Altered the Color of My Mind

Detail from a painting by Patricia Chidlaw, part of the Cityscape Show III at George Billis Gallery

Well, let's allow our mind to dissolve away into the madness of night, with dreams both dark and bright, images both forlorn and hopeful to drive us into another precious day.

And, let's celebrate the birth date of Emily Bronte, born on this date in 1818, with an appropriate song. ;-)

"Wuthering Heights" by Kate Bush

Enjoy!!!

Something Good Is Going to Happen

Detail of Chromasonic Field (Blue/Green) installation by Johannes Girardoni

Although there have been a few "downs" to counter my "ups", I'm feeling moderately good about the direction of my creative development. Certainly, there are still kinks to iron out and the constant grind of self-improvement, but things are looking positive.

Moreover, I've been doing things that I love, like visiting art galleries. The photo above is from my trip to Nye and Brown in Culver Gity. Hopefully, I'll have time to share some more art related photos with you. ;-)

But, for today, let's wrap this post up by celebrating Kate Bush's birthday.

"Cloudbursting" by Kate Bush

Enjoy!!!

Pure Like a Rose

Detail of My friends left me behind and went to the by Kazuki Takamatsu

Although my gallery visiting opportunities have dwindled, I was fortunate enough to pay a visit to see Kazuki Takamatsu's exhibit "Japanese Ideology of Puberty" at the Corey Helford Gallery. It was a very good show, full of complex imagery, haunting but humorous, erotic but ethereal. It is this tension between the serious and silly, the adult and the innocent, that gave this show such an engaging appeal.

The technique was distinctive, creating form and volume with simple depth mapping techniques and clear gradations between light and shadow. The resulted in a ghostly, yet iconic, set of visions.

As for the subject matter, the influence of manga stereotypes is obvious. However, the cartoon-like simplicity  hides a subtle psychological depth in the composition. Under the the surface of sword-wielding "magic girls" or dreamy school girls, there is a morbid and ominous darkness, hinting at an adult world of turmoil in which the fantastic archetypes of youth are powerless.

Detail of I expect the fog hides all which I don't want to by Kazuki Takamatsu

Yeah, the exhibit has wrapped up, but keep an eye open for Kazuki Takamatsu's work. I'm happy that I was able to check it out and am looking forward to seeing more at future shows.

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!!!

Crucifixion Variations

Detail of Financial Sacrifice American Depress by Ron English

Over half a year has passed since last I wrote about an exhibit at the Corey Helford Gallery in Culver City, which is an inexcusably long time, especially since they have had so many awesome shows on exhibit. Well, I made a trip over to see their current show, Crucifixion, which presents works by a selection of their artists on the topic of sacrifice and sacred iconography. The variations were extremely interesting.

Although the images ranged from the haunting to the humorous, the theme was tightly represented by the artists, each in their own unique way. So, Ron English delivers upon the theme of sacrifice, while keeping true to his distinct imagery of social criticism. Likewise, Buff Monster subverts traditional Christian symbolism with anthropomorphic pink ice cream cones, turning a scene of devotion into one of humor.

Across the board, this show presents the unique vision of the gallery, coherent in theme but so wonderfully diverse in implementation.

Detail of Stigmata by Ray Caesar

I highly recommend paying this show a visit.

Where to Begin?

Image from Friedrich Kunath's exhibit "Lacan's Haircut" exibited at Blum & Poe (9/8-10/27, 2012)

Well, I've been writing and creatively involved, but, sadly, not doing much blogging. I have a kazillion photos to share with you all, from too many places, too many exhibits and shows, too many whimsical moments to count. So, I'll just randomly select images from over the past four months to give a sample of the fantastic things that I experienced in the world around me. Yeah, it's the "Image of the Day" concept that I keep on promising.

Hopefully, I'll also start regular posts again, but let's not get too ambitious. ;-)

Image of Friedrich Kunath's "Lacan's Haircut" in Blum & Poe's parking lot


Get ready for some fun stuff!!!

