…where I’m talking about William Powhida’s show at Charlie James Gallery in Los Angeles.
An installation view of As He Remembered It, 2011, by Stephen Prina, at LACMA. On view through August 4. (Courtesy of Galerie Gisela Capitain and Petzel Gallery, New York.)
- Must-read interview: Jaron Lanier on how the internet has destroyed the middle class.
- Putting a visit to Noah Purifoy’s desert installations at the top of my SoCal bucket list.
- From the Department of I Heart the Art Market: “It is hard to imagine a business more custom-made for money laundering, with million-dollar sales conducted in secrecy and with virtually no oversight.”
- A proposal to redo LACMA — this time by Peter Zumthor. More here.
- As someone who grew up going to LACMA (not to mention the Tar Pits), I have a deep nostalgia for the Pereira buildings — design warts and all. But I suppose their memory will always be preserved in Ed Ruscha’s Los Angeles County Museum on Fire.
- Speaking of which, it sounds like MoMA is gonna think deeply about razing the Folk Art Museum before it razes it.
- Countdown on the Hirshhorn bubble: Will the museum’s puffy turquoise pavilion really happen?
- The first known painting of Southern California.
- Flashback: Peter Plagens’ cranky-pants L.A. rant published in Artforum in 1972 is all kinds of epic. (Mercy, Christopher Hawthorne.)
- Critical Theory Heads: The Pacific Northwest College of Art is looking for critical essays about stuff only 10 people care about. Winner takes home the Hannah Arendt prize and 5Gs. You’ve got ‘til the end of the month
- Plus: Create a work of virtual public sculpture. And make money. (If you win.)
Where I take a look at what’s going down with the sprawling MOCA architecture show that may be on the verge of being killed — and the architects who’ll be left holding the bag if it is.
The Mexicali Biennial at the Vincent Price Museum of Art is in its final week. If you do make it out, there are a couple of standouts: one is Zoe Gruni’s Cannibal (featured in my prior photo essay), a sculpture that seems to take the notion of the beach blond and stick it in the blender. This is no beautiful ideal, it’s a total monster — a good piece to hang out and look at for a while.
The second is Carolyn Castaño’s El Reporte femenil/The Feminine Report, above, done in collaboration with Gary Dauphin. The video is interesting for a number of reasons. There’s the presentation, which perfectly captures the glib tone of most TV newscasters. There’s also the choice of historical subject matter: a pre-Columbian-to-the-present-array of Latin American women, covering the range from warrior types to political figures to cuchi cuchi mamitas.
But what’s most remarkable is the language: Castaño completely shreds the most natural ways of speaking Spanglish, then rebuilds them into something that sounds almost foreign. In my experience, Spanglish is generally spoken in one of three ways: English structure with Spanish words thrown in (Do you want a cerveza?); Spanish structure with English words thrown in (ya estoy harta de tanto bullshit); starting a thought in one language, then finishing it in another (Cuando llegue tu primo, we’re all going to dinner).
She chops the two languages up even more: going back and forth between structures in a rapid-fire way, which makes for a lot of unfamiliar patterns to the ear. Sample sentence:
La Venus, a fertility symbol, símbolo de la fertilidad of beauty and sexuality. Raquel Welch, 1,000,000 Years BC, de la belleza y sexualidad. Antes de Cristo, of Bolivian descent. Si, una chola.”
Certainly, the words she uses (which are more like poetry than speech) adds to the effect — making this a real trip to listen to.
Man in a Traditional Minobashi Raincoat, Niigata Prefecture, 1956, by Hiroshi Hamaya. Part of the exhibit Japan’s Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto, at the Getty Museum. Through August 25, in West L.A. (Courtesy of the Getty.)
- L.A.: Trisha Brown: Floor of the Forest, at the Hammer Museum. Starts Saturday, in Westwood. These sculptural dance performances look like they’re gonna be all kinds of crazy-pants. Be sure to check the website for dates and times.
- L.A.: Fritz Haeg, Domestic Integrities, at Human Resources. Through April 4, in Chinatown.
- L.A.: In Case We Don’t Die, at the Torrance Art Museum. Opens Saturday, in Torrance.
- L.A.: A screening of La Dérive by Paula Delsol, at Public Fiction. This Friday at 7pm, in Highland Park.
- Minneapolis: Mo/Re Re/Al: Art in the Age of Truthiness, at the Minneapolis Institute of Arts. Through June 9.
- Raleigh, N.C.: The Experience of Time in Contemporary Art, at the North Carolina Museum of Art. Through August 11.
- NYC: David Hartt: Stray Light, at the Studio Museum. Opens Thursday, in Harlem.
- NYC: Daido Moriyama: Now and Now, at Steven Kasher Gallery. Opens Thursday at 6pm.
- NYC: Benny Andrews: There Must Be a Heaven, at Michael Rosenfeld Galelry. Through May 18, in Chelsea.
- NYC: F.A.T. Gold: Five Years of Free Art & Technology, at Eyebeam. Opens Monday at 7pm, in Chelsea.
- NYC: Thomas Ruff, photograms and ma.r.s., at David Zwirner. Opens Thursday, on 19th Street in Chelsea.
- NYC: Wayne Gonzales, at Paul Cooper Gallery. Opens Saturday, in Chelsea.
- NYC: Direct Address: An Inaugural Group Exhibition, at Joshua Liner. Through April 21st.
- NYC: Hooray for Gay: Pre-Stonewall Images From The Harry H. Weintraub Collection, at Boo-Hooray. Opens Saturday at 6pm.
- NYC: Dona Bailey, the creator of Atari’s Centipede, is giving a talk at the NYU-Poly Game Innovation Lab. Next Wednesday, April 3, at 7pm.
It’s been a while since I’ve been this excited about a gallery show. Henry Taylor at Blum & Poe is definitely one to see if you live in L.A. Stand Tall – Y’all, 2013, above, was one of my favorite pieces in the show. I like the texture of the man’s overalls, the mysterious hand and the unusual scale of the horse.
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. ♥♥♥♥
This is sublime. Watch.