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!!!

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.

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. ;-)

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!

(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.

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.

Los Angeles Art: Opening Night 2012

Culver City Art District: La Cienega/Washington Intersection

The 2012 Los Angeles Art Season started tonight with over thirty openings across the city. No, I didn't run myself ragged checking out each one, but I visited a fair number, enough to leave me wiped out for the night, albeit a very satisfied type of tired. There's nothing as fulfilling as fine art.

I've even somewhat updated my LA Art Guide page.

And it's a good thing that we have a "Wolf Moon" on the rise. I can feel its mystic powers strengthening my spirit, readying me to write a whole bunch of art posts for you all. ;-)

Three Wolf Moon by Antonia Neshev

Aaaarrrroooo!!!!!

Baroque Beauty and Bygone Glamour

Detail of Regina (2011) by Sylvia Ji


"Gilded Roses" is an exhibition of new works by Sylvia Ji, on view at the Corey Helford Gallery. This is her fourth show at the gallery, which has showcased her fascinating development as a fine artist of "dark" visions, going from the Day of the Dead imagery typical of her early work, as shown in her exhibits "Por Vida" (2008) and "Haute Epoch" (2009), to an exploration of animal, "Shapeshifter" (2010), and floral themes.

This show is less overtly dark, lacking the creepy crawlies of her earlier work, but goes for a more subtle style. The antique baroque attire of her figures establishes a haunted mood, a long-lost glamour, as though we are viewing bygone beauties who persist as restless spirits. Each image is dominated by a single color. Most of the figures are associated with a particular type of flower. These qualities hint at some hidden significance, a story that explains the haunting, a meaning by which to understand the compulsions behind their lovely facades.

Mourning Dress in Violet (2011) by Sylvia Ji

As usual, Sylvia Ji has wonderful technique. The manner in which she allows the grain of the wood panel to establish a sense of atmosphere is fantastic. Her use of color is especially compelling in this show. And her skill at depicting beautiful women never disappoints.

Delineation Through Pixelization

Detail of Self-Portrait II (2011) by Chuck Close


Because of his expressed distrust of those who attempt to convey through words the experience and significance of art, as though such endeavors are either "spin jobs" and charlatanism, or, at least, verging close to such chicanery, even if the critic has no vested interest in the work under review, which puts up a filter between the reader and their ability to experience the art in an unbiased and authentic manner, writing a blog post about Chuck Close's solo exhibition at Blum & Poe feels presumptuous, even disrespectful towards an artist to whom I have the greatest of respect and admiration.

So, to ablate this feeling, I'll use simple declarative sentences for the remainder of this post.

Chuck Close is a portraitist. Some of the works in this show utilize a technique of grid-based "pixelization." Within each "pixel" shape, colors are layered in a manner that may be perceived as abstract when viewed up close. When viewed from a distance, the colors may be perceived as "blended" into a neutral and contextual pattern. Therefore, the experience of these works may be highly variant depending upon the vantage point.

Kara (2010) by Chuck Close

On view are large paintings, small stamp works, and two Jacquard tapestries.

Thus Shall You Think of This Fleeting World

Nuked Buddha (2011) by Matt Johnson

Blum & Poe are exhibiting six sculptures by Matt Johnson in a solo show. Known for his humor and quirky choice of materials, Johnson's work in this show feels a bit more subdued and introspective. Certainly, there is a light-heartedness that underlies the sculptures and the materials are as diverse as expected, but I feel that this is the most contemplative and profound display of Johnson's work that I've seen. There is a paradoxical sense of complex simplicity and expressive quiet to this show.

The easiest work to examine is the Nuked Buddha. It is a bronze statue, nine feet tall, which presents a warped and ruined surface to a traditional pose of serenity and transcendence. How does one view this image? Is it the triumph of the instant, in which a moment of violence defaces the beauty of human achievement? Or is it the exaltation of the enduring, wherein the serenity persists beyond the inessential results of the transient present?

This juxtaposition of the eternal and the ephemeral is also displayed in Touch the Void. Upon a granite boulder, Johnson has carved his handprint. It is not an obvious mark, but well integrated into the blended color and rugged surface of the rock. But despite the artful matching, the hand represents the fleeting presence of human life, which contrasts with the geologic ages of the stone. Yet, by carving his presence into the granite, this mark of mortality has gained lasting durability. Like early aniconic depictions of the Buddha as footprints, the handprint becomes a signifier of transcendence.

Detail of Touch the Void (2011) by Matt Johnson

But the reverse message is delivered in Pyramid of Dust, in which Johnson has created a four-sided pyramid of collected dust. This form is geometrically stable and associated with human structures noted for endurance. But it is crafted out of dust. It could crumble into a shapeless pile with a single jarring shake!

Measuring Beyond Expectations

Detail of Monster Under My Bed (2011) by Tim Yankosky


Let me confess.

When I saw that the George Billis Gallery was exhibiting a series of works composed out of vintage measuring tapes upon panel, I had low expectations. It felt a bit gimmicky. The photographs at the gallery site didn't inspire much excitement either. However, art needs to be seen in person to be properly judged. So this exhibit of works by Tim Yankosky, "Measure for Measure," might be better than I was expecting, but I wasn't putting this show onto my "must see" list.

