Art. Word. Thought.
by Jacques J. Rancourt
First, we’re skinny-dipping,
Sam & I, in a pond in Tennessee,
which is his idea, I should say,
& the tree with the rope swing
looms darker
than the dark night sky.
Second, the harvest moon,
which we came here to see,
is nowhere to be found,
instead the sky burning with stars
I can’t see without my glasses [Read more…]
at William Turner Gallery, Santa Monica (through March 30)
Reviewed by Genie Davis
To say that the opening of Ed Moses Through the Looking Glass, was crowded with fans and art lovers is an understatement. Moses is an LA icon of art, and the collection of his recent works on display here underscore the reasons for that honorific. That he continues to draw and fascinate viewers is unsurprising; his works are a magnet, deeply attractive, alive and engaging. [Read more…]
The Natashas, by Yelena Moskovich,
Dzanc Books. 232 pp. $16.95.
You enter a dark, deserted warehouse on the waterfront. One that smells of cats and kerosene, and whose walls are covered with dusty calendars from bygone eras. Or perhaps you find yourself in the balmy catacombs of an arterial sanctuary. Or, fill-in-the-blank, and create a setting that corresponds with your own resonant sense of dislocation, the flickering rose-light of omen and mystery. Simply, you are there, delegate to enigma, compelled to explore, to scratch an existential itch, which began with a crumb floating in a pool of cirrus: “In the boxshaped windowless room, all the girls are named Natasha.” A simple description and declaration, what could be the textual fade-in to a Samuel Beckett cryptogram, and it is this cinematic “teaser” which has drawn your inner-Philip Marlowe into a Maya Deren filmscape where a sign warns: The dream you are dreaming may not be your own. Welcome to the lucidly baffling world of Yelena Moskovich. [Read more…]
at Steve Turner Gallery, Los Angeles
Reviewed by Ellen C. Caldwell
Paige Jiyoung Moon’s solo exhibit, Days of Our Lives, at Steve Turner, Los Angeles, is utterly immersive and compelling. Through minute details both in size (with most paintings averaging just 12 inches in size) and in presenting the everyday, Moon highlights the mundane aspects of life, elevating the ephemeral and making the fleeting more permanent and profound. [Read more…]
In the character-driven lineage of such classics as Goodfellas, Big Lebowski, and True Romance; Walk to Vegas (written by Vincent Van Patten and Steve Alper; directed by Eric Balfour) features a brotherhood that operates on an informal black-market economy impervious to the rules of law, other than the innate sense of honor established through direct eye contact, firm handshakes, and camaraderie. It is a den of high-stakes Hollywood gamblers continuously engaging one another in ever-more outrageous ante-upping, dares and bets that culminate in our protagonist, Vincent VanPatten, attempting a walk from LA to Vegas in seven days in a suit. The characters of this instant classic — played by such greats as Eileen Davidson, Jennifer Tilly, Danny Pardo, Paul Walter Hauser, and James VanPatten, are straight out of Cervantes. The result: pure comic genius. [Read more…]
There is a scene in Barry Jenkins film adaptation of If Beale Street Could Talk, a novel by visionary James Baldwin, that details American racism without a word. Tish, the protagonist and narrator of the story, is working behind a perfume counter at a department store. She is visibly pregnant. Her job is not one typically given to ‘Negro’ girls, but this store considers itself progressive, and so she is allowed to offer the newest fragrance by spraying it on the back of the hands of passers by. A white man approaches and wordlessly grabs her hand instead, bringing it to his nose and lips where he sniffs her skin intimately. Tish, portrayed in a luminescent tour de force performance by 19-year-old newcomer Kiki Layne, is visibly uncomfortable but cannot recoil: not only is it her job, but this is early 1970s New York, where the Civil Rights Movement is over yet legalized racism remains right around the corner. Her discomfort is written all over her face, tinged with fear. Silently, he grips her wrist in a display of ownership – mimicking that of slavery, when white people did claim ownership of Black bodies, before releasing her and walking away. [Read more…]
Fear can act as a sickness, making us quake and quiver before falling petrified and useless. Fear can spread like a virus, contaminating whole communities, pitting people against each other and the wider world. In the Brazilian animated film, Tito and the Birds, this simile is made literal as an eye-catching and important parable for kids. [Read more…]
Atsuko Tanaka was a pioneering Japanese artist. She was born in Osaka in 1932, and lived until the age of 74. She died in 2005 in the historic city of Nara.
Tanaka may claim a place among the forerunners of performance art. Before Alan Kaprow organized any “happenings” in New York, Tanaka was taking part in the Gutai group, an experimental postwar Japanese art movement founded by a group of young artists in Ashiya in 1954. The aims of the Gutai group were to reinvent the art-scene in post-war Japan, seeking new and radical means to sever links with the recent past. The art historian Yve-Alain Bois has said that “the activities of the Gutai group in the mid 1950s constitute one of the most important moments of post-war Japanese culture”. [Read more…]
From Outer Peace
Out today on Carpark Records
Toro y Moi
on Carpark Records
by Gabrielle Calvocoressi
Back into the body all the lightning goes
back into the body. Up through the crown
of the skull and round again like the Whip-It
at the fairgrounds. Pushing the boundaries
of the light body. Overloading the light
body. Silly bowl shaking above the bowl
of the skull, which is a bowl holding court over
bowl the brain. Bowl into bowl into bowl.
