20 Minutes into the Future

Taking A Much Needed Break.

2009-09-12T13:34:00.000-07:00

Dear Readers:

Thank you so much for your support and interest in my blog. Running a site like this is more work than it would seem on a prima facie level. Hours of research and writing, not to mention plenty of one-on-one time with the art and artists, makes TMITF the success that it is. What started out as an [therapeutic] experiment of sorts has evolved into something truly magical and life altering for me. THANK YOU!!!

As many of you may know, I have recently been accepted into the M.A. program at the California Institute of the Arts (CalArts) and will be working toward a degree in Aesthetics and Politics. This degree will allow me to better synthesize and hone my critical and theoretical outlook on art, culture and the various egos that navigate its stormy seas. Due to the level of rigor and time that needs to be invested in a program like this, I will not be able to contribute as frequently as I would like. However, please keep your e-mails and suggestions coming, as I still plan on contributing stories as time permits.

Yours,
Taras

Guess Who's in the September Issue of AD???

2009-08-09T12:45:00.000-07:00

Me!!!

Q: Why should you pick up the September 2009 issue of Architectural Digest?

A: Because I made it into the "AD Letters" section (page 28)!

I authored a letter to the editor regarding an AD article on Brazilian architect Marcos Bertoldi from July 2009. You can read the original article here, but my claim to fame is in the print version only.

Osmar and Maria Cristina Casagrande Bertoldiand residence
Curitiba, Brazil
Architect: Marcos Bertoldi

TMITF on break until August...

2009-07-23T20:32:00.000-07:00

Dear Readers:

I'm taking a mini-vacation from blogging for a bit. I have a lot of stuff going on right now and need time to regroup. I will be back soon, so no need to fret!!! In the meantime, please drop me a line at tmitf.info@gmail.com if you have any comments or need to get a hold of me.

See you in August!
TMITF

Julius Shulman Dies at 98.

2009-07-20T22:51:00.000-07:00

Farewell "Uncle Julius"

While in New York this past weekend, I was deeply saddened to hear the news of Julius Shulman's passing. Known to many in his field as "Uncle Julius," Shulman had a long and prestigious career -- which spanned more than eight decades -- as a photographer of some of the world's greatest architectural gems, many of which were located right here in L.A.

Los Angeles Department of Water and Power, 1965
A.C. Martin Partners
Photography: Julius Shulman

Commonly referred to by many as an architectural photographer, Julius Shulman never seemed content with carrying such a moniker. "I'm not an architectural photographer. I hate it when people call me that," Shulman told me back in 2007 when he invited me over for a snort of scotch at his Rafael Soriano-designed home and studio. "I don't just shoot photos of buildings. I shoot photos of buildings interacting within their respective surroundings. I'm an environmental photographer."

When I returned this afternoon to L.A. I was anxious to re-read Julius' contribution to Barbara Isenberg's book State of the Arts (if you don't have this book, you must get it!) After re-reading it three times, this excerpt felt like a great way to end this post. It clearly illustrated one of Julius' many admirable traits -- confidence.

"Every photograph I ever took came out. I never had any second or third exposure or revisits to a site. In sixty-four years of photography, I've never had a remake. I never was told by an architect to go back to and do it over again. Never. As a matter of fact, people began to call me "One-Shot Shulman," because I took one negative of each picture and that was enough. I knew it would come out."

Happy Birthday to ME!

2009-05-07T19:26:00.000-07:00

Piece of cake, anyone???

Wayne Thiebaud
Around the Cake, 1962
Oil on canvas
Spencer Museum of Art, Lawrence, Kansas
Gift of Ralph T. Coe in memory of Helen F. Spencer

Tomorrow is my birthday and I will be out of town celebrating. However, I will be back early next week to review the Judith Bernstein exhibition at The Box in Chinatown (VERY exciting!!!) If you happen to have a copy of Art in America from June/July 2008, there was a fantastic writeup about her work.

In the meantime I hope you enjoy the Theibaud painting (above) in honor of moi.

INCOGNITO @ SMMoA this Saturday

2009-04-29T08:00:00.000-07:00

Things Aren't Always As They Seem

SMMoA's INCOGNITO logo designed by John Baldessari.

Just when you thought you were too old to play hide-and-go-seek -- peek-a-boo, there's SMMoA! The Santa Monica Museum of Art will present their 5th annual INCOGNITO exhibition and benefit sale this Saturday, May 2nd, beginning at 7 p.m. sharp (get there early if you want to grab a good spot in line).

For those who have never attended before, you're in for quite an experience. The mood is very much like Black Friday (the Friday after Thanksgiving), only this time artists, dealers and collectors are the ones who are elbowing each other for all the bargains. The show is comprised of more than 650, 8 x 10 in. works which were generously donated by numerous artists working in a wide array of styles. There are no museum labels indicating which artist created which piece, so buyer beware! For only $300 per work (plus tax), you could end up with a killer work by notables John Baldessari, Mark Bradford, Kristin Calabrese, Exene Cervenka (BTW, I LOVE the band "X"!), Alexandra Grant, Leonard Nimoy, Ed Ruscha or Jennifer Steinkamp, among others. Are you enough of a connoisseur to recognize who's who? Come down this Saturday night and find out! Admission to the event is $100 per person($135 at the door). But, please, remember that all sales are final! If you'r still on the fence, check out the video from last year's event here.

INCOGNITO will take place at the Santa Monica Museum of Art on May 2nd, 2009; 2525 Michigan Avenue, Santa Monica; Begins at 7 p.m., but line up may start earlier; Admission tickets are $100 per person ($135 at the door); Works of art are $300 each (plus tax).

The People vs. Louis Vuitton and MoCA

2009-04-23T07:11:00.000-07:00

Honest Oversight or Intentional Scam?

Takashi Murakami's "limited edition" prints, similar to the works above, sold at MoCA for $6,000 a pop.

LATer Mike Boehm reported today on the ongoing dispute between luxury goods retailer Louis Vuitton, the beleaguered Museum of Contemporary Art (MoCA) and would-be entrepreneurial print collector Clint Arthur. Mr. Arthur alleges that Louis Vuitton and MoCA failed to adhere to the Fine Print Act which, among other things, legally defines what constitutes a fine [art] print and how it should be sold to consumers. According to the act, the State of California defines it as follows:

"Fine print" or "print" means a multiple produced by, but not limited to, engraving, etching, woodcutting, lithography, and serigraphy, and means multiples produced or developed from photographic negatives, or any combination thereof.

That seems pretty legit and straight forward to me. So far, so good. The legal jargon continues with defining limited edition:

"Limited edition" means fine art multiples produced from a master, all of which are the same image and bear numbers or other markings to denote the limited production thereof to a stated maximum number of multiples, or are otherwise held out as limited to a maximum number of multiples.

Uh-oh, I think we have finally run into a problem here. Since the works in question were admittedly created from scraps of left over material from the Murakami-designed Louis Vuitton handbags, I think that this evidence alone proves that Louis Vuitton incorrectly marketed the prints a limited edition.

