The Sunday Video: Ghost Ride the Whip

Transcription

ARTLURKER
A Miami based contemporary art newsletter / blog - http://www.artlurker.com
The Sunday Video: Ghost Ride the Whip
Sunday, January 31, 2010
http://www.artlurker.com/2010/01/the-sunday-video-ghost-ride-the-whip/
I was surprised to find out that many people, including our very own Thomas Hollingworth, have not been exposed
to the phenomenon known as ghost riding the whip. Sometimes referred to as goin' Swayze or simply ghostin', the
art of ghost riding is done by placing a vehicle with an automatic transmission into drive, getting out of the car, and
often dancing around or on top of the car while it moves. Today's Sunday Video features a prime example set to
the required theme song for any ghostin' flick that wants to be taken seriously. Before trying this at home, I would
recommend a wheel alignment and maybe an uphill path.
ghost ride the whip (put us on the news, WE jus go dummy)
This post was contributed by Bob Snead.
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"Sometimes I live in Aspen. I am all over the world”-Shari
Appelbaum at Art Los Angeles Contemporary
Saturday, January 30, 2010
http://www.artlurker.com/2010/01/sometimes-i-live-in-aspen-i-am-all-over-the-world%e2%80%9d-shari-appelbaum
-at-art-los-angeles-contemporary/
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12 Hang Art director and rock star friend.
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the experience of looking at the ALAC offerings. The booths feel like rooms in a private Malibu or Palisades beach house, with exquisite
lighting and glass facades. Among the Los Angeles galleries present this week are Karen Lovegrove, Solway Jones, David Kordansky, Crisp,
Honor Fraser, Marc Foxx, China Art Objects Gallery, The Company (Artlurker West Coast editor Annie Wharton’s venue), Patrick Painter,
LACE (Los Angeles Contemporary Exhibitions), and LA><ART.
“Yes” by Paul Villinski at FADA. Courtesy Morgan Lehman Gallery. Photo by Allison Stewart allison-stewart.com
The ALAC fair is not about who is here, but rather who is not. The exhibitors were clearly screened for inclusion, keeping everything that might
fall into the category of “hotel” art (unlike much of the work seen at FADA) out of the fair. Some of the biggest names in contemporary art such
as Walead Beshty, Monique Van Genderen, Jim Shaw, John Miller, Jen DeNike, Wolfgang Tillmans, Lari Pittman, and Ruby Neri are all at
ALAC.
There are fewer international galleries on hand at this fair than FADA. Striking pieces available at The Breeder, an Athenian gallery, chose to
focus its entire booth on Mindy Shapero and created a gorgeous, textural aesthetic meditation. Starkwhite from New Zealand showed three
sumptuous Peter Stitchbury portraits that can only be described as bizarrely Aryan via fetishistic white skin surfaces and gleaming blonde
faces. And Kalfayana Galleries from Thessaloniki exhibited several ephemeral Antonis Donef drawings.
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Ezrha Jean Black in the Marc Foxx booth at ALAC. Photo by Allison Stewart allison-stewart.com
Among the important Los Angeles galleries, Patrick Painter focused on John Miller. The stunning gold piece Absorption seems to wryly
comment on the vacant consumerism of the “collector” while maintaining its assertation that life is about collecting a kind of personal
menagerie. Regen Projects sported a smart Kay Rosen entitled A Slice of Life. So witty and so now, Kay Rosen is one of those women whose
work is always on the money. But Miami-based Charest Weinberg’s booth -- with its odd combination of bad temple sculpture and bananas -left this Jet Setter wanting more.
There are some strong booths focused on photography. Francois Ghebaly exhibited a number of Gina Osterloh photographs that seem to pick
up where John Divola’s beach house photos ended. Osterloh spray paints and collages cardboard inside empty rooms photographing the
results. The cardboard cut out forms stacked inside the photographic spaces create a kind of low-tech version of an acid trip. Osterloh is
innovative in her use of spatial dynamics, pattern, and simple black and white contrast. Also impressive was the massive Anne Collier photo of
a Judy Garland film still at Marc Foxx. The photo depicts pages of a monograph that are tabbed with Post-it notes. Collier’s image is less
homage to the movie star and more a strange portrait of an anonymous character that pines for Garland.
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Francois Ghebaly exhibited a number of Gina Osterlach photos. Photo by Allison Stewart allison-stewart.com
On the subject of objects (i.e., sculptures), Franklin Parrasch gallery had a significant set of Peter Alexander resin sculptures from the sixties
that are dreamy. Primarily known in Los Angeles as a painter, Alexander’s resin pieces seem to defy spatial dynamics and bring to mind Lucio
Fontana’s cut pieces with their ability to play with surface tension in a minimalist way. Also admirable was Robert Lazzarini’s brass knuckles
at Honor Fraser, which extends from the wall like a brass hanger for a whip, where the artist crafted a decadent piece that casts a soft cloudy
shadow, creating its own cognitive dissonance.
