Cyclopean Design

Myrtle Cyclops (200) by Terry Martin

I recently visited the Long Beach Museum of Art. There were plenty of delightful and inspiring works on display, which I hope to share with you over the next week or so. However, today I want to share this piece by Australian woodworker, Terry Martin, part of the LBMA's "Tree" exhibition.

I love the color and texture. The shape is a bit creepy, otherworldly, as if touched by sorcery. Well, the artistry and craft behind the working of such a piece is indeed a type of magic. ;-)

Here's a vid of Terry Martin turning a piece of wood.

Enjoy!!!

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.

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.

Pacific Standard Time: Update #7

Pacific Standard Time Logo

It's been over a month since my last update, but that doesn't mean that I haven't been chasing down PST events. ;-)

We're halfway through the event's run, with many shows closing, but new exhibits opening. I went to give a farewell view to some of my favorite shows, such as the Hammer's Now Dig This! exhibition on LA's African-American art scene. As I was giving a final viewing to some of these artworks, melancholy came over me. So many of these works are hidden away in museum vaults or in private collections, I don't know if or when I'll be able to see them again.

For example, Ed Kienholz's Five Car Stud was created about 40 years ago, but has hardly ever been on view. What are the chances that I'll get to see it again? Likewise, all the lesser known minority artists rarely get shown. I know that one of the purposes behind the PST event is to alter the situation, to reveal the hidden treasures of the early LA art scene, but changing the established bias in the understanding of modern American art is a long-term project.

Although a strong counter-narrative is being proposed, such a fixed "history" is hard to shake, especially as many East Coast experts have so much invested in the current narrative.

Detail of Booster (1967) by Robert Rauschenberg

In any case, it's been fun and enlightening. I finally got to see the show at the Getty, which was awesome! I even got to attend a short talk on George Herms' assemblage piece, The Librarian. At another visit to the Norton Simon Museum, I attended a "spotlight" talk on John Baldessari's Fallen Easel. Likewise, the Hammer featured Maren Hassinger's River. I definitely appreciate these focus talks, brief though they may be, which enable me to benefit from the expertise of the curatorial staff in developing a deeper appreciation of the works under review.