EXHIBIT 28.0

    Public Offerings: 20/20


    In celebration of our third year as a gallery Autonomie is hosting Public Offerings: 20/20, a chance to get a piece of art by a notable emerging or established artist for $40. All works are $40, $20 goes to the artist and $20 goes to the gallery. Artists in the Show: Nick Aguayo, Courtney Arwin, Tania Jazz Alvarez, Virginia Broersma, Josh Cho, Hollis Cooper, Sydney Croskery, Ariel Erestingcol, Kent Familton, Roni Feldman, Andrew Foster, Rema Ghuloum, Aaron Giesel, Kio Griffith, Steven Hampton, Elana Melissa Hill, Josh Holzmann, Cole M. James, Brian Thomas Jones, Christopher Kuhn, Raymie Iadevaia, Casey Kauffmann, Ashley Landrum, David Leapman, Michelle Jane Lee, Claudia Morales McCain, Melanie Moore, Annie Neiman, Michael Neuman, Liz Nurenburg, Zhone Ping, Max Presneill, Alison Rash, Christy Roberts, Nano Rubio, Theresa Rubio, Eric Schott, Emily Silver, Erica Ryan Stallones, Gabie Strong, Julia Schwartz, Vistoria Tao, Devon Tsuno, Jayson Ward, Tessie Whitmore.


    Exhibit 27.0


    Join us Saturday, May 17th from 4-7pm, for the opening of Les Enfant Terribles at Autonomie. (http://autonomieprojects.com/)

    The 'infant terrible' was a dispositif of high modernism that was embodied by the 'cult of genius' and the defense of artistic autonomy. In the age of saturated subjectivity and networked economies the perpetual need for self reinvention hasn't vanished, but rather, it has become a new cultural norm. This small survey of 10 artists looks at how living in an attention-based economy lets us see the problematic of the infant terrible with new eyes - as our shared cultural condition. In a milieu of real-time connectivity, the 21st century definition of artistic 'acting-out' may come to include a deep commitment to community building, participating in the richness of family life and the intimacy of close friendships - especially if we are to resist mass infantilization. The kids of strong emerging and established voices in the art community are included in this exhibition as a celebration of the creativity of life expressing itself --- unfettered! 

    Artists in the show: Courtney Arwin, Josh Dildine, Hilary Dildine, Kent Familton, Katie Herzog, Ashley Landrum, David Michael Lee, Alison Rash, Nano Rubio and Chris Trueman.



    Exhibit 26.0



    Concrete Walls Projects at Autonomie



    A community art & literary project with Mark Twain Middle School

    Organized by Devon Tsuno


    Reception & Book Drive at Autonomie

    Friday May 2, from 6 – 8pm



    Los Angeles, CA – April 21, 2014 / - Concrete Walls Projects presents a one-night art and literary exhibition by 23 students from Mark Twain Middle School, at Autonomie, a non-profit art gallery in Midcity, Los Angeles located at 4742 West Washington Blvd, Los Angeles, CA 90016.  While exploring the topic of community, and the similarities of visual art and literary languages; students will be displaying their art collaboration, participating in a public reading and distributing two thousand, three-color risograph prints for free to the public on Friday, May 2, from 5 to 8pm.


    In response to author Paul Fleischman’s book Seedfolks, 7th and 8th grade A.V.I.D. (Advancement Via Individual Determination) students communicate through writing projects, how they are inspired and uniquely contribute to their various communities.  As a class, they collaborated with art director & graphic designer Sam Cho, artist Devon Tsuno and their teacher Jill Usui. They utilized Cornell note-taking writing techniques and contemporary art methods, to create a text based artwork that unites a diverse vision, and represents all of their rumination on community.


    In conjunction with the exhibition, a selection of art books, essays and catalogs donated by the LA art community for the Concrete Walls Art Reference Library, will be on display.  This art reference library will be on loan to rotating nominated public middle school and high school classrooms throughout the greater Los Angeles Area, starting with Mark Twain Middle School.  Selections on display will include art books and essays by Laura Aldridge, Aandrea Stang, Tim Bavington, G. James Daichendt, Finishing School, Colin Glasgow, Dave Hickey, Jon Leaver, Jaybe Lee, Anna Mayer, Manual History Machines, James MacDevitt, Simone Montemurno, Christine Nguyen, David Pagel, Devon Tsuno and others.


