November 5, 2017 - November 25, 2017 Gait is pleased to present Similar Sunlight, a presentation of documentation and ephemera from artist projects on rooftops. Examining the roof as a creative space, this exhibition will consist of an outdoor archive focusing on projects from the 1970s to the present.
As an exhibition space, there are no pre-established aesthetics to the rooftop. They're spaces more likely to host water tanks, duct work, elevator equipment, helipads, birds nests; places unintended for the greater public and art viewing.
According to Akiko Busch in Rooftop Architecture, "the rooftop habitats feature the unpredictable while inviting and even encouraging eccentricity....building at the rooftop implies basic changes in how we see things. Stylistically, what evolves on the rooftop tends to be mysterious, provocative, innovative." Ultimately demonstrating the point that these spaces are dictated by those with access to them.
This outdoor presentation will consist of an array of documentation including photographic images, drawings, performative props and materials, and transcribed correspondence. Left to weather over the course of the exhibition, these documents will shift physically and conceptually.
GAIT presents Slightly Flexible with artists Daniel Klaas Beckwith, Mickey Everett, Sydney Kinzie, Daniel Schubert, Theresa Sterner, and Pamela Valfer. The exhibition will be on view from April 23, 2017 through May 14, 2017 with an opening reception on Sunday, April 23 from 7 to 9 pm. Following the reception, please contact firstname.lastname@example.org to view by appointment.
Designed by architects Leonard Schultze and S. Fullerton Weaver, the Biltmore Hotel and connecting Biltmore Theater opened off Pershing Square in downtown Los Angeles in the 1920’s. The theater was demolished in 1964, and in the 1980’s a 24 story skyscraper named the Biltmore Tower was constructed on the site; while the neighboring Biltmore Hotel remains intact as a protected historical building. The Secretary of the Interior’s Standards for the Treatment of Historic Properties dictates that a contemporary addition to any historical building must be compatible but distinct in aesthetic, so the average viewer understands that the buildings are different. In addition, the guidelines state the tower addition must be designed and built without affecting the structure of the hotel, so that it may be torn down at any time. In accordance with this guideline, a seismic joint separates the Biltmore Hotel from the Biltmore Tower. Although the hotel and tower appear to be one continuous structure, in actuality, there are six to eight inches of negative space hidden behind the street facade connecting the two buildings. At any moment, an earthquake could force the two buildings together.
Like this seismic joint, the works in Slightly Flexible exist as quiet spectacles, offering subliminal information that draw attention to the subtle shifting forces in the greater atmosphere. The artists use video, performance, and object making as a means to examine instantaneous belief, the language of ambience, and the potential of data. While exploring this phenomena, the artists will activate the street and rooftop of the Wayside Press Building and the skyline of downtown Los Angeles.
Daniel Klaas Beckwith questions the economy of belief through object making and performance. Beckwith presents for the exhibition a fake Google Street View surveillance vehicle as it continuously searches for street parking, viewed from Gait's roof top vantage. Examining the complicated history of water in Los Angeles, Daniel Schubert and Mickey Everett of Los Angeles Aqueducts will present video documentation of their performances on location at various water bodies around Southern California. For the opening of the exhibition, amateur kite flyer Sydney Kinzie will pilot a handmade kite from the rooftop of the building. Theresa Sterner offers a seating area to view the sunset during the opening reception; a projection of a sunset played in reverse from dark to light; and a gift shop selling souvenirs like postcards and mugs with imagery of the sunset. In Pamela Valfer’s untitled (2017), a found footage tour of Saddam Hussein’s residence from the first person perspective is displayed twice, side by side in the video frame, simulating the experience of Double Vision.
April 2, 2017 - April 9, 2017 Opening Reception: Sunday, April 2, 2017 7-9 PM
Gait is pleased to present Ben Carlton Turner, Calling Home. This exhibition presents a text based projection, an installation of photographs, and a large scale illustration on the rooftop project space. Collectively, these visual works reinforce the aesthetic principles set through Turner’s most recent book, Hotel Sequence. Calling Home will be on view from April 2 through April 9, 2017 with an opening reception on Sunday, April 2, 2017 from 7 - 9 PM. Following the opening reception the exhibition will be on view by appointment.
In conjunction with Hotel Sequence, Calling Home visualizes the fluidity of language where the residue of place and memory collide. Locating moments of beauty in destruction and joy within terror, Calling Home opens up these systems for the viewer to fully explore. Operating outside of urgency, Turner highlights moments out of context, allowing only for the residue to communicate. By exposing the opposite within the signifier, Calling Home makes space for the moment after combustion and subsequent evaporation.
