Christopher Pate, Eyes on Farrah 2012, acrylic, graphite, colored pencil, found poster, and collage on paper, 29-3/4 x 22 in.
I couldn’t help but share this image with you. I received it as part of an invitation to a three person exhibition entitled Drown Me in Pictures at a gallery in the Crenshaw District called Latned Atsär (yes, that’s Rasta Dental spelled backwards.) The show opens Saturday October 20th, 2012, 7-10pm. The three artists are Amir H. Fallah, Alexander Kroll and Christopher Pate – all painters whose work is wonderfully easygoing, yet intelligent and well-executed.
The collage, by Los Angeles art world fixture, artist, noted curator and (full disclosure) also my good friend, Christopher Pate, is especially compelling because it is so very familiar and so obviously politically fraught – and yet, above all – blithely joyous, painterly and just plain strange. (more…)
Jonas Wood, BBall Studio, 2012, oil and acrylic on canvas, 105 x 138 inches (266.7 x 350.5 cm)
Jonas Wood really knows how to paint. In his most recent exhibition at David Kordansky Gallery, the Boston-born, Los Angeles resident delivers an oddly sincere art historical cocktail generously spiked with sizeable shot of himself.
He also provided me with the opportunity to learn a new German intellectual-type word, applied to this same show by an anonymous reviewer for the Huffington Post (apparently in reference to the artist’s BA in psychology.) The word is Unheimliche – which according to Wikipedia
“is a Freudian concept of an instance where something can be familiar, yet foreign at the same time, resulting in a feeling of it being uncomfortably strange or uncomfortably familiar.” (more…)
Sarah Braman, Calling Wendy, 2012, Aluminum, plexiglass, paint and radio, 67 x 63 x 32.5 inches (170.2 x 160 x 82.6 cm)
These days are crammed with pathological tension.
Exhausted men and women wearily share revealing tales of near all-nighters, dedicated to Sisyphean work tasks or simply lost to reflux, nerves and unrelenting panicked stress. The new normal is hyper-competitive, over-scheduled ten-year-olds with nervously trembling hands, anxiety-induced backaches or spastic colons.
And, in the visual arts – self-destructively workaholic perfectionism fueled by bottomless ambition and an over-the-top fear of failure often reaps the highest rewards. Count the man-hours that go into physically constructing most gallery shows. List the art historical, philosophical and pop-cultural references demonstrating the level of strategic planning, research and thought that went into each brush stroke, miter cut and pyrotechnical gesture.
New York artist and rising art-star Sarah Braman’s exhibition at International Art Objects (previously, China Art Objects) in Culver City, entitled These Days, has absolutely nothing to do with this. It might even be a type of remedy. (more…)