The new kid on the block is the The Marciano Art Foundation, which showcases the art collection (some 1,500 pieces strong) that the brothers Paul and Maurice have collected since 1980. Instead of building a new structure, the Marciano brothers (of Guess fame) chose to buy and remodel the striking Scottish Rite Masonic Temple on Wilshire, which was designed by Millard Sheets. [Read more…]
“What I am trying to get across is that material is a means of communication.”
An exhibition entitled Material as Metaphor, currently at the Craft and Folk Art Museum, brings together eleven contemporary West Coast sculptors (Lloyd Hamrol, Victoria May, Lisa C Soto, Joel Allen, Miyoshi Barosh, Mary Little, Phyllis Green, Christy Matson, Senga Nengudi, Kay Whitney, May Wilson) who mostly use non-traditional materials such as industrial felt, vinyl, pantyhose, found thrift store crocheted blankets, rubber inner tubes, and other organic or manufactured items to create the predominately soft, sensuous, and idiosyncratic free standing and wall pieces. [Read more…]
The geometer’s circle is a perfect abstraction, a static and timeless singularity. The naturalist prefers ripples on a pond: plural, overlapping, and dynamic. Throughout their histories, much of philosophy and art have sided with the geometer, regarding the eternal form as more real, more substantial. This perspective denounces the transitional for its decay and change; it sees permanence as superior.
In his essay “Circles,” Ralph Waldo Emerson takes a different approach. He says, “Our life is an apprenticeship to the truth that around every circle another can be drawn; that there is no end in nature, but every end is a beginning; that there is always another dawn risen on mid-noon, and under every deep a lower deep opens.” [Read more…]
Don’t call Victor Gastelum a stencil artist. Yes he wields an X-Acto blade like the Master of the Flying Guillotine, but long before Bansky was spraying 2-D cliches onto London walls, Victor was creating images that resonated like stills from an unknown film noir. It’s hard to remember now that there was a time when low riders and Mexican wrestlers were not in rap videos and beer commercials, but it was during those late 80’s and 90’s that Victor took the stuff of his childhood visual culture and created images that contain both literal and figurative depth. We sat in his studio in Long Beach and talked about his journey from making Punk flyers to working at SST Records and navigating the art world like Mr. Magoo. [Read more…]
Arms elbow deep in white suds,
Soul washed clean,
Clothes washed clean,–
I have many songs to sing you
Could I but find the words
“A Song to a Negro Wash-Woman”
by Langston Hughes
Wall text of the first (above) and last stanza of this Langston Hughes poem, an elegiac ode to the over worked and unappreciated Negro wash-woman, coupled with ten of Betye Saar’s own vintage washboards, set the tone for this poignant, powerful, and political show entitled Keepin’ it Clean. At 90, the venerable Betye Saar still clearly has plenty of “fire power,” as demonstrated by this quietly explosive body of work—about half from the mid to late 1990’s (Saar began collecting washboards in the 1990’s) and the other, more recent pieces are from 2015-17. [Read more…]
The art of Carol Rama occupies a strange and singular space; Rama, a self-confirmed outsider, is poised on a chosen cusp. Not a true outsider artist herself (her intense, self-conscious stoking of her own particular obsessive-compulsive neuroses precludes that) she provides a unique meta-vision — even a celebration — of the outsider mindset. She is a self-proclaimed insider of an outsider world, which she obsessively observes, reveling in recording its scatological and erotic impulses.
Henry Darger and Martin Ramirez were equally obsessed: it is fair to say that they all, including Rama, suffered from some degree of obsessive-compulsive disorder, just as does the uber-successful artist Yayoi Kusama. Louise Bourgeois once famously called her art “a form of therapy.” Or, as Rama put it, “We all have our own tropical disease within us, for which we seek a remedy. My remedy is painting.” [Read more…]
1973. David Lynch had been shooting Eraserhead for roughly one year when he ran out of cash. The film was suddenly and indefinitely on hold. It was, he says, “a depressing time.” It was also this time that the American Film Institute asked a friend of his, Fred, to shoot a test using two different black and white video stocks to determine which stock was best, because, as Lynch tells it, “they were going to buy a bunch.” Lynch says when he heard AFI was buying video tapes, “it gave me a sadness, and I worried they were going to have to change the name of the place” (from American Film Institute to American Video Institute). “So I looked at Fred, and I got an idea, and I said, um, ‘Fred, does it matter what you shoot?’ And he said, ‘Well, what are you talking about?” And I said ‘Could you shoot anything you want? Twice. One with one stock and one with the other, and go like that, for the test?’ And he said, ‘Well, I don’t see why not.’ So I said, ‘Could I write something and make something for tomorrow?’ And he said, ‘Okay.’”
That evening Lynch wrote The Amputee. The next day he shot this video:
One line on 4:44, the 13th solo album by rapper Jay-Z, implores listeners to “Stop me when I stop telling the truth.” If that’s the case, you can’t stop this album for its entire 34 minutes. Featuring some of his most introspective and lyrical wordplay since 2007’s American Gangster, 4:44 is essentially a comeback record after a series of projects that were commercially successful but weren’t particularly critically well-received by reviewers or fans. It finds the 47-year-old drug dealer-turned-rapper-turned-multi-millionaire businessman at a crossroads of sorts, reflecting on his choices thus far and laying out the motivations for the directions he’s going in next; each of the ten tracks weave the musings of the man Shawn Carter against the rap mogul Jay-Z and back again. [Read more…]
Works by artists from South of the Sahara are being exhibited at the Louis Vuitton Foundation in Paris, one of three exhibitions of African art. The building, a folly Frank Gehry has indulged in his advancing years, reportedly cost just under 900 million dollars, while less than a decade earlier his Guggenheim Museum in Bilbao cost a comparatively scant $100 million.
The works are part of a collection that curator André Magnin has put together on behalf of Jean Pigozzi, an art collector and heir to the Simca automobile brand. Pigozzi owns yachts and islands and admits, quite unabashedly, he has never set foot on the African continent and doesn’t plan to. Despite this rather paradoxical setup, the art — vibrant, expressive, masterly — silences any misgivings about the contradictions between art market and free expression, about the morality of exiling these works from their native audience, about the appropriateness of an “African Art” label and, finally, about the subjectivity of a Western critic’s review. [Read more…]
Born in San Antonio, Texas, and schooled in Chicago and Los Angeles, the multi-hyphenated artist, musician, and publisher Aaron Curry is an amalgam of diverse but cohesive geographic and aesthetic influences. The selected works in his curated show, Press Your Space Face Close To Mine, at The Pit, reflect the impact of each place on his art practice, including teachers, artists and musicians. In addition to his own installation, there are works by Sadie Benning, Richard Hawkins & Elijah Burgher, Gary Panter, AR Penck, Barbara Rossi, Dieter Roth, Don Van Vliet, John Wesley, Robert Williams, and Karl Wirsum. [Read more…]