Albert had been bummed out since Reyna died last week, and last night he had a respiratory attack. He'd been getting these when he overheated but this time it didn't pass. We took him to the Emergency Animal Clinic in Studio City where he died around 2 AM. Later, Aligator.
I've uploaded the entire 2 CD preview version of the Mannlicher Carcano anthology "Trouble Comes in Threes" including liner notes and covers to megaupload. Share it with some one you love.
Ghanian/Nigerian sculptor El Anatsui garnered much praise at this year's Venice Biennale. Here's my take on his travelling survey show, currently at the UCLA Fowler Museum. This is a detail from "Skin of Earth," one of the artist's signature pieces assembled from thousands of flattened aluminum liquor bottle caps.
I realize I've been remiss in my postings here - I haven't even linked my last three LA Weekly columns. So I'll start with that. First, the always amazing Jeffrey Vallance's exhibit of autohagiographical reliquaries at Grand Central Art Center in Santa Ana... a good trip to combine with a visit to Laguna for the Griffin retrospective! This is a picture I took of jeffrey in Umea Sweden on Walpurgisnacht 2000!
Our oldest greyhound Reyna passed on at home this Wednesday afternoon with the help of Dr. Liz Friedman. She had had a rough couple of days, but it was a very comfortable transition. Reyna was 15 1/2 and had outlived the rest of her abandoned litter, even though the folks at Hemopet thought she might be too far gone to rescue. She showed them.
When we first got Reyna, she was terrified of flags, automatic gates, stairs, etc. but she got more and more confident, eventually becoming adept at many competition obedience exercises. Although she never competed, she attended Mary Fry's legendary classes for 5 years, and supported Albert in his successful pursuit of his CD obedience title. She continued her obedience work right up into the last week of her life.
Among Reyna's other accomplishments were: donating blood to Hemopet for her year of post-rescue socialization; catching (and, with some encouragement, releasing) two wild rats while walking on lead when we lived on 7th Street in downtown LA; and appearing in a number of artworks, including posing (with Albert) for a 3D photographic tableaux vivant superimposed on the Vision of St. Eustace diorama in the Athanaseus Kircher exhibit at the museum of Jurassic Technology.
She was ethereally beautiful with frequently disgusting table manners, and kept her smarts and wicked sense of humor until her body gave out. She'll be missed very much.
Original art for Rick Griffin's ultra-rare poster for Cass Elliott's disastrous appearance at Caesar's Palace in Vegas in October 1968. Holly Myer's review of the Griffin show in the LA Times. More soon.
Opening reception Awesome live DJ. (Rendering my mix redundant) An In-N-Out truck will serve up burgers outside.
Saturday, June 23 2007, 7:00pm to 10:00pm
Price: $15 non-members (or see me for a coupon)
Laguna Art Museum 307 Cliff Drive Laguna Beach, CA 92651
(949) 494-8971
Heart and Torch: Rick Griffin’s Transcendence, the artist’s first major retrospective and solo museum exhibition, opens on June 24, 2007. A cult figure that set the iconographic terrain for the 1960s and 1970s counterculture, in his art Griffin expressed idealism and hope along with a darker side that perfectly embodied the contradictions of the era with its mixture of hedonism, politics, and avant-garde expression.
The exhibition, which includes some 140 paintings, drawings, posters, album covers, and artifacts, surveys thirty years of Griffin’s work from the 1960s until his death in 1991. The accompanying 156-page catalogue, published in association with Gingko Press, is the first publication to address Griffin’s impact on the surf, psychedelic rock, and born-again Christian movements.
Heart and Torch is organized for Laguna Art Museum by Susan M. Anderson, and co-curated by guest curators Greg Escalante and Doug Harvey with curatorial consultant Gordon McClelland.
Laguna Art Museum is located in Laguna Beach, Orange County, California, situated approximately 60 minutes south of Los Angeles and 90 minutes north of San Diego. To get to the Museum, take Pacific Coast Highway (PCH, California Highway 1) toward Laguna Beach. The Museum is located on the south-east corner of the crossing of Pacific Coast Highway and Cliff Drive.
