Wednesday, March 22, 2017

Moving On Up -- TAG is Moving to the Miracle Mile!

TAG Gallery has called Santa Monica’s Bergamot Station home for nearly a decade. 
The gallery has now found a new, bigger 5,400 sq. ft home!

TAG is proud to announce that we will be relocating to Miracle Mile!
Our new space is located on 5458 Wilshire Blvd, blocks away from LACMA, the Craft & Folk Art Museum, The Petersen Automotive Museum and more. Renovations are now underway at our new location, with the grand opening scheduled for mid-May. Stay tuned for details.



As TAG Gallery leaves Bergamot Station, we wanted to show our appreciation and gratitude for your continued support for our gallery and the arts.

As such, we are hosting a huge moving sale March 21 - March 28.
All pieces are marked with deep discounts.
Stop by, call, or email to inquire about any pieces/artists of interest!
 
Thank you for all of your continued support.

Wednesday, March 8, 2017

Artist Spotlight: Sunae Aum's "Noise for the Future"

Sunae Aum, Noise for the Future, Mixed media, 30 x 24"
Sunae Aum’s debut exhibition at TAG, Noise for the Future, tackles philosophical questions that garner answers in the form of her rich and textured mixed media abstract paintings. To empty a mind is not to secure an empty space, but to fill it with something unnamable, to achieve something unnamable and objective. Aum’s compositions respond to this call with swirling forms, patterns, and a cascading application of paint on canvas, creating a murky, misty effect, utilizing abalone, jade, fixed pigment, stone powder, and other mixed media to give texture to her pieces.
Sunae Aum, Noise for the Future - M -2, Mixed media, 36 x 24"
Noise for the Future finds Aum responding to a battle deep within herself regarding her own artistic inclinations. “To make my mind empty is not as difficult as keeping it that way. Is it possible to produce work without pretensions and self-assertion? How far can one flee from his or her prejudices about things”? Every brush stroke, splatter of paint, and decision comes into question, which makes the creation process an intimate, yet arduous experience.
Sunae Aum, OLED-1, Mixed media, 36 x 24"
The ancient Chinese philosopher Chuang Tzu once said, “Non-doing does not mean doing nothing and keeping silent. Leave everything as it is by nature. Then, its nature will be fulfilled.”
Sunae Aum, Noise for the Future - W 2, Mixed media, 36 x 24"
Aum equates emptying ones mind to disposing of a heavy burden, where there is no need for suffering. Entering and existing the state of non-doing while creating, however, is not as simple. This body of work is the result of the artist’s acceptance of allowing thoughts, ideas, and techniques into her state of non-being, filling her mind and transfiguring her mentality into a state of active doing.

The exhibition runs through March 17.
Meet Sunae at the Artist Panel, Saturday March 11, 3pm

Friday, March 3, 2017

Artist Spotlight: Ernie Marjoram's "Landscapes of New Mexico"

Los Angeles artist Ernie Marjoram’s current exhibition of paintings, Landscapes of New Mexico, focuses on the majestic grandeur and subtle beauty of the American southwest.
Ernie Marjoram, Ghost Ranch, Oil, 16 x 20"
On a recent visit to Santa Fe, Marjoram was awed by the massive geological formations in the area around Ghost Ranch, sometimes referred to as O’Keefe country. He found it easy to understand Georgia O’Keefe’s fascination with the bold geometric forms and varied colors of the natural landscape. “I decided to paint the same subject,” said the artist “but in my own less abstract, more realistic yet still impressionistic way.”
Ernie Marjoram, Pueblo Ghosts, Oil, 16 x 20"
Recognizing that the environment is beautiful but can be harsh, Ernie was also inspired to paint the mysterious ruins of adobe pueblos abandoned by their native builders. “As I painted, I tried to imagine who built these structures and how they lived,” Marjoram explained, “it was like looking back into history.”
Ernie Marjoram, Chimayo, Oil, 16 x 20"
The elegance of primitive yet functional architecture of surviving adobe structures, such as the chapel at Chimayo, also caught Ernie’s attention. Even simple details of shadows on adobe walls become the subject in this wide-ranging exhibition of oil paintings.
Ernie Marjoram, Vista de Pedernal, Oil, 16 x 20"
The exhibition runs through March 17.
Meet Ernie at the Artist Panel, Saturday March 11, 3pm

Friday, February 24, 2017

Artist Spotlight: Fielden Harper's "Directions"

Fielden Harper, Back to Basics, Acrylic on canvas, 12 x 36"
In our urban society many types of directions come to us in rapid succession while also requiring split second interpretation. Some directions are those we present to others and others are orders taken by us. They can jolt us into an immediate kinetic reaction or form a pattern that determines how we live. In her newest exhibition aptly titled Directions, Fielden Harper explores the vast array of possibilities life offers us its coded instructions and the signifiers by which we receive them. 
Fielden Harper, The Narrows, Acrylic on canvas, 40 x 34"
Using grids, patterns, and other signage, Harper interweaves literal pathways into her compositions, inviting and encouraging the viewer to follow the veins of the painting and the brush stroke, leading the viewer through multiple ways to arrive at a destination in her work. 
Fielden Harper, Urbanscape IX, Acrylic on wood, 41 x 61"
Other pieces instruct the viewer, asking them to stop, cross, or turn around. In this manner, Directions is an interactive show of sorts, with the artwork and the viewer participating in a mental game of “Simon Says.” With each individual piece, a coded visual and written language plays an integral role in how Harper decided on her subject matter. The reds of a stop sign, the curvature of a freeway, the patterns on a railroad crossing, all are inspirations for Harper. 
Fielden Harper, Freeway Series VII, Acrylic on canvas, 5 pieces, 43 x 10" each"
With life handing us an unlimited amount of choices we can take, Directions aims to show us the signs and reminders that the choices are always there when we stop, look, and listen.
Fielden Harper, Owl Eyes, Acrylic on canvas, 36 x 18"
The exhibition runs through March 17.
Meet Fielden at the Artist's Reception, Saturday February 25, 5-8pm
or at the Artist Panel, Saturday March 11, 3pm

Monday, February 20, 2017

Current Exhibition: Sunae Aum, Fielden Harper, Ernie Marjoram

Tuesday, February 21st – Saturday, March 18th, 2017

Opening Reception:
Saturday, February 25th, 5-8pm

Artist Panel Discussion:
Saturday, March 11th, 3pm


Sunae Aum – Noise for the Future
Sunae Aum, Noise For the Future, Mixed media
Fielden Harper – Directions
Fielden Harper, Crossing, Acrylic on canvas, 34 x 20"
Ernie Marjoram – Landscapes of New Mexico
Ernie Marjoram, Abiquiu, Oil, 16 x 20"

Monday, February 6, 2017

Artist Spotlight: Boris Litvinov's "Meditations In Stone"

Boris Litvinov, Not Alone, Japanese wonderstone, 10 x 8 x 8"
Sculptor Boris Litvinov’s debut show at TAG Gallery roots itself in the concept of the artist being completely immersed in his creative process. To this end, Litvinov calls his sculpting process an act of “active meditation.” His latest body of work, encompasses the last few years of Litvinov’s Meditations In Stone and the results that were yielded.
Boris Litvinov, Not Alone, Alabaster on walnut base, 18 x 8 x 5"
From a young age, Litvinov started altering naturally found materials into inordinate shapes. Discarded pieces of furniture and broken down appliances were available in abundance. They served as the first materials for unconventional sculpture. For Litvinov, it was more of a game of reusing and recycling materials to be discarded into something people might want to keep instead.
Boris Litvinov, Male-Female Continuum, Borrego alabaster on zebrawood base, 18 x 8 x 8"
In this exhibition, the concept of opposites and contrast are explored, with each sculpture’s surface weaving the framework of a battleground of artistic expression. Notions of being grounded v. excited, still v. in motion, monotone v. colorful, male v. female are explored, with each stone utilizing grooves, abstraction, form, and texture to tell its story.
Boris Litvinov, In Love... Looking For an Exit, Borrego alabaster on zebrawood base, 19 x 9 x 11"
Litvinov listens for the voice in each stone, decodes, and translates each piece’s particular language before dreaming up concepts for the final work. This exhibition aims for the viewer to do the same as the artist, to interpret each piece’s message as their own and to make their own connections. Enjoy a glimpse into the world of Meditations in Stone.

Boris's work will be on exhibition until Saturday, February 18.
Join, Boris, Ellen Starr, and Joan Horsfall Young at an Artist Panel Discussion on Saturday, February 11, 3pm.