    The public is invited to contribute to the library, by donating contemporary art books, zines, catalogs, magazines, or essays during the reception at Autonomie Gallery.  Donated books must be age appropriate for 6th - 12th grade age students.  Please donate in person, to meet some of the students, parents and teachers who will directly benefit from the library.




    More about the Concrete Walls Art Reference Library

    This art reference library is being created to document and share with young students, the profound breath of knowledge and history, within the greater Los Angeles art community.  The library will be on loan, rotating at different nominated 6th - 12th grade classrooms, with its inauguration at Mark Twain Middle School.  The project includes visiting artists and projects, conducted by volunteer library contributors. This project functions as a teaching tool for instructors, and provides assistance in all subjects of study.  The artists live, work and are inspired by the very same neighborhoods in which the students also live and attend school. The books are a direct line of communication between the Los Angeles art community, with those neighborhood youths. The Concrete Walls Library represents a community of artists, writers, curators and creative institutions, who are dedicated to provide the needed resources to teach, inspire and prepare the visionary thinkers of tomorrow.  


    About Autonomie

    Autonomie is an institution dedicated to meeting the needs of emerging and mid-career artists. As a non-profit gallery we host exhibitions, workshops and community building activities that encourage personal and professional growth. Autonomie is also a vital resource for locating grants, residencies, curatorial support and educational opportunities.  http://autonomieprojects.com/


    About Concrete Walls Projects

    Concrete Walls (CW) founded in 2003 is an artist-run-curatorial project that focuses on building community by facilitating collaborations, educational projects, and group exhibitions throughout Southern California.  For over a decade CW has worked with over 200 artists with the goal of creating pathways of communication with LA residents. Directed by founder/artist Devon Tsuno, CW is also informed by long time collaborators like artists Janice Gomez, Rochelle Botello, Fatima Hoang, Derric Eady, Macha Suzuki and Christine Nguyen.  Functioning as a support system for emerging artists and students CW provides documentation, space, institutional support and the most relevant and needed resources (both material and human) by collaborating with LA's diverse creative community.  Originally located on Wilshire Blvd. in Los Angeles CW began as an artist-run-space, Concrete Walls Gallery (2003-2008). Today, Concrete Walls Projects functions as a mobile project organizing exhibitions and education projects at non-profits, community centers, colleges and artist-run-galleries in the greater Los Angeles area.  http://www.concretewallsprojects.com/


    Exhibit 25.0


    Please join us for Mind the Gap: London-Los Angeles Dialogues at Autonomie, Saturday April 5th from 5-8:30pm.


    Mind the Gap: London-Los Angeles Dialogues, is a survey of contemporary art from the UK and British artists working in L.A. As Part of ARTRA's LOLA (London-Los Angeles) exchange, this survey show is happening in conjunction with twelve other international exhibits. Mind the Gap is focused on exploring where British art has gone since the YBA  (Young British Artist) phenomenon, a period that mirrored the boom days of the eighties art market here in the U.S. Both 'moments' were supported by the wild excesses of the financial markets, both saw a return of the figure, both embraced lush pallets, and both re-invested in a myriad of different historical forms. If the connection between American art in the 80s and British art in the 90s was strong, then Mind the Gap sets out to explore the period of re-assessment and re-invention that is currently taking place on both sides of the Atlantic. Mind the Gap: London-Los Angeles Dialogues is followed the same evening by a second show of works from London and Los Angeles at Jaus, entitled Land Skipe, which runs from 6:30 to 9:30pm. 

    Mind the Gap: Los Angeles-London dialogues curated by David Leapman

    Artists in the Show: Marie D'Elbée, David French, Hanz Hancock, Alexis Harding, Vincent Hawkins, Erin Lawlor, David Leapman, Patrick Morrissey, Katie Pratt, Max Presneill, Christopher Rawcliffe, Sarah Sparkes, Johnny J.J. Winter.


    EXHIBIT 24.0

    Davin Kyle Knight / Michelle Jane Lee: Proximate Mediations

    Please join us Saturday, February the 22nd, from 7:30 to 9:30pm for the two-person show of Davin Kyle Knight and Michelle Jane Lee.

    Davin Kyle Knight

    The iconographic import of abstract art has undergone a series of diagnostic interventions in the printed and painterly images of Davin Klye Knight. Few contemporary works play with so many different forms of registration as Knight's most recent series. By actively moving between a wide variety of paper types, multi-layered forms of editing, and the duplicitous use of technology with handmade interventions, we find that Knight's pictorial vocabulary invites a forensic type of looking. In this way, Knight's images are like a theater of the uncanny, everywhere giving us doppelgänger effects through the multiplication of diachronic and synchronic operations.

