The weekend, June 8 thru June 10

Listage for goers-out, in the order of one’s presumed attendance. (Or that’s my current spin. I never stick to my rules.)

Our mutual friend, recent UCI graduate, former chef d’cuisine at Workspace in Lincoln Heights, dog lover and all around nice guy, Paul Pescador will be re-enacting his own past performances for a ten hour (no-this-is-not-durational-art) meta performance at For Your Art on Wilshire. Bring a baggie of snacks and prepare to dash outside for an occasional cigaret (continuing to celebrate your right to destroy your lungs). Situating, noon to 10 PM at FYA.

Images above are from For Your Art, from Facebook by Flora Kao, and from UCI Studio Art online.

FYA with essay by Melinda Guillen:

Flora Kao on Blogspot:


Greene Exhibitions opens this Saturday on La Cienega Avenue from 6 to 9 PM. (What if we call this Little La Cienega?)

Let me rephrase that, “Rob Greene, formerly of Greene Park Gallery, this Saturday inaugurates his latest – and LA’s newest – gallery space devoted to contemporary art, Greene Exhibitions, at 2654 La Cienega Avenue, Los Angeles, 90034. As Greene Park Gallery, which roved from Chinatown to Culver City, Greene gave us four exhibitions: Raw Materials (, The Unfinished (, The Artist is Not Present (a finissage for The Unfinished) with intervention and discussion led by Warren Neidich (, and most distant in time, Charnel House Scraps ( If you follow the links you will find images and more from each show. A dozen or more artists have been brought to our attention and otherwise featured to everybody’s advantage in various Greene projects.

Do you know? Starting something is risky. Putting your capital, time, love and name on the table is profound. It’s public. It’s making a bet. I am forever grateful to people who do things, people who make things happen. I feel like people who take these risks benefit me and all of us: I and you simply access our transportation modality, arrive and look at art and talk with people and learn. Then I go home. My only expenditure is gas money. The value I derive from this transaction is immense and powerful. It’s my life. So worth it, to me.

Congratulations Rob Greene, and best of luck to you. The shows I’ve seen from you and yours have stood out as committed and valuable. The real deal. You’re in good company on the Avenue with Whitney Carter. I can’t wait! I expect more and more in the future. (I’ll see you Saturday, or more likely I’ll call for an appointment, since I have my own commitment on the weekends.)

Greene Exhibitions:

See below a friendly Google Map to guide you to this possibly unfamiliar territory.

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I dig a chick with tattoos, especially when she starts crossing them out.

Clearly it’s a top-flight scene at Dave Gallery. No messing around. Just party till you break up.


Saturday, June 9th 2012 at Control Room

Featuring work by:
  • Aaron Dadacay
  • Maria Violet
  • Anthony Bodlovic
  • Noah Spindler
  • Deanna Erdmann
  • Jimena Sarno
  • Elyse Reardon-Jung
  • Eric Vrymoed
  • Krystyn Lambert
  • Sam Bivins
  • Michael Kelly
  • [Jim Shaw]

I put it on when I got home last night. I had forgotten it was in my laptop until it ejected itself, as if trying to remind me it was there. It was the one you gave to me some months ago. “The transitions are important,” I remember you saying…

The right side of her top lip raised in a smirk, the smirk of someone watching something unpleasant, and feeling grateful not to be involved. It was unfortunate that we had both come to the same conclusion, independently, without exchanging words. “Well,” she sighed, halfheartedly, “is it too late to take them back?”

…there I was fast-forwarding through the whole damn thing, searching for the transitions as a way to experience the gift, at least on some abbreviated level. Still, nothing makes sense or is pleasing. It almost sounds like something you made for yourself, and later burned me a copy. Even though you gave it to me wrapped in a folded up piece of paper, I like to think you put great thought into it. I am sure it will stay in my laptop until you make me another, even though you still haven’t asked me if I have listened to this one.

No RSVP Required



Control Room  |  2006 E 7th Street, Los Angeles CA

Take the 10 to exit 16A, take Mateo St. north, turn right on E 7th.

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Do you think this flyer speaks for itself? So do I, but you know I have to go on.

Dear Sir or Madam, may I inquire where you will be at 10 PM on Saturday? Have you plans?

Cancel them. Make yourself very, very pretty. Put on your most expensive, imported perfume. Tell your husband this party is better than the transit of Venus – he’ll know what you mean. Make him look very, very pretty. Get in your car and drive. Google the address. Text your friends (the cool ones) and advise them of their right to party. They will thank you for it. Park in the lot on the corner of Alpine and Broadway and climb the stairs at 742 North Broadway into the Night. Night Gallery at JB Jurve / To the Lighthouse. See unveiled the dark heart of the Lighthouse as Night Gallery seeps in like a mystic fog, confusing senses and rotting brains. God you’re beautiful in the dark. Come to the party.