Getting back to the subject, this Jet Setter is off to do a little shopping and a little nibbling hopefully scoring some better VIP food this weekend.
Alas, the food and hospitality was much better at FADA. By contrast, the aesthetics at ALAC really raise the bar on the experience of fair
viewing rather than lounging. I suppose the myriad of hedonistic choices are why true jet-setters score VIP tickets to both FADA and ALAC.
So here I am shopping, lounging, and viewing for two vivacious weeks of fun in the warm California sun.
This post was contributed by Mary Anna Pomonis
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Haitian Art Galleries Rush to Save What’s Left
Monday, January 25, 2010
http://www.artlurker.com/2010/01/haitian-art-galleries-rush-to-save-what%e2%80%99s-left/
Haiti Painting (Brian Vander Brug / Los Angeles Times / January 23, 2009).
The recent earthquake in Haiti hit near the
Art Center of Pétionville where as of 2008 over 30 galleries were
clustered. Most of these, including Gallery Bourbon Lally and Gallery Art Nader sustained severe damage.
Although the Nader gallery in Pétionville survives and their family is safe, their Museum in Depres, home to many
of Haiti’s seminal artists, collapsed, burying much of the collection.
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Gallerie Nader in Depres.
The famous murals at the Holy Trinity Cathedral featuring African epiphanies have crumbled into fragments.
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Murals. Interior of Holy Trinity Anglican cathedral in Port au Prince Haiti, destroyed by earthquake, Jan. 12, 2010 Vianney (Sam) Carriere
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Detail of interior of Holy Trinity Anglican cathedral in Port au Prince Haiti, destroyed by earthquake,via Wikipedia.
The Art Community Responds
It’s been two weeks since the earthquake struck, time for compassion fatigue to set in and international donations
to drop off. But Haitians continue to heal their homeland. Axelle Liautaud, a local art dealer, is working with
UNESCO to try to salvage chunks of the Cathedral mural from the rubble. Pierre Vilaire, a sculptor is working to
save historic artifacts from private homes destroyed in the earthquake. Haitian gallerists are working together to
locate artists and ensure their safety.
The Arts will need to play a significant role in the rebuilding process. Speaking practically, the Haitian Art market is
one of the most stable sources of income to the island. Money collected from international shows has been used to
fund schools and other social services.
More deeply, Haitian Art expresses the longest standing free African culture in the Western Hemisphere. As
Barbara Prézeau-Stephenson says “contemporary Haitian art has been subject to a double-edged ostracism.
Feared from the inside because it renders obsolete an aesthetic system based on Indigenism and its ethnicist
corollaries, it resists the Siren song of official art.”
An aesthetic tradition that has been able to resist incorporation for so long, for so strongly, will be an essential
source of strength for the journey to recovery. But what can we do to help preserve it?
You could start with the UNESCO site – but I have to admit it’s pretty lame. (I mean who puts out a request for
donations with no instructions on how to donate?) The National chapter of the Haitian Art Society has started a
Haitian Relief Fund, but the fine print on their donation request states that the funds simply go to “established
U.S.-based human relief organizations providing direct emergency aid in Haiti.” So you might as well cut a check to
the Red Cross - at least they’ll let you txt it in. For now I’d say keep on donating to Partners in Health and
UNICEF but also check the Haitian gallery sites, ask around at the Notre Dame D'Haiti, or your local botanica. This
is our neighborhood Miami, and an essential part of our cultural heritage. Ask your neighbors, post your comments,
let’s see how we can help.
Related story in today's Herald here.
This post was contributed by Lori Kelly.
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The Sunday Video: Thats Why I chose Yale
http://www.artlurker.com/2010/01/the-sunday-video-thats-why-i-chose-yale/
This week's Sunday Video is a recently published (January 14, 2010) introduction to undergraduate life at Yale
College. The project was an independent collaboration between Yale undergraduates and recent alumni working
in the admissions office. All filming, editing, and vocal recording was done on Yale's campus exclusively by Yale
students.
That's Why I Chose Yale.
Ridiculous is an understatement. Whatever they're teaching at Yale these days, a healthy sense of irony seems to
be hard off the curriculum. As one commenter on Pseudolectual commented “Is this for people who like High
School Musical?”
