Elizabeth Tinglof - Won't Pray

Elizabeth Tinglof
Artist in Residence, Shoebox Projects

Reception Sunday December 16th 3-6pm
A.I.R. November 5th to December 16th

Shoebox Projects
660 South Avenue 21 #3
LA, CA 90031

"Won’t Pray" is an exhibition by artist Elizabeth Tinglof conceived during her residency at Shoebox Projects. Beginning with an inverted abstract tree rooted in the ceiling by a system of twisted wires and reflected in fragments of mirror below, Tinglof creates relationships between a series of objects in various mediums . Through historic, symbolic and metaphoric references, she builds a construct of tension between belief and illusion, Tinglof's work delves into the process of reevaluation and blindly accepted truths.


Detail of A Thin Thread to Balance by Elizabeth Tinglof



Cerritos College Art Gallery is pleased to announce the selected artists/proposals for the upcoming Spring 2018 (January 29 - April 20, 2018) Window Dressing exhibition. Each artist will present a week-long installation in the gallery's display window vitrine on the exterior of the Cerritos College Fine Art building, with an opening reception taking place on the first day of each exhibition (Mondays) from 4-6PM.

Elizabeth Tinglof’s installation, A Thin Thread to Balance, will address the process of grief through conversations around gender, exposure, and symbolic penance. The primary sculpture within the installation will be an abstracted human torso made of resin and covered in areas with silver leaf, giving a contrast through the materials of the precious and the toxic, attached to a traditional dressmaking mannequin stand surrounded by a wire “cage crinoline.” The steel hoop-style petticoat made of wire has been part of the Western-world’s fashion-profile for women since the 1850s and continues to be used in contemporary designs, including wedding and ball gowns. By displaying such an iconic fashion element for women, directly connected to the raw and disturbing torso, the observer will both be drawn in for a closer look while also being equally repelled. In addition to the main sculptural piece, an intricate, twisted wire element will emanate from the back of the torso, stretching from one end of the space to the other, climbing up the walls to the ceiling creating a vine-like quality. While the wire element will be intrusive to the space, there will also be a performative aspect to this element, where the artist will continue to build up the wire vines; twisting, shaping and allowing them to grow throughout the week of the exhibition, illustrating the never-ending process of grief itself. The expansive wire vine symbolizes the destructive nature of the “wild vine,” while also showing growth though the performative penitent act of the laborious twisting and shaping of wire. Combining the symbolic object with the self creates a duality to the exposure and speaks to penance not so much as a Judaea-Christian definition, but one more connected to Indian religious traditions, where the term changes from penance to “tapas,” focusing more on enlightenment then the ritualistic restaging of pain and struggle. 


HOLD - Far Bazaar 2017

Elizabeth Tinglof, Still image from Narrow Footings video installation for Rough Play’s Hold - Far Bazaar 2017

FAR Bazaar Main Events: Saturday, January 28 – Sunday, January 29

The word “vessel” connects to wide-ranging associations. From a hand-held object of daily use to a ship transferring cargo across an ocean, the vessel serves to hold something transitory so that it might be digested or preserved, grounding the ephemeral to an earthly collection point. Whereas the human body is mere empty flesh, it can be seen as a vessel for the immaterial elements of humanity—the “soul”, “spirit”, or “consciousness”.

Organized by artist collective, Rough Play, to be on view in the ceramics studio at Cerritos College on the occasion of the FAR BAZAARthe work in Hold engages with these ideas through contemporary notions of the literal versus the metaphorical, in some cases referencing the physical form of the vessel; and in others, through metaphorical associations with the location of the “soul”, “spirit”, or “consciousness”. Approaching the vessel as a concept, the art object is considered in its capacity to operate as a vessel for ideas, emotions, and memories. 

Kim Abeles, Jonathan Apgar, Adam Berg, Patricia D. Burns, Ashley Hagen, Ben Jackel, Bessie Kunath, Gerardo Monterrubio, Erin Morrison, Thomas Müller, Thinh Nguyen, Emily Sudd, Elizabeth Tinglof, Kim Truong

About FAR Bazaar:

This coming year, 2017, marks the fortieth anniversary of the Foundation for Art Resources (FAR - http://www.far-la.org/), one of the oldest artist-run non-profits in Southern California. FAR has helped to produce some of the most significant alternative art events in Los Angeles. From the monthly Art Talk Art lecture series of the 1980s (http://www.far-la.org/art-talk-art/) to the massive FAR Bazaars of the 1990s (http://www.far-la.org/history/featured-events/far-bazaar-at-the-federal-building/), FAR was blazing trails for today’s LA art community. Billboard art, artist coloring books … you name it and FAR probably did it first.