JB Jurve:

Night Gallery:

A young man with a plant came into the Jurve today, looking for John Burtle’s work. Jack Heard read through and examined John’s text and drawings and then spent time with the rest of the show. Our subsequent conversation was about Social Practice as different to the social way that many artists work. I commented that I organized the Lighthouse show around artists whose practices I saw as social in nature, in that each artist in the show makes solo work and also works to support the practices of other artists. Mr. Heard allowed as how in school Social Practice was very important and that now he wanted to spend time in the studio, making art. We chattered back and forth until I noticed the capital letters in his phrase Social Practice and I knew I had gone off track.

“What I mean is that to curate this show I invited ten artists and then we organized four or five potluck dinners and all sat around sharing food, getting drunk and talking with each other. We discussed a little about the show and our individual work, but mostly we just got to know each other.”

I think the social magic worked.The show looks great, despite my having little concern with what objects would be included. In fact the structure is loose enough that Andy Robert was able to be included after the fact, by doing a portrait that fit with the conversations we were having. And Carrie McIlwain felt able to take the painting I made for her with her to Berlin without worrying the removal would upset the show. I simply made another painting documenting this process, like a ceremony or performance. The Non Talks extend this freedom by allowing each artist to invent his or her own take on what they can be. Making connections among the artists has informed the process.

“Oh,” said Jack, “I hadn’t thought of lower case social practice as describing the way artists work naturally. Even for those who do not run artist spaces, or curate shows, or write about others, art – what we do – is very much about talking and sharing ideas and learning from each other, it is for me.”

Jack Heard, with his friend Ryan McGuffin curate shows and write for Six & Six. I am grabbing from Facebook:

Abel Baker Gutierrez: Six Recent Paintings, Sunday, June 10 at 8 PM

“Nostalgia was a disease before it was a ‘warm, fuzzy’ feeling. The Swiss Doctor Johannes Hofer coined the term as a diagnosis for some soldiers who stopped eating and sometimes died for want of their homeland. The paintings of Abel Baker Gutierrez are testaments to yearning, not of sentimental remembrance, but for a life he is fated not to lead. The paintings depict boyhood and summer misadventures, but not quite his own. The German word “Sehnsucht” describes a longing for that which can never be attained. Six recent works by Gutierrez attempt to hold these ideas to the light.” (Text by Jack Heard)

There is a reception on Friday for a show called Onderdonk. It’s at 5028 York Avenue in Highland Park. It includes work by Sara Clendening, Michael Decker, Kate Levant, Justin Lieberman, Jennifer Nichols, Jesse Robinson, Sean Townley and Erik Van Der Weijde. I don’t know anything else.

(Aah, the games people play, my friends.)

Play along with the fantasy version as we eagerly await the winner of the $100,000 Mohn Prize!!

Pick artists from Made in LA:

Rules for Mohn Prize Pool:

– $5 per entry
– each winning entry receives a share of the pool proportionate to the number of winning entries.
– ***for example, if there are 10 entries for the correct winning artist, each winning entry will receive 1/10th of the prize pool.
– participants may enter for multiple artists and may enter multiple times for the same artist
– ENTRIES MUST CLOSE at 12am June 28th, before the finalists are announced!


Send $5 per entry to link below. YOU MUST INCLUDE NAME OF ARTIST FOR EACH ENTRY and your name so we can identify you. Name of artist or artists can go in the message box that appears when you confirm payment.

Please contact one of the hosts if you have any questions!


There will be two events for this contest:

June 28th – announcement of finalists and final size of prize pool

August 12th – announcement of Mohn Prize and the winners of The Mohn Games!!

Location of events TBD

Thanks for this tart rejoinder go to Eric Kim, Carol Cheh, Tanya Rubbek, Stephen van Dyck and an additional associate whose name I cannot locate.

PS: The Made in L.A. Hammer Biennial is fantastic. I was at the Hammer for three hours on Tuesday and only got through two pieces. I can’t wait to go back. And then there’s Barnsdall! Thank you for all the hard work. Honestly. Yay.

But why the much documented and commented upon emphasis on academically accredited artists? Is it sensible? Is it because the curatorial world is academically trained and trust the institutional stamp of approval? Do people who did not attend school also not make art? Or is it that they don’t make worthwhile art? Is it that curators don’t look if they haven’t, or do they  seek out artists without academic degrees and find them wanting? Is this even a concern in the curatorial world?

I’m interested. And – given the tremendous cost and debt associated with gaining a degree in the US – I’m worried. Higher education is looking more and more like a shell game – and the students are losing. More and larger loans are being guaranteed, and costs seem to rise even more quickly. (Recent articles in the New Yorker and elsewhere document that most of the growth in cost at schools is administrative in nature. Why is this?)

Remember, at least as far as art goes, people have been doing it since we were people. That’s thousands, tens of thousands of years. Universities have been around for 500 years. MFA degrees weren’t common even forty and fifty years ago. This emphasis on college is a recent development and it just may be we haven’t got it right. Maybe there is another way to achieve the same rigorous education? Because of course rigor and study and practice are important – it’s only that I question the need for a costly, institutional setting.

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