by Paul Mazier, LA WEEKLY 11/21/19
...... PM: Taking that journey, you may not know why but it’s our job to go — not knowing the outcomes. It’s understanding the interior landscape as much as the exterior. Looking at your show, I get this clear sense that it’s the artist’s job to navigate those spaces.
HB: You can’t help but find something extraordinary if you give yourself the space and time, the curiosity to go there without pinning it down or seeking something specific. Even if it’s just finding rest when you don’t expect to find rest. As an artist that paints and draws expressively, that’s always a super rich area for experiential information.......
KCRW Art Insider Newsletter
Lyndsay Preston Zappas writes: At Bozo Mag, a gallery in a back-house in Highland Park, Hayley Barker’s paintings feel open-ended, as if in the process of becoming. Her portraits and landscapes are made up of small multi-colored brushstrokes that make the works feel alive with movement and activity. In Eclipse, a group of people lounge in a psychedelic landscape, almost indistinguishable from the mountains they sit on. Elsewhere, a figure floats atop a woman’s face, as if portraying an inner self that is seldom seen. The work is at once introspective, and longing for community, as if the brushstrokes might bleed off the canvas and into the world outside.
Bozo Mag is pleased to announce "LATE BLOOMER", an exhibition of new paintings by Hayley Barker. These recent works have been executed during a period of deep personal change. All paintings are oil on linen.
Opening Reception: Sunday, October 6th
( 2 - 5 PM )
Hayley Barker was born in Oregon in 1973. She received her BA from the University of Oregon, and her MA & MFA in Intermedia from the University of Iowa. She has recently had her work featured at La Loma Projects (LA), Tiger Strikes Asteroid (Chicago), Big Pictures LA, GAS (LA), " The Glendale Biennial" curated by the Pit at the Brand Library & "The Divine Joke", curated by Barry Schwabsky at Anita Rogers Gallery (New York). This is Hayley Barker's third project with the gallery. She lives & works in Los Angeles.
[During the closing of this exhibition, Hayley Barker will host the last installment of Barker Hangrrr at Bozo Mag. Barker Hangrrr is a roving flat file featuring drawings by over 100 artists. The closing will be Sunday, December 8th.]
815 Cresthaven Drive, Los Angeles CA 90042
*Enter through the gate & walk towards the back-house*
Open Hours: every Sunday, 12-5PM
(until Sunday, December 8th, 2019)
(image: Tell me about spring, 28 x 22," oil on linen, 2019)
Summer Formal, with Hayley Barker, Jason David, and Nancy Ford is a show that coalesces around texture, mark making and colors, inadvertently expressing a casual optimism that complements the season. Hayley Barker’s two paintings, Bathers 1 and Bathers 2 are virtuoso examples of wildly active but ultimately controlled mark making. Almost completely abstract, her paintings hover between constructed and deconstructed images. They suggest idyll landscapes, but leave one consumed by the highly energetic force field that almost overwhelms them. Eventually your eyes settle into the frenetic network of lines, shapes and colors to find the figures within the overgrowth. Like a psychedelic vision, the paintings dissolve boundaries of self and surroundings, yet Barker manages to create a unified experience. She demonstrates a masterful control over her work, harnessing the variety of her painting strokes and an ambitious color palette. Barker, an artist to watch, sets a high mark with these two exciting paintings.
-by Lorraine Heitzman
Sunday, July 21
NOW(n)…PERSON, PLACE OR THING
December 15 – January 26, 2019
Drawing Club: Saturday, Dec. 15, 2018, 12 - 3 p.m.
Opening Reception: Sunday, Dec. 16, 2018, 12 - 4 p.m
TSA Chicago is proud to present an exhibition that features artists from Los Angeles who use a variety of media to produce work that exemplifies traditional practices of drawing. This exhibition is coordinated by Josue Pellot and curated by Los Angeles-based artist Mario Ybarra Jr., co-founder of Slanguage Studio, an artist-run storefront project in the Port of Los Angeles, City of Wilmington, CA.
For NOW(n)…PERSON, PLACE OR THING, Ybarra invited a group of his Los Angeles contemporaries who, like him, engage in a drawing practice. These practices range from pencil on paper and embroidery to collage and printmaking. In addition to presenting work by the artists in this exhibition, TSA will also host Ybarra’s Drawing Club, which was founded in 2011 in Aarhus, Denmark and most recently held when Ybarra was a faculty member at the Skowhegan School of Painting and Sculpture in 2017. The Drawing Club will take place on Saturday, December 15th from 12-3 p.m.
