RR08-2008

Tonight, a memorial was held in Little Tokyo for Robert Rauschenberg. Attendees ranged from curators, writers, fellow artists, collectors and a great many connected to Bob through Gemini GEL.
This picture is of a Robert Rauschenberg that I learned about in school. This is not the artist I knew.

The photo below is the Bob I knew working on a litho series where he painted diazo onto plates. I proofed and editioned some of the prints on this project. We (the printers in the shop) knew that Bob was coming by whenever the Jack Daniels and fresh ice showed up in the kitchen area. When a project was going to start, a TV set would be installed in the artist studio. One time, I was sent down to Sears to buy a ping-pong table for him to use. My friend Stan was later stuck with it in his part of the shop where he continually had to move it out of his way.

I did a whole lot of the edition screen printing for the Samarkand Stitches set (below). Screen printing wasn't my specialty, so I sort of half-assed it in order to match all the crazy unique patterns within the photo images that we did during the proofing session. When I thought it was all done, I stripped the image and then came a decision to increase the edition when more of the silk fabric became available (it was hand woven in the communist Russian state of Samarkand). I had moved onto some litho project so Stan was given the chore of matching what I did in order to recreate the proofs. He didn't say much when I showed him the odd stencils and masks I had used, but I know he didn't have much fun finishing it.

The memorial had the familiar (to me) presenters, Darryl Pottorf, Sidney Felsen, Joni Weyl, Stan Grinstein and his daughters. There were others new to me-Bernice Rose, Paul Schimmel. I never interacted with them during my time at Gemini. Ed Ruscha imitated Bob's wheezing cackle of a laugh that we would hear cutting through the shop noise. Adele Lutz gave a stream of thought collection of words peppered with her personal musings. She defined the interpretations and uses of the word "cool" in a way I've never considered before. It was nice to hear Irving Blum, he is a cornerstone of the LA gallery scene and has the backroom stories to prove it. Kat Eppie participated in many of Bob's performance pieces as well as his events. She played a song dedicated to Bob on the flute that, while short, effectively illustrated the creative process according to Bob.Dickie Landry blew some free-association riffs on the sax as early (50s) performance pieces were projected.

It was good to see printers I worked with- Jim, Carmen Schilaci, Stan Baden, Tony Zepeda and some that preceded me that I've been fortunate to get to know- Dan Freeman, George Page, Tim Isham, Barbara Thomason.

Doug Chrismas, Peter Gould, Frank Gehry...I haven't seen them in too long. I felt bad to have to reunite with everyone for a memorial, but at the same time, it was comforting to be together with all of them. Everyone had a Bob story, few of them repeatable in public. I learned just how many people in our corner of the country were not only friends of Bob but felt a part of the Rauschenberg family. He treated everyone the same, made no distinctions for anything, whatsoever. He had a gravitational quality when it came to personalities he liked, was always open to new ideas and was never shy with an opinion. I feel privileged to have been able to work with Bob. He listened to my suggestions and even changed the name of a litho because of one. He was a regular guy, heart o' gold, raconteur, he even played the role of sage on occasion. When he saw us struggling to move the large brass sheets used for the Borealis Shares in an effort to avoid fingerprints, Bob told us to grip the material firmly- any prints, or markings were "free drawing"...sort of a bonus, the way he saw it. That pretty much exemplifies him as to the way we the printers knew him, a seasoned professional with the ability to see the utility of things we ignore and the willingness to accept things he could not completely control.

...Jake, it's Chinatown

I received this invite last week:

It turned out to be a guerilla exhibit in the middle of the sidewalk. I couldn't take any pictures so imagine a structure made of cardboard such as these:

...only a bit taller, much neater, and filled with art!

The box was a portable gallery. I don't have any images so try to visualize one of these sample images surrounded by wine sipping, cracker nibbling viewers drawing participants from the torturous film features from nearby "official" galleries. The culprits were an Art Center trio- Connie Wong, Saejean Oh, and Wendy Cogan-Toyoda. This spectacle succeeded in several ways. The subversive action of squatting on some prime gallery real estate has a long history and this event is notable for its timing and use of materials. Evenings other than opening nights on this side of tourist Chinatown are bleak, providing an opportunity to set up camp without having to fight for space with noshing opening lemmings. The quality of the work rivalled any of the upcoming artist galleries offer- precisely crafted, loaded images, honest and personal content.

This was an experience and a good one at that.

