Work(shops) it.

Wave Your Arms in Your Air. I was invited to do a workshop at the Getty Museum for Family Day during their Chivalry in the Middle Ages exhibition. Participants designed their own coat of arms on a flag and marched it around the Getty grounds. 

I had the opportunity to do a cyanotype collage workshop at the Norton Simon Museum.  Participants looked in depth at the photographic portrait exhibition Face It for inspiration. 

During Santa Monica's annual festival, I ran a workshop through CARS (Community Arts Resources) with the city's Office of Sustainability and the Environment. Participants made promises on how they would conserve water. They received a succulent and pot which they embellished with their promise. A bullhorn was available for people to profess these promises.


Pacific Non-Standard Time: Foundation for Art Resources 1977-Present

Saturday March 10, 7-10PM at Autonomie, 333 South Spring Street, Unit E4, LA, CA 90013

Featuring works by:

Aaron Drake 

The Friendly Falcons


Helga Fassonaki

Maya Gurantz 

Fatima Hoang & Janice Gomez 

Anna Oxygen

The Foundation for Art Resources presents a variation on the ongoing PST events in Los Angeles with a PNST (Pacific Non-Standard Time) contribution. This exhibition aims to celebrate the history of art production supported by FAR from 1977 to the present. FAR's functions include supporting non-institutional venues, public education and artist-based projects. To this point, we may consider the critical interventions developed by FAR to be a genealogy that is woven within and around the more established trajectories of the Los Angeles fine art world, always injecting a heavy dose of doubt, humor, and/or innovation into artistic practice. With an emphasis on the growth of new art and ideas, as well as the development of an increasingly more diverse community of producers, FAR has been a crucial supplement to much of Los Angeles's more established canon. As FAR has been a non-white cube, genre-bending/inventing organization since its inception, this Pacific Non-Standard Time event is a welcome response to PST's sanitized survey format.

While this exhibition presents a thematic highlighting of some of FAR's key moments, the majority of the selections complement FAR's extensive involvement with music by creating a backdrop focused around sound and/or musically-driven performance, including, but not limited to, documented events of Glen Branca, Mike Kelley, Jim Shaw, Sonic Youth, and the Swans. With the above in mind, FAR's PNST event seeks to extend and support the trajectory of these historical instances through an evening of performances that could easily be described as de-standardized art practices.

Morgan Thomas, a founding member of FAR, described the early activities of the organization and its rampant experimentation as being in search of "an appropriate production model." While FAR has been through a myriad of configurations since the 70s, the artists included in this exhibition exemplify this drive through a consistent re-tooling of standard practices that is anything but. This evening of performances brings together a dynamic group of artists with a similar interest in expanding the role(s) and/or perceived function of the artist as well as the exhibition space. Such a model of production poses questions about how we think about the concept of performativity in the early twenty-first century. Performance and/or theatricality have become increasingly porous as the "artist" becomes a nexus point defined by the roles of musician, composer, videographer and performer. Be it the transformation of the artist into larger than life "rock stars," or the mutation of the traditional gallery into a makeshift club, it seems as if all of the issues surrounding performance have taken on the trappings of hyper self-reflexivity. We might even read this drive towards heightened (self-)awareness as a necessary model of production in our contemporary spectacle-driven culture because it challenges of what the condition of performance can be. GYST RADIO

Hill House Mine Finale.

An interview by GYST radio host, Monica Hicks with Janice Gomez and Liza Wade Green, writer/director and performer of Hill House Mine. Listen here

About GYST Radio: A resource for all information on the business of art, hybrid careers and other DIY strategies for a successful career in the arts. We believe that artists should define their own careers on their own terms, and we provide the necessary tools and resources for doing so. We have great resources for artists but this radio broadcast concentrates on DIY artists, independent curators and arts organizations that support artists. Instead of waiting to be validated by a "gate keeper" come and find out strategies for doing it yourself here. We also post relevant content from other providers, so enjoy.