Usually, limited edition prints of this ilk are printed according to specific guidelines and standards set forth by the artist and a master printer. In consultation with the artist, the master printer will go through several print proof runs in order to achieve the correct color(s) and registration (a fancy print term which means precise color or image alignment) needed to print the edition. Once the desired look is achieved, the master printer will designate that specific print as the bon à tirer, or "good print" in French. The bon à tirer serves as the printer's template (master print) for the rest of the edition. If there is no bon à tirer, then the print is most likely not a true limited edition -- case closed! I'm eager to see how the judge will rule on this, but I guess we'll have to wait until this summer to find out.

Art of Two Germanys/Cold War Cultures

2009-04-08T07:12:00.000-07:00

DISCLAIMER: This article references my employer, the Los Angeles County Museum of Art (LACMA). The views expressed on this blog are solely my own and do not necessarily reflect the views of LACMA, LACMA's leadership, LACMA's Board, or LACMA's staff. Furthermore, the views posted on this blog have not been influenced in any way by the aforementioned parties.

"Mmm, Chocolate Lion Tower...aaaaahhhh" (In my best Homer Simpson voice)

Art of Two Germanys/Cold War Cultures installation view at LACMA. Dieter Roth's Chocolate Lion Tower is to the left.

The Art of Two Germanys/Cold War Cultures closes at LACMA on April 19th, so make sure to check it out ASAP! The show is intellectually stimulating (and dense), both in subject matter and artistic tradition. It will definitely leave you with a greater appreciation for and understanding of late mid-century German avante-garde artists working in front of and behind the iron curtain. Selections include works by Joseph Beuys, Hans Haake, Raffael Rheinsberg, Gerhard Richter, Dieter Roth, Sigmar Polke and others. All were scions of twentieth century image making in Germany, and successful at taking visual polemics to an whole new level.

My favorite work from the exhibition was Dieter Roth's Chocolate Lion Tower, 1968-69. I think that this work conclusively proves that it's okay to play with your food so long as it's in the name of art. Known for incorporating food stuffs into his compositions, Roth's art is tasteful, both, literally and figuratively! The work itself is a recreation of the original from the late sixties. Made entirely of chocolate, the cast sculpture of pint-sized lions stacked on top of one another is meant to slowly decay as the show travels from venue to venue. Roth's medium selection seems to view art through the lens of a perishable object rather than a cherished keepsake. Notions of value and materiality are simultaneously exalted and excoriated. In a recent exhibition-related lecture at LACMA, this piece was specifically sited by contemporary artist Paul McCarthy as a direct influence on his 2007 Chocolate Factory installation in New York City, where he tuned a gallery space into a fully functioning confectionery.

This show might be of great interest to people who were far too young to understand the politics of the Cold War, as well as practicing artists with an affinity for conceptual art. This is one history lesson that should not be missed.

Art of Two Germanys/Cold War Cultures through April 19, 2009 at the Los Angeles County Museum of Art (LACMA), 5905 Wilshire Blvd., Los Angeles; Phone: (323) 857-6000; LACMA closed on Wednesdays, open Fridays 12:00-9:00 p.m., all other days 12:00-8:00 p.m.; Admission $12.

UPDATE: Tonight's Kehinde Wiley Talk SOLD OUT!

2009-04-02T07:55:00.000-07:00

High Art, High Demand.

I noticed that tonight's 7:00 p.m Kenide Wiley lecture at the Getty Center is SOLD OUT. Apparently, there will be a standby line so you may just be in luck...but get there early!!! Otherwise, go to the opening reception at Roberts & Tilton on Saturday, April 4th from 6-8:00 p.m.

Keepin' It Real With Kehinde

2009-03-24T18:58:00.000-07:00

He Can Paint and Make a Statement

Kehinde Wiley
Randerson Romualdo Cordeiro, 2008 (from The World Stage: Brazil)
Oil on canvas, 48 x 36 in.
Courtesy of Roberts & Tilton, Culver City, CA

If you have plans next Thursday, April 2nd, say 7 p.m.-ish, break them! Artist Kehinde Wiley will speak at the Getty Center about his work and his upcoming exhibition, The World Stage: Brazil, at Roberts & Tilton in Culver City. Wiley has been one of those artists that I have admired for several years now. His fresh approach to painting and dynamic use of historical references makes him one of the brightest and most innovative artists out there.

(Above) Jacques Louis-David's Bonaparte Crossing the Alps at Grand-Saint-Bernar, 1801

After receiving his M.F.A. from Yale in 2001, Wiley made a name for himself by painting large-scale canvases of young African-American males reenacting religious and classical portrait poses of centuries past (you know, the ones that were only reserved for the rich, powerful and obnoxiously white.) His artistic repertoire also includes some notable Hip Hop sitters, including Ice T, LL Cool J and Grandmaster Flash. Empowered by the medium of the masters along with a skilled hand, Wiley invites the models to come by his studio and flip through various art history books that he has collected through the years. The models are then instructed to pick their favorite paintings and poses, thereby allowing them to envision themselves in a specific scenario or environment that they feel coincides with their individual personalities. And then Wiley takes care of the rest. He sets up a mesmerizing dialogue between himself, the [historical] artist, as well as the sitter. The end result is portraiture with vivid personality, buttressed with contemporary elegance and class that is befitting of Hip Hop royalty. Even if the subject matter does not strike you, the self-evident triumph of technique will. Trust me, these works will blow your mind!

(Above) Kehinde Wiley's Napoleon Leading the Army over the Alps, 2005

Kehinde Wiley, The World Stage: Brazil, April 4 – May 30, 2009 at Roberts & Tilton, 5801 Washington Blvd., Culver City; Phone: (323) 549-0223; Opening Reception Saturday, April 4th, 6 – 8p.m.

Kehinde Wiley on His Art and Its Influences lecture Thursday, April 2, 2009, at the Getty Center, Harold M. Williams Auditorium, 1200 Getty Center Dr. Los Angeles, CA; Phone: (310) 440-7300; Admission: Free; reservations required.

View Not So Clear From the Top Of The Hill

2009-03-15T21:31:00.000-07:00

Critical ~~Seeing~~...

Mike Boehm's article in today's L.A. Times seemed to be a fair piece of reporting that clearly outlined the complexities of the Getty as an organization, not to mention the low morale and lack of support the staff has for Jim Wood. On a somewhat disturbing note, I found some of Mr. Wood's comments quite outrageous. Specifically, the one alluding to calls for a reduction in his compensation. According to The Times, Mr Wood implied that the Getty's problems were "too big to be solved by such 'piecemeal' measures." Say, what?!?! Is it just me, or has he [and Trust leadership] clearly not been paying attention? To my recollection, the comments on the Silence Dogetty blog have never alluded to the fact that a reduction in Mr. Wood's compensation would alleviate all of the Getty's financial woes. What it has alluded to is the fact that there are no easy answers to this complex financial dilemma. It also mentioned that Mr. Wood could do wonders for staff morale by just cutting his own salary -- he doesn't have to wait to hear from the Board, in May, on that one. Furthermore, doing so would not mean that he was somehow caving into the petty demands of the majority of the staff, but rather recognizing that these changes are real and should affect everyone, including senior leadership -- again, just re-stating the obvious.