Monday, January 30, 2017

Artist Spotlight: Ellen Starr's "Natural Selections"

Ellen Starr, La Mesa Fig Trees, Water soluble oil on canvas, 21.5 x 25.5"
Ellen Starr is drawn to nature as a subject for various reasons. She finds it spiritually refreshing while simultaneously emotionally and intellectually stimulating. Her newest exhibition, Natural Selections, finds Starr sharing her love of the organic with the viewer, engrossing us in natural habitats and lush ecosystems.
Ellen Starr, Mngrove Heron, Water soluble oil on canvas, 19.5 x 19.5"
Nature’s endless variety stimulates the artist. “I love the challenge of organizing its visual complexity. The splash of sunlight on a leaf, the crisscross of stems and branches, the silhouettes of purple shadows -these are all elements that I can manipulate and interpret with the help of canvas and water soluble oil paint,” says Starr.
Ellen Starr, Fiji Hiking View, Water soluble oil on canvas, 19.5 x 25"
Natural Selections balances various elements of composition - line, shape, dark, light, texture, color - in order to create an equilibrium that satisfies the artist’s aesthetic sense. Starr enjoys finding logic in disorder, seeing beauty in the intricate, and to make confusion understandable. “I care deeply about many subjects and it is the desire to communicate my personal perceptions that moves me to produce art.”
Ellen Starr, Bel Air Beach Club, Water soluble oil on canvas, 19.5 x 25.5"
Ellen's work will be on exhibition until Saturday, February 18.
Join Ellen, Boris Litvinov, and Joan Horsfall Young at an Artist Panel Discussion Saturday, February 11, 3pm.

Thursday, January 26, 2017

Artist Spotlight: Joan Horsfall Young's "On Water"

Joan Horsfall Young, L504 Sunset Over the Water, Oil on linen, 12 x 12"
In her latest exhibition at TAG Gallery, Joan Horsfall Young explores the earth’s most sacred natural resource: water. Our precious commodity is becoming increasingly scarce. Have we taken it for granted? Are we being punished for not paying homage to it? 
Joan Horsfall Young, G162 Making Waves, Oil on linen, 20 x 16"
In On Water, Young synthesizes these ideas with quotes from ancient and contemporary writers and transmutes them into paintings that document the beauty and utility of our delicate resource. Social gatherings on the still waterfront, the power of the ocean’s mighty waves, and the tenderness of a romantic moment reflected on a shimmering lake are all documented in Young’s canvases as testament to the might and versatility of water.
Joan Horsfall Young, L486 Tide Pools, Oil on linen, 8 x 10"
Suppose a tide came only once every fifty years. What a flurry of excitement there would be. Imagine the scramble to pay the price of admission to witness such an event. 
Joan Horsfall Young, Bathers On the Beach, Oil on linen, 24 x 30"

Water is good; it benefits all things

So let us give nature a chance…

She knows her business better then we do.

The exhibition runs through February 18.
Meet Joan at the Artist's Reception, Saturday January 28, 5-8pm
or at the Artist Panel, Saturday February 11, 3pm

Tuesday, January 24, 2017

Current Exhibition: Joan Horsfall Young, Ellen Starr and Boris Litvinov

Tuesday Jan 24 - Saturday Feb 18, 2017

Reception:
Sat., Jan 28, 5-8 pm

Artist Panel
Sat., Feb 11, 3 pm

Boris Litvinov - Meditations In Stone

Boris Litvinow, Femme Triste, Translucent Utah orange alabaster mounted on African zebrawood, 8 x 5 x 5'
Ellen Starr - Natural Selections
Ellen Starr, Vasquez Rocks, Water soluble oil on canvas, 21 x 31"
Joan Horsfall Young - On Water
Joan Horsfall Young, L500 Cloud Reflections, Oil on linen, 12 x 12"

