To the Lighthouse – works in the show and weekend goings on

Installation view from entry.

Aaron Wrinkle

Through the Darkness ( To the Lighthouse ) or Black Exposed with
Architectural Study 1 as wall work for Personal Culture Objects 1 and 2
( Green Ground  w/ Abstract Pink Demon Portrait and Abstract
Composition of White Apple Dream on Gray Brown Ground with a partially
consumed peppermint ) Altered Wooden Apple as Placeholder.

To serve for a choreographed portrait of the artist wearing all black
standing in front of the painting and to be documented via digital

Foam-core, Chinese Calligraphy Pigment, Acrylic, Magazine Ads,Hammer
Ad Cut-out (Dracula),Pages on Bats from Life Magazine Books, Lighter,
Found Wood, and Screws on Reclaimed Artist’s shipping crate, Hand made
Lattice, Reclaimed Chinatown Lumber and other, Tacking nails, Screws,
Canvas, 4×6 feet, 3×1 feet 7 inches, 10×12 inches and 8×10 inches,

Geoff Tuck

(top to bottom, left to right)
Another painting about looking, May 2012
for Lindsay August-Salazar, April 2012
David, May 2012
for Mike, March 2012

for Davida, December 2011
for Carrie, replaced on May 24 with Carrie’s painting went with her to Berlin, both May 2012
a painting for thinking about John Burtle, May 2012
the Jurve, March 2012

this is for Daniel, February 2012
Aaron, April 2012
for Young, November 2011
Looking at Adam Feldmeth, May 2012
Für Marcus, February 2012

all variously acrylic on paper and paper towels, with photograph, stainless steel jump rings, sterling silver beads

(added to exhibition on May 24, see

Andy Robert

Drawing of Geoff Tuck, May 21, 2012, 2012
pen on paper
5 ½” x 8 ½”

Alexander Wolff

Untitled, 2012
silkscreen and fabric dye on dropcloth
57 ” x 38 ”

Young Chung

Untitled, 2012
National Geographic magazine, time

John Burtle

Postcards to Young, 2012
vintage postcards, colored pencil, ink
dimensions variable

Carrie McIlwain

…almost hit by a car, with the scent of jasmine my anger faded, 2012 (with Jay Erker)

URL, text, Los Angeles, time
dimensions virtual

drawing for To the Lighthouse, 2012
pencil and inkjet on paper
10” x 12”

Ivette Soler

Atomic Pepper Red Cherry Infusions, 2012
home made alcohol infusions, social activity (the bar and the collaborative act of celebration)
dimensions positive and variable

Adam Feldmeth

Curriculum Vitae, May 19, 2012, 2012

pdf file printed as inkjet on paper
8 ½” x 11”

Davida Nemeroff

Geoff (with Irma), 2012
inkjet print, 16 x 20 inches

To The Lighthouse (crop), 2012
inkjet print, 17 x 22 inches

Christian Mayer and Geoff Tuck

Eye to Eye (Deja Vu), January 2012
video (laptop and zine)

David Bell

Δ3=1, 2012
video  monitors with welded steel structure
65” x 72” x 24”

(center of room)

Daniel Lara

Invisible Hierarchies or You are not a pawn, are you?!, 2012
Acrylic, electronics and code
50” x 20” x 40”

Installation view toward entry

To the Lighthouse is open for visitors Thursday through Saturday, noon to 6 pm and on each Thursday and Saturday from 7 to 10 pm for Artist Non Talk events. The exhibition closes with yet another bang up party on Tuesday, June 19.

If you have questions or would like to arrange another time to visit the exhibition, call Geoff Tuck at 323-465-8376.


This coming Thursday, May 31, Alexander Wolff presents a screening of Karl May’s Winnetou at 9 pm. “Bring drinks and snacks and maybe blankets, as screening is outside. Music and party afterwards.”

On Saturday, June 2, Adam Feldmeth will skype in a conversation from Berlin at 3 pm.

And, of course, everyone in the city will be at Made in LA at the Hammer Museum on Friday. Hmm, I see on the website the opening listed as Saturday yet everyone I speak with is going to something on Friday. Perhaps it’s an hierarchical thing? Dunno – check around. Also opening on Friday, may we suggest that you travel to the Hollywood/Los Feliz neighborhood to Weekend Space? They are opening Hot Paint, which pretty much speaks for itself. Full of life, our tattered, graceful city is…

First a brief Disco break, then…

…meanwhile, back on the ranch in Deutschland:

Apache Gold (1963)

Winnetou – 1. Teil (original title)

Directed by Harald Reinl
Written by Karl May
Harald G. Petersson
Starring Lex Barker , Pierre Brice
Running time 101 minutes
Country Germany/ Yugoslavia
Language German
with English Subtitles

The construction of the Great Western Railroad creates heavy conflict between the railway company and neighboring Indian tribes. 