This display works as a dark echo of our gloomy economic situation. The conversations at openings these days are often filled with negative views on the future of art as a viable economic element but this cardboard venue is a positive response in that it truly celebrates the art for the entertainment and diversion that it evokes. It portends a possible way of exhibiting in case the recession collapse into a depression. There are the echos of NY happenings, Fluxus street events and Soho performance in this modest production.

I normally avoid installations and outdoor events. I probably would have thought against going Saturday night if it were not that I am a sucker for the art. The entire experience was a pleasant surprise- very honest and refreshing without seeming cute or quaint. Another event is in the works for another artburb in LA. I'll be there...and armed with cameras this time.

Broad Gesture

Eli the Broad has come forward and offered to put in 30 million in dollars to save MOCA (http://www.latimes.com/news/opinion/editorials/la-oe-broad-2008nov22,0,2108831.story). The catch is that this is a matching fund offer, good only if some other philanthropic patron(s) steps up to the plate with the same amount. Fair enough, I feel, since the level of museumness that MOCA aspires to achieve requires deep pockets. Some feel that art museums should be above such tawdry affairs (http://coagula.livejournal.com/)- a noble dream but not realistic. The history of museums is filled with tales of donors and patrons contributing funds, objects or other means of support for certain compensations. Check the names on founders lists of the major players back east and you'll see industrialists, financial moguls, aging debutantes... Look into past shows from any major museum and there will be the odd clinker show or WTF exhibit.

Museums are not the altruistic institutions they play on TV. They have sordid pasts, filled with tawdry affairs, illicit dealings conducted in back rooms and dubious business associates.

Donors used to be able to write off significant funds with choice donations until tax reform put the pinch on that. Museums have been used to launder money and broker stolen goods. Counterfeits and questionable artworks have been legitimized through the these institutions. Art is a dirty word. Modern art is tainted with bravado and hubris. To think that our local example would be free from that is ludicrous. There is little difference between corporate sponsorship for an exhibition and privileged patrons pushing a show based on their collection or brother-in-law's sister's Sunday paintings.

Mr. Broad's offer is an unique opportunity for LA's part time players to move up into a position that would establish a stable and consistent art patronage. The money is here, even in this gloomy economic atmosphere. Many local collectors get their art in NYC. Its time to steer them homeward. Broad's editorial challenge brings up a critical point about the development of a central cultural nexus in downtown LA. The projects presently lined up will suffer setbacks that could mire the efforts to build a real city core.

MOCA Chokes in Lala

The LA Times is baring some disappointing news for those of us hoping to see our fair metropolis become a serious player in the art world. It seems that MOCA has been lagging in their fundraising and as a consequence have had to dip into some accounts reserved for specific purposes other than rent and payroll (http://www.latimes.com/entertainment/news/la-et-moca19-2008nov19,0,2100731.story).

The museum that arrived in our city of dreams with such promise is now in the market for a sugar daddy just like so many other aging starlets. Too many sad stereotypes about our community that relate to art pop up in our rumouring- not enough collectors or patrons in our town that care to support local endeavors, insurmountable disconnects with cultural venues and minority populations, an inpenetrable atmosphere of apathy towards the fine arts, etc...

The Times article mentions that MOCA is looking for more funding but today's economy quickly rules out the government so until some patron alights from the smoggy firmament expect some pleas directed at the membership. Even though the big M is my favorite big art box in town, I know my measly membership level won't do more than buy them a few more plastic swizzle sticks for their next gala opening.

Maybe some corporate partnership might be in the works. How about MOCA/Disney or Disney's Artlandia?

Studio Time

Last week I visited Dan McCleary at his studio in Macarthur Park.

This guy is on a roll. He's working on a new series of paintings so there was a lot of stuff thrown about his space. I actually dropped in on a day when he came in after working somewhere else for a couple weeks.

He spends a good part of the week at H.O.L.A. ( http://heartofla.org/) down the street. Dan runs art classes there and the results are quite amazing.

Cultural Leeches

I received announcements for Machine Project's event at LACMA this week. I scanned the info and after much soul searching (about 2 minutes worth) I decided I didn't like the smell of this self-serving waste of time. Machine Project (http://machineproject.com/) has created an interactive field trip that will do little more than clog up the LA County Museum and waste perfectly good public funds.MP is a non-profit agency which means ,as a gallery, they couldn't make a go of it. Their popularity and categorical success is blunted by the dilapidation that serves as their physical headquarters. Located in a local art hotspot- Echo Park- they've forsaken the locals in their eagerness to branch out. The events are products of creative grant writing binges and the funded projects never really gel until the lights are turned off and the receipts added up, too late to benefit the art-hungry poor and carless critical masses.