The Barker Hangrrr is pleased to announce its participation in the Other Places Art Fair, which describes itself as:
Fluid in definition, bonded by an intention to operate in other places outside the traditional art gallery systems, Other Places art fair (OPaf) features participants presenting site-specific booths encapsulating their projects and programming. Representing the growing movement of hard to define art project spaces, OPaf provides a custom art fair structure designed specifically for these unconventional projects.
OPaf 2019 is a two day event taking place on March 2 & 3, 2019 in San Pedro, California.
Over 150 artists will be presented at our "booth" (blanket).
More to come... xoxoxo
Viewing art in traditional and formal settings can be an alienating experience and physically unaccommodating, however, for many of us, art is a tonic, a soma, or even an analgesic... that calls for a more tangible and comfortable viewing experience.
AN ART DEN breaks down conventional systems of art viewing and invites visitors to sit comfortably on a pillowed floor and sift through works by over 100 artists. Works may be leafed through, held, shared and passed around to other attendees - not unlike an Opium Den or Hooka Lounge.
This direct and communal viewing experience opens up exciting possibilities of chance operation and conversation about the work that will hopefully be both deep and expansive.
All of the works will be for sale and affordably priced - ranging from $20 to $900 (with an average price of $150). Purchased works will be available to take home.
Soothing sounds and served tea will add to a relaxing art viewing ambiance. *this is a one-day event only, not to be missed!
7101 North Figueroa Street Unit E Los Angeles CA 90042 (323) 600-5768
Photos courtesy GAS, 2018
Hayley Barker, Darya Diamond, Ian James, Young Joon Kwak, C. Lavender, Sarah Manuwal, Saewon Oh, Amanda Vincelli, and SoftCells presents: Jules Gimbrone
Location and hours:
Saturdays, noon–6 pm
2315 Jesse Street, Los Angeles CA 90023
Other times and locations, check Twitter @gasdotgallery
Opening reception Saturday June 9th at BBQLA 8pm-Midnight.
A limited-edition car air freshener by Ian James will be available for sale during the run of the exhibition for $10, both on-site and online at gas.gallery/editions.
A zine publication featuring an interview with theorist and scholar Sun-ha Hong, and contributions by exhibiting artists will be available for free on-site and online at gas.gallery/publications.
Amanda Vincelli’s REGIMEN (2015–17) will be available for viewing at the gallery’s website (www.gas.gallery) during the exhibition’s duration.
Please direct all inquiries to email@example.com.
How do radical ambitions of “self-care” persist or depart from capitalist society’s preoccupation with wellness and the industry surrounding it, particularly when filtered through technological advances? How can we imagine personal wellness that complicates or diverges from capitalist and consumerist tendencies? Taking its name from the common valediction, which is both an expression of familiarity and an instruction of caution, take care, is a group exhibition that considers the many tensions surrounding the possibilities of self-care.
Long before it was a popular hashtag, self-care emerged from twentieth-century social justice movements. To take care of oneself correlated to the greater health of a community, an urgent issue in the face of widespread inequality and violence. As Audre Lorde famously stated, “Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.” More recently, the term “self-care” has been commercially co-opted to sell products like spa treatments and skin cream. Further, bodies are thoroughly quantified with tracking devices, habits are caught up in cycles of accelerated production, and self-regulation exists in tandem with complex algorithmic processes that profit from individual surveillance. In order to ask what “self-care” means given this current scenario, take care, simultaneously looks back at potent activist histories and forward into speculative futures.
Some works in the exhibition explore normalizing conceptions of health and oppressive systems of diagnosis...
(Above image by Darya Diamond :)
FOR FRIENDSHIP IS COMMUNITY, AND AS WE ARE IN RELATION TO OURSELVES, SO WE ARE IN RELATION TO A FRIEND. AND, SINCE THE PERCEPTION OF OUR OWN EXISTENCE (AISTHESIS OTI ESTIN) IS DESIRABLE, SO TOO IS THAT OF THE EXISTENCE OF A FRIEND.