View of the West Pavilion at the Getty Center.

So what's next for the Getty? Well, it appears that the Getty Trust will continue their silent routine at least until the end of May, when the Board makes a final determination on the budget. In the meantime, the dismayed staff will most likely keep the pressure on The Trust via the Silence Dogetty blog. From a purely observational standpoint it would seem that in recent months online activity of this ilk, coupled with internal pressures, has led to the premature departure of some prominent arts leaders in L.A. Namely, Jeremy Strick (MoCA -- http://www.mocamobilization.org/) and Richard Koshalek (Art Center College of Design -- http://futureofartcenter.blogspot.com/). At this pivotal juncture, all eyes are on Mr. Wood and how he will play this one out.

Art Reviews Coming to a Blog Near You...

2009-03-13T07:58:00.000-07:00

Question: When Is TMITF Going to Review Gallery Shows Again?

Answer: SOON!

It's tough working a 9-5 job and still have enough energy to go out and review a show on the weekend. Thanks for all of the concerned e-mails flooding my mailbox at tmitf.info@gmail.com. YES, I will be reviewing more shows in the next couple of weeks. Thank you to ALL of the gallery directors who are constantly reminding me that I need to visit them and write about their emerging talent. I don't want to make any promises, but I think the end of March will be a good month to visit this site more frequently than usual. In the meantime, please check out my Twitter feeds on the right-hand side-bar. I do update that with everyday links to news items that I find newsworthy...and some that are just plain interesting!!!

Good Governance, Bad Governance.

2009-02-26T07:59:00.000-08:00

Finally, Museum Leadership You Can Believe In!

The High Museum in Atlanta, Georgia.

In not-so-stunning, but all-too-real announcements, two museums are implementing interim cost-cutting provisions in an effort to curtail the severity of their recent recession-driven endowment losses. The High Museum in Atlanta and the Walters Art Museum in Baltimore have announced staff reductions, pay cuts, as well as furloughs.

The High Museum will cut their staff levels by 7%. Furthermore, the High's director, Michael Shapiro, will accept a pay cut of 7%, while other director-level employees will see their pay decrease by 6%. The rest of the staff will take a 5% pay cut. Similarly, the Walters will cut seven members of its staff and impose a salary and limited hiring freeze, in addition to staff furloughs. Museum director Gary Vikan will take one month of unpaid leave just before the museum's fiscal year ends on June 30th, in an effort to further reduce costs.

Taking these kinds of actions are inevitable given the grave circumstances of the current economic downturn. I believe that museums should, as a rule, continually strive to reduce wasteful spending when possible. Indeed, streamlining your operations a bit to make sure that you don't have five people doing the same exact thing is a smart move. But trimming waste, especially in tough economic times, is also a two-way street as clearly evidenced by the strong leadership at the High and Walters. Their plan outlines the sobering reality of the times, but also makes sure that the staff is cognizant that everyone is affected by the changes, even the upper echelons. This kind of strategy does wonders for employee morale and serves as a great model for other museums.

Conversely, poor and misguided leadership believes that they should somehow be completely immune to the budget cutting process altogether. If you want to see a good example of unwavering institutional waste at its best, please click here.

The J. Paul Getty (Mis)Trust?

2009-02-20T18:28:00.000-08:00

MoCA Mobilization Bug Has Apparently Caught On at the Getty

There's no doubt that times have been tough at art institutions throughout the country. Everyone is scrambling to hold on to every penny in order to continue with their exhibitions and programing schedules in order to avoid sinking into a financial abyss.

It's been almost a year since I left the Getty Trust under bitter sweet circumstances. Sweet, due to the talented and mission-driven colleagues who had a deep sense of commitment and obligation toward making the Getty a top-notch arts institution. Bitter, due to the abrasive, selfish and short-sided leadership of a selected few at the top of the food chain who share similar character traits with those "financial wizards" who brought Wall Street to its knees last November.

I was planning on writing an open letter to the Getty's CEO and President, James N. Wood, addressing some concerns that I had about the Getty's future, but apparently someone beat me to the punch. And did a WAY better job at it! Under the nom de plume, Silence Dogetty, some person(s) have taken brave and bold steps in attempting to right that which is obviously wrong at the Getty. Read the post here. Join the Facebook page here.

Without re-hashing what was posted on Silence Dogetty's blog, the biggest issue I had with Mr. Wood was the compensation aspect. In this turbulent economic climate, for the CEO of a nonprofit to propose a budget cut of 20-25% and not even think of adjusting his own $728,000 yearly salary is, in my opinion, absolutely preposterous and disgraceful to say the least. Moreover, the fact that The Trust subsidises his living accommodation expenses to the tune of a $20,000 per month housing allowance, indicates that there is a sever governance flaw that was clearly overlooked post-Munitz . Thank goodness for the Internet and the empowerment it gives regular individuals to organize!

Nasher Sculpture Center Appoints New Director

2009-01-30T20:03:00.000-08:00

Obama Ain't Got Nothin' on the Nasher Sculpture Center

As a rule, I try my best not to report arts-related conjecture, unless it is substantiated by relevant and related facts, which would point me to come to a solid and well-informed conclusion. However, I feel that I should, at the very least, comment on the MoCA situation, especially given the fact that the short-term financial side has been resolved and I can finally make sense of the facts, rather than just speculating on an outcome.

Recent History 101

Many Americans, including myself, believe that Timothy F. Geithner was a poor selection, as President Obama's pick for Secretary of the U.S. Treasury. The mere idea of appointing a tax evader to run and oversea the Internal Revenue Service is like calling 911 because your house is on fire, only to have the arsonist sent to the site instead of an actual firefighter. Sure, Geitner made "an honest mistake" by not forking over almost $34,000 in owed taxes to the Federal government, but at least he was forced to pay the government back every penny. Given the present state of the economy, that's just the kind of leadership we need to run the IRS, right? I'll let you be the judge of that.

Well, in an all too similar move, the Nasher Sculpture Center in Dallas, Texas announced today that they have hired former MoCA director Jeremy Strick as the Center's new director -- yes, no joke! Given what we now know about MoCA and his stewardship of that institution over the past nine years or so, one would surmise that Mr. Strick's executive headhunter would have had a difficult time placing him anywhere? I guess I was wrong.

So, as a resident (and avid museum goer) of Los Angeles, how should I feel after hearing such news? Disgusted? Angry? Hurt? Or, perhaps, all of the above? Yes, I'd probably select all of the above. It seems so unfair that unchecked power and outright failure should be rewarded with a six-figure salary and directorship at another museum. The job losses, which were announce almost in lockstep with Strick's appointment to the Nasher Sculpture Center, compounded with the measly $6 million MoCA endowment will, indeed, seal Mr. Strick's legacy. I think that many good, competent employees will now have a very difficult time finding employment in this malnourished economy, as a direct result of his financial incompetence and lack of concern for the institution he led. For me, it seems like 2009 will, undeniably, be quite a year in politics and the art world. It's turning out to be a year where greed and poor leadership continues to flourish and be rewarded. And loyalty, hard work and dedication, continues get the shaft. I don't know how the vetting process for the director of the Nasher was conducted, but I can tell you that after reading about Mr. Strick in the L.A. and N.Y. Times, he would have not been at the top of my list.

