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Sue de Beer
The Dark Hearts
December 2, 2004 - December 5, 2004

Sue de Beer immerses her subjects into genuine teenage subcultures, complete with Hello Kitty toys, V.C. Andrews books and Morrissey albums, and lets them loose, allowing them to act out the stuff of dreams. In de Beer's fantasy worlds, teenagers are finally given the chance to avenge the loss of their innocence to the very real and very complex world outside. "The Dark Hearts" is a nostalgic romp through the punk coming-of-age process in suburban America. Part road movie, part Mike Mills romance, the narrative revolves around two teenagers sneaking out of their parents' house to go prowl the neighborhood.

Hernan Bas
as if a phantom carres'd me
October 1, 2004 - November 30, 2004

Bas' recent works are a result of his fascination with love and death as seen through adolescent eyes. His new paintings and drawings feature young, lanky dandies in macabre scenarios of secret romantic longing and obsession. Bas uses a palette of dark, saturated colors to construct his playfully sinister love scenes. He is a storyteller who finds inspiration from a wide range of literary sources, from Herman Melville's Moby Dick to the poetry of Walt Whitman to Franklin Dixon's Hardy Boys books.

iona rozeal brown
a3 the revolution... televised, terrorized, and sexualized
September 11, 2004 - October 16, 2004

In this body of work, Brown continues to explore her fascination with the aspects of Asian culture that surround identity and self expression, specifically that of the 'Ganguro,' a young, Japanese and Korean subculture that dramatically alters their appearance in order to emulate American hip hop icons.

Brown's two most recent series: a3 blackface shunga and w.o.i.m.s. take an explicit look at the power that these cross-cultural dialogues possess. The a3 blackface shunga works parallel the eroticism of 19th century Japanese Shunga woodblock prints and the increasing sexual and chauvinistic nature of hip hop culture. W.o.i.m.s. is an acronym for "Weapons of incoherent mass spending" and directly references the green worms placed around her subjects' bodies. The worms symbolize the means and blind materialism necessary to consume hip hop culture and appropriate its image for cool adulation. On a broader scale, w.o.i.m.s. satirizes the voracious nature of consumer society. Although Brown's work continues to propose that we are all really mirror images of one another, the w.o.i.m.s. series explores the dangers of reducing racial identity to appearance alone.

Anthony Goicolea
July 3, 2004 - August 14, 2004

Kidnap will consist of an architectural installation housing a single channel video, photos relating to the video and a suite of drawings and diagrams embedded into the structural framework of the installation. These elements all work together in a symbiotic relationship and provide evidence to the inner workings behind a child's obsessions. The video chronicles the passage of time during a 12-hour period from dusk to dawn. Using symbolic imagery, the video relies on iconic and allegorical childhood narratives to portray activities anchored in reality but predicated on fantastical narrative structures such as fairy-tales, fables, and myths. The still photographs give evidence to an imagined story line that exists outside of what the viewer sees in the film.

The sense of foreboding tinged with playful fantasy characteristic of the video and photos is mimicked in a suite of complex figurative drawings on mylar and plexiglass. Androgynous figures of indeterminate age float on top of and through each other in layered compositions. The ghostlike figures are caught in free-floating, awkward, transitional states: sometimes their images are doubled; sometimes they seem as if they are as much animal as human. Optically, the figures fade in and out of each other in a series of tentative shapes and patterns that read like traces of previous drawings and refer to memory and transition.

Inaugural Show
May 14, 2004 - June 26, 2004

Tara Sandroni Hirshberg and Kristin Rey are pleased to announce the opening of Sandroni.Rey's new gallery space at 2762 S. La Cienega Blvd in Los Angeles.

Architects Linda Taalman and Allen Koch, founders of Open Office in New York, were chosen to design the space. They are known for the design of Dia:Beacon in Beacon, New York, which they collaborated on with artist Robert Irwin. Taalman and Koch have re-located to Los Angeles and opened their new practice TK Architecture. This will be their first public space in Los Angeles.

To celebrate the inauguration of the space gallery artists will be making new works. Artists include:

Brian Alfred
Hernan Bas
Walead Beshty
iona rozeal brown
Adam Chodzko
Krysten Cunningham
Sue de Beer
Jane Dickson
Tom Fabritius
Anthony Goicolea
Lia Halloran
Elias Hassos
Soo Kim
John Pearson
David Schnell