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
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

“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
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
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 :)

Companion Pieces at ANYTIME DEPT



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

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.


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.

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

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!


Buy the first book of Beddrawings!
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

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)