January is L.A. Arts Month

2009-01-06T19:37:00.000-08:00

Los Angeles, "...the Venice of the 21st century."
-- Mayor Antonio Villaraigosa

At a press conference held this morning at the Japanese American National Museum in Little Tokyo, Mayor Antonio Villaraigosa, along with a cadre of civic and arts-minded leaders, designated the month of January as "L.A. Arts Month." When I learned about this announcement, I did a double-take. I thought to myself, 'Hmm, where have I seen and experienced such an event before?' And then, like the 'pop' of a champagne cork on New Year's Eve, it hit me! Back in February of 2007, the mayor hosted a similar conference at the Getty Center where he designated March as "Creative L.A." month. The initiative, which exalted the various creative enclaves of this city -- from art to entertainment to science -- delivered a lot of excitement and fan fair on the day it was announced, but now it is all but extinct. I don't even think that there's a website devoted to it anymore (or was there ever?) But there is still an old press release on the Town Hall Los Angeles website -- read it here.

So, where exactly did "Creative L.A." month go? Did anyone celebrate it last year and will it be celebrated this coming March? My hunch is that it was nothing more than one of those politically motivated and meticulously calculated photo-ops, rather than a serious manifesto lauding the importance of L.A.'s creative industries. I think that designating one month of awareness, whether it be for the arts or any other program, over a long period of time, greatly diminishes the spirit of the cause which you are trying to promote. That's not to say that assigning a specific day or month to draw attention to an important cause is bad, but rather an inefficient way of promoting, interpreting and infusing the visual and non-visual arts as a natural phenomenon and integral part of our daily lives. Arts awareness should be designated a year-round initiative, as should Black history, AIDS and cancer awareness, or any other noteworthy cause which, under the present guidelines, gets 31 days or less to make its case.

If Mayor Villaraigosa is truly genuine about his commitment toward promoting the arts in this city, and I most certainly would like to give him the benefit of the doubt, then why is he declaring "L.A. Arts Month" in the last year of his first term? One can't help but question the prioritization of this administration and whether or not it has a truly genuine commitment to the arts? It seems more like a well-calculated public relations move to bolster votes for the upcoming general election in May, rather than a passionate plea to populate L.A's cultural destinations. Sure ticket giveaways and free radio airtime is great. However, art appreciation should be more than just a gimmick to increase attendance and stimulate revenue. It should be treated as a valuable lesson in understanding the diversity of thoughts and ideas through visual and non-visual means -- a process that takes way more than a month, if you want it to really be effective.

TMITF on break until after the New Year

2008-12-13T15:13:00.000-08:00

Dear TMITF Readers:

This year has been full of excitement and volatility. Despite the current economic recession, artists are nonetheless committed to their daily practices of making art. They continue to create fresh, new and inventive work in order to sustain our ever-growing appetites for the visual arts. Along the same lines, museums and galleries are tightening up their belts a bit in an effort to continue to give the public the best programming that they have to offer, given the grave financial circumstances surrounding the financial markets. These are tough times to say the least, but sometimes economic meltdowns help us reevaluate ourselves and how we choose to support the arts.

Since the launch of TMITF back in June 2008, I have received several kind notes and accolades (and some sporadic diatribes) about the blog and the things I chose to feature. I am grateful for ALL of the feedback, both positive and negative, and continue to absorb as much as possible in order to present you with a solid snapshot of current happenings within the greater creative community of L.A.

Through it all, I would like to convey a special thanks to all the loyal readers of this blog and hope that you will continue to read my posts in 2009. It's much more difficult to manage a blog than I had originally envisioned. Spending late (sometimes sleepless) nights writing/editing posts, consuming copious amounts of coffee; not to mention the occasional swig from the bottle. All, demands of the job, I guess? But it is something that I truly enjoy doing and am thankful that I have the time and energy to make TMITF a reality.

Sincerely,
Taras Matla

An Artist That Went Beyond Painting Pretty Pictures

2008-11-21T09:07:00.000-08:00

Mixing Business with Pleasure

My first post on LACMA's blog, Unframed, is online now. I wrote a succinct, yet focused piece on California artist Millard Sheets and his influence on architecture in Southern California. Read it here!

Architecture As An Accessioned Work of Art?

2008-11-19T18:35:00.000-08:00

DISCLAIMER: This article references my employer, the Los Angeles County Museum of Art (LACMA). The views expressed on this blog are solely my own and do not necessarily reflect the views of LACMA, LACMA's leadership, LACMA's Board, or LACMA's staff. Furthermore, the views posted on this blog have not been influenced in any way by the aforementioned parties.

The scope of collecting getting larger and larger -- literally!!!

Today, on The Times' blog, Culture Monster, Christopher Hawthorne posted a brief write-up on the potential for museums to start collecting irreplaceable works of architecture as part of their permanent collections. The Indianapolis Museum of Art is on the right track by following through with a deal to acquire Eero Saarinen's Miller House from the surviving members of the Miller family. I think that this action finally breaks the ice for museums that have long wanted to pursue this kind of activity, but have been hesitant to do so -- especially during the current economic downturn. Concurrently, it potentially sets the stage for a tug-of-war between museums, foundations and other non-profit ownership of residential architecture.

Eero Saarinen's Miller House, 1952
The Indianapolis Museum of Art

Setting up a non-profit foundation with an endowment is key for ensuring long-term sustainability for significant structures like these. Strong examples include the Eames Foundation and the Philip Johnson Glass House (under the opposes of the National Trust for Historic Preservation). Any property owner can tell you that owning a building has it's ups and downs, especially if it's a historic one. Neutra's VDL II House in Silver Lake is a good example of how a lack of funding and a starved endowment -- and in my opinion, a real lack of financial commitment by Cal Poly Pomona -- can perpetuate a structure's continued disrepair. Let's not kid ourselves, there's plenty of bureaucratic fat that can be trimmed at the administrative level of any university in order to fund a worthwhile project like this.

Ray and Charles Eames built the Eames House (a.k.a. Case Study House No. 8) in 1949.

I know that LACMA has expressed interest in possibly pursuing such avenues, but they should perhaps remain a bit on the cautious side. While it's nice to have historic modern homes in your collection, they should only do so if (a) the price is really too good to pass up or (b) it's a donation, as was the case in Indianapolis. Anything other than those two approaches should be pursued with the utmost caution and precision. A part of a museum's responsibility to the public is to collect and present objects of exceptional aesthetic quality, and place them into an art historical context. In a traditional museum, you can achieve this with great success when you're dealing with easily movable objects, let's say, sculptures, paintings, antiquities, decorative arts, etc. However, collecting architecture is a bit more tricky because of issues pertaining to geographic location, high maintenance costs and the ability to have consistent attendance without alienating the neighbors around you. In other words, you can't treat residential architecture in L.A. like the Cloisters.

