Please use the flash player to listen to my interview with Roger Carmona of Kremer Pigments. If you don’t have flash, you can also click on the link below:
Roger Carmona is an artist currently investigating the relationship of color to poverties. He is the Instructor and General Manager at Kremer Pigments NYC where he has spent the past eight years teaching raw materials and techniques to painters, sculptors, interior designers, architects, violin makers, conservators and anyone else interested in experimenting with paint. He has consulted on various restorations of buildings and projects that aim to mimic surfaces, most recently an all gold conceptual design for the Architectural Venice Biennale. He received an MFA from Bard College, where through his work he first used color as a research tool for understanding manners of communication.
About Kremer Pigments:
Kremer Pigments has been discovering and redeveloping historical pigments since 1977. Their assortment consists of over 1000 different mineral pigments made from precious and semiprecious stones.
Due to their experience with pigments made of precious stones and minerals, they have picked the best industrially manufactured pigments for artistic painting. Several hundred modern pigments complete the historical palette. Historical and modern binders, natural dyes, modern synthetic pigments, chemicals as well as additives, round off the assortment.
They have subsidiaries in Europe’s largest cities and also New York.
Video about Properties of Oil Paint and Mixing from Pigment:
I found a video lecture of Roger Carmona discussing oils.
Please use the flash player to listen to my interview with Art Los Angeles Contemporary Director Tim Fleming and with artist Mark Hagen. If you don’t have flash, you can also click on the link below:
About Art Los Angeles Contemporary
Art Los Angeles Contemporary, now in its fifth year, is the International Contemporary Art fair of the West Coast, held January 30 – February 2, 2014.
ALAC returns to the Barker Hangar in Santa Monica, a known arts venue with 40,000 square feet of exhibition space and soaring 40 foot ceilings. The fair presents 70 top international blue chip and emerging galleries from around the world, with a strong focus on Los Angeles galleries. Participants present some of the most dynamic recent works from their roster of represented artists, offering an informed cross section of what is happening now in contemporary art making. The fair provides a sophisticated yet accessible environment for art collectors, curators, and patrons of the arts alike to enjoy.
In addition, the fair hosts a comprehensive programming series, including world class artist talks, museum curator led panel discussions, and film screening and performance series. Special events are staged on site at the art fair as well as throughout the city in satellite locations.
Home to internationally renowned museums, leading art schools, hundreds of contemporary galleries, and a prodigious number of practicing artists, Los Angeles serves as the perfect landscape for a progressive, international contemporary art fair.
Please use the flash player to listen to my interview with Cirrus Gallery founder and director Jean Milant. If you don’t have flash, you can also click on the link below:
About Cirrus Gallery:Print visionary Jean Milant founded Cirrus Editions and Cirrus Gallery, originally located in Hollywood, in January 1970. From that time, Cirrus stamped itself as a unique American art institution, functioning as a combination print workshop, publisher and art gallery. (Preceding similar operations in New York, Cirrus’ home was a warehouse loft space with 3,000 square feet under skylights and surrounded by pure white walls!) Milant chose to give priority to the publication and exhibition of work by California artists. He saw a unique excitement and lifestyle, which promoted new ideas and visual forms. Cirrus has had over 250 exhibitions including painting, installations, performance, sculpture and photography. This diversity in offering continues today.
With a focus beyond Los Angeles, Cirrus was the very first L.A. gallery to participate in the European art fairs. The international response to Cirrus and the Los Angeles artists was tremendous.
In 1979, Cirrus moved the center of its operations to downtown Los Angeles on Alameda Street, once again pre-visioning the explosive art scene that soon was to come. Milant initiated a summer art festival called LAVA (for Los Angeles Visual Arts) that provided leadership in supporting the downtown galleries and alternative spaces such as Los Angeles Institute of Contemporary Art (LAICA), Los Angeles Contemporary Exhibitions (LACE), and the Women’s Building.
In 1986, the Los Angeles County Museum of Art acquired the archives of Cirrus Editions. LACMA has continued to collect the prints and related materials from Cirrus and in October 1995, the museum presented a major exhibition spanning the entire 25-year publishing history. In conjunction, they published an award winning catalogue raisonné.
Cirrus continues today as a print workshop, publisher and gallery with no restriction to medium. New projects include technology-enhanced work.
Please use the flash player to listen to my interview with Jancar Gallery director Tom Jancar. If you don’t have flash, you can also click on the link below:
About Jancar Gallery:In 1980 Tom Jancar and his partner Richard Kuhlenschmidt opened an art gallery in the basement of the historic Los Altos apartment building. This gallery would come to be recognized as one of the seminal institutions in the development of Los Angeles art culture. During the period of their partnership, Jancar / Kuhlenschmidt Gallery exhibited the work of artists including Richard Prince, Louise Lawler, David Askevold, Christopher Williams, William Leavitt and David Amico among others.
Inaugurated in October 2006, the Jancar Gallery opened on the top floor of a 1929 art deco building on Wilshire Blvd. in Los Angeles and was located there until the late summer of 2008.
Jancar Gallery has now relocated to a larger gallery space in Chinatown at 961 Chung King Road, Los Angeles
Christine Palma interviews Claudia James Bartlett of Photo LA and they discuss Photo LA 2014.
or click below for link to audio:
Christine Palma interviews Kim Martindale of The Los Angeles Art Show and they discuss The Los Angeles Art Show 2014.
or click below for link to audio
My interview with Benjamin Bowser on Gangster Rap and Its Social Cost was broadcast on March 3, 2013. Click below to listen through the Flash player or for the non-flash link:
About Benjamin Bowser:
Benjamin Paul Bowser (PhD, Cornell University) is Emeritus Professor of Sociology and Social Services and former department chair at California State University East Bay. His previous publications include The Black Middle Class, When Communities Assess their AIDS Epidemic, Against the Odds: Scholars Who Challenged Race in the Twentieth Century, and Impacts of Racism on White Americans. He has also published over fifty research journal articles and anthology chapters.
About the book, Benjamin Bowser on Gangster Rap and Its Social Cost: Exploiting Hip Hop and Using Racial Stereotypes to Entertain AmericaRap music and its gangster rap variant are now far too important and influential in American life to be ignored by the general public and research communities alike. Artists and promoters alike have made a number of questionable claims about the authenticity and impact of their music that have been taken for granted and not been critically assessed. Those who have written about from communications, music and cultural studies have provided an important but relatively fixed narrative that leaves the central claims and impacts of this entrepreneur unaddressed.
It is in this context that the author Benjamin Bowser began studying hip hop and gangster rap precisely because the influence of this movement and music on African American adolescents HIV infection risk takers. At the same time, the frequent use of the N-word by gangster rappers has become a major unaddressed issue in civil rights that has also not been studied. Furthermore, an important reason to study these unaddressed issues is to not only better understand them, but to offer solutions to the problems they pose and to improve the quality of life of all involved.
Within the rapidly growing literature on hip hop and gangster rap, Gangster Rap and Its Social Cost stands out from the rest because it provides a number of unique contributions. First, based upon a community case study, the author asserts that gangster rap has empowered white racists and, as a consequence, has reduced the quality of life and civil rights of listeners and non-listeners alike.
Second, this book goes to great length to make a serious distinction between gangster rap and hip hop. Disentangling one from the other opens the door to a more focused and critical analysis of gangster rap and provides an outline of the unmet potential of rap in hip hop.
Third, national surveys are used as evidence in the debate about the size and characteristics of the rap and hip hop listener audiences. There are some surprises here that should reframe the controversy on who listens to and buys rap music.
Fourth, there is a first generation of psychological and social scientific research on rap music that is summarized through 2011.
Finally, the problems in gangster rap are not inevitable and we do not have to live with them. They can be effectively addressed without attacking the civil liberties of gangster rappers or their corporate sponsors.
Gangster Rap and Its Social Cost is must reading for young adults, parents, those who both enjoy and dislike rap music, and students in sociology, psychology, ethnic studies, communication, music, community studies and public health.
