CHRISTOPHER PATE

EDUCATION 1988 B.A., Fine Art, Pitzer College, Claremont, CA SOLO EXHIBITIONS

2015 Memory Loops, Rio Hondo College Art Gallery, Whittier, CA (CATALOG) 2011 Camp Alpha, Marine Contemporary, Venice, CA (CATALOG)

Amerigo, PØST, Los Angeles 2008 Flyover, Jail Gallery, Los Angeles

2005 Float Some and Jet Some, Cartelle Gallery, Marina del Rey, CA 2004 Time Share, Davis-Keil Fine Art, Naples, FL 2000 Horizons and Archipelagos, Roberts and Tilton, Los Angeles 1998 Prowler, Miller Durazo, Los Angeles

1997 Pre-K Underground Cinema, Miller Fine Art, Los Angeles 1994 9 Live Births And Other Vital Signs, Crossing Gallery, Los Angeles 1988 Chris Pate Paints, B.A. Exhibition, Salathé Gallery, Pitzer College, Claremont, CA

TWO-PERSON EXHIBITIONS

2007 State Line (with Bill Kleiman), Jail Gallery, Los Angeles, CA 2000 Vanilla Island Gag Shack (with Dan Manns), The Guardshack, Santa Monica, CA 1991 The Plastic Sincerity Of Bill Kleiman and Christopher Pate, Java Coffee House, Los Angeles

SELECTED GROUP EXHIBITIONS

2018 Transiting (curated by Kio Griffith, Lawrence Gipe and John David O’Brien), Arena One Gallery, Santa Monica, CA

2016 Topological Skew (curated by John David O'Brien), Crossroads School, Santa Monica, CA Round Trip Ticket Tainan – LA III, Soulangh Cultural Park, Tainan City, Taiwan

2015 Via Negativa: The Transcendence of the (Un)real (curated by James MacDevitt), South Bay Contemporary, San Pedro, CA

Round Trip Ticket – Draft 2 (A Bridge Between Two Cities), University of La Verne Harris Gallery, La Verne, CA Perfect Strangers (curated by Amir H. Fallah), Bergamot Station, Santa Monica, CA

2014 Exquisite Corpse (curated by Amir H. Fallah), MASS Gallery, Austin, TX (CATALOG) M.A.S. Attack (curated by Max Presneill), Torrance Art Museum, Torrance, CA Materiallly Defined: Christopher Pate, Macha Suzuki, Devon Tsuno (curated by Carl Berg), CMay Gallery, Pacific Design Center, West Hollywood, CA After Image (curated by Carl Berg), Irvine Fine Arts Center, Irvine, CA

2013 Pretty Vacant (curated by Yvette Gellis), Jann Williams' residence, Westwood, CA (CATALOG) Sense and Sensibility: Behind the Scenes (curated by Fatemeh Burnes), Mt. San Antonio College Art Gallery, Walnut, CA (CATALOG) Summer Group Show (curated by Mat Gleason), Red Pipe Gallery, Los Angeles M.A.S. Attack (curated by Max Presneill), ARTRA at LA Mart Building, Los Angeles

2012 Drown Me In Pictures (curated by Nathan Danilowicz), Latned Atsär, Los Angeles Curatorial Exchange (curated by Inmo Yuon for Carl Berg), Irvine Fine Art Center, Irvine, CA Against the Grain, Mark Moore Gallery, Culver City, CA Peace Tower (Mark di Suvero/LAX Art), West Hollywood, CA

10 Years L.A. @ Kaus Australis (curated by Carl Berg), The Prospectus, West Hollywood, CA

Temporary Distemper (curated by Ron Faronovich), XVY Art & Design, Los Angeles 2011 La Cosa Nostra: This Thing of Ours (curated by Max Presneill), Rheeway Gallerie, Los Angeles

Role Reversal (curated by Carl Berg), Mount Saint Mary's College, Brentwood, CA Chain Letter, (curated by Doug Harvey and Christian Cummings), Shoshana Wayne Gallery, Santa Monica, CA TEL-ART-PHONE (curated by Mat Gleason), Beacon Arts Building, Inglewood, CA On the Wall (curated by Carl Berg), Arena 1, Santa Monica, CA

2010 ALPTRAUM (curated by Jay Stuckey), Transformer, Washington D.C., subsequently traveling to Cell Project Space, London, England; Ausstellungsraum des Deutscher Kuenstlerbund e.V., Berlin, Germany; The Company, Los Angeles; blank projects, Cape Town, South Africa pin UPs (curated by Ron Faronovich), Studio 1131, Inglewood, CA