Opening Hours and Admission
Laguna Art Museum is open daily from 11:00 a.m. to 5:00 p.m. The Museum is closed on Thanksgiving, Christmas, and New Year's days.
$10.00 General $8.00 Seniors, Students, and active duty Military and their dependents. Free for Children 12 and under Visa, MasterCard, and American Express are accepted
"As if his accomplishments as a psychedelic poster designer weren't enough, Rick Griffin immediately went on to help redefine the most underrated medium in 20th century art when he was Robert Crumb’s first draft choice to contribute to the second issue of Zap Comix. Zap #1 had unleashed Crumb upon the world, and although it took a little while for the world at large to catch on (like until the multiple obscenity busts of issue #4), the graphic narrative medium would never be the same. Griffin and Moscoso had already been toying with the idea of producing a comic book, and Griffin’s famous mutant Morning Paper funny pages poster (FD89) is said to have inspired Crumb’s Ultra Super Modernistic Comics in Zap #1 – his somewhat less successful attempt at non-linear comic art.
Morning Paper -- along with several related posters done for John Van Hamersveld’s LA-based Pinnacle Productions -- had insinuated the concept of non-linear structuralist comic art into the graphic mainstream. Although there were precedents – Bay area Beat artist Jess’ Tricky Cad collages of fragmented Dick Tracy episodes spring to mind – these seem to be the first truly abstract non-linear “narratives” presented in comic-strip panel sequences (a union that had happened early in Cinema) in something resembling a commercial mass medium."
If you can't make the opening, there's an awesome panel discussion Sunday:
Sunday, June 24, 2007 1:00 p.m.
Psychedelic Moment: The Big Five and Zap Comix in the 1960s
This panel on Griffin and San Francisco’s Haight-Ashbury features the artist’s widow and internationally respected artists who initiated the psychedelic art and underground comix movements. With Ida Griffin, Alton Kelley, Stanley Mouse, Spain Rodriguez, and Robert Williams. Moderated by Jacaeber Kastor, founder of Psychedelic Solution Gallery, New York.
Our homies The Yes Men (or Les Hommes de Oui-Oui as the 1988 Official Languages Act mandates) have been crossing borders with their zany brand of eco-terrorism, shaking things up in my family's adopted hometown of Calgary with their radical approach to rendering:
June 14, 2007 FOR IMMEDIATE RELEASE
EXXON PROPOSES BURNING HUMANITY FOR FUEL IF CLIMATE CALAMITY HITS Conference organizer fails to have Yes Men arrested
Imposters posing as ExxonMobil and National Petroleum Council (NPC) representatives delivered an outrageous keynote speech to 300 oilmen at GO-EXPO, Canada’s largest oil conference, held at Stampede Park in Calgary, Alberta, today.
The speech was billed beforehand by the GO-EXPO organizers as the major highlight of this year’s conference, which had 20,000 attendees. In it, the “NPC rep” was expected to deliver the long-awaited conclusions of a study commissioned by US Energy Secretary Samuel Bodman. The NPC is headed by former ExxonMobil CEO Lee Raymond, who is also the chair of the study. (See link at end.)
In the actual speech, the “NPC rep” announced that current U.S. and Canadian energy policies (notably the massive, carbon-intensive exploitation of Alberta’s oil sands, and the development of liquid coal) are increasing the chances of huge global calamities. But he reassured the audience that in the worst case scenario, the oil industry could “keep fuel flowing” by transforming the billions of people who die into oil.
“We need something like whales, but infinitely more abundant,” said “NPC rep” “Shepard Wolff” (actually Andy Bichlbaum of the Yes Men), before describing the technology used to render human flesh into a new Exxon oil product called Vivoleum. 3-D animations of the process brought it to life.
“Vivoleum works in perfect synergy with the continued expansion of fossil fuel production,” noted “Exxon rep” “Florian Osenberg” (Yes Man Mike Bonanno). “With more fossil fuels comes a greater chance of disaster, but that means more feedstock for Vivoleum. Fuel will continue to flow for those of us left.”
