Happy Father's Day!

Collaborative Re-membering with Michael Arata

Lazy Susan
Titanik Gallery
Turku, Finland
3.–24.6.2016
Opening 2.6. from 6pm

The group show Lazy Susan curated by Kio Griffith and Ichiro Irie is the inaugural effort by the curatorial collective, QiPO. The show explores the concept of collaboration and its limits with the title, “Lazy Susan” referring to the revolving trays often found in the center of round tables at Chinese restaurants in the United States and elsewhere.

Extra Credit Jeffrey Vallance Campaign Song #1

Extra Credit Assignment: Write and record a song for the Jeffrey Vallance Now! campaign. This respondent prefers to remain anonymous, but she earned an "A"!


"It’s time for change
I know Jeffrey is definitely strange
but then listen..
he’ll take America into a whole new range

from California, went to CSUN
dressed as janitor, sneaked into museum

been to Italy, been to France
been to Mexico, and Amsterdam

pretty famous, pretty clever
we need him
now more than ever

if you’re still doubting
why still choose him
consider the alternatives
and let art win!"

So what are the specs on this baby, Don?

 

Specs: Gesso on found photo, 1975, "Decodes" series

All will be revealed tonight!

Artist Conversation: Don Suggs & Doug Harvey
Wednesday Jun 8th at 7 PM
L.A. Louver
45 N Venice Blvd, Venice, California 90291

Specs: TK

Join us for a lively conversation with Don Suggs and writer, critic, curator and artist Doug Harvey in the context of Suggs' current exhibition "Paradise."

The event is free, but space is limited. RSVP via FB, email: rsvp@lalouver.com or phone: (310) 822-4955.

More info here: http://lalouver.com/exhibition.cfm?tExhibition_id=1207

Two Unique Bootleg LP Covers

Available at the SASSAS auction!

M.A. Peers

Overcoming Excellence... with Ron Beegle!, 2016 

Acrylic on illustration board with press-type on found LP sleeve 

12.25 x 12.25

-- from a projected series of unsanctioned recordings of motivational business speeches, named after MA's 2002 show at Rosamund Felsen Gallery...

Doug Harvey

The Shaggs BUDOKAN!, 2016 

Ink on vintage bootleg sleeve 

12 x 12 inches

-- and an actual bootleg cover from the parallel dimension where I am King. Unfortunately the vinyl itself didn’t make it through the wormhole.

F for FREAK!

F will be performing their first live set of 2016 as "F for Freak" at the opening of 'Hearsay: Artists Reveal Urban Legends' in downtown Los Angeles on Friday May 13th at 8 PM, with projections.

F is a Los Angeles art-rock supergroup whose motto is "Simplicity Through Noise" and who have developed a practice rooted in improvisational ensemble playing using electric guitars (played with rubber mallets and other extended as well as traditional techniques) and vintage synthesizers, in various combinations of three. Their debut album Faüxmish was released Sept 2, 2011 and later this year they will be releasing a limited edition cassette titled FF. F are Daniel Hawkins, Marnie Weber, and Doug Harvey.

Hearsay: Artists Reveal Urban Legends Exhibition
including works by Llyn Foulkes, Jeff Gillette, Naida Osline, Victoria Reynolds, Jim Shaw, Jeffrey Vallance, Marnie Weber, Chris Wilder, Robert Williams, and more!

https://www.facebook.com/events/948052525310796/

Presented by The Arts District Center for the Arts @ LosJoCos Gallery
May 13, 2016 – June 12, 2016
Opening Reception and Book Signing: Friday, May 13, 7-10pm
http://hearsayrevealed.com/

practice, Practice, practice: June Edmonds: Circle/Curve Series

My latest catablog entry for "practice,Practice, practice," highlighting the work of June Edmonds -- this weekend is your last chance to see this potent mix in the flesh -- don't miss out!

https://abstractspiritual.blogspot.com/2016/04/june-edmonds-circlecurve-series.html

pPperformance Night!

If you're in the Los Angeles area and in the mood for a different sort of performance art, swing by the Nan Rae Gallery at Woodbury U in Burbank tonight at 8 for an unusual line-up of LA-based performers, in conjunction with "practice, Practice, practice: Abstract Spirituality in Los Angeles Painting, Sculpture and Performance" curated by Doug Harvey.

This evening's unique offerings include Mary Anna Pomonis' blindfolded abstract painting ritual dedicated to the Sumerian Goddess Inanna, a demonstration of advanced yoga asanas by Khang Bao Nguyen accompanied on the mouth organ by Joana Ayala, who will also debut a new body of solo vocal work channeling a divine feminine archetype called MAGA. The evening will conclude with a drone chord organ improvisation by Dani Tull. It promises to be a memorable evening!

