.



 

New Paintings, Bozo Mag at Abode, Opens Sunday 7/16/17 5-8pm


Bozo Mag is pleased to announce, “New Paintings”
by Hayley Barker at Abode. 

These are the faces of spirits and guides, goddesses, and sometimes versions of myself, disembodied, that I meet when I journey. When I meet someone new in shamanic meditation I try to feel them, their energy. I try to discern their faces, and features, but oftentimes am left with little more than a shifting impression of their facial sphere. I may be listening to one speak for a long time, but barely be able to see their face. I feel I know them, even though I cannot fully see them. They are felt, known through not seeing. 
Each one tests my ability to discern subtle energies. 
When I am scared I tend to want to leave my body, but these guides are teaching me to stay in my body, even when
I cannot see the being right in front of me.


This exhibition will be on view from Sunday, July 16th, until Sunday, August 27th.

An opening reception will be held on Sunday from 5pm to 8pm at 840 North Wilton Place.

Opening hours will proceed on every Sunday, from 12pm to 5pm, until Sunday, August 27th.
840 North Wilton Place, Los Angeles, CA 90038

bozomag.com • 310 773 8287 for more info

The Upside of Her Hell at Bozo Mag


Now up through May 14th, 2017. 

Hayley Barker, Amy Bessone, Vanessa Conte,
Daniel Gibson, Namio Harukawa,
Joshua Miller, and Eva Sealove
 
One child grows up to be
Somebody that just loves to learn
And another child grows up to be
Somebody you'd just love to burn
Mom loves the both of them
You see it's in the blood
Both kids are good to Mom
"Blood's thicker than mud" 
It's a family affair…
Keep, keep it together
Keep, keep it together
Keep people together forever and ever

 
This exhibition is on view from Sunday, April 16th 2017 until Sunday, May 14th 2017. An opening reception will be held on Sunday from 2pm to 6pm at 9755 Yoakum Drive.  The opening will also host the release of Hayley Barker’s “Vintage Self-Help”, a book of short essays.
 
Open hours will be on Sundays from 10am - 4pm, and by appointment.
9755 Yoakum Dr. Beverly Hills, CA, 90210

"Vintage Self Help" at BozoMag


"Vintage Self Help"
Twelve short essays on trauma, nature, shamanism, illness, art and time. Text and drawings by Hayley Barker. Perfect bound, with newsprint poster. Produced by Cherry & Lucic, edited by Katie Ford, designed and bound by Sammie Cetta, printed by Ryan Patrick Krueger. (c) 2017. 46 pages. 
Edition of 50. 
$20 each

Email me to buy one. hayleycbarker(at)gmail.com or go to the Bozo Mag Store, link above.
 
Bozo Mag is an art gallery and label founded by Sam Bivins, Daniel Bowman & Max Schwartz.
 

THE GODDESS SHOW at Rainmaker Gallery


featuring Hayley Barker, Jason Berlin, Eryn Boone, Rachel Brown Smith, Anna Fidler, Elizabeth Malaska, Veronica Reeves

 The Goddess Show, opening at Rainmaker Gallery on Friday, April 7, is a group show organized by Rainmaker resident artists Rachel Brown-Smith and Veronica Reeves and features Hayley Barker, Jason Berlin, Eryn Boone, Rachel Brown-Smith, Anna Fidler, Elizabeth Malaska, Veronica Reeves. This exhibition of West Coast artists highlights feminine divinity and spirituality that is independent of patriarchal ideology. 

2/2017: "No-Place," Gallery Protocal, Curated by Iris Williamson, Gainesville, FL


Gallery Protocol is pleased to present no-place, a group exhibition curated by Iris Williamson. no-place features painting, drawing, sculpture, and digital media by Hayley Barker, Alisa Bones, Andrea Brown, Akina Cox, Brooks Dierdorff, Natalie Escobar, Jackie K. Johnson, Angélica Maria, Millán Lozano, Jess Perlitz, Nicolas Sassoon & Rick Silva, Eileen Isagon Skyers, Lindsay Preston Zappas. The exhibition opens with a reception on February 24 from 8:00PM to 11:00PM and runs through April 7.

In no-place, utopian motifs—such as lush foliage, remote islands, and the swirling heavens—are confronted by consumerist objects, sharp thorns, chains, and smokestacks. The exhibition anticipates and engages the failures that occur in pursuing an ‘ideal reality.’ As the title suggests,
many works speak to ‘utopia’ as an act of dislocation—from the particulars of a specific place, or even a specific body. Abstracted figures negotiate environments composed of signifiers, and spaces open up for travel beyond the physical world. no-place invites viewers to consider self-care as the first step in caring for and creating new worlds.

