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Brooks AdaLioryn / The Crane’s Nest

Brooks AdaLioryn is an LA based artist working primarily in ceramics, clothing, jewelry, installation and performance. A shrine-like installation will inhabit the window of there-there.

The Artist will be present in the installation from 12pm - 5pm on the following dates:

May 17th, May 18th, May 19th, May 23rd, May 24th, May 25th and May 26th.




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Jason Roberts Dobrin / The Studio

Opening reception Thursday May 16th 6-9pm

Originally trained as a photographer, Roberts Dobrin is a multifaceted artist invested in the re-contextualization of myths ubiquitious in American media. He is motivated by pointing to the extremism of our cultural imaginary.

Roberts Dobrin reveals the margins and seams of our culture. His language is steeped in the rhetoric of late capitalism and hyper consumerism.

Roberts Dobrin makes use of simple subject matter such as apples and oranges. Often rendered in a thick gestural impasto, he reduces his subjects to icons, asking the viewer to dwell on the surface versus the subject matter.

The sheer repetition and obsessive nature of the work speaks to the destabilizing cultural climate and the destructing of individual difference that results from the promotion of a generic American culture “as seen on TV.” He wants to make visible the universalized reality of facing depletion not by way of division or spectacle or binary, modernist sound bites, as presented in dominate culture and headline media, but instead by reconfiguring the different fetishized tropes to paint an accurate depiction of our collective condition.

The artist received his MFA from CalArts and presently lives and works in Los Angeles.


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Tim Youd / Drawings of a Painting

Consider the typewriter ribbon: Half an inch wide, made of cotton, made of nylon. Saturated with ink. Red and black. Solid black. Or blue, as Raymond Chandler preferred. The typewriter ribbon recalls noisy newsrooms and clattering typing pools. Sit at a typewriter all day, and you will come away grimy and ink stained. A fresh spool of typewriter ribbon holds the promise of a novel waiting to be written. Maybe the Great American Novel itself. A used spool holds a secret history of words written and rewritten and rewritten again.

Tim Youd’s colored pencil and graphite drawings bear down on the typewriter ribbon as both an idea and an object. As abstractions, these drawings are hard-edged images of rectangles within rectangles. But as representations, they are exactlytypewriter ribbons, complete with grime and smudge. The rectangle within the rectangle format echoes the page of a book—the rectangle of the block of text inside the larger rectangle of the page. The typewriter ribbon doubles symbolically as a sentence.

This group of works—titled “Drawings of a Painting” - is a translation of the artist’s ongoing series of “Typewriter Ribbon Paintings.”  Those “Typewriter Ribbon Paintings,” which first premiered at the New Orleans Museum of Art in 2015, are made of typewriter ribbon and residue ink. The drawings, by comparison, have no ribbon or ink in them, but Youd constructs them in the same manner as he constructs the paintings—ribbon by ribbon. The artist positions each drawing closer to the bottom margin of the page than to the top, reinforcing the idea that the image is of an object—one of his paintings—as opposed to a perfectly centered two-dimensional design.

The focus on the typewriter ribbon comes from Youd’s decade-plus performance cycle The 100 Novels Project, in which he has undertaken the retyping of 100 novels, each on the same make/model as used by the author, and in a location related to the novel. To date he has retyped 61 novels. 

A performance and visual artist, Tim Youd is presently engaged in the retyping of 100 novels over a ten-year period.  To date, he has retyped 61 novels at various locations in the United States and Europe. His work has been the subject of solo museum exhibitions at the CAM St. Louis, MCA San Diego, New Orleans Museum of Art, Frances Lehman Loeb Art Center at Vassar College, Hanes Art Gallery at Wake Forest University, and the Lancaster Museum of Art and History. He has been in residence at various historic writer’s homes, including William Faulkner’s Rowan Oak (Oxford, MS), Flannery O’Connor’s Andalusia (Milledgeville, GA), the Hemingway-Pfeiffer House (Piggott, AR), the National Steinbeck Center (Salinas), and Virginia Woolf’s Monk’s House (Rodmell, Sussex). He has presented and performed his 100 Novels Project at Los Angeles Contemporary Exhibitions (LACE), LAXART and the Museo dell’Ara Pacis (Rome), and retyped Joe Orton’s Collected Plays at The Queen’s Theatre with MOCA London. He is represented by Cristin Tierney Gallery in New York. Youd lives and works in Los Angeles.

  





Ian Trout / Corporate Personhood


Opening reception Saturday August 3rd 


7-9pm


there-there is pleased to announce the first solo exhibition of LA artist Ian Trout. Entitled Corporate Personhood, the exhibition will run from August 3 through September 08, 2019. there-there is located at 4859 Fountain Avenue in Hollywood, California at the Merrick Building.


In a headnote to an 1886 Supreme Court ruling, Chief Justice Morrison Waite expressed the opinion that corporations are “persons” within the intended meaning of the 14th Amendment. Equal protection under the law would no longer be limited to “natural persons” and the precedent would be cited repeatedly in subsequent cases on corporate rights. Two recent cases, Citizens United v. FEC (2010) and Burwell v. Hobby Lobby (2014) further expanded these rights well beyond their intended scope.  

 

The focus of Trout’s exhibition is a series of paintings depicting possible manifestations of a “corporate person”. Trout conflates the acute subjectivity of the aforementioned judicial interpretations with strategies employed in abstract art and uses this association as a point of departure for the work in the exhibition. Each painting’s shaped support is based on one or a number of corporate logos—the logo being the supposed “face” of the corporate body. Consisting of a palette of red, blue, and black, the paintings intersect the visual languages of modernist tropes, corporate branding and national flags. Stock medical illustrations collected online render the corporate body as an arrangement of disassociated parts. In their combination of bodily, financial and political symbols the paintings make visual the latent absurdity that “corporate personhood” has become. 

 

The exhibition also includes a series of framed photos of political cartoons. The cartoons have been altered to mimic the colors and compositions of Kazimir Malevich’s suprematist paintings. Malevich’s suprematism, a movement concerned with “the primacy of pure feeling in [art]”, utilized basic geometric forms in its pursuit of an ideal “non-objective creation”. Much like the abstract artist, U.S. Supreme Court justices, in their extreme redefinition of personhood, have  operated from a similarly solipsistic position.

 

Trout’s approach to painting is born out of the ubiquity of graphic symbols in modern society. These colorful, simplistic designs are employed to disseminate information, foster desire, and drive commerce. The lineage of abstract art has been co-opted within these transactional channels; no longer invoking the abstract artist’s ideals, but operating in tandem with capitalism’s pervasive requests for time, money, and data. For Trout it seems impossible for images to exist outside of these mechanisms, leaving few avenues for painting as a socially relevant action. As strategies that distort and dehumanize are now implemented across all media, within our political discourse, and by corporate persons, the subjective gestures embedded within abstract art grow increasingly suspect. If there is still room for the artist, perhaps it lies in engaging those strategies critically.


Ian Trout was born in 1983 in Orange, California and lives and works in Los Angeles. He received a MFA from Claremont Graduate University in 2011.