{"@attributes":{"version":"2.0"},"channel":{"title":"Ariane Vielmetter","link":"https:\/\/arianevielmetter.com","description":"Ariane Vielmetter","pubDate":"Sun, 14 Sep 2025 18:08:04 +0000","generator":"https:\/\/arianevielmetter.com","language":"en","item":[{"title":"Exhibitions","link":"https:\/\/arianevielmetter.com\/Exhibitions","pubDate":"Tue, 19 Dec 2017 05:29:06 +0000","guid":"https:\/\/arianevielmetter.com\/Exhibitions","description":"\n\n\n\"The\n\"For\n\"The\n\"Arrangements\n\"The\n\"Blue\n\"Akina\n\"HexenhausAltadena,\n\"Demolition\n\"Another\n\"Square\n"},{"title":"Writing\/Video\/Sound","link":"https:\/\/arianevielmetter.com\/Writing-Video-Sound","pubDate":"Tue, 19 Dec 2017 05:29:06 +0000","guid":"https:\/\/arianevielmetter.com\/Writing-Video-Sound","description":"\nWriting\nThe Rose GardenFor the Birds\nThe Melancholy Spring\nRemainsThe FuriesBlue Violets\n\n\n\nVideo\n\n\n\n\n\nSound\n\n\nWhistle (for four women)"},{"title":"Garden","link":"https:\/\/arianevielmetter.com\/Garden","pubDate":"Mon, 06 May 2024 19:26:38 +0000","guid":"https:\/\/arianevielmetter.com\/Garden","description":"\nGarden Projects\n\n\n\"CA\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\"Flowers,\n\n\n\n\n\n\n\n\n\n\n\n\"Garden\n\n\n\n\n\n\n\n\"Eva's\n\n\n\n\n"},{"title":"CV","link":"https:\/\/arianevielmetter.com\/CV","pubDate":"Tue, 19 Dec 2017 05:29:07 +0000","guid":"https:\/\/arianevielmetter.com\/CV","description":"\nBorn\n\n 1987\n T\u00fcbingen, Germany. Lives and works in Los Angeles\n\nEducation\n\n 2012\n MFA, California Institute of the Arts, Valencia\n 2008\n BA, University of California, Los Angeles\n\nExhibitions\n\n2025\nWith Us, Traveling Exhibition, Organized by Department of Angels and Extreme Weather Survivors, Los Angeles\n Secret Asian Man presents:\nAriane Vielmetter, Commonwealth and Council, Los AngelesOne Hundred Percent, Curated by Aram Moshayedi, Los AngelesGroup Salon, Curated by Mieke Marple, Los Angeles\n2022\n Plants Now!, Vielmetter Los Angeles, Los Angeles\n2020\nCare Package, Vielmetter Los Angeles, Los Angeles\n 2019\n The Rose Garden, Ever Gold Projects, San Francisco\n Surprised by Joy, Hey There Projects, Joshua Tree\n Arcadia: Visions and Prophecies, Durden and Ray, Los Angeles\n 2018\n The Melancholy Spring, Commonwealth and Council, Los Angeles For the Birds, Minnesota Street Project, San Francisco\n 2017\n Arrangements in Undertone, Pomona College, Claremont\n 2016\n The Furies, Visitor Welcome Center, Los Angeles\n \n Modern Arts and Crafts, Eastside International, Los Angeles, curated by Astri Swendsrud\n \n Sad Sack, Vacancy, Los Angeles\n \n Together\/Alone, Embassy, Los Angeles\n 2015\n Blue Violets, Commonwealth and Council, Los Angeles\n \n If at first you don't succeed, CCS Gallery, UC Santa Barbara\n 2014\n Amazon Solitaire, Center for the Arts Eagle Rock, Eagle Rock \n \n Akina Cox and the Holy Trinity, Commonwealth and Council, Los Angeles\n \n A Meerkat's Whistle, 3 days awake, Los Angeles\n \n Mirrored Collection, 2126 Jefferson Blvd., Los Angeles\n \n INCOGNITO, Santa Monica Museum of Art (since 2008)\n \n Love is in the Air, 2A Gallery, Los Angeles\n \n Topical Constructions: Paper works and actions, traveling exhibition curated by Veronica Duarte, Mexico\n 2013\n Demolition Woman, curated by Young Chung, Guggenheim Gallery, Chapman University, Orange\n \n Hexenhaus, Group exhibition at 495 Alameda St. Altadena\n 2012\n Another Self, Two-person exhibition with Akina Cox, Marine Contemporary, Venice\n \n Authenticity?, curated by Andy Robert, Untitled Art Projects, Los Angeles\n \n CalArts MFA 2012: MMXII, curated by Catherine Taft, LA Mart, Los Angeles\n \n Square as a chair and almost too heavy to lift, Mint Gallery, CalArts, Valencia\n 2011\n CalArts Mid-Residency Exhibition, CalArts, Valencia \n \n Night Gallery at the Chateau Marmont, Bar