The oilmen listened to the lecture with attention, and then lit “commemorative candles” supposedly made of Vivoleum obtained from the flesh of an “Exxon janitor” who died as a result of cleaning up a toxic spill. The audience only reacted when the janitor, in a video tribute, announced that he wished to be transformed into candles after his death, and all became crystal-clear.
At that point, Simon Mellor, Commercial & Business Development Director for the company putting on the event, strode up and physically forced the Yes Men from the stage. As Mellor escorted Bonanno out the door, a dozen journalists surrounded Bichlbaum, who, still in character as “Shepard Wolff,” explained to them the rationale for Vivoleum.
“We’ve got to get ready. After all, fossil fuel development like that of my company is increasing the chances of catastrophic climate change, which could lead to massive calamities, causing migration and conflicts that would likely disable the pipelines and oil wells. Without oil we could no longer produce or transport food, and most of humanity would starve. That would be a tragedy, but at least all those bodies could be turned into fuel for the rest of us.”
“We’re not talking about killing anyone,” added the “NPC rep.” “We’re talking about using them after nature has done the hard work. After all, 150,000 people already die from climate-change related effects every year. That’s only going to go up - maybe way, way up. Will it all go to waste? That would be cruel.”
Security guards then dragged Bichlbaum away from the reporters, and he and Bonanno were detained until Calgary Police Service officers could arrive. The policemen, determining that no major infractions had been committed, permitted the Yes Men to leave.
Canada’s oil sands, along with “liquid coal,” are keystones of Bush’s Energy Security plan. Mining the oil sands is one of the dirtiest forms of oil production and has turned Canada into one of the world’s worst carbon emitters. The production of “liquid coal” has twice the carbon footprint as that of ordinary gasoline. Such technologies increase the likelihood of massive climate catastrophes that will condemn to death untold millions of people, mainly poor.
“If our idea of energy security is to increase the chances of climate calamity, we have a very funny sense of what security really is,” Bonanno said. “While ExxonMobil continues to post record profits, they use their money to persuade governments to do nothing about climate change. This is a crime against humanity.”
“Putting the former Exxon CEO in charge of the NPC, and soliciting his advice on our energy future, is like putting the wolf in charge of the flock,” said “Shepard Wolff” (Bichlbaum). “Exxon has done more damage to the environment and to our chances of survival than any other company on earth. Why should we let them determine our future?”
I've been getting behind in my posts -- I haven't been able to report on the amazing Angela Davis/Dengue Fever double bill or the live Guy Maddin extravaganza, because I've been down in Laguna working on the installation of the first-ever museum retrospective of Rick Griffin - the surf cartoonist, psychedelic poster artist, underground comix innovator, and born-again Christian painter who died in a motorcycle accident in 1991. The show is looking amazing - it opens next weekend. Above we see a remarkable image capturing the exact moment when a time/space portal opened in Griffin's San Clemente living room, allowing Rick to send his Flying Eyeball emissary back in time to prevent the Nazis from winning WWII. Just another thing you didn't know about this remarkable artist. More to come, but I have to put together a powerpoint presentation at my failed attempt to convince a group of Swedish art students to create a sequel to Joseph Sarno's 1978 porn classic FÄBODJÄNTAN, to be presented tonight as part of
“Renegade Artists: The Swedish Los Angeles Connection” An evening of slides, films, music, meatballs and drinks Organized by Marnie Weber, featuring:
Jeffrey Vallance, who will present a jet-lagged slide lecture about the shows he has curated in Sweden. A slide presentation by Liz Young, titled “New Reality Mix: Hotel California.” Marnie Weber screens “Poor Them” a short film of unfortunate circus animals filmed in Sweden. Ghost Drawings brought forth through the Ouija Board by Christian Cummings and Michael Decker. A presentation by Doug Harvey titled, “Fabodjantan II.” And special guests direct from Sweden, Ride 1 presenting 3 film excerpts: “Remakes of the Deer Hunter, Alien, and Jaws.”
8pm $5 suggested donation HIGH ENERGY CONSTRUCTS 990 N. Hill Street, Suite 180 Los Angeles
Here's the scuptural component of my recent Great Expectorations exhibit -- the "Precious Nuggets." Most of the Nuggets started out as expandable shipping foam from negative space between a cardboard box and mail-order veterinary supplies. Above is "The Green Man" and below is "The Participant" photographed by Josh White. (The Participant is actually an exception to the veterinary supply negative space formula -- it's one of three cheap latex pinhead masks I bought in El Cajon thrift store about 15 years ago, filled with spray foam.) The complete show can be viewed at flickr.
"Camille Rose Garcia’s place in the rapidly deteriorating interzone between The Art World and the Lowbrow world is pretty unique. Beloved in the underground for her nostalgia-dripping, darkly curdled fairytale imagery and exquisite design sense, Garcia has arrived at her place in the upper echelons of the Lowbrow cosmos from an unthinkable mainstream pedigree including a childhood grounded in the LA Chicano Arts movement, degrees from Otis and UC Davis, and a stint at the career-making Skowhegan summer residency program. Her first published review -- in 1995 in Art issues. magazine – describes a consummate academic slackerism: a black duct-tape shell of a car, emitting a soundtrack from the cult film Suburbia. Only the title – Vehicle for My Escape Plan – seems recognizably Garciaesque, with its bleak frisson of impending apocalyptic doom and still-hopeful-in-spite-of-it-all suggestion of personal narrative.
Rather than pursuing what could easily have become a lucrative and respectable life on the Kunsthall and Biennial circuit, Garcia deliberately chose to embrace the craft-conscious, cartoon-friendly, unabashedly decorative vocabulary of Lowbrow. Although bearing considerable relation to aforementioned mainstream artists like Pittman and (most particularly) Deen, Garcia moved into the pictorial realm long after the heyday of “New Image” painting had withered with the art market crash of 1989. This boundary-rupturing shift in allegiance marks a turning point in the history of Lowbrow. In spite of the underground’s defensive dismissal of them as “pretentious”, university-trained artists often feel a real and tremendous pressure to live up to the cumulative legacies of art history -- and particularly the 20th century’s insistence on art’s social relevance."
Another of the remarkable personages that assembled to celebrate the legacy of Ishi in Oroville last month was Alberta Tracy, a multi-talented local whose arresting first-person retelling of the Thankful Lewis Carson saga (Thankful and her older brother Jimmie attended school about three miles from their home. On the day of their capture, their younger brother, a child of five, wished to accompany them, the parents permitting him to do so. As they were returning from school the little boy was thirsty and they left the road, going about one hundred yards to Little Dry Creek where they quenched their thirst. The older boy was still drinking at the creek when a rifle shot was heard and he fell forward into the water, shot through the back. Mill Creek Indians appeared from ambush and took the other children prisoners. As they left the scene of their capture, climbing the mountain-side, they looked down and could see their home. The children were barefooted and suffered much from the rough stones and brambles through which they were forced to travel the remainder of the day and far into the night, their captors forcing them onward by prodding them with their guns. They stopped for the remainder of the night in a canyon not far from the home of one of the settlers and left long before daybreak the next morning. Little Johnnie was so footsore and weary that he could not walk and began to cry. This angered the Indians and, after conversing in their own tongue, four of the Indians took the child back into the woods. He seemed to realize they were going to kill him and bade his sister good-bye. His body was afterwards found in a clump of bushes where he had been thrown and stoned to death. They told the little girl they were going to burn her alive when they reached their camp. They continued their journey across the hills and canyons, keeping near the foothills, crossing Butte Creek about five miles from Chico. The little girl saw a faint wagon track and heard a rooster crow and realized that they were not far from some one's house. She begged her captors to let her go but they refused. She displayed much wisdom in the way she sought to gain their favor. The day wore along until it was almost noon, and she was left behind with one Indian to guard her. The Indian was heavily laden with provisions and guns to the others, promising to travel better if allowed to rest for a time. Her entreaties prevailed and after he was out of sight and she thought the way was clear, she got up and ran toward Big Chico Creek. Hurrying along, she heard voices and knew the Indians were looking for her. She hid under the bank of the creek, concealed by bushes, until the Indias left the neighborhood, then crossed the creek and ran for some distance without seeing a habitation, finally reaching the home of Mrs. Thomasson, where she told her story and was cared for, and restored to her parents."History of Butte County, Cal.," by George C. Mansfield, Pages 445-449, Historic Record Co, Los Angeles, CA, 1918) in Clear creek Cemetery - where Thankful and her brothers are actually buried - was a highlight of the weekend. Thankful is just one of dozens of historical women from Butte County and around the world that Alberta has portrayed - other notable roles include Cornelia Lott, Freda Ehmann, Zilla Bills, Sin Chow, The Bride of Leonardo Tomaso, Amelia Earhart, Fanny Brice, Joan of Arc, Maria von Trapp, and - with the help of a pair of handmade prosthetic heads - all three Bronte sisters simultaneously!
