Around this berg – mid June
We went out with our friends Michael and Sirje Gold this weekend, to a-see what we could see.
We traveled first down Crenshaw, over the giant land-scar of the 10 and past The Living Room Bar with its bluesy rep and occasional night-time dj setup on the front sidewalk.
We were having a great time – we were laughing more than talking, and talking more shit than anything. (When equally cynical friends from the same small world get together, all the good gossip comes out!)
Left we turned, onto Jefferson and we parked behind 3222 Jefferson to see “Brevity of Names” at Latned Atsar. Frank Ryan, Don Suggs and Rob Thom have work in the show, I would have images but…. I am notoriously slow to remember to photograph things. Sad for me and for you. I am able to scope out a Frank Ryan image online, see above. This is kind of an all UCLA show – Suggs did both undergrad and grad there and Thom and Ryan are both UCLA MFA also. Probably not entirely coincidentally Nathan Danilowicz, whose space Latned Atsar is, got his MFA at UCLA.
The work? More about it in a while when I get images. Gotta return for ’em. Show is up for another few weeks.
West we headed, Adams to San Vicente to La Brea to 3rd, turn right and park immediately. Dan Weinberg. Yes, he’s back, this time at 5658 West 3rd Street. Showing now are new paintings by Andrew Masullo.
(Weird the way these images upload with the white bottom border…)
Also Weinberg is still maintaining an office at 6363 Wilshire Blvd, Suite 103.
North again, on Fairfax to Martha Otero to see Adam Janes sculptures and drawings.
I’ve seen Adam’s candle sculptures in the past, at the Company in Chinatown, now seeing also the drawings there is an odd and happy relation btwn the two – both seem to be created through accretion and his work seems very playful. Do you remember the show “de Stijl Life” with Erick Pereira and Janes at China Art Objects last year? It was pretty neat, colorful canned fruit and vegetables on a wooden shelf unit, photographs around the walls – in addition to being beautiful this work, like the candles and the drawings, speak of their own making. Janes’s work suggests activity, social activity. At the Company, Janes’s candle installation made me think a party had happened and that another one could spring up at any time. Same here with the work at Otero – as discrete objects (with wicks) the candles still seem ready for action. There is a drawing, it’s one of the smaller ones in the main room – I didn’t pick up a check list so I don’t have the title – this one is looser than the others by just a bit and seeing it I was drawn to look more closely. Almost sculptural, although framed behind glass. Without expecting it I thought of Joseph Cornell’s boxes and collage paeans to loves and moments caught just as they pass.
We did go almost all the way up Fairfax. To Sunset and Benevento and ltd los angeles.
I visited David Snyder’s exhibition alone on Wednesday. At the street I pushed the doorbell as is usual at Benevento, I did notice that the gallery front was different – it seemed to have wood framing and stucco with weird little windows and a wan planter. I noticed apples in the windows and figured that I was looking at art, not crappy architecture. The apple of someone’s eye indeed.
A hand pulled the door open a bit then disappeared, I grabbed the handle and pushed – hard. The door is much heavier than usual. Could be the extra build-out hanging on it but I like to think it was purposeful, you’ll get a better idea as we go along.
I sort of didn’t try too hard as I moved through the spaces, only enough to glance about, get my bearings and relax enough to let the work in. At the back I found a darkness with a video playing and a voiceover. It was like being at some affirmational psychologists office – the video showed a house front – maybe it was being pushed through a parking lot. Once in a while the shot cut and the house was burning. Back and forth, with the voice assuring someone (the artist? me?) “what you’re doing is normal, everybody else is wrong, you’re not out of touch, it’s not a mid-life crisis, you’re only thirty-one you’ve got a great career…” and on and on. I was in that place deep in our souls, behind the walls where we acknowledge a need for singly focused reassurance of our fineness.
Moving right along with a slight sense of discomfort I stepped one room closer to the door, noticing the cracks in the facade as I passed.
A womanly-sounding voice greeted me this time, “Let’s assume it’s okay to be alive together,” “Am I creeping you out?” “Why are you here, I can’t leave here, cross that street,” “I can’t afford to be tasteful so I remain indiscriminate…” So ok, is this a first date? is a hooker talking? a creepy psych lecturer? or, or, or is this the artist speaking to and of himself, or perhaps to the viewer? Each answer makes a cool kind of sense.
Next was a kind of foyer before the foyer. A plain house shape was behind me as I passed the gallery office and stopped in the entry. Another voice, extreeeeemely high pitched, digital screechy even. Only because Michael Benevento told me do I know that the voice is saying, over and over again, “Me me me me me…” and then I once again assayed the heavy and hard to manage door (make more sense now? ever tried to delve into your or someone else’s psyche?) and out to the relatively unencumbered air of Sunset Blvd.
Hmm, I’ve been at this too long today. Quittin’ time.
Returning soon, it’s 7:34 pm