The Frank Gehry-designed Walt Disney Concert Hall in downtown Los Angeles
Julius Shulman
Case House Study #21
1958
Emerson Woelffer
Slot Machine
1953
Lee Bontecou
Untitled
1959/60
Alexandra A. Grant
Drawing with Paper (Reach) (detail)
2003
Ivan Golinko and David Kordansky co-owners of Golinko Kordansky (G&K) Gallery with Fur Trade by Will Fowler
Evan Linterman
Untitled
Amie Dicke
Gisele Wants Out
2003
Amie Dicke
I Want You
at Angeles Penché Gallery
Invite to the Blum & Poe Gallery's Dirk Skreber exhibit
Thomas Burke
Airborne
Reviewjournal.com
Ed Templeton at Roberts & Tilton Gallery
Ed Templeton painting at Roberts & Tilton Gallery
Karlheinz Weinberger photographs at Marc Foxx Gallery
Karlheinz Weinberger photographs at Marc Foxx Gallery
Rocky Schenck
The Art Lovers
at Paul Kopeikin Gallery
Steven Gontarski
Prophet Zero I
at the Karen Lovegrove Gallery
Steven Gontarski with Prophet Zero I
Steven DiBenedetto
Metacopter (detail)
2003
Daniel Weinberg Gallery
Andre Yi
Ghetto Birds
2003
Carl Berg Gallery
Andre Yi and Carl Berg
Lari Pittman
Untitled
2002
cs. Regen Projects Gallery
Example of work by the Clayton Brothers
www.claytonbrothers.com
Jorge Pardo installation at Gagosian Gallery
David Schnell
Kollision in der Baumschule
2003
Sandroni Rey Gallery
Alex Blau
Spring Mix
2001
Mark Moore Gallery
Su-en Wong painting at Shoshana Wong gallery
John Miller
Path (WBKVW-3D)
2000-01
Patricia Faure Gallery
Dean Smith
thought form #2
2003
Christopher Grimmes Gallery
Michael C. McMillien
Time Below (detail)
L.A. Louver Gallery
Annie Leibovitz nude at The Fahey/Klein Gallery
Annie Leibovitz nude at The Fahey/Klein Gallery
Sean Duffy
Bakersfield Smokera
2003
Susanne Vielmetter Los Angeles Projects
|
L.A. Confidential
by Alex Worman
The
recent California wildfires, freak hailstorms, gubernatorial turmoil
and high-profile arrests are nothing compared to the blazing Los
Angeles art scene. While art fairs, auctions and architecture have also
been taking center stage this month, art events in the City without
Seasons are ebulliently abundant.
As everyone must know by now, the Frank Gehry-designed Walt Disney Concert Hall
opened a few weeks ago and has already been the subject of at least two
gallery exhibitions depicting it in all its photographic glory. This is
one of those rare cases where you can actually believe the hype. From
seemingly every vantage point, the flowering stainless steel structure
(the so-called "steel artichoke") is simply inspiring, and though open
for only a month, is already L.A.'s most famous landmark.
Gehry's new architectural addition to the downtown cityscape should soon rival Pierre Koenig's Case Study House #21 (immortalized by Julius Shulman)
as the muse for L.A.'s Hasselblad-toting photogs. In fact, the new
Gehry monument has become as ubiquitous a subject to American
shutterbugs as "three Germans standing beside a mailbox" -- as recently
opined by the witty Las Vegas art critic Dave Hickey -- are to German photographers.
The Walt Disney Concert Hall also boasts an art venue, the new Gallery at REDCAT (which is short for Roy and Edna Disney/CalArts Theater),
located in the southwest corner of the building. Its inaugural
exhibition, "Emerson Woelffer: Solo Flight," is a retrospective of the
late abstract painter and teacher as selected by L.A. icon and
first-time curator Ed Ruscha (whose works on paper will be featured in a 2004 retrospective at MOCA).
The Woelffer survey, located in the lobby of the new performance space,
features about 50 paintings and sculptures from the influential artist
who taught Ruscha and others at the legendary Chouinard Art Institute
(now known as CalArts). Upcoming exhibitions at REDCAT include a pair
of Los Angelenos, Mark Bradford and Glenn Kaino,
in "Bounce," as well as the touring exhibition from the Ethiopian-born
New York sensation, "Julie Mehretu: Drawing Into Painting."
At the L.A. museums, both LACMA ("Diane Arbus: Revelations," opening Feb. 29) and MOCA L.A.