The info for this creative roadbump is: http://machineproject.com/engine/wp-content/uploads/2008/10/machinefieldguidetolacma.pdf. Too much drivel, even for my taste- and they admit to not fully imagining the real application of this kindergarten fingerpainting on papier mache covered with glitter and macaroni fun-fest.

Go. Have fun. We'll discuss this later, after you've thought about what you've done.

LA Old School

My friend Peter said we should go see a friend who was having an opening at Lawrence Asher Gallery. Richard Amend is a Cal Arts alum from way back and although the school was already entrenched in its well known conceptual doctrines he turned to painting. And while I missed his early geometric abstractions way back when, I found a reassuring quality of form and paint pushing in his current set of canvases. This show features two themes as subject matter, objects and architectual elements. Chandeliers as heroic portraits layered with creamy glazes show a fascination with things that, quite literally, are over our heads in terms of physical positioning and conceptual imaging. We, the viewer, are placed at eye level with these glowing characters but fine detail is occluded by the strength of their personality- or maybe the dimmer didn't work. The fuzz that is created by the inherent function of providing light forces one to fill in the gaps as to the whys and what fors of these objects.

The movie marquees are not the usual homage to fading architectual treasures. These historic icons are used as signposts in a cinematic snippet suggesting some type of action or event just out of sight. I know it sounds treacly,but these images held my gaze loner than usual- I just knew inside there was something more. More story or image, something was beyond what Richard was showing us.

New Production

Echo Park

This is the studio of Peter Shire, ceramicist and sculptor. Born and bred in Echo Park, he established his studio in his neighborhood but he has worked in places as far as Japan and Italy.

Right now he is gearing up for the holiday sales at his studio featuring not only his work but that of other craftspeople.

Its an opportunity to see his pieces in their natural setting, untainted by the outside world. You can also poke around the studio, listen to music, hang out with Echo Park Santa or get an aromatherapy back rub.

Angels up high.

Oodles of objects.

An unabashed collector and unafraid to show it.

Sideways cycles.

Peter, holding court. He pulls a mean espresso and is ready to hash out arty opinions with any who drop by.

This studio represents a world class effort in terms of production and content. Peter has tackled public art, prints and even furniture. He is a card-carrying Memphis associate and the concepts and images worked out in that confluence of minds have and continue to inform the design and production of furniture. He is the unofficial senator of Echo Park, participating in fundraisers and has been known to drive his custom pickup in local parades.

A Parallel World

There was supposed to be some clever content accompanying these images but as I sat in front of the keyboard, nothing.

The pictures show that I like to organize. Straighten up a few things in the studio...then a few things more...eventually the whole space is more or less in order- more or less. Lump similar objects according to style or function or shape or color-continue this exercise and everything is tidy. This is all just a lie, a desperate attempt to control the process of artistic entropy. A studio is a place of creation, origination, production. Messes are part of the deal. I hate mess. Printmaking compounds this dilemma. Ink is rolled on a slab, transferred to a plate, printed onto a sheet of paper. Its a lose lose lose situation.

I have to clean my rollers now.

SubMinimal Examination

Way back when I first took Intaglio at CSULB, the old fart teaching the course explained his background and specifically his relationship to the methodology developed by Stanley William Hayter. As a beginner, I was suitably impressed. The instructor's work was interesting with a focus on deep-bite etching and several colors all printed one time through the press. I bought Hayter's book, New Ways of Gravure, a few years later and was disappointed to see that a good portion of the book was devoted to his philosophy on printmaking and its implementation. I quickly flipped the pages to the techniques and pictures. I did read the serious part of the book and Hayter's approach began to make sense the more printing I did for myself but more importantly, as I printed for other artists.

It is difficult to make an art career based only on prints, especially with the current national focus on craft-like techniques and an obsession with non-toxic materials rather than actually taking the time to learn how to skillfully employ the medium and perhaps respect its tradition. Learning Hayter's philosophy would be noble just as it would be enlightening to sample the opinions of the printmakers deemed to be prominent today, but the true path to graphic enlightenment would be for instructors and schools to impart a thorough and cohesive printmaking education. A few techniques learned well can serve as a stepping stone to effective artistic expression. Conversely, a program based on including as many techniques as possible results in too many students coming out of the academic institutions no better than "dabblers" or hobbyists.

