As a means by which to chronicle what is going on in the American cultural zeitgeist and how we cater to that, The Hollywood And Highland Character Count is an infrequently occurring sociological examination. Every few Fridays, we’ll share who the performers are that are clogging the Hollywood and Highland sidewalks and see how they change and shift in relationship to what is happening in the entertainment world. We’ll make predictions, keep count of who stays and goes, and log just what is happening at the best microcosm of what is on the world’s mind: Hollywood and Highland.
Do you guys remember the work of Jennifer Sindon? I hope you do. If you dont, let this be a refresher. Sindon is a multi-media artist and filmmaker who uses and distorts film through grotesque, bright, cousin-of-Seapunk ways. Her films give you the experience of being high in a satanic disco where no one wants to dance but everyone wants to shape shift. We love that and we wanted to share three new videos she made that she sent us.
On the seventh day of Holiday, my LA friend gave to me: 1.61 leather cases.
LA native Stephanie Matthias is an artist and jewelry maker who runs the brand/online shop OK-Universe. The brand is mixture of light, graceful neck pieces with a splash of homemade rough edges. They’re kind of like if you took pasta you made necklaces with as a child, cast them in gold, and then strung them together: they are simple, basic, and pretty jewelry items.
(C)overt, the group show recently on view at Synchronicity Space on Heliotrope and curated by 5790projects (aka Catlin Moore and Matthew Gardocki) left me vexed. In my rush to arrive to the opening on a rainy night from a figure painter’s open studio nearby, I forgot to use my aesthetic wiper blades (someone should pitch that product to a venture capitalist) to make a clean hole for my visual, intake valve. After dodging other reception cavorters in an effort to see the paintings, I thought, “What can I value from this not so overtly covert four person show?” A friendly war of aesthetics was being fought. I just needed to figure out if I believed the premise and to choose a side. The news release asserted that “…each artist grapples with (an) equilibrium of the hidden and unveiled—both aesthetic and conceptual attributes are strategically divulged, annihilated, obscured, and intimated.” While that description sounded open ended and apt, I wanted the how, the blood and guts of each artists’ mission. I emailed each artist that same question I asked myself when I encountered the works during those critical first moments of entry to the intimate, gallery space. Can we receive anything from looking and seeing art other than temporal terrors, slow burns of visual bliss or something neutral and leveling in between? Are those “psychological associations” something valuable? As a 6 year old I know likes to tell me, “Nothing IS something.” Three of the four artists graciously responded to my query with unique statements on where they stood on their art production and what they hoped viewers would see and gain from looking at their contemporary art spawn. Their words abetted my initial trepidations and stoked my thoughtful curiosity even more.