Acme Gallery


Acme Gallery is listed in the Art Galleries Dealers & Consultants category in Los Angeles, California. Displayed below is the only current social network for Acme Gallery which at this time includes a Facebook page. The activity and popularity of Acme Gallery on this social network gives it a ZapScore of 73.

Contact information for Acme Gallery is:
6150 Wilshire Blvd
Los Angeles, CA 90048
(323) 857-5942
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Social Posts for Acme Gallery

ACME. added an event.
ACME. is pleased to present "The Smell of Gasoline", a solo exhibition of new woven works by Terri Friedman. With a background in painting and sculpture, Friedman is interested in pushing the material limits of painting, yet borrowing from different traditions. Friedman has been utilizing the loom to paint for the past five years. Terri Friedman lives and works in Northern California. She received her MFA from Claremont Graduate School in 1993 and her BA at Brown University in 1986. Her work has been exhibited nationally and internationally including her recent commissioned ART WALL at the Berkeley Art Museum and Pacific Film Archive, "The Way Things Go" at Yerba Buena Center for the Arts (curated by Rirkrit Tiravanija and Betti Sue Hertz), Orange County Museum of Art Biennial, Santa Monica Museum of Art, Geffen Contemporary, L.A.C.E., San Jose Museum of Art, pW139 Amsterdam, The Icebox Athens, c/o Gallery Oslo. Artist statement: "It's an odd fact that some people actually like the noxious aroma of gasoline. A highly flammable and colorless liquid. Most find it nasty. That seems to be the climate now in our country. Divisive, strained, and inflammatory. One match ignites a firestorm. Yarn is an unlikely agent to explore the human condition. What began as hopeful and optimistic work on my loom, slowly traveled through transition, loss, grief, disbelief (Wow, Oh no, Why), to cautionary signs (SOS, Wrong Way, Awake). My current body of work is a chronicle of the electric climate around me through a filter of tenuous optimism. Meditations on words and color. The atmosphere is radioactive and so are the woven panels. This has been a year of loss and grief for me personally and nationally. In addition to the toxic political environment, a friend died suddenly. Death, impermanence, and uncertainty are present. Though ultimately, I am interested in those places where lightness or brightness penetrate the darkness. These woven panels are personal and illusive protest banners-affirmations, just as inspired by contemporary Women Abstract painters, iconoclastic artists like Hundertwasser, as much as by artists like Sister Corrita Kent, or fiber artists from the 60's and 70's like Magdalena Abakanowicz or weaver Hannah Ryggen. The process of weaving is unforgiving, mathematical, and imperfect. There is no painting over. It is like a digital printer, generated from the bottom to the top until an image is formed. Like many weavers, my process is not organic. After drawing, painting, picking palettes for warp and weft (the vertical and horizontal threads), measuring, laying them out on grid paper, I am ready to warp my loom. Though there is room for spontaneity, each warp thread and each section of the painted image is mapped out on paper before I begin. I like the very basic and straightforward technology of a loom. It is ageless. Weaving color. Yarn as paint. I have BOXES of yarns sorted by color and fiber. I welcome the tension between the natural fibers next to mass-produced artificial neon color yarn or even painted cotton piping. I am interested in the sickly sweet, awkward, uncertain, chromatic, theatrical, and ornate because it mirrors the unhinged world and fragile ecosystem we live in. The more I use these opposing fibers, textures, and palettes, the more it mirrors agitation. Because sometimes we just want to scream! Fear of color, chromophobia, is fear of race, sexuality, and life itself. Bright colors are often associated with children, homosexuality, sensuality, or drug culture. Psychedelia. Dazzle. Drag. Humor. Yet, color has the power to transcend. Color can mirror the insanity and unraveling we are feeling. Color is both confrontational and comforting. Rainbow Electric Acid zigzags weave through the panels. For years I have investigated abstract painting and color in my kinetic sculpture and installation as well as in my recent loom-based work. The yarn paintings are patchworks of words, color, and abstraction, and ultimately they are memorials of light coming through loss or even danger. 'Violent pretty': the woven panels tell stories about fragility, instability, and struggle." - Terri Friedman
Art ⋅ Film