Salon 5 (Works 141-185), Marine, Santa Monica, CA

Yellow, Michael's, Santa Monica, CA 2009 Salon 1 (Works 001-029), Marine, Santa Monica, CA

Lovable Like Orphan Kitties and Bastard Children (curated by Joshua Aster and Kristin Calabrese), The Green Gallery East, Milwaukee, WI Structural Integrity (curated by Dion Johnson), University of La Verne Harris Gallery, La Verne, CA

2008 Panopti(con) (curated by Martin Durazo), Bank, Los Angeles, CA Some Paintings: The Third LA Weekly Biennial (curated by Doug Harvey), Track 16 Gallery, Santa Monica, CA

2007 noplace, Jail Gallery, Los Angeles Viewing Club, London, England

2006 Viewing Club, Berlin, Germany; Hamburg, Germany; London, England Dharma Zen Center Benefit Auction, Dharma Zen Center, Los Angeles

2005 Rogue Wave: Nineteen Artists from Los Angeles, LA Louver Gallery, Venice, CA (CATALOG) Smack! (curated by Robert Wedemeyer), The Brewery Project, Los Angeles

2004 Big & Holy, Cartelle Gallery, Marina del Rey, CA (catalog) Tinseltown Too, Domestic Setting, Los Angeles

Heaven’s Gonna Burn Your Eyes, Cartelle Gallery, Marina del Rey, CA The Frank Gehry Spheres Art Project, Track 16, Santa Monica, CA Lotusland, Connecticut College, New London, CT

2003 Tinseltown, Domestic Setting, Los Angeles, CA filesharing.001, Art Front Studios, Los Angeles

No Chaser, PØST, Los Angeles So Cal Locals, Sabina Lee Gallery, Los Angeles West Coast: 16 Artists From L.A., Art Affairs, Amsterdam, Netherlands Kaus Australis, Rotterdam, Netherlands August, Dionicia Gallery, Beverly Hills, CA august 2002, LA Louver Gallery, Venice, CA Transit Projects: Survival L.A., Raid Projects, Los Angeles, CA (CATALOG) California Dreamin’, Davis/Keil Fine Art, Naples, FL Transit: Survival Skills, Park Paradise Complex, Scottsdale, AZ rawDraw, Pasadena City College, Pasadena, CA

2001 Rogue Wave: Eleven Artists from Los Angeles, LA Louver Gallery, Venice, CA (CATALOG) 2000 Ten Degrees of Abstraction, Biola University, La Mirada, CA

California Color, Franco-American Center, Rennes, France Mural, Irvine Art Center, Irvine, CA The Spurgeon Project, The Spurgeon Building, Santa Ana, CA

1999 Tripindicular, Lemon Sky, Los Angeles One Night Stand, Farmer's Daughter Hotel, Los Angeles

Limits, The Dollhouse, Los Angeles,CA (subsequently exhibited in ‘Sig-Alert’, Arizona State University Art

Museum, Tempe, AZ) 1998 All of That, None of That, and More, Fire King Gallery, Los Angeles 1997 The Big Wave, Andrew/Shire Gallery, Los Angeles

Sweet, Miller Fine Art, Los Angeles 1996 Hodgepodge Lodge East, Hovel, New York, NY

1995 December 20th, Richard Heller Gallery, Santa Monica, CA A Vital Matrix, Domestic Setting, Los Angeles (CATALOG)

Ginny Bishton, Jim Buss, Christopher Pate, Dan Bernier Gallery, Santa Monica, CA

Hodgepodge Lodge, The Art Store Gallery, Los Angeles 1994 House of Style(s), TRI Gallery, Los Angeles

Cocktail Party, Three Day Weekend, Los Angeles

Domestic Setting at Sawtelle, Los Angeles 1993 The Men’s Room, Project Box, Los Angeles

polyABSTRACT, Ruth Bachofner Gallery, Santa Monica

Just A White Show, 1529 Wellesley, Santa Monica 1992 Eight Abstract Variations, Jan Turner, Los Angeles

1991 Professor’s Choice IV, Lang Gallery, Scripps College, Claremont, CA Seven Pitzer College Art Alumni, The Art Store Gallery, Fullerton, CA

