Galería Perdida: I want to blush f**kers, JOAN, Los Angeles, (October 8–November 20, 2016)

October 8–November 20, 2016

Patent drawing for the Hot Pick Comb, Newbern R, July 3, 1973.
Patent drawing for the Hot Pick Comb, Newbern R, July 3, 1973.

Inspired by an unexpected encounter with the display of a French wooden comb from the 15th century at the Philadelphia Museum of Art, Galería Perdida will present the project I want to blush, f***ers, a collection of approximately 20 walnut wood hair combs custom mounted onto blush-hued wooden tiles. Galería Perdida deliberately designed each of the combs from techniques  that range from graphic design to tradtional style with a number of them abstracted to the point of illegibility.

As an object, the comb is a utilitarian device that functions without notice in daily life. Its various forms and materials of construction rarely associate the object with its historical value, connection to prestige, or cultural affiliation. Combs were one of the first objects discovered by archaeologists in the tombs of ancient Egypt—dating back about 5,000 years—and their production continued largely in China, Cuba, Mexico, Spain, and the Philippines. The process of making combs by hand required an intense craftsmanship particularly in the cutting of the teeth. It was not until the 18th century that combs were popularized with the development of fabrication techniques, making combs more ornamental and symbols of luxury and high fashion.

The shift in the accessibility of combs as ornate accessories of aesthetic appearance on the body gave the objects greater exclusivity. Currently, these combs exist as artifacts in the collections of many international museum institutions, displayed and contextualized by museological structures.

Galería Perdida was established in Chilchota, Michoacán in 2005. The collective currently lives and works in Brooklyn, New York. Exhibitions include: And Per Se And, Commonwealth and Council, (2016) and Routine Pleasures, MAK Center for Art and Architecture, (2016); Zelda Zonk, Preface Gallery, Paris, (2013); Somos fabricantes de alimentos en cuero and Todo la memoria del mundo, Casa del Lago Juan José Arreola, Mexico City, (2013); Let’s Smell it Together, CUE Foundation, New York, (2013); El carne de burro no es transparente, Luckman Gallery, Los Angeles, (2012); and Matryoshka, Recess Activities, New York, (2011).

Galería Perdida: I want to blush, f***ers is organized by Gladys-Katherina Hernando

Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.

 

JOAN
4300 West Jefferson Boulevard #1
Los Angeles, California 90016
joanlosangeles.org

Clarissa Tossin: Encontro das Águas (Meeting of Waters), JOAN, Los Angeles, (October 8–November 20, 2016)

October 8–November 20, 2016

Meeting of Waters confluence between the dark water of the Rio Negro with the sandy-colored Rio Solimões in the Amazon River, Manaus, Brazil. Photo credit: José Caldas/ BrazilPhotos.com / Alamy Stock Photo.
Meeting of Waters confluence between the dark water of the Rio Negro with the sandy-colored Rio Solimões at the Amazon River, Manaus, Brazil. Photo credit: José Caldas/ BrazilPhotos.com / Alamy Stock Photo.

JOAN is pleased to present Clarissa Tossin: Encontro das Águas (Meeting of Waters), a delicate and ambitious large-scale installation. Combining the basket weaving patterns of the indigenous Baniwa people, native to the Brazilian Amazon, with satellite images depicting the 900-miles (1,448 kilometers) of the Amazon River from the Manaus Basin (or Port of Manaus) in Brazil to its equatorial drainage point in the Atlantic Ocean, Tossin will exhibit an enormous tapestry whose cuts and weaves evoke the divide between two systems of representation–cultural and ideological—that exist in Manaus itself.

Located within the Amazon rainforest in the Northern region of Brazil, Manaus, the capital city of Amazonas, is situated at the confluence of the Rio Negro (Black River) and the Rio Solimões. The two rivers connect with the Amazon River at the Port of Manaus, where for 3.7 miles (6 kilometers), their nearly black and beige colored waters flow parallel to each other without joining, until the two rivers stream into the Atlantic Ocean.

