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…]
The legendary Glen Campbell died today at age 81 following a long battle with Alzheimer’s disease. He will be missed.
Here he is on an old TNN special with a room full of country music legends, including Waylon Jennings, Willie Nelson, Roy Clarke, Chet Aikins, Ray Stevens, Tammy Wynette and Crystal Gayle:
In his New York Review of Books commentary, excerpted below, Martin Filler speaks to the wealth of new material out on Frank Lloyd Wright, including two current exhibitions and four new books. You can read the full review in the August 17 issue, or read it on site at nybooks.com
Few things are more satisfying in the arts than unjustly forgotten figures at last accorded a rightful place in the canon, as has happened in recent decades with such neglected but worthy twentieth-century architects as the Slovenian Jože Plečnik, the Austrian Margarete Schütte-Lihotzky, the Austrian-Swedish Josef Frank, and the Italian-Brazilian Lina Bo Bardi, among others. Then there are the perennially celebrated artists who are so important that they must be presented anew to each successive generation, a daunting task for museums, especially encyclopedic ones that are expected to revisit the major masters over and over again while finding fresh reasons for their relevance. [Read more…]
In their review of Happy Juice, all⋅about⋅jazz says “This album, once again, reminds us that Jon Davis remains one of the most important voices in the Posi-Tone stable and one of the most underappreciated pianists out there.” Audiophile Audition says “Davis’ compositions draw on rhythm complexities . . . the piano runs are intriguing, reminiscent of the unbridled freedom of the era of jazz explored on this album.” Listen to the title track below:
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: