May Contain Explicit Imagery: Nancy Baker Cahill, Kiki Seror, and John Weston Curated by Tucker Neel

July 27 – September 7, 2014

May Contain Explicit Imagery
Nancy Baker Cahill –
Kiki Seror –
John Weston –
Curated by Tucker Neel –

CB1 Gallery
207 W. 5th Street
Los Angeles, CA 90013

July 27 – September 7, 2014
Artists Reception: Sunday, July 27, 2014, 5 – 7 p.m.

CB1 Gallery presents May Contain Explicit Imagery, an exhibition exploring libidinal subjectivity, the way viewers project sexually charged interpretations onto abstractions. This exhibition unites three very different artists: John Weston, Kiki Seror, and Nancy Baker Cahill, whose disparate practices and methodologies create content activated through corporeal allusion. In front of each of these artists’ works the act of looking becomes self-reflectively conspicuous as one is made aware of an unavoidable impetus to see things that are simply not there. Like Rorschach tests (but much more engaging), each of these artists’ works allows viewers the opportunity to investigate the impulses behind images that resist and also demand meaning. As the title of this exhibition implies, the images contained in the works on display, congealed in the viewer’s consciousness, range from erotic to disturbing, but in the end purposefully resist “literal” interpretation.
May Contain Explicit Imagery opens on July 27, 2014 and will be on view through September 7, with a reception for the artists on Sunday, July 27, 5 – 7 p.m.

A round-table discussion and walk-through with the artists and curator will occur on August 24 from 5-7pm.

Nancy Baker Cahill’s massive graphite drawings fascinate and overwhelm viewers with evocative references to human skin, muscles, organs, and strange, unexplainable growths. The impressive body of work in this exhibition began from a series of daily sketches the artist began in 2013. Completed as a daily meditation, these small drawings are filled with forms resembling hair, mounds of flesh, and folds of human effluvia. After compiling a month’s worth of these images, Cahill noticed pains in her stomach. Scans revealed a football-sized benign tumor growing inside her stomach. After surgery and months of recovery, she embarked on Virgil, the series of intuitive and sensual large-scale drawings in this exhibition. The visceral reactions one has to Cahill’s work emphasize the powerful self-alienation we all have with our own bodies and our inability to fully comprehend the mysterious, hidden inner-mechanics and landscape of our physical existence. A catalog of Cahill’s drawings is available for sale, courtesy of the artist and CB1 Gallery.

Kiki Seror’s newest series of photographs, Let us leave pretty women to men with no imagination; Remembrance of Things Past., continues the artist’s ongoing inquiry into how content, pleasure, and identity are constructed through pornographic media. For this exhibition Seror made hundreds of carefully calculated time-lapse photos of famous porno movies from the late 1970s and early 1980s, arranging them sequentially to form a spectral archive of each film. Capturing such greats as Taxi Girl and Debbie Does Dallas, Seror highlights pornography when the medium was in a transition from film to VHS, before the internet and the death of the porno theater diminished porn’s communal, social, and cinematic potential. Seror’s gridded, mathematical, almost pedagogical display system allows viewers to consider the role context, framing, and scopophilia play in the production of subjective sexual interpretation.

Standing in front of John Weston’s work guarantees an ecstatic and often hallucinatory experience. The artist has for many years been fascinated with the historical and physiological use of patterns and tessellations as a way to create meaning and activate space. Weston’s paintings lure viewers in with dazzling colors and extremely meticulous applications of paint. This ordered environment contrasts with the artist’s centralized forms, which often allude to human (and perhaps alien) states of uncontrolled disembodiment. Weston embraces the power of suggestive imagery, using negative space and contrasting surface texture to suggest normally hidden human body parts, pulsating orifices, orgasms, ejaculations, and erogenous insides exploding with electric energy. The works in this exhibition from Weston’s Fair Is Foul and Foul Is Fair series use the power of suggestion as a means to investigate the carnal thoughts that always lurk behind the banal. His chromatically high-key, high-contrast applications of paint result in funny and evocative compositions that, through careful titles, interrogate the sexualized implications of everyday phrases like Lip Service and Finger On The Pulse. These vernacular and idiomatic phrases vacillate from literal to figurative while reveling in the productive possibility of the double entendre. Weston’s work purposefully activates a highly visual experience in the viewer, producing a particular representation of jouissance that radiates from the cornea throughout the entire body. This experience may make you blush, but it’s a pleasurable charge that’s hard to shake.