For her exhibition at JOAN, Tossin weaves the cut strips of the tapestry in opposing directions creating visual breaks in the pattern to depict the physical and political fragmentation of the river and its surroundings. This psychic movement mimics the routes of consumer goods, materials, and people in the region. At the scale of 50 feet long x 4 1/2 feet wide (15.24 meters x 1.37 meters), the piece drapes over the ceiling beams in the gallery and reveals its bilateral construction before curling downwards onto the floor and across the length of the space.

In 1957 Federal Deputy of the Brazilian government Francisco Pereira da Silva (1818–1985) legally amended the city of Manaus into a “Porto Franco” or Free Trade Port, an area where goods and products from the Amazon could be stored. In 1960 the port was designated a Free Trade Zone (ZFM – Zona Franca de Manaus) and by 1967 its surrounding areas were formally extended to 6,200 square miles (16,057 kilometers). This mass deregulation lured foreign business interests with tax incentives, reduced and nearly obliterated laws protecting the deforestation of the Amazon rainforest, and offered an enormity of landmass to commercial, industrial, and agricultural industries.

Currently, Manaus is the headquarters of various consumer production plants, including Apple, Sony, LG, Panasonic, Coca-Cola, Pepsi-Cola, Honda Motorcycles, Harley-Davidson, and Yamaha Motorcycles, among others. Under the ZFM, the Port of Manaus, with its direct access to the open Atlantic Ocean, is the lifeline of these foreign corporations and a detriment to the Amazon rainforest. The consequences of massive international exchange on the natural and vulnerable corridor of the Amazon River contributes to the deterioration of the rainforest, and severely impacts the habitats of indigenous cultures in the region.

Using terra cotta, the traditional material used by the Baniwa people to make pots, urns, food containers, and other earthenware, Tossin merges these spaces of contradictory and contentious terrian with objects cast from a selection of mass produced products in the region. In contrast to the fragmentation of the tapestry, the terra cotta melds a fundamental material of an ancient Amazonian cultural history with replicas of consumer objects, making visible the production and circulation of consumer goods while stripping them of their intended function.

Clarissa Tossin earned her BFA in 2000 from Fundação Armando Álvares Penteado in São Paulo, Brazil, and her MFA in 2009 from California Institute of the Arts, Los Angeles. She was awarded a Residency Fellowship at Fundação Joaquim Nabuco in Recife, Brazil, (2015), and an Emerging Artist Fellowship from the California Community Foundation, (2014). She participated in Artpace, an international artist-in-residence program in San Antonio, Texas, where she developed and exhibited the multimedia installation Brasília, Cars, Pools and Other Modernities, (2013), which was later included in Made in L.A. 2014, (2014), at the Hammer Museum, Los Angeles. Some of her solo exhibitions include the Museum of Latin American Art, Long Beach, (2015); Samuel Freeman Gallery, Los Angeles, (2015); Galeria Luisa Strina, São Paulo, (2014); Blaffer Art Museum, University of Houston, (2013); and Sicardi Gallery, Houston, (2013). She has participated in group exhibitions including, Trans-Americas: A sign, A situation, A concept, Museum London, Ontario, (2016); United States of Latin America, Museum of Contemporary Art, Detroit, (2015); Unsettled Landscapes, SITE Santa Fe, New Mexico, (2014); Bringing the World into the World, Queens Museum, New York, (2014); and When Attitudes Became Form Become Attitudes, CCA Wattis Institute, San Francisco, (2012); among others.

Clarissa Tossin: Encontro das Águas (Meeting of Waters) is organized by Gladys-Katherina Hernando.

Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.