Marmont, Los Angeles\n \n Celestial Spectacular, Night Gallery Lounge, Los Angeles\n \n A Goodly Huge Cabinet, Mint Gallery, CalArts, Valencia\n \n Telephone, Torrance Art Museum, Torrance\n 2008\n UCLA Senior Show, New Wight Gallery, UCLA, Los Angeles\n \n B-side, UCLA Sculpture White Room, Los Angeles\n \n A show with work by my roommate and old boss, Two-person exhibition with Karl Haendel, curated by Mieke Marple, The Studio, Los Angeles\n \n Undergraduate Juried Exhibition, New Wight Gallery, UCLA,Los Angeles, juried by Ali Subotnick\n 2007\n Department of Art Undergraduate Scholarship Exhibition, New Wight Gallery, UCLA, Los Angeles\n \n New Drawings, Undergraduate Gallery, UCLA, Los Angeles\n 2006\n Metzgerei, Undergraduate Gallery, UCLA, Los Angeles \n 2005\n Undergraduate Juried Exhibition, New Wight Gallery, UCLA, Los Angeles, juried by Lawrence Rinder\n\nWriting\n\n2020 Care Package, risograph artist book with text and images by Krista Buecking, Akina Cox, Claire Nereim, and Esther Pearl Watson\n2019 The Rose Garden, artist book2018 For the Birds, artist book\n2017 Remains, artist book\n2016 The Furies, risograph artist book with essays by Krista Buecking, Akina Cox, Gilda Davidian, and Esther Pearl Watson\n 2015\n Blue Violets, Risograph artist book\n 2013\n I am the one I've been waiting for, The Art Book Review\n 2012\n Another Self, zine published in collaboration with Akina Cox and Stefani Greenwood\n \n On realism as a fiction and as a useful tool, Notes on Looking\n \n Sylvia, Night Papers, Vol.1 No.2; Short story and image, The Parkfield Review\n \n Ariane Vielmetter writes of the floor, Notes on Looking \n \n Akina Cox: A Profile, Notes on Looking\n\nBibliography\n\n2025\nBucher, Stefan,\"Back In Bloom\u201d, Zocalo Public Square, January 7\n2016\n Eckardt, Stephanie,\"The Best Los Angeles Alternative Spaces\u201d, W Magazine, July\nKaleidoscope Magazine, Sterling Ruby Takeover, Issue 27, p. 200, Summer 2016 \nNeuendorf, Henri,\n \u201cInside LA\u2019s Oddball Underground Art Scene\u201d, Artnet.com, July 7\n 2015\n Griffith, Kio, \"Emergent Presence - Fresh Faces in Art: Eight LA Artists You Should Know\", Fabrik Magazine, Issue 29, September 2015\n 2014\n Wagley, Catherine, \"In a Koreatown Art Show, the Holy Trinity is Really about Girls, and Girls\", LA Weekly\n 2013\n Wagley, Catherine, \"Five Artsy Things to do in LA This Week, Including a Sleepover at a Witch's House\", LA Weekly Blog, October 23\n \n Vo, Chuong-Dai, \"This Body is Not\", Demolition Woman catalog essay, October\n \n Kleyn, Zach, \"Another Self: In the world but not of the world\", The Art Book Review, theartbookreview.org\n 2012\n Tuck, Geoff, \"Akina Cox and Ariane Vielmetter, Another Self\", NotesonLooking.com\n \n Diehl, Travis, \u201cSelf-portrait as plastinated cock\u201d, Catalog Essay, mmxii\n 2011\n Cheh, Carol, \u201cNight Gallery Moves in to Chateau Marmont: Move Over, Lindsay Lohan\u201d, LA Weekly blog, October 5\n \n Cifarelli, Gabriel, \u201cPlaying Telephone With Art: Two Exhibits that Mix Curating With Old-School Social Networking\u201d, LA Weekly blog, June 2\n\nAwards\n\n 2013\n Teaching Artist Fellowship, Armory Center for the Arts\n \n 2010\n CalArts Scholarship, 2010-2012 Academic Period \n 2008\n Honorable Mention, Werner Z. Hirsch Award in Representational Drawing\n 2007\n First Place, Werner Z. Hirsch Award in Representational Drawing\n \n Edward J. and Alice Mae Smith Award, UCLA Department of Art\n\n 2006\n Dean\u2019s List Scholarship , UCLA \n \n Kay Nielsen Memorial Award, UCLA Hammer Museum\n 2004-08\n UCLA Regents Scholarship\n"},{"title":"Contact","link":"https:\/\/arianevielmetter.com\/Contact","pubDate":"Tue, 19 Dec 2017 05:29:07 +0000","guid":"https:\/\/arianevielmetter.com\/Contact","description":"\narianevielmetter@gmail.com"},{"title":"Arrangements in