Its late, I'm crabby and this causes me to lash out at artists that like to make flower prints and kitty etchings.

Oh, The Mortality.

There's nothing like driving past a corpse on the freeway at rush hour to prime an appetite. Some poor soul got hit in the center divider on the 210 in Lakeview Terrace on the westbound side and ended up on the eastbound side. The Santa Anas were blowing so the white cloth wasn't staying on. I never expected to see the guy with such a serene expression and he wasn't as pale as I thought he would have been considering the back of his head was as flat as a raw egg cracked onto a counter. It was well past gloaming time so the stream of blood looked like oil trying to make its way into the fast lane. CSI is graphic and fairly realistic but its not the same.
I was about twelve when I last saw a traffic fatality and my reaction to both scenes was about the same- indifference. I grew up in SoCal and started driving motorized things at ten, cars at twelve. I've seen some incredibly stupid things happen on the road and faced my own mortality behind the wheel a handful of times. I'm so jaded when it comes to driving I feel like the Sam Spade of the highway. It's only when something like this occurs that I am reminded of smug driving habits.

bemusings

The Brewery Art walk was this last weekend and I missed it. I go as often as I can in an effort to reinforce my snarkiness towards emerging artists. This event is the highest level of mediocrity in terms of contemporary art in Los Angeles. Making a living from selling your own art is one of the most difficult ways to earn a living. Coomodification of individual expression in the face of dwindling disposable income notwithstanding, how do you convince a significant portion of your art-viewing audience that your production is worthy of purchase and deserving of repeat business?

A menagerie des artistes is the Brewery's answer. Sign up a gaggle of wishful dabblers, add food and music to create a modern version the European tradition of Sunday family through the local bedlam. The inmates provide as much entertainment as the artwork on display. The open studios also offer a glimpse into the secretive studio universe. Storage solutions, small living quarters arranged to maximize work areas- these are looked at, vying for the attention of the artistic oevre that is intended to be the focus.

The event at the Brewery is a side show. The artists participating reveal their need for attention and exposure like beginning poker players. Established artists with real resumes are rare items- mostly due to the tendency of mid-carrer artists moving to more personal studios as soon as their paychecks start coming in more regularly. These artists are occasionally spied during exclusive studio tours such as the Venice Art Walk or museum patron events. It's not that the quality of the art at the Brewery is poor or unappetizing, the sheer desperation surrounding the event is so palpable it creates an aura of failure...or impotence. Yet I still go, looking for nuggets of creative brilliance and flashes of unconventional ingenuity. For me its a huge flea market without the dust where I can poke around, meet up with aquaintances I should see more often and then slip on down to Phillipe's for a lamb dip with blue cheese and a pickled egg.

NeoLuddites Unite!

A rather inauspicious start for this blog. Just after setting up this project, my computer had a complete nervous breakdown. This was a sight to see, though. Screens popping up, continually crowding each other- it was like Wargames WOPR when it it ran through an infinite number of possible nuclear attacks.
This is the second time I fried my computer this quarter. As a result, my tech guy (Danny, my son) wiped everything and reloaded programs. My wife then unloaded some of the programs that were unfamiliar to her and replaced them with what she uses. Now my computer doesn't have PhotoShop and operates in Korean. My language skills are not that comprehensive so it costs me to find things in order to read messages and post blurbs.
Now, the real reason this occurs to me is because I have an embarassing condition. I must have over twenty wrist watches and not a one of them works. This is a result of an affliction that causes electronic and electrical devices to behave bizarrely. I have had to overcome this curse and it places me in a unique position today. As an art afficionado and partime practitioner, I have learned how to do almost everything by hand. I can't fix my cars today but I can start any Ford made before 1972 with a screwdriver and tune a smallblock V8 with the same screwdriver and a matchbook cover. In my profession I make prints off of rocks and plates of copper. Creating doesn't get any more elemental than that. I thrive on human interaction, not technological innovation. The senses are interconnected and interrelated. Typing with two fingers only stimulates my pre-arthritic joints.
There is no convenient solution for my condition so I will get back to the press and pull a few more proofs before returning to this blog with my scheduled rants on this blog

Ribbon Cutting Ceremony

As William Mulholland said at the opening of the Los Angeles Aqueduct, "There it is, take it."