Worse, criminal gang leader Santer sets his eyes on a gold mine located on holy Indian land and influences the construction supervisor to re-rout the planned railroad straight through Apache land. Old Shatterhand, who works as a measurement technician, discovers the evil plan and searches contact with the Apaches in an effort to avert war. 
Winnetou 1 – Apache Gold is a big, colourful adventure film with none of the cynicism of the later Revisionist and Spaghetti Western eras. The biggest, and among the best of the Karl May Westerns, fans of adventure films should enjoy this exciting production and it would make an ideal starting place for newcomers.

Winnetou is a fictional Native American hero of several novels written by  Karl May(1842–1912, with about 200 million copies worldwide, one of the best selling German writers of all time) in German, including the sequels Winnetou I through Winnetou IV.

According to Karl May’s story, first-person narrator Old Shatterhand encounters Winnetou and after initial dramatic events, a true friendship between Old Shatterhand and the Apache Winnetou arises; on many occasions they give proof of great fighting skill but also of compassion for other human beings. It portrays a belief in an innate “goodness” of mankind, albeit constantly threatened by ill-intentioned enemies.

Non-dogmatic Christian feelings and values play an important role, and May’s heroes are often described as German Americans.

Winnetou became the chief of the tribe of the Mescalero Apaches (and of the Apaches in general, with the Navajo included) after his father Intschu-tschuna and his sister Nscho-tschi were slain by the white bandit Santer. He rode a horse called Iltschi (“Wind”) and had a famous rifle called “Silberbüchse” (“The Silver Gun”, a double-barrel rifle whose stock and butt were decorated with silver studs). Old Shatterhand became the blood brother of Winnetou and rode the brother of Iltschi, called Hatatitla (“Lightning”).

It is estimated that between 1800 and the present over seven million German-speakers emigrated to the U.S.,

the majority of whom arrived between about 1840 and 1914, with the peak period coming in the early 1880s.

What motivated these seven million German-speakers to come to America? Historians have identified a complex mix of factors underlying immigration generally, largely economic ones. On the one hand, socio-economic distress in many areas of German-speaking Central Europe periodically “pushed” migrants westward; on the other, the “pull” of new opportunities in America was considerable. Most immigrants were attracted by the promise of financial security in the form of sufficient property that one could legally own and pass on to one’s descendants. In the nineteenth century this meant one thing above all else for rural dwellers, including the majority of the German-speaking immigrants: land.

During the nineteenth century the Federal Land Grant Program played a major role in promoting the expansion of the American nation. It accomplished this in part by granting land to railroad companies that promised to build along proposed routes; these, in turn, raised funds for railroad construction by selling some of the land. The Wisconsin Central Railroad, incorporated in 1877, hired W. H. Bartell beginning in the 1870s to serve as its land agent; by 1881 he is said to have sold as much as 10,000 acres. Bartell engaged the Milwaukee lawyer K. K. Kennan to serve as his representative in Switzerland, and published brochures in German and English praising the advantages of Wisconsin land.

During the nineteenth century, German-speaking immigrants were usually not the first people of European descent to settle on the American frontier. In the case of Wisconsin, Germans were preceded by the French and the Yankees. This meant that German-speakers were less likely to be directly involved in the physical and cultural displacement of the continent’s original inhabitants, the Native Americans. Nevertheless, one intriguing and very much unfinished chapter in the long history of European-American relations deals with the contacts, real and imagined, between Germans and Indians.

In part because of contacts between German-speaking immigrants and Native Americans, Germans back home developed a fascination with Indians that has continued unabated to the present. In the last quarter of the nineteenth century, hundreds of fictionalized treatments of American Indians appeared in Germany, the best known of which are the novels of Karl May (1842–1912), whose only visit to America—in 1908—came after he had completed most of his works. Today, there are an estimated 200 “Indian clubs” in Germany whose members don feathers and war paint and “recreate” traditional Native ceremonies.

(All exhibition photos are by Marcus Herse, except Ivette’s bar, which are by Geoff Tuck)

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