Rededicated to the Arts

Shadows by Hush at the Corey Helford Gallery's exhibit Flying West for the Winter

In the old days, I used to feature at least one gallery review per week. It wasn't a scheduled feature, but was just an integral part of this blog. Well, I've been slacking off for far too long. It's time to bring back the art as a regular part of Paideia.

The reason that I stopped doing the gallery posts was because I wasn't getting to visit them as frequently. My working situation changed, making a quick lunchtime stop at Culver City or Bergamot Station less convenient. And you can't write a proper review without seeing the works in person; looking at the images on a website isn't the same.

Fortunately, over the past few days, I've been able to check out quite a few galleries. There is a whole lot of excellent work out there about which I would love to write.

Red Delicious by Linda Hesh at the Lois Lambert Gallery

So, here are a few works that caught my attention this weekend. But there were so many more. Hopefully, I'll be able to write up a few posts for you all over the next few weeks.

We'll see. ;-)

School Night by Okay Mountain at the Mark Moore Gallery

Enjoy!!!

Champagne Coupe, Garnished with a Boop

Detail of Betty in a Glass (2012) by Cesar Santander

You all know that we love Betty Boop here at Paideia. So, when I saw this painting by Cesar Santander at Skidmore Contemporary Art, I was thrilled. If only I were a wealthy man. . . ;-)

Well, I'm a bit short on time at the moment, but I figured that this image would make for a fun way to celebrate our Silly Saturday post. If time permits, I'll try to write up a post on Skidmore's current exhibition, Route 66, which is full of the mid-century imagery that I love so very much. Yeah, I can get a bit nostalgic from time to time.

Anyways, here's some music.

With Tremulous Cadence Slow

Detail of Afternoon Stroll (2010) by Dale Johnson, on exhibit at dnj Gallery

A standard impression of the Los Angeles beaches is that they are constantly sun-drenched, bright and busy places where scantily clad young women play volleyball and children build sandcastles. Well, such scenes definitely do exist, but, more often than not, the beaches of the South Bay area have a heavy marine layer that doesn't burn off until after midmorning. Rather than "beach babes", you're more likely to find elderly walkers, perhaps accompanied by their dog.

And it's quiet. Except for the sounds of the seabirds and the alternating roar and hiss of the waves coming in and rushing out, there are only the noises that are brought with you, beit music on an iPod or conversation with a friend. It can be a lonely and sublime experience.

That's what I feel when viewing Dale Johnson's work in "By the Sea", on view at dnj Gallery until July 21. These hazy images of desolate shores, lonely walkers, and grey skies, they capture the timeless and vast atmosphere of the seaside.

Detail of Lab and Longboard (2011) by Dale Johnson

The flat and muted scenes have a sense of authenticity to them. They capture those long moments at the shore in which there is no flashy focus upon human activity, no sandcastles, no young women frolicking upon the sand, no surfers catching waves. There are only shades moving through the dark grey of the marine layer.

Sights to Delight

Sculpture of a Feathered Serpent from the Mayan civilization at Chichen Itza, AD 850-1100, on view in LACMA's "Children of the Plumed Serpent" exhibit.

I have been fortunate over the past few weeks in being able to visit various art venues, museums and galleries. Although I plan on writing about a few of them individually, I figured that sharing a few images would make for a fun post.

So, I have recently gone viewing in four of the city's cultural centers: the Miracle Mile, Culver City, Bergamot Station, and Long Beach. It's been a great start to the Summer.

Midnight Ride (2006) by Deborah Kupinsky, on view at the Long Beach Museum of Art


Lots on interesting works on display. I'm especially happy to have visited some venues down in Long Beach, an area that I enjoy but rarely visit.

Jeepers!!! Daphne Does It Again!!!

Once again, a life size cutout of Daphne Blake lifts her skirt at Bergamot Station.

Last year, while visiting the art galleries at Bergamot Station, I saw a cutout of Daphne Blake, from the Scooby Doo cartoon series, provocatively posed with her skirt lifted. I blogged about it back then, writing a post that has interestingly high page views.

Well, I recently returned to see some shows. When I got to the northeast corner, I got a view of the new Daphne cutout. Yeah, the classic attire has been modified, but it should entertain all you folks that come by looking for risque images of Daphne. ;-)

Now, when are we gonna get some cutouts of Velma?

Enjoy!!!

