past exhibition
Roberta Gentry
01.06.18 - 01.27.18

Opening reception Saturday, January 6th 7-10pm

Ships is an exhibition of new work by Roberta Gentry made up of segmented and stacked groups of shapes in paintings and turned wood. The paintings are bilaterally symmetrical impossible structures that float above beds of pattern. The sculptures are created on a wood lathe, and include a 12 ft. carved pole, as well as strings of painted beads.

Roberta Gentry received her MFA from SUNY Albany and her BFA from the University of Arizona. She has had solo shows at the Joyce Goldstein Gallery in Chatham, NY, and at Stanica Cultural Center in Zilina, Slovakia following a residency funded by the US Embassy. Group shows include Durden and Ray, Brand Library and Art Center, and Left Field Gallery. She lives and works in Los Angeles.


On view Saturdays, 12pm to 4pm through January 27th and by appointment. To schedule a visit, email elephant:

past exhibition
Erica Ryan Stallones
11.03.17 - 11.26.17

Opening November 3, 7 - 10pm

The mission of STAR DECK Academy is to explore the physical and symbolic connections between mind, body, spirit and matter through the language of Our Solar System. The point of orientation is Earth, by which is meant The Native, a role we all play beginning at the moment of birth.

The material presented in this inaugural exhibition is both research-based and intuitive. The Academy Star Deck attempts to discern the collective pull of the major planetary bodies through the creation of a series of symbols (i.e. “paintings”).

Meanwhile, in The AstroAerobics Lab, constellations are explored in relation to the (physical, human) body so as to understand through experience the many variables present within a given natal chart (i.e. “life”).

Saturdays & Sundays, 12pm - 4pm  11/3/17-11/26/17

past exhibition
support, for beginners
Josh Atlas
10.07.17 - 10.28.17

Elephant is pleased to present Josh Atlas’ exhibition support, for beginners. The exhibition will open with a reception on Saturday, October 7th from 6 to 9 pm and will be on view through October 28th.

With this body of work, Atlas wants to open space for empathy. Though the objects are slight, their visual strength helps them hold their posture. Slips of paper jut from their spines, creating a space for breath. Moment to moment, they maintain their surety.

The sculptures are wall mounted and face directly outwards. They are solid and open. Nothing is hiding, nothing is trying to trick you. They present themselves clearly and plainly, giving all they have to offer.

In the Stacks series, several pieces of paper are pierced by wood, making many bodies into one. Their interdependence creates wholeness. In the Mounds series, ribbed shapes reach off to the side. These pieces push their focus into the thin edges between blocks of color and pieces of paper. Separate elements merge with the clarity of a single body.

Josh Atlas was born in Brooklyn, New York. He studied at Carnegie Mellon University (BFA, 2005) and Mountain School of Arts (2015) and attended residencies at Wassaic Project, Vermont Studio Center, and Creative Arts Center - Woodside. His work has been shown in group exhibitions at Regards (Chicago), MAMO (Marseilles, France), Klowden Mann (Culver City) and Allegra LaViola (New York). Josh Atlas lives and works in South Pasadena, California.

On view Saturdays through October 28th and by appointment. To schedule a visit, email elephant:

past exhibition
Fabric of the Particular
Curated by Michelle Chong
09.08.17 - 09.30.17

Opening Friday, September 8, 7-10pm

Featuring work by
Laida Lertxundi
Victoria Lucas
Chris Mancinas
Renée Petropoulos
Brandy Wolfe

The group show Fabric of the Particular pulls its name from Roberto Bolaño’s collection of short stories, “Last Evenings on Earth,” where the narrator and his dentist discuss the nature of art. The dentist explains art comes from "the story of a life in all its particularity. It's the only thing that really is particular and personal. It's the expression of, and at the same time, the fabric of the particular.”

The curator, Michelle Chong reflects on how the personal is expressed through particular choices, and how intentions are manifested into social commentary. More specifically, the works in the show explore the relationships between self and body, body and landscape, identity and place, and mortality and ritual.

Laida Lertxundi works in moving image, photography and printmaking. Her main body of work is shot on 16mm in a process she calls Landscape Plus, which combines filmic records of people and places with a strong emphasis on sound and pop music, resulting in languid passages of cinematic language, bodily desire, and existential awareness. She employs a fragmentary approach to editing in which cinematic forms of storytelling are replaced by a focus on process and materiality. Her work highlights the tension between form and the experience that will always exceed it.

Victoria Lucas’ practice led research aims to investigate the analogy of the artificial landscape as an ideological mise-en-scène, to challenge anti-progressive frames of power through the construction of imaginary place as artwork. Limiting orthodox idealism has gained a foothold in western politics, fueled by the widespread manipulation of facts and a populist shift towards right-wing agendas. Drawing upon imaginary fictional space, the staging of the work cites cinematic, geographic, and literary frames and references in order to interrogate the power of constructed heterotopic resistance against unquestioned privileges of power from a feminist perspective.