(Image by Akina Cox)

Now Burning, Border Patrol, Portland Maine, January 6 - March 3, 2017



Now Burning is a group show featuring incense and burners made by over thirty artists from the United States and Canada. Artist-made Incense will be burned in each artist-made burner over the course of the exhibition. Invoking the pragmatic and mystical properties of scented smoke, the exhibition will ceremoniously cleanse the space of previous occupants’ residue. This non-visual announcement will cultivate a meditative, mildly psychoactive atmosphere and prepare the ground for subsequent exhibitions.

Pictured: StarBlade 2016, Steel & Acrylic

"Animal Farm" at Dalton Warehouse, LA


Forty artists, works on paper
Dalton Warehouse.  447 E. 32nd St, Los Angeles, 90011
See their Facebook page for hours.
Up February 2017- March 2017.

 

Eve Eve at TOP 12/29/16


TOP presents Eve Eve, a group exhibition with Hayley Barker, Andrea Marie Breiling, Claire Colette, Carrie Cook, Lindsey Lyons, and Maysha Mohamedi 

Opens Thursday, December 29, 7-10 pm. 
On view Friday, December 30, 11 am-6 pm.

TOP
1753 E Olympic @ Alameda, 
Fourth Floor, last door on right
Los Angeles, CA

Women on the Fence


Instagram: http://instagram.com/womenonthefence
 
DATE: 10/26/16
 
WOMEN ON THE FENCE
Works by Women, for Women
Desert Hot Springs, CA, November 5, 2016– WOMEN ON THE FENCE (WOTF) is a one-day paper show of radical LA artists in conjunction with the three-day women’s festival and retreat: MOTHERSHIP, brought to you by HER/LA, and curated by Hayley Barker and Andrea Marie Breilling.
 
WOMEN ON THE FENCE: This one-day art show will feature the work of over 30 feminist women artists from Los Angeles. Works will be hung outdoors on the chain link fence that demarcates the interior space of the MOTHERSHIP festival.
MOTHERSHIP is a three-day outdoor festival for women that features feminist and queer-friendly music, workshops, camping, and community.

Artists in WOTF include: Lilly Aldriedge, Shaga Ariannia, Sarah Awad, Hayley Barker, Andrea Marie Breilling, Anna Breininger, Tanya Brodsky, Virginia Broersma, Sally Bruno, Sara Chao, Sara Clendening, Carrie Cook, Alika Cooper, Akina Cox, Nikki Darling,Yasmine Diaz, Sarita Dougherty, Catherine Fairbanks, Nikita Gale, Rema Ghuloum, Sarah Gilbert, Meghan Gordan, Trulee Grace Hall, Kyla Hansen, Melissa Huddleston, Angie Jennings, Kara Joslyn, Molly Larkey, Sophie Lee, Clare Little, Tiffany Livingston, Kristy Luck, Annelie McKenzie, Erin Morrison, Megan Mueller, Erika Ostrander, Lauren Quin, Rachel Roske, Nancy Stella Soto, Shanna Waddell, Julie Weitz, Suné Woods, Lindsay Preston Zappas.



Thanks Carla!
A few shots from our show in Desert Hot Springs... at HER/LA's Mothership Festival.

Upcoming shows this fall & winter


Some upcoming group shows:

11/7/-12/1/2016 Magic, at Mercer College Art Gallery, curated by Tiffany Calvert, West Windsor, NJ. (Image above)

11/2016: Bad Religion, Lyeberry HQ, Brooklyn, NY

12/16: LACA Benefit Auction, Los Angeles, CA


1/6/17-3/3/17 Now Burning at Border Patrol, Portland, ME.
 

The Water

THE WATER
Friday November 18, 7-10 PM
at The Women's Center for Creative Work
A private feminst participatory ritual open to women/queer/trans folks. RSVP required.

I believe that we are made of Water, and Water is Spirit. Spirit is sacred. Creativity is sacred. And honoring one another face-to-face is sacred feminist work. Making art is sacred feminist work. Being alive today, in this nation, in this world, it is more important than ever that we find peaceful, loving, accessible, affordable ways to come together. It is my hope to be a small part of this healing that needs to occur on a grand scale.
 
