RECRAFTING HISTORY: history, nostalgia & craft in the American memory, curated by Ellen Caldwell

January 5th, 2012

RECRAFTING HISTORY: history, nostalgia & craft in the American memory

curated by Ellen Caldwell

October 29 – December 22, 2011

Taylor De Cordoba is pleased to present Recrafting History: history, nostalgia, & craft in the American memory, a mixed-media group exhibition curated by Ellen Caldwell.  The exhibition will run from October 29 through December 22, 2011, with an opening reception for the artists on Saturday October 29 from 6-8pm.

“Cultural memory is produced through objects, images, and representations. These are technologies of  memory, not vessels of memory in which memory passively resides so much as objects through which  memories are shared, produced, and given meaning.”

– Marita Sturkin, Tangled Memories

Artists Eric Beltz, Jen Pack, Karen Spector, Frohawk Two-Feathers, and Stephanie Washburn all speak to Sturkin’s concept of a shared history and entangled cultural memory.  Exploring our modern world through a recrafted lens, they create fictitious, re-envisioned, nostalgic, and comical memories and renderings of the past and present. Negotiating themes ranging widely in subject and medium, each artist in Recrafting History answers the question, how do we exhibit histories that we don’t talk about?   In experiencing their art, we as viewers, are welcomed to explore the deeper themes that trouble the American psyche and collective American memory.

With Eric Beltz’s series of graphite-drawn needlework, Beltz calls the concept of Americana and nostalgia into crisis, by recrafting traditional female work (often considered lowbrow), into male-made High Art (with a capital “A”) for the gallery wall.  He appropriates the aesthetic of the craft, but changes the medium and technique, at once reviving and altering the tradition.  Additional textual messages tangle and trouble the subject further.

Built of chiffon, thread, and wood, Jen Pack’s Green Bikini and (k)not Entangled use a deconstructed and reconstructed medium to create a dialogue between the viewer and art.  Her work, though built from the same materials, takes on a transformative air in the final products’ drastically different forms and functions.  And her seemingly disjointed titles are about displacement, and the eternal struggle that comes from deconstructing and reconstructing one’s identity on an ongoing basis.

In Surplus of Light, Karen Spector situates the viewer in an endless video loop that taps into and oscillates from a national post-9/11 fear and insecurity, to a ridiculous feeling of lavishness, abundance, and wealth (found in the extravagant display of fireworks), to a looming uncertainty questioning and undermining American monumentalism and ballsy patriotism.  The reversed anthems are a type of siren song, hovering and looming in the soundtrack as both celebratory and foreboding.

With Frohawk Two-Feathers’ latest installment of the saga of the Frenglish Empire, viewers become part of an exchange between cultural memory and history—between the fictitious Frenglish Company Crocodile and our world, with reality being somewhere in the middle.  His work focuses mainly on the conflict arising from European colonial conquest, though it is shown predominantly in America, thus forcing American audiences to view this work, and this imperialist retelling, as culturally and historically relevant.

Stephanie Washburn’s Margaret Thatcher’s Garden, offers a sneak-peak into the intimate domestic space of a political body.  Through her musings of this imagined realm, we are not just in the midst of a physical interpretation of an exterior location, but are also conceptually in an interior realm of Thatcher herself.  Through something as concrete as a garden, we can re-imagine the historical setting for actual political decisions, while also envisioning Thatcher’s internal, private space of contemplation away from the public eye.



October 22nd, 2011


Kimberly Brooks: Thread

September 10 – October 22, 2011

Taylor De Cordoba is pleased to present Thread, a solo exhibition of new oil paintings by Los Angeles-based artist Kimberly Brooks. The exhibition will run from September 10 – October 22. The gallery will host an opening reception on Saturday, September 10 from 6pm-8pm.

In her latest body of work, Kimberly Brooks continues to explore portraiture, specifically the complexities of representations of female identities. While in her previous series, including Mom’s Friends (2007) and The Stylist Project (2010), the artist used figures to construct narratives, here the female form is part of a broader abstracted landscape. And while earlier portraits boasted an uncanny likeness to their subjects, Brooks’ style has shifted into something that is simultaneously looser and richer. Facial features have been abstracted and bodies distorted. Fashion and costume, a longtime theme for Brooks, is also deconstructed. Once painstakingly rendered folds and drapes have been reduced to their essential shapes and color fields. In these sumptuous new images, Brooks continues to address questions about how we frame beauty, and the phenomenon of fashion as a both pop culture and artistictouchstone. Taken as a whole, the new paintings create a meta-narrative that contemplates “threads” that define, unite and separate us across different cultures and eras.

