Thursday, June 22, 2017

Artist Spotlight: Go Woon Choi's "Daldongne"

Go Woon Choi, Untitled01, Acrylic, 24 x 30"
Go Woon Choi’s newest exhibition at TAG, entitled Daldongne, explores the purpose and beauty in what she calls "the town of shacks".
Go Woon Choi, Untitled02, Acrylic, 24 x 30"
Exploring and expanding on her interest in the structural and sometimes abstract nature of architecture, the town of shacks symbolizes "the warm memory of my childhood" and "vanished things that will not exist anymore". Buildings and apartments filled out the city, and she painted this in various ways from her perspective.
Go Woon Choi, Untitled06, Acrylic, 24 x 30"
Choi’s interest in mundane, everyday items is rooted in her ideology that “even common objects can appear strong and fantastic under different light conditions and environments" and she transforms ordinary objects into extraordinary visual experiences with both repetition and variation. 
Go Woon Choi, Untitled05, Acrylic, 24 x 30"
The light changes on the surface to give an impression of constant motion, sharing the process of its becoming. Henceforth ordinary objects can provoke intense emotions of strength and energy.

Choi's work will be up until  July 8th.
There will be an Artist Panel Discussion: Saturday, July 1st, 3pm

Saturday, June 17, 2017

Current Exhibition: Go Woon Choi, Paul Ivanushka, Camey McGilvray

Tuesday, June 13th - Saturday, July 8th, 2017

Opening Reception: Saturday, June 17, 5–8pm
Artist Panel Discussion: Saturday, July 1, 3pm

Go Woon Choi - Daldongne
Go Woon Choi, Untitled 12, Acrylic, 24 x 48"
Paul Ivanushka – Carrizo Plain
Paul Ivanushka, Primary Water Trough, Archieval Pigment Print, 16 x 16"
Camey McGilvray – My Favorite Things
Camey McGilvray, Body Shop, Oil / Wood / Wire, 37 x 49 x 5"

Wednesday, May 31, 2017

Artist Spotlight: Gary Polonsky's Munchies

Gary Polonsky, 2,2,2 (iHop Breakfast), Acrylic on Mixed Media, 17” x 19” x 3”
Our favorite munchies, whatever they might be, for breakfast, lunch, or dinner, are all represented in Polonsky’s latest work from his on-going food series. Munchies incorporates large-scale, vibrant, three-dimensional artworks that are dramatic testament to our cravings for our favorite foods and the human desire to consume.
Gary Polonsky, Club Sandwich, Acrylic on Mixed Media, 9” x 12” x 12”
Polonsky continues his exploration of materials and the creative process itself, utilizing engineering, sculpting and painting to create his fully rendered, textured, and sculptured canvases. 
Gary Polonsky, Chocolate Ice Cream Cone, Acrylic on Mixed Media, 23” x 12” x 12”
Polonsky's food series implores viewers to touch and experience each piece as it’s own installation, with every angle offering a new and profound experience of the work.
Gary Polonsky, Onion Rings, Acrylic on Mixed Media, 10.25” x 10” x 5”
From the huge Ice Cream Cone to the more reasonably sized bag of Jack in the Box Onion Rings, to the Gummy Bears, Munchies never fails to celebrate fun in its pieces. 
Gary Polonsky, Gummy Bears, Acrylic on Mixed Media, 12” x 36” x 3"
Are you hungry yet?

The exhibition runs through June 10.
Curious about Gary's process?
Meet him at the Artist Panel, Saturday June 3, 3pm

Monday, May 29, 2017

Artist Spotlight: Jerry Hardin's Bone Sculptures

Jerry Hardin, Ambition, Bone, 52” x 64” x 36”
Jerry Hardin’s debut exhibition at TAG Gallery entitled Bone Sculpture showcases Hardin’s mastery over the complex yet sublime medium of bone. Organic in nature and protected from the sun and water, bone has an unlimited life span which is exploited by the artist as he carves and builds sculpture that reflects our times and concerns. 
Jerry Hardin, Birthing Democracy, Bone, 24” x 18” x 10”
Hardin finds bone innately expressive, where dynamic action and personality can be found in its many grooves, curves, textures and shapes.
Jerry Hardin, Passing Through the Ring, Bone, 14” x 24" x 16”
To this end Hardin utilizes bone to suggest inferences about form that are distinctive and sensational, alluding to structural imagery and subject matter that is both natural and imagined. Consequently, this work touches upon elements of rebirth and resurrection. 
Jerry Hardin, Passing Balance Is All, Bone, 72” x 72” x 50”
Taking what was once alive, Hardin molds and crafts the material with his own mortal touch, breathing in a new found utility for his individual pieces that elevates Bone Sculpture from being an exhibition showcasing sculpture to one showcasing repurposed life. It is Hardin’s desire to bring unique communication and beauty to the viewer with these bones.

