Calendar of Events

Anthony Pearson Opening Reception

Oct 18, 2012, 6:00pm - 8:00pm

More Info

Anthony Pearson, Untitled (Tablet), 2012. Bronze relief with silver nitrate patina, 86 x 6 x 3/4 inches. Courtesy the artist and Marianne Boesky Gallery, New York. Photo: Lee Thompson

Anthony Pearson, Untitled (Tablet), 2012. Bronze relief with cobalt patina, 88 1/2 x 5 3/4 x 1 1/2 inches. Courtesy the artist and David Kordansky Gallery, Los Angeles. Photo: Lee Thompson

Anthony Pearson, Untitled (Tablet), 2012. Bronze relief with silver nitrate patina, 86 x 6 x 3/4 inches. Courtesy the artist and Marianne Boesky Gallery, New York. Photo: Lee ThompsonAnthony Pearson, Untitled (Tablet), 2012. Bronze relief with cobalt patina, 88 1/2 x 5 3/4 x 1 1/2 inches. Courtesy the artist and David Kordansky Gallery, Los Angeles. Photo: Lee Thompson

Free and open to the public.

Cash bar. 

Thursday, October 18, 2012
6:00 – 8:00 pm

Free and open to the public. Cash bar. Food truck on site.

Join CAM for the opening of a new Front Room project by Anthony Pearson.

Anthony Pearson (American, b.1969) lives and works in Los Angeles. His sculptures and photographs explore the subtle visual and textural nuances produced by transforming various, primarily metallic materials according to their intrinsic properties. His Front Room project features a selection of recent “tablet” sculptures created through a procedure in which an original structure is formed from clay and then cast in bronze. He uses the malleable nature of clay in a manner similar to that of drawing, in which the material is worked and reworked—just as lines are drawn, erased, and drawn again—to make marks in space. By casting the final result in bronze, Pearson conversely engages a process typically associated with permanence and solidity. His previous combinations of photographic and sculptural work, in what he refers to as “arrangements,” highlighted unexpected resonances between the examinations of light, shadow, and surface in the two different mediums. This presentation of sculptures thus represents a significant departure in his practice by emphasizing their unique status as objects—simultaneously visually streamlined yet materially dense.