Kimberly Brooks’ work has been featured in numerous juried exhibitions organized by curators from the Whitney Museum of American Art and the Museum of Modern Art. Her work has been featured in myriad publications including the Los Angeles Times, Art Ltd., Daily Serving, The Huffington Post, Vanity Fair, Vogue, among others.


TIMOTHY HULL: Here Today, Gone Tomorrow

July 9th, 2011

Timothy Hull, Here Today Gone Tomorrow

Timothy Hull: Here Today, Gone Tomorrow

May 21 – July 9, 2011

hodie adsit, cras absit
-Julius Caesar

Taylor De Cordoba is pleased to present Here Today, Gone Tomorrow, a solo exhibition by New York-based
artist Timothy Hull. The exhibition will run from May 21 through July 9, 2011, with an opening reception for the artist on Saturday May 21 from 6-8pm. This is his third solo show with the gallery.

Here Today, Gone Tomorrow consists of drawings, paintings and wall installations addressing the provisional nature of time and history. Hullʼs new work points to the fact that we exist in an eternal present and that what was, no longer is. In addition, the work explores ideas of representation, reproduction, cultural appropriation and recycling. Hull employs motifs from art history’s distant past as well as from 20th century modernism; mixing and matching patterns, colors and styles that create links through time. The artist connects disparate points in time, such as pop culture imagery from 1980′s cause célèbre to rainforest patterns, Boy George, swatch watches, ruins from antiquity and museum displays as well as renaissance consort music. The artist presents many “doubles” or pairings, some nearly carbon copies of each other, and some similar but different. This is meant as a response to the philosophical questions raised by Aristotle and Thomas Aquinas on the nature of being and the essence of things, either real or imagined. The artist employs various artistic mediums, examining concepts such as travel, imperialism, Orientalism, west-meets-east and 1980’s pop imagery. The juxtaposition of discursive imagery and messages from history asks the viewer to consider the factors that led us to this exact moment in time.

Since Timothy Hull’s last exhibition at Taylor de Cordoba his work has been included in group shows in Milan, Italy at La Dictateur Gallery, Rome, Italy at the NOMAS Foundation and in Vienna, Austria at Co-Co. Hull also participated with the group K-48 in the collaborative exhibition “No Soul for Sale” at X-Initiative in New York and the Tate Modern in London. His work has also recently been featured in Flaunt magazine, Dossier Journal, Surface magazine and the New York Times. He has also conducted interviews with other artists for MUSEO magazine, Art in America and the Huffington Post. He recently published a collaborative book of photo-collages with Paul Mpagi Sepuya titled “The Accidental Egyptian and Occidental Arrangements.” He lives and works in Brooklyn, NY.

Five Year Anniversary Exhibition

May 20th, 2011














April 9 – May 14, 2011

Taylor De Cordoba is pleased to present the 5 Year Anniversary Exhibition, a group show celebrating five years of exhibiting artwork in Culver City. The exhibition will run from April 9 – May 14, 2011, and will kick off with a champagne reception on Saturday, April 9 from 6 – 8pm. To commemorate Taylor De Cordobaʼs first five years and more than thirty past exhibitions, the gallery will feature one new piece by each represented artist, whose visions have shaped the face of the gallery. The selection of artwork will reflect the diversity of artists represented, including:

Sasha Bezzubov

Kimberly Brooks

Kyle Field

Timothy Hull

Charlene Liu

Melissa Manfull

Danielle Nelson Mourning

Chris Natrop

Claire Oswalt

Jeana Sohn

Frohawk Two Feathers

Taylor De Cordoba opened its doors to the public on April 15, 2006. Since then, the gallery has mounted over thirty exhibitions, participated in numerous art fairs, and launched a lauded bi-monthly reading series. Taylor De Cordoba and gallery represented artists have been featured in local and international publications, including: Frieze, Art in America, Artforum, Artweek, Art LTD, V Magazine, Elle, Vanity Fair, W Magazine, Los Angeles Times, The New York Times, LA Weekly, Beautiful Decay, C Magazine, Whitewall, The Huffington Post, LA Confidential, Angeleno and more. Los Angeles natives Heather Taylor and Alex de Cordoba co-own the gallery. Taylor De Cordoba is located at 2660 S La Cienega Blvd in Los Angeles, CA and is open to the public Tuesday – Saturday, 11am-6pm. For additional press information, please contact Heather Taylor at or (310) 559-9156.

