Disasterland is Mexican artist Rodolfo Loaiza’s tribute to pop culture, fashion, animation, horror films and the undeniable attraction of celebrity. The stage is set for fantasy to collapse and surrender to the inevitable apocalypse of 21st century Hollywood. Fairytale characters continue to dominate his latest project –this time caught in the headlines of our favorite tabloid stars. Continuing his penchant for cleverly depicting the “uncouth” customs of our dichotomous society, Rodolfo explores what would happen to our fables if they were flesh and blood and confronted with the frenetic and excessive world of fame. Who among them would prove susceptible to the excesses of drugs, alcohol, harassment or vanity? On view through September 2 at La Luz de Jesus Gallery, 4633 Hollywood Blvd, CA.
LA-based duo Io Echo is playing tomorrow, August 9 at Dilettante – featuring a special screening of the new short film by Harmony Korine Caput. Caput is scored in part by Io Echo. RSVP to email@example.com, Dilettante 120 North Santa Fe Avenue, Los Angeles
A beautiful portrait of Lee Miller by Man Ray. Man Ray |Lee Miller: Partners in Surrealism consists of approximately 115 photographs, paintings, drawings and manuscripts that explore the creative interaction between Man Ray and Lee Miller, two giants of European Surrealism. This is the first exhibition to focus exclusively on the pair’s artistic relationship. On view at the Legion of Honor in San Francisco until October 14, 2012.
Aviator Mirrors by Nigel Coates available at Grey Area
Exhibition view of Yayoi Kusama’s Guidepost to the New Space. To mark Kusama’s retrospective at the Whitney, the Museum has collaborated with the Hudson River Park Trust and Gagosian Gallery to present a special art project near the Whitney Museum’s new building site in the Meatpacking District.
Elad Lassry, Women (065, 055), 2012. Part of HIGH LINE BILLBOARD. Installation view, Edison Properties, West 18th Street at 10th Avenue, New York. On view August 1 – September 7, 2012. Photograph by Austin Kennedy. Courtesy of Friends of the High Line.
Installation view of Patrick Carpentier’s piece, Somewhere, at the 8th annual Biennial of Photography and Visual Art of Liège
Never before published in its entirety in English, The Address Book is a key and controversial work in Sophie Calle’s oeuvre. Having found a lost address book on the street in Paris, Calle copied the pages before returning it anonymously to its owner. She then embarked on a search to come to know this stranger by contacting listed individuals—in essence, following him through the map of his acquaintances. Her written accounts of these encounters with friends, family and colleagues—juxtaposed with Calle’s photographs—originally appeared as serial in the newspaper Libération over the course of one month in 1983. As the entries accumulate, so do the vivid impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is gifted, parsed, and withheld by the people she encounters.hen Pierre D. learned about the work and its appearance in the newspaper, he threatened to sue (and demanded that Libérationpublish nude photographs of Calle as a reciprocal invasion of privacy). Calle agreed not to republish the work until after his death. Part conceptual art, part character study, part confession, part essay, The Address Book is, above all, a prism through which desire and the elusory, persona and identity, the private and the public, knowledge and the unknown are refracted in luminous and provocative ways. Published like an actual address book, Calle’s The Address Book will officially be available on October 31, 2012, but is available for preorder on Siglio Press now.
You probably haven’t heard the one about the artist and the Russian millionaire sitting at a bar, right? No, you probably haven’t. If you happen to be in New York City please kindly check your wallet – any recent single dollar bills you might have received as change might be a collectable piece of artwork worth up to $2,000. Artist Skye Nicolas’ curious new series, featuring a small heart with the words “Buy Some Love” stamped on a U.S. dollar bill, is currently circulating through Manhattan. These specially marked dollar bills are being collected and swooped up by the likes of art collectors and notable fashion personalities. So, the one about the artist and the Russian – an allegory on Nicolas’ website describes a little more about the series: “An artist and a wealthy Russian art collector were having drinks at a hotel bar after having attended an art auction earlier that evening. Upon paying for their beverages, an unusual [SEE MORE....]
In December 2010, the National Portrait Gallery in Washington made headlines when it responded to protests from the Catholic League by voluntarily censoring an excerpt of David Wojnarowicz’s A Fire in My Belly from its show on American portraiture. Why a work of art could stir such emotions is at the heart of Cynthia Carr’s Fire in the Belly: The Life and Times of David Wojnarowicz, the first biography of a beleaguered art-world figure who became one of the most important voices of his generation. Wojnarowicz emerged from a Dickensian childhood that included orphanages, abusive and absent parents, and a life of hustling on the street. He first found acclaim in New York’s East Village, a neighborhood noted in the 1970s and ’80s for its abandoned buildings, junkies, and burgeoning art scene. Along with Keith Haring, Nan Goldin, and Jean-Michel Basquiat, Wojnarowicz helped redefine art for the times. As uptown art collectors looked downtown for the next big thing, this community of cultural outsiders was suddenly thrust into the national spotlight. The ensuing culture war, the neighborhood’s gentrification, and the AIDS crisis then devastated the East Village scene. Wojnarowicz died of AIDS in 1992 at the age of thirty-seven. Carr’s brilliant biography traces the untold story of a controversial and seminal figure at a pivotal moment in American culture. Available now.