("Street Credibility," opening Jan. 25) gear up for simultaneous
exhibitions -- "twin" shows, some might say -- featuring the works of
the late photographer Diane Arbus. Meanwhile, all eyes are currently at the UCLA Hammer Museum for the long-overdue "Lee Bontecou: A Retrospective" (through Jan. 11, 2004), which travels in February to the Museum of Contemporary Art, Chicago, and to MoMA in New York, opening July 30, 2004.
Many museum visitors are only now discovering the pioneering prodigal
artist in an exhibition co-organized by the Hammer and the Chicago MCA.
The Bontecou retrospective showcases the Pennsylvania artist's life
work, including her complex welded steel mechanomorphic wall
sculptures, with their mysterious black eyelike orbs, that not only
influenced a younger generation of artists but are also rumored to have
inspired H.R. Giger's Alien designs. Bontecou's early paintings and drawings are as timely and interesting as anything at the contemporary galleries.
On that note, let's take a quick tour of L.A. galleries,
beginning our journey in Downtown L.A. and taking a circuitous 15-mile
journey towards the Pacific Ocean.
At the pioneering Cirrus Gallery (542 S. Alameda Street), the first art gallery in Downtown L.A., distinguished director Jean Milant has enlisted Artnet Magazine's own resident poet and author Eve Wood
to curate "Painting by Letters" (Nov. 15-Jan. 10), a group show
consisting of 11 emerging artists who use language or text in their
art. "The artists try not so much to conjoin the two as to understand
the points of mediation where text and image inform one another," the
gallery statement explains. Among the featured artists are Steve Roden, Tyler Stallings, Mark Strand, Alexandra Grant and Buzz Spector.
At the USC Fisher Gallery (823 Exposition Blvd.),
located in Harris Hall on USC's University Park campus, is the
independently curated traveling show "UnNaturally." Featuring works by Gregory Crewdson, Keith Edmier, Inigo Manglano-Ovalle, Jason Middlebrook, Roxy Paine and Marc Quinn,
the show is a convincing survey of art that replicates nature, blurring
the distinction between natural and artificial, created and
constructed. It remains on view through Jan. 17, 2004.
While you're Downtown, take Hill Street north towards
Chinatown, turn on your dashboard GPS navigator, and you'll eventually
locate the new gallery activity on Bernard Street on a hard-to-find
cul-de-sac around the corner from the Chung King Road galleries. There,
in the rear of a former Chinatown Community Center building, is Ivan Golinko and Dave Kordansky's new space, Golinko Kordansky Gallery (510 Bernard Street), aka G&K Gallery. Despite their tongue-twisting eastern European surnames, Ivan and Dave met in New York through mutual friend, filmmaker Sean Dack, when Ivan worked at Friedrich Petzel Gallery and Dave was an artist and curator.
The team's inaugural exhibition is a group show featuring some of the
gallery's own emerging Southern California artists, including Liz Craft, Mark Flores, Will Fowler, Penti Monkkonen, Dean Sameshima and Nicolau Vergueiro.
"It was our mutual intent to open a progressive gallery, and in Los
Angeles we're part of a community of so many great artists," says
Kordansky. Also, the rents are cheap.
Next door in the same complex is Diannepruess Gallery, which recently relocated from Chung King Road, and is featuring work from Philip Wagner and New York painter Evan Lintermans.
At Peres Projects (969 Chung King Road) is a show by Amie Dicke,
an artist from Rotterdam, called "Sensual Sadness." For the 31 works,
Dicke takes pages from magazines featuring female icons such as Gisele
Bundchen, Naomi Campbell and Shakira, draws on them and then, using an
Xacto blade, carefully cuts them into all new gothic designs,
completely changing their original meaning. The results, according to
gallerist Javier Peres, "reference 16th and 17th century
medieval Dutch paintings." At least half were sold by opening in prices
ranging from around $1,350 to $3,900. In the downstairs basement
gallery is a group show called "the rules that everyone will follow
from this day forth," featuring works by Assume Vivid Astro Focus (who is included in the forthcoming Whitney Museum 2004 Biennial), Chris Ballantyne, Dan Attoe, Susan Black, Chris Caccamise, Alesha Fiandaca, Dean Sameshima and Anna Sew Hoy.
In other Chinatown gallery news, Parker Jones, former associate director with Sandroni Rey Gallery in Venice, is now the new director of Black Dragon Society (961 Chung King Ct.). We look forward to his new program.