FROHAWK TWO FEATHERS: Crocodile Company, Part I. La Guerre Des Machettes Danseuses (The War of The Dancing Machetes)

March 7th, 2011

FROHAWK TWO FEATHERS: Crocodile Company, Part I.  La Guerre Des Machettes Danseuses (The War of The Dancing Machetes)

February 19 through March 26, 2011

Taylor De Cordoba is pleased to present Crocodile Company, Part I.  La Guerre Des Machettes Danseuses (The War of The Dancing Machetes), a new series of mixed media paintings and drawings by Los Angeles-based artist Frohawk Two Feathers. The exhibition will run from February 19 through March 26, 2011, with an opening reception for the artist on Saturday February 19 from 6-8pm. This is his third solo show with the gallery.

Frohawk Two Feathers continues to demonstrate his skill as a master storyteller, spinning tales of colonialism, imperialism and conquest with his wholly unique iconography. Blending his obsession with the history of conflict and pop culture influences from video games, films and TV shows, the artist tells a wartime narrative starring an imagined cast of fascinating characters. Using two classic traditions of both painting and map making, Two Feathers communicates a tragic, yet often humorous story that, through a slight of hand and bristle of the brush retell and reshape historical roles of race, class, and gender. Originally trained in photography, the artist uses elaborately staged photographs of friends and family as the source material for the final portraits on view.

As with his previous bodies of work, each series functions as a chapter in a never-ending tome. Set in 1789 in the Caribbean, “The War of the Dancing Machetes” is a story of assassination, slavery and the fight for power. Deadly clashes between the black ruling class and “The Crocodile Company” (the newly propertied “mulatto” soldiers), drive this story. While these themes of unrest are familiar in art history, Two Feathers approaches his subjects with a keen eye, creating a unique and memorable visual language. And as a viewer immersed in his storytelling, one cannot help but question whether the specifics come from the artist’s mind or straight from the history books. The artist loosely based this series on the actual “War of Knives” that was fought as a precursor to Haitian independence.


February 12th, 2011

Sasha Bezzubov: Wildfire,

January 8 – February 12, 2011

Taylor De Cordoba is pleased to present Wildfire, the galleryʼs third exhibition by Brooklyn-based photographer Sasha Bezzubov. The exhibition will run from January 8th through February 12th, 2011. The gallery will host an opening reception for the artist on Saturday January 8th from 6pm-8pm.

This exhibition consists of nine large-format color photographs that document the aftermath of wildfires in California between 2003 to 2007, including those at Running Springs, San Diego County and Cedar Glen. Bezzubov creates powerful images of mundane places that have been instantly transformed through the violent power of a natural force, into dreamscapes of apocalyptic proportions. The artist shows us the moments just after disaster strikes: a bare hillside with one precariously perched charred car; a spiral staircase jutting into the landscape surrounded by rubble of the home that once encased it; and eerily empty forests scattered with seemingly never ending rows of blackened trees. While these images evoke a post-apocalyptic sense of dread, there is something jarring in their quiet beauty.

With the photographsʼ muted, dusty palette and empty spaces, viewers often recall images of the “wild west” and the desert landscape of pre-development California. Russian born Sasha Bezzubov writes in his project statement that Wildfire “pays tribute to those earlier photographs, but also brings them and the landscape they helped to fashion into question.”Here, the artist presents a view that could be taken from a past period in history, just as easily as it could exist in a dystopic future. Yet, there is something undeniably calm about these images that are nearly devoid of any evidence of man and industrialization. Standing before these epic works, one canʼt help but reflect on how little control we actually possess when confronted with the unstoppable forces of nature.
Sasha Bezzubov is the recipient of numerous awards and grants for his photographic works, including two Fulbright Scholarship Awards for his work in Vietnam and India. He earned his MFA from Yale University in 1997. His work is in the collection of the Metropolitan Museum of Art, New York, and has appeared in The New York Times, Esquire Magazine, Newsweek, Details Magazine, The Village Voice and Blind Spot.