My interview with Eddie Becton about Jazz History and Black History Month was broadcast on February 17, 2013. Click below to listen through the Flash player or for the non-flash link:
Eddie Becton is host of Jazz Journeys on KXLU Los Angeles 88.9 FM. He is also a professor of African-American Studies at Loyola Marymount University
My interview with Shannon Michael Cane was broadcast on February 27, 2013. Click below to listen through the Flash player or for the non-flash link:
About Printed Matter:
Printed Matter is the world”s largest non-profit organization dedicated to the promotion of publications made by artists. Founded as a for-profit alternative arts space in 1976 by artists and artworkers, Printed Matter reincorporated in 1978 to become the independent non-profit organization that it is today. Originally situated in Tribeca, Printed Matter moved to SoHo in 1989 where for twelve years the book displays and artists’ projects in the large storefront windows contributed to the artistic and intellectual vibrancy of the neighborhood. In 2001 Printed Matter relocated to Chelsea, where it continued to foreground the book as an alternative venue – or artistic medium – for artists’ projects and ideas. Finally, in December of 2005 Printed Matter moved into our current storefront location in Chelsea with big windows and greatly increased display and exhibition space. Recognized for years as an essential voice in the increasingly diversified art world conversations and debates, Printed Matter is dedicated to the examination and interrogation of the changing role of artists’ publications in the landscape of contemporary art.
Printed Matter”s mission is to foster the appreciation, dissemination, and understanding of artists’ publications, which we define as books or other editioned publications conceived by artists as art works, or, more succinctly, as “artwork for the page.” Printed Matter specializes in publications produced in large, inexpensive editions and therefore does not deal in “book arts” or “book objects” which are often produced in smaller, more expensive editions due to the craft and labor involved in their fabrication.
To promote public awareness of and access to artists’ books, Printed Matter maintains a public reading room where over 15,000 titles by 6,000 international artists are available for viewing and purchase. In addition to being a wholesale and retail distribution hub for artists’ books, Printed Matter offers a free consulting service to libraries, art institutions, and art professionals involved with artists’ books throughout the world. Printed Matter presents a range of educational programs for the public from talks to student groups by staff members to in-store lectures and readings by artists, critics, and curators. These educational initiatives are complemented by our internationally recognized exhibitions program and publishing program.
More About Printed Matter
Since its founding, Printed Matter Inc. has helped to define the category of “artists’ books”, and we are committed to keeping the field – and all of its categories and definitions – vital and evolving. Printed Matter provides a context for the focused study of artists’ books and a center from which artists can distribute their work throughout the world.
In many cases, Printed Matter is the only outlet for artists whose work is not commercially viable, and oftentimes the first outlet for emerging artists who are just beginning to explore the medium. Printed Matter has always sought to provide a forum for critical engagement with the issues and discussions unique to the field of artists’ books and to forge a connection between this field and other contemporary art practices as well as with the social and political world that contains and affects all art production. Printed Matter”s programming supports the mission of the organization by deepening and broadening the public’s understanding of artists” publications and by offering individual artists, or groups of artists, greater public exposure.
Distribution of Artists’ Books
Printed Matter currently represents and distributes approximately 20,000 titles by over 6,000 artists. The selection process of titles is carried out weekly by a review committee made up of Max Schumann (Associate Director), Shannon Cane (Distribution Coordinator) and Keith Gray (Programming Assistant).
The criteria for selection is exceptionally broad, with the principal condition being that the work must be artwork conceived for the page. As well, each publication must be produced in an edition of 100 or greater and be relevant within the history of artists’ publications.
Printed Matter”s mail-order service offers people throughout the United States and around the world the opportunity to buy and collect artists” publications. Until 2003, Printed Matter produced an annual catalogue highlighting new books accepted during the year and offering a selection from the back stock as well. These days, mail order is carried out through our website, which catalogues Printed Matter”s entire inventory.
Printed Matter organizes exhibitions that contextualize artists” publications historically, aesthetically, and culturally. These exhibitions fall into three categories: works by individual artists and artists’ groups who are instrumental to the development of the medium of artists’ books, and group exhibitions that address particular issues or approaches or histories within the field.
Printed Matter’s exhibitions showcase both emerging and established artists and seek to emphasize the connections and the differences between generations of artists working in the field—and at its edges. Recent exhibitions have featured the work of Fiona Banner, Ian Hamilton Finlay, The Fugs, En/Of, General Idea, Guerilla Girls, Jenny Holzer, the Reverend Jen, Allan Kaprow, Sol LeWitt, Micah Lexier, Ligorano/Reese, Justin Lowe, LTTR, Ryan McGinness, Money for Food Press, Olaf Nicolai, Yoko Ono, Paper Rad, Michalis Pichler, Ed Ruscha, Dieter Roth, David Sandlin, Tom Sachs, Temporary Services, Sonic Youth, Peter Wegner, Josh Smith, Megawords, Werkplaats Typographie, Warja Lavater, Jimmy De Sana, Garry Neill Kennedy, Rick Myers, Jesse Hlebo, Colab, J. Morrison, among many others. (A complete list of exhibitions from 1995 to the present can be found below.)
Printed Matter organizes book launches, lectures, performances, and readings throughout the year. Recent artists to launch their publications at Printed Matter, include Vito Acconci, the Alps, Brian Belott, Black Dice, John Baldessari, Barbara Bloom, Gregg Bordowitz, Paul Chan, Devon Costello, Jen DeNike, Barbara Ess, Jason Fulford, Liam Gillick, Matthias Herrmann, Katie Holten, Chris Johanson, Eduardo Kac, Martin Kippenberger, Terence Koh, Lovett/Codagnone, John Lurie, Barry McGee, Ryan McGinley, Ryan McGinness, Slava McGutin, Linda Montano, Eileen Myles, Warren Neidich, Esta Partagas, Tristan Perich, Michalis Pichler, Jack Pierson, Richard Prince, Martha Rosler, Sam Samore, David Sandlin, Laurie Simmons, Amy Sillman, Mike Slack, Buzz Spector, Annie Sprinkle, Peter Sutherland, Nick Thurston, Richard Tuttle, John Waters, Lawrence Weiner, and Peter Wegner.
Printed Matter has revitalized its publishing efforts through its Emerging Artist Publication Series, which gives young artists the opportunity to produce a new publication.
Since its inception, this series has distinguished itself through innovative and forward-looking publications by artists such as Angelblood, Erin Cosgrove Reverend Jen, Terence Koh, J. Meejin Yoon, LTTR, Adam Shecter, John Simon, and Scott Treleaven.
Current works-in-progress include a project on the ecology of the Chelsea Highline is underway with Mark Dion, a pop-up book project with Tauba Auerbach is currently in production and due to arrive in October, and a re-print project with the Guerrilla Art Activist Group has just arrived at the store.
Printed Matter also occasionally publishes prints, multiples, and photographic portfolios as fundraising editions. In November 2004, we published Untitled/Nudes, a portfolio curated by Larry Clark that features the work of Donald Baechler, Cecily Brown, Larry Clark, Ralph Gibson, Terence Koh, Zoe Leonard, Paul McCarthy, Albert Oehlen, Thomas Ruff, and Betty Tompkins.
Other artists who have produced editions with Printed Matter in the past include Richard Artschwager, John Baldessari, Matthew Barney, Barbara Bloom, Sophie Calle, Francesco Clemente, Gregory Crewdson, Stan Douglas, Eric Fischl, René Green, Robert Gober, Nan Goldin, Felix Gonzalez-Torres, Dan Graham, Mona Hatoum, Jenny Holzer, Roni Horn, Martin Kippenberger, Barbara Kruger, Louise Lawler, David Levinthal, The Estate of Gordon Matta-Clark, Jonas Mekas, Yasumasa Morimura, Claes Oldenburg, Gabriel Orozco, Jack Pierson, Richard Prince, Jason Rhoades, Faith Ringgold, Andres Serrano, Cindy Sherman, Lorna Simpson, Laurie Simmons, Nancy Spero, Kiki Smith, Diana Thater, Richard Tuttle, John Waters, Carrie Mae Weems, Lawrence Weiner, and Christopher Wool.