Undertone","link":"https:\/\/arianevielmetter.com\/Arrangements-in-Undertone","pubDate":"Tue, 19 Dec 2017 05:29:07 +0000","guid":"https:\/\/arianevielmetter.com\/Arrangements-in-Undertone","description":"\nArrangements in Undertone\nPomona College, February 2 - March 3, 2017\n\n\n\"Desert\n\"Desert\n\nPress Release\nCirilo DomineGala Porras-KimMercedes Teixido Ariane VielmetterTrevor Wilson\n\nArrangements are composed by bringing sometimes disparate sources together into one piece to create a unified whole. Works by artists in this exhibition were selected based upon an interest in each of their individual practices and a shared sensitivity experienced in their works. The mediums they use vary but the connective tissue is embedded in drawing: thread in fabric; graphite rubbings from limestone reliefs on paper; pen, ink and gauche on paper scroll; watercolor and charcoal on paper dyed with onion skin; and graphite on paper. There is a soft and subtle feeling articulated by the assembling of these works, a kind of visual poetry of line, texture, shape and pattern that when combined result in a somewhat pensive mood.\n\nCirilo Domine received his BA from the University of California, Los Angeles and MFA from the University of California, Irvine. His work has been exhibited at DeepRiver, Artist Curated Projects with Mak Center at the Schindler House, and the Huntington Botanical Gardens. Domine\u2019s cartographic, textile pieces oscillate between the macro and micro, evoking the impermanence of borders and permeability of boundaries.\n\nGala Porras-Kim completed a BA in Art and Latin American studies as well as her MA in Latin American studies at the University of California, Los Angeles and received an MFA from California Institute of the Arts, Valencia. She has exhibited For Prospective Rock\/Artifact Projection and The Mute Object and Ancient Stories of Today at Commonwealth & Council, Los Angeles. Porras-Kim\u2019s work was featured in the exhibition Made in L.A. 2016: a, the, though, only at the Hammer Museum. Her work explores undeciphered writing systems, and by reimagining and reframing them, she challenges the acquired value and meaning of artefactual art outside of its original context.\n\nMercedes Teixido received her BA in Studio Art from Wake Forest University and her MFA in printmaking from the University of Arizona. She is an Associate Professor at Pomona College where she teaches drawing. She has exhibited work at the Bushel Arts Collective, Delhi, New York and performed Perfect Strangers a week of performances in Hamilton, New York and Colgate University organized by Machine Project. Teixido\u2019s watercolor and collage work combines investigation of abstract pattern and color, while her Drawing Machine performances allow her to engage with individuals and improvisational techniques for creating visual language.\n\nAriane Vielmetter completed her BA at University of California, Los Angeles, and her MFA at California Institute of the Arts, Valencia. Her work has been included in recent exhibitions at Visitor Welcome Center, Commonwealth & Council, Eastside International, and Marine Contemporary in Los Angeles. Vielmetter explores realism through the lens of still life and trompe l\u2019oeil painting traditions, and the writings that often accompany her drawings weave together personal narratives with art-historical and literary source material in an effort to understand what distinguishes genius from anonymity.\n\nTrevor Wilson received his BFA in fine arts from Otis College of Art and Design. He designed and managed projects in architectural glass since 1998 at WRW Studio before moving his work to Trevor Wilson Studio in 2015. His graphite drawings were exhibited at Bushel, Delhi, New York. Wilson\u2019s glass work and graphite drawings create a geometric circuit which explores how gridded pattern and light create space.