KYLE FIELD: Waxing Marks

December 18th, 2010

Taylor De Cordoba is pleased to present Waxing Marks, an exhibition of new works on paper by San Francisco-based artist and musician, Kyle Field. The exhibition will run from November 6 – December 18, 2010.  The gallery will host a reception for the artist on Saturday, November 6.

For his third solo exhibition at Taylor De Cordoba, Field presents a series of ten small ink drawings (approximately 8″ x 10″ each). In his previous body of work, the artist created surreal worlds of fantastical creatures, whose shapes twisted apart and melded together to create intricate yet loose patterns. Here he has stripped away the majority of representational imagery and focuses primarily on richly detailed textural patterns.

The daunting and often humbling task of filling an entire surface motivated Field to produce these dense pieces, which almost completely lack negative space. While referencing the subconscious act of daydream-inspired doodles, he found this kind of drawing to be an exercise in patience. Patterns would form only to fall apart and then form again. Occasional mistakes forced him to retire his intended patterns, as new ones would emerge. The resulting effect is a visual tension between Field’s original road map and the inevitable surprises and unexpected turns he encountered while creating the work.

The title of the exhibition, “Waxing Marks” relates to the artist’s passion for surfing. In these drawings he expertly weaves colors and shapes into patterns that reference the way wax can build up on a surfboard. With a nod towards op-art, magic eye pictures and blotter sheet art, the recognizable images become almost completely phased out. Viewers are left to stare into Field’s intense and often hypnotic designs and form their own meaning.

Kyle Field lives and works in San Francisco, California. His work has been exhibited in numerous venues, including Atelier Cardenas Bellanger (Paris, France), Le Confort Moderne (Poitiers, France), The Palais des Beaux-Arts BOZAR, (Brussels, Belgium), Musée Janisch (Switzerland) Cinders Gallery (Brooklyn, NY) and New Image Art (Los Angeles, CA). He has been featured in Artnet,, New American Paintings and Le Monde. He also performs as a musician under the name Little Wings. He received his BFA from UCLA in 1997.

MELISSA MANFULL: Pattern Constraints

September 18th, 2010

Melissa Manfull: Pattern Constraints

September 18 – October 30, 2010

Taylor De Cordoba is pleased to present Pattern Constraints, a new series of drawings by Los Angeles-based artist Melissa Manfull. The exhibition will run from September 18 – October 23, 2010.  The gallery will host an opening reception for the artist on Saturday, September 18 from 6pm-8pm.

Seeking inspiration from metaphysics and mysticism, Melissa Manfull creates hyper-detailed structures that straddle the worlds of reality and imagination. Working in a palette that ranges from the subdued and earthy to the mystical and otherworldly, Manfull inserts her stiff geometric shapes within pools of bleeding ink. Thus bringing to mind the idea of a building’s lost limb, detached and floating in space.

The artist’s interest in utopian societies and the ways in which architecture can reflect belief systems inspired these organic yet rigid drawings. And in some ways, the resulting structures, created by fractal patterning, reflect the artist’s personal understanding of the intricate workings of the universe and the mind. Due to the obsessive nature of her process, Manfull has often viewed the meditative act of drawing as a way to approach her fear of vast, open ended space (the unknown). By creating her minute sculptural drawings, she gives this abyss a meaning and in essence, gains control. With her amorphous ink stains, she tries to mimic this emptiness rather than flight it.

Her musings on space are echoed by architecture theorist, Christian Norbert-Schulz, who discusses how buildings are an intermediary between sky and earth. This idea spoke to the artist’s interest in architecture as a means to fill a void (empty space). Manfull’s drawings, in which she attempts to occupy and define the uninhabited are a mediation on these themes.

Melissa Manfull received her MFA from Concordia University Montreal in Canada and has exhibited her artwork at The Armory Center for the Arts in Pasadena, High Energy Constructs in Los Angeles, and Bourget Gallery in Montreal, among others.  She lives and works in Los Angeles.