Chris Mancinas explores the power of language in reworking the self and reconfiguring identity through text, textile, and sculpture. They describe this as “Leaning with intent to fall, fall forward with unabashed fury, to be and become, embracing the truths, the sort of truths and all of the tru-ish-isms.”

Renée Petropoulos presents drawings of signs and symbols consciously arranged to explore their functions, their monumentality, their changing histories, and conventions. As Bolaño’s dentist further describes the fabric of the particular as moments in life, “the secret story… the one we'll never know, although we're living it from day to day, thinking we're alive, thinking we've got it all under control and the stuff we overlook doesn't matter. But every single damn thing matters! Only we don't realize. We tell ourselves that art runs on one track and life, our lives, on another, and we don't even realize that's a lie," Petropoulos explores the dialectical relationship between our private lives and our public lives and how they are woven intricately together. Her work navigates between personal and political representations, tearing at the threads that weave between the facets of our lives as individuals and as subjects.

Brandy Wolfe’s photographs start with an exhibition catalogue or an informational book, from which she cuts out the subject central to the text. What remains in the book is the framework/support for the now missing objects. After arriving at a desired composition within the physical pages of the book, the pages are scanned, edited, printed in pieces on cheap computer paper, and taped back together. Embracing an in-between-ness while also emphatically positioning themselves as cultural objects of worth, the resultant large-scale images are a conflation of two- and three-dimensional space. While the intended narrative of the source material is now splintered and broken, there still remains a desire to piece together the fragmented forms, shadows, and spaces into new narratives—to impose a new hierarchy onto the void.

The images in the series Memoriam Holera (a rough Latin translation for memorial greens) started out on the pages of a 1949 book entitled Favorite Flowers in Color. While originally drawn to the book for its fetishized images of affect (in the form of beautifully lush flowers and the carefully constructed context they were photographed in), the resultant abstractions became a meditation on the relentless mutation and division of cancer cells, following two recent excisions of a phyllodes tumor. Through weeks of cutting, scanning, and editing more than 500 pages of greens, a series of fragmented landscapes emerged that float in and out of focus—with moments of beautiful lucidity and hidden murk.

Michelle Chong is an artist based in Los Angeles. She received her MFA from Otis College of Art and Design and her MA in Psychology from Antioch University. She is the founder of Short House and has served on the board of FAR and SASSAS.

Exhibition on view Saturdays through September from 12-4pm and by appointment. To schedule a visit, email elephant:

past exhibition
Varieties of Disturbance
Joan Weinzettle
07.09.17 - 07.30.17

Opening reception Sunday July 9, 7-10pm

Varieties of Disturbance is an exhibition of sewn works on paper that hover somewhere between textile and drawing.

Completed over the past two years, the works reveal the desire to process, distort, partially erase and release text surfaces taken from stories, poems, reviews, and most recently, opinion pieces and current news into an altered state of being. Asking to be read again, the works shift back and forth between what we know and what we no longer see.

Using cotton thread and ordinary machine sewing the work is visually grounded in the basic structure of plain weaving and netting, referencing lines in nature and ancient and contemporary textiles.

Joan Weinzettle (b. Pittsburgh, Pennsylvania) is a Los Angeles based artist. She received a Bachelor of Fine Arts in Textiles from California College of the Arts in 1985. She has exhibited work in the LA area most recently in WOVEN, a group show at Sturt Haaga Gallery curated by John David O’Brien and SAMPLED, a group show at Offramp Gallery curated by Anita Bunn.

On view Saturdays from 12- 4 and by appointment. 

To schedule a visit, email elephant:  

past exhibition
Rock Collection
Elizabeth Loux

If you are a rock, what are you doing?
  1. Someone threw me and I’m flying through the air.  Small things hit me as I fly but my shell     deflects them.  I’m going to land at some point and my shell will protect me.
  2. Someone is holding me in a closed hand.  Their other hand is cold but this one is warm because they keep squeezing me, on and off.  They are messing with my shape but I don’t  change.              
  3. Not really doing anything.  It’s cold outside and my shell is colder than the air.
  4. Someone is trying to clean me.  They are trying to take responsibility for their impact on me by cleaning the mess.  Sometimes, an object makes it easy by being easy to clean, but I am rough and porous and trap dirt.
  5. Someone is trying to clean me, but this time, I am nonporous.  I am easy to clean and minimize their impact on me by being resilient.
Elizabeth Loux is an artist and residential cleaning lady from Philadelphia.  While cleaning, she projects herself onto the objects that she is maintaining. These objects are referenced in her work through mold making and the use of materials found in new construction.  She road tripped to Los Angeles with these sculptures in or on her car.

past exhibition
Meghann McCrory
05.12.07 - 05.27.17

Opening reception: Friday, May 12, 7-10 PM

Start in the middle. Go from there.

See the pattern. Follow the thread.

Look at this. Stay a moment. And then another. And look, now we’ve been here a little while. Each moment builds on the last. Each action prescribes the next.

Do something. Do it again.

We’ve got infinite bandwidth; the scroll is never-ending. Swipe, zoom, pinch.