    Composed from drawn, collaged and post-production techniques, Knight's works also involve repurporsing his own personal collection of art tools in order to activate multiple readings of '(de)standardized cultural use'. By hacking the history of abstract painting through a multitude of filtering processes, Knight's images highlight the slow matriculation process that sees culture moving from the age of mechanical reproduction into an era of seamless re-mediation. And yet, such a transition is not always a clear resolve, and it does not leave us with a secure definition of what a painting is at the opening of the 21st century. In fact, anything but.

    This sense of tension is activated in Knight's pictorial practice by putting the categories of authorship and intentionality in abeyance. The space between collage and drawing, progression in a series and pure improvisation, or digital and painterly effects permeate his eclectic compositions. Even the use of traditional art materials and commercial techniques begin a slow collapse as the viewer investigates Knight's contiguous surfaces. It is here that the diagnostic process comes into full play as we encounter the future anterior of abstract painting, caught somewhere between the complexity of technological enculturation and the reclamation of modernist sensibilities. Perhaps it is only out of such a conflicted territory that we can even hope to make a diagnosis of the present state of culture. Much more importantly however, are the many ways in which Knight's art practice stands out as a significant project in helping us think about the problematic status of image making in the contemporary moment, something for which his recent works should be roundly applauded.

    Bio: Davin Kyle Knight is a mixed media artist who lives and works in Los Angeles. He holds an M.F.A. in Studio Art from Claremont Graduate University and a B.A. in Studio Art from Western Washington University. He was the recipient of the CGU Art Fellowship (2010 & 2011), Helen B. Dooley Art Fellowship (2011) and the CGU President’s Art Award (2011). Knight’s work has been exhibited in several West Coast cities, including Seattle, Los Angeles and San Diego.


    Michelle Jane Lee

    The works of Michelle Jane Lee are visual cryptograms that invite us to participate with them on a number of different levels. Her images are process-based works that are not reducible to a strict set of operations, minimalist works that are not merely the result of systems thinking, and while they tend to be geometric in nature, that does not mean they are necessarily essentialist. Every time we encounter one of Lee's delicately mounted drawings, which have the presence and power of any image that sits alongside a substrate, we are met with a series of ciphers that draw us deeper and deeper into the quite contemplation of Lee's hybrid forms and processes.

    Her titles, often taken from romantic pop songs, are the first cue that this is not merely a minimalist program. The fact that the coded systems Lee works with are not hermetic, but are based on translating text into image, provides another hint that we are encountering a different kind of aesthetic project than historical precedence provides for. Even more telling is the fact that Lee's color choices are specific to a moment of personal remembrance, a quality that links her pallet to a phenomenology of 'felt' qualities even while activating certain color codes common to the culture unconscious. This dual inflection of the semiotic and sentimental is not lost on anyone willing to linger a little longer before the impressions that emerge from Lee's optically active surfaces. The insistence on touch, a certain carefulness in the consideration of process, and even a subtle sense of narrative are all provided for by Lee's emphasis on pushing select contrasts in pictorial experience.

    All of this testifies to a certain trust that Lee has in her audience to make contact with both sides of the work, the emotional and the conceptual. Even the intimacy of scale provided for by her images invites a kind of intensive reflection by asking the art going public to have a singular encounter that relies on the necessity of placing oneself close to the image. It is here, within the intimate space of viewership, that the process of deciphering a series of encoded indices begings to reveal an art practice that is deeply committed to working through the concerns of twentieth century abstraction as well as developing a set of paradoxical interests that are decidedly different from the aesthetic programs of the past. From such a perspective we can say that the proliferation of proximate historical referents that are never absent of the personal dimension circumscribe the kinds of encounters Lee's work trades in.

    In the final analysis however, it may be the many ways in which Lee creates a distance from the act of visual consumption as mere spectatorship that is the works abiding politic. Moreover, Lee's pictures are also a manifest contribution to how we think about the the politics of presence and presentment in contemporary drawing practices, as each of Lee's images is not only something which one is drawn to but which also feel as if they were drawn just for you. 

    Bio: Michelle Jane Lee spent her childhood in Seoul, Korea, lived in Chicago and studied at The School of the Art Institute (of Chicago.) Lee participated in the Yale University School of Art: Norfolk residency and has shown in cities across the US including Chicago, Los Angeles, New York City as well as in Copenhagen, Denmark. She currently lives and works in LA.  


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