ACME. added an event.
ACME. is pleased to present "Formal Matter", a solo exhibition of new photographs by Amir Zaki. This new series consists of two bodies of work, namely images of large coastal rocky outcrops titled 'Rocks' and images of wood carvings titled 'Carvings'. All the photographs are printed in a warm-toned black and white, varying widely in size, with a matte surface. The 'Rock' photographs of coastal outcrops are all made along the California coast, ranging from Orange County to Mendocino County. Several of the locations are quite remote and can only be accessed by hiking during low tide. Like Zaki's 'Tree Portraits' from 2013, these photographs isolate the subjects against a largely overcast or flat sky, rendering the scale of the rocks unclear, alternating between appearing monumental or miniature, depending on how close one observes the details. Viewed from a distance, the rocks appear as organic or anthropomorphic forms, their coarse and jagged surfaces sometimes resembling ancient petrified pieces of wood or stones. Upon closer examination, small details such as occasional birds, hints of the ocean, or small traces of human existence can reveal clues about the actual scale of these mountainous objects. Something that drew Zaki to the subject matter was considering the way these rocks have been formed, incredibly slow over many millions of years, largely by the erosive ebb and flow of the ocean tides, which are created by the gravitational forces of the moon and the sun. They are amazing objects of contemplation, both constantly changing and timeless forms created by incredibly complex and creepingly slow, natural phenomena. The 'Carving' images form the other half of this current body of work. They are depicted on a white or light grey backdrop (not unlike the grey skies surrounding the rocks), isolated from any other kind of environment and lit with a single, directional light source. The Carving shapes have a wood grain-like surface and their forms are organic and curvilinear, yet relatively abstract. It is impossible to determine their scale. They could be hand-sized objects or much larger. Their ambiguous scale and mysterious forms can appear like rocks or stones. Especially when viewed alongside the coastal outcroppings, there is a transformative illusory quality in the way that the carvings can resemble stones at times, while the coastal outcroppings can resemble wood at times. The 'Carvings' were constructed in a vastly different way than the 'Rocks.' In fact, the carvings were not actually photographed with a camera at all, and do not exist as tangible objects in the world. Instead, they were constructed using 3D modeling software, and then rendered as digital images and printed. The forms were created using a method of chance within the software, much like imagining a form one might get by dropping a piece of cloth from a tall building and freezing it in space at any given moment. These somewhat arbitrary forms were then given volume and substance within the software environment. In stark contrast to the coastal rocks that have formed over millennia at a geologic pace, these 3D models take their initial, 'random' shape nearly instantaneously. As a complete body of work, "Formal Matter" is in part a meditation on 'the natural'. Seen together, the 'Rocks' and 'Carvings' can often look anthropomorphic, highlighting the seemingly innate and overwhelming tendency to imbue images with human desires and values. There is an intentional conflation of the undeniably real, heavy, prehistoric, tectonic quality of the 'Rocks', and the virtually originated, questionably real, fluid, arbitrarily formed, spontaneous quality of the 'Carvings.' As an installation, the 'Rock' and 'Carving' photographs are hung together, intentionally printed in various different sizes, never resting comfortably with themselves in terms of scale, and further obscuring their 'true' nature. In Zaki's new body of work, the genesis of these objects read as unfixed, partly knowable, somewhat obvious yet also opaque, timeless yet exactly of this moment. Amir Zaki lives and works in Southern California. He received his MFA from UCLA in 1999 and has been exhibiting nationally and internationally since graduating. He is a professor at University of California at Riverside. His work is included in many museum collections including the Hammer Museum of Art, Los Angeles County Museum of Art, New Museum of Contemporary Art, Orange County Museum of Art, Santa Barbara Museum of Art, and the Whitney Museum of American Art, among others.
Art ⋅ Film · 105 people

Thanks Art and Cake for reviewing our group show, "By the River", which is up through February 18. #acmegallery
ACME Gallery, By The River By Patrick Quinn Through February 18th The on-going gentrification of L.A.’s lower-income districts is a subject worthy of a PBS documentary. One can connect the g…

ACME. added an event.
Open house: Saturday, January 14, 2-6pm ACME. is please to present a group exhibition of works by Tanya Aguiñiga, Miles Coolidge, Tomory Dodge, Natalie Frank, Terri Friedman, Gregor Gleiwitz, Iva Gueorguieva, Michael Henry Hayden, John Houck, Matthias Merkel Hess, Noa Kaplan, Kurt Kauper, Aaron Morse, Heather Rasmussen, Emette Rivera, Julian Rogers, Maja Ruznic, Allison Schulnik, Stephanie Washburn, Amir Zaki.
Art · 169 people