\n\nLink"},{"title":"The Furies","link":"https:\/\/arianevielmetter.com\/The-Furies","pubDate":"Tue, 19 Dec 2017 05:29:08 +0000","guid":"https:\/\/arianevielmetter.com\/The-Furies","description":"\nThe Furies\nVisitor Welcome Center, June 4 - July 9, 2016\n\n\"Battle\n\"Battle\n\"Taproot,\n\"Taproot\n\"Taproot\n\"Handkerchief\n\"Exhibition\n\"Exhibition\n\"Exhibition\n\"Exhibition\n\"Exhibition\n\"Orchids,\n\n\nPress Release\nThe Furies explores voids and chasms, margins and marginalia, dead ends and ghost images, surfaces and holes. What connects the artists in the exhibition is their appreciation of language \u2013 the kind of language that gets lost in translation, language with multiple meanings, language that exists only as a spoken thing, language that is deceitful. They work as a circle of artists without easy definition, exploring ideas of belonging and not belonging in different kinds of communities. While their work manifests itself visually in very different ways, they rely on language as the medium that connects the work to its maker, to its viewer, and to the world around it.\nKrista Buecking, Akina Cox, Gilda Davidian, Ariane Vielmetter and Esther Pearl Watson have been meeting over the past several years in Los Angeles as a bi-weekly writing group to discuss their varied practices, to maintain critical engagement with one another, and to support each others\u2019 continued development as artists and writers. In 2013, they organized an immersive group show, Hexenhaus, at a vacant home in Altadena, in which each artist occupied and transformed a specific room. Their intention is not to be understood as a collective, but rather as a group of artists whose distinct practices are nurtured by their mutual friendship and by the contrasts and crossovers in the subject matter they are dedicated to.\n\nKrista Buecking\u2019s work pulls from the conventions of lifestyle marketing and consumerism to make explicit the visceral abstractions (formal, economic and social) that interact to produce the neoliberal subject.\n\nAkina Cox examines the integral role of myths in reinforcing and promoting belief systems. By using humble materials and techniques, Cox points to the intimate spaces where stories are shared, and values absorbed.\n\nGilda Davidian\u2019s practice explores how images form relationships to places and how memories are shaped through photographs. She is interested in how language and information is translated and transferred transgenerationally.\n\nAriane Vielmetter\u2019s drawings and objects attempt to navigate the contradictions of the female body, a subject perceived to be both shallow and boundless, susceptible to discipline and disregard alike.\n\nEsther Pearl Watson\u2019s paintings and comics play with vernacular of self-taught art to question the slippage of memory, language and narrative.\n\nLink"},{"title":"Blue Violets","link":"https:\/\/arianevielmetter.com\/Blue-Violets","pubDate":"Tue, 19 Dec 2017 05:29:08 +0000","guid":"https:\/\/arianevielmetter.com\/Blue-Violets","description":"\nBlue Violets\nCommonwealth & Council, April 25 - May 23, 2015\n\n\"Duvet,\n\"Floral\n\"White\n\"Exhibition\n\"Two\n\"Poesie,\n\"Poesie\n\"Swatches,\n\"Tussy\n\"Figures\n\"Figures\n\"Smocking,\n\"Smocking\n\"Arrangement\n\"Exhibition\n\"Exhibition\n\"Exhibition\n\"Exhibition\n\"A\n\"A\n\n\nPress Release\nCommonwealth and Council presents Blue Violets, a new body of work by Ariane Vielmetter that uses the violet as a guiding motif to examine various kinds of disappearance and camouflage, both formal and allegorical.\n\nFor this exhibition and its accompanying artist\u2019s book, Vielmetter crafts something of an origin story for the violet, tracing its symbolism in relation to many forgotten, overlooked, and underestimated female figures in painting and literature. She plays with the terms \u201cshrinking violet,\u201d \u201cwallflower,\u201d and \u201cpansy\u201d in an effort to understand whether the inclination to dematerialize is a death wish or a survival mechanism.