To honor this major milestone of 40 years, FAR is collaborating with Cerritos College to host its biggest FAR Bazaar event ever. After over 55+ years of use, Cerritos College will be retiring and demolishing its existing Fine Arts complex. This mid-century modernist structure now sits side-by-side with its replacement, a massive new Fine Arts building to be completed in December, 2016. Before the old building is torn down, however, Cerritos College, with the help of FAR, will transform every abandoned classroom and administrative space into temporary exhibitions, each to be guest-curated by local art collectives and alternative art spaces, as well as the graduate programs from regional colleges, universities, and art schools. 

This non-commercial alternative art fair will take place on January 28th and 29th, with a VIP preview the night of January 27th. Much like the way that art fairs provide access to disparate galleries from across the globe, the FAR Bazaar will allow the various art communities that are physically spread far and wide across the megalopolis of Southern California to come together temporarily in one place for easy access and for productive exchange.

Because the building is slated for destruction immediately after the end of the event, there is ample opportunity to explore alternative methods of installation and even transform the individual spaces into walk-in tableaus. Two day-long events will include a food truck festival in the parking lot, a series of panel discussions, ongoing musical/dance performances, video screenings, and an art book fair.




Without Design or Sketch: The Story of The Room

 Elizabeth Tinglof, 2016  Detail of  "After Some Reflection"  oil, resin, wax, panel, wire, gold leaf and chair

Elizabeth Tinglof, 2016  Detail of  "After Some Reflection"  oil, resin, wax, panel, wire, gold leaf and chair




Exhibition organized by Rough Play

September 10 – October 1, 2016
OPENING RECEPTION: Saturday, September 10th, 6-9pm

RSVP Required to: rsvp@launchla.org

170 S. La Brea Ave., Upstairs   |   Los Angeles, CA 90036   |   www.launchla.org |   323.899.1363


In rebellion against the function of art to serve a moral and social purpose in the Victorian period, the Aesthetic movement of late 19th century Britain championed the importance of art divorced from any ulterior motive than its visual beauty.

An expression coined by artist James Abbot McNeill Whistler, “art for art’s sake” encompassed the belief that the creation and interpretation of art was the responsibility of the artist, not society, and should be morally disengaged from the outside world. In his book Ten O’Clock Lecture, Whistler states, “Nature is very rarely right…”, explaining that it is the artist’s own vision that must improve upon nature. Championing luxury, exoticism, and sensual experience, Aestheticism formed the foundations of early Modern Art with such movements as Art Nouveau, and deeply impacted the fine and applied arts.

Exemplary of the Aesthetic Movement’s philosophies, Whistler’s pivotal painting, La Princesse du pays de la porcelain (1865) was positioned as a centerpiece of shipping magnate Frederick Leyland’s London house dining room. A space originally designed by architect Thomas Jeckyll to showcase Leyland’s extensive collection of oriental porcelain, Leyland commissioned Whistler to select a color palette and paint in a specified area of the room that would complement both his existing painting and the blue and white porcelain collection. Both Leyland and the architect, trusting in Whistler’s artistic genius, left him unattended to his commissioned task. Excited by the project, the artist went well beyond what was asked of him, transforming the room into an all-encompassing work of art of blue and gold in his patron’s absence. "Well, you know, I just painted on. I went on—without design or sketch—putting in every touch with such freedom…."  Whistler believed he had created a masterpiece that would thrill and delight his patron, but when Leyland was presented with Whistler’s bill, he refused to pay, shocked at an exorbitant amount for work that was never requested. After a battle with the artist, the patron agreed to pay half. Infuriated and insulted, Whistler made one more addition to the room, a mural of two peacocks aggressively confronting each other with coins at their feet, to which he attributed two titles—Art and Money or The Story of the Room. The dining room achieved its status as a complete work of art and has since been referred to as Harmony in Blue and Gold: the Peacock Room.

Without Design or Sketch: The Story of the Room approaches the context of the Peacock Room as a platform from which to address a series of issues related to contemporary art practices such as the boundary between art space and living space, the perceptions of decorative and fine art, the value of art and patronage, and art’s engagement with social and moral issues versus its purely visual components. The following featured artists engage these concepts within the Launch LA Gallery space and respond to in a dynamic environmental collaboration between artists, ideas, materials, and space. Featuring work by Alex Anderson, Beatriz Cortez, Krysten Cunningham, Ashley Hagen, Carla Jay Harris, Jane Hugentober, Malisa Humphrey, Janna Ireland, Cole James, Shoshi Kanokohata and Taidgh O'Neill, Annelie McKenzie, Thinh Nguyen, Joel Otterson, Christopher Reynolds, Jackie Rines, Emily Sudd, Christian Tedeschi, Elizabeth Tinglof, Kim Truong, Axel Wilhite, Robert Wilhite, Emily Wiseman, and Kim Ye.