ARISTOTLE, NICOMACHEAN ETHICS , TRANS. CHRISTOPHER ROWE (OXFORD: OXFORD UP, 2002) 237-240
Contributed by Sharon Butler
"Poet and art critic Barry Schwabsky curated a group show, on view at Anita Rogers through June 2, in the spirit of a Mina Loy essay in The Blind Man, a 1917 Dada journal of essays and poetry produced by Marcel Duchamp, Beatrice Wood and Henri-Pierre Roché. In the short piece Schwabsky references, Loy writes that art is akin to “The Divine Joke,” something that the public could easily understand and enjoy. I think her implication was that certain art movements, such as Futurism, were too dense and rarefied to capture the public’s imagination, but that overt humor and irreverence could better entice ordinary people to engage with the visual presentation. In Schwabsky’s group show, titled “The Divine Joke,” he attempts to gather work that pulls off the same trick".... READ MORE on the blog!
Participating Artists: Hayley Barker, Olivia Booth, Lindsay Brant, Aline Cautis, Ian Davis, Harry Dodge, Roy Dowell, Ryan Fenchel, Karin Gulbran, Shaun Johnson, Silke Otto Knapp, Spencer Lewis, Caitlin Lonegan, Shana Lutker, Adam D. Miller, John Mills, Olivia Mole, Adam Novak, Devon Oder, Adrian Paules, Hilary Pecis, Ryan Perez, Corrina Peipon, Lari Pittman, Iris Porter, Rachel Roske, Kathleen Ryan, Betsy Lin Seder, Nicolas Shake, Mungo Thomson, Kerry Tribe, and Edward Weston.
Conceived and organized by The Pit, an artist-run gallery located on Ruberta Street in Glendale, Vision Valleyfeatures works in a variety of mediums including painting, sculpture, drawing, printmaking, video, photography, and film. There are no conceptual, political, or philosophical themes upon which the exhibition turns, and it does not claim to distill a particular trend, aesthetic, or idea. Instead, what is on view is a diverse selection of works that are part of an ongoing, dynamic multilogue between 32 artists living or working in the specific geographical area of Glendale, with the exception of famed photographer Edward Weston (1886-1958). Weston first visited Glendale (then known as Tropico) in 1906, subsequently setting up his photography studio in 1910. His inclusion enriches the exhibition with a significant bit of Glendale history.
A limited edition poster has been designed, printed, and published by The Pit and will be available at the opening.
Vision Valley will be on view at Brand Library & Art Center (1601 W. Mountain St. Glendale, CA 91201), from May 5, 2018 through June 22, 2018. The opening reception on Saturday, May 5 from 6-9pm is FREE and open to the public.
One hundred and one years ago—it seems like only yesterday! Or maybe it’s still tomorrow? April 10, 1917: Henri-Pierre Roché, collaborating with Marcel Duchamp and Beatrice Wood, published the first of what would be two issues of The Blind Man. A fourth contributor was the poet Mina Loy, who contributed the little magazine’s closing piece, titled “In . . . Formation.” There she wrote: “The Artist is jolly and quite irresponsible. Art is The Divine Joke, and any Public, and any Artist can see a nice, easy, simple joke, such as the sun; but only artists and serious critics can look at a grayish stickiness on smooth canvas.”
Reading this, I began to wonder: Would it be possible to go against the spirit of our time as Loy and her friends went against the spirit of theirs, and in so doing reclaim for art something of this solar humor, this celestial irresponsibility?—to present such a notion without entirely losing one’s status as a serious critic.
I thought I’d better try.
The idea would be to present some paintings, or works in the vicinity of painting (some of them are really photographs), that seem to me to embody the divine joke that Loy cracked a century ago. Some would be by artists whose work I’ve followed for some time, but others would come from practitioners I’ve only recently discovered—for spontaneity is essential to humor, isn’t it? In the end I chose a geographically and generationally dispersed six:
Hayley Barker lives in Los Angeles. Her visionary paintings are relentless storms of mark-making that always have a face; it might evade your glance or stare you down. Varda Caivano—born in Buenos Aires but a longtime Londoner—makes some of the most elusive paintings being done anywhere today; they turn their maker’s dissatisfaction with almost any solution into a kind of involuntary ecstasy. Embracing the ambiguity between figuration and abstraction, Brooklyn-based Sarah Faux creates visual metaphors for jouissance and they practice what they preach. Los Angeleno Adam Moskowitz also cultivates the edge where images go abstract, but his photographs printed on concrete bliss out on space and structure rather than dwelling in the organic. The ever-mutating fields of Francesco Polenghi’s paintings recall the sea, whose constantly fluctuating surface reflects its immovable depths: constant transformation as the appearance of a stable and unchanging underlying process is the subject of this Milanese artist’s work. Finally, Puerto Rican-born, Brooklyn-based Rafael Vega has spoken of wanting painting to “force its immediate past into a state of ‘vibration’ (try to imagine a delocalized electron), by small tweaks”; his recent unstretched canvases let that vibration get stronger than ever. All six of them fulfill Loy’s definition of The Artist—and yes, she always capitalized the word and put it in bold—as someone who can “never see the same thing twice.”