A kind of mayor
Reception and Screening: Sunday, January 15, 2017 5-8 PM
GAIT is pleased to present A kind of mayor, a two person exhibition featuring the work of Bob Dornberger and Alee Peoples. The opening reception and film screening will take place on Sunday, January 15, 2017 from 5 – 8 PM.
A kind of mayor presents the work of Bob Dornberger and Alee Peoples, whose studio practices both focus on human behavior as a framework to mine the relationship between human, material, and site. Featuring an interactive sculpture by Bob Dornberger and a screening of three short films by Alee Peoples, this exhibition defines mayor as a protector and purveyor utilizing inanity and commitment. Dornberger and Peoples deliver humor through their own lens of absurdity, inviting the viewer to enter their constructed realities while maintaining a responsibility to the real. Dornberger acknowledges the downtown LA rooftop as an untraditional space to exhibit artwork and presents an interactive sculpture that incorporates a ladder, a drink dispenser, binoculars, and a framed drawing demonstrating his deep generosity and hospitality for the viewer. Peoples’s 16mm films, projected onto an elevator shaft on the rooftop, create universes that move between play and critique, direct and complex framing, and the mundane and dramatic.
Bob Dornberger works in the gray area between art and design. A furniture and object designer by day, Bob disrupts the underground food scene on nights and weekends with his ongoing project, Secret Restaurant. Exploring the intersection of food, anxiety and sculpture has become a central theme in Bob's work. His work often uses quasi-architectural interventions to create surreal and engaging experiences. Recent group exhibitions include Jonald Dudd: House Party in Brooklyn, Public Programs for the LA:Current Public Art Biennial, Snorkel Dreams at the Annenberg Community Pool House and Surveying the Land in Joshua Tree CA. Bob studied sculpture and sound design at the School of the Art Institute of Chicago. He lives and works along the I-10 Corridor, from Culver City to Pioneertown, CA.
Alee Peoples maintains a varied artistic practice that involves screen-printing, sewing, sculpture and film. Currently living in Los Angeles, she has taught youth classes at Echo Park Film Center and organized a 13-date film tour in the spring of 2014. Peoples has shown her films at numerous U.S. film festivals and at art spaces in Tokyo, Spain, Switzerland and the Netherlands. She is inspired by pedestrian histories, pop song lyrics and invested in the hand-made.
GAIT is a rooftop project space dedicated to presenting artistic projects emphasizing experimentation and site-specificity in Los Angeles, California.
Accumulation at 12th & Marion: May 7 - June 19, 2015
Screening: Saturday, November 26, 2016, 7 - 9 PM Location: West Avenue #502, 3-33-9 Yoyogi, Shibuya Ku, Tokyo, Japan 1510053
GAIT is pleased to present a screening of Accumulation at 12th & Marion: May 7 - June 19, 2015, a video work by Los Angeles based artist Kristin Cammermeyer. Projected on a rooftop in the Yoyogi neighborhood of Tokyo, the screening will take place on Saturday, November 26 from 7 - 9 PM.
Cammermeyer created this film in 2015 during a six week residency at The Hedreen Gallery at Seattle University. Informed by boundaries of the space, architectural nuances, and material available in the vicinity, Cammermeyer transformed unrealized material, resulting in a stop-motion video that serves to capture the life cycle of these fleeting constructions. Working within these parameters, the results included a site-generated installation that was the content for the stop-motion video, Accumulation at 12th & Marion: May 7 - June 19, 2015. Playing with the fluidity of time, the artist choreographed and documented the movement of objects and materials available at the site. The stop-motion video on view in Tokyo, presents a hyper meditative visual experience through which rolls of tape, ladders, artificial plants, scrap wood, and other ordinary materials subvert function for visual pleasure. In addition to the installation, Cammermeyer collected sounds from the space and furnished them to composer Michael Dillon, who created an original soundscape to accompany the video.
Concerned with her role as a consumer, the artist seeks to reduce wastefulness in her art practice by operating with strategies of rehabilitation and repurposing. The work responds to the contemporary circumstance that is perpetually accelerating, accumulating and shifting. The time constraints, ephemerality and improvised construction methods suggest a sense of urgency. Cammermeyer offers optimistic gestures to transform the commonplace and the reclaimed often disarming the viewers expectations while revealing the making.
Kristin currently lives and works in Los Angeles. She received her MFA in Painting from Cranbrook Academy of Art in 2012. Some distinguished professional accomplishments include a Fellowship at The MacDowell Colony, Artist-In-Residence at Recology (San Francisco), and Full Fellowship at The Vermont Studio Center. Kristin was the recipient of The Foundation of Contemporary Arts Emergency Grant, The Harpo Foundation Direct Artist Grant, and The Toby Devan Lewis Award. Her work has been featured in New American Paintings, Hazlitt, and Interior Design magazine. Kristin has exhibited her work at The Eli & Edythe Broad Art Museum, (Michigan State University), SOMArts (San Francisco), Stills Gallery (Sydney), Elephant Art Space (Los Angeles), The Hedreen Gallery (Seattle), Bergdorf Goodman (New York), The David Brower Center (Berkeley), Fort Wayne Museum of Fine Art, and Machine Project (Los Angeles) among others. Her work is in the collections of Los Angeles Contemporary Archives, The Eli and Edythe Broad Art Museum, Fort Wayne Museum of Fine Art, and Recology SF.