Houses were really designed to be functional places to live in, not for curious museum goers to trounce around in. I know my argument may seem a bit uptight, but the best way for this concept to work is to have these structures remain independent and occupied by passionate people who understand their importance to the community at large. Perhaps, we could see the formation of a consortium of modern houses in L.A. that works together to offer tours of various houses in the L.A. area on an ongoing basis? One thing is definitely clear -- more must be done about this situation because time is running out to save the irreplaceable.

Patriotic Posts on Election Day

2008-11-04T07:45:00.000-08:00

Vote, vote, vote...

No matter whom you vote for today, get inspired by checking out some of these great posts regarding the flag in contemporary art on MAN -- cue shameless plug -- including yours truly on Ed Kienholz. And for those who follow the political art of Robbie Conal, here's one of my favorite guerrilla works from the 2000 presidential election.

Robbie Conal, 2000, (Left) Tastes Like Chicken!, (Right) The Other White Meat!

Old Glory, New Perspectives

2008-10-20T22:15:00.000-07:00

Pledging Allegiance to Poultry

Building on Tyler Green's "The flag in contemporary art" theme on MAN last week, I figured I'd post something on TMITF that not only fits the criteria, but is also an amazing and provocative piece of art that should come out from hiding at LACMA -- especially in an election year! My choice is Edward Kienholz's The U.S. Bird, or Home from the Summit.

The year was 1960 and Dwight D. Eisenhower was concluding his second, and final, term as president of the U.S. Preparing for what he had hoped would be the final accolade of his presidency, Eisenhower received word that on May 1st, the U.S.S.R. had shot down an American U-2 spy plane that had allegedly violated Soviet airspace. This was not the news he had hoped for weeks prior to the convening of an important meeting of the post-war Big Four -- the United States, Great Britain, France and the Soviet Union. After several days of down playing the incident as an unfortunate crash of a U.S piloted "weather" surveillance plane, Eisenhower was later pressured to concede that the aircraft was, indeed, engaged in activities of a more clandestine nature. As the summit began on May 16th in Paris, a furious Nikita Khrushchev denounced Eisenhower and the U.S. for engaging in such behavior toward the Soviet Union and stormed out of the summit. Consequently, the main issues of the summit, which included the division of Berlin and nuclear arms control, became stalled and were never fully resolved.

Fast forward, 48 years later, and you can definitely see how such a piece could continue to resonate with viewers given the U.S's current reputation on the world stage. This work contains several symbolic narratives which allude to the failed Paris summit. The stuffed duck, possibly picked off by a skilled hunter, gives off the appearance of being tarred in red, white and blue paint, its lifeless body crammed into a coffin-like box. Kienholz is clearly making a bold political statement regarding the lame duck presidency and failed foreign policies of Eisenhower. He insinuates that the president came home from the Paris summit just as a dead U.S. soldier would come home from a conflict region -- in a pine box, draped in an American flag.

Another interesting point as to why Kienholz may have chosen to use a duck, rather than another animal, is because the comparison between a duck and a U-2 spy plane, in this case, is striking. Ducks are capable of flying at extremely high altitudes and, as a result, are very difficult to shoot down once in full flight. That is why, more often that none, hunters who stumble upon a flock of ducks will startle them in hopes of getting a clear shot just before they approach an altitude where a shotgun slug could no longer reach them. While the tone of the work may seem to be more on the serious side, there is also a thin veil of humor embedded within. In my opinion, the composition of a duck in a box also implies the act of gift giving. In this gesture, Kienholz is presenting us with a literal depiction of "flipping off" the viewer. Yes, sometimes giving someone the bird is patriotic!

Edward Kienholz
The U.S. Duck, or Home from the Summit, 1960
Mixed media/assemblage/collage, Construction,
26 7/16 x 21 1/4 x 6 in. (67.15 x 53.98 x 15.24 cm)
Michael and Dorothy Blankfort Bequest
© Edward Kienholz and Nancy Reddin Kienholz.
Photograph © 2002 Museum Associates/LACMA.

The Power 100 from ArtReview.com

2008-10-14T15:07:00.000-07:00

She Blinded Me With Science!!!

L.A. Times arts writer, Suzanne Muchnic, posted a brief mention of The Power 100 list from ArtReview.com on The Times' Culture Monster blog. Cutting to the chase, the top slot went to Damien Hirst and his company, Science Ltd. When he's not playing around with livestock and formaldehyde, he's probably dabbling in bling that would make Liberace hyperventilate. Yes, I'm talking about For The Love of God, the life-size platinum skull set with 8,601 high-quality diamonds. While we can discuss whether or not he should have been number one or not, there was someone else on the list that made me cringe -- THOMAS KINKADE?!?! Who includes Thomas Kinkade on a list like this? Sure, he came in dead last at # 100, but I feel that ArtReview really missed the mark on this one. Well, I guess there is something to be said about the strong lobbying power of the AARP!

Damien Hirst
For The Love of God, 2007

TMITF Will Be Back Soon!

2008-09-19T12:51:00.000-07:00

Stay Tuned...

Hello loyal readers! I'm back from my trip and, evidently, it was more difficult for me to blog from South Africa than I had previously thought. I was constantly on the move and did not have a chance to do any posting -- SORRY!!! I'll be sorting all of my notes in the upcoming weeks and hope to bring you all up to speed by early October.

Neutra's Maxwell House Relocated

2008-08-23T23:39:00.000-07:00

Neutra's Movin' on Up (To the East Side), to a Deluxe Parcel in Angeleno Heights

There was a great article in today's L.A. Times regarding Richard Neutra's Maxwell House being moved from Brentwood to Angeleno Heights. Having lamented several Neutra houses that have met the all-too-common fate of the wrecking ball, it was inspiring to read about the strong collaboration between the public and private sectors in order to save such a great example of Neutra's residential work. While it is troubling, at times, to see a structure such as this one removed from its original location -- location being an important component of the architecture's over-all design -- at least the house will live on to see another day. Read about the move here and see the images here.

Maxwell House (1941) in Brentwood, CA, Richard Neutra

TMITF in South Africa

2008-08-22T16:37:00.000-07:00

I'm leaving for South Africa (with a brief stop in Swaziland) next week and will be visiting a lot of interesting places. Please make sure to check back frequently, as I plan to blog about my journey on TMITF -- if I can connect to the Internet, that is! Some things to look forward to:

Indigenous art of Swaziland
Arts and culture scene of Soweto (near Johannesburg)
Ancient San rock painting in the Cedarberg region
Plus more stuff...

The Horror of Tradition at Andrew Shire Gallery

2008-08-15T09:07:00.000-07:00

Artists Bound Together by the Common Thread of Tradition

One of the main catalysts that propelled me toward a career in the arts was an early exposure to traditional arts and crafts of my ancestral homeland, Ukraine. Growing up in a highly-charged ethnic household, my parents' house was decorated floor-to-ceiling with traditional arts and crafts of the motherland -- wood carvings, delicately inlaid boxes and plates, exquisitely painted pottery, vibrantly colored Easter eggs, and last, but certainly not least, cross-stitched embroidery. Click here to see some examples.