Tuesday, January 17, 2017

Artist Spotlight: Tom Wheeler's Light Lab 2017 - Route 395

Tom Wheeler, Red Fence Alabama HillsArchival pigment on cotton fiber, 26 x 36"
Light Lab 2017 - Route 395 is Tom Wheeler’s foray into location-focused series work for the first time, while continuing to refine his now familiar and unique style of long-exposure painted-light photography. This magnificent highway is one of the most scenic stretches of road in California and seems an inevitable fit for Wheeler’s pension for grand, sweeping landscapes and dramatic backdrops for his long-exposure nighttime work. He has specialized in painted-light photography for decades now, and demonstrates a mastery of the craft in his most recent show. 
Tom Wheeler, Abstract #2 Along Dolomite Road, Archival pigment on cotton fiber, 36 x 26"
Wheeler’s previous body of work, Light Lab 2016, showcased experimental techniques in a small series of lighted box imagery in the California desert. Light Lab 2017 - Route 395 is a continuation of this work, which generally entails the use of hand-held light tools and translucent experimental props, often using a minimalist style of a brightly lit subject among a vast landscape. Wheeler does not create images in post-production or with Photoshop, but instead opts for lugging all the necessary tools and equipment out into the wilderness to wholly create his stunning imagery at the time of exposure. 
Tom Wheeler, Cube #7Archival pigment on cotton fiber, 26 x 36"
In Light Lab 2017 - Route 395, Wheeler has once again created cutting-edge imagery as he continues to break across new boundaries in the night-photography genre. He spent a week traveling without a schedule, scouting locations by day and shooting images at night, sometimes until 4am, living out of his car, his tent, and the campy little motels along the way. 
Tom Wheeler, Fully LitArchival pigment on cotton fiber, 26 x 36"
Route 395 offered Wheeler the ultimate in outdoor studio settings: from vast meadows buttressing the tallest peaks in the continental U.S, to the ancient bristlecone pines 9000 feet up in those mountains. He explored hundreds of miles of back-roads, discovering abandoned 19th century mining encampments and various locations that offered dramatic sections of the famous aqueduct to Los Angeles. 
Tom Wheeler, ATV Party, USA, Jawbone CanyonArchival pigment on cotton fiber, 36 x 26"
This exhibition of awe-inducing work is truly a cross-section of the life and scenery of this magical and desolate part of the state. With images spanning only a few sections of this vast road stretching north and south through most of the state, Wheeler assures us that this is merely “Part 1” of Route 395.

Light Lab 2017 - Route 395 is on exhibit until January 21.

Saturday, January 14, 2017

Artist Spotlight: Karen Woodward Sarrow's Blue Earth

Karen Woodward Sarrow, Mountainous, Acrylic and ink on linen, 48 x 84"
TAG Gallery is proud to present Blue Earth by artist Karen Woodward Sarrow. This showing includes paintings inspired by the Keep it in the Ground environmental movement asking for a transition to renewable energy, and a significant reduction of fossil fuels and pollutants. 

Sarrow begins her paintings by drawing black lines to capture natural movement, the expressive contours of life and human design, as well as a conscious recognition to grief embedded in our world. She then completes the paintings with flat colors.
Karen Woodward Sarrow, Blue Earth, Acrylic and ink on canvas, 40 x 40"
An environmental activist, Sarrow roots her paintings in the impact of humanity’s carbon footprint on the globe, with images ranging from topics of socio-economic inequality to environmental racism. To this end, Blue Earth is, at its core, an exhibition on the art of observation, with the artist finding solace and inspiration in her ability to educate and communicate through her craft. Science and art both facilitate dialogue by way of surveillance, with this exhibition acting as an intersection for both disciplines. 
Karen Woodward Sarrow, Blue Butterflies, Acrylic and ink on canvas, 48 x 24"
Sarrow has been formally influenced by the work of muralist painters and modernist Max Beckman, using English pop artist Patrick Caulfield’s work to inform her ongoing experimentation with color placement and spatial relationships. Her canvases are filled with images of a healthy blue earth but also sickly blue animals, using color to portray idealism as well as a sense of wrongness and mourning. 
Karen Woodward Sarrow, Keep It In the Ground, Acrylic and ink on board, 40 x 16"
Blue Earth is a show designed to inspire love and action for clean water and air by way of translating the sometimes-intangible concepts and magnitude of environmental safety and translating its message via visual language. Sarrow invites you to feel, to question, to engage, and lastly, to act.

Blue Earth is on exhibit until January 21.

Tuesday, January 3, 2017

Current Exhibition: Karen Woodward Sarrow, Tom Wheeler, New Member Showcase

Tuesday, January 3 – Saturday January 21, 2017

Opening Reception: Saturday, January 7, 5 – 8pm

Artist Panel Discussion: Saturday, January 14, 3pm


Karen Woodward Sarrow – Blue Earth

Karen Woodward Sarrow, Big Blue, Acrylic and ink on canvas 36 x 72"
Tom Wheeler – Light Lab 2017: Route 395
Tom Wheeler, El Cerro Gordo, Archival pigment on cotton fiber, 20 x 30"