Here is a shot of Lee Lynch capturing Alberta's performance on video, from which the above "artistic" still was extracted. For more "regular" shots of Alberta's performance, visit my flickr Ishi Gathering page.
"Great Expectorations: Return of the Green Man" 2006 Photo by Joshua White
Okay, it's only taken like what, three months? but I've uploaded to flickr some images from my "Great Expectorations" solo show at High Energy Constructs earlier this year. The first set is the actual "Great Expectorations" which are painting/collages on standard 50 X 38 sheets of paper involving some sort of eruption from one domain into another -- the bottom line to qualify as an "event." This series was started in 2004, but the bulk were completed in the couple of months before the show opened. The "Precious Nuggets" sculptures will follow shortly. I recommend clicking the 'Play as Slideshow' option, as the transitions add a certain awesomeness to the proceedings.
"Great Expectorations: He Them Both (Can’t Spell Mourning Without “U”)" 2006 Photo by Joshua White
One of the surprises of the Ishi Gathering and Seminar 2007 was meeting Bob Burrill (right), twin brother to Gathering mainspring Richard. According to Bob, "Dick" never displayed his legendary energy levels until he started walking the Ishi path. Such is inspiration. Speaking of inspiration, here's the trailer for "Robert's" legendary 70's cult ecological horror movie 'The Milpitas Monster', which I just ordered off Amazon.
It's not on Amazon or the OTIS or LA Louver websites yet, but I can state with near certainty that the beautiful catalog for "Don Suggs: One Man Group Show" is real. The cover shows a detail from "Black Cross, New Mexico (Matrimony Series)" (2006), currently on view as part of the artist's solo show Concentric at Louver. Part of the Patrimony/Matrimony series, it is a translation of one of a dozen or so archetypal art historical paintings, sampling each band of color from the original's formal or psychological center outward. In this case, the source image was Georgia O'Keefe's 1929 masterpiece.
Curiously, the work can also be seen in the background of this grainy surveillance photo of a homeless crazy man being interviewed by Homeland Security. Clearly their vertiginous qualities have a variety of applications, both aesthetic and practical.
I keep forgetting that I'm an art critic. But here's a link to my previous piece for the LA Weekly, a round-up of gals at Bergamot Station, including Marnie Weber, Karen Carson, and Shirley Tse, whose sculpture "Sink Like a Submarine" includes the carved jade heart pictured above.
My current piece is a review of the Hammer's "Eden's Edge" which includes Elliot Hundley's seminal styro-palette "Deathless Aphrodite of the Spangled Mind" from 2003.
Marnie Weber's Spirit Girls gave a typically coffin-rattling performance Friday night in conjunction with the Hammer's screening of the artist's film and videographic oeuvre. Above, a homeless crazy man prostrates himself before Lead Spirit Girl. Weber's exhibition at Patrick Painter has been extended through June 2nd.