UPDATE: Joana Alaya on the mouth harp accompanying Khang Bao Nguyen's yoga demonstration - visit the pPp catablog to see more images from the pPperformance Night!

Jim Shaw: The Dreams That Stuff Is Made Of

"A monochromatic Ionic column emerging from the head of a bearded, twinkly-eyed pagan entity; a bas-relief depicting a giant juvenile delinquent coiffure morphing into a werewolf;  a classroom physiology chart showing a human gastrointestinal tract augmented by six golden trumpets; a poster for a children’s movie about anthropomorphic cake slices visiting Paris; a collage depicting Peter Lorre’s old green head as the moon over a tangled greyscale landscape of hot nudes. How could all this material be dumped by one powered-down cortex?

I’ve heard it suggested on more than one occasion that Jim Shaw’s Dream Drawings and Dream Objects must be some sort of fabrications -- that nobody has dreams that intricate and reference-laden, let alone remember it all. While it would be correct to assume that I  -- as the critic who has probably spilled the most ink regarding Jim’s work   over the years -- share some deep affinities with his idiosyncratic modus operandi, I can’t prove that Jim’s sleeping visions are the real source of the drily repertorial graphic narrative drawings and flamboyantly variegated multi-media objects that bear that designation. 

What I can attest to is that some people do dream and remember in the abundance of richly aesthetic, convolutedly narrative, and absurdly humorous detail that Jim’s Dream work conveys -- because I myself have been blessed and afflicted with the same superfluity of nocturnal emissions -- although I have an excuse: I was a grand mal epileptic between the ages of 13 and 23, so my wiring is configured according to some souped-up electroconvulsive template. 

My last seizure was in my first year at art school, in the library, looking at a thumbnail magazine reproduction of one of Richard Prince’s appropriated cigarette cowboys, thinking I wanted to rephotograph the tiny B&W image, blow it up and present it as my own work. A trapdoor of infinite regression opened in my brain, and I fell through -- past uncountable reappropriations of Marlboro men, into darkness. It would make an excellent Jim Shaw piece!

I’m not suggesting that you have to have electrical storms in your brain to appreciate Jim Shaw’s work (but it helps yuk! yuk! yuk!) In fact, my understanding of this sort of electrochemical difference is that it’s just a slight shift to the side of most peoples’ normal waking consciousness -- which accounts for the tremendous broad spectrum popularity of Shaw’s work across popular culture, the artist’s peers, academia, and the marketplace. Because at some fundamental level, we all recognize that, as Aldous Huxley suggested in “The Doors of Perception,” our minds function as filters, stepping down the torrent of sensory stimuli and ideations to a manageable trickle. Art is the place where it’s safe to open the spigot..."

Read the rest of "The Dreams That Stuff Is Made Of" in the catalog for "Rather Fear God"
current exhibition at Praz-Delavallade & Vedovi in Brussels, Belgium

Image: Jim Shaw, Dream Object ("In a thrift store, I saw a Salvador Dali cartoon book... Then I found a book like box of 40's Dali ties and scarves on cardboard leaves like a distributor's sample box plus a collage with a ground of 40's nude photos & Peter Lorre as...), 2015, paper collage on board, 15 x 20 inches

THE OL’ FILM FLAM

Ross Lipman, the legendary film restorationist responsible for preserving the cinematic legacies of Bruce Conner, Kenneth Anger, John Cassavetes, and a cluster of forgotten American neorealist gems including “Killer of Sheep” and “The Exiles,” has turned his attention to a more high-profile form of film history with his expansive examination of Irish literary genius Samuel Beckett’s sole foray into the movies --1965’s short silent narrative “Film,” starring Buster Keaton in one of his final screen roles. 

Lipman takes a notoriously opaque 20 minute wordless black & white philosophical chase scene, and unpacks two hours worth of historical context, biographical insights, conceptual musings, and structural poetics into “NOTFILM” (2015), his complex and moving documentary -- also black and white, but rarely wordless (except to emphasize the gorgeous score by Bela Tarr’s main man Mihály Víg). While there’s plenty of down-to-earth making-of grit to feed the viewer’s narrative appetite, the heart of the story is Beckett’s and Keaton’s respective takes on being and nothingness, and who gets to watch.

Charged with the restoration of the avant-garde milestone, Lipman developed a fascination for the work, with its reflexive implications about the ethical and psychological dimensions of cinema, and it’s curious identity as the meeting ground for two diametrically opposed but deeply similar geniuses of 20th century culture. Not to mention cinematographer Boris Kaufman -- Dziga Vertov’s baby brother, and cameraman for all three of anarchist Jean Vigo’s celluloid masterpieces. 

