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		<h2><a href="http://18thstreet.org/news/reviews/artforum-review-on-oustider-art-others-from-elsewhere" rel="bookmark" title="Permanent Link to ARTFORUM Review on &#8220;Oustider Art: Others From Elsewhere&#8230;&#8221;">ARTFORUM Review on &#8220;Oustider Art: Others From Elsewhere&#8230;&#8221;</a></h2>
		
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				By <a href="http://18thstreet.org/author/ajones" title="Posts by ajones" rel="author">ajones</a>, April 12, 2011 4:48 pm</div>
	
	
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<h1><a name="Los Angeles">Los Angeles</a></h1>
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<h2><a name="picks27960" href="http://artforum.com/archive/id=27960">Vincent Ramos</a></h2>
<h3><a title="Click here to locate this venue in artguide" href="http://artforum.com/guide/country=US&amp;place=Los%20Angeles&amp;jump=5555#location5555">18TH STREET ARTS CENTER</a><br />
1639 18th Street<br />
February 1–April 24</h3>
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<div id="click27960"><a href="http://artforum.com/picks/section=la#"><img src="http://artforum.com/uploads/upload.000/id27960/picksimg_splash.jpg" border="0" alt="" width="240" height="160" /></a></div>
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<p><strong>View of “Outsider Art: Others from Elsewhere Doing Something Altogether Different . . . Sort Of,” 2011.</strong></p>
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<p><strong>by Natilee Harren</strong></p>
<p><em>Art brut</em> aside, alternate meanings of “outsider” resonate widely in <a title="Search Artforum.com for Vincent Ramos" href="http://artforum.com/search/search=%22Vincent%20Ramos%22">Vincent Ramos</a>’s  latest project, “Outsider Art: Others from Elsewhere Doing Something  Altogether Different . . . Sort Of,” an evolving installation that is at  once a studio, archive, laboratory, and headquarters for the artist’s  research into performance activities of significant neo-avant-garde  figures who passed through LA in the 1960s and ’70s. Not only were these  artists strangers to a city ostensibly outside the mainstream art  world, but the work produced and documented in this show stretched the  boundaries of their practices. Ramos’s findings and responses to them  demonstrate that notions of center and periphery were already slippery  back then (thus his project constitutes an intriguing prequel to the  Getty Foundation’s “Pacific Standard Time” initiative premiering this  autumn).</p>
<p>Ephemera, objects, audio and video recordings, interviews  conducted by the artist, and a wall-size, makeshift map chronicle  well-known events by <a title="Search Artforum.com for Marcel Duchamp" href="http://artforum.com/search/search=%22Marcel%20Duchamp%22">Marcel Duchamp</a>, <a title="Search Artforum.com for Robert Rauschenberg" href="http://artforum.com/search/search=%22Robert%20Rauschenberg%22">Robert Rauschenberg</a>, and <a title="Search Artforum.com for Jean Tinguely" href="http://artforum.com/search/search=%22Jean%20Tinguely%22">Jean Tinguely</a> as well as lesser-known projects by <a title="Search Artforum.com for Niki de Saint Phalle" href="http://artforum.com/search/search=%22Niki%20de%20Saint%20Phalle%22">Niki de Saint Phalle</a>, <a title="Search Artforum.com for Alison Knowles" href="http://artforum.com/search/search=%22Alison%20Knowles%22">Alison Knowles</a>, <a title="Search Artforum.com for George Brecht" href="http://artforum.com/search/search=%22George%20Brecht%22">George Brecht</a>, <a title="Search Artforum.com for Claes Oldenburg" href="http://artforum.com/search/search=%22Claes%20Oldenburg%22">Claes Oldenburg</a>, <a title="Search Artforum.com for Hannah Wilke" href="http://artforum.com/search/search=%22Hannah%20Wilke%22">Hannah Wilke</a>, and <a title="Search Artforum.com for Agnes Varda" href="http://artforum.com/search/search=%22Agnes%20Varda%22">Agnes Varda</a>, among others. In the work <em>Tinguely via Sidonie</em>,  2011, an audio recording accompanied by a takeaway postcard, we hear a  woman haltingly improvise a translation from French into English of an  LA letter from Tinguely to Pontus Hultén. While the reading represents a  desire to reconnect with the past, the woman’s mistakes and restarts,  as well as the underlying din of the café where she sits, register her  unbreachable distance from it. Far from presenting a neat art history,  Ramos highlights informational gaps and the subjective nature of his  methods: Display cases are left half empty, and photographs of  significant sites are redrafted as drawings––appropriate to an  installation-in-progress conceptualized as an expansive,  three-dimensional sketch. Crucial to one’s navigation of the material,  therefore, is the presence of Ramos, an inveterate storyteller who is  regularly on hand to explicate his findings.</p>
<p>Visit the link for online version of article: <a href="http://artforum.com/picks/section=la#picks27960">http://artforum.com/picks/section=la#picks27960</a></p>

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