I will facilitate this season's conversation and guide us through a water ritual. We will make sacred space together and create a communal blessing water. We’ll discuss ways to use blessing waters in art and life. Some ways I have used it include demarcating sacred spaces and cleansing rituals. I have used these rituals in my art and in everyday life, to take care of myself and to reclaim that which needs healing.
 

A SPACE BORN: A Two-Person Show at Egyptian Art & Antiques


Egyptian Art & Antiques is pleased to announce "The Space Born", a new exhibition of paintings and installation by Hayley Barker and Conrad Ruiz.

The Key to Above and Below is The Key to the Freedom of Space. Oh, Secret of Secrets: Manifest! This is Nature’s Excessive Game. The blood above and the blood below. This Space is Born, the Space is Born.

The show will open on Saturday, June 18, 2016, at 170 S. Beverly Drive Suite # 320, and will continue on view through Sunday, July 10, 2016. An opening reception will be held on Saturday, June 18, 2016 at 8:00 P.M. A closing reception will be held on Sunday, July 10, 2016 at 7:00 P.M. Open hours will be as follows:

OPENING:
Saturday, June 18, 2016 8-11PM

CLOSING:
July 10, 2016 7-9PM

DIRECTIONS:
Egyptian Art & Antiques
170 S. Beverly Dr. Ste. 320
Beverly Hills CA 90212

www.egyptianart.la

Install Pics of "The Ambassadors"


Install photos have been posted. Click through to see what the show really looks like. BIG HEARTS to Calvin Ross Carl for the great photos!

THE AMBASSADORS at Carl & Sloan, Portland, OR


PRESS RELEASE:
Exhibition runs May 6–29, 2015
Opening Reception: Friday, May 6, 2015, 6:00–10:00 PM

Carl & Sloan Contemporary is pleased to present a solo exhibition of new works by Hayley Barker, titled The Ambassadors.

The exhibition’s namesake, The Ambassadors, is derived from the Late Gothic master Hans Holbein’s painting of the same name. The painting is notorious for the inclusion of an ethereal floating skull. Seemingly from another dimension, the skull is stretched across an otherwise traditional painting. This symbolic intrusion acts as a break in time and space reminding us of the sacred and spiritual existing between life and death.
Barker draws upon this break. Her new work waxes and wanes between paintings of spiritual experiences to unstretched canvases acting as sacred tools, portals, and guides to accompany her personal meditative rituals. The works become lyrical interpretations of these energetic spaces, beings, and props. 

Prior to the opening of the exhibition, Barker will conduct a private ritual within the gallery to bless, play with, and make use of the paintings; her private ritual being an improvised reenactment of a healing ritual she did 20 years ago in front of an invitation-only audience. This continues her decades long feminist, nature-based spiritual practice. The finishing ritual imbues the work with the very illusory and invisible energy she has drawn from throughout her life.  

We encourage you to read the following in contemplation of this new work and the artist's own attempt to understand the purpose of these mysterious works that are both light-hearted and deadly serious:

The blanket, the milky way, her robes
Bugs Bunny's rabbit hole
A space that is a thing/being
An object that is a holding cell and entrance
The angle of viewing
The angel of viewing
Fake vomit
Dried paint wet underneath
Blessed and prayed on, private ceremony
The skull smeared across the bottom of the painting
Witch, wardrobe, lion
The shift holding wind made into a sail
Bandages removed sort of holding the shape of the body they patched up
Speech bubble, differing text balloons
A shroud
Rough drafts for future healing tools, mine, maybe our's, your's?
Your pocketknife, his weapon, their scissors, her blade of grass
8-bit thunderstorm groove on loop
The solo re-enactment of a performance from 20 years ago, learned, but not by watching the VHS tape with bad tracking
What I see when I try to recall your features


The Ambassadors by Hayley Barker opens Friday, May 6, 2016, 6–10pm and will run until May 29. For more information, please contact the gallery at 360.608.9746 or info [at] carlsloan.com

PLANTS BODIES STARS at Luis De Jesus LA


PRESS RELEASE:
Project Space: APRIL 23 - MAY 28, 2016
Opening Reception: Saturday, April 23rd, 6-8 PM
 
SPECIAL PREVIEW: Sunday, April 17, 2-5 PM
(RSVP)
 
Hayley Barker's oil on linen paintings are inspired by the joy, wonder, and wild energy that she finds in relationship with plants, bodies, and stars--shaped by her journeys in her personal spiritual practice and the physical landscape that she inhabits. In her meditative journeys beings come forth and return to the Earth. Lyrical brushstrokes convey eyes, mouths, orifices, faces, and bodies, transmuting themselves into plants or embodying stars. Ecstatic states and regal beings emerge from shallow spaces that somehow breathe.
 