Lipman appears to have developed his obsession just in time, as several of the participants -- particularly Beckett’s go-to actress Billie Whitelaw and Grove Press publisher and “Film” producer Barney Rosset (both creative titans in their own departments) are themselves teetering on the brink of the Void in their interview segments. Rossett, whose flickering memories of a missing prologue to the Beckett short sparked Lipman’s passion, was the source of the missing footage as well as surreptitious audio recordings of the pre-production meetings. These are pretty great, but there isn’t enough to them to justify a feature length deconstruction.

Luckily, Lipman’s scholarship and curiosity are up to the task, and ultimately wind up overshadowing the archival snippets to be the elements of this layered scholarly collage that stick with you after the curtain falls. The balance tips the other way in “Art of the Prank” Andrea Marini’s long-awaited career-spanning overview of the disruptive antics of media prankster Joey Skaggs, whose work holds a mirror up to his medium in a more interventionist way.

It’s not that there’s any lack of historical context, biographical insights, etc. (although there is a scandalous absence of art critical commentary) -- but the wealth of historical documentation delivers the real meat of Skaggs’ practice, next to which any discursive analysis pales. “Art of the Prank” also contains a doozy of a structural poetic as its major plot device -- following the artist through the trials and tribulations of his latest leger-de-brain, which involves stem cells, GMOs, and the very film that is tracking its devious development.

Since the late 1960’s, Skaggs has been planting absurd fake news events into the mainstream media -- often staging elaborate theatrical hoaxes with actors, sets, fake websites and business cards and press releases -- only to pull out the rug at the peak dramatic moment -- to the consternation and embarrassment of the infotainment professionals. Usually the only recourse for big media is to exact revenge through unflattering or distorted profiles (with a muttered retraction of their journalistic sloppiness tacked on somewhere) -- which is why this fair and balanced account is so welcome. 

Skaggs’ conscious practice as a media hoaxster dates back exactly 40 years to April Fool’s Day of America’s Bicentennial year, when he dramatically revealed the fictional nature of his highly publicized “Cat House for Dogs” in court, having been subpoenaed by the Attorney General of the State of New York. That moment was captured on video, and is included in “Art of the Prank” along with archival documentation of the diet-enforcing mercenary Fat Squad, the Fish Condos, Celebrity Sperm Bank, Dog Meat Soup, WALK RIGHT!, Dog Meat Soup, Maqdananda the Psychic Attorney, and Skaggs’ heroic attempt to windsurf from Hawaii to California.

Many of these have unique underlying social or political content -- the subtle critique of the justice system built into The Solomon Project, which allegedly used an NYU law school computer program to find OJ Simpson guilty of murder, for example. But together they comprise a sustained multivalent attack on a culture that nurtures, sustains, exploits, and even enforces the gullibility of the public. One aspect of the story that this film brings to light is how Skaggs’ deceptive practice evolved directly out of young Joey’s frustration at the sluggishness and lack of autonomy in his chosen field as a visual artist. The entire symbolic ocean in which we swim, which most of us take for reality, is revealed to be a fabrication. Or as Joey puts it “If I believe that, what else do I believe that’s total bullshit?”

NOTFILM screens in LA April 1 - 9 at various locations

http://filmbysamuelbeckett.com/updates/

Art of the Prank screens in LA April 10th at 8 PM presented by Slamdance Cinema Club at the Arclight Hollywood 

http://www.artoftheprank-themovie.com/screenings/

Jack Kirby Panel Transcript Available Now!

Here is a link to the full corrected approved and certified transcript of the Jack Kirby panel discussion I took part in with Scott Bukatman, Adam McGovern, Andrei Molotiu, steve roden, and Ben Saunders last Fall in conjunction with Charles Hatfield's Comic Book Apocalypse: The Graphic World of Jack Kirby -- the first comprehensive museum retrospective of Kirby's work, which was at Cal State Northridge at the time. Thia is a tidied up version of the one appearing in the current issue of the print version of the Jack Kirby Collector, who have made this free article available online here: http://twomorrows.com/index.php?main_page=product_info&cPath=108&products_id=1254

Underwater Treadmill - Conditioning (Portfolio)

Portfolio is a 7-year old Whippet who is involved in a variety of canine sports, such as obedience, nose work, rally, confirmation, & lure coursing. He is working on conditioning his body for these sports.