I spent the better part of a week with filmmaker Lee Lynch travelling to Oroville CA for the 6th Annual Ishi Gathering and Seminar held there on May 11th and 12th. Lee and I are working on several projects detailing the 1870 murder of local Indian hunter Hi Good, including our contributions to the Gathering: a multimedia Living History presentation (I did sound and the shadow puppet show) starring and presented for Oroville high school students at the Butte County Historical Society. Our other actors included seminar mainspring anthropologist Richard Burrill (“By socks, but the spirit of Hi Good will rise tonight, and celebrate! He was the fellow that made the sons of roosters hunt their holes, and when they finally plugged him, there was mighty few of them left to rejoice, mighty few.”) and "Nuggets" who played Ishi in a flash-forward sequence. The Monster Indian costume modeled by Lee in an earlier post was a personification of the dehumanizing mechanism at work in the young narrator of our story as he shoots a Native American burglar, and was worn by one of the student actors.
"Nuggets" spent most of the weekend in character. Here he poses catatonically on the lawn of the BCHS for several minutes with excited schoolchilden puzzled at his lack of response. Seconds later, he leapt forward with a loud cry, scattering the thrilled and frightened 4th-graders in every direction.
Unfortunately, this is one of only two shots I got of the Feather Fiesta Days Parade, as I was in costume handing out fliers for "An Evening in Ishi's World Through Film and Drama." Missed shots include the Christian preschool aerobics float, the giant Taco Bell taco proclaiming 'Thinking Outside the Bun Since 1969' and the mature and Rubenesque exotic belly dancers on an unadorned flatbed truck. But this shot captures the spirit of the event nicely. I thought I was getting hot in my Indian Fighter get-up, but I saw Mr. Team Mascot about a half hour later stripped to his jogging shorts. It was hot!
As contemporary philosopher C. Clerc observed in the title of her seminal text "Who Doesn't Like Owls?," who doesn't like owls? This cunning turn of phrase returned to me recently while I was guest-juring the annual student exhibit at the righteous Pasadena City College. It was a chore, with over 220 works to sort through. The painting above, "If the Waking Life Fell Asleep" by Heber Rodriquez caught my eye immediately, and I kept returning to it. Another work that attracted and held my attention was Marcus Anthony's intricate carved wooden wall relief portrait of DJ Kool Herc, though I could do without the text panel plunked in the middle of the negative space. I'd be pleasantly surprised to come across either of these works in a gallery or grad school. These kind of gigs are sometimes a radical challenge to preconceptions about the supposed function of The Art World as qualitative filter -- not only do you see a vastly wider range of unprocessed creativity in play, but many of the works are equal to or better than anything out there.
Okay, TSM3 went swell, thanks to everyone who participated, and don't forget Noel Lawrence of the JX Williams Archive will be delivering his full presentation on the great man's work tonight (Friday the 25th) at Showcave, and Found Footage Festival will be screening an entirely new side-splitting program of found video at M Bar tonight and tomorrow. Now I have a few minutes to catch y'all up on what's what in the greater Wilmington district...
Still from safety film "Life is For Living" rescued by Found Footage Festival, who will be presenting new material at TSM3 on Wednesday
Please note: The event is on Wednesday the 23rd, NOT Thursday the 24th, and it has now been moved to Gallery 6 instead of the Wilder Theater.
JUST ADDED: a short program of lost work from the cult director J.X. Williams!
7 p.m., Wednesday May 23
Thrift Store Movie Night III
UCLA Department of Art Event at UCLA Hammer Museum, Gallery 6
FREE!
For the third year, the UCLA Hammer Museum and the UCLA Department of Art welcome L.A. Weekly art critic Doug Harvey and other archivists of found media for the presentation of films, videos and slides rescued from the obscurity of thrift stores, swap meets and dumpsters.
The evening includes excerpts from recent and upcoming programs by the Coalition for Cinematic Conservation and Preservation at the Echo Park Film Center, possibly including an educational filmstrip on the wonders of the banana, "20 Minutes to Go," vintage Asian and Indian music videos, and the classic "ABC of S*x Education for Trainables," and a selection from NY artist Brian Bellott's DVD collection of found photographs!