Village Lanterne

Blues skies over Bergamot Station in Santa Monica, as I exit CoproGallery

I went all around town today. It was busy, but I had a good time. From Santa Monica to the South Bay, there is a lot of art on display to enjoy.

I'm a bit tired right now. So, here are a few photos. ;-)

Detail of Unknown Planets (2008) by Atsushi Fukui, on view at the Richard Heller Gallery

Visiting the Torrance Art Museum's Opening Night for "Between the Knowing"

You Want It. You Need It.

Detail of Surplus II by Michael Krebs


Currently on exhibit at dnj Gallery is "Surplus" by Michael Krebs, a critique of consumerist corporate social influence and the commodification of desire, in which iconic images of war and armed strife are reimagined within a banal "market" context.

To be honest, I'm of mixed feelings about the appropriation of such imagery for this premise. Although the image of a girl screaming and running down a toy store aisle lined with packaged plastic dolls, fleeing as though in mortal danger, conveys both an absurdly humorous feeling and a creepy consideration of how children are indoctrinated into consumerist mindsets, the fact that it is a reflection, a tableau malsain of Nick Ut's iconic image of a Vietnamese girl fleeing from a napalm bombing, leaves me a bit uncomfortable. And perhaps that is the intention; perhaps it raises the question of how materialist values harm the individuals of a society.

I suppose it comes down to envy and banality. War is instigated by envy on a societal scale and implemented by the most basic and brutish and banal methods of coercion. Likewise, consumerist society is predicated on envy, "keeping up with the Jones" or constantly buying the newest model merely to preserve a social standing, never satisfied when others have "more" or "better" without making a raise or call, even if that which is desired is banal mass marketed trash, empty pablum.

Detail of Surplus I by Michael Krebs

In the end, both result in destruction. In war, the devastation is measured in lives and suffering. In consumerism, it is in wasted resources and misguided lives, a painful opportunity cost squandered on mounds of rubbish.

Save Versus Enchantment/Charm

"Vantastic Voyage" featuring new works by "Dirty" Donny Gillies, on view at CoproGallery

Unfortunately, while I've been away, many excellent shows have opened and/or closed. One of my favorites is closing tomorrow, March 17, "Dirty" Donny Gillies' "Vantastic Voyage" at CoproGallery.

Being a long-time gamer, I can't help but love this show. These works capture that late '70s fantasty feel of wizards and spaceships and giant d20s. And the frames feature "old school" lettering alongside silhouettes of classic spaceships, like the Millennium Falcon or Imperial tie fighters from Star Wars.

In short, Dirty Donny captures everything awesome from the genre. It's a critical hit!!! ;-)

A giant blue d20 in front of Stargasm by "Dirty" Donny Gillies

With only one day left, if you have even a drop of gamer geekitude in your soul, this is a "must see" exhibit.

Muffled Under Dark Blankets of Night

Detail of Ghost on Santa Monica Pier (2011) by Helen K. Garber

"Encaustic Noir" is an exhibition of works by Helen K. Garber, on display at dnj Gallery. Although it keeps with her traditional theme of neo-noir cityscape, this body of work adds a unique twist; the images are all layered in beeswax, enveloped into an encaustic depth along with various mixed media, such as book pages and twine.

With her haunting noir imagery as the compositional focus, the layers of wax add a sense of distance, both in space and in time. Like the accumulated tarnish of years gone by, dulling memory to hazy impressions, so too does the wax blur the photographic image, turning places and people into shades. However, there is an odd sense of perseverance to these works, an enduring echo of life. Generally, photography captures an image, freezing the moment eternally unchanging in time, but these works are not frozen, instead are caught in an eternal process of fading away, receding endlessly into obscurement.

The mixed media additions, the twine, book pages, and wooden panel, add to this sense of obsolescence. They speak of a distant place, disjointed from the here and now, lost like a restless specter from a world that was or might have been.

Detail of Bike Path Fog II (2011) by Helen K. Garber

"Encaustic Noir" is on exhibit at dnj Gallery until February 25, 2012. Helen K. Garber will discuss her work on February 11 at 4:30 pm at the gallery.

Beavis and Butt-Head Are Not Role Models

Beavis and Butt-Head in Kevin Kirkpatrick's Dill Hole on view at CoproGallery


Don't try this at home. ;-)

I don't normally visit CoproGallery. It's a mighty cool place, but the exhibits generally aren't my thing. So, when visiting Bergamot Station, it's toward the bottom of my "must visit" list. Normally, I run out of energy before getting to it.