The NY Art Book Fair
The NY Art Book Fair was initiated in 2006 by Printed Matter in an effort to re-establish New York City as a global center for artists’ books. The first annual fair, held November 17 – 19, 2006, was a runaway success that presented some 70 international exhibitors to over 6,000 people and inspired The New York Times’ Holland Cotter to declare “the NY Art Book Fair…is evidence that alternative is still vital, sexy, and free.” The Fair also featured three days of events including book launches and performances organized by Creative Time and Performa, as well as daily book signings that included Tom Sachs and John Lurie, a bookmaking workshop, and the panel discussion Can you trust an organization over 30? in relation to Printed Matter’s 30th Anniversary. In addition, the Fair featured the retrospective exhibition Replication: The Books of Sol LeWitt.
The second annual NY Art Book Fair took place from September 28 – 30, 2007, bringing in over 8,000 guests and featuring 123 exhibitors with the return of the popular Friendly Fire zone. Artists Ed Ruscha, Josephine Meckseper, and David Shrigley created new limited editions to benefit Printed Matter on the opening night. The full schedule of events—book signings, readings, bookmaking workshops, and performances throughout the Fair’s three days—included a signing by Marilyn Minter, and music performances hosted by ANP Quarterly and Lovely Daze in conjunction with new issue releases. The retrospective exhibition Re-title, Release: the Books of Martin Kippenberger, curated by Phil Aarons and AA Bronson, presented over 150 books by the artist.
The 2009 NY Art Book Fair, hosted at MoMA PS1, was a runaway success, with 205 exhibitors from 22 countries showing their publications to a record-breaking audience of 12,500—an increase of 50% over previous years in both exhibitors and audience. The three-day Fair was combined with the Contemporary Artists’ Books Conference which Printed Matter organized together with the Art Libraries Society of New York: some 150 art librarians from across North America attended six sessions over two days.
The 2010 NY Art Book Fair, expanded the event yet again. Over 16,000 visitors spent four days with 280 exhibitors from 24 countries, celebrating the field of artists’ books and spirit of independent publishing. The fair hosted more than fifty programs, performances, artist talks and book signings, including another iteration of the Contemporary Artists’ Books Conference, and The Classroom, a series of informal conversations between artists, workshops, readings and other artist-led events, with continuous enrollment for all fair-goers throughout the weekend. Featured artists included the collective Sumi Ink Club, Olaf Nicolai, Raquel Welch, and Marshal Weber. The fair also featured the special exhibitions “You Are Her”, a collection of more than one thousand Riot Grrl zines organized by Goteblüd (San Francisco), and “Ten Years of PPP Editions”, a retrospective of photography and book art organized by Andrew Roth (New York).
Printed Matter’s website features a fully searchable catalogue of our entire inventory as well as diverse resources on the history of artists’ publications. Archived press releases document the history of Printed Matter”s exhibitions and public programs, and commissioned essays and curated on-line exhibitions of artists” books present ideas and opinions about trends in the field. The website currently receives 600,000 visits a year, and Printed Matter distributes publications to over 40 countries throughout the world.
Since its launch in 2002, www.printedmattter.org has come to be valued as a vital educational tool and is required reading for university courses on artists’ publications and contemporary art. Any publication Printed Matter has ever carried or currently carries is accessible on the site, complete with bibliographic documentation, content description, and a color image. Printed Matter’s online catalogue now details over 20,000 titles and enables us to promote a huge range of artists to audiences who might not otherwise have the opportunity to study their work.
In February of 2007, Printed Matter added the Research Room to our website to aid students and scholars who utilize www.printedmatter.org differently than a customer visiting the site to purchase a title. The Research Room allows users to search a database of some 10,000 titles within four primary categories (Artist, Title, Publisher, and Keyword) according to 22 sub-categories, such as Book, Periodical, Posters, Emphemera, DVD, PM Edition, etc. Search results include optional images and a bibliographic overview, which can be elaborated by clicking on “more information.” Search results can also be stored and added to so that the user can create a master research document to be viewed or printed later in a session.
Printed Matter has always included essays by artists and scholars on the medium of artists’ publications in our catalogues. The website now features many of these essays in the “Critical Essays” section. Likewise, we began publishing curated lists of artists’ publications on the website. These lists bring together thematically related books and present them along with short explanatory essays.
About Mark Katz:
Mark Katz is Professor of Music and Chair of the Department of Music at the University of North Carolina at Chapel Hill. He is the author of Capturing Sound: How Technology has Changed Music and editor of the Journal of the Society for American Music. He is a violinist, a radio DJ, and an amateur turntablist.
About the book (from Oxford University Press’ website):
It’s all about the scratch in Groove Music, award-winning music historian Mark Katz’s groundbreaking book about the figure that defined hip-hop: the DJ.
Today hip-hop is a global phenomenon, and the sight and sound of DJs mixing and scratching is familiar in every corner of the world. But hip-hop was born in the streets of New York in the 1970s when a handful of teenagers started experimenting with spinning vinyl records on turntables in new ways. Although rapping has become the face of hip-hop, for nearly 40 years the DJ has proven the backbone of the culture. In Groove Music, Katz (an amateur DJ himself) delves into the fascinating world of the DJ, tracing the art of the turntable from its humble beginnings in the Bronx in the 1970s to its meteoric rise to global phenomenon today. Based on extensive interviews with practicing DJs, historical research, and his own personal experience, Katz presents a history of hip-hop from the point of view of the people who invented the genre. Here, DJs step up to discuss a wide range of topics, including the transformation of the turntable from a playback device to an instrument in its own right, the highly charged competitive DJ battles, the game-changing introduction of digital technology, and the complex politics of race and gender in the DJ scene.
Exhaustively researched and written with all the verve and energy of hip-hop itself, Groove Music will delight experienced and aspiring DJs, hip-hop fans, and all students or scholars of popular music and culture.
* Chronicles the nearly 40-year history of the hip-hop DJ in the United States
* Argues for an understanding of the hip-hop DJ as a full-fledged musician and the turntable as one of the crucial musical instruments of modern times
* Draws upon new interviews with dozens of DJs from the Bronx pioneers to the hottest new turntablists, including Afrika Bambaataa, Cash Money, GrandWizzard Theodore, Grandmixer DXT, Kid Koala, Qbert, DJ Shadow, and Rob Swift
* Comes with a companion website featuring audio and visual clips of DJs in action
“If there was one book I had to get on DJ culture, it would be this one! There are so many DJ books out there … but this one on hip-hop is my cup o’ tea! “-DJ QBert
“Groove Music is an extensive look at the DJ, the heartbeat of hip-hop culture. Mark Katz successfully documents the art form that has defined me as an artist and human being. Props to him for exposing the world to what we do with turntables.” –Rob Swift, turntablist
“Katz brings to life the vivid art and social worlds of hip-hop’s most important and understudied pioneers: the DJs.” –Tricia Rose, author of Black Noise and Hip Hop Wars
“Groove Music is an essential resource, a lucid combination of history and how-to. The
writing is excellent, the research is thorough, and Katz’s affection for the topic is contagious. It’s certainly a seminal contribution to musicology, as well as a good read for any music fan.” –Albin Zak, Professor of Music, State University of New York, Albany
“A ridiculously rich goldmine of information…as authoritative as it gets.” –DJWorx.com
“Katz’s exhaustive research and attention to detail have produced a gripping study that goes a long way towards filling the knowledge gap. Groove Music is strongly recommended to anyone with an interest in popular music and culture formations.” –Times Higher Education
Aired on October 8, 2012. Click below for Flash or non-flash audio player:
I conducted a few interviews at Art Platform Los Angeles:
• Rachel Lee Hovnonian, Artist, on our synthetic existence. I also have live audio from her performance piece, a virtual cafe called Mud Pie.
• Laura Blereau, Director of Bitforms Gallery (NY), about Bitforms, The Kitchen, Issue Project Room and on several of their artists: Daniel Canogar, Erwin Redl, Rafael Lozano-Hemmer and R. Luke DuBois.