Drawing on the art of the Symbolists and early Modernists as well as the visionary painters of the past two centuries, Barker allows her forms to unfurl with a playfulness or whimsy that manifests in the imaginative leaps she takes when transforming, for example, an aloe plant into a kind of figure that winks at you. This openness to wonder and the possibilities of the unknown (and unforeseen) is a way of creating a world in which all sentient and insentient beings, objects and spaces possess personalities. 
 
PLANTS, BODIES, STARS takes these potent new-age themes into an intimate, feminist, contemporary context; pleasure, spiritual discernment, and the decorative meet the iconic, the painterly, and the performative in these pastel interior landscapes. Within these encounters, the possibility of radical transformation occurs affecting life in the physical, social, and political realms.
 
Barker received her B.A. from the University of Oregon (1996) and her M.A. and M.F.A. in Intermedia from the University of Iowa (2001).  Her work has appeared in Pacific Northwest venues such as Charles Hartman Fine Art, Disjecta, and the Art Gym and in publications such as New American Painting and The Harvard Divinity Bulletin. Her work was named the best show in Portland of 2014 by Art Ltd. magazine and has been reviewed in Art in America, the Oregonian, Willamette Week, Portland Monthly and Visual Arts Source.
 
PLANTS, BODIES, STARS, new paintings by Los Angeles based artist HAYLEY BARKER, will be on view in the Project Space from April 23 through May 26, 2016. The show will kick-off with a special preview and reception in Gallery 2 on Sunday, April 17th, from 2 to 5 p.m. Please RSVP if you plan to attend. Her exhibition in the Project Space will run concurrent with the solo exhibitions of Kate Bonner and Margie Livingston, and an artists' reception will take place on Saturday, April 23rd, from 6 - 8 pm. 
 
For further information and images, please contact the gallery at 310-838-6000, or email gallery@luisdejesus.com.
 
Luis De Jesus Los Angeles is located at 2685 S La Cienega Blvd, Los Angeles, CA 90034. Gallery hours are Tuesday through Saturday, 11 am to 6pm, and by appointment.

Image:  Power Stance, 2016, oil on linen, 60 x 48 inches

Albatross Show March 2016

This March month I will have a "solo show" at Albatross in Portland, Oregon. Says the galery's website:

Albatross is a gallery consisting of a 3”x 4” (or 4”x 3”) plastic sleeve on a black lanyard. The front side will hold an original piece of art and the backside will contain information such as an artist bio, title, and price. Michael Reinsch will be wearing the gallery at art openings such as first Thursday and everyday through the duration of an exhibition.

Rob Pruitt's Flea Market


This Saturday and Sunday I will have a table at Rob Pruitt's Flea Market in downtown LA. Come by to check out some new drawings and/or just come say hello! Looking forward...


 

"Artists Make Good Theologians", By Sarah Sentilles, in Harvard Divinity Bulletin


In the new edition of The Harvard Divinity Bulletin, you will find Sarah Sentilles' review of "Apparition Hill" and Mary Szybist's book of poetry, Incarnadine. This article is based on a conversation we had back in May 2014 in the gallery.  An excerpt:

"
While Barker and Szybist talked about their creative practices, about “repurposing traditions” rather than abandoning them, I couldn’t help but think of the iconoclasts, who aimed their hammers at the parts of the sculptures that mattered most—their open eyes and their noses. Vision and breath. They didn’t destroy the statues. They didn’t leave them unrecognizable. They simply made them incomplete, broken, missing something essential, and the holes, the emptiness, made sure no viewer would forget they were artifice, constructed, lest people get confused, lest people think the painting of the saint is the saint herself...."

Art Ltd. Top 10 of 2014

"Apparition Hill" was recently named the #1 show in Portland in 2014 by the critics of Art Ltd. Magazine.
Read more here.

'Apparition Hill' Named Best Show of 2014, Art Ltd. Magazine

Art Ltds's Richard Speer names "Apparition Hill" the best show of 2014, calling them "dramatic paintings based on the artist’s pilgrimage to a mystic shrine in Herzegovina."

Jay DeFeo Trust Guest Commentary


Thrilled to share this guest post on the Jay DeFeo Trust's Facebook page and Tumblr.
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