Ancient History

Curated by Nathan Bockelman 

A show featuring sculptures, photos, performances, and videos by 

Patrick Ballard 

Elonda Billera 

Janice Gomez 

Jean Robison 

Amy Sarkisian 

Peter Witrak 

Please join us on Friday, July 29th for a one night show with works that delve into the topic of the self, the dopplegänger, and the neurotic world within. 

Live sound performance by Patrick Ballard at 8pm. 



1904 East Seventh Place 

Los Angeles, CA 9002121

**Read about it in AnotherRighteousTransfer



218 N Promenade, Long Beach, CA

Opening Reception: Saturday, June 11, 6-10PM

Gallery Hours: Thursday & Saturdays 2pm-6pm or by email appointment (info at dblockprojects dot com ).

“Open Document” is posed to address current exhibition practices of art institutions which disallow public viewing of the installation process. Typically, an exhibition and its planning stages are hidden behind closed doors. “Open Document” will make the entire process available for public viewing, along with extensive documentation of participant interaction, exhibition planning, and installation. The “open” concept also responds to current trends in politics, business, and other industries in which transparency has become both an enemy and ally, requiring new policies on documentation and the distribution of information.

Participating artists include: Janice Gomez, Fatima Hoang, Tucker Neel, Chris Oatey, Jenny Yurshansky, JEFF & GORDON (Jeff Foye, Gordon Winiemko)

Visiting D-Block:

There is metered street parking in Downtown Long Beach until 9pm. There is also free 2-hour parking in the structure between 3rd and 4th street – just East of Pine Ave. (3rd Street runs one-way, while 4th Street is two-way).


MOCA Sunday Studio

THE GEFFEN CONTEMPORARY AT MOCA (Little Tokyo), 152 North Central Avenue, Los Angeles, CA

Sunday, January 2, 2011 - 1:00pm - 3:30pm

Join us for a guided tour of "Suprasensorial: Experiments in Light, Color, and Space", and learn about how artists from Latin America explored perception and sensation, followed by a hands-on collaborative large-scale installation, designed and led by guest artist Janice Gomez.

[In one of "Suprasensorial" installations, guests are encourage to bring swimsuits to swim in Helio Oiticica & Neville D'Almeida's pool.Towels will be provided. Swimsuits will also be sold inside the MOCA Store.]

During your visit to The Geffen Contemporary at MOCA in Little Tokyo, you are invited to attend a free event with our friends from the Japanese American National Museum. Festival activities focus on the Japanese New Year and include cultural crafts and performances.


Advance Parking System lot is located at the corner of 1st Street and Central Avenue, $6 flat rate seven days a week (prices subject to change)

Public Parking Lot 7 is located on Judge John Aiso Street, $7 flat rate during weekends (Prices subject to change).


Open Daybook


6522 Hollywood Blvd., Los Angeles, CA 90028

January 6th-February 6th, 2011

Opening Reception, Thursday, January 6th, 8-10pm

The Open Daybook

Edited by David P. Earle, Mark Beaty Publisher, Distributed by Random House

The Open Daybook is both a compilation of original artwork and a functional perpetual calendar. Over the course of a single year, three hundred and sixty five artists were assigned a date and given 24 hours to create a work of art. Each day is a page in the book.

Calendars are intrinsically interactive - you enter appointments, check dates, plan the future and revisit the past, all of which are keyed to your life and its intersection with the lives of others. The Open Daybook lets the owner interact with the work of 365 of today's most exciting artists. The design of every dated page allows users to record their life and engage artistically with contributors as diverse as Miranda July, David Rakoff, Jill Greenberg, and Mungo Thomson.

To coincide with the book's release, The Open Daybook exhibition will feature over 180 original works from the book, including pieces by Ann Faison, Bari Ziperstein, Bettina Hubby, Brad Eberhard, Chris Natrop, Deborah Aschheim, Elana Mann, Emily Joyce, Fallen Fruit, Gina Osterloh, Marina Kappos, Matt Wardell, Matthew Connors, Paul Henry Ramirez, Tomokazu Matsuyama and Zoe Crosher.

Availble at Printed Matter in New York, LACMA catalog store, and on