JOAN

4300 West Jefferson Boulevard #1
Los Angeles, California 90016
joanlosangeles.org

Nick Bastis and Nick Raffel, JOAN, Los Angeles, (June 18–July 24, 2016)

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Nick Bastis and Nick Raffel
June 18–July 24, 2016

JOAN is pleased to present an exhibition of works by Nick Bastis and Nick Raffel. For the duration of the exhibition, the gallery will be open Friday – Saturday, 2pm–8pm, and Sunday, 12pm–6pm. Nick Bastis and Nick Raffel is organized by Gladys-Katherina Hernando.

Nick Bastis (b. 1985) has exhibited at the XII Baltic Triennial; Cartoon Physics, Kerstin Engholm, Vienna; Regards, Chicago; and Catherine Bastide, Brussels.

Nick Raffel (b. 1982) has exhibited at Pied-a-terre, San Francisco. Raffel lives in Chicago, Illinois.

JOAN is a not-for-profit space for talks, performances, screenings, solo projects, and vitrine shows with a focus on emerging and under-recognized artists. JOAN is co-founded by Summer Guthery, Gladys-Katherina Hernando, and Rebecca Matalon.

JOAN
4300 West Jefferson Boulevard #1
Los Angeles, California 90016
joanlosangeles.org

Jill Spector: The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, (September 12–July 11, 2015)

September 12–July 11, 2015

Vitrine, JOAN, Los Angeles

In an installation of the JOAN vitrine, Los Angeles artist Jill Spector composes sketches and templates for the imagination of an idealized theater space. Inspired by a similar proposal for her installation Cutlets III included in the publication SchindlerLab.org, this piece explores themes of practice and theatricality through various unrealized forms. The vitrine is transformed into a stage made of wood and marble, while templates for lighting allude to a darkened set. Her soft and hard sculptures hint at a dance floor where the movement of invisible bodies and hands exist on a floating platform; sculptures that are also an amphitheater.

Photo-Joshua_White-jwpictures.com-0004-copy-819x1024 Installation view of Jill Spector, “The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray,” JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0007-copy-1024x683Installation view of Jill Spector, “The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray,” JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0011-copy-1024x683 Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0018-copy-1024x683 Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0021-copy-1024x683 Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0023-copy-682x1024 Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0032-copy-1024x683 Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0041-copy-1024x683Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.

Mark Hagen, The Outdoor Type, JOAN, Los Angeles, (July 11–August 9, 2015)

July 11–August 9, 2015
JOAN, Los Angeles
The Outdoor Type (Extended version) by Gladys-Katherina Hernando

In her book “The Power of Display,” Mary Anne Staniszewski frames the importance of exhibition design as a total whole that acknowledges the vitality, historicity, and the time-and-site-bound character of all aspects of culture. Historically, installation design as a medium and historic category remains a relatively overlooked consideration, holding in its place the significance of discrete objects of art. The fundamental impermanence of Mark Hagen’s installation The Outdoor Type at JOAN is a multilayered manifestation of presence versus absence in perceptual experience to explore the ephemeral nature of exhibitions.The centerpiece of the installation is Ramada JOAN (2015), which is inspired by the temporary or permanent shelters called a ramada – derived from the Spanish word rama meaning “branch” – they were originally built with a roof without walls and constructed with branches or natural materials by aboriginal Americans living in the Southwestern United States. For his installation at JOAN and the fifth iteration of the structures he calls “space frames,” Hagen liberates the architecture of the ramada from today’s conventional civic and corporate zones (bus stops, etc.) and relocates them within their aspirational history, traditionally a means for achieving a democratized, architectural nomadism.

Hagen’s Ramada JOAN, is a modular, reconfigurable, unfixed, and incomplete space that can easily expand and contract in time. By retaining the flexible nature of the space frame itself – a series of nodes, pins, and various sized brackets – Hagen potentialities future iterations, additions, subtractions, and/or enhancements by creating a structure with the ability to infinitely repeat itself or take on different forms based on its various locations.