Humble Earthen Vessels

Detail of Teapot Peddlers (2011) by Gerit Grimm

I recently visited the Long Beach Museum of Art and saw an excellent ceramic exhibit, featuring the works of Gerit Grimm. The show, entitled "Beyond the Figurine", is comprised of these contemporary works that were inspired by the museum's collection of classic British and French figurines, with styles varying from the Rococo to Victorian bric-a-brac, which are also on display upon the nearby walls.

It's interesting to see how Grimm reinterprets the implied narrative of the figurine style. Her works capture the light-hearted feel of the traditional pieces, but convey a deeper sense of mystery or weirdness. The strange cat-faced heraldry, the diverse peddlers, and the circular gatherings, these elements create the feeling that Grimm has developed her own fantasy world. It's an interesting vision.

Detail of Monument (2011) by Gerit Grimm


This show will be ending on July 8. I definitely recommend checking it out before it closes.

Objects in Motion

Detail of The Shallows (2012) by Korin Faught

I had the opportunity to visit the Corey Helford Gallery in Culver City, where the current exhibit is a group show, "Motion: The Art of Movement", which runs until June 30. This blog has featured many of the artists on display in this show, including Eric Joyner, Korin Faught, Ray Caesar, and Sylvia Ji. So, it was a pleasure to see new works from them.

Although I definitely enjoyed the show, I can't say that the theme of "movement" was compellingly explored. Certainly, in some works, there was some sort of obvious physical motion, a rocket ship zooming through space or the wind blowing through the subject's hair. In other works, the movement was psychological, represented by multiple figures or ghostly trailing images. And then there were works that featured compositional techniques that put the eye into a sense of motion, with radiating lines of color or stretched and distorted figures.

Detail of Cold Spell by Billy Norrby

For certain, each piece contained motion, be it physical, psychological, or technical. My question regards premise; is the movement central or incidental to the composition? For me, in too many pieces, the work contained, but was not about, motion.

But that doesn't mean it was a weak show, not by any means. The art was every bit as awesome as I've come to expect at Corey Helford's. Although the ostensible theme is not very compelling, I highly recommend this exhibit; the individual works are strong.

Detail of Space Patrol by Eric Joyner


Of course, I'm always in support of any showcasing of robots and doughnuts. ;-)

But You Didn't, Did You?

For the Love of God (2007) by Damien Hirst

My tastes in art are very inclusive, liberal in regards to craftsmanship, and friendly towards conceptual experimentation. Yes, I love traditional representational artistry, but I am equally as enamored by intellectually engaging innovations. At the very least, I'm willing to keep an open mind towards the work, listen to the general critical assessment, and, with as much empathy as I can muster, consider the creative process that led to the creation of such a work.

But the works of Damien Hirst have never won me over. I find their concepts to be purest banality. Sure, I love a good vanitas, but Hirst's works are more about spectacle and sensation than contemplations on mortality, regardless of what he titles the pieces. Well, what's wrong with a bit of showmanship in the art? Nothing, but the flash ought to reinforce the work's premise. Instead, Hirst's stuff is shallow razzle dazzle, with a "concept" that feels tacked on to provide a fig leaf of aesthetic legitimacy.

In all honesty, it feels like total hucksterism, a big scam. I've racked my mind trying to see what so many insightful and erudite critics find of value, but have come up with nothing. In terms of originality, personal craftsmanship, composition, beauty and the sublime, Hirst's art is a failure, completely without authenticity or charm.

Detail of The Physical Impossibility of Death in the Mind of Someone Living (1991) by Damien Hirst


But, if it would earn me vast sums of wealth, I'd pickle a big fish and come up with profound sounding mumbo jumbo too. So, in amazed respect for Damien Hirst's financial artistry, let's wish him a Happy Birthday.

Something Else to Throw

No Title: Blue Plastic Plates (1999) by Robert Therrien

Recently, I've fallen significantly behind my "one post per day" schedule.