1988 Professor’s Choice III, Lang Gallery, Scripps College, Claremont, CA CURATING

2013 Rogue Wave, LA Louver Gallery, Venice, CA (primary organizational curator with the directors) 2012 Transient Apocalypse (as part of Curatorial Exchange), Irvine Fine Art Center, Irvine, CA 2009 Rogue Wave: Ten Artists from Los Angeles, LA Louver Gallery, Venice CA (co-curator with Peter Goulds) 2008 Hef, Jail Gallery, Los Angeles 2007 Rogue Wave: Twelve Artists from Los Angeles, LA Louver Gallery, Venice, CA (co-curator with Peter Goulds)

noplace, Jail, Los Angeles 2005 Rogue Wave: Nineteen Artists from Los Angeles, LA Louver Gallery, Venice, CA (co-curator with Peter

Goulds) 2004 Viewfinder, Sabina Lee Gallery, Los Angeles

2003 filesharing.001, Art Front Studios, Los Angeles (co-curator with Peter Lograsso) 2001 Rogue Wave: Eleven Artists from Los Angeles, LA Louver Gallery, Venice, CA (co-curator with Peter Goulds) 1999 Tripindicular, Lemon Sky, Los Angeles 1997 Floaters, Miller Fine Art, Los Angeles 1993 The Men’s Room, Project Box, Los Angeles

PANELS

2013 Painting in LA, moderated by Jason Ramos, Torrance Art Museum, Torrance, CA 2011 The Life of the Artist/Curator, moderated by Carl Berg in conjunction with Role Reversal, Mount Saint

Mary's College, Brentwood, CA

RESIDENCIES

2016 Soulangh Cultural Park, Tainan City, Taiwan 2001 Kaus Australis, Rotterdam, Netherlands

PUBLIC SCULPTURE PROJECTS 2015 Memory Loops (2) – Spring Mix, Rio Hondo College, Whittier, CA BIBLIOGRAPHY

2014 Wood, Eve, “Killer Pick of the Week: Materially Defined”, Artillery Online, June 5 2012 Barton, Dave, “Curatorial Cage Match In Irvine”, OC Weekly, September 20 2011 Cifarelli, Gabriel,”Playing Telephone With Art”, LA Weekly Blogs,

June 2, 2011 Frank, Peter, Haiku Reviews, Huffington Post Arts, April 23, 2011 Dambrot, Shana Nys, “Christopher Pate: Camp Alpha”, LA Canvas, April 21, 2011

2009 Miles, Christopher, Artforum, January 2009, pp.219-220.

2008 Harvey, Doug, “Mixed Media 2008 (Highlights)”, LA Weekly, December 18, 2008

Miles, Christopher, “Best in Show 2008”, LA Weekly, December 18, 2008 Dambrot, Shana Nys, “Christopher Pate at Jail Gallery”, Whitehot Magazine (online), December 2008

Wood, Eve, Artillery, Nov/Dec 2008, Vol 3, Issue 2. Harvey, Doug, “Pate ‘n’ Place”, DougH on the Go! (blog), Friday, November 7, 2008 Dambrot, Shana Nys, “Christopher Pate: Flyover”, Flavorpill, October 4, 2008 (online) Russell, Christopher, "No Quality Control", Artillery, Vol 2, No 4, March/April 2008, p.22. Knight, Christopher, "It's alive, with wit, diversity", Los Angeles Times, Friday, January 25, 2008, p. E26. Harvey, Doug; LA Weekly, 'Some Paintings: The Artists in the Third LA Weekly Biennial,' January 11-17, 2008, Vol. 30/No. 8, pp.30-33,48. Gray, Emma; The Saatchi Gallery Daily Magazine, ‘Emma Gray’s Top 10 Shows in Los Angeles This Month,’ January 11, 2008, online.

2007 Myers, Holly; Los Angeles Times, ‘They complement but don’t complete,’ October 12, 2007, p.E27. Dambrot, Shana Nys, Flavorpill, ‘Bill Kleiman and Chris Pate: State Line,’ Issue 239, September 25, 2007, online. Gray, Emma; The Saatchi Gallery Daily Magazine, ‘Emma Gray’s Top 10 Shows in Los Angeles This Month,’ September 20, 2007, online.

Melrod, George; 'Rogue Wave '07: 12 Artists from Los Angeles at LA Louver,’ Art Ltd. September 2007, p. 16. Dambrot, Shana Nys, Art Review, ‘Rogue Wave 07: 12 Artists From Los Angeles,’ September 2007, p. 126. Ollman, Leah; Los Angeles Times, ‘The good type of ‘Rogue’,’ July 6, 2007, p.E22.