My mother has always had an affinity for cross-stitching and is quite the connoisseur. She would always remark that good embroidery tells a very important narrative about the maker and what s/he feels -- not just on the front of the work, but also the back-side. The work should always appear neat, balanced, free of frayed ends and most importantly, executed in such a way that you may have difficulty distinguishing which side is which.

However, tradition also has its fair share of limitations. Most 'traditional' work is highly redundant and allows for very little, if any, deviation from established convention. John Souza, a curator at Andrew Shire Gallery, has a different take on the traditional craft of needlepoint. He organized The Horror of Tradition, an exhibition that strives to reacquaint the viewer with the long forgotten tradition of needlecraft practices, but with a more contemporary flair.

"The show is the result of innumerable studio visits, research and conversations with artists," said Souza. "It could have easily included the work of fifty artists -- or more! But the opportunity to do this show also came with welcome challenges, which include a limited production time and smallish-gallery space." In many ways, the exhibition reads as a showroom highlighting the works of a collective artist sweatshop, each artist scurrying to get pieces done because of the high demand and a limited time frame.

While the artists employ various techniques from needlecraft tradition, their work is anything but traditional. This show is a fresh, progressive and forward thinking approach toward sewing and art making. In Sophia Allison's work Flo Wrestling Mask, the piece gives of a highly fetishized aura. There is a sense of both uneasiness and intrigue. It establishes a push-and-pull effect between the materials -- finely sewn felt, beads and sanitary napkins -- which make up the mask, and the idea of identity.

Sophia Allison, Flo Wresling Mask, 2005
Felt, beads, maxi pads
20" x 7" x 9"

Robert Fontenot's America the bu-tee-fide brings new life to a tattered and lifeless portrayal of Old Glory. In most cases, a flag in such poor condition would be deemed unacceptable for use by military standards. Yet, the addition of cotton flower appliqués and foliated fabric seems to indicate a sense of hope, optimism and re-birth for an object that has obviously seen better days.

Robert Fontenot, America the bu-tee-fide, 2004
Hand applique, cotton and nylon on cotton
60" x 31"

Starlie Geikie's embroidered pieces serve as vivid reminders that many long hours go into creating these highly detailed works, such as Carrie. This specific piece is no more than 7" x 5", but it leaves a lasting impression on the viewer, interms of technique and subject matter. Focusing on Hollywood horror films, the work draws its inspiration from stereotypical depictions of women and their many states of apprehensiveness in key cinematic moments. Furthermore, the piece allows you to ponder the eerie feeling of having just walked into a somewhat awkward situation, either before or right after a climactic event occurred.

Starlie Geikie, Carrie, 2004
Wool thread, embroidery canvas
6 3/4" x 4 3/4"

Scouting out the area around the exhibition space, Evelyn Serrano photo-documented the purchase of a shirt from a homeless person and then modified it by embroidering it with a design using the ever-so-time-consuming needle and thread approach. The object presents a commentary on the human body as a site for social exchange. It's as if this shirt were a family quilt being passed on from one person to the next, each owner having the responsibility of adding a documentational note of past ownership.

Evelyn Serrano, Shirts Off Their Backs series: John, 2008
Photograph
26" x 20"

While looking at Liz Young's work, I was somehow reminded of Gerhard Richter's painting Hirsch (1963). Not because of the use of wildlife or the striking compositional resemblance, but rather because of a commitment to the reinterpretation of a medium and the pursuit of a more relevant context for the time in which it was produced. With respect to Richter, no one painted like he did. He painted almost exact copies of photographs, he painted on photographs, and at times sporadically jump back-and-forth between representational art and chaotic abstraction. It is the same kind of energy and excitement that I came across while viewing this exhibition. This group of sophisticated stitchers certainly proves that sometimes hanging on by a thread can be a good thing.

Liz Young, Deer Target/Crow, 2007
Thread on paper archery target
36" x 48"

The exhibition is on view at Andrew Shire Gallery from July 31st-September 6th, 2008; 3850 Wilshire Blvd. #107, Los Angeles; Open Tuesday-Saturday 11a.m.-6p.m.; (213) 389-2601; Free.

Between Earth and Heaven: The Architecture of John Lautner at the Hammer Museum

2008-08-03T22:22:00.000-07:00

John Lautner, Mar Brisas Residence, Acapulco, Mexico, 1973.
© J. Paul Getty Trust. Used with permission.
Julius Shulman Photography Archive, Research Library at the Getty Research Institute.
Photo by Julius Shulman.

The Alluring Spell of the Sleek and Seductive

I figured that I would begin this Lautner post with a quote from the indisputable champion of architectural polemics, Charles-Édouard Jeanneret, but you may know him as Le Corbusier. It was Le Corbusier who once stated that: "I prefer drawing to talking. Drawing is faster, and leaves less room for lies." If you've read my past reviews, it's obvious that I constantly stress the importance of drawing and it's relevance to the cultivation and refinement of an idea or concept.

John Lautner was a phenomenal draftsman and had a way of conveying his many ideas on paper. His drawings allowed clients to visualize not only what the final outcome would be, but also the atmosphere and ambiance that the space would create. The idea of what you would see and experience beyond the structures was always at the forefront of his work.

John Lautner, Study; Alto Capistrano development project 1963–69, graphite on paper.
The John Lautner Archive, Research Library, The Getty Research Institute, Los Angeles.
© The John Lautner Foundation.

The core of the exhibition is comprised of rarely seen archival materials and drawings from the Lautner archive. The various renderings and blueprints are carefully laid out on individual, drafting table-inspired pedestals, which cast a spotlight on the notion of an architect in a studio environment. Surrounding some of the drawings were strategically placed models. Ranging in scale, the models provided a three-dimensional reference point for the contemplation of how these structures would play out on their respective landscapes.

John Lautner. Construction drawing; section and elevation, Chemosphere (Malin) 1960, graphite on arch vellum.
The John Lautner Archive, Research Library, The Getty Research Institute, Los Angeles.
© The John Lautner Foundation.

The most well-known of his commissions was the Malin House (1960), more commonly referred to as the Chemosphere. This mushroom cap-shaped structure is not your typical hideaway in the hills. The house was originally built for Leonard Malin and his family. Malin was a young aerospace engineer who acquired the precipiced parcel from his father-in-law. He also played a principle role in several important aspects of the house's development, mechanical systems and construction. While the terrain proved almost impossible to tame, Lautner came up with a fairly rudimentary solution -- place the entire structure on a single, free-standing column.

John Lautner. Chemosphere (1960), exterior shot at night.
Photo by Joshua White.

The Theme Building (1961) at LAX, designed by Paul R. Williams (while he was working for the well-known firm of William Pereira & Charles Luckman), is based on the same principle. The two intersecting arcs have very little, if any bearing on the structural integrity of the building. If you look closely at the image that I provided below, you can make out the concrete center post that carries the weight of the structure and creates the ever-so-recognizable hovering effect that we've all come to know and love. Whether one knew of the other's projects or not cannot be confirmed, but it does make for a striking comparison, with respect to innovative engineering of that period.