• Jason Ramos – Director of RAID Projects (LA) and one of the curators from ARTRA Curatorial about Co-Lab, a collection of non-profit galleries and collectives. He introduces these groups and artists: Gallery Lara from (Tokyo) and Jaus Gallery (Los Angeles) and their artist Satoshi Saegusa and Mitsuko Ikeno; Weekend Gallery (Los Feliz, Los Angeles) and their artist Carlson Hatton; Durden and Ray and their artists John Flack, Emily Counts and Max Presneill; PS (Amsterdam); Tilt-Export (Portland, Oregon) with director Jenene Nagy and their artists Ben Buswell and Lauren Clay; Felt Space (Adelaide, Australia); Neter Proyectos (Mexico City) and their artists Axel Velasquez, Alejandro Garcia, Jimenez Lefer, Marcos Castro, Ramiro Chávez, Alex Volio, Mariana Magdaleno, Greta Gamboa, Carlos Olvera, and Christian Castaneda; RAID Projects (Los Angeles) and directors Jason Ramos and Max Presneill and their artists Stephen Parise (Sweden) and Tom Dunn (Australia).
• I also play a Steve Roden composition that was commissioned by XOjet that was played in a Challenger 300 jet during opening night.
My Review of Art Platform Los Angeles:
I found Art Platform Los Angeles to be just the right mix of likability balanced with novelty. It was just the right size. I was able to experience it over two days. On opening day, my simple goal was to hear the Steve Roden pieces in the Challenger 300 jet they had on site. The interior of the jet functioned like a giant speaker with every surface vibrating slightly with sound. Roden had composed four 8-minute pieces specifically for this unique surround-sound environment. I was lucky to arrive after the first wave of people and had the jet mostly to myself.
Next, I was curious to experience Rachel Lee Hovnanian’s Cafe, what she calls a “dream-awake state” performed by two actresses behind a diner counter built in one of the booths. I was pleasantly surprised by the sunniness projected by the waitresses, by the synthetic food that was served, and the commentary on our growing synthetic existence, one filled with twitter and balance bars.
I was pulled in by Bitforms Gallery out of Chelsea in New York. I watched as the Rafael Lozano-Hemmer piece drew crowds of people around an LCD “mirror” that replaced your eyes with plumes of smoke ala Saint Lucy.
On my second day, I was able to appreciate the curation of the Co-lab section of the fair and had the opportunity to meet many of the non-profits who had been given space. Jason Ramos of RAID Projects and ARTRA Curatorial gave me a walk through.
Images from the fair (click on thumbnail for full image):
Aired on September 23, 2012. Click below for Flash or non-flash audio player:
About Adam Gross (1):
A native Angeleno, Adam Gross exceeds the expectations of his position as Executive Director of Art Platform — Los Angeles to champion the greater civic-commerce benefits the art fair can have on the Los Angeles community. “The arts are a part of a potent and personal way to provide transformative moments to the community,” says Gross “From art students to established and emerging gallerists and esteemed collectors, Los Angeles possess a range and Art Platform — Los Angeles provides access to that broad audience.” Through the presentation of special programs, the Open Platform speaker series, an exceptional selection of international galleries and non-profits, and an esteemed VIP program, Gross is at the helm of a fair that serves as a bridge between the local Los Angeles community and the national and international art worlds.
“Los Angeles possesses immense cultural diversity, from its museums and alternative art spaces to the diverse demographics of individuals who visit Los Angeles or call it home,” says Gross. “Art Platform 2012 will continue to bring the international art world to Los Angeles, and the residents of Los Angeles into the international art world.”
Prior to his Directorship of Art Platform — Los Angeles, Gross spent five years on the Development team at Museum of Contemporary Arts, Los Angeles where he established strong relationships to donors, collectors and philanthropists in his position overseeing individual giving. Extending this philanthropic spirit of patronage, Gross lives in service to the goal of working toward greater public engagement in the arts and advocating for Art Platform — Los Angeles to contribute to the recognition of Los Angeles as an international art capital. Since joining the fair in 2011, Gross has traveled the globe developing cross-national relationships with artists, galleries and fairs in an effort to bring an international focus to Art Platform — Los Angeles that reflects a depth and breadth of contemporary perspectives. Addressing this global experience, and through his current ties to the contemporary artists and galleries that comprise the local art community, Gross is able to contextualize the influence Los Angeles has on the larger art world and how the ideas of these local artists are being championed in contribution to a global discourse.
Adam Gross is the Executive Director of Art Platform—Los Angeles, the contemporary and modern art fair for Los Angeles. Prior to his Directorship, Adam was integral to the Development team at The Museum of Contemporary Art, Los Angeles, where he helped MOCA navigate one of the most challenging periods in its history through his work developing patrons and major gifts for the institution. Prior to his post at MOCA, Gross was a private art dealer and consultant, working with corporations and individuals on collection building and management, curating exhibitions, and supporting arts-related marketing initiatives. With undergraduate and graduate degrees in contemporary art history from UCLA, and over 15 years in the arts in Los Angeles working with galleries, auction houses, private and corporate collections, and non-profit arts organizations, Gross brings a unique local perspective to the Art Platform institute.
About Art Platform (1):
Art Platform – Los Angeles art fair demonstrates the rich and diverse cultural landscape of Southern California and underscores Los Angeles’ influential position within the contemporary art world.
Bringing together both local and international artists, dealers, collectors, museums and art enthusiasts that play important roles in the vibrant Southern California art community, Art Platform – Los Angeles emphasizes the increased recognition of greater Los Angeles as an international art capital. In pursuit of such emphasis, Art Platform – Los Angeles 2012 will both continue to provide unprecedented access to the art, galleries, institutions and collections that define the Los Angeles art scene, and to contextualize them within a broader, international framework.
Art Platform – Los Angeles will serve as a platform to encourage and deepen the dialogue between the talent of greater Los Angeles and that of the international art community around the globe.
1. from Art Platform LA press release
Aired on May 20, 2012. Click below for Flash player or non-flash audio player:
To get involved in the political process that allocates money to the Arts and to Arts Education, sign up – for FREE – to Arts Action Fund (link–>www.artsactionfund.org) and you will be notified anytime there is legislation coming up that impacts Arts funding. There is also a tally of which representatives support the Arts.
To get more involved in this issue in the upcoming 2012 elections, you can also check out Arts Vote (link–>www.artsvote.org).
About Robert Lynch:
From the American for the Arts website:
Robert Lynch is the president and CEO of Americans for the Arts, the national organization dedicated to advancing the arts and arts education in people’s lives, schools, and communities. He was executive director of the National Assembly of Local Arts Agencies for 12 years, and managed the successful merger of that organization with the American Council for the Arts to form Americans for the Arts in 1996. In 2005, Mr. Lynch oversaw the merger of the Arts and Business Council, Inc. into Americans for the Arts. In the same year he also created the Americans for the Arts Action Fund and its connected political action committee to engage citizens in advocating for the arts and arts education to ensure arts-friendly public policies. With more than 30 years of experience in the arts industry, Mr. Lynch is motivated by his personal mission to empower communities and leaders to advance arts and arts appreciation in society. Under his 25 years of leadership, the services and membership of Americans for the Arts has grown to more than 50 times its original size in 1985. He has personally reached audiences in 49 states and 12 countries, ranging from Native American tribal gatherings to the U.S. Armed Forces in Europe and the President of the United States. Mr. Lynch currently serves on the board of the Craft Emergency Relief Fund, the Arts Extension Institute, and the University of Massachusetts-Amherst College of Humanities and Fine Arts Board. He is a member of the Executive Committee for United Voices for Education and is on the Advisory Council of the National Museum for Children in the Arts. He earned a bachelor’s degree in English from the University of Massachusetts-Amherst. Mr. Lynch plays the piano, mandolin, and guitar, and lives in Washington, DC.
About Americans for the Arts:
Founded in 1960, Americans for the Arts is the nation’s leading nonprofit organization for advancing the arts and arts education. From offices in Washington, DC and New York City, we provide a rich array of programs that meet the needs of over 150,000 members and stakeholders. We are dedicated to representing and serving local communities and to creating opportunities for every American to participate in and appreciate all forms of the arts.