While strolling around Bergamot this week, I happened to wander over and decided to have a viewing. There were plenty of fun hardcore "lowbrow" works on display, but my attention was immediately caught by this sculpture of Beavis and Butt-Head by Kevin Kirkpatrick. It takes the express train down into the Uncanny Valley!!!

You almost expect to hear "Fire! Fire!" or "Uhhhh. . . this sucks! Huh huh huh."

Kinetic Visions through a Rainbow Lens

Fred Eversley's works are on exhibit at the William Turner Gallery until October 29, 2011


"Cool School" or "Finish Fetish" or "Plastic Minimalism" are all terms that get bandied about when talking about the work of Fred Eversley, occasionally as a derogative. But this exhibit at the William Turner Gallery gives us another chance to assess these slick polyester resin works. What is the premise of Eversley's style?

First, it it is an expression of meticulous craftsmanship in designing simple forms. Reflective and slick, they sometimes deceive your eyes into misperceptions of the piece's actual curvature. Is it convex, concave, or level? Perception of form depends upon how the light plays upon the surface.

Second, the reflections and refractions create a dynamic play of light through the structure of these minimalist sculptures. The work itself is but a vehicle through which the viewer distinguishes myriad visions of space and motion. Eversley doesn't capture the kinetic experience in his works, but assists the viewer in realizing the kinesis that exists at every moment all around them.

Peer through these plastic mediums and you will experience an exhilarating aesthetic reflection of your present situation.

Eversley, cast polyester resin, 19.5 inches in diameter

Eversley's work is all about the experience of viewing. The "artistic ego" or "conceptual statement" is not of importance. Each viewer, each environment, each variation in frame of orientation creates a novel visual sensation. These works are masterpieces of indeterminacy.

Epic Adventures in Imaginal Realms of the Self

Bad News Bat (2011) by David Jien

The Richard Heller Gallery is currently exhibiting "The Plight of the Who" works by David Jien. These drawings depict a fantastic world in which humanity and their free-spirited anthropomorphic allies, the Who, are in an epic struggle against the immoral and homogenized forces of the lizardmen and their blue egg-headed allies. Set within a weird realm that seems drawn from a role-playing game, the warring sides contend to determine the fate of an important child.

As a life-long gamer, these works caught my enthusiasm at first sight. They portray scenes from the fantastic narrative of the Who's epic adventure, although this show is focused only on "Chapter One" of the story. There are moments of discovery, as when the Who Riders come across the Statue. There are moments of decadence, as depicted at the unsettling interspecies orgy between the lizard men and the human women. And then there are moments of heroism, as when the Who Riders faces overwhelming odds against the hordes of their reptilian foes. Even the pictures of the Collector viewing his collection has an implied narrative significance.

The Who Riders (2010) by David Jien

But it isn't just the narrative or fantastic imagery that makes this show so compelling. Jien's attention to detail is superb! Minute elements of texture or pattern are delivered with precision and with cohesion to the overall composition. Each subject of each picture is designed with meticulous consideration. Even the uniform figures of the lizardmen and the blue egg-heads are given focused articulation. It's an awesome display of craftsmanship.

Fractured Reflections from Bygone Days

Chomp (2011) by Christopher Murphy

Do you ever look back at your youthful days and shudder with embarrassment at the stupid things you did? Or recoil with chagrin at the awkward situations in which you got involved? When your mom or an elderly aunt opens up her photo album from the days of your childhood, does it feel like they are about to reveal conclusive evidence of your undeniable folly? That's the type of vibe that I get from Christopher Murphy's exhibit "Forget That You Were Young" showing at the Lora Schlesinger Gallery in Bergamot Station.

These paintings capture life's absurdities, moments that the subject might prefer letting slip away into the fog of distant memory. After all, would we really want that time we took a hammer to a beehive to be documented for future mockery? Or how about that time you botched an attempt for the "Coolest Dive Ever" and the photo snapped just as you realized it wasn't going as planned? Or just being wildly inappropriately dressed for the situation?

Future Vegetarian (2011) by Christopher Murphy

Yet, there is a nostalgia to these images. They may be depicting times and situations that we wish didn't happen, but, since they did, are they really better off forgotten? Aren't the humiliating moments of our lives part of that which built our character?