\n\nMany of her drawings feature the violet represented in its literal form, while others probe the linguistic variations and implied meanings of the fragile flower. Vielmetter experiments with simple printmaking processes to generate repeated patterns and multiple layers, using striped and floral prints from her collection of textiles and ephemera as source material. She then manipulates the printed fabrics and sheets of paper until their patterns lose some of their original rigidity, and renders the resulting surfaces in watercolor and pencil. Her drawings translate each wrinkle, dent, and contortion in an attempt to loosen the distinctions between foreground and background, negative and positive space, surface and interiority.\n\nVielmetter\u2019s work frequently engages the mechanisms of trompe l\u2019oeil painting as a way to re-interpret familiar objects and images, relying on the inevitable errors of her hands and eyes to translate and reimagine her subject matter until it is no longer easy to identify. While her practice is rooted in drawing, she experiments with a variety of surfaces and materials, including sounds and moving images. She often re-purposes older work, as well as the scraps and by-products of the process of her daily life, as a starting point for new work. She uses materials that change physically with the passage of time, and that carry embedded traces of their past uses and meanings, to make work that complicates the boundary between what is found and what is made, between the recognizable and the invented.\n\nAriane Vielmetter lives and works in Los Angeles, and received her MFA from CalArts in 2012. Her work has been featured in exhibitions at Marine Contemporary, Night Gallery, Torrance Art Museum, Center for the Arts Eagle Rock, CCS Gallery at UC Santa Barbara, and the Guggenheim Gallery at Chapman University. Her writing has been included in Night Papers, Notes on Looking, and The Art Book Review.\n\nLink"},{"title":"Demolition Woman","link":"https:\/\/arianevielmetter.com\/Demolition-Woman","pubDate":"Sat, 23 Dec 2017 17:55:29 +0000","guid":"https:\/\/arianevielmetter.com\/Demolition-Woman","description":"\nDemolition Woman\nGuggenheim Gallery, Chapman University, September 23 - October 25, 2013\n\"Knäppchen,\n\"Knäppchen\n\"Tactical\n\"Tactical\n\"Installation\n\"Installation\n\"Installation\n\n\n\nPress Release\nCommonwealth & Council presents Demolition Woman, an off-site exhibition hosted by Guggenheim Gallery at Chapman University, September 23 to October 25, 2013. The exhibition assembles an intergenerational sisterhood of artists whose projects re-envision our shared habitat through inflections of difference.\n\nUtilizing a symbolic stratagem that undergoes both physical and contextual transformations, Demolition Woman dismantles shoddy infrastructures of knowledge and social order by regenerating an open system for grafted realities and truths. Adopting various epistemologies of material process, Kaucyila Brooke, Kelly Cline, Veronique d\u2019Entremont, Danielle Dean, Lecia Dole-Recio, Patricia Fern\u00e1ndez, Margaret Honda, Alice K\u00f6nitz, Bessie Kunath, Young Joon Kwak, Gina Osterloh, Gala Porras-Kim, Jen Smith, Ariane Vielmetter, and Brenna Youngblood synthesize permutations of language, history, and memory toward divergent forms and meanings.