I really think that I can do better. Last year, I would occasionally get close to a two per day rate of posting. I think my "blogging batteries" have been recharging; I'm ready to pick up the pace again.

But, for tonight, I'm reaching. ;-)

It's Been a Long, Long Time

Image from the Corey Helford Gallery's exhibit of "Legend of the Pink Cherry" featuring works by Buff Monster, which runs until May 5

It's been nearly three months since last I wrote about the gallery scene over in Culver City. Why the long neglect? I just haven't been able to spend quality time checking out the shows, especially not to an extent that would enable me to coherently review them.

Well, I was passing near the art district, not intending to stop and see things, but a strong passion to visit the galleries overcame me, even if only for a brief glimpse. And so I did.

Ideally, I would write up a bunch of reviews detailing why I appreciate each exhibit, providing context and commentary, linking to a vid to showcase the artist's body of work. Sadly, I was only able to get a few quick visits along Washington Boulevard sqeezed into my limited viewing time. But it was all good.

Detail of (A) Murder of Crows 8 by Stephanie Inagaki, part of Skotia Gallery's group show "Veneris XII" which runs until May 5

I figured that, while I may not have either the time or ability to write up proper reviews, at least I can share some photos with you. ;-)

A gallery view of Shay Bredimus' "Kotomi" at Koplin Del Rio, exhibiting until May 12.

Awesome work!

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.

(Dough)Nuts and Bolts

Detail of Rocket Surfer by Eric Joyner

The vintage tin toy robots of the 1950s have a sense of optimism, an exuberance, that promises a bright future of technological miracles. Unlike the mechanized monsters that became more common in subsequent dystopian views of the future, the "atomic age" robots are the manifestations of enlightening science, the mark of humanity's transcendent genius.

In Eric Joyner's exhibition, "It's a Jungle Out There", on view at the Corey Helford Gallery, these icons of progress are shown undertaking a series of adventures, from being attacked by pythons or robot-eating plants to surfing both upon the primordial waves and across the starry void, scenes that could have come from the imagination of a child playing out stories from the pulp adventures of science fiction magazines or comic books.

It's a playful display of pop surrealism mixed with uplifting nostalgia. And donuts. ;-)

Detail of All Wrapped Up by Eric Joyner

In terms of technique, the paintings are impressive, rich with detail and vibrant colors. There is a visceral sense of place, evocative of classic jungle adventures from pulp fiction, such as the Tarzan stories of Edgar Rice Burroughs.

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.

To Live and Paint in LA: Opening Night

Opening Night at the Torrance Art Museum's exhibit "To Live and Paint in LA"


Just a brief post.

Yesterday night was the opening for "To Live and Paint in LA" at the Torrance Art Museum, featuring the work of about thirty Los Angeles-based artists. The premise is to explore a broad sampling of emerging and contemporary painters, through which one may discern various styles and aesthetic trends that characterize the creative vibe of today's Angeleno art scene.

I was only able to pay a quick visit and snap a few shots, but there was a good range of styles, with many distinct artistic voices. It's my hope to pay the TAM a return visit in a few days and take a good, long appraisal of the exhibit.

Many are the pieces that caught my eye; I'd like to share them with you. ;-)

Detail of Les Femmes D'Alger #14 (2011) by Asad Faulwell

Enjoy!!!

Banality & Kitsch

Italian Woman (1986) by Jeff Koons


Let's wish Jeff Koons a Happy 57th Birthday.

I've put up a few posts over the last year featuring his work. That's not because he's really a favorite of mine, but, rather, because LACMA has an awesome selection of his works. Seriously, as an avid enthusiast of Los Angeles museums, how could I not share with my readers the entertaining works on display in town? After all, somebody Googles up "Balloon Dog" images every week or so. ;-)

A while back, I found Koons' work to be totally devoid of artistic value. Sure, they were entertaining with Pop reference or crass boldness, but, beyond the chuckle or moment of bemusement, there was nothing deeper than a brief sensation. His works were shallow.