What We Believe:
We work hard to realize a vision for the arts and arts education. That vision is informed by our belief in the following core values:
* The arts are fundamental to humanity and have the power to transform lives.
* Arts education develops well-rounded children and citizens.
* Artistic expression connects people from around the globe.
* The arts, broadly defined, are essential to a thriving community, creating a sense of place and fueling social and economic growth.
* In order to thrive, the arts in America—and broad access to them—need an investment of a mix of public, private and consumer resources.
What We Do:
Policy & Advocacy
We provide the tools necessary to empower people to make a difference in their communities. As the nation’s leading advocate for the arts and arts education, we work to secure increased resources for the arts and arts education at the local, state, and federal level to influence public and private policy. Our programs include:
* Arts Advocacy Day
* The National Arts Policy Roundtable, Seminar for Leadership in the Arts, and other policy convenings
* The Arts Action Fund, our 501(c)(4) organization
* The pARTnership Movement
National Arts Index
Research & Information
We champion a research-based understanding to how the arts are being used to address social, educational, and economic development issues in communities across the country. Ongoing initiatives include:
* Arts & Economic Prosperity IV
* Creative Industries
* Ready to Innovate [PDF]
* National Arts Index
We create opportunities for experienced and emerging arts leaders to learn, dialogue, and network with colleagues throughout the year. Our professional development programs include:
* The Americans for the Arts Annual Convention
* National Arts Marketing Project Conference and regional training workshops
* Specialized peer-to-peer networks such as the Arts Education Network, Emerging Leaders Network, Private Sector Network, Public Art Network and State Arts Action Network
Aired on March 25, 2012. Click below for Flash or non-flash audio player:
About Joel Arquillos:
Joel Arquillos is the Executive Director at 826LA, a nonprofit organization dedicated to supporting students ages 6 to 18 with their creative and expository writing skills, and to helping teachers inspire their students to write. Before that, he was Director of National Programs for 826 National (the umbrella organization for 826LA and its sister chapters). From 1998 to 2006, Joel taught social studies in the San Francisco Unified School District at Galileo Academy of Science and Technology.
From their website (link):
826LA is a non-profit organization dedicated to supporting students ages 6 to 18 with their creative and expository writing skills, and to helping teachers inspire their students to write.
Our services are structured around our understanding that great leaps in learning can happen with one-on-one attention, and that strong writing skills are fundamental to future success.
With this in mind, we provide after-school tutoring, evening and weekend workshops, in-school tutoring, help for English language learners, and assistance with student publications.
All of our programs are challenging and enjoyable, and ultimately strengthen each student’s power to express ideas effectively, creatively, confidently, and in his or her individual voice.
This information is from their website:
The Indian Film Festival of Los Angeles (IFFLA) is nonprofit organization devoted to a greater appreciation of Indian cinema and culture by showcasing films, supporting emerging filmmakers, recognizing the leadership of entertainment industry performers and business executives, and promoting the diverse perspectives of the Indian diaspora.
Each year the Festival is held at the ArcLight Hollywood and features a rich mix of film programs designed to build and support the growing interest in the Indian entertainment industry. This includes programming that cultivates an audience for Indian films while supporting filmmakers of Indian descent in career development as they navigate the larger studio system in Hollywood. IFFLA’s creative and business programs include the newly launched IFFLA Film Fund that helps emerging filmmakers realize their feature-length narrative and non-narrative film projects; the Industry Leadership Awards created to recognize the achievements of industry executives who have contributed considerably towards the entertainment and media industry in India; the One-on-One program where industry professionals from major and independent production and distribution companies are invited to participate in meetings with the participating filmmakers; and the panel discussions with speakers from film industry professionals.
The 10th Annual Indian Film Festival of Los Angeles (IFFLA) will take place April 10-15, 2012 at ArcLight Hollywood, the elegant, state-of-the-art facility at Sunset and Vine in Hollywood.
IFFLA showcases a combination of features, shorts and documentaries. The Festival provides programming and activities that no other film festival in Los Angeles offers and serves a community of Indian and international filmmakers that has the potential of reaching a crossover audience. IFFLA offers the Los Angeles community a unique opportunity to learn about India’s multi-faceted culture and long history of filmmaking.
BOLLYWOOD BY NIGHT
Our exciting and highly anticipated Bollywood By Night program includes late night 21+ screenings of classic, new, fresh and noteworthy Bollywood films. Chill out, have a drink and enter a world that’s like nothing you’ve ever experienced!
QUESTION AND ANSWER SESSIONS
Directors, producers and cast are invited to present their films and share their experiences with the audiences.
IFFLA offers jury awards for Best Feature, Best Documentary and Best Short. Audience Choice Awards in the same categories give the audience the opportunity to vote for their favorite film while offering the filmmakers valuable feedback from the public.
INDUSTRY LEADERSHIP AWARDS
The IFFLA Industry Leadership Award was co-created by the leading entertainment law boutique Peter Law Group to recognize the achievements of industry executives who have had a substantial and personal impact on the creation and distribution of Indian themed content globally and have led the expansion of the entertainment and media industry in India. The annual event is a Gala Luncheon that takes place at the world famous House of Blues. The Industry Leadership Awards are celebrating their fifth year anniversary in 2012.
The 10th Annual Indian Film Festival of Los Angeles (IFFLA) will host a series of panels at ArcLight Hollywood. The panels are a snapshot into the issues that impact Hollywood and Bolllywood, the two largest industries in the world. Past seminars included speakers from Disney, SAG, WGA, Fox Searchlight, Hyde Park Entertainment, ITVS, NFDC, and celebrities such as Anil Kapoor among others.
Industry professionals from major and independent production and distribution companies are invited to participate in one-on-one 10-minute meetings with the participating filmmakers. The objective of this program is to offer a new generation of talented filmmakers the opportunity to meet with players of the North American film industry and provide them with a unique opportunity to advance their careers.
The Opening and Closing Night Galas begin with a screening of a feature film followed by receptions that include Indian culinary delights, music and dance performances. In addition, the Festival presents Tributes and Retrospectives to acclaimed Indian filmmakers.
Decorated with a distinctly Indian influence, the IFFLA Lounge offers a wide range of information and activities. Festival attendees are able to obtain information about Indian and Los Angeles-based organizations while networking in between screenings and during daily and nightly receptions.
IFFLA RHYTHM VILLAGE
Festival and ArcLight Hollywood guests have the unique opportunity to experience free live dance and music performances at the ArcLight Courtyard throughout the 6-day Festival. Rhythm Village is celebrating it’s fifth year anniversary in 2012.
I attended Capital Offense: The End(s) of Capitalism, on January 28th. Highlights of the show include Holly Crawford’s installation titled “Economic Crisis Observatory,” which included a DOW-index divination dartboard, a video with voice over from experts regarding the impact of the economic crisis on retirees, a reading table, hanging kaleidescopes, a wall with New Jersey house listings which gave median incomes for the cities whose streets are mentioned in the board game Monopoly, and a chalkboard wall of economic math. There was a performative aspect to the installation where Ms. Crawford interacted with the audience and performed calculations on the chalkboard.
I was also pleased to see two of Alex Schaffer’s bank or financial buildings-on-fire paintings. The back story is interesting. While he was working on his plein air panting, someone complained to the authorities that they felt threatened by his painting. He was visited by two police officers who questioned him and took down his information. The next week he was then visited by two detectives who also questioned his intentions to figure out if he was a potential terrorist. In an LA Times article (link), Schaffer says, “The flames symbolize bringing the system down,” he said. “Some might say that the banks are the terrorists.”
From the Capital Offenses Press Release:
Beacon Arts presents Capital Offense: The End(s) of Capitalism, curated by Jennifer Gradecki and Renée Fox, which presents a selection of artwork and writing chosen for its clarity in questioning, exposing and reflecting upon various aspects of the current global economic crisis and neoliberal global capitalism.
Capital Offense: The End(s) of Capitalism
Since the global economic crisis began in 2008, our economic situation has become all the more urgent to understand and discuss. Social unrest is on the rise as time passes and nothing changes.