--David Pagel, LA Times
CURATED BY LAURIE NYE
MARCH 17 – MAY 12, 2018
Featuring Hayley Barker, Fred Burton, Spencer Carmona, Andre Ethier, Brian Fahlstrom, Helen Rebekah Garber, Rema Ghuloum, Jade Gordon, Jasmine Little, Kristy Luck, Max Maslansky, Adam D. Miller, Maysha Mohamedi, Aaron Morse, JP Munro, Laurie Nye, Jennifer Rochlin, Erin Trefry, Tyler Vlahovich. An opening reception will be held March 17th, 2018, 6pm – 9:30pm.
In 1976 The Airtight Garage, conceived by French cartoonist Jean Giraud aka Moebius, began appearing as a comic strip in the French magazine, Métal Hurlant. The garage refers to an asteroid contained in the constellation Leo, which houses a pocket universe of developing worlds, overseen by a space colonist. Collected into a graphic novel, Airtight Garage has been described as a “map of creation”, which goes beyond world-building to explore the creative act itself. The fantasy world of the Garage accommodated any idea and welcomed any representational style of self description.
Like the interstellar garage, holding an interconnected multiverse, the artists assembled for this exhibition represent a microcosm of visionary modalities. Each has developed a singular vision and created a new world born from various experiences and influences such as primitivism, psychedelic abstraction, and neo-symbolism. The artworks range from sculpture, painting, and drawing, and convey shifts between fantasy and reality. By being so thoroughly concerned with the worlds they describe these works create an interesting tension at the fringe of the contemporary art sphere, while being wholly modern in their timeless abandon.
'What Artists Listen To" explores the soundtracks of Los Angeles female artist’s lives through discussion of the tracks on the curated playlist.'
The podcats launches 17th March: on iTunes and www.whatartistslistento.com
Subscribe, rate it, share it!
Issue Four: The Pattern
launching March 3, 2018
at Charlie James Gallery
By Sacha Baumann
Our fourth issue will explore the appearance of sameness.
Collaborators will share systems of recurrences, whether found in nature, in society at large, or self-manufactured. The broadsheet will reveal repetition in our environment but also in behaviours, relationships, and personal routines. Artists, designers, and writers elaborate on the air of coherence, which is often the complete opposite: chaotic, messy, and wholly unique, despite its seeming monotony.
It’s not five minutes into the studio visit and we are already talking about trauma. Initially I feel self-conscious about this because I am always talking about trauma.
by Jennifer Remenchik
Luckily, she has her own history and it’s one of her favorite topics, too. She offers me a drink of sparkling water which I readily accept as I take a longer look around the room.
What jumps out at me immediately is the singularity of her imagery; every painting and drawing visible contains the image of a face. Emmanuel Levinas once famously said that the face “presents itself, and demands justice,” and it is through this ethical sentiment that we can begin to confront the work of artist Hayley Barker.
In the aftermath of a trauma we often ask ourselves spiritual questions, and yet anyone who has been on a quest for meaning knows there are a lot of detours on the road to enlightenment, many of which involve money scams, half-baked ideas, and just plain disappointment. A painting “Opened my root chakra now what? Volcano” (2017) playfully alludes to this reality without coming across as disrespectful. Another drawing “i opened my eyes and chose not to see” (2017) sounds more serious in its ramifications. Did the “i” mentioned choose not to see because she’s found a deeper reality or truth, or would she simply rather remain in denial?
Barker describes her work as depicting “spirits and guides, goddesses and sometimes versions of myself, disembodied,” and the characters in her work do in fact feel bodiless. Built up of small, fragments of color that draw heavily on the legacy of pointillism, her spirits seem almost-invisible, caught in a space between arrival and exit. We end our evening that night with a promise of studio visit reciprocation, and in the morning I awake to a notification that barker_hayley mentioned me in a comment.