Nancy Baker Cahill is an artist living in Los Angeles. She is a graduate of Williams College, where she received her B.F.A. cum laude with Honors in Art. She worked in public television at WGBH with the blind and visually impaired before leaving Boston for Los Angeles. Following that, she ran a small, works on paper gallery in West Hollywood and co-founded/curated the art benefit exhibition, “fresh stART.” In 2010 she initiated and led a collaborative art class at Homeboy Industries called “Exit Wounds.” The Exit Wounds Project culminated in a fundraising exhibition for Homeboy in the spring of 2011 and works from this project were exhibited throughout Los Angeles as part of the Craft and Folk Art Museum’s “Folk Art Everywhere” program through 2013. From 2006 – 2011 she served on the Hollywood Community Redevelopment Agency’s Public Art Advisory Board. She is the recipient of an ARC Grant from the Center for Cultural Innovation. Her multi-media installation, “Fascinomas,” showed at the Pasadena Museum of California Art From January 2012 through May 20, 2012. Currently she is collaborating with filmmaker Sage Seb on a series of experimental videos about drawing.

Kiki Seror is a visual artist working with digital media. Throughout her career Seror has sought to explore the binary dynamics between male/female and text/image as opposite genders. By means of photography, video, sculpture and installations her aim is to translate rapture and imagination by creating computerized topography and tantalizing images that enlist desire, but take the viewer no further than the initial illusion allows. Kiki Seror’s work was the subject of a survey exhibition at SITE Santa Fe, curated by Louis Grachos. Past solo show venues include I-20 Gallery, New York; Apex Art, New York; the Sigmund Freud Museum, Vienna; and Nils Staerk Contemporary, Copenhagen. Seror’s work has been included in group exhibitions such as Don Juan, Vienna Kunsthalle (2006); Jeugen von heute, Schirn Kunsthalle Frankfurt (2006); Balance and Power: Performance and Surveillance in Video Art, curated by Michael Rush, Rose Art Museum at Brandeis University (2005); In Focus: Themes in Photography, Albright Knox Art Gallery, Buffalo (2005); typ0, Moderna Museet, Stockholm (2004); Strangers: First ICP Triennial of Photography and Video (2003).

John Weston is an artist living and working in Los Angeles. Weston’s recent work employs painting and installation based projects to probe common ground between elements of sexuality that are widely perceived as opposites. You can see documentation of his work at Weston received an MFA from Otis College of Art and Design and a BFA from Northern Illinois University. He has had solo shows at Venice 6114 and Sabina Lee Gallery in Los Angeles. His work has also been included in exhibitions at the Marjorie Barrick Museum in Las Vegas, Frederick R. Wiesman Museum of Art in Malibu, Project Room G3 in San Pedro, Phantom Galleries Los Angeles, and Shangrila in Joshua Tree. His work has been reviewed in the Huffington Post.

Tucker Neel is an artist, educator, freelance writer, and independent curator living and working in Los Angeles, CA. Neel employs project-specific media to create works questioning historical narratives, how formal propositions and documentation shape individual and collective allegiances, memories, and identities. You can see his archived projects at Neel holds an MFA from Otis College of Art and Design and a BA in Art History and Visual Arts from Occidental College. He has exhibited work in Los Angeles and across the country in venues such as The MAK Center For Art & Architecture, The Ben Maltz Gallery, Summercamp Project Project, Commissary Arts, Samuel Freeman, Bonnelli Contemporary, Control Room, LA Freewaves, as well as in various site-specific exhibitions in public spaces. As a curator he has organized exhibitions for the Bolsky Gallery at Otis College of Art and Design, Highways Gallery in Santa Monica, and GATE Projects in Glendale, CA. He is currently Full-Time Assistant Professor in the Communication Arts, Graduate Graphic Design, and Liberal Arts & Sciences departments at Otis College of Art & Design. He is a Contributing Editor for Artillery Magazine in Los Angeles, CA and his writings have appeared in many publications such as the Journal of the Senses and Society, ARTPULSE Magazine, Art Lies Magazine, and X-TRA Magazine. Neel is also the founder and director of 323 Projects, a telephone-only art gallery that exists as a voicemail system and website. To visit 323 Projects anytime, anywhere, simply call (323) 843-4652. You can also visit the 323 Projects website at

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