Artists, intellectuals, and non-specialists alike are growing increasingly concerned with aspects of the global economic order, including: the destruction of the planet as a means to profit, the exploitation of artists and other workers as a means to economic and cultural capital, the deception of the populous (through fear tactics and disinformation) to maintain the status quo, the impact of gentrification and an unregulated housing market on affordable housing, the increasing power of corporations over people, and the effects of the recession on everyday life, to name just a few.
Artists, intellectuals, and concerned citizens of the world are engaging in various tactics to initiate social and economic change: analyzing the financial sector, illustrating the consequences of economic policies, illuminating relationships between the art world and the world of economic power, democratizing knowledge from specialized spheres, revealing the impact of the economy of fear, questioning capitalist systems of value, and organizing to find solidarity after years of atomization, again, to name a few.
As the disparity in wealth continues to grow, so does public interest in understanding and changing the social order that allowed for it. It is necessary to consider our own complicities in the impact that global capitalism is having on the world and its inhabitants.
Holly Crawford Bio:
Holly Crawford is cross media artist, behavioral scientist, economist and art historian. Her art and poetry give new meanings and draws categories themselves into question through transformative juxtapositions. She examines mass media and pop culture and it’s relationship to art. She has exhibited internationally. 13 Ways of Looking at a Blackbird site specific installations in Florence, Valencia, Berlin, London, New York City and Southern California. Offerings project was a participating .net project at Ars Electronica & Found Punctuation was screened at the Tate Modern in 2007. Sound Art Limo and Critical Conversations in a Limo were part of Melbourne International Arts Festival in 2007. She has written and edited books and papers that include: Attached to the Mouse, 2006 and catalogue essay, “Disney and Pop” in Once Upon a Time Walt Disney Studio; Artistic Bedfellows, edited, 2008. She received her Ph.D. from the University of Essex in Art History and Theory, B.A and M.A. in Economics and M.S. in Behavioral Science from UCLA. From 2004-2006, she was a non-clinical Fellow at NYU Medical School Psychoanalytic Center. She has taught at UCLA in the Art Department and SVA. She founded and is the director of AC Institute, a non-profit space for experimental work in NYC (Chelsea). She is President of the American Friends of the University of Essex. She was born in California and now lives in New York City.
Photos from Capital Offenses show at the Beacon Arts Building (click on image for larger):
My interview with Johnathan Bickart about the state of sculpture in Los Angeles and his eleven tips for how to make it as an artist can now be heard here:
About Jonathan Bickart from his website:
Jonathan Bickart, Sculptor, born 1959 in Phoenix, Arizona moved to Los Angeles, California in 1985. At the age of fourteen-figure drawing, portraits and sculpture cultivated Jonathan to a level of recognized scholastic achievement. After attending several art colleges, including Art Center of Design, Jonathan worked with Venice sculptor, Robert Graham. It was at that point that Jonathan committed exclusively to figurative bronze sculpture as a life long pursuit.
Bickart’s figurative bronze sculptures hold an enigmatic impression, both surreal and futuristic. His philosophy is based on random surreal experiences. “The indefinable moments in the human condition provide more imagery than bourgeois poses.”
Asexuality, apathy, anxiety are 20th century images. “I try to incorporate those symbolically with figurative surrealism through optical illusion, distortion, and a expressionist style.” Bickart attempts to fuse our subconscious visuals with our aesthetic art sensibilities. “My work is often mistaken as being dark or sinister, yet I don’t view those parts (surrealism and alienation) as being negative, it’s just a description of the unusual sides of life that aren’t traditionally portrayed in art, which I find just as enjoyable as the beautiful.
In addition to surrealism, Bickart’s work includes the use of high-tech futuristic materials, such as graphite, hair, neon and lasers. His inspirations come from Gustav Vigelands, Houdon, Zuniga, Robert Graham, Francis Bacon, and Messerschmidt.
Jonathan Bickart headed the sculpture department at the Brentwood Art Center for fifteen years prior to opening his own SCULPTURE STUDIO in Santa Monica, California. Bickart’s commissions include many notable portraits, including a bust of Governor Arnold Schwarzenegger, as well as monumental bronze sculptures. Bickart completed a 14-foot Centennial Statue of Colonel Griffith Jenkins Griffith on behalf of the Griffith Family Trust, which was installed at the entrance of Griffith Park on November 23, 1996. was awarded the “Mayor’s Certificate of Commendation” for this outstanding work of art that “will touch the lives of many visitors to Griffith Park and is truly worthy of praise and recognition”.
Bickart designed and sculpted the Hope Award at the request of Arnold Schwarzenegger for the Inter City Games Foundation. The award was first presented to former Mayor Bradley and Whoppi Goldberg for their support of the Foundation and is annually awarded to new recipients. Two bronze busts of Schwarzenegger were commissioned, one as a gift to Arnold.
His clients include: Governor Arnold Schwarzenegger; Kenny G; Peter Guber; Marcie Carsie; Larry Cohen; Ted Kocheff; Fred Ward; Inter City Games Foundation; Good Samaritan Hospital; Griffith Park Trust; Rivera County Club, Mandalay Bay Hotel, National Congressional Honor Monument, City of Los Angeles, City of Balboa, and numerous private collectors.
Myths of Rape Performance at the 2012 LA Art Show – Interview wth Suzanne Lacy and Leslie Labowitz-Starus
My interview with Suzanne Lacy and Leslie Labowitz-Starus is now up:
About The Myths of Rape performance on the opening night of The LA Art Show from their press release:
This special LA Art Show opening night performance of Myths of Rape by artists Elana Mann and Audrey Chan, working with Leslie Labowitz-Starus and Suzanne Lacy, recreates a 1977 performance by Labowitz-Starus, originally performed as part of Three Weeks in May. The 2012 re-invention of Myths of Rape transforms the original piece to raise contemporary concerns around rape, sexual assault, and activism. Thirty diverse performers, including women and men, will enact compelling tableaux and spatial interventions, wearing presentation boards featuring current myths and facts about rape. The performers will enact a series of movements (created in collaboration with choreographer Mecca Vazie Andrews) that create both intimate moments and bold statements, which will activate the site of the LA Convention Center. Drawing inspiration from traditions of feminist agit-prop, the Occupy Wall Street movement, and the Arab Spring, this performance reinforces how activism and performance art are as relevant today as in the past.
About Three Weeks in January from http://threeweeksinjanuary.org/ :
Three Weeks In January: End Rape in Los Angeles, a new work of public performance art by artist Suzanne Lacy in partnership with Los Angeles student and arts groups, political organizations and civic institutions. Re-creating key aspects of an original 1977 artwork titled Three Weeks in May, the new project focuses on where Los Angeles is now – forty years into the anti-rape movement – and how to end violence against women.
A hallmark of Three Weeks in January is the Los Angeles Rape Map, installed at Deaton Auditorium, in front of the Los Angeles Police Department in downtown Los Angeles. Each day for three weeks the map will be marked with the prior day’s police reports. Surrounding this activity there will be a press conference at the site of the map, a series of critical conversations and multi-vocal events, and a Candlelight Ceremony. As in the original work, art is the platform to organize a series of presentations that collectively bring renewed focus to the effort to end rape.
The form and structure of this work engages activism, education, media, city politics, and art with participants from all of these areas. Explore the schedule of 30+ events, organized across the Los Angeles metropolitan region here.
Three Weeks in January is part of the Pacific Standard Time Performance and Public Art Festival. Organized by the Getty Research Institute and LAXART with support provided by the Getty Foundation.
Additional support has been generously provided by the City of Los Angeles Mayor’s Office, the Los Angeles Police Department, Peace Over Violence, CODEPINK, the Rape Treatment Center, The Andy Warhol Foundation for the Visual Arts, Otis College of Art and Design and ForYourArt.
My interview with Chris Kraus is now up:
About Chris Kraus from Wikipedia:
Chris Kraus is a writer, filmmaker, and professor of film at European Graduate School in Saas-Fee, Switzerland. Her books include I Love Dick, Aliens & Anorexia, and Torpor. Video Green, Kraus’ first non-fiction book examines the explosion of late 1990s art by high-profile graduate programs that catapulted Los Angeles into the epicenter of the international art world. Her films include Gravity & Grace, How To Shoot A Crime, and The Golden Bowl, or, Repression.
