January 14, 2013
YOU ARE HERE II: SHOOT A COP – ACCEPTED PARTICIPANTS ANNOUNCED!
After much deliberation between our curators (YOU ARE HERE part I winner) Jordan Dunn and (YOU ARE HERE participant and LA Times-recognized street photographer) Rinzi Ruiz, the 32 photographers for YOU ARE HERE part II have been decided and notified via email. While we expect a couple to drop out (which means there is still a chance for the rest of you!) by our confirmation date of January 17th based on the subject matter which was revealed today, the featured and participating photographers are as follows: Mark Rosales, Dana Barshun, Ben Molina, Mehdi Bouqua, Ibarionex Perello, Brian Sokolowski, Elizabeth Wang-Lee, Josh Burliss, Bret Higham, Eric Kim, Robert Larson, Frank Jackson, Rinzi Ruiz, Jordan Dunn, Hector Isaac, Patty Villalobos, Roger Clay, Romeo Doneza, Ton Roque, Jimmy Baxan, Julianna Lacoste, Alex Gitman, David Valera, Walter Morataya, Adrian Augusto, Katharine Hargreaves, Leopoldo Peña, Edgar Herrera, Tom Szabadi, Alex Smith, George Byrne, and Shane Gray The area in which photographers will be shooting has also been outlined in the map above. Check back tomorrow for the official press release and details of the show!
INTERVIEW WITH THINK TANK’S APRIL INSTALLATION ARTIST PAUL SANTOLERI Paul Santoleri is a well-traveled guy, and a few months ago he hit up Think Tank Gallery, asking us if he could visit from Philly grace the walls, floor, and ceilings of our 6.5k sq ft industrial space with three weeks’ worth of line drawings. We thought it would be a beautiful way to see the space, and we invited him to come stay with us. He arrives on Sunday, and will be building and painting right up until our opening on April 11th. Check out Part I of my interview with him below and more at the bottom. Your work is different and reactive to every unique space, but what are the unifying processes that describe your technique? What’s your usual order of business for one of these? I think line is the unifying source, it’s been the basis for my work since my early drawings of ball point birds and imagined architecture on the margins of my notes in school; I start with a similar basis now, a line drawing in a black book where I imagine the space in 2d. I start with an idea, and I try to fit it into the space; wall drawings are often responsive to the environment - they might have a relationship to the world outside the gallery or museum. My wanderings while I am creating the piece often create new tertiary directions, hidden narratives that have relevance as they are developed. The Ink drawings are like an exercise of being in the moment, while reflecting on the moments that brought me to arrive there. I often work on a photograph of the space to imagine the space when I’m finished, with a few vantage points that might be where I take the photo that will remain as the documentation of the piece in still form. This way I have a structure for my somewhat spontaneous movement: gives a sense of order to the piece. But then I also often make stop-frame animation with a still camera while I am creating the piece, collecting footage made of hundreds of images that I sometimes transform into films later. And I have a lot of projects that I want to return to, to make the footage into another piece. Meanwhile, I have these files as the record of the work in progress. Can you define your work of the last few years? Drawing installation is what I call it, like walking into one of my drawings. It takes a variety of forms, but I often work in black and white with some bursts of color, using line drawing on the floors and suspended elements or sculptural objects cast or formed in the space. There are usually a variety of materials at play, but I bring them together through the uniformity of line and the limited use of color… And I’ll give you a notion of some other artists that have empowered me in this direction… During my Euro-travels I was heavily influenced by things like the changing graffiti walls in Barcelona and DuBuffet line rooms at the Pompidou and his foundation outside Paris: these wild thick-lined drawings on fiberglass I think that seem like stage sets. And on this side of the Atlantic, the Polyforum in Mexico City, a moving wall installation by Sequieros both inside and outside of an Atom-shaped building there, complete with a light show and seats that rotate in the space. I saw it a few years ago. Crazy, I like a lot of things that are over the top, effervescing but also display a certain simplicity in form. How long have you been creating like this? I did the first drawing install in the Red Gallery in UK in 2007 and I’ve been modifying the form to different spaces since then, using changeable parts and direct (spontaneous) painting and drawing. These impermanent features give the work a sense of immediacy or immanence that doesn’t exist in the more permanent murals that I make for public spaces, institutions, and whatnot. There’s a distinct energy to a raw line that isn’t heavily modified. As a kid I