Barker has posted an image of a new “bed drawing,” an ongoing series of artworks she makes very early in the morning. The series depict a range of emotions, many of them veering towards angry, and contain the immediate simplicity of raw, honest communication. The comment beneath the image reads, “inspired by our talk last night @jennifer_remenchik,” and the title encapsulates our conversation in a question: “how can we show our traumas, how do we?”
Read on in the Curate LA Blog....
Limited edition of 25
All are XXL
beddrawing by Hayley Barker
essay by Blair Saxon-Hill
designed by Antonia Pinter
hand-dyed & printed by Alex Seastrom in LA
Email me for your's.
The essay on the back of the shirt reads:
HAYLEY BARKER: 13 Paintings and some beddrawings
Barker’s energetic works maintain a central composition; a reflection—a woman—she gazes outward or in towards us from the page. A guide. It reads as having been divined. And yet, we are at once reminded of Barker’s hand in its giddy quality, witnessing her play against the tooth of the paper; like a cat batting a mouse. Lines curve inward, moving from petal to spiral. They quiver, dot, dash, push and “x” before starring here and later on panel. Contorting her hand, Barker annunciates pleasure. Her allover marks are often gentle—even when her figure’s eyes and mouth are possessed with an inaudible answer and outrage. I ask her, “Where are they angry?” She says, “In the mouths.”
(c) 2018 Blair Saxon-Hill
Bozo Mag is pleased to announce "Open Studio", a showing of new works by Hayley Barker.
This event will be the first in a series of engagements to occur in Bozo Mag's new, temporary location.
Opening reception: Sunday, February 4th, 2018
On view: 13 paintings by Hayley Barker
Also Featured: Selections from the "Bed Drawings" series. Copies of the second edition of "Vintage Self Help", a book of short essays on Trauma. Copies of "Beddrawings: Dark Goddesses, Queens, & Swamp Things", designed by Antonia Pinter. Limited-edition bedshirt in collaboration with Blair Saxon-Hill.
Open Sunday, February 4th until Friday, February 16th
Bozo Mag located: 5376 West Adams Blvd., Los Angeles, CA 90016
(Enter on S. Burnside Avenue thru the Gate door.)
bozomag.com • 323 896 0712 for more info
Closing wil be Friday 2/16/18 from 7-10 PM!
Buy the first book of Beddrawings!
DARK GODDESSES QUEENS SWAMP THINGS
Edition of 150
A selection from the first 350 drawings done during of the first year of beddrawing.....
Designed and edited by Antonia Pinter
For sale at Bozo Mag, Los Angeles
Williamson/Knight, Portland, Oregon
Recommendation by Richard Speer
Continuing through February 24, 2018
Long a familiar presence in the Portland art scene, painter Hayley Barker has for the last three years been based in Los Angeles. In the mixed-media paintings that comprise “AMPM,” she depicts a goddess-like figure who confronts the viewer with an implacable visage, crowned by a floral headdress. Who is this proto-feminist idol, and is she a totem of pulchritude, fearsomeness, or both? Barker leaves such speculations to the viewer.
The show’s title alludes to false dichotomies between day and night and the ways in which artists move fluidly between them. The painter has retained the dense jots and dashes that characterized her previous brushwork, but has pared back her lush impasto for a more graphical sensibility. Viewing the current compositions is like gazing through her older pictures with the benefit of X-ray vision: laying bare the maze of mark-making that undergirded those earlier works without the distraction of surface effects. The obsessively compact lines and reiteration of the same semblance in painting after painting yields fresh insights into the imagination of a painter intent upon themes of mysticism and metaphor.
January 19 – February 24, 2018
Reception: Friday, January 19, 2018
6:00 – 8:00pm
Williamson | Knight is pleased to announce AMPM, an exhibition of new paintings by Los Angeles artist Hayley Barker. The show will open January 19 and run through February 24, 2018. A reception will be held on Friday, January 19 from 6:00 to 8:00pm. Gallery hours are Thursday through Saturday, 12:00 to 5:00pm.
