Samuel and Harriet Freeman House, 1962 Glencoe Way, Hollywood, California,

The house was constructed with more than 12,000 cast concrete blocks used both inside and out, and features a salon-style layout with a central hearth, partially open kitchen and several outdoor spaces. 

Samuel had been on the road showing that he could go anywhere and rep the bay to the universe/  When the male arrived home he had one more show and the was the chase center in san Francisco home of him and the golden state Warriors. He had an ex he was still in love with as he texted her and said “ I left you a ticket. If you still love me you will be at the home coming show.” The male sent the text as he lit up a smoke and sat backstage in the green room which was basically the home team locker room.  

The clock struck 8pm and he grabbed a his Warriors Jersey and grabbed his mic and said “San fran. Whos ready to get their world rocked.” he said as he ran on stage as he started the show with me myself and I.

Reviewing:

Grand Hotel Abyss: The Lives of the Frankfurt School by Stuart Jeffries, Verso, 440 pp., $26.95

Habermas: A Biography by Stefan Müller-Doohm, translated from the German by Daniel Steuer, Polity, 598 pp., $39.95

Adorno and Existence by Peter E. Gordon, Harvard University Press, 256 pp., $29.95

“Marx argued that economic systems have always involved the exploitation of workers for the benefit of a privileged class that owns and controls “the means of production.” As a result, according to Marx, workers are “alienated” from their labor, from the products they make, from other people, and ultimately from their own humanity since their lives and labor are determined not by themselves but by the demands of a privileged class and impersonal market forces.

Workers tolerate this apparent injustice, Marx explains, because exploitation is hidden from everyone’s view by a complex web of illusions he calls “ideology.” Significant obfuscations under capitalism include a wage contract that allegedly gives workers the fair value of their labor, as well as “ideological nonsense about right” such as “free and fair exchange,” “fair distribution,” and the claim that capitalists make a contribution on a par with labor. These and other illusions, along with religion and the state, all sustain capitalism as a system of exploitation and alienation.

Large (Clark Art Museum)

This, dear reader, is art of art. I’m rather used to seeing engravings after paintings.

This, however, is an 1828 engraving after a cut-paper silhouette.

Samuel Freeman modeled it after a silhouette cut by Marianne Kent, wife of Leigh Hunt, of Lord Byron.

Samuel Freeman is pleased to announce a groundbreaking exhibition of work by Kristian Burford. Opening on Friday the 11th of September, Burford presents for the first time three discrete scenes staged concurrently in one venue. They are accompanied by a suite of small bronzes which serve as precursors to the larger works. Each resulting scene is a single self-contained sculpture, exhibited together to create an immersive and deeply affecting psychological environment for the viewer.

She is flooded with light, He is saturated with liquid – and we are inundated, We are plagued with — and thrilled by — the uncertainty and chaos of our nature.

Always the primal fantasy of becoming the world again, of surrendering to it as to death, of relinquishing control to things more real than God.

What did Pollock say, “I am nature” the boatman’s drip paintings dissipate in the water. He is nature.

-Kristian

Kristian Burford’s Returned Daughter situates the viewer as the parent of an estranged daughter, thrust into the role at the exact moment when the wayward child returns home, evidently in a state of high emotion. Her expression is ambiguous, indistinguishable between distress and excitement. The resulting friction is unnerving, presenting a storyline that cannot be resolved. Has she been assaulted and is returning home to seek sanctuary, or do the deep shadows behind her conceal more sinister intentions?

Installed in the gallery courtyard, a small boat rests improbably on the concrete floor, cocked up at an angle by the weight of a standing man urinating over the rail. This normally private act is on full display, frozen and proffered, carefully held at a distance through the permanent closure of the glass doors. Both inside but outside, the figure becomes more and less than a man; he is a specimen on display and a metaphor for primal urges. Always kept at a distance, the audience becomes a group voyeur, where images of peep shows and zoological dioramas combine.

Resting atop a circular plinth calculated to show a reclining figure just beyond reach, Light Bathevokes a funereal air lit with a glow of the supernatural. A scaled-down figure lies within a bed of light in the center of a chapel-like structure, but she might as well be laid upon an altar, or perhaps sinking into a pool. The initial feel of spirituality and ascension is eroded from below, and it is the viewer’s doubting presence that corrodes the scene; in this piece it is the viewer who is the whisper in the darkness.

DATE

Opens September 11, 2015

VENUE & MAP

SAMUEL FREEMAN

2639 South La Cienega Blvd, Los Angeles, CA 90034 (CLICK TO LAUNCH MAP)

MORE INFO