The exhibition runs through June 10.
Curious about Jerry's process?
Meet him at the Artist Panel, Saturday June 3, 3pm

Friday, May 26, 2017

Artist Spotlight: Donn Delson's Aerials

Donn Delson,  7:16, Fujiflex Crystal Archive Silver Halide Photographic Print UV Acrylic Facemount,
Edition 1/5, 48” x 72”
Though married to the earth, Donn Delson finds himself perpetually drawn to the sky for the unencumbered, unfamiliar, and consistently wondrous perspective it provides. 
Donn Delson,  Building Blocks, Fujiflex Crystal Archive Silver Halide Photographic Print UV Acrylic Facemount,
Edition 1/5, 48” x 72”
Fortunately, Delson has no fear of heights and loves the adrenalin rush as he shoots from ‘doors off’ helicopters. “I have to regularly remind myself that the only way I can share the magnificence of what I’m seeing is to remember to click the shutter.”
Donn Delson,  546, Fujiflex Crystal Archive Silver Halide Photographic Print UV Acrylic Facemount,
Edition 1/5, 48” x 72”
The Aerial series is a combination of his love of the unexpected perspective, often incorporating the abstract, symmetry, and the enigmatic. For those of us who would tremble at the thought of hanging out of a helicopter from heights up to 10,000 feet, Delson’s images afford the viewer a rarely seen eagle’s eye view of our world below.
Donn Delson,  Keyline, Fujiflex Crystal Archive Silver Halide Photographic Print UV Acrylic Facemount,
Edition 1/5, 48” x 72”
Delson produces high resolution, large format pigment prints, often 48 x 72 inches, face mounted under specially manufactured clear acrylic for maximum clarity, encouraging viewers to immerse themselves visually in his work. 
The exhibition runs through June 10.
Curious about Don's process?
Meet him at the Artist Panel, Saturday June 3, 3pm

Wednesday, May 24, 2017

Artist Spotlight: Linda Sue Price's Enlightened Systems

Linda Sue Price, DDT, Neon, 15 x 15 x 10"
In this era of alt-facts there is a systemized effort to delegitimize truth by creating fake news that feeds into conspiracy fears and cynicism. It is an attempt to create enough confusion so that touchstones could be lost. 
Linda Sue Price, All Things, Neon, 15 x 15 x 10"
Enlightened Systems is a response coming from the perspective of civility where there is a sense of inclusivity and respect. Black Elk, an indigenous Great Plains medicine man, speaks of this in his quote, All things are our relatives.

This was not an uncommon perception of the world prior to the Greeks. Around 450 BC, philosophers known as Sophists thought that “man is the measure” of everything. In other words, they thought that the only things that matter are human beings and the way we see the world. As their philosophy developed, human beings were elevated to one of greater importance.
Linda Sue Price, Sage, Neon, 15 x 15 x 10"
The Black Crow quote is a reach back to a different system of thought. All things are our relatives is a form of the golden rule but is more inclusive—a system of thought and enlightenment that asks us to be kind, tolerant and respectful of all life.
Linda Sue Price, Weeds, Neon, 15 x 15 x 10"
In this series, the artist represents elements that make up the whole from healing plants, chemicals that destroy and the out of control—weeds. Respect is the bottom line.
The exhibition runs through June 10.
Curious about Linda Sue's process?
Meet her at the Artist Panel, Saturday June 3, 3pm

Tuesday, May 16, 2017

Grand ReOpening and Current Exhibition: Donn Delson, Jerry Hardin, Gary Polonsky, Linda Sue Price

May 16 to June 10, 2017
Artists Reception: Saturday, May 20, 5-8pm
Artists Panel: Saturday June 3, 3pm

TAG has a new location:
5458 Wilshire Blvd., Los Angeles, CA

Donn Delson -- Aerial
Donn Delson,  Upward Mobility, Fujiflex Crystal Archive Silver Halide Photographic Print UV Acrylic Facemount,
Edition 1/5, 48” x 72”
Jerry Hardin -- Bone Sculpture
Jerry Hardin, On the Wind, Bone, 32” x 31” x 28”
Gary Polansky -- Munchies
Gary Polonsky, Tomato Soup, Mixed media
Linda Sue Price -- Enlightened Systems
Linda Sue Price, Wild Flowers, Neon, 15” x 15” x 10”

Sunday, May 14, 2017

TAG Moves to Museum Row

From Bergamot Station to Museum Row 

by Pam Douglas

Good-bye to Bergamot

Once upon a time there was a cluster of more than 30 fine art galleries in Santa Monica near a dormant train station. The Bergamot Station Art Center with its crumbly parking lot and charming, funky structures was a destination for visitors ranging from the local community to international art collectors. For 26 years small showrooms flourished alongside major galleries and attracted thousands to enjoy original art for free.

Then the train came and brought developers. At the end of 2016, approximately half of Bergamot Station Art Center was sold. Red Car, the buyer, paid $35 million for the buildings that housed 18 galleries and other tenants. They raised the costs of staying beyond what independent galleries and small businesses could afford, in effect forcing them out.