AMPM—like the convenience store. You walk in, looking to quench some kind of thirst. You want quickness and reach around, grabbing for something that does the job. All day. All night. Like dreams and psychological states. Spiritual experiences that you ultimately enter—knowing delicacy or disappointment. There is a little bit of everything in the store, but maybe not exactly what you want. Maybe it’s not enough.
In dreams and in shamanic meditation, there comes a flow of both spiritual and mundane imagery. Messages from guides and one’s intuition. Meetings with spirits, goddesses, and versions of my-self. The paintings are self portraits; they are icons—reminders of who I have met, been, and could be in vast internal realms. They start with the “beddrawings” then become paintings. They include text and faces which come intuitively in morning drawing practices and reveal a woman-looking self in a slightly awake state. This is a state of desire, anger, exhaustion, and anxiety, all at once.
+Vintage Self-Help, a new book of writings by the artist, will be released and available during the opening reception.
(Above Studio Photo of HB by Trulee Grace Hall (c) 2018)
About the curator: Sacha Baumann is an artist, designer, and arts business professional living and working in downtown Los Angeles. She is the curator and publisher of FULL BLEDE, a free, independent contemporary broadsheet featuring art, writing and design; Issue Four: The Pattern is currently in production. Sacha is a Master of Art, Art Business candidate at Claremont Graduate University, Sotheby's Institute of Art / Drucker School of Management. She holds a Bachelor of Arts degree in Visual Communication from San Francisco State University.
Limited Edition box of prints by 10 LA Artists:
Michelle Blade (not pictured)
Release party at The Pit on December 3rd!
The Binder is also available on https://www.thebinderofwomen.com/
Conceptualized in Los Angeles this year by painter Hilary Pecis, Binder of Women is an independent platform for contemporary artists to directly share their work as they see fit. This is a unified move to empower female artists, expand their reach, broach the topic of equality and consent in the art world, and take action to grow the number of works by female identifying artists in contemporary art collections.
WEDNESDAY, AUGUST 16, 2017
A face painted on plastic hangs at the top of the carpeted stairs leading up to Abode Gallery. You have to push past it or duck under it to enter the rest of the space, where Hayley Barker has installed her exhibition “New Paintings” (nomadic exhibition program BozoMag is presenting the show while Abode’s founder, Katie Bode, takes a break until fall). In an elegant handout placed on the mantel, Barker describes these paintings as spirits, guides and goddesses. The faces she depicts appear vaguely feminine and vague in general. It’s hard to tell where the speckles and marks end and the face begins in a painting hanging inside the defunct fireplace. The figure in BAT TIME (hands cover face), hanging above a kitchen table, is ghostly and obscured by flowerlike shapes, as if she’s haunting a garden on a rainy day. 840 N. Wilton Place, Hollywood; through Aug. 27. bozomag.com.
Bozo Mag is pleased to announce, “New Paintings”
by Hayley Barker at Abode.
These are the faces of spirits and guides, goddesses, and sometimes versions of myself, disembodied, that I meet when I journey. When I meet someone new in shamanic meditation I try to feel them, their energy. I try to discern their faces, and features, but oftentimes am left with little more than a shifting impression of their facial sphere. I may be listening to one speak for a long time, but barely be able to see their face. I feel I know them, even though I cannot fully see them. They are felt, known through not seeing.
Each one tests my ability to discern subtle energies.
When I am scared I tend to want to leave my body, but these guides are teaching me to stay in my body, even when
I cannot see the being right in front of me.
This exhibition will be on view from Sunday, July 16th, until Sunday, August 27th.
An opening reception will be held on Sunday from 5pm to 8pm at 840 North Wilton Place.
Opening hours will proceed on every Sunday, from 12pm to 5pm, until Sunday, August 27th.
840 North Wilton Place, Los Angeles, CA 90038
bozomag.com • 310 773 8287 for more info
Now up through May 14th, 2017.
Hayley Barker, Amy Bessone, Vanessa Conte,
Daniel Gibson, Namio Harukawa,
Joshua Miller, and Eva Sealove
One child grows up to be
Somebody that just loves to learn
And another child grows up to be
Somebody you'd just love to burn
Mom loves the both of them
You see it's in the blood
Both kids are good to Mom
"Blood's thicker than mud"
It's a family affair…
Keep, keep it together
Keep, keep it together
Keep people together forever and ever
This exhibition is on view from Sunday, April 16th 2017 until Sunday, May 14th 2017. An opening reception will be held on Sunday from 2pm to 6pm at 9755 Yoakum Drive. The opening will also host the release of Hayley Barker’s “Vintage Self-Help”, a book of short essays.