This year's guest curators include Animal Charm, whose disturbing and hilarious video jams bring Bruce Conner's loopy aesthetics into the digital era with such mind boggling deconstructions as "Slow Gin Soul Stallion," "Pet Programming" and the amazing "Stuffing." Animal Charm will debut several brand new works at this screeening!
Also presenting will be Brooklyn's Found Footage Festival, hosted by curators Geoff Haas, Joe Pickett and/or Nick Prueher, who will provide their unique observations and commentary on found video obscurities ranging from the world's worst telemarketers "John & Johnny" to Gov. Arnold Schwarzenegger's scintillating take on Brazilian culture in 1983's "Carnival in Rio." FFF will also be presenting a new full length program at the M Bar 1253 N. Vine Street (at Fountain Avenue) in West Hollywood on May 24, 25, & 26.
I just came across this pretty good little documentary about Harry Smith, and since the Harry Smith Anthology Remixed show is still up in at alt.gallery in Newcastle, I figured what the hell. Poke around on the altgallery site - there's a complete full color online catalog with all 84 pieces, including awesome works by Jad Fair, Yamantaka Eye, dearraindrop, Christian Cummings, and many others!
Just got back from a week in Gold Country giving multimedia living history presentations to high school kids, among other things. Full report shortly, plus several overdue posts when I've caught up on my chores.
For Cinco de Mayo I managed to finagle a seat on 'Hinterlands Redux,' The Center for Land Use Interpretation's tour of the high desert east of Los Angeles organized in conjunction with Andrea Zittel's mid-career survey at MOCA's Geffen Contemporary. I was probably the only non-CLUI staffmember aboard that had been on the original 'Hinterlands' tours 10 years ago -- one of the watershed "artworks" of the 90's IMPO. So I may have been the only person to miss roadside artist Moby Dick's carved entities (though I still have mine from the first trip -- see fig 02) and being able to approach Giant Rock (though we did make it to the Integratron)
The trip included a visit with Ms. Zittel at her A-Z West compound, where the artist was deep in preparation for next weekend's High Desert Test Sites extravaganza. Here are a couple of snapshots I snuck in one of the artist's shipping container studios of what I believe to be a prototype of her Wagon Station modular living breadbox units -- this one customized for the planet Kashyyyk.
Although 'Hinterlands Redux' was a little long on the high cluture and short on the industrial slag heaps, it did afford me the oppurtunity to finally visit the late Noah Purifoy's remarkable and inspiring assemblage environment in Joshua Tree, which people have been telling me I would love for years and they were right. Here's a shot of one of several performative environments that stud this unique site. For more complete information, why not contact the Canadian Wildlife Service in Ottawa?
Here is a photo of your humble moderator at the podium at the Getty expounding briefly on the links between Alcohol Withdrawal Delerium and the work of Tim Hawkinson. Here is a portion of my address. (Photo by J. Chertkow)
"Zoopsia is a rarely used clinical psychiatric term referring to animal hallucinations during severe alcohol withdrawal – a symptom of Alcohol Withdrawal Delirium or delirium tremens. This very serious condition -- which can include sleep disturbance, heart palpitations, disorientation, sweating, panic attacks, multisensory hallucinations, seizures, and ultimately death – is thought to result from the desensitization of the nervous system to inhibitory neurotransmitter Gamma-aminobutyric acid or GABA, and typically affects heavy-drinking long term alcoholics. While literature pertaining directly to this specific symptom is surprisingly rare, I managed to track down a film segment from the early 1940s documenting a particularly severe incident of alcohol-induced Zoopsia. [Roll Clip]"
Karen Carson's new body of work conflates such disparate visual domains as fantasy art, Abstract Expression, Western art, and the history of her own work and that of late 20th century painting into a utterly contemporary Pop-Apocalyptic landscape. "As close as fine art can get to van art without blowing the whole deal for everybody."
Ride the Wind Artist’s reception on Sat. April 28, 2007 from 5-7pm.