Several are already gone including: Ruth Bachofner Gallery, Hiromi Paper, and Writers Boot Camp. Others are in the process of leaving. Some are negotiating to stay a little longer if their leases allow, and temporary installations may crop up for a while.

TAG Prevails

But this is a story about prevailing, and how TAG Gallery found a new home at 5458 Wilshire Blvd., on Museum Row just blocks from LACMA, more than double the size of its former gallery.

As happened to the other galleries, the new Bergamot ownership increased TAG’s costs far beyond what would be possible. But TAG isn’t quite like most others. The artists the gallery represents actually own the gallery and employ professional staff to run it. 30 to 40 stakeholders were not about to give up on the gallery’s growing success after almost ten years at Bergamot Station and more than 20 years the gallery has been in business.

Rakeem Cunningham, the gallery’s Director commented, “TAG artists are an eclectic bunch. They really value their artistic independence. I wondered if we could find a gallery space large enough for 40 art shows throughout the year and if all these very different creative people could agree on it.” That began the adventure of finding a new location in Los Angeles’ daunting real estate market.

The Rental Adventure

For several months, the search went on. Joe Pinkelman, TAG’s president, said, “As anyone from L.A. knows, Santa Monica prices are impossible. We were willing to join the art scene downtown, so we searched there. We found a second floor with a staircase too narrow for art, an old church that couldn’t be seen from the street, buildings that needed total renovation, and one where the landlord threatened to throw the gallery out with no notice if he didn’t like something. We saw an ad for a place in the Culver City Art District. Great, we thought, except that it turned out to be a storefront far from the arts district in the middle of nowhere.”

Pam Douglas recalled, “The artists were getting worried because the gallery couldn’t stay at Bergamot another month and pay the huge new charges. It seemed for a moment the choice was the impossible second floor, the invisible church, the angry landlord, or the storefront from nowhere. Or closing down. TAG Gallery would be gone.”

“And then the clouds opened,” exclaimed Tom Wheeler. “There it was, right on Wilshire Blvd, immense and empty: 5458 Wilshire, a 1927 building near the Craft and Folk Museum, the Petersen Auto Museum, just blocks from the Los Angeles County Museum of Art. It has 5,200 sq. feet of exhibition spaces on two floors compared with 2500 sq. feet we had at Bergamot.”

Cunningham explained, “The additional space means the gallery can expand in many ways including its annual juried exhibition, The California Open. That gets around 2,000 submissions from all over the country and now we can exhibit more of those artists.”

Wheeler, who took charge of renovations added, “Of course, the Wilshire space needed work. Lots.”

He continued, “That’s when the TAG artists rallied. We all formed a force that had not existed in the gallery before. The artists themselves raised the cash for the renovation and worked like crazy towards the opening in May.”

Douglas reflected, “I’ve seen TAG grow from a small artists collective on Santa Monica Blvd., many years ago, to the art gallery at Bergamot Station, and now I’m witnessing it evolve to its next stage as a major art space on Wilshire’s gallery row.”
TAG's new space, still under renovation as of 5/10/17

The Opening

The first show in the new building opens May 16 and has a public reception Saturday, May 20 from 5 to 8 PM. Featured artists are photographer Donn Delson, bone sculptor Jerry Hardin, pop artist Gary Polansky, and neon artist Linda Sue Price. In addition, there will be a group exhibit of individual works by other TAG artists.

TAG Gallery
Opening Exhibit
May 16 to June 10
Reception: Saturday, May 20 from 5 to 8 PM
Free and open to the public

5458 Wilshire Blvd., Los Angeles, CA

Tuesday, May 2, 2017

Call For Entries -- California Open 2017

The 12th Annual 2017 California Open is a juried exhibition celebrating contemporary and modern art created by emerging artists. TAG is now located at 5458 Wilshire Blvd, blocks from LACMA and the Craft and Folk Arts Museums. Previously located at Bergamot Station, our new exhibition space is 5,400 sq. ft., twice the size of our previous gallery space. We are excited about our new, bigger space and will be able to accept more CA applicants and bigger work this year!

The 2017 Juror is artist and curator Scott Canty. 
Scott Canty earned a BFA in drawing and painting from California State University Long Beach. Canty has been a graphic design instructor for the City of Torrance Joslyn Art Center as well as the Center’s Art Curator. Canty has held the positions of Art Curator with the City of Los Angeles Department of Cultural Affairs and the Director of exhibitions at the Palos Verdes Art Center. Recently Canty held the positions of Senior Curator for the LAX ART Exhibition Program and the Director of the Los Angeles Municipal Art Gallery. He also organized exhibitions for other City facilities and programs. He held this position for 30 years until he retired in July 2016. Currently he is painting and working on his drawing series. We're privileged and delighted to have Scott as our juror.
EXHIBIT: August 9-26, 2017
Reception and Awards Ceremony: Saturday, August 12, 2017, 5-8 p.m.

All entries must be submitted online at
See the full prospectus here.

ENTRY DEADLINE: June 23, 2017

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"