For more information, contact James Panozzo at james@launchla.org

Press contact, Andrea Newell at andrea@launchla.org



 Elizabeth Tinglof, 2016 Detail of Installation: "Story is in the Frame" Oil on canvas in frame. 

Elizabeth Tinglof, 2016 Detail of Installation: "Story is in the Frame" Oil on canvas in frame. 

Press Release

February 20 - March 25, 2016
Opening Reception: February 20th 6-9PM

1601 W. Mountain St Glendale CA 91201

On Saturday, February 20th, Brand Library & Art Center rises to the challenge: Go Big or Go Home with large scale sculpture and site specific installations from 13 Los Angeles area artists. The exhibition is the first in the Brand’s Artist As Curator series as part of their Learning Arts at Brand initiative, also known as LAB. Go Big or Go Home has been curated by Rough Play

Featuring work by: Lynn Aldrich, Bridget Beck, Beatriz Cortez, Ashley Hagen, Rebecca Niederlander, Thinh Nguyen, William Ransom, Rebecca Ripple, Julie Shustack, Emily Sudd, Christian Tedeschi, Elizabeth Tinglof and Pontus Willfors.

Go Big or Go Home is an exhibition of artists that rise to the challenge. Their artwork, whether produced through a physically demanding work process, extensive research, mastery of new disciplines, or by exposure to psychological or emotional vulnerability, represents a significant dedication to an idea that can be read as fearless and committed. 

Christian Tedeschi, Rebecca Ripple and William Ransom, create objects that question the limits of possibility while harboring gravity of concept and implementation. The physicality of each individual’s work can communicate tension between weight and weightlessness, unravel the actual into abstraction, or connect the disparate.

In pushing the limits of materials and processes, the categorization of objects is blurred. Sculpture merges into drawing and painting into installation. Bridget Beck’s large steel sculpture emerges out of the artists ink drawings in a shift between two and three dimensional space. Elizabeth Tinglof plays with dimensions and color in her wall installation of 30 individual paintings that undulate from the frames that contain them. From a miniature-scale dormer on the wall, Ashley Hagen propels a cascade of stuffed animals coated in plaster and painted in soft pastel colors creating a frosting-like waterfall. Emily Sudd creates new narratives with her ceramic installations, altering the visual perception and challenging the hierarchies of objects and materials. 

Pontus Willfors, Lynn Aldrich and Thinh Nguyen challenge the way the viewer perceives everyday objects. Willfors' work addresses our ability to manipulate aspects of nature we deem as product, nuisance or waste. Aldrich transforms commonplace items into transcendental configurations, while Nguyen creates sculptural forms from discarded items; resurrected they occupy a different role. During the opening reception, Nguyen will wear one of his sculptures in a performance that challenges the limitations of physical endurance.

Artists go to extraordinary lengths to produce the conditions under which they can execute and exhibit their works of art. Julie Shustack’s multisensory installations merge physicality and sound. Beatriz Cortez routinely delves into new processes to produce works that reference psychological processes and essential human experiences. Rebecca Niederlander’s site-specific sculptural installations are abstractions that use repetition and the inherent ephemeral nature of the materials to address the individual's position within the larger community.

About Rough Play

Rough Play is a new curatorial collective made up of three emerging artists working in Los Angeles: Ashley Hagen, Emily Sudd and Elizabeth Tinglof. Collectively the members of Rough Play have been involved in several exhibitions in curatorial, administrative and academic capacities, as well as participating as exhibiting artists. For over six years Rough Play have shared spaces and ideas, Go Big or Go Home is their first curatorial project together.






Elizabeth Tinglof, Around the Bend, 2014


The City Is Brewing With Micro-Culture

Opening Reception: March 6, 2014 6:00 p.m. - 9:00 p.m.
Exhibition Dates: March 8 - 15,  2014  
Location: 13709 Cordary Avenue, Hawthorne CA, 90250

The newest cultural hub to emerge from the city of Hawthorne is located in a nondescript industrial garage complex oddly juxtaposed in a quiet neighborhood on Cordary Avenue. Among the garages occupied by mechanics, woodworkers, and artisans is the conceptual blending artist Thinh Nguyen, who will be hosting the exhibition Paradoxically in Harmony.