GAIT is a rooftop project space dedicated to presenting artistic projects emphasizing experimentation and site-specificity headquartered in Los Angeles, California.
Slippery When Wet
October 9, 2016 - October 30, 2016 Opening Reception: Sunday, October 9, 2016, 5 - 9 PM
GAIT is pleased to present Slippery When Wet with participating artists Bjorn Copeland, Kim Garcia, Manny Krakowski, Clare Little, George Sanders, and Noah Spindler. The exhibition will be on view from October 9 through October 30, 2016 with an opening reception on Sunday, October 9, 2016 from 5 – 9 PM. Following the reception, additional viewing hours will be held on Monday, October 10, 2016 from 5 – 9 PM and by appointment.
Slippery When Wet features sculpture and mixed media work by artists using a juxtaposition of materials which result in innovative and novel visual relationships. In her essay of the same title1, the artist Jenalee Harmon examines the physicality of the art making process through the metaphor of soap. In the same way the artist’s hand pulls together disparate materials, the ritual act of using a bar of soap to cleanse oneself every day incrementally adjusts its shape and size. Soap, itself, is a mixture of materials stirred together to create: a cleansing agent, a lubricant, a thickener. Similar to this alchemical process, the works in this exhibition materialize this sensation of contact in an extremely satisfying way.
Bjorn Copeland transforms found objects with layered histories into assemblage sculptures that flirt with visual promiscuity. University of California, Irvine MFA Candidate, Kim Garcia incorporates video into her object-based practice, allowing a looped non-hierarchical viewing experience. In his sculpture CIRCLE, 2016, Manny Krakowski penetrates a compact refrigerator with a circle of copper piping, creating condensation, which collects and drips onto itself. Engaging with American middle class decor, Clare Little strategically applies paint to portions of prefabricated decorative rugs, resulting in a literal white wash. George Sanders’s sculptures address the formal qualities of structures that traditionally act as support systems. Interested in how architecture can physically and psychologically alter spaces, Noah Spindler will construct a new sculpture from his lighthouse series for the exhibition, which will illuminate the space with a rotating beacon of light.
GAIT is a rooftop project space dedicated to presenting artistic projects emphasizing experimentation and site-specificity in Los Angeles, California.
1 Jenalee Harmon, “Slippery When Wet,” Haunt Journal of Art, Vol 2 (2015): 18-24.
July 9, 2016 - August 13, 2016 Opening Reception: Saturday, July 9, 2016 :: 8 - 10 PM
GAIT is pleased to announce its inaugural exhibition Rachel Schmidt: Ice Dreams, a site specific screening of two animations by Rachel Schmidt with a soundtrack composed by the collective Beauty Pill. Projected on a roof in downtown Los Angeles, the exhibition will be on view from July 9 through August 13, 2016 with an opening reception on July 9, 2016 from 8 - 10 pm.
Rachel Schmidt: Ice Dreams presents a thoughtful examination of the delicate relationship between animals and their environment. In the video series Ice Dreams (2016), decontextualized sea animals float through absent landscapes. The animations appear simultaneously digital and handmade, recalling video collage techniques.
Rachel Schmidt received a Bachelor of Fine Arts in Textile Design from the University of Kansas and a Master of Fine Arts from the Maryland Institute College of Art. Her work has been exhibited at Flashpoint Gallery, Washington, DC (2015); Foggy Bottom Sculpture Biennial, Washington, DC (2014); Allentown Art Museum, PA (2009); Koruna Otwock Gallery, Warsaw, Poland (2008); and the Delaware Center for Contemporary Arts, Wilmington, DE (2007). Schmidt is currently the Exhibition Coordinator at The Smithsonian’s Hirshhorn Museum and Sculpture Garden. Rachel Schmidt: Ice Dreams is the artist’s first one person exhibit in Los Angeles.
Beauty Pill is a music collective founded in Washington, DC in 2001. Members Chad Clark and Drew Doucette also composed the music for Rachel Schmidt’s installation Ice Dreams: Because I Will It at the Arlington Arts Center in 2016.
GAIT is a curatorial initiative dedicated to presenting site specific projects with an emphasis on experimentation. Rachel Schmidt: Ice Dreams marks GAIT's first exhibition. Upcoming projects include a group sculpture show in September 2016.