[This week on the artblog Reader Advisor: Forbes, Artnet and The Daily Beast give us art business news; the New York Post recounts a mischievous art performance at the Whitney Museum; and Vice delivers the world of Vegan Neo-Nazi cupcakes. — the artblog editors] Art Sales in the Age of the of the Internet Part 2: Fine Art in the Public Spectrum, via Forbes Amy Poehler as an Art Dealer?, via Artnet Art Forgery Takes Ebay: How the Online Auction Site Has Been Overrun, via The Daily Beast Bloody Brilliance: Canadian Performance Artist Makes Statement at the Whitney, via New ... More » »
[Nate visits a show juxtaposing the at-the-time groundbreaking work of Pierre Molinier with new drawings by contemporary artist Aurel Schmidt. — the artblog editors] In major American cities such as Los Angeles and New York, assertions of sexual identity are no longer the risky phenomena they once were. President Obama’s recent announcement of June as LGBTQIA Pride Month–a gesture of support on behalf of the federal government–attests to the changing climate of a country that has for so long ignored the very real, very serious lives of its queer citizens. This change must be taken into account when examining the ... More » »
[Maeve walks down memory lane and into one of her favorite museums, taking us through the Hammer Museum’s permanent collection and one site-specific piece. –theartblog editors] When I was in Los Angeles last month, I had the pleasure of visiting the Hammer Museum. It was always one of my favorites when I was living in the city, and upon visiting it recently, I can say definitively that it is my favorite museum in L.A. The variety of the classical and cutting-edge art and the quality of the installations make the Hammer Museum an absolute must-see for any art lover. It ... More » »
(Brandon Joyce, co-founder of the late, great art incubator, PiFAS, writes from Los Angeles about Century City, a weird and (to him) wonderful place.–the artblog editors) Corporate hive by day, Century City by night is as lifeless as Mars. Even security guards are absent or asleep at their posts. First coming across it, years back, on a long wordless nightwalk with a friend, I got to explore its spaces unimpeded. We paused and rolled around in the weird curvy landscaping and gazed up at the office windows above, where a few fluorescents hummed on: “Who are you, friend, toiling away ... More » »
Elena Filipovic, Joanna Mytkowska, et al. Alina Szapocznikow; Sculpture undone (Museum of Modern Art, New York and Mercatorfonds, Brussels: 2011) ISBN 978-0-87070-824-4 This catalog accompanies the first substantial exhibition of the Polish sculptor, Alina Szapocznikow (1926-1973) to be seen outside Poland, and is a thorough and considered introduction to her work. The exhibition was organized jointly by WEILS Contemporary Art Centre, Brussels, and the Museum of Modern Art, NY (MOMA), where it is currently on view. I saw the exhibition in Los Angeles this winter. It is a stunner, and a reminder that the dominant theme in the history of ... More » »
I finished reading the collected writings of Suzanne Lacy (see below) on the plane to the 100th Annual Meeting of the College Art Association (CAA) , held from Feb. 22-25 at the Los Angeles Convention Center. I was excited that I would finally see the artist in action. Lacy is a pioneer of what has come to be known as social practice (sometimes termed participatory art, community art, situational art or social sculpture), and founded an MFA program under that name at Otis College of Art and Design in 2007. Since the early 1970s she has produced work consisting of socially ... More » »
Los Angeles. You have to wonder when the United States is going to kick its cultural amnesia and get on with some real, workable, world-historical consciousness; when it’ll finally enter History rather than just history. My guess is in a century or two, when we’ve joined the underdogs and the past seems prettier and not so conveniently forgotten. But History is not so much forgotten here as it is repressed and replaced; forced so far down that it pops up with the weirdest, WTF symptomology.
Tim Hawkinson’s signature whimsy is somewhat limited at his work on view at Blum & Poe in Los Angeles (closing today). I’m not saying the show wasn’t interesting or that the work was a bust. I’m just saying, the biggest pieces in the show were a bit ponderous.
The Brewery in Los Angeles used to be a Pabst brewery; now it’s a complex of old brick buildings–22 in all, some dating to 1888–on 23 acres of concrete grittiness, punctuated by a monumental chimney. But behind the brick and concrete walls and expanses of concrete and parking is a beehive of about 500 artists and art-related businesses. Some of the places are residences as well as studios. And the people there sponser a semi-annual ArtWalk that draws huge crowds–there’s one coming up Oct. 9 & 10. More than 100 artists participated in the last one, in the spring.
It’s unlikely, if you’ve never been to the Museum of Jurassic Technology in Los Angeles, that I’d be able to adequately catch you up to speed in a single post. Hell, even if you had been there— and felt, like I did, that you’d found your new favorite thing in the universe— it still might get a little confusing.Next Page »