St. John the Baptist (1988) by Jeff Koons

I've since changed my opinion. I still find his work to be amazingly shallow, but I think there is artistry in provoking a laugh. It takes a certain type of genius to put a pig and a penguin with St. John the Baptist. Is it kitschy? Yes. But it's also playfully creative, imaginative.

There's a talent in designing the sensational.

Passages and Thresholds

Detail of Crouching Tiger Monastery I (2011) by Kenny Harris

Each place has a presence, a spirit built up over the ages, formed by the experiences and events that have occurred therein. It is a goal of architectural painters to discern the soul of the structure and express it with clarity, using only the setting and space.

This is the approach taken by Kenny Harris in his exhibition "China" at Koplin Del Rio Gallery, which runs until February 18. Inspired during a recent trip, this show attempts to capture the unique nature of the various locales visited, from the posh colonial "Peace Hotel Shanghai" to the tranquil spirituality of the "Crouching Tiger Monastery" series. Through the nuances of light and space, along the lines of perspective, the enduring character of each place is revealed.

Although there are no people within these works, leaving the places to speak for themselves, without the clutter and bustle of habitation, the imprint of humanity is visible in each piece.

Detail of Zhouzhuang (2011) by Kenny Harris

Like classic images from the Dutch Golden Age of art, Harris explores the conceptual dichotomy between indoors and outdoors, where the delineations contrast and where they overlap. These images make one consider the emotional significances existing within such spaces, as well as the liminal or transgressive aspects of going from one type to the other, especially as it pertains to sacred or elite grounds, such as a monastery or the Forbidden City.

Unveiling of the Present

Detail of The Trees Pt. Reyes, CA October, 2011 by Danielle Nelson Mourning

Introspection, self-reflection, the conscious consideration of personal identity requires the perceiver to discern the essential qualities of the subject, as distinct from external elements. Given how influential environmental factors are in the shaping of our Self, how does one delineate the essential from the accidental? How can you isolate your Actual Person from your Experienced Person?

The philosophy of consciousness has filled up many tomes over the centuries, with countless arguments and nuanced doctrines. But, where words seem ever inadequate, sometimes images convey ineffable observations about self-identity. Danielle Nelson Mourning takes up the challenge in her exhibit "Ordinary Time" at Taylor De Cordoba Gallery.

These self-portraits form a stark series that captures the subject with intense authenticity. These blunt expressions of Self are granted context by photos depicting places or objects, things that may have shaped but are not of the subject.

The Reckoning (2011) by Danielle Nelson Mourning, mirrored glass

There is always a temptation to make the Self into an Other, a reflection in the mirror, so as to put it under analysis. But this is a mental fabrication, an illusionary construct. Only by an immediate and unfiltered awareness can the Self be perceived.

Do these photographs attain that realization? I don't know; only the artist can answer this question. However, I do feel that these images are pared down to the essentials, striking in their raw accessibility.

In a Lonely Place

Detail of Nowhere (2011) by Esao Andrews


The forlorn realm of solitude, among decrepit wrecks and empty desolation, is where the lonely people dwell, sometimes in the form of anthropomorphic animals and sometimes as ghostly visages emerging from darkness; this sad and quiet place is called Nowhere, a region that transcends physical space, a state more of the spirit than of the body.

Esao Andrews' exhibit "Nowhere" at Thinkspace Gallery gives us a powerful view of this lonely place. With evocative colors and haunting composition, this exhibition insinuates a dark Romantic aesthetic into the viewer's mind. The icy regrets, the shadowy abandonment, these poignant sorrows linger like specters within the paint.

And yet, there is undeniable beauty, a sublime quality that empowers these works. "Nowhere" inspires a dreadful fascination.

Detail of Polished & Powdered (2011) by Esao Andrews

I especially admire the play of color that contrasts the muted shades of Nowhere, like a promise, a beckoning hope, of better and brighter times to come.