Jim & Tim

I have new essays in 2 hot-off-the-presses publications about 2 of my favorite living artists - Jim Shaw's RATHER FEAR GOD (Praz-Delavallade)http://www.marcjancou.com/publications/jim-shaw-rather-fear-god which collects his Dream Drawings and Objects; and Tim Hawkinson's installment in the Exploratorium "Over the Water" series http://www.exploratorium.edu/arts/works-on-view/bosuns-bass which documents the giant tide-powered bosun's whistle he made from patched together vehicular fragments this last Fall.

UPDATE: Tim's entire catalog is available for free online here: https://www.exploratorium.edu/sites/default/files/pdfs/OTW_TH.pdf

Tull It Like It Is!

Los Angeles artist Dani Tull talks about the role of spirituality in his paintings, sculptures, and improvised drone music, in advance of the exhibition "practice, Practice, practice: Abstract Spirituality in Contemporary L.A. Painting, Sculpture, and Performance"
Curated by Doug Harvey

Dina Abdulkarim, Ryan Callis, Linda Day, June Edmonds, David McDonald, Rebecca Niederlander, Khang Bao Nguyen, Kenneth Ober, Mary Anna Pomonis, Lorenzo Hurtado Segovia, & Dani Tull.

March 13 - April 17
Gallery Hours: Weds 12- 8 pm, Thurs - Sun 12 -5 pm

Opening reception: Sunday March 13, 3 - 5 PM

Nan Rae Gallery at Woodbury University
7500 N Glenoaks Blvd, Burbank, California 91510

Gilt Rip

Viewers who encounter my piece Stranger Fruit (for Nazario Conchuza Gonzalez) AKA Gilded Disc®otu m’, (1997/2016, Enamel on mirror tile fabric, polyester fiber fill stuffing, defunct bumble balls) at Nick Brown's "Werewolf" show at Charlie James Gallery are unlikely to remember it from my 1997 solo debut at POST, where it was one component of an "experimental narrative circuit" entitled "St Sebastian Tom Sawyer Cathy Mishima Expo 67," so here's a link to my admittedly skimpy documentation.

Later, in an essay for JOAAP's "Failure" book I described the work thusly:

Descending in tandem from the rafters was the gender-corrected biorchid soft kinetic sculpture Disc®otu m’, a sack of mirror-encrusted fabric containing two motorized vibrating wads of material. I’ve always been puzzled by Duchamp scholars insistence that the title of his last painting Tu m' was an abbreviation of the French expression “Tu m'emmerdes” or “you’re shitting on (bugging) me.” As far as I can tell, it’s just a guess – it could be completed with any French verb starting with a vowel. Why not “Tu m’blank” as in “You blank me,” which, rather than sealing the tomb on painting because of some specific affect (irritation, beshitment, boredom), emphasizes (and probably expresses doubt in the validity of) the very hierarchical subject/object binary model of communication (and by extension reality itself) by which it achieves its agency. Disc®otu m’ in addition to presenting a disembodied teabag of Damocles that visually mimics the geometry-bound domes, was intended to expand Duchamp’s contraction, doubling it with mirrors and subjecting it to seizure. Lazarus, Come forth!

New Semi-Site Specific Relational Pre-Rotted Painting

"Painting to be Viewed in the Bathroom Mirror in the Morning" 2016, collage and acrylic on found canvas.

I took a break from gilding my precious memories to produce a new painting. MA wasn't very amused. She's not a morning person.

Gilded Dream House Details

But Beautiful

Tiny Elephant Interviewing Portfolio

Coming Soon to Tiny Elephant Party!

No Roof Over Our Heads

Public Storage Lizard

All Access Points Secured

Portfolio Apres le Deluge

Portfolio Xmas Peek

New MA Peers Space Dog in Progress

Christ Have Moicy!

Tim Hawkinson's Thumb Astronaut Ornament on the Legendary Pink Xmas Tree

MA Peers Canine Olfaction Performance

Thanks to everyone who made it out Sunday for the K9 Nosework Happening in conjunction with M.A.'s show, and thanks to Jimmy Chertkow for taking these awesome pix. There's some talk about restaging the event, due to its popularity, so if you're interested let the Gallery know. But if you want to see the show, this is the last week, and Rosamund's closed New Year's Day, so that leaves Thursday and Saturday.


M. A. PEERS
November 21 - January 2, 2016
Tuesday - Saturday 10am-5pm
ROSAMUND FELSEN GALLERY
1923 S Santa Fe Ave #100
Los Angeles, CA 90021
http://rosamundfelsen.com/

Images: protecting Taken; pawprint under one of the Georgioni-based abstractions; Grant Mudford and Bobby are introduced to Container searches; M.A. and Chloe work the Interior search