All the curves pressing together. Too much
light in the light body. Body of cattle after long [Read more…]
on Hardly Art Records
by Catherine Barnett
Floating above the gynecologist’s hands,
Dolor looks down at me
with her many expressions.
Someone sketched the eyes, the mouths,
someone pinned them up,
arranged the faces
so they softly say, like this? like this?
The doctor says to choose one,
but I’m no fool, I close my eyes [Read more…]
Chuck D: Artmageddon
at Subliminal Projects, Los Angeles (through January 26)
Reviewed by Henry Cherry
While Subliminal Projects, owned by the artist Shepard Fairey, is a small space, it resembles a Philadelphia graffiti crew’s warehouse loft with brick flooring in one room and sheets of plywood serving as support in all other parts of the gallery. A nonsensical line delay outside (I waited 85 minutes) frustrated everyone, including the doorman at the front entrance. “I haven’t worked in L.A. for nine months, and this is why,” he told those awaiting their moment with Chuck D. [Read more…]
Vile Days, by Gary Indiana,
edited by Bruce Hainley.
Semiotext(e). 600 pages. $29.95.
Courtesy of Harper’s Magazine
How unromantic can a deathbed scene get? A test case: one day in 2015, The New Yorker’s art critic, Peter Schjeldahl, makes his way to the Village Voice’s Cooper Square offices, seeking to rescue the columns he wrote for the alt-weekly in the 1990s from their undigitized obscurity. Let in by a staff member who seems slack-jawed that anyone should be so keen to enter, Schjeldahl observes the paper’s remaining employees: “A very few people, not appearing to be up to much, sat far apart at desks in a dimly lighted panorama of desuetude.” Coda: as summer 2018 gasps its last, so does the Voice; mourned in September blog posts, like Schjeldahl’s for The New Yorker, it now exists only in archival form. This seems a fittingly uncharismatic parable for an East Village that has died more than once in the past thirty years or so—the end doesn’t even get to feel poignant anymore. [Read more…]
Seeing Allred is a fascinating documentary about one of the most powerful and outspoken discrimination attorney and women’s rights advocates of our times: Gloria Allred.
Co-directed by Sophie Sartain and Roberta Grossman, the film gets up-close and personal with this formidable woman, from her high profile cases and strategic presence in the media, to her personal life, her feminist awakening, her dedication to civil rights and her passion for activism.
“There is a war on women. It’s real. It can be very ugly. Women depend on me to be strong, to be fearless, and to assert and protect their rights,” declares Allred. [Read more…]
by Kevin Baker
From “Death of a Once Great City”
Courtesy of Harper’s Magazine
New York has been my home for more than forty years, from the year after the city’s supposed nadir in 1975, when it nearly went bankrupt. I have seen all the periods of boom and bust since, almost all of them related to the “paper economy” of finance and real estate speculation that took over the city long before it did the rest of the nation. But I have never seen what is going on now: the systematic, wholesale transformation of New York into a reserve of the obscenely wealthy and the barely here—a place increasingly devoid of the idiosyncrasy, the complexity, the opportunity, and the roiling excitement that make a city great. [Read more…]
by Aaron Timms
From “The Needles and the Damage Done”
Courtesy of The Baffler
What kinds of people did I expect to find here, in the public garden at the foot of 432 Park Avenue, New York’s tallest residential building? In the days before I arrived in Manhattan to chart a course across the city, I’d studied the plans and websites of the “supertalls,” the new crop of skeletal residential towers rising one thousand feet and more above midtown. The architects’ renderings of these new superstructures were charged with all the clichés of the genre: the plate-glass exteriors knifing skyward, the unobstructed views of the miniature city below, the lobbies at once massive and discreet. The humans were harder to grasp. Artists’ impressions showed the supertalls’ residents-to-be in a variety of unnatural poses: a couple in formal wear touching each other next to a baby grand, a woman alone on a balcony with a dining table set for eight. But it was the passers-by sketched at the periphery who interested me most. Would the people here be like they were there, smudged and passive with the bready limbs of a disaster movie’s sacrificial-crowd-in-waiting? [Read more…]
Chuck D is at Subliminal Projects, Los Angeles, tonight with a new body artwork. Exhibition review is forthcoming:
https://subliminalprojects.com/exhibitions/chuck-d/
“Kool Thing” is from Goo
on Geffen Records
Coltrane, who recently saw his latest posthumous release go metaphorically gold — i.e. sanctioned by the Ameri-Grecian/Bacchanalian Gods of Jazz — would have been proud of his dear friend’s latest release: Eric Dolphy’s Musical Prophet, reviewed yesterday by Henry Cherry.
Dolphy’s is indeed a fine and wonderful new release, yet/and with all due respect I hence put forth Zeus, who, yay, sanctioned or obliterated all other sounds of this epic era in Jazz. Here, Coltrane’s “Equinox,” where McCoy Tyner (who, by the gracious hands of those same breath-giving gods, is still with us, and still playing!!) lays down perhaps thee most spare and lovey piano solos ever put to tape, nor to ears nor time fore or since.