#projectspace2920

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CLASSIC: A Celebration of Art & Music Saturday, April 30, 2016 | 2:00pm - 7:00pm Project Space 2920  2920 Florence Avenue Los Angeles, CA 90043

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We are proud to represent Hyde Park in the Street Beats LA festival on February 20!  Let’s make Hyde Park an art and music-filled, walkable city. Every corner will feature live DJs, interactive musical installations and much more! February 20, 2016 | 10:00am - 4:00pm The corners of Florence Ave and Crenshaw Boulevard

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Eagle Nebula, janet e. dandridge: Ritual Portals at the Mezzanine ONE NIGHT ONLY - Saturday, February 6, 2016 | 8:30pm - 10:30pm Performance at 9:00pm 

Project Space 2920 2920 W. Florence Avenue Los Angeles, CA 90043

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A Conversation with Photographer Glen Wilson - Part 2

PS2920:   Tell me about the first gate you saw and how did you know you wanted this gate and what you were going to do with it.

GW: The idea came to me, a few years ago, talking across the fence with my neighbor Aron Dafney. Before he passed, we enjoyed many hours of conversation sitting up on his porch as he puffed his pipe, and listened to the blues radio station. He shared stories about his own past, leaving Texarkana with his wife in the early 1950's for California, and their eventual arrival to Venice Beach. His stories provided glimpses and context of our neighborhood in the years before I arrived with my own family. Aron and I also shared an affinity for collecting, and keeping objects and items, old tools, doors, lumber, etc.. He passed along his old chain link gate to me, which became the first gate I wove for this series. The other gates, I have salvaged from homes which were subsequently demolished, or in other cases condemned as in some gates from New Orleans. PS2920:   Are there any "gates" you'd like access to? Or would like to cross the threshold of? If so, which ones?

GW: Growing up in the midwest, gates and fences were seldom true barriers. Accessibility became more of an issue of navigation. Once one becomes aware of the obstacle, it then must be negotiated. For example, my friends and I knew that certain gates remained permanently locked, and thus they might need to be hopped. Others fenced in dogs, so we needed finesse, timing, and speed on our side in those situations, if we wanted to try a shortcut. Gates and fences were just fixed points useful in mapping the terrain of neighborhood. Clearly, gates function both literally and figuratively to divide spaces and keep some in and others out. There is a rich discussion to be had around this, particularly when it comes to the economic and social forces of gentrification.

Glen Wilson: Gatekeeping October 17-24, 2015 Opening Reception: Saturday October 17, 6-9pm Project Space 2920 2920 W. Florence Avenue LA, CA 90043 Viewing Hours: Fri-Sun, 12-6pm

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Glen Wilson: Gatekeeping presents the most recent works in an evolving series of photo-assemblages that artist Glen Wilson has begun to exhibit in project spaces, galleries, and public spaces. Over many years, Wilson, whose roots are in documentary photography, has roamed his Venice Beach neighborhood photographing the rapid changes it is undergoing due to gentrification.  Amid the debris of neighborhood demolition sites, where modest homes and bungalows that represent vintage Venice residential architecture once stood, Wilson has continued to photograph and recently begun to salvage objects, specifically, entry gates of chain-link fence systems. 

A Conversation with Photographer Glen Wilson - Part 1

PS2920: What does the gate represent and why is it important to your work? Or at least this series? Why chain-link gates? Why not picket fence gates or wooden gates?

GW: The gates are vestiges of homes and neighborhoods, the places where they have stood, and functioned or lived, for decades in most cases, as thresholds or points of transition. Constantly engaged, they become objects of everyday ritual, a part of what Bachelard calls 'the poetics of space'. The medium of chain-link is particularly interesting to me as it represents a kind of fabric where form, function, and economic threads become interwoven. Chain-link gates and fences are designed for simple effective function, are not particularly ornamental, though ornamentation and customization do present themselves. They exist in a screen-like, almost invisible plane without losing function. They signal working and middle class economic realities in that they are solid, affordable, function to project a kind of barrier, while maintaining transparency and permeability. This style of fencing proliferated beginning in the 1940's (in an industrial context), and now defines and outlines so many boundaries throughout the world, as to be among the most prevalent material objects we encounter and negotiate on an everyday basis. In a sense, as objects, the gates are witness to the rhythms of places, and they help punctuate those rhythms. They interact with the elements, weathering, co-mingling the human and atmospheric conditions that characterize a place.

The gates carry multiple meanings. First, they define and demarcate, spaces of transition and passage. They are active, they swing and articulate, through the wincing squeaks, clinks and clanks of their hinges and clasps. They locate a ritualized act of movement, to and from, announce transitions, arrival and departure between private and public, yard and street. They represent flow. The meanings of gates, what they may be said to represent, are as dynamic and shifting as the ritual movements and fleeting paces of folks who together constitute the idea of neighborhood. Neighborhood is never fixed, it is contested. Neighborhood is flux, the space of the gate is the intersection between the flux of the sidewalk or street, and the perceived stability and intimacy of home. The gates are an ever present part of that flow, a part of the circulation of a neighborhood.

PS2920: Gates, like doors, represent points of entry and exit. They may also suggest access, a transition, or a passageway; moving between places literally or metaphorically. What is the relationship between these metaphors and the images you choose to weave into the gates? GW: Shifting and moving between places – that dynamic, that negotiation – the dialectics of inside/outside, presence/absence, closeness/distance, etc. has always been intrinsic to my practice. As an artist rooted in documentary photography, the fluidity and dynamism of identity and community is a typically present in my work. The dynamics of spaces and places, the ways in which the feeling of a place can swing or shift, subtly or dramatically, over the course of just a few footsteps is especially familiar to the artist who works in the street.

Taken from the point of view of the hinge, a fulcrum of sorts, the gates simultaneously represent fixedness and stability, as well as movement or change. The images I weave into the gates portray neighbors, acquaintances, passers-by. But I also incorporate streetscapes, cloudscapes, and oceanscapes. As with the gates themselves, the elements of the neighborhood co-exist and mingle within the images. Ocean breezes and tides ride the same atmospheric currents and tangling with thumping base lines, and the tumbled sounds of dice and dominos on a park bench. Conversation will continue 10/22/2015. Glen Wilson: Gatekeeping October 17-24, 2015 Opening Reception: Saturday October 17, 6-9pm Project Space 2920 2920 W. Florence Avenue LA, CA 90043 Viewing Hours: Fri-Sun, 12-6pm

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Collin Stafford, Becky Stafford, von curtis and Ofelia Marquez Monster Mash

2920 W. Florence Avenue, Los Angeles, CA 90043

April 24 - May 3, 2015

Closing reception: 6-9pm  Closing performance: 8pm

Costumes on display Fridays & Saturdays noon - 6pm until May 2nd.

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Getting into something weird tonight with @tallartgirl #projectspace2920 (at Project Space 2920)

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Project Space 2920 is proud stream #Blkgrrrl’s live reading of Zora Neale Hurston’s Their Eyes Were Watching God from 3:00pm - 4:00pm on Saturday, April 11, 2015.  Don’t miss the Tall Art Girl Collective reading at 11:00am! _______________________________________________________________________

A digital #BlkGrrrl in an analogue world presents Zora, LIVE! Saturday, April 11, 7 p.m.. to 10 p.m. at Cielo Galleries/Studios located at 3201 Maple Street in South Central Los Angeles 90011. BlkGrrrl will be presenting a 12 hour reading of Zora Neale Hurston’s Their Eyes Were Watching God in conjunction with a retrospective Blk Grrrl Book Fair (BGBF) art show curated by Cielo’s Skira Martinez. The final three hours (7 p.m.- 10 p.m.) will be a formal event with an art show, conversation and cocktails from the 1930s and 1940s.. The retrospective art show will feature photographs by Slobodan Dimitrov and members of the public who documented the inaugural BGBF. Literary, art and social justice groups will be coming in from 10 a.m.- 10 p.m. on Saturday, April 11 to read portions of the novel. We will be reading from the 75th Edition. It can be purchased with our partners IMIX Books located in Espacio 1839 at 1839 East 1st Street, Los Angeles, CA 90033 in the community of Boyle Heights. Pushing the boundaries of literary art #BlkGrrrl and Cielo Galleries/Studios has created a digital/analogue event that crosses cities, countries and time zones. “I am not tragically colored. There is no great sorrow dammed up in my soul, nor lurking behind my eyes. I do not mind at all. . . . I do not weep at the world -- I am too busy sharpening my oyster knife.” ~ Zora Neale Hurston This will be a celebration of what they say can’t be done. The live streaming of the 12 hour reading will be shown via www.blkgrrrrlshow.com website and you will be able to drop in on live streaming events taking place in Inglewood, Eagle Rock, London, Toronto and South Central. It will be archived for later viewing. For updates of BlkGrrrl events please visit http://www.blkgrrrlshow.com/ or Twitter by using hashtag: #BlkGrrrl. For more information or if you’d like your location to be listed as a streaming venue please contact Teka-Lark Fleming at [email protected]. Requirements to be a venue. Open or closed to public Able to show one hour of the program. Able to digitally document via photograph two or people watching the stream and and the ability to get that photo to us within two days after the end of the event. BlkGrrrl is what freedom through cooperation looks like.