Last Saturday, I found myself walking north along La Cienega from the Moby photo exhibit at the Kopeikin Gallery on my way to see the KAWS show at Honor Fraser. About midway up the street is the George Billis Gallery. As I passed it by, my conscience started acting up, expressing disapproval of my unwillingness to even give "Measure for Measure" a cursory viewing. Well, I am a slave to my scruples. So I stopped in to take a look.

Wow! I was so wrong about this show.

The patterns of the different tapes create a compelling visual rhythm. It hints at abstract shapes that exists just beyond perception in the staccato space that is created by the contrasting color values. It's almost like a visual form of electronic voice phenomenon. On the surface, it's just a bunch of measuring tapes arranged in rows, but, when you open up your mind to the structure of the works, apophenia takes over. Yes, you might catch a hint of that monster lurking under the bed. ;-)

Chasing the Answers (2011) by Tim Yankosky

The numbers are also important compositional elements. They influence the way we perceive the work by capturing our attention and driving our eyes along the horizontal in either an ascending or descending numeric sequence. Since we are incapable of turning off our ability to recognize and follow numbers, it is an unconscious and involuntary manner of surveying the art. It's an effective way to keep the viewer engaged with the image.

Picking Up Where We Left Off

Breaking the Girl by Yoskay Yamamoto

I always enjoy art shows that involve the blending of multicultural influences. LaBasse Projects in Culver City has been the "go to" place for me to enjoy such exhibits. Currently, LaBasse is exhibiting a solo show of Yoskay Yamamoto's work, entitled "Picking Up Where We left Off." Blending themes and images from both traditional Japanese art and contemporary Los Angeles pop culture, Yamamoto creates a rich "dream space" that makes the mundane take on otherworldly qualities.

The textured quality of the paintings create a strong sense of space in which the mental or spiritual states of the subject manifests as perceptible force, form or color. Be it the wind in ripping though the hair or a haze of snow, the psychological state dominates the space in which the subject figure resides. It's a very powerful presentation.

Snow by Yoskay Yamamoto

And there is a refreshing sense of humor, a lightness of mood, that pervades Yamamoto's work. I especially enjoyed the image above. The title and white hair bring to my mind the legendary Yuki-onna. It's delightfully ironic that she seems entranced by music. ;-)

When Women Wore Gloves

Little Girl Go (2011) by DJ Hall


Koplin Del Rio Gallery in Culver City is currently exhibiting works by DJ Hall in "Kodak Moments, Portrait of a Los Angeles Artist in the 1950's." The artist under review in the '50s is DJ Hall as a child in Southern California. It's a playful show with a good mix of nostalgia and impudence. On one hand, there is a clear love for the details and nuances of the era, from Disney lunch boxes to girls attire to poolside birthday parties. On the other hand, there is a tongue in cheek campiness that portrays the era with a "Dick and Jane" simplicity.

In terms of emulating an era or setting, this show is fantastic. But there are other elements that make this show more than just a fine display of emulation. First, the painting and composition of the works are exceptional. These exuberant images are crafted with bold, expressive strokes. The vitality of the brushwork is the foundation from which these figures derive their powerful presence. Even the flowers seem to jump off the canvas towards the viewer. This paint has got punch!

Smell the Roses (2010) by DJ Hall

The second element that wins me over is the manner in which the artist uses her youthful self as a mirror or counterpoint to her mature self. In some of the paintings, the child has an adult's self-awareness. It's as if the artist has transferred her consciousness back in time into her young body. It's a powerful depiction of the way we all reflect back on our life, experiencing these childhood memories from the vantage of adulthood. In our memory, we inhale the fragrant flowers of our grandparent's garden with a poignant intensity that children rarely demonstrate. Kids aren't aware of the transience of life, wherein the flowers shortly pass away, as do beloved pets and family members.

Voices of the Lake

Still Waters by Korin Faught

I had the opportunity to see Korin Faught's show "Voices of the Lake" at the Corey Helford Gallery in Culver City. Faught has a distinct image vocabulary and superb technique. Her imagery is captivating in both its beauty and mystery. It is an excellent exhibit, running until September 21st.

The use of duplicates is a common theme in Faught's work, but this show adds an additional twist with reflections in the water. It creates a complex psychological dialogue between the "real" figures and then between the "real" and the "reflected" figures. Moreover, the figures interact with the water not just as a mirror, but as a physical presence into which they are immersed.

So, let's consider the painting above, Still Waters. The title is reference to the phrase "Still waters run deep." This means that a person who shows a placid demeanor may actually have complex and forceful passions beneath the surface facade. And so it is that we have the figure of a young lady in triplicate, each of which display a different emotion towards a subject out of view to the figures right. The first seems to display a body language of yearning. The second expresses trepidation. The third leans away from the subject of her view with a sense of resigned detachment.

It's as if the figures are thinking "I desire this but I'm afraid to try for it. So I will not even attempt it. Instead, I will be content with viewing it."

The emotional impotency of these figures is further emphasized by the fact that they are stuck in the water. The reflections and empty background make them seem like lost, spectral beings. They are full of passion, but alienated from their ability to act upon it.

Soulless by Korin Faught

This sense of alienation is further emphasized in Soulless. This woman has been overwhelmed by the waters, as indicated by her drenched appearance. Moreover, she has no internal dialectic, as indicated by the lack of duplicate figures. Furthermore, the background has gone black, with only a distant light source that shines only upon her. With a questioning, confused posture, this lonely lady becomes an image of perdition.