On your way to the west side, make sure you check out the burgeoning Culver City art scene, led by its initiating duo Tim Blum and Jeff Poe. Until Dec. 20, Blum & Poe Gallery (2754 S. La Cienaga Blvd.) is featuring nine new works from moody German painter Dirk Skreber, whose prices have recently skyrocketed along with fellow countrymen Neo Rauch and Eberhard Havekost.
The works, in a show entitled "Painspotting," consist of both Skreber's
signature aerial views of disaster sites, such as houses fully immersed
in mud, as well as tragic accidents like a car mangled around a pole in
a fatal wreck (which reminded me of Swiss photographer Arnold Odermatt's vintage accident scene photos).
In case the bubble bursts on their gallery artist Takashi Murakami -- a prospect, however unlikely, recently raised by Charlie Finch
-- Blum & Poe need not worry. Continuing what is fast become a
tradition, all of Skreber's works were all sold by opening night
(ka-ching!), with prices in the $35,000-$68,000 range. Unfortunately,
Skreber's works wouldn't look good on a handbag.
Western Project (3830 Main Street) is a new gallery located on
Culver City's Main Street, which has a retro "Main Street U.S.A." charm
near the Culver and Sony Studios campuses. "It's like Hooterville,"
jokes WP's Cliff Benjamin, who partnered with his former Mark Moore Gallery colleague Erin Kermanikian
on the new venture. The duo gutted a former picture-framing store to
build the elegant white cube with frosted glass front windows and
remarkably high ceilings, a design done by Benjamin himself. This area
of Culver City, while not quite as quaint as "Petticoat Junction," has
a burgeoning community/café/hipster vibe that's ripe for more
galleries.
First up at Western Project is 25-year-old Las Vegas-based artist Thomas Burke,
who creates undulating jigsaw puzzle-piece airbrushed grid paintings,
carefully taped to give it the patterns a hard edge and flowing with
gradations of light and bright colors frequently found in the work of
fellow Vegas-based artists Yek and Tim Bavington.
Benjamin describes the work as "geometric LSD." A trained engineer,
Burke "bases all of the curves and the arc of the waves on mathematical
systems," Benjamin adds. "There's nothing arbitrary in any of the
images."
The eye-catching work bears a slight resemblance -- inadvertent, I'm told -- to op-art pioneer Victor Vasarely's
kinetic paintings of the '60s and '70s. Seven works are on display, all
acrylic on canvas, priced at $850 for small 8 x 8 in. pieces, up to
$17,500 for the large (72 x 192 in.) painting, The Hots. The show runs through Dec. 27, 2003.
As usual, the multiple openings at the 6150 Wilshire galleries have become the place to be every six weeks or so.
Professional skateboarder and self-taught artist Ed Templeton
attracted a legion of his Orange County skateboarding fans (in addition
to collectors and other gallery goers) for his first solo exhibition at
Roberts & Tilton Gallery, a show that featured
autobiographical and voyeuristic text-rich drawings, paintings and
photographs. Entitled "The Prevailing Nothing," Templeton's
wall-to-wall exhibition, hung salon style, partly channels the work of
fellow artists such as Barry McGee and Larry Clark, but
finds Templeton as an active participant in the Orange County
skateboard culture, depicting the meandering existence of longhaired,
sex-crazed, drugged-out surfing and skateboarding teens in the OC.
Templeton has exhibited his art since 1998, and has already taken
Europe by storm and has published a few books of his work, notably Teenage Smokers.
This show, consisting of over 400 works, is even sexually explicit
enough to satisfy readers of the controversial, already-withdrawn new Abercrombie & Fitch
Christmas catalogue! Templeton has designed a diary/sketchbook to
accompany his show that is available at the gallery for $10 in a
limited edition of 2,000 copies. Bennett Roberts is quickly
gaining a reputation as a top dealer for new practitioners of the
graffiti art, scribbling and snapshot esthetic, as well as for putting
on some of the most lively, well attended and stimulating shows in the
city.
Across the way at Marc Foxx Gallery, gallery partner Rodney Hill has realized his long-in-the-works passion to mount an exhibition of the vintage photographs of 82-year-old Swiss photographer Karlheinz Weinberger, whose career was highlighted with the release of the Scalo book, Karlheinz Weinberg: Photos 1954-1995
in 2000. Back in the 1960s when he was an electrical company employee
in Switzerland, Weinberger started out taking beefcake photos, but then
embarked on a mission to photograph the subcultures of street gangs and
rebel bikers who were powerfully influenced by American icons such as
James Dean, Marlon Brando and Elvis Presley.