Van Beers, Beertje; De Telegraaf, 'Leve hed Doodshoofd!,‘ March 11, 2007, p.T31.

Kino, Carol; Art + Auction, ‘Guilty Pleasures,‘ February 2007, pp.98-107. 2005 Evers, Margaret; Performances Magazine, ‘Off the Walls: The Art of the Gallery,’ September 2005, pp.46-

  1. Finkel, Jori; New York Times, ‘First Come the Dealers, and Then the Diplomas,’ Sunday, July 3, 2005, pp.AR 22-23. Lasarow, Bill; ‘Rogue Wave,’ ArtScene, Volume 24, Number 11, July/August, 2005, p.20. Pagel, David; Los Angeles Times, ‘Summer Sampler Has a Dark Side,’ Friday, July 8, 2005, p.E26. Santa Monica Mirror,’L.A. Louver Catches Rogue Wave,’ Volume VII, Issue 3, June 29- July 5, 2005, p.13. Step Inside Design, ‘Rogue Wave ‘05/Rogue Wave ’01 by L.A. Louver Gallery,’ Volume 21, Number 5. September/October 2005, p.170.

2001 Morgan, Lynn; California Homes, ‘L.A. Louver’s New Wave,’ November/December, pp.110-114. Victoria; Artweek, ‘Rogue Wave: Eleven Artists from LA at L.A. Louver,’ September, pp.19-20. Harvey, Doug; L.A. Weekly, ‘Wilderness Tips,’ July 27. Myers, Holly; Los Angeles Times, ‘Rogue Wave’s Young Talents Blurring the Line Between Fantasy and Banality,’ July 13.

2000 Pagel, David; Los Angeles Times, ‘Mixed Results,’ June 30. Ritchie, Erika I.; Los Angeles Times, Orange County Edition, ‘Murals mirror ‘specific’ architecture of Irvine Fine Arts Center,’ June 16. Blizzard, Peggy; Irvine World News, ‘Wall Wonders,’ June 15.

1999 Jarvis, Leslie; Artweek, ‘Tripindicular at Lemon Sky,’ September, Volume 30, Issue 9, p.25. 1998 Watanabe, Andrew Tohru; zingmagazine, ‘Christopher Pate: Pre-K Underground Cinema,’ volume 2 / fall,

pp.242-3. 1997 Pagel, David; Los Angeles Times, ‘Past and Present,’ October 17. 1995 Pagel, David; Los Angeles Times, ‘Matrix’s obvious theme on man and nature meanders,’ August 11.

A Vital Matrix,’ catalogue, essay by Tobey Crockett, published by Jane Hart.

Kandel, Susan; Los Angeles Times, ‘Group Nonsense;’ July 6. 1993 Frank, Peter; Press-Telegram, ‘Powerful works star in Long Beach Arts competition,’ November 29.

Christopher Pate

The work of Christopher Pate utilizes painting, drawing, photography and collage, often in combination. His imagery ranges from the nonobjective to the fully representational, involving portraiture, landscape, geometric hard edge abstraction and painterly abstraction. His objective is to investigate the human condition: macroscopically, in terms of the relationship of our species to the world at large, and microscopically, in the more intimate sense of psychology, dream states and personal identity. Grounded in abstraction, these investigations exist in the realm of the poetic, not the polemical. They are intended to induce meditative states through composition and color, and therefore are graphically and optically vibrant and often very colorful, as color is celebrated as an important means of setting the emotional tone within a piece.

For this grouping of Dominion works being exhibited at Modfellows, photographs were taken of flowering plants at Huntington Gardens. These photos were then almost violently altered within Photoshop, in order to create an artificial state in which only the flowers, the exalted portion of the plant, were allowed to radiate. Once these altered images were then archivally printed on canvas and stretched, an invasion took place, albeit, a slow moving painterly one, in which triangulating painted forms spread across the surface, one at a time, with striping created by rubbed graphite. This invasion of the surface largely preserved the fetishization of colorful bursts of flowers, and in coursing across the surface, created an obfuscating architecture buzzing with energy. This architecture is the human spirit doing what it does best and what it can’t help but do: spreading and dominating in its own ferocious willfulness, We are obsessed with our own image and our own sense of control and find comfort in projecting it around us, even as it creates its own set of perils. With these works, the artist celebrates beauty, but with the acknowledgement that the beauty in these forms might be conditional, if not perilous.