Paul Williams standing in front of the Theme Building (1961) at LAX.

A profound sense of lyricism and conviction could be found in Lautner's works. His work bridged the urban and the rustic , the wild and the tame, the real and the supernatural.The Mar Brisas Residence (1973) in Acapulco, Mexico captures the imagination in a way that no other Lautner structure does. The house hovers above the ocean and gives off an impression of flight without having your feet come off the ground. The water-moat rail surrounding the residence merges with the ocean and sky, further cementing the idea of unity within a given environment. The sculptural qualities of the house, from the rhythmic roof line to the sleek concrete arcs that make up permanent table-tops, benches and bridges, conveys the feeling of being in a well-choreographed ballet.

John Lautner. Mar Brisas Residence (1973), Acapulco, Mexico.
Photo by Joshua White.

In conclusion, John Lautner rocks, so go see this exhibition!

The exhibition is on view at the Hammer Museum from July 13th-October 12th, 2008; 10899 Wilshire Blvd, Westwood; Open Tuesday, Wednesday, Friday, Saturday 11 a.m.-7 .p.m, Thursday 11 a.m.-9 p.m., Sunday 11 a.m.-5 p.m.; Closed Mondays, and all legal holidays; (310) 443-7000; $7 Adults, $5 Seniors (65+) and UCLA Alumni Association Members with ID; Free for Museum members, students with ID, UCLA faculty and staff, and visitors 17 and under accompanied by an adult; Free on Thursdays for all visitors.

Baroque Treats for the Eye, Ear and Soul

2008-07-23T16:04:00.000-07:00

Angel Playing Zither, Angel Playing Bagpipe, and Angel Playing Timbrels, 14th century
Marble

Cultural immersion at its best

Under the gazing eyes of Lucas Cranach the Elder's depictions of Adam and Eve, and Hans Memling's panel painting of Christ Giving His Blessing, Harmonia Baroque Players will perform baroque chamber music, as well as medieval and renaissance-era pieces this Friday, July 25th, at the Norton Simon Museum in Pasadena. Moreover, the concert will be performed with the use of period instruments and held in the museum's early- renaissance gallery. Sure, you could always bring your best iPod mix of Bach or Händel to the gallery, but there's something to be said about simultaneously contemplating the brilliance of notable masters of both sight and sound. Such a performance is a rare treat, indeed, so get there early if you want to get a good seat.

Also, while you're there make sure to stop by my favorite work at the Norton Simon, Francisco de Zurbarán's Still Life with Lemons, Oranges and a Rose. The only still life signed and dated by the artist, many scholars believe that this painting was executed by Zurbarán as a mystical evocation of the Virgin Mary. Find out about the work here. Whether you tend to read more into the symbolic qualities or metaphysical implications of this memorizing canvas (or simply enjoy a good still-life painting now and then), there's something for everyone to enjoy. I think that this is probably one of the most remarkable still life paintings in the U.S. The fact that a painting of such exceptional quality made it from Europe to Pasadena is truly nothing short of a miracle!

Harmonia Baroque Players at the Norton Simon Museum; 411 W. Colorado Boulevard, Pasadena; Performance begins at 7:00 p.m.; (626) 449-6840; Admission $8 for adults, $6 for seniors, free for students with valid I.D. and patrons aged 18 years or younger; Concert is free with museum admission.

TMITF on Modern Art Notes

2008-07-17T10:40:00.000-07:00

Accumulations from Coast to Coast

Remember back in June, when I posted my review of the Andrea Zittel show at Regen Projects? I wrote about that crafty quarter for a quarter exchange. Much to my surprise, the cleaver quarter snatcher was none other than Tyler Green from Modern Art Notes. Read his post here.

Bambi and Thumper?

2008-07-16T12:25:00.000-07:00

What do John Lautner, Bambi and Thumper have in common?

Here's a clip from YouTube, which features the Elrod Residence in Palm Springs (not to mention "Bambi" and "Thumper" -- hehe) from the 1971 James Bond classic Diamonds Are Forever:

http://www.youtube.com/watch?v=76V_LqbyrDw&NR=1 .

More to come, I promise...

Bruce Busby at SMMoA (Project Room I)

2008-07-13T20:36:00.000-07:00

Filter Tent #BMCD900, 2006
Nylon fabric, fiberglass poles, silicone rubber, 5 x 5 x 4 feet

You Won't Find These at REI...

Summer is in full swing. One of my guilty pleasures during these especially hot months, involves escaping the traffic jams, smog and tourists, and beginning plans for a quaint over night camping trip in the mountains. I am one of those people that is absolutely enthralled by California's pristine and seductive landscapes. For me, there's nothing more incredible than sleeping under the stars and waking up to the chirping of birds at 5:30 a.m. Okay, so maybe not the bird-chirping part, but you know what I mean. I know that for some of you, spending quality time in the great outdoors is just not your cup of tea. Well, for all you "urban" campers out there, head on over to SMMoM to see (and experience) Bruce Busby's Creativity Enhancement Shelters. In his first museum show, Bruce Busby: Super Faulty Reconfiguration at Bergamot Station in Santa Monica, Busby offers you a sheltering and meditative experience that doesn't involve rubbing two sticks together.

Upon entering the gallery, you're greeted by several mesh, tent-inspired structures that capture your attention from first glance. Busby describes these works as "cutting-edge teepees," which is quite an understatement if you ask me. They're more than just cutting edge, they're not of this world! These metaphysical mesh and nylon structures range in size and adorn the floor, ceiling and wall spaces of the gallery. You can even crawl into one of them -- just take off your shoes, please. They seem to offer you a unique escape from the confines of the modern world. The works conceptually echo the architectural tradition of a sacred space, like a mosque, Buddhist temple or church.

Filter Tent #BMCD900 (Detail), 2006
Nylon fabric, fiberglass poles, silicone rubber 5 x 5 x 4 feet

Busby's work is based on the premise that "there are impurities and 'inhabitants' in our atmosphere that cause creative blockage, frustration, inefficiency, and confusion." These shelters are meant to serve as refuges from the turmoil of our daily lives, fine-tuning the various components of your inner-being back into spiritual equilibrium. Busby's ideas are validated by the notion that these shelters are not just museum objects, but are actually fully-functioning items that could be used on a day-to-day basis. The objects and its various components are also completely collapsible and transportable. Imagine your boss' reaction when you mention that you are starved for inspiration, so you begin popping up one of these Creativity Enhancement Shelters in your office or cubicle (I could have definitely used one of these in my work space a few months back, that's for sure). The genius of these objects lies not only with just viewing them in a museum setting, but also pulling them out of a controlled gallery environment and assigning it a true utilitarian duty.

CRIMP #JHQNY804 (Creativity Impairment Plume), 2004
Charcoal pencil on paper 6 x 6 feet

The structures are complemented by a series of large-scale drawings of clouds of contamination rising from the actual fault lines of the San Francisco Bay and Los Angeles areas. The images are meant to serve as visual reminders of why such shelters are necessary, conveying the idea that both beauty and danger can be found in California's unique topography.