My Interview with Tim Fleming, owner and director of Art Los Angeles Contemporary, is now up:
Art Los Angeles Contemporary, now in its third year, is the International Contemporary Art fair of the West Coast, held January 19–22, 2012.
After a successful 2011 edition, the art fair returns to the Barker Hangar in Santa Monica, a known arts venue with 40,000 square feet of exhibition space and soaring 40 foot ceilings. The fair presents 70 top international blue chip and emerging galleries from around the world, with a strong focus on Los Angeles galleries. Participants present some of the most dynamic recent works from their roster of represented artists, offering an informed cross section of what is happening now in contemporary art making. The fair provides a sophisticated yet accessible environment for art collectors, curators, and patrons of the arts alike to enjoy.
In addition, the fair hosts a comprehensive programming series, including world class artist talks, museum curator led panel discussions, and film screening and performance series. Special events are staged on site at the art fair as well as throughout the city in satellite locations.
Home to internationally renowned museums, leading art schools, hundreds of contemporary galleries, and a prodigious number of practicing artists, Los Angeles serves as the perfect landscape for a progressive, international contemporary art fair.
About the LA Art Show:
The annual Los Angeles Art Show, created by FADA more than 17 years ago, is one the longest running venues for contemporary, modern, and traditional art in the West. The 2011 Show hosted more than 110 prominent galleries and drew more than 50,000 visitors. It is the West Coast’s largest art fair!
From the Photo LA website:
photo l.a. returns to the historic Santa Monica Civic Auditorium for its 21st edition January 12 – 16, 2012. Continuing the discourse on photography’s place in the fine arts, photo l.a. provides galleries from around the globe a platform for the exhibition of vintage masterworks and contemporary photography, as well as video and multimedia installations. This exciting juxtaposition creates the unique environment that characterizes photo l.a.
The opening Gala Reception, which will be held January 12, 2012 from 6 pm – 9 pm, benefits the Los Angeles County Museum of Art’s Wallis Annenberg Department of Photography. Our special host of the evening will be Moby, with guest DJ Aaron Byrd (KCRW).
Over the past twenty-one years, photo l.a. has exhibited more than three hundred galleries, private dealers and publishers and has presented more than one hundred and fifty lectures and collecting seminars to the public. Our continued efforts to create a dynamic experience for our patrons has not only increased our loyal fan base, but has attracted over eleven thousand interested collectors, curators and dealers of photography each year.
As the Getty’s Pacific Standard Time: Art in LA 1945 – 1980 initiative continues into January, photo l.a. will include installations focusing on post-WWII art created in Southern California. January is also LA Arts Month, a collective effort by the city and its arts organizations to attract enthusiasts and collectors to Los Angeles.
Beloved Los Angeles Poet Scott Wannberg died at 58 in Florence, Oregon from a heart attack. He influenced the reading and buying habits of those who crossed his path during the time he worked for the late Dutton’s Books in Brentwood as their book buyer and employee for 23 years. Besides being a widely published and formidable poet in his own right, he was a member of “The Carma Bums,” a traveling poetry troupe made up of Wannberg, S.A. Griffin, Michael Lane Bruner, Doug Knott and Mike Mollet.
Originally started as simple inquiry into the life of Wannberg, in the end I devoted three hours over three programs to Scott Wannberg which can be heard here.
• Program 1 – Friends of Scott Wannberg remember him and read his work.
• Program 2 – Fellow Carmabum poets Michael Lane Bruner, Doug Knott and Mike Mollett, as well as, Ellyn Maybe and Mona Jean Cedar on Scott Wannberg
• Program 3 – S.A. Griffin on Scott Wannberg
Out the Window: Anne Bray of Freewaves, Mike Blockstein of Public Matters, and Paolo Davanzo of the Echo Park Film Center
I interview Anne Bray of Freewaves, Mike Blockstein of Public Matters, and Paolo Davanzo of Echo Park Film Center about their “Out the Window” project, a project that encompasses over 50 artists’ videos and which airs on MTA buses throughout Los Angeles County.
My interview with Javier Stauring is now up:
Javier Stauring gives a recap of the Juvenile Justice Week of Faith. He also talks about the problems within the Juvenile Justice System and the initiatives for reform.
Debating through the Arts – Interview with Jerri Ally, Inez Bush, Linda Kunick; Excerpt from Last Debate; Broadcast on July 24, 2011 (one hour):
Debating through the Arts is based on a United Nations model of debate, with caucusing and referendums, followed by reflection on the issues. This project has an artistic twist where instead of just straight debate there is a performative aspect. In this broadcast, I interview Jerri Allyn, Inez Bush and Linda Kunick abut their vision for this ongoing project and for the last 20 minutes we have a lively excerpt from a previous debate.
Debating through the Arts – Planning Salon on June 26, 2011 (one hour):
In this program, specifically, we have a salon, one in a series of discussion groups and art events that will culminate in debates that take place on July 30th at the 18th Street Arts Center in Santa Monica and on October 29that LACE – LA Contemporary Exhibitions – in Hollywood.
Artists are trained to look at things from various perspectives, they are often more tolerant and empathetic. Due to these enhanced skills and perspectives, both Inez Bush and Jerri Allyn believe that artists should play a significant role in resolving issues societies are facing locally and globally.
Debating through the Arts is unique. It falls within the recent phenomenon of Public Practice Art. “Public practice – also called participatory art, community art, public art, situational art or social sculpture – can consist of a variety of media including video, performance, drawing, photography, sculpture and web-based projects.”1 “Its focus is on developing projects that ask the question ‘who and what is art created for?’ With community building, and political action in mind, what can art accomplish?”2
Unfortunately, I could only attend the LA Art Show for a few hours to grab this interview and have a quick look around on one of the days that this was here.
My radio interview with Kim Martingdale (click here for his bio) and others is now up:
My first stop was the live “graffiti” art in the entranceway. Three artists were simultaneously working on three large murals brought to the LA Art Show by the LA Art Machine Gallery curated by Bryson Strauss. World reknown artists El Mac and Retna collaborated on a monochromatic portrait of a Latina done in aerosol with text. Mear One was working on a deconstructed cityscape with LA’s Watts Towers in the background and a figure of a boy in the foreground with butterflies flying from his chest. Coffee was painting a cubist monochromatic piece.
Next I visited what was probably my favorite exhibit at the LA Art Show, a show called “Signs” (click here to read press release). Sundaram Tagore Gallery curated a grouping of Islamic artists. The paintings were heavily text-based because depictions of the figure are prohibited in that culture. What you have then is text used as a textural element in most of the pieces, text abstracted to symbols. Text sources could be anything from poetry to holy books. The alphabet and its forms was also emphasized.
I then stopped off at the Uruguay exhibit. This year’s LA Art show debuted their guest country program featuring Uruguay. Uruguay is the second smallest country in South America, but it boasts a healthy democratic government, high economic development with a high GDP per capita and the 47th highest quality of life in the world. It sits nestled between Brazil and Argentina and its art scene is world class. They did not have anyone English speaking at the booth so I was not able to interview them, but the artwork shown consisted of contemporary painting and installation work, with a video exhibit as well.
Sister Cities had an collection of artists work from sister cities of Los Angeles. Pete Sterns of London had a very calming color field piece which he rendered as both a richly pigmented painting and as a computer animation. Nori, an artist from Japan, had two paintings representative of “every city.” His work is heavily influenced by jazz.
The Luce Foundation, a photography incubator, curated the Group LA exhibit. The main video element was a series of slideshows from different artist of their neighborhoods.
Finally, I found myself at the cluster of Korean art galleries. My favorite Korean artist is Yong Deok Lee who is known for his concave sculptures. The images are carved into a flat plane.
(YouTube turned up a few examples which gives an idea of the visual illusion created of 3-dimensionality when the viewer walks around his pieces:
I was happy to see a new piece, an aerial view of a swimmer underwater.