The photos of these rebellious youth in their fashionable denim and
leather presage the British punk movement by ten years, and inspired
the later work of photographers such as Robert Mapplethorpe and Larry Clark. (Weinberger also currently has work on display at Nicole Klagsbrun Gallery in Chelsea). The photos are sold in editions of either five or 15, and priced at around $2,500 each.
Paul Kopeikin Gallery, the newest member to the 6150 complex,
specializes in photography, but has recently been branching into
non-photographic contemporary art. This month, however, he is back to
his roots with a retrospective show of the haunting, blurry, toned
gelatin silver prints from Texas-born, Hollywood-based photographer Rocky Schenck, whose rich, populated and unpopulated landscapes remind me of the photos of Robert ParkeHarrison. There were 15 works on display spanning the years 1990-2003, available in editions of 10, and priced at $2,350-$3,350.
At the opening it was standing room only as Schenk was also signing copies of his first monograph, Rocky Schenck: Photographs, which includes a foreword by John Berendt, author of Midnight in the Garden of Good and Evil.
For $850, Kopeikin has also published a special edition of the book
that is rebound, slipcased, signed and numbered in an edition of 50,
and comes with an 8 x 10 in. hand-toned print.
Acme Gallery is featuring a group show of gallery artists titled "Beside," which includes photographs by Uta Barth priced at $13,500, a new canvas by Monique Prieto priced at $30,000, a polyurethane & PVC sculpture by Carlos Mollura at $10,000, and two new acrylic on mylar car crash paintings priced at $3,000 and $5,000 from newcomer Kristin Baker, who recently had a sold-out show at Soho's Deitch Projects. In the north gallery is a suite of six, small, Renaissance-style egg tempera on panel landscape paintings by Michael Norton, on view through Dec. 20, 2003.
Upstairs at Karyn Lovegrove Gallery is a grand new fiberglass sculpture, Prophet Zero I, by the Philadelphia-born, London-based artist Steven Gontarski.
The seven-foot tall figure depicts a naked hard-bodied male with his
left arm covering his face, but not obscuring the protruding tucan beak
he has instead of a nose (or is it a mask?). According to the gallery,
Gontarski's work "commemorates imaginary figures to help understand the
creation of myths."
The fiberglass work is cast in an elegant shade of pearl white, like a
top-of-the-line Lexus sedan. It's the only work in the main gallery so
it must
be expensive. Big-time collectors are hot after Gontarski's work, but
he doesn't make many so the wait is long. Also, in the office are eight
pencil and marker "Prophetic Drawings," all dated 2003 and priced from
$2,500 to $4,200. The works are on display through Feb. 7, 2004.
Daniel Weinberg Gallery (6148 Wilshire Blvd.) is showing six recent paintings by New York artist Steve DiBenedetto
in his first solo exhibition at the gallery. For these new paintings,
DiBenedetto drew inspiration, imagery and painting titles (Psychopter, Metacopter) from a wide variety of diverse influences such as helicopters, octopuses, the psychedelic writings of Terence McKenna, and the Logos (a creature of "pure information," as explained by Philip K. Dick in his novel Valis).
The release says the paintings "show the clash between our inner and
outer selves." You won't have the opportunity to clash with your
accountant as the works are all sold, priced at $15,000 each.
At Kontainer Gallery (6130 Wilshire Blvd.), owner Mihai Nicodim is featuring a two-person show, "Growth Co." featuring Los Angeles's own Hillary Bleecker and from London, Neal Rock.
It's Bleecker who gets our attention. As one of the highlights at the
UCLA Hammer's terrific "International Paper" show, Bleecker's first
semi-solo gallery exhibition showcases her distinctive colored pencil
drawings of enchanting trees surrounded by lots of space and done in an
almost pointillist style. Her works range in price from about $1,400
for smaller works to $5,000 for the larger 80 x 90 in. pieces. The show
is on view through Dec. 20, 2003.
Down the block at the new Carl Berg Gallery (6018 Wilshire Blvd.), Berg is showing work from Los Angeles artist Andre Yi, an MFA graduate from the Cranbrook Academy of Art.
The exhibition, entitled "Floating City," features eight works, all
acrylic, ink and colored pencil on paper, depicting the sort of lower
middle-class homes and food stands found in the diverse melting pot
neighborhoods located between Beverly Hills and Downtown L.A.