always drew with a pen so I couldn’t erase. But now I’ve grown up and I do embrace the magic of graphite, so in the wall drawings, I usually start with a big stub of graphite, something super soft and smooth like a chunk of the 9B variety, to find the line in the wall before I set it up in Ink. Your work takes experience and blows it up into huge spaces. When is the last time you were in LA, and have you predicted any changes in the experience given by the city this time around? It’s actually been quite a few years since I passed through the City of Angels. I used to drive through on my long trips from Berkeley to Tucson when I was in graduate school and had a cool job of doing patinas at a bronze foundry in the Bay Area, where I practiced my craft on the artworks of great artists such as Stephen DeStaebler, Peter Voulkos and Markus Lupertz… several sculptors I learned a lot from in my early twenties and early development as an artist. But it was the highway culture there that also fueled my work then and I did a series of these rollercoaster highway paintings that continue to surface in my work still. I remember working on a massive sculpture by an Italian artist, Arnaldo Pomodoro, at the LA Water Works, it was donated to the city from Florence, but the finish got all blackened on the boat to the US, so I was sent there to give it a new finish… I recall there was this great breakfast place, always packed, that was super noisy where all of the waiters wore black bowties and they served you what you wanted, almost directly as you finished ordering. It was really cool, I wonder if it’s still there. This time I hope to do a little exploring, check out the space for a commissioned project in October, & maybe do a couple of my big polyethylene street sticker murals in some special places. What were you up to last time you were out here? I checked out the La Brea Tar Pits (sticky graves of the Mastodons) and the Spruce Goose, the failed wooden plane made by the reclusive billionaire. I think these are telling monuments of Los Angeles history, but I hope to see a little more variety this time… if you mean California-At-Large, I did a big drawing installation over a couple of months of sea roaming and taking in the landscape at the Headlands Art Center in Sausalito last year as a resident artist. You’re flying into SoCal to start the installation near the end of March; on what are you working until then? You’re not home in Philadelphia, and in fact isn’t it somewhat rare that you are? I just got back to Philly after a long stint in Salvador, Brazil where I worked on a collaborative exhibition and made a few pieces in the streets and in some public and private places around the city, both permanent and temporary. My months in Salvador filled me with the experience of the crowds and music of Carnaval, and strange juxtapositions that gave life to a set of drawings, which I will present in the Think Tank show as prints. So now I’ve returned to Philly to focus on preparations for the exhibit that I’m having at your space, and I am very excited to share some of the fresh work I did on the other side of the equator in your city, on the other side of this continent… there’s a pattern there I think. Check out Part II here at 1PM PST and footage of one of the above pieces in action here.
14-YR-OLD’S WORLD-CHANGING POEM CATCHES VIRAL FIRE The only way things get better is when something like this happens. While it may have been inspired by this poem which has already achieved viral video stardom with nearly 17mil views, 8th grader Jordan Nichols caught the internet by storm recently when he released his poem “Our Generation” on none other than his generation’s most established publishing platform, Twitter. His older brother published the poem here, which you can read below: Our generation will be known for nothing.Never will anybody say,We were the peak of mankind.That is wrong, the truth isOur generation was a failure.Thinking thatWe actually succeededIs a waste. And we knowLiving only for money and powerIs the way to go.Being loving, respectful, and kindIs a dumb thing to do.Forgetting about that time,Will not be easy, but we will try.Changing our world for the betterIs something we never did.Giving upWas how we handled our problems.Working hardWas a joke.We knew thatPeople thought we couldn’t come backThat might be true,Unless we turn things around(Read from bottom to top now) It’s most impressive when read in reverse: Unless we turn things aroundThat might be true,People thought we couldn’t come backWe knew thatWas a joke.Working hardWas how we handled our problems.Giving upIs something we never did.Changing our world for the betterWill not be easy, but we will try.Forgetting about that time,Is a dumb thing to do.Being loving, respectful, and kindIs the way to go.Living only for money and powerIs a waste. And we knowWe actually succeededThinking thatOur generation was a failure.That is wrong, the truth isWe were the peak of mankind.Never will anybody say,Our generation will be known for nothing.