I didn’t have much time to appreciate the artwork this year, but this is a small sampling:
My interview with emergency room doctor Matt Hendrickson about Single Payer Healthcare is now up:
Single-payer health care is the financing of health care from a single insurance pool, which in all existing and proposed cases are government run. Under a single-payer system, universal health care for an entire population is financed from a pool to which many parties–employees, employers, the state–have contributed. Single-payer is a market in which one buyer faces many sellers.
My friend’s brother Jason drove us down to the San Diego Convention Center and paid for parking. He was also nice enough to take many of the photos. All-in-all, I think it was worth the effort of going and being packed in tight with people everywhere. It has turned into such a flashy event with Hollywood and the videogame companies vying for space.
It was also like a giant swap meet of people trying to sell things and there was a strong commercial element. I didn’t buy anything, so it was not so much fun in that way.
My favorite part was browsing through the several tables of independent artists’ work and the creativity that goes into what amounts to creating your own reality or separate world on the page, from the storytelling to the illustration. I left Comic-con inspired by some of the work I saw there.
Fat Mitch & Zuda Comics
Alain V Arts
Art Toy Manufacturer
Harold and Kumar
Girls of Gaming
ISSUE: The Nature of Evil
WE RAN THE FOLLOWING PROGRAM TO ADDRESS IT:
Jordan Peterson Lecture on the Nature of Evil
DATE: Saturday, January 17, 2008
BRIEF DESCRIPTION OF THE PROGRAM:
His name is Jordan Peterson and he’s a University of Toronto Professor of Psychology and he discusses the nature of evil and its distinction from tragedy in this lecture presented at the 2008 Conference on Personal Meaning.
If you missed any part of it – I had to cut it off ten minutes before the end – you can catch it again with video -
He also wrote a book out on Routlege called "Maps of Meaning: The Architecture of Belief""
He has a 14-part television series on Maps of Meaning at:
And here is some biographical information I found on him. He’s a clinical psychologist by background -
I am a clinical psychologist, licensed in Massachusetts and Ontario, and see clients on a relatively regular basis. I am a professor at the University of Toronto, and have been since 1998. Before that, I was a professor at Harvard University, from 1993-1998. I completed my graduate and post-doctoral work at McGill University, under the supervision of Dr. Robert O. Pihl, studying alcoholism and aggression. I am currently interested in the formal assessment and theoretical nature of self-deception, construing it as voluntary failure of exploration rather than as repression (although both mechanisms appear to obtain), and also do experimental work on creativity, achievement, personality, narrative and motivation. I published a book, Maps of Meaning, in 1999.
Air Date: Saturday, June 03, 2006
Time of Day: 2000 to 2100
Program Title: Robert Hass Reading
Misc.: From the Lunch Poems series at UC Berkeley.
Robert Hass Bio from http://clinton2.nara.gov/Initiatives/Millennium/hass.html
ROBERT HASS is a professor of English at the University of California, Berkeley and served as Poet Laureate Consultant in Poetry at the Library of Congress from 1995 to 1997. During his tenure as Poet Laureate, Professor Hass battled illiteracy by putting into action his belief that, “Imagination makes communities.” Of his passion for promoting iteracy, he explains that, “when I got the (Laureate) job I did a lot of reading about literacy…One of the things that struck me was just how powerful a presence poetry has been in our culture when we were, as a people, teaching ourselves to read. At the beginning of the 19th century, less than 60% of American males could write their name, and that was far higher than in most of Europe. If you were black, you could get killed for reading. But we made literacy a civic religion from the idea that you couldn’t have a democracy without it, and we taught a whole people to read. It’s one of the great achievements of the American democratic experiment — and one of the indicators of the hunger for literacy, was a taste for poetry.”
As Poet Laureate, he also sponsored a weeklong celebration of American nature writing called “Watershed.” His commitment to environmental issues led him to found the River of Words poetry contest which is run through the International Rivers Network.
Born in San Francisco in 1941, Professor Hass remembers as a child happening on a poem which, “made me understand what the word `swoon’ meant…It was the first physical sensation of the truthfulness of a thing that I had ever felt.” He went on to earn his bachelor’s degree from St. Mary’s College, Moraga, California and his M.A. and Ph.D. degrees from Stanford University. While beginning his teaching career, he entered the Yale Younger Poets competition and won it for his first book, Field Guide. He has also published Praise (1979) for which he won the William Carlos Williams Award of the Poetry Society of America, Human Wishes (1989) which won the Commonwealth Club of California Medal for Poetry, and Sun Under Wood (1996) for which he won the National Book Critics Circle Award for poetry.
Professor Hass has also won acclaim for his work in translation and editing, including his work with poet Czeslaw Milosz which won two PEN/BABRA Translation Awards. He edited and translated The Essential Haiku: Versions of Basho, Buson, and Issa and wrote a collection of essays, Twentieth Century Pleasures: Prose on Poetry (1984) which won the National Book Critics Circle Award. Among his many honors, one which is especially meaningful is having been named Educator of the Year by the North American Association for Environmental Education in 1996 for his work on the River of Words project. Thousands of schoolchildren participate in the program which helps students learn their watershed and their ecological address.
Mr. Hass lives in the Bay Area with his wife, poet Brenda Hillman. They have four children.
Much of 2004 was spent taking long walks along the Santa Monica pier and wallowing in a tide of inertia. I came upon this installation for the first time this January at a time when I very much needed a mental jog from the past.
"Cycle Olympic Boulevard: No 18"
Entwer ein Museumsmonument, 1985
Palacio de Memoria, 2003
The boat sculpture/permanent installation in these photos is Manfred Muller’s "Twilight and Yearning."
I had the opportunity to hear him lecture at Form Zero bookstore in 1994 and he mentioned the boats under the pier. He first proposed it to the Santa Monica City Council in 1992, but it still took several years for the city to greenlight his project.
I still remember the gallery pieces I saw ten years ago at Form Zero. Each was about a foot high made of cardboard or felted paper; they were gatefolded and scored, duplexed with a contrasting color on one side, and shapes were cut out. Each one was like a present or a large banana leaf folded over on itself. He was working on a series of not quite assemblage pieces, a visual pun on figure and ground and enclosure and these had an architectural feel or a very tangible sense of being a part of a larger dialogue. These very much reminded me of the maquettes of sculptor Betty Gold and her process of arriving at her monumental public sculpture pieces: reduction from a very basic shape; she usually starts from a rectangle. With some of Muller’s pieces, complexity is dependent on audience reference points; how personal and social memory weaves itself in relation to form.
Greetings and welcome to my site! I’m the Public Affairs and PSA Director for KXLU Los Angeles – 88.9 FM. I’m also the producer and on-air host for Echo in the Sense. This is the cultural and public affairs program for KXLU. The station has been kind enough to let me do this program since 1994!
KXLU has the well-earned reputation for presenting some of the best indie rock and specialty programming in the United States in just the last 20 years. To name a small handful, these bands had their radio debut and "broke" on KXLU: Beck, The Pixies, Janes Addiction, Rocket from the Crypt, The Red Hot Chili Peppers, The Black-Eyed Peas! In the Summer of 2005, our specialty show She Comes in Colors, rare and obscure cuts of vintage psychedelic rock methodically researched and delivered with absurd timing by trickster DJs Elvin and Jeff, was voted best radio show in Los Angeles by the LA Weekly. In previous years this has often gone to our other specialty shows. The Blues Hotel is hosted by Chris Checkman, hailed as one of the funniest people on radio.
ABOUT ECHO IN THE SENSE
Currently Echo in the Sense (EIS) can be heard every Saturday evening from 8 to 9 PM PST. Not in Los Angeles County? We now have a live webstream at www.kxlu.com. The format for EIS varies between live and pre-recorded interviews, readings and performances, and edited magazine-like feature pieces.
What you’ll find on the EIS Blog among other things:
* Archive, Transcripts, Commentary
* Biographical Information on Past and Current Show Guests
* Book Reviews, Art, Literary, Political, Community
* Learning Event Reviews, Technology Reviews, etc.
* Op Ed & Musings
* Links to Like-Minded Sites
I hope to update content regularly and to have it coincide with my weekly broadcast schedule.
Enjoy and visit often!