Open hours will be on Sundays from 10am - 4pm, and by appointment.
9755 Yoakum Dr. Beverly Hills, CA, 90210
Twelve short essays on trauma, nature, shamanism, illness, art and time. Text and drawings by Hayley Barker. Perfect bound, with newsprint poster. Produced by Cherry & Lucic, edited by Katie Ford, designed and bound by Sammie Cetta, printed by Ryan Patrick Krueger. (c) 2017. 46 pages.
Email me to buy one. hayleycbarker(at)gmail.com or go to the Bozo Mag Store, link above.
featuring Hayley Barker, Jason Berlin, Eryn Boone, Rachel Brown Smith, Anna Fidler, Elizabeth Malaska, Veronica Reeves
The Goddess Show, opening at Rainmaker Gallery on Friday, April 7, is a group show organized by Rainmaker resident artists Rachel Brown-Smith and Veronica Reeves and features Hayley Barker, Jason Berlin, Eryn Boone, Rachel Brown-Smith, Anna Fidler, Elizabeth Malaska, Veronica Reeves. This exhibition of West Coast artists highlights feminine divinity and spirituality that is independent of patriarchal ideology.
Now Burning is a group show featuring incense and burners made by over thirty artists from the United States and Canada. Artist-made Incense will be burned in each artist-made burner over the course of the exhibition. Invoking the pragmatic and mystical properties of scented smoke, the exhibition will ceremoniously cleanse the space of previous occupants’ residue. This non-visual announcement will cultivate a meditative, mildly psychoactive atmosphere and prepare the ground for subsequent exhibitions.
Pictured: StarBlade 2016, Steel & Acrylic
Gallery Protocol is pleased to present no-place, a group exhibition curated by Iris Williamson. no-place features painting, drawing, sculpture, and digital media by Hayley Barker, Alisa Bones, Andrea Brown, Akina Cox, Brooks Dierdorff, Natalie Escobar, Jackie K. Johnson, Angélica Maria, Millán Lozano, Jess Perlitz, Nicolas Sassoon & Rick Silva, Eileen Isagon Skyers, Lindsay Preston Zappas. The exhibition opens with a reception on February 24 from 8:00PM to 11:00PM and runs through April 7.
In no-place, utopian motifs—such as lush foliage, remote islands, and the swirling heavens—are confronted by consumerist objects, sharp thorns, chains, and smokestacks. The exhibition anticipates and engages the failures that occur in pursuing an ‘ideal reality.’ As the title suggests,
many works speak to ‘utopia’ as an act of dislocation—from the particulars of a specific place, or even a specific body. Abstracted figures negotiate environments composed of signifiers, and spaces open up for travel beyond the physical world. no-place invites viewers to consider self-care as the first step in caring for and creating new worlds.
(Image by Akina Cox)
WOMEN ON THE FENCE
Works by Women, for Women
Desert Hot Springs, CA, November 5, 2016– WOMEN ON THE FENCE (WOTF) is a one-day paper show of radical LA artists in conjunction with the three-day women’s festival and retreat: MOTHERSHIP, brought to you by HER/LA, and curated by Hayley Barker and Andrea Marie Breilling.
WOMEN ON THE FENCE: This one-day art show will feature the work of over 30 feminist women artists from Los Angeles. Works will be hung outdoors on the chain link fence that demarcates the interior space of the MOTHERSHIP festival.
MOTHERSHIP is a three-day outdoor festival for women that features feminist and queer-friendly music, workshops, camping, and community.
Artists in WOTF include: Lilly Aldriedge, Shaga Ariannia, Sarah Awad, Hayley Barker, Andrea Marie Breilling, Anna Breininger, Tanya Brodsky, Virginia Broersma, Sally Bruno, Sara Chao, Sara Clendening, Carrie Cook, Alika Cooper, Akina Cox, Nikki Darling,Yasmine Diaz, Sarita Dougherty, Catherine Fairbanks, Nikita Gale, Rema Ghuloum, Sarah Gilbert, Meghan Gordan, Trulee Grace Hall, Kyla Hansen, Melissa Huddleston, Angie Jennings, Kara Joslyn, Molly Larkey, Sophie Lee, Clare Little, Tiffany Livingston, Kristy Luck, Annelie McKenzie, Erin Morrison, Megan Mueller, Erika Ostrander, Lauren Quin, Rachel Roske, Nancy Stella Soto, Shanna Waddell, Julie Weitz, Suné Woods, Lindsay Preston Zappas.