Yi's lovingly detailed structures make up only a small part of the
works, which have lots of negative space (like the minimalist drawings
by Toba Khedoori)
and are set against a background of muted earth tones. All the works
also feature distinct squiggly lines usually associated with water in
Japanese wood block prints, but in Yi's paintings they signify L.A.'s
notorious smog conditions. Price: $1,800-$5,000. The show remains on
view through Dec. December 20, 2003.
At Regen Projects (633 North Almont Drive) in Beverly Hills, Lari Pittman,
the respected artist and professor of painting & drawing at UCLA,
is showing six large new oil paintings featuring complex tableaux of
nightmarish domestic interiors interspersed with trees, fires, birds,
gardening utensils and other paraphernalia, all done in his trademark
broad color spectrum. The show runs through Dec. 20, 2003.
Pittman's canvases seem downright minimal when juxtaposed with the new work by the Clayton Brothers. That would be Rob & Christian Clayton, two of the leading L.A.-based practitioners of Lowbrow, who this month have an exhibition, a new book and a lecture at the Museum of Contemporary Art, Los Angeles. Clearly, Lowbrow continues to gain widespread fine art acceptance.
At La Luz de Jesus Gallery (4633 Hollywood Blvd.) in Hollywood, the brothers have installed a 74-foot-long, two-foot-high painting entitled Six Foot Eleven,
that follows the continuous narrative in the life of fictional
patriarch Charles Murphy and is populated with an assortment of strange
animals, suspicious-looking humans, and strange settings that could
have come from the paranormal photographs of Gregory Crewdson or early David Lynch and Tim Burton films. The work is divided into 27 paintings being sold at prices in the $1,000-$8,000 range.
Branching out of the pages of the underground comic magazine Juxtapoz, the Clayton Brothers are also celebrating the publication of their first book, The Most Special Day of My Life, which features their individual and collaborative work. The show is up through Nov. 30, 2003.
If you walked into Gagosian Gallery (456 North Camden
Drive) in Beverly Hills thinking you'd stepped into the new Crate &
Barrel superstore, your confusion would be understandable. The hanging
lights and tables on display are actually part of the mixed media
installation by Cuban-born Los Angeles artist Jorge Pardo. The
first large-scale exhibition by the artist since his MOCA L.A.
exhibition in 1998 features numerous light pieces, several paintings
and drawings, some hung in the rear gallery, others mounted directly to
the birch tables that sit under the lamps on the main gallery floor.
According to the gallery statement, "All of these works, including his
paintings and drawings, have this sense of luxuriousness, underscored
by a rich and varied palette and a mid-century design sensibility." The
exhibition is on display through Dec. 20, 2003.
At Sandroni Rey Gallery in Venice, 32-year-old David Schnell,
part of the hot new cadre of young painters coming out of Leipzig,
makes his solo U.S. gallery debut with a body of seven new landscape
paintings featuring geometrically perfect forests, paths and
grandstands, with extreme vanishing points and a sense of psychological
unease. MOCA L.A recently purchased one painting by Schnell. As
collectors usually follow the museum's lead, all seven works are sold
at prices ranging from $8,500 to $18,000. Through Dec. 19, 2003.
At Mark Moore Gallery in Bergamot Station are new paintings by Alex Blau
in her second solo exhibition at the gallery. Her square, hard-edged
paintings resemble gift-wrapped packages, but made from acrylic polymer
on stretched linen. "Nothing is measured; the process she uses grows
organically," explains new gallery director Philip Martin, formerly with Rosamund Felsen.
"Nothing's created on the computer first. The human involvement changes
the patterns as she builds each panel." The show features eight small
works priced at $2,500 each, and five large ones at $4,500 each. The
show runs through December 20, 2003.
Part of Martin's agenda at Mark Moore is to "broaden the conversation"
by bringing in more Los Angeles and international artists, beginning
with an upcoming solo exhibition of new works or portrait paintings
from Belgian artist Till Freiwald.
Also at the Bergamot Station gallery compound, Shoshana Wayne Gallery is exhibiting new self-portraits by Su-En Wong, while Patricia Faure Gallery is showing veteran L.A. abstractionist John Miller. Faure is currently organizing a new Project Room show of figurative works on paper by Salomon Huerta starting Dec. 6.
If the current owners of Howard Hughes' "Spruce Goose" ever want to put it on display as a work of art, they would do well with the new hangar-sized Griffin Contemporary Gallery
(2902 Nebraska Ave.). Formerly in Venice next to L.A. Louver, Griffin
Contemporary has taken over the space previously inhabited by
architectural firm Marmol Radziner + Associates, and before that, befittingly, a manufacturing plant for Douglas Aeronautics.