In Ramada JOAN, Hagen’s space frame is composed as a platform with columns, a thatch canopy roof made of metal scraps laid upon each other, contains sails (described later), and displays an unusual object. Rising near the center of the modular grid is a pedestal sprayed with layers of gray papercrete onto its surface. Presented on the top of this pedestal is a non-human cultural artifact, a Neanderthal stone tool that was found in a rock shelter – a shallow cave with protection from the sky but generally without walls – in Caen, France. Approximately dated about 60,000 years old, it predates homo sapiens’ arrival to modern day Europe, or in other words, it predates the realm of what is considered to be the realm of homo sapiens’ cultural production. The intervention of object/artifact into the installation of the space frame conjures the literal use-value of the tool from its original time but goes further to imply the physical, albeit conceptual, act of striking and puncturing the sculpture to build it up into a tactile structure/presence that suggests another democratization, that of the idea of culture. Outside of our current era, archeology and its physical, tangible, empirical evidence suggests a reality beyond the present moment.

As the viewer walks around the expanse of the space frame, there is the addition of two titanium anodized and etched panels, or sails, as the artist calls them, that contain opposing die-cut diagonal lines that with movement occasionally align to create additional shapes and patterns. The two sails are particularly striking for the intense rainbow effect created by Hagen’s manipulation of oxidation processes and electricity which determine the formal qualities of his work. Both the sails and the final element of The Outdoor Type – the inclusion of a horizontal format pattern painting – are inspired by the accordion folding security screens found throughout Los Angeles’s commercial and industrial spaces. These screens which are fabricated to block and protect yet retain accessibility are used by Hagen to enhance spacial and temporal specificity amongst the viewer. The intensive properties of voltage, acidity, heat, light, viscosity, and gravity drive generate continuums and gradations about vision and looking, but also about blindness and mystery.

Not only are these anodized titanium pieces are about vision and color, they integrate the phenomena of natural color while highlighting the limitations of perceptual experience. For example, the light at the blue end of the color spectrum does not travel the whole distance from the sun to us, making the sky blue. This can also be illustrated in considering the subjective visual perception of an individual viewer whose ability to perceive color may be limited to the various spectral colors – violet, blue, green, yellow, orange, and red – less than 1 % of the entire electromagnetic spectrum. Rather than making the space frame Ramada JOAN a temporal structure or model for viewing an artifact, the impenetrable structure with its repetitive patterns made anachronistically, Hagen foregrounds the illusive singular subjectivity of all participants, from viewer to artist, in order to create a new, expanded vision. Hagen transforms Ramada JOAN into realm of possibility, perhaps even of something else which lacks specific terms or categories. But how do you change terms without creating new ones?

In the well-known parable “On Exactitude and Science” by Jorge Luis Borges, the author describes the story of cartographers asked to create a map of a nameless empire in an equal 1:1 scale. The map became so large that it coincided point by point with every area of the imaginary provinces and their vast landscapes. Though it was considered perfect in the field of Geography, the 1:1 scale of the two-dimensional map could never depict the cultural layers of being in a place or the disparate versions of that experience. Considering the Cartesian grids and mapping that influence Hagen, there is another aspect to be noted, the terra incognita, unmarked expanses which remain on old world maps – oceans never crossed, coastlines unexplored. Like the flint artifact displayed as a scientific or archaeological object in an installation method never to be found in a Natural History Museum, Hagen evokes content within the space frame and around the space of JOAN. Another space he creates is the completion of the parable. No representation is complete and every representation is partial, or else it would not be representation. It signifies also that the cartographers knew the limits of the map and awareness of ignorance is not just ignorance; it’s awareness of knowledge’s limits.

 

Photo-Joshua_White-jwpictures.com-0957-1024x684 Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0961-1024x683Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0966-1024x683 Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0967-1024x683 Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0969-1024x683 Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0971-683x1024 Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0972-683x1024 Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0973-683x1024 Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0975-683x1024 Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0976-683x1024 Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0979-683x1024 Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White.Photo-Joshua_White-jwpictures.com-0980-683x1024Installation and detail views of Mark Hagen, The Outdoor Type, 2015, JOAN, Los Angeles, photos by Joshua White. 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