May 26th, 2010

Danielle Nelson Mourning: Homecoming

May 22 – June 26, 2010

Taylor De Cordoba is proud to present Homecoming, photographs and film by San Francisco-based artist Danielle Nelson Mourning. The exhibition will run from May 22 – June 26, 2010, with an opening reception for the artist on Saturday, May 22 from 6 – 8PM.

For the artist’s solo debut at Taylor De Cordoba, Mourning will exhibit films and strikingly vivid ink jet photographs taken in areas laden with her family history. Traveling between Niagara Falls, New York and Marks, Mississippi the artist staged a series of primarily self-portraits wherein she slips in and out of the homes, attire and settings of her relatives. A desire to surround herself with family lore, which she had only seen in snapshots and heard in oft-repeated stories, motivated her desire to recreate/create this history. The resulting photographs inhabit an eerie space between real and fake. She plays many characters: a 1950s housewife; a1960s wife on the eve of the sexual revolution; and a 1970s liberated woman, with the mood moving from Alfred Hitchcock to John Cassavetes and back again. While at first glance it appears as though the photographs were taken during those past eras, there is something knowing in the artist’s eye, or perhaps her stance, that reminds viewers of the current historical moment.

The work goes deeper in the series of images Mourning staged in Ireland, an interpretation of her Irish ancestry during the potato famine of 1845. Here, she dresses in attire from the day and situates herself in the landscape of her ancestors. This became a psychological experience for the artist, who felt the boundaries between past and personal history eroding.

Alongside the photographs, the gallery will be exhibiting the artist’s intimate 8mm film, made on location in New York and Mississippi. The photographs come to life here, as the viewer recognizes Mourning’s characters moving about perfectly manicured rooms and landscapes. She complements the moving images with a soundtrack of taped conversations with her grandmother. The resulting effect is strange, haunting and timeless.

CHRIS NATROP: myopic spring tangle

May 21st, 2010

Chris Natrop: myopic spring tangle

April 10 – May 15, 2010

Taylor De Cordoba is pleased to present myopic spring tangle, a multi-media installation by Los Angeles-based artist Chris Natrop. The exhibition will open on Saturday April 10 and will remain on view through May 15, 2010. This is the artist’s solo debut at the gallery.

As opposed to Natrop’s previous and more immersive installations, myopic spring tangle is comprised of discrete works of art interrelating as a whole.  While utilizing the existing gallery architecture, the artist employs myriad techniques and uses varied materials to transform the space into a unique environment. In one area, hand-cut pieces of paper painted with watercolor hang from the ceiling in a cluster. Illuminated by small fluorescent tube fixtures with colored gel overlays. This work is “tangled” with colored thread, which travels through the gallery rafters. There are also several framed cut paper pieces, which are the most detailed and precise the artist has completed to date, due in part to powerful reading glasses worn while working. The glasses kept him in a “myopic state,” which allowed him to obsessively subdivide forms to the point at which the physicality of the paper was pushed to it’s structural limit. The exhibit’s final facet is a series of mirrored wall panels, both hyper-detailed and resembling a kaleidoscopic ink blot test. Natrop incorporates other atmospheric details – mirrored Mylar sheet window coverings and a multi-faceted lighting scheme – which highlight the exhibit’s three main components, all connecting to form a free flowing narrative.

For this body of work, Natrop found inspiration in Los Angeles, and specifically it’s river. As it traverses the city, the river is funneled into a narrow concrete channel built for the sole purpose of controlling seasonal flooding. It is a space both forgotten and unseen, filled with elements both natural and manmade. For the artist, it is a place where the essential character of man’s relationship with nature is concentrated and distilled: “Swaths of urban detritus carried by the runoff become ensnared in the tangle of wildlife. Frayed shopping bags, tangled nylon string, shredded clothing, strips of printed-matter festoon the leaf-stripped branches, jetsam flapping in the breeze like Tibetan prayer flags.”

While deliberately ambiguous in it’s narrative, the work aims to reveal a sense of “natural meddling gone awry” while also engaging with the viewer on a psychological level. In the mirrored wall relief, the viewer is faced with their own reflection in a “Rorschach” pattern that their mind seeks to understand, decode and decipher. The use of lighting commonly found in clandestine indoor growing operations adds to the sense of a space that is both natural and artificial, beautiful and unsettling.