[INTERVIEW] DEVIN ELIJAH: A Chronicle of Love & Loss
RICHARD HAMILTON 1922 – 2011
British artist Richard Hamilton died yesterday London. His most well know artwork, a collage entitled Just what is it that makes today’s homes so different, so appealing?, is considered one of the earliest examples of pop art. The above work, entitled Swingeing London 67, was a response after his his art dealer Robert Fraser was arrested and imprisoned for the possession of heroin. On 12 February 1967 the police raided a party at the Sussex farmhouse of Keith Richards where they found evidence of the consumption of various drugs. On 27 June 1967, Fraser and Mick Jagger were found guilty of the possession of illegal drugs. The following day the two men were handcuffed to each other and driven to court in a police van, where they were sentenced to six months and three months respectively. After the defence lawyer’s appeal, Jagger’s sentence was reduced to a fine but Fraser’s appeal was rejected and he spent four months in jail. The painting is derived from a press clipping. Richard Hamilton was preparing for a major traveling retrospective before he died.
Speaking in Tongues
Wallace Berman (1926-1976) was born in Staten Island, NY and came to Los Angeles with his parents when he was four years old. In 1955 he founded the small but influential mail art publication Semina – a brilliant, loose-leaf compilation of the most advanced artists and poets of his time, including William Burroughs, Allen Ginsberg, and Jess (Collins) to name a few. Today, Berman is best known for his Verifax collages, softly sepia-colored works created with a forerunner of the photocopy machine. Influenced by surrealism, assemblage, and contemporary artists such as Robert Rauschenberg, John Cage, and Andy Warhol, Berman produced multi-layered works that combined the picture of a hand-held transistor radio with images culled from newspapers and popular magazines. An exhibition at the Armory Center for the Arts in Pasadena, California, entitled Speaking in Tongues: Wallace Berman and Robert Heinecken, brings two seminal yet under-studied Los Angeles artists into close conversation with one another for the first time. This exhibition is concurrent with the Pacific Standard Time showing across Los Angeles in an en masse celebration of the Los Angeles art scene. Speaking in Tongues will on view October 2 to January 22, 2012.
Daniele Buetti is a Swiss artist working in photography, video, sound, drawing, light box, sculpture, and digitally assisted work. Buetti makes use of advertising tools to expose the frailty of popular culture, explore our perceptions of beauty, and reveal the omnipotence of the media in our society. In Buetti’s works, beautiful colors and figures merge with light reveal unspoken feelings of ambivalence and despair, asking what function the role of media plays in the formationof identity, and questioning whether society can form identity without the media’s influence. Buetti uses light to attract the viewer in the same seductive way that the media uses beauty, forcing us to realize the inherent manipulation.Jenkins Johnson Gallery is presents Plugged In, a group exhibition of forward-thinking artists working with the electronic arts. All of the artists, including Buetti, Jeremy Bert, and Andrew Bovasso, take contemporary approaches to their conceptual missions and use non-traditional media. Plugged in opens September 15 and runs through October 29.
[Sculpture] Zac Nelson
Zac Nelson is a an artist based in Portland, Oregon. To create his sculptures he uses ingredients such as bones, pig intestines, moss, wood, and metal. [SEE MORE...]
Icons of the Invisible
As part of the Pacific Standard time art exhibitions in Los Angeles, the Fowler Museum at UCLA presents Icons of the Invisible: Oscar Castillo. Since the late 1960s, Oscar Castillo has documented the Chicano community in Los Angeles, from major political events to cultural practices to the work of muralists and painters. This exhibition will present rarely seen photographs from 1969-1980 exploring major themes (social movement, cultural heritage, urban environment, and everyday barrio life) and approaches (photojournalism, portraiture, art photography) that have guided Castillo’s work. Complementing the concurrent exhibition on Chicano art groups, Mapping Another L.A., the exhibition will provide another level of contextualization of L.A. history during this pivotal period. Icons of the Invisible will be on view from September 25 to February 26, 2012.
Thaweesak Srithongdee: Bruised
Thaweesak Srithongdee, or Lolay as he is commonly known, is a thirty year old artist from Thailand. His style echoes the influence of Surrealism and Pop Art. Lolay is a keen observer of people, their physical and mental characteristics. Having previously engineered a spurious race of Adonic, pectoral defined, super-beings that played with perceptions of body image Lolay expands his fascination with the human condition to question our existence and ultimate survival. Bruises and scars bear the physical trace of individual fallibility, but they also provoke assumptions as to the history and determiners behind such inflictions. A selection of Lolay’s work will be on view at an exhibition, entitled Bruised, the Thavibu Gallery in Bangkok, Thailand from September 17 to October 15.
[FETISH] Doorknob Girl Next Door
It’s hard to tell if Doorknob Girl is just another flash in the pan internet meme, but what I do know is that I’ve never wanted to be a doorknob so bad in my entire life. Japan: a culture that finds bondage not only erotic, but a form of art (Kinbaku), and even going further back to the erotic illustrations of Shunga from the the days of Edo – and now girls licking doorknobs. A blog, entitled simply Doorknob Girl, is a collaboration between artist Ryuko Azuma and photographer Ai Ehara, which includes pages and pages of photographs of, well, young girls suggestively licking doorknobs. In its purest form and as a testament to its artist merit, Doorknob Girl is a post-modern, sub-cultural exposé on fetish and sexuality that demands a visceral response, and begs more curiosity than erotic impulse. But beg and beg some more, in the common liturgy for Japanese erotica to sexualize youth and glorify the inanimate – which borders on necrophillia – its almost easier to assume the doorknobs look more alive than the models – and in a culture where art and erotica blend so seamlessly its hard to call Doorknob Girl pornography, per se. [READ MORE...]
GUY BOURDIN, An Introduction