Wrapped in Plastic

Blimp (2007) by Anne Veraldi


While I was visiting Bergamot Station last Saturday, I was able to catch an opening at dnj Gallery of Anne Veraldi's Plastic Rose series. In essence, it's a photographic series of toys wrapped in plastic bags. The plastic works as an obscurement device, a filter, through which the details of the subject are muted, resulting in a dream-like image that provokes uncertainty in the viewer as to the actual nature of the subject. Is it a real blimp or a toy? With the detail made vague, the answer is not immediately obvious.

Moreover, the use of toys as the subject of the photos evokes a sense of childhood fantasies. With the ambiguity of the subject's nature, the childlike ability to imagine a toy as the actuality that it represents is recreated in the viewer. It's a skill that most adults have left behind as they've matured beyond the desire to play "make believe" with toy vehicles, dolls, or soldiers. Therefore, the reactivation of this cognitive ability provokes both a sense of amusement and of nostalgia from the viewer.

It's a simple concept, but it elicits a deceptively complex emotional response.

Rider (2007) by Anne Veraldi


The plastic serves as a filter, but it also functions as the space in which the subjects exist. It suggests the terrain features, environmental effects, and spatial reality of the subject's imaginary world. Additionally, the color and texture of the plastic inspire certain moods or "atmospheres" of emotion.

Jinkies!!! Daphne Displays Her Drawers!!!

Daphne Blake exhibits her underclothes at Bergamot Station


I paid a quick visit to Bergamot Station in Santa Monica today. I wanted to check out a few galleries. I wasn't expecting to see this. ;-)

I have no clue as to why Daphne was there. I have no idea why somebody decided to have her show off her panties. But it's weirdness like this that makes visiting the West Side of Los Angeles always an interesting experience.

So, what do you think belongs in the thought balloon? Hmm. . .

Enjoy!!!

By the Book

Seeing Through Feeling (2011) by Andrew Uchin

I'm an avid reader, but I'm not big on books. I'm talking about the physical chunk of papers with ink patterns printed upon them. For most of my life, I've had to endure the presence of these dead tree constructions to get at that which I totally adore, the information conveyed on their printed pages. If you ask me to list some interesting novels, or histories, or philosophical texts, I could go on and on with recommendations. If you ask me to list my favorite book, I can answer that immediately. It's the one that most recently left my shelves.

Yeah, that's heresy for most of you book people, but I have a thing against clutter. Book in use are great, but books laying around are fire hazards and vermin hideaways. I haytz 'em!!!

Yet, I can see how people can fall in love with the physical object. Andrew Uchin's exhibit "The Reader Series" at dnj Gallery captures the romance of the bibliophile. These photos convey the human interaction with the book, through markings, deterioration, or the design of the text upon the page. There is a rich history to these books. Perhaps they were beloved sources of tales for the children. Perhaps they were veterans of the library shelves. Or perhaps, like a courier's steed, they carried the reader across the survey of Elizabethan literature.



Modern Library (2011) by Andrew Uchin


These weird inanimate objects that have a special ability to talk to those who can understand, they have poignant tales to tell. And it is not merely that which is printed upon their pages.

Peel Back the Surface Layers

Splash (2011) by Greg Miller

I'm not a fan of collage works. I appreciate the effort involved in selecting and arranging the mixed media into a desired artistic expression, but it generally feels a bit gimmicky. It's as if we are meant to be impressed by the pain-staking process of collage, rather than the significance of the image created. However, I'm very enthusiastic about paintings that incorporate elements of collage. And that's precisely what Greg Miller's work does.

Miller is a Neo-Pop artist. His images are evocative of pop cultural elements, specifically from the '50s or '60s. These images are superficial, presenting a smooth facade under which images or texts are revealed through a thinning of the paint or a tear in the surface. This is where the elements of collage come into play. The selected mixed media elements play off of the superficial main image, reinforcing, elaborating, or undercutting its significance.



LA Y Bunny (2011) by Greg Miller


The current exhibit of Greg Miller's work, "Magnificent Seven" at the William Turner Gallery, displays this masterful technique wonderfully. With glamorous images of an idealized bygone Los Angeles, the collage elements create a rich counterpoint commentary and dissonant vibe to the work. The overall effect is playful but articulate.

