The Getty’s presentation of Jackson Pollock’s Mural has apparently brought necessary attention and an uptick in attendance to the institution. The show is one of the must see art experiences in Los Angeles right now as it shows that art is more than painting, that it can be scientific and mathematical and physical and historical. One show that has a nice synergy with Mural is the intimate and educational Hatched! exhibited before the entry of Pollock’s work. As the title suggests, the show shares one of the most basic practices in drawing: hatching.
The life of an airdancer must be an isolating one. They work all day in front of car dealerships and tax preparation stores, waving to all who pass. They never stand still long enough to make eye contact with their viewers and they are always are in motion. They have a delicacy to them, a buoyancy that can’t help but draw a smile to the face of viewers. They’re fascinating—and they have an untapped potential.
The Industry‘s Creative Director Yuval Sharon saw this as he was listening to Terry Riley. As the story goes (which was explained at the Made In L.A. preview), Sharon was driving and listening to Riley’s minimal pioneering “In C” when he stopped at a stoplight and caught an airdancer moving along to the music. Sharon called up Riley and explained that there was something to this and they had to make something out of it. The concept was pitched to the Hammer and the result was this past weekend’s performance installation of IN C. It was an immersive spectacle that really could move a person to tears: it’s minimalism’s simplicity that makes IN C so powerful.
How was West Hollywood in the seventies and eighties? Most locals probably have no idea as they are transplants from other parts of the world or simply haven’t been here long enough: local oral history doesn’t get passed around that often. Apparently there was a bubbling video scene that pioneered alternative film techniques and filmmaking that captured performance and art entrenched in a specific LA queer community. Who knew?! ONE is currently exhibiting the work as a part of the eponymous show EZTV. It’s a little education in a lost history of queer video.
Collage is an art form considered to be two dimensional. It consists of layering images to build a new image, a whole from many disparate parts. Rarely does collage enter different disciplines but elements of the practice can appear in music, film, performance, design, writing, and more. Cutting and pasting—the actions that make collage—are embedded into our culture now: we are all collage artists in our own way.
Then there is the work of Miwa Matreyek, an artist and performer whose work proves that collage is more than the couple of dimensions that we give it. Instead of cutting and pasting one piece of paper to another, why not cut a piece of paper and paste it to a sound? Why not cut a movement and paste it to a lighting effect? Why not cut a concept and paste it to an entire set of physical actions? This is how Miwa approaches collage: it isn’t an art form locked in a binary but is an entryway to experimentation.
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