…where I’m discussing one of my favorite topics: whether photography should be allowed in museums. And yes, that’s me above, shooting through Teresita Fernandez’s 2005 sculpture Fire at SFMOMA.
This week’s awesomeness: 323 Projects, a gallery that’s nothing more than a phone line. This month and next, you can can dial in and get a few things off your chest to a close friend or family member — all courtesy of the artists JEFF&GORDON (that’s them, top left).
Every once in a while I get to do an interview that blows my mind. This time, the mind-blower was Denise Scott Brown, a Philadelphia-based architect and theorist who has been the force behind seminal books such as Learning From Las Vegas. In 1991, the Pritzker committee awarded the prize to her husband, architect Robert Venturi — even though she and Venturi had been design partners for almost three decades at that point, collaborating on buildings, books and other activities. A petition out of the Harvard Graduate School of Design has called for Scott Brown to be belatedly recognized (and has been signed by the likes of Zaha Hadid and Rem Koolhaas).
In my Q&A with her regarding the controversy, she spoke openly and honestly — and very smartly — about her work and the way she has been treated because she’s a woman. Her stories are as fascinating as they are horrifying.
Find the interview here.
‘Cuz this little god forsaken blog made it onto the updated list of TED’s 100 Websites You Should Know.
I spent an afternoon hanging at LACMA’s gallery at Charles White Elementary School, watching artist Shinique Smith and a crew of kids make a sculpture out of socks. In a city as sprawling as Los Angeles, it’s interesting to see an institution take bits of its collection off-campus in this way. Southern California could use more of this type of cultural decentralization…
Please click through and listen to my story and see pictures over on KCRW’s site!
…where I’m talking about everything biotech in art, including cell cultures, bacterial colonies, DNA manipulation in E. coli bacteria, implanted arm-ears and much much more. (That’s Paul Vanouse’s DNA piece Ocular Revision installed at the Albright Knox in 2010, above. More about that here.)
A small addendum: In doing research, I ran into the most wonderful documentary about one of the artists featured in my story. Joe Davis is not only a genius, he’s an inspiration. If you are ever invited to a screening or you happen to lay your hands on a screener of Peter Sasowsky’s documentary Heaven + Earth + Joe Davis, do not miss the opportunity to see it…
I had the great honor of profiling painter Llyn Foulkes for NPR News. Not only did I get to spend some quality time in his studio, I got a private concert on his one-man band, The Machine. Plus I got to see his collection of curiosities (skulls!). Foulkes has an an all-kinds-of-gangbusters retrospective at the Hammer Museum: gritty, funny, desperate, intense, and beautiful, with works, such as The Last Frontier, above, that are just mind-boggling in their content and material construction.
Pleasepleaseplease click over to my story or stream it below — and if you’re in SoCal, definitely check out the show. It’s up through May 19.
P.S. After you’ve listened, check out this performance of Llyn playing “Your Cheatin’ Heart” on The Machine. ♥♥♥♥
…where I’ve got a profile of artist Paul Vanouse, a bio artist who works with DNA. That’s him above right, with his assistant Kerry Sheehan, staging Suspect Inversion Center, a piece in which he attempts to make his own DNA profile look like that of OJ Simpson. His show is up at the Beall Center in Irvine through May 4.
(Photo by Axel Heise.)