BARRY MCGEE SOLO EXHIBITION AT PRISM GALLERY IN WEHO PRISM has shown some amazing contemporary street artists who have made their name all over the world and gained their recognition at Art in the Streets in Los Angeles. Californian artist Barry McGee makes his second solo showing at PRISM gallery since “MindTheGap” in 2009. Signature characters and sharp geometry fill the work of McGee’s solo exhibit in a body of work that was largely created at the gallery space and site-responsive installation work allows viewers to enter the vision of the artist as they transverse the vertical space of the gallery. The show runs until June 30th, and may prove to be a preview to the artist’s retrospective at the University of California Berkeley Art Museum in August, so find details below. Barry McGeePRISM Gallery8746 W. Sunset Blvd.West Hollywood, CA 90069 Show runs: May 11th-June 30th, 2012
BROAD THWARTS LACMA’S ATTEMPT TO ACQUIRE MOCA AGAIN? It seems as though solutions to the MOCA financial drama are being found in odd places, by way of some high-powered friends. After discussion of a merger between the Museum of Contemporary Art and the Los Angeles County Museum of Art reached supreme gossip levels, details came to the surface of the conversation in the form of some stipulations brought about by Eli Broad’s 2008 bailout of the institution, which tied MOCA’s hands from merging with other art organizations within 100 miles of their downtown center. It seemed, until very recently, that MOCA had no other choice than to merge with LACMA and create something of a monopoly on LA contemporary art, at least until Broad’s museum was finished. But Broad seems to have outmaneuvered LACMA again, this time putting together a partnership with the National Gallery of Art all the way on the opposite coast, in Washington. The collaboration would see no financing or fund-raising, but does offer up research, programming, exhibition, and possible curatorial and staffing support. It comes at a convenient time for the NGA, which just announced a $30 million renovation to its I.M. Pei-created Eastern Building. The building will be closed for three years, leaving the NGA with a whole bunch of art and nowhere to put it, except an entirely different museum, it seems.
WE MISSED THIS INTERVIEW WITH DAVE CHOE AND YOU MIGHT HAVE MISSED IT TOO Everyone loves David Choe. That or you hate him. It’s hard to be indifferent, though, and the polarizing artist has made sure of that by only interviewing where he so chooses. While he usually sticks to his usual routes of Howard Stern and Joe Rogan shows and that of his own podcast with pornstar Asa Akira, the millionaire “dirty style” street artist has ventured out a couple times to answer questions for others. After a Barbara Walters interview that painted him in a light he wasn’t happy about, he decided to do an interview for Gawker as long as they promised not to edit it at all. Think of it as a preview to his speech coming up in Los Angeles on Thursday afternoon. You can catch the full interview here (along with a crazy video and links to some other cool stuff he has done that you might have missed), and an excerpt from the Q&A below (NSFW): when i have sex with a strange girl who blurts out “fuck me you nigger!” that is a strange thing that happened to me that i would like to re-tell on the re-telling i don’t say , ” i was fucking this chick, and then out of nowhere she blurts out F me you N-word” i just say how it happened, for the faggoty press , especially the korean press they love to take that blurb out of context and run wild with bold fonts and make it the headline. when barbara walters was interviewing me we had the moments where we kept butting heads, because she even told me , the entire time we are talking I’m already editing the story in my head, so basically if i ever said anything that didn’t fit into her already edited story she would cut me off , she just needed the juicy soundbites , i talked to her for over an hour and she took only my douchiest moments out of context and made me sound like a douchenozzle. and this is right after i talked to howard stern live unedited uninterrupted for 2 hours . at that moment i decided I’m never gonna do interviews , and in fact i’ll start my own news network , and thats what dvdasa.com is. there’s really no reason for anyone to interview me ever again, i talk non stop about every boring minutiae of my life for hours every week on my own show, they should actually just put a muzzle on me or tell me to shut up , but I’m really enjoying the interview process , in the last 2 years I’ve done interviews with howard stern, barbara walters, lisa ling, joe rogan, kevin smith, and a few others and i’m really enjoying myself even in the awkward moments and learning a bunch of new shit on the way and my future ex-wife aubrey plaza always big ups me on talk shows so thats nice too