The 10,000-square-foot space with 25-foot-high ceilings, just east of
Bergamot Station, is currently home to an inaugural exhibition
featuring several new large-scale paintings by Los Angeles artist Enrique Martinez Celaya,
in a show entitled "All the Field is Ours." Most of the works were sold
at my visit for prices in the $35,000 range. Meanwhile, the rear
project room features three unique black & white photographs by
Turner Prize-winning artist Richard Long, priced at $20,000
each. The gallery also features an elegant "VIP Lounge," populated by
chic furniture and art by such well-regarded names such as James Turrell, Ed Ruscha, Joel Morrison and Peter Wegner.
At Christopher Grimes Gallery (916 Colorado Avenue) in Santa Monica, the Bay Area's Dean Smith
is featured in "Transmission," his third solo show at the gallery.
Smith, who must have an awful case of carpal tunnel syndrome, creates
obsessive, large-scale graphite on paper drawings, featuring thousands
upon thousands of repetitive lines that form fantastical Sol Lewitt-esque
geometric shapes -- orbs, webs, and hyperspace perspectives -- that are
as equally beautiful to admire as to how painstaking they must have
been to create. With eight works on display, Smith's feats of willpower
will cost you $9,000-$10,000 each. The show ended Nov. 22, 2003.
Angles Gallery (2230 Main Street) in Santa Monica features its first one-man show of sculpture, video and photo-based works by Gregory Kucera (not to be confused with Seattle gallerist Greg Kucera).
The installation, "Tessellation Anxiety," includes video and
wall-mounted sculptural images that "explore the artist's conscious
anxiety about the infinite amount of information contained in the
physical world." A personal fave is a cube-shaped sculpture made out of
polyurethane and resin, Temporal Relief-Imploded (2003), that looks a like a maquette for the Borg Cube from Star Trek. The four-channel video, Line & Flight (2002), features a synchronization of fast-moving images slightly resembling Godfrey Reggio's film Koyaanisqatsi, minus the Philip Glass score. Resistance to this show is futile. . . until Dec. 6, 2003.
Through Jan. 3, 2004, L.A. Louver Gallery (45 N. Venice Blvd.) in Venice has been transformed into the "Red Trailer Motel," an installation and film by Michael C. McMillen.
According to the gallery statement, "McMillen has assembled corrugated
metal, tar paper, discarded signs and all varieties of odds and ends
into an installation he calls 'Red Trailer Motel.' It's more an
experience than an exhibition."
Some other shows in town include VF-otographer Annie Leibovitz's new body of non-celebrity work, "Nudes," at Fahey/Klein Gallery
(148 N. La Brea Avenue), featuring 15 large-scale photographs of female
nudes, available in editions of 25 and prices from $4,500-$15,000 each.
Also on La Brea, Jan Baum Gallery (170 S. La Brea
Avenue) is featuring "Multiple Expressions," featuring the figurative
work of eight artists focusing on different modes of expression,
including fragile, tough, pensive, existential and humorous. It's a
mixed bag of work, but two standouts are Kim McCarty's three watercolors of otherworldly children, priced at $2,500 each (McCarty was featured in the UCLA Hammer Museum's "International Paper" show), and the large-scale figurative oil paintings of Zhenya Gershman, at $2,000-$7,000 each. Other artists include Rafael Bunuel, David Eddy, Marianne Kolb and Eugene Yelchin. The show runs through Dec.20, 2003.
Finally, Susanne Vielmetter Los Angeles Projects (5363
Wilshire Blvd.) will be joining the current land rush to Culver City in
January 2004. For now, in her closing exhibition at the current space,
she presents Sean Duffy's "Bakersfield Smoker," a tribute to
1960's drag racing and the racecar culture surrounding it. The
exhibition features a two-armed turntable playing high volume sound
effects and engine sounds from drag races.
In the upstairs room is Melissa Thorne's
"Superstructure," a show of new paintings that "explore the shared
material and conceptual structure found in parallel fields, in this
case, the visual fields of crafts and architecture." The works are
realistically rendered paintings of handmade keepsakes such as Afghans,
pillows, and doilies. The shows, and the current gallery space,
conclude on Dec. 20, 2003.
ALEX WORMAN, who is a feature film publicist in Los Angeles, writes on art and modern design. |
