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Sunday, July 9, 2017

ANNA ZEMANKOVA
(1908-1986)

May 27-July 9, 2017


The Good Luck Gallery
945 Chung King Rd
Chinatown
Los Angles, CA 90012
(213-625-0935)

Zemankova's Coat of Arms

by Sandra Vista





(Untitled (AZ592) 1970's
painted satin-ink on paper
16.5"x 11.75"

Zemankova began making art in her fifties after her children had grown.  One of her sons was a sculptor who supported her in beginning her art making journey.  She had lost one of her four children during infancy.  A tragedy that she never recovered from and lead her to making art.  Her artwork consisting of embroidery, collage, pastel and ink, became an antidote for her perpetual "melancholy".  

Born in what is now called the Czech Republic, Zemankova's artwork is influenced by the embroidery patterns and designs seen in her native country's embroideries and dance costumes.  Zemankova was interpreting her cultural art forms in contemporary terms by using familiar material like embroidery thread.  She was inadvertently in the zeitgeist  of the 1960's and 1970's by including everyday "domestic" items like thread, pins, fabric and  beads-ala Lucas Samaras and Miriam Shapiro.   Zemankova also used stitched collage and conceptually pierced the drawing paper with every stitch. 

Considered an "Outside Artist", who today might be viewed as a feminist and an entrepreneur, Zemankova without gallery representation,  had "open houses" every few years to exhibit her artwork. Jean Dubuffet exhibited her work at an Outsider Art Exhibit, also in 1979 she exhibited in London.  

Zemankova is receiving deserved acclaim at this time.  The Good Luck Gallery is the first gallery to exhibit Zemankova's work on the west coast. 


Untitled (AZ585) 1970's
pastel, ink, embroidery on paper
24.61" x 17.72"







Wednesday, March 8, 2017

Loren Philp

California Abstract

Mid- City Arthouse
5555 W Washington
Los Angeles, CA 90016

Feb 10- March 12, 2017
closing reception Sun. 3/12/17
12-3 pm

curated by: Kio Griffith







Loren Philip proclaims his current work as "topographical abstraction".  He physically hovers over the canvases and aggressively attacks the surfaces.  Layers of paint are deleted and re-constructed with the water pressure of a garden hose.  The unconventional tool mercilessly edits the paintings to glimpses of electrical charges.  Flooding the surfaces create "blueprints" of previous brushstrokes and the artist's sweat. Even though his technique is an "unforgiving process"  he is willing to trust the experience from beginning to end.  

"Fluid Rorschachs" emerge from the process stimulating the viewers' unconscious.  Philip's prolific painting series equals his success to embrace the unknown.   An avid surfer and sailor, this Southern California native maneuvers respectfully through waves of water in his art, avocations, and intentional physical activities.