The Heart is the Frame

January 7 - February 14, 2015

Opening reception - Wednesday January 7, 2015

with works by Leidy Churchman, Harry Dodge, William E. Jones, Sharon Lockhart, Emily Roysdon, Anna Sew Hoy, and Tris Vonna-Michell


The Heart is the Frame is a group exhibition that questions the practice of everyday living by breaking down the cinematic guise of commonplace existence into a series of still images. It aims to surface the scripts that direct one's daily course, and address the ways in which one's actions are bound to a designated articulation of time – at a given pace / in the present / moving forward – and its ensuing choreographies of movement. 

The exhibition explores the routinized acts that constitute the dailyness of life – from workplace tasks to the maintenance of public life – to bare the impact of habitual existence and to ask what happens when these unromantic acts amass or shift out of sync. Among the works, impending variations take the form of strange encounters, temporal contractions, and deviations off-path, all placed alongside the mills of necessity that ask one to consume and create at a prescribed rate. By examining notions of reiteration and routine – acts that are irreplaceable but endlessly repeatable – and their ruptures, The Heart is the Frame aims to unveil how these recurring processes shape our conception of time and our relationship to the body and its uses.

Curated by LACE Assistant Director Shoghig Halajian.


Image: Emily Roysdon, Untitled (David Wojnarowicz project), 11x14 inch silver gelatin print, 2001-2007.

After the Aqueduct

March 4 - April 12, 2015

With works by Nicole Antebi, Lauren Bon, Barry Lehrman, Chad Ress, Alexander Robinson and Kim Stringfellow.

After the Aqueduct features diverse projects by artists and designers investigating the Los Angeles Aqueduct—a controversial 233 mile-long hydraulic water conveyance system that has historically been the primary source of potable water for the city of Los Angeles since the aqueduct was first put into service in 1913.

The fates of urban Los Angeles and rural Owens Valley—where the water originates—are explicitly linked together through a contentious past and yet to be determined future. After the Aqueduct envisions the recent centenary of Big Water in the western United States as an opportunity for the various stakeholders, including Los Angeles area city dwellers, rural residents and tribal members of the Owens Valley along with engineers, farmers, scientists, historians, activists, artists, and designers to reexamine water practices and policies that link these shared destinies while considering alternative visions for renegotiating a shared future.
Participating artists include Nicole Antebi, Lauren Bon, Barry Lehrman, Chad Ress, Alexander Robinson and Kim Stringfellow. Student projects from Cal Poly’s Aqueduct Futures program are included in this exhibit.

Curated by Kim Stringfellow.