Featured works include the New York-based duo, artists Michele Beck and Jorge Calvo along with two Los Angeles-based artists Connie DK Lane and Elizabeth Tinglof. The opening reception on Saturday, March 8th from 6 to 9 pm will include curbside food truck catering for patrons, and live music performances by Special Blend.

Michele Beck and Jorge Calvo will exhibit their collaborative videos that they been producing together over the years. Their work is in-depth research of cognitive speech and the human body as a tool for social interaction- the relationship between time and human life cycle, the mind/ body dichotomy and the notion of free will. These timely topics focus on the interconnectivity of past, present and future, while mass media and consumer culture keeps the public propagandized about historical and current events.

Connie DK Lane will show her recent sculptural forms that are both biomorphic and surreal, resting somewhere between abstraction and representation. The sculptures are evocative of human or animal parts without direct reference to them calling upon her subconscious play with the materials and fading memories that evolve into concrete visceral experiences.

Elizabeth Tinglof will be presenting her fusion of painting and sculpture that begins as an exploration of materiality. The installations are made from synthetic materials that are subjected to unnatural and unpredictable processes, whereas the paintings become sculptures - resulting in the painting reject their pictorial space by assuming a three dimensional presence.

Neighboring studios in the complex open during the reception will include renowned sculptor Robert Wilhite, and talents such as Axel Wilhite, Sean Mcgaughey, Scott Meskill, and multimedia artist Paulin Paris. Both Meskill and Paris will introduce their own curatorial artists, which will include multimedia artists Shannon Donnelly and Shaolin Monk Wang Bo. Included in this open studio circuit for his first California show is artist Martin Lacroix who lives and work in France. Although these studios are in an unexpected location, they are brewing with cultural events every three-month featuring works of local, national, and international artists.

For more information about this event, the featured artists or for appointments, please contact: Thinh Nguyen info@thinhtudio.com, or call 714-345-5086 during regular business hours


Elizabeth Tinglof, Rigor, 2014

Shelf Perception: 
Jenny Donaire | Ashley Hagen | Emily Sudd | Elizabeth Tinglof

February 27 - April 27, 2014
Annenberg Community Beach House Gallery
415 Pacific Coast Highway, Santa Monica, CA 90402
Gallery Hours: Daily 9am

Opening Reception
Terrace Lounge March 6, 2014—6:00pm - 8:00pm

Shelf Perception highlights the work of four Los Angeles-based female artists who reconsider the traditional art object by negotiating the spaces between painting, sculpture, photography, and domestic and architectural objects. The exhibition features work that undermines the structural integrity of physical and mental space, drawing correlations between the intangible and the concrete through the subversion of pictorial space and explorations of materiality and entropy.

Ashley Hagen’s GE Kitchen in Stone (2012), is made up of 78 concrete castings taken from miniature replicas of GE cabinets from the 1940s. The models were distributed at the time to help adults plan their new kitchen design. Hagen's castings are mounted on the wall in a linear orientation spanning up to approximately 13 feet in length. Hagen, who recently had a solo exhibition at The Prospectus Gallery at the Pacific Design Center, engages play in works that delve into the limitless mystery of childhood, conjuring metaphors of home, self, fantasy, and reality. Architect and artist, Jenny Donaire, will occupy the gallery cabinets with Succumb to your Obsessions (2012), an installation comprising of a large-scale photographic print, the image of an interior of a home under construction, paired with real-life construction debris. Poetic and quiet contemplations, Donaire’s installations featuring doors and passageways in domestic interiors, blur the boundaries between architectural and photographic space, functioning like portals to memory and imagination. Elizabeth Tinglof’s paintings and wall-hanging sculptures are rich and deeply layered abstract surfaces and forms that call to mind the excavation of primordial psychic matter and entropy of emotional environments. Made from synthetic and natural materials that are allowed to undergo unpredictable performative processes, her work explores materiality in a deconstructive conversation between binary oppositions. Emily Sudd’s wall-hanging and floor-standing ceramic sculptures combine discarded ceramic objects such as collectible figurines and functional ware with hand-built clay structures that question the nature of domestic objects, engaging in conversations with still-life, narrative, and abstract painting; postminimalist sculpture; and the life of the kitsch object. After collecting and arranging the various elements of the pieces, Sudd subjects all of the objects to the same firing conditions, resulting in unpredictable and surprising results. The process produces the literal and metaphorical melting down of the materiality of domestic and artistic space.

In conjunction with the exhibition, the artists will do a public artist talk addressing themes related to the issues addressed in Shelf Perception

Please visit: annenbergbeachhouse.com for gallery hours, parking rates and other information about the Beach House. For exhibit information, contact: Malina Moore, Cultural Affairs Supervisor, at malina.moore@smgov.net or 310.458.8350.