\n\nAn artist reception will be held on Sunday, October 20, 1PM\u20144PM, coinciding with the release of the exhibition catalogue designed by New Byzantium and featuring an Ekn\u00e6s font\/cover design by Nicolau Vergueiro and essays by Doris Chon, Ch\u01b0\u01a1ng-\u0110\u00e0i V\u00f5, and Catherine Wagley. The catalogue will be printed in an edition of 196, each print corresponding to a 1:1 scale segment of the walls, floor, or ceiling of Margaret Honda\u2019s 4366 Ohio Street Bathroom, an ongoing, full-scale reconstruction on paper of a house in Southern California.\n\nSpecial thanks to: Sue Ann Robinson and Candice Reichardt at Long Beach Museum of Art; Nadja Quante and Anja Casser at Badischer Kunstverein; Karisa Morante, Tyler Park, and Francois Ghebaly Gallery; Honor Fraser Gallery; Marcus Herse and Guggenheim Gallery at Chapman University; Blake Besharian\/New Byzantium; Nicolau Vergueiro; Doris Chon; Ch\u01b0\u01a1ng-\u0110\u00e0i V\u00f5; Catherine Wagley; and the artists.\n\nLink"},{"title":"Secret Asian Man Presents","link":"https:\/\/arianevielmetter.com\/Secret-Asian-Man-Presents","pubDate":"Sun, 14 Sep 2025 18:08:04 +0000","guid":"https:\/\/arianevielmetter.com\/Secret-Asian-Man-Presents","description":"\nSecret Asian Man Presents:\nAriane Vielmetter\nCommonwealth and Council, Los Angeles, July 12-August 16, 2025\n\n\"A\n\"A\n\"A\n\"Installation\n\"Installation\n\"Installation\n\"Installation\n\n\nPress ReleaseI\u2019m learning there are no shortcuts through grief. Like the landscape of Eaton and Millard Canyons, which are closed for the next year to allow the soil and the plants to begin their recovery, the process of healing will take weeks, months, years. The pain is less sharp than it was immediately after the fire, but the ache will always be tender, the way scar tissue never quite feels like healthy skin.\n\nBefore the Eaton fire, I wrote and thought a lot about fires. I considered ways in which fire can bring about renewal and transformation, and burns whose sole outcome is violent eradication. As someone who grew up in this wildfire-prone part of the world, I was fascinated by how the ecosystem evolved to coexist with fire\u2014periodic burns facilitate the reproductive cycles of California plants like redwood, Matilija poppy, and lupine. I marveled at the massive, charred trunks of the Sequoia trees in Muir Grove, their towering canopies green and alive, their century-old heft dwarfing my human sense of time and scale.\n\nWhen I try to comprehend the magnitude of material loss resulting from the fires, I feel immobilized by the idea of investing my time, labor, or care into something as fragile and fraught as a physical object. I have never perceived the precarity of material things more acutely than in the past six months since the fires. I have also come to understand the resilience and beauty of less tangible things\u2014relationships, community, a sense of place, ideas, and memory\u2014in ways I hadn\u2019t fully grasped before. These remained intact when all else was reduced to carbon, and without them I\u2019m certain I would have been obliterated. I struggle to reconcile my devotion to the overlooked with my worry that any thing I make will inevitably be less interesting than the overlooked subject itself. I studied the animals, the plants, and even the compost in my garden and felt satisfied just building an environment for them to live in. Tenacious clusters of blooming desert bluebells, evening primrose, nodding needlegrass, and poppies have emerged from the scorched earth in my garden, in spite of the dematerialization of everything else. Tall sunflowers have self-seeded in my former vegetable beds and are already at work pulling toxins out of the soil, and the oak tree is sprouting delicate new leaves along its blackened branches. Bees, birds, and butterflies are coming back too, moving forward with their lives and laying the groundwork for us to do the same someday. They do all of this whether we tend to them or not, whether we notice or not. I\u2019m grateful just to be paying attention.\n\n\u2014Ariane Vielmetter\n\nLink"}]}}