It's perfect timing that an exhibition like this is going on at the same time as the Lautner exhibition, as both impart strong messages of sheltering and nurturing the individual. My Lautner post should be up in a few days, at which point I'll elaborate further on how these two exhibitions are differnt, yet intersect in a very intriguing way.

The exhibition is on view at the Santa Monica Museum of Art from May 24th-August 9th, 2008; 2525 Michigan Avenue, Santa Monica; Open Tuesday to Friday 11 a.m. - 6 p.m., Saturday 11 a.m. - 8 pm; Closed Sundays, Mondays, and all legal holidays; (310) 586-6488; $5 suggested donation.

COMING SOON: John Lautner exhibition at the Hammer Museum

2008-07-08T23:39:00.000-07:00

Concrete Ideas Made to Withstand the Test of Time

A comprehensive survey of John Lautner's work, including whimsical drawings, architectural renderings, and models will be on view at the Hammer Museum starting Sunday, July 13th. The exhibition entitled: Between Earth and Heaven: The Architecture of John Lautner has been a work in progress for nearly a decade. Most of the objects will be coming from the Getty Research Institute, which acquired the Lautner archive back in 2007.

Lautner, who studied under Frank Lloyd Wright for six years, was part of the first group of Talisen Fellows who lived and worked with the quirky cape-wearing architect at his Spring Green, Wisconsin estate. After branching out on his own, Lautner created iconic structures which helped solidify Los Angeles' reputation as the best place to see modern architecture in the world.

Until very recently, Lautner's significant contributions to international style have been overshadowed by more prominent names such as Richard Neutra, Rudolf Schindler, Pierre Koenig and Raphael Soriano. I think that in large part, Lautner's structures have been interpreted as either too commercial (i.e. Googie Cafe) or too over-the-top (i.e. Aranga Residence in Acapulco). The diversity of his architectural endeavours exemplify not only an interest in the aesthetic merits of any one commission, but also an obsessive work ethic which involved mastering complicated engineering feats that have never been seen or attempted before.

Many of his works have been featured as backdrops for films. One of my favorite James Bond movies, Diamonds are Forever, features a scene which was filmed at Lautner's Elrod House in Palm Springs. I'll have more to report on his work after the opening, but in the meantime if you can't wait until this Sunday, perhaps this trailer for the upcoming Infinite Space: The Architecture of John Lautner documentary will suppress that insatiable desire for anything and everything Lautner. Also, take a look at The John Lautner Foundation's website if you want to see some great examples of his work online.

"Trompe l'oeil" or "trompe l'esprit?"

2008-07-01T18:31:00.001-07:00

Roger Dickes at Sea and Space Explorations

I've always had a soft-spot for drawing. In most cases of artistic practice, a drawing almost always precedes a final work of art and assumes the function of a preparatory study or guideline for an artist. However, in recent years it has become more common to feature drawings as finished works of art in and of themselves, rather than just a meaningless doodle in a sketchbook. There is historical precedence of such activity dating back to the Renaissance, if not earlier. A concrete example, which comes to mind for me, is Albrecht Dürer's Stag Beetle (Currently on view as a part of the Maria Sibylla Merian & Daughters: Women of Art and Science exhibition at the J. Paul Getty Museum).

During the time of Dürer, drawings were not really considered art objects, but merely study notes that were compiled by the artist to organize their thoughts, and at times used to re-work ideas related to composition and layout. If you take a good look at this specific drawing, it is clear that Dürer had spent a substantial amount of time rendering this object to the point of completion as an independent work of art. Roger Dickes' show, Firmament Av. at Sea and Space Explorations in Highland Park, reminded me that the tradition of drawing is sometimes more interesting and potent than a completed art object on panel or canvas (or any other medium for matter). The exhibition features three drawings and two sculptures that present an important juxtaposition between implied meaning and interpretive illusions.

Two of the drawings on display are Untitled (TV negation #4) and Untitled (TV negation #5). From afar, the white barrier paper on which the drawings are executed look completely blank. However, upon closer investigation of the works, images of a television screen slowly appear. Both emit a slight shimmery luminescence that captivates the viewer at first glance. The mark making mimics the static glow of white noise that you would encounter on an analog television if the cable went out. The lines are executed with the utmost delicacy and leaves the viewer in total awe. This is T.V. programming that you don't mind watching for long periods of time. In a way, it gives you a kind of TiVo experience where the viewer can stop what they're doing, leave for a moment and pick up where they left off or re-live the same experience again and again. If you happen to be on the east side of town, make time in your day to see this exhibition.

The exhibition is on view at Sea and Space Explorations from June 28th-July 13th, 2008; 4755 York Blvd., Highland Park; Open on Sun. 1-5 p.m. and by appointment; (323) 445-4015.

Andrea Zittel: Energetic Accumulators, and Token Exchanges

2008-06-28T20:23:00.000-07:00

Something old, something new, something borrowed, something blue...?

Well, it was the last day of the show, but better late than never! I was thumbing through this week's L.A. Weekly and came across Peter Frank's recommendation ("The 'It' Parade") to see the Andrea Zittel show at Regen Projects II. At first when I entered the gallery I thought to myself, 'Oh brother, another found object show?' However, after wandering the space for a bit, I realized that it was much more than that -- and that's good news!

The exhibition was not so much about found objects (or useless junk, for that matter) as it was about the idea of exchange, based on the perceived value and mass accumulation of objects. The show consisted of various table and coffee table surfaces with multiple concave niches (kind of like the African game Mankala), each cut-out containing an object which Zittel placed inside. The installation, game-like in practice, involved having you participate in this creative experiment -- swap out any one object for another so long as you replace it with something of equal value. The objects traded ranged from matchbooks to CDs to gum wrappers to dollar bills to cigarettes, and so on... It took me a while to decide what to swap, especially because I came completely unprepared to participate in something like this. There was one that I found to be quite creative. Someone had traded a U.S. quarter for another one. Next to the quarter was a note which commented:

"I exchanged an Idaho quarter for a Massachusetts quarter. They are worth the same, but maybe not to everyone."

The longer I stared at all the other second-hand trinkets, the more intimidated I was to out do the others. I flipped through my trusty notebook to see if I had something to pass off and 'lo and behold,' it came to me. I had ripped out the actual Peter Frank review from the L.A. Weekly and stuffed it into my note. I traded the torn review for a finely-knotted piece of string. On the note, I wrote:

"Art reviews and priceless."

Take that Idaho quarter person! What can I say, I'm a generous guy!

In any case, the exhibition did succeed in making me think twice about not only my own selection, but also my critical view of other people and their selections. There is something to be said about how we perceive value, as well as the natural tendency of accumulation on surfaces. One thing is for sure, I'll definitely be thinking twice about where I place my keys, cell phone and spare change when I get home.

This exhibition is on view at Regen Projects II from May 24-June 28, 2008; 9016 Santa Monica Boulevard, West Hollywood; May 24 – June 28, 2008, Open Tuesday–Saturday, 10:00 a.m. – 6:00 p.m.; (310) 276-5424; Free.