Architecture Strange Yet Familiar

Storm Crown Mechanism (2009) by David Trautrimas

At Bergamot Station, dnj Gallery is holding a group show featuring a number of artists that they represent, including Michael Eastman, Cynthia Grieg, Annie Seaton, and Bill Sosin. I can write at length about these excellent photographers, but today I feel like writing about David Trautrimas' futuristic architectural structures from his Spyfrost Project (2010), a few of which are on display in this show.

Trautrimas' works are based around household appliances imagined as architecture, specifically inspired by a techno-thriller Cold War militaristic aesthetic. Photographing numerous images of these vintage consumer goods and their component parts, Trautrimas reassembles them into fantastic military structures. They look like something out of a wild '50s era espionage comic book. Is the structure above a secret Soviet "Weather Control" facility or a mishmash of refrigerator parts? And how about this image?



Terra Thermal Inducer (2009) by David Trautrimas


Yeah, through the magic of a creative imagination and expert photomanipulation, Trautrimas has created a retro-futuristic Cold War environment out of the detritus of consumerist culture. The metal and chrome from the "House of the Future" has been reworked into military structures that never were. Yet, they feel so authentic. I can imagine a "Thermal Inducer" hidden in the Siberian wilderness.

Conjunction of the Organic and the Mechanical

Promotional Image featuring Future Beans III by Celia Gilbert and Bands #10ab by Wally Gilbert

My regular readers know that I can't pass up a good opportunity to write about Dionysian and Apollonian aesthetic contrasts. Fortunately, the Schomburg Gallery at Bergamot Station has an excellent exhibit of Celia and Wally Gilbert's art, entitled "Beans and Bands". Really, comparing Celia Gilbert's expressive anthropomorphized bean paintings with Wally Gilbert's precise geometric C-prints, one couldn't come up with a better starting point for me. ;-)

The "Beans" of Celia Gilbert are odd pieces. On one hand, they are object still life paintings, albeit abstracted. On the other hand, they are narrative abstractions wherein the anthropomorphized beans play the role of subject or protagonist. Some of the works have is notable lean towards one of these directions. For instance, the Future Beans series trends towards still life, while the Death of Saint Bean has a definite narrative focus. But the works that trigger my interest the most are those that stand in the middle, that cause the viewer to keep on flipping perspective upon the aesthetic statement.

The work that best exemplifies this ambiguity is Beans Lost in a Wood.



Beans Lost in a Wood by Celia Gilbert


Without the title, one would assess the work as an abstracted still life. We would appraise color utilization, texture, and compositional structure to experience the subjective "reality" of the represented objects. But, when the title is considered, we suddenly shift mental gears and, using the same elements of painting, we start discerning narrative significances. Within the same painting, there are two paintings.

Light from Behind the Screen

For Milton (2011) by Carrie Seid

The World But Seems to Be

(By Fakhruddin 'Iraqi)

The world but seems to be

yet is nothing more

than a line drawn

between light and shadow.

Decipher the message

of this dream-script

and learn to distinguish time

from Eternity.

The Lora Schlesinger Gallery is currently showing an exhibition of Carrie Seid's artwork, entitled "Animal and Mineral". The works are somewhere between paintings and sculptures. In essence, they are aluminum boxes with one side left open. Over this opening, a silk screen is stretched and treated for translucency. Within the box, divisions and compartments are defined with aluminum sectionals.

The aluminum box is hung like a picture, with the silk side facing the viewer. As light hits the work, the silk is revealed like a typical abstract painting. However, because of its translucency, the light passes through to reveal the structural elements beneath the silk surface and reflect off the polished metal. This reflection is enhanced by the application of mylar within the box. The end result is that there appears to be an inner luminosity within the box that acts as a "back lighting" to the silk screen.

It's a compelling exhibit. The play of light and shadow over and beneath the flat silk screen creates an enthralling sense of translucent space. It's a dynamic effect, changing with the movements of the viewer or the positioning of the light sources. And it is this quality of dynamism that gives the show its title. When you stand still and look at these works, there is a orderly and petrified feel to the image upon the screen, like a gemstone or a piece of amber. But when you view it while moving, the illuminated curves and shadowy contours rotate and flow like a living, biomorphic form.


Bittersweet (2009) by Carrie Seid


These ambiguities of animal or mineral, shadow or light, underneath or on the surface, are the heart of this aesthetic conflict. To get all artsy, these works contain an inherent Apollonian/Dionysian dialectic.