A few shots from our show in Desert Hot Springs... at HER/LA's Mothership Festival.
Egyptian Art & Antiques is pleased to announce "The Space Born", a new exhibition of paintings and installation by Hayley Barker and Conrad Ruiz.
The Key to Above and Below is The Key to the Freedom of Space. Oh, Secret of Secrets: Manifest! This is Nature’s Excessive Game. The blood above and the blood below. This Space is Born, the Space is Born.
The show will open on Saturday, June 18, 2016, at 170 S. Beverly Drive Suite # 320, and will continue on view through Sunday, July 10, 2016. An opening reception will be held on Saturday, June 18, 2016 at 8:00 P.M. A closing reception will be held on Sunday, July 10, 2016 at 7:00 P.M. Open hours will be as follows:
Saturday, June 18, 2016 8-11PM
July 10, 2016 7-9PM
Egyptian Art & Antiques
170 S. Beverly Dr. Ste. 320
Beverly Hills CA 90212
Exhibition runs May 6–29, 2015
Opening Reception: Friday, May 6, 2015, 6:00–10:00 PM
Carl & Sloan Contemporary is pleased to present a solo exhibition of new works by Hayley Barker, titled The Ambassadors.
The exhibition’s namesake, The Ambassadors, is derived from the Late Gothic master Hans Holbein’s painting of the same name. The painting is notorious for the inclusion of an ethereal floating skull. Seemingly from another dimension, the skull is stretched across an otherwise traditional painting. This symbolic intrusion acts as a break in time and space reminding us of the sacred and spiritual existing between life and death.
Barker draws upon this break. Her new work waxes and wanes between paintings of spiritual experiences to unstretched canvases acting as sacred tools, portals, and guides to accompany her personal meditative rituals. The works become lyrical interpretations of these energetic spaces, beings, and props.
Prior to the opening of the exhibition, Barker will conduct a private ritual within the gallery to bless, play with, and make use of the paintings; her private ritual being an improvised reenactment of a healing ritual she did 20 years ago in front of an invitation-only audience. This continues her decades long feminist, nature-based spiritual practice. The finishing ritual imbues the work with the very illusory and invisible energy she has drawn from throughout her life.
We encourage you to read the following in contemplation of this new work and the artist's own attempt to understand the purpose of these mysterious works that are both light-hearted and deadly serious:
The blanket, the milky way, her robes
Bugs Bunny's rabbit hole
A space that is a thing/being
An object that is a holding cell and entrance
The angle of viewing
The angel of viewing
Dried paint wet underneath
Blessed and prayed on, private ceremony
The skull smeared across the bottom of the painting
Witch, wardrobe, lion
The shift holding wind made into a sail
Bandages removed sort of holding the shape of the body they patched up
Speech bubble, differing text balloons
Rough drafts for future healing tools, mine, maybe our's, your's?
Your pocketknife, his weapon, their scissors, her blade of grass
8-bit thunderstorm groove on loop
The solo re-enactment of a performance from 20 years ago, learned, but not by watching the VHS tape with bad tracking
What I see when I try to recall your features
The Ambassadors by Hayley Barker opens Friday, May 6, 2016, 6–10pm and will run until May 29. For more information, please contact the gallery at 360.608.9746 or info [at] carlsloan.com
Image: Power Stance, 2016, oil on linen, 60 x 48 inches
In the new edition of The Harvard Divinity Bulletin, you will find Sarah Sentilles' review of "Apparition Hill" and Mary Szybist's book of poetry, Incarnadine. This article is based on a conversation we had back in May 2014 in the gallery. An excerpt:
"While Barker and Szybist talked about their creative practices, about “repurposing traditions” rather than abandoning them, I couldn’t help but think of the iconoclasts, who aimed their hammers at the parts of the sculptures that mattered most—their open eyes and their noses. Vision and breath. They didn’t destroy the statues. They didn’t leave them unrecognizable. They simply made them incomplete, broken, missing something essential, and the holes, the emptiness, made sure no viewer would forget they were artifice, constructed, lest people get confused, lest people think the painting of the saint is the saint herself...."