Rosamund Felsen Gallery Bergamot Station B4 2525 Michigan Ave Santa Monica
April 28 — May 26 Gallery hours are 10-5:30, Tuesday-Saturday.
In the third gallery will be works from her previous series of landscapes inspired by the wind, including a large scale, two-panel painting in silk dye and acrylic on silk, titled Currents, as well as several studies in watercolor on paper.
As promised, here is a photo I took of Tim Hawkinson's Uberorgan in the IBM Sculpture Atrium in Manhattan in 2005. In this first image we see the sculpture reflected in the black monolithic facade of Trump Tower. Observe how it appears to be beckoning us to the Dark Side. It's as if Donald Trump is Darth Vader as a building and the inverse Uberorgan is his junk. Below, the Uberorgan appears in its normal, relatively benign form, although this homeless crazy man seems perturbed nonetheless.
Here's a recording of the astounding improvisational passage from the middle of the Uberorgan's piano-roll program, made at the Getty getty.
And this should be a pretty free-wheeling discussion on Sunday afternoon. I'm focussing on the DTs. Stick with what you know, I figure.
Figuring the Art of Pink Elephants Sunday April 29, 2007 4 pm Harold M. Williams Auditorium, Getty Center
L.A. Weekly critic Doug Harvey, Margaret Wertheim, acclaimed author and director of the Institute for Figuring, and Christopher Miles, theorist and professor at Cal State Long Beach, explore the art and science of Tim Hawkinson's work on view in the exhibition Zoopsia: New Works by Tim Hawkinson.
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My current piece is a review of the Hammer's "Eden's Edge" which includes Elliot Hundley's seminal styro-palette "Deathless Aphrodite of the Spangled Mind" from 2003.
I spent the better part of a week with filmmaker Lee Lynch travelling to Oroville CA for the 6th Annual Ishi Gathering and Seminar held there on May 11th and 12th. Lee and I are working on several projects detailing the 1870 murder of local Indian hunter Hi Good, including our contributions to the Gathering: a multimedia Living History presentation (I did sound and the shadow puppet show) starring and presented for Oroville high school students at the Butte County Historical Society. Our other actors included seminar mainspring anthropologist Richard Burrill (“By socks, but the spirit of Hi Good will rise tonight, and celebrate! He was the fellow that made the sons of roosters hunt their holes, and when they finally plugged him, there was mighty few of them left to rejoice, mighty few.”) and "Nuggets" who played Ishi in a flash-forward sequence. The Monster Indian costume modeled by Lee in an earlier post was a personification of the dehumanizing mechanism at work in the young narrator of our story as he shoots a Native American burglar, and was worn by one of the student actors.
As contemporary philosopher C. Clerc observed in the title of her seminal text "Who Doesn't Like Owls?," who doesn't like owls? This cunning turn of phrase returned to me recently while I was guest-juring the annual student exhibit at the righteous Pasadena City College. It was a chore, with over 220 works to sort through. The painting above, "If the Waking Life Fell Asleep" by Heber Rodriquez caught my eye immediately, and I kept returning to it. Another work that attracted and held my attention was Marcus Anthony's intricate carved wooden wall relief portrait of DJ Kool Herc, though I could do without the text panel plunked in the middle of the negative space. I'd be pleasantly surprised to come across either of these works in a gallery or grad school. These kind of gigs are sometimes a radical challenge to preconceptions about the supposed function of The Art World as qualitative filter -- not only do you see a vastly wider range of unprocessed creativity in play, but many of the works are equal to or better than anything out there. 
Still from safety film "Life is For Living" rescued by Found Footage Festival, who will be presenting new material at TSM3 on Wednesday
As promised, here is a photo I took of Tim Hawkinson's Uberorgan in the IBM Sculpture Atrium in Manhattan in 2005. In this first image we see the sculpture reflected in the black monolithic facade of Trump Tower. Observe how it appears to be beckoning us to the Dark Side. It's as if Donald Trump is Darth Vader as a building and the inverse Uberorgan is his junk. Below, the Uberorgan appears in its normal, relatively benign form, although this homeless crazy man seems perturbed nonetheless.