My ears are ringing. Are yours?

My attention is all I have. It’s finite and it comes with an expiration date.

Hold it. Pay it. Capture it. Draw it. Get it. Grab it. Ask for it. Focus it.

Start in the middle. You have to start somewhere.

It’s like a possession, an obsession, a procession. When turned around, it becomes a kind of protection. It is a process. I am possessed. I mean I feel processed. I mean I am a process. What was I saying. What? Is what I was saying.

Your attention is all you have. It’s finite and comes with an expiration date.

Grab a thread and pull. Grab a corner if you can. Hold on. It’s all you can do isn’t it. Hold on. Just for a sec. And then another. That’s it.

It’s something, isn’t it. It really is.

Meghann McCrory presents MESHWORK, an exhibition that explores meshes, nets, pattern and drift. Springing from previous works that looked into the entwined histories of textile production and binary computing, this exhibition explores the more intimate material possibilities of textile-inspired vocabularies. Adopting parametric processes in works on paper and a new textile-based sculpture, the installation plays with distortion, distraction, attention and resonance.

Meghann McCrory is an artist based in Los Angeles. Her work includes sculpture, performance, photography and writing. Originally from Albuquerque, she earned her MFA from CalArts and her BA from Wellesley College. 

Gallery hours on May 13th, 20th and 27th,12-4 PM
and by appointment 

past exhibition
Twiddle, Poke, Hold
Liz Nurenberg
04.09.07 - 04.29.17

Opening reception Sun, April 9th, 2-6 PM

In the 21st century we have become accustomed to holding our social interactions in our hands. These interactions are slick and technological; they limit the physical intimacy that is possible through touch. In Twiddle, Poke, Hold, Liz Nurenberg exhibits a series of hand held forms. These sculptures explore texture and handmade form through material play, both hard and soft. The objects suggest ambiguous function and are meant to illicit moments of intimacy between two people or between a person and an object. These hand holds reference product design, representation, and ergonomic form. Participants are asked to interact and investigate the objects in order to find moments of comfort and awkwardness through touch.

Liz Nurenberg (b. 1978) is a Los Angeles based artist. She received a Bachelor of Fine Art from Grand Valley State University (2003) and a Masters of Fine Art from Claremont Graduate University (2010.) She is currently a Part Time Lecturer at California State University Northridge and Otis School of Art and Design. She was awarded a fellowship to Ox-Bow School of Art and Artist Residency in 2002, a Helen B. Dooley Fellowship at Claremont Graduate University in 2010 and received a California Community Foundation Emerging Artist Grant in 2014. She has exhibited work in Southern California, the Midwest, the UK and Austria.

On view April 15th, 22nd, and 29th,12-4 PM or by appointment

past exhibition
The Blob
Jenn Berger
03.11.07 - 03.29.17

Opening reception Saturday, March 11, 7-10 pm

“Technologies are not so much an extension or an appendage to the human body, but are incorporated, assimilated into its very structures. The contours of human bodies are redrawn:  they no longer end at the skin.”

-Elaine L. Graham, Representations of the Post/Human: Monsters, Aliens and Others in Popular Culture

The Blob is a nearly 12’ tall sculpture of an obese human-like form. The folds of skin and fleshy craters make for a simultaneously abstract and recognizable figure. Filling the gallery from floor to ceiling, The Blob expands visually through the roof and physically across the room in motorized breathing puddles. With limbs and torso fitting together like a doll, the figure’s gray leather skin is also pieced together, resulting in a form both cohesive and fractal. Like a digital 3D model come to life, The Blob’s expanse obstructs gallery visitors, forcing them to navigate around this looming, spreading mass.

Open to the public Saturdays from 12-4pm, or by appointment.

past exhibition
note to self
organized by Bettina Hubby
02.04.17 - 02.25.17

Opening night: February 4th, 7-10 pm
“Edible snacks” in the deadpan style of artist Bob Dornberger will be served until they are inside everyone
Free food / Bring cash
Participating artists:

Ashton Allen
Margot Bowman
Saskia Wilson Brown & Micah Hahn                                      
Joshua Callaghan                         
Bob Dornberger
David P. Earle                                                    
Emma Gray
Bettina Hubby
Mike Slack
Intrinsically process driven, To-Do lists are both aspirational and pro-active, both of the moment and for the future. When an item on a To-Do list is crossed off, it becomes an accomplishment, but when left undone, a nagging regret. Normally not for public consumption, To-Do lists are intimate and unguarded, unpremeditated and revealing. Hinting at a work in progress, they become accidental journal entries, a place where thoughts become systems and notes become ideas, and a unique record of a particular moment in time. Once an item has been ticked off the list, the list itself is a witness to (or evidence of) one’s own power to manifest.

Works in the show are motivated by To-Do lists which are also displayed and appear in many forms: pencil on Post-it, printed out screen shot, and scrawl on a wall.

On view on Saturdays 12-4pm and by appointment.

To schedule a visit, email elephant:

* above image: Emma Gray