For more mind bending awesome please visit: www.yale.edu/admit
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Jet Set Saturdays: Dan Finsel at Parker Jones
http://www.artlurker.com/2010/01/jet-set-saturdays-dan-finsel-at-parker-jones/
Dan Finsel, I Would Love Farrah, Farrah, Farrah (I), 2009 [still], HD video, 20:24, Ed. 3 + 1 AP
In 1976, there came an idolatrous
poster. Not just any idol, but the one many a young man would intently observe
when his parents went out for dinner. With blond tresses, white perfect teeth, and nipples erect, the Farrah Fawcett
red swimsuit poster became the image of choice for teenage predecessors to Generation X. Dan Finsel’s
détournement, a new installment to his video series I Would Love Farrah, Farrah, Farrah…that he’s entitled I
Could Be Anybody. I Could Be Somebody re-packages the poster, conversations Ms. Fawcett had on her
deathbed, and an episode of Beverly Hills 90210 where Brenda Walsh thinks she might have cancer. The 20
minute video, shot in the artist’s Chinatown studio, finds the artist in seemingly uncomfortable outfits – a red
one-piece swimsuit, a too large white oxford, a blond wig and tennis dress, and red Vuarnet-style glasses chipped
and scratched from years of use. Throughout the piece, where Finsel is seen a front of green screen, one can
detect the reflection of a Dan Flavin-esque sculpture in his glasses. The installation at Parker Jones that closes
tomorrow (hurry, hurry!) also has a 54 x 96 inch fluorescent light sculpture called Untitled (To Farrah), where the
artist riffs on the title Flavin himself would have given the piece had he made it for the Charlie’s Angels star,
reifying the works of the Minimalist icon while referring to filmic vernacular via the 16:9 ratio of its proportions.
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.
Gallery says: “ The totality of Dan Finsel’s work is driven by a central character; one that he constructed in the Fall of 2008, and one in which
he continues to embody through performance, video, and various paraphernalia. This personality is an amalgamation of various
mediaconstructed subjectivities, specifically those from popular film and television. Finsel adopts these roles and their associated narratives
through the character of a schizophrenic and self-obsessed man-child. Emotionally and ethically educated through the chronicles of
coming-of-age teenage melodramas, “Finsel” exists within a conflation between the logic of a Peewee Herman’s Playhouse and Andy
Kaufman, reality TV and filmed studio performance art…”
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.
Shiny white patent vinyl flooring is installed in the gallery -- the kind of substructure employed for sexy rap music
videos and glam-y fashion spreads -- and the theatricality of the floor and fluorescent lighting juxtaposed by the
quirky, ironic video is unnerving. Using Stanislavsky acting techniques, “Finsel” repeats lines over and over and
over into his iPhone: “If I keep talking I’ll cry,” and “I’m a private person, I’m shy about people knowing
things…” The repetition creates an awkward, almost cloying presence, one that drags the viewer in and then keeps
her there through angst-riddled reiteration. The cyclical nature and cadence of the piece allows one to see
Finsel’s progression/regression of emotions, a process where the subject re-structuralizes television as he
morphs into different incarnations of the character and his psychology. Beads of sweat on the artist’s forehead
mark his torment, and the video ends with him giddily taking off the white dress to reveal that iconic red tank suit.
Genitals slightly exposed, wig askew, and posed like Farrah did back in the day, Dan Finsel’s dérive unsettles the
viewer just enough to elicit a similar sort of teenage anxiety as one might feel if left alone in a room with a certain
poster for an extremely long time.
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Dan Finsel, Untitled (To Farrah), 2009. Single tube fluorescent lights, 54 x 96 inches.
Parker Jones is located at 510 Bernard Street, Los Angeles, CA 90012. New gallery hours are Wednesday through
Sunday, Noon til 6pm.
For more information please visit www.parkerjonesgallery.com
This post was contributed by Annie Wharton.
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Transit Antenna: Introducing...
http://www.artlurker.com/2010/01/transit-antenna-introducing/
While we think about coverage of Saturday's openings and retrieve a bus from North West Arkansas take a look
at this recent post on Transit Antenna, the web journal of a mobile living experiment, which Artlurker Founder,
Thomas Hollingworth will soon be conducting.
"From our base in Miami where we work on art stuff we’ve been following the group now for over a year, living
vicariously through their many trials and triumphs and so while it’s a real honor to be taking the reigns, we fully
understand that the life is by no means glamorous. Actually, about half the people we talk to about the project think
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we are crazy. Thankfully the other half are really inspired, and it’s these individuals that are giving us the strength
of character necessary to venture out on this particular limb. Both a carrot and stick and a shadow, the mindset of
being TRANSIT ANTENNA will likely sometimes be our incentive and other times simply underpin our activities; a
means by which others can identify us and we ourselves can justify our existence, purposeful or not."
For the article in its entirety please visit www.transitantenna.com
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The Sunday Video: The National VegOil Board
http://www.artlurker.com/2010/01/the-sunday-video-the-national-vegoil-board/
This week's Sunday Video marks Artlurker Founder Thomas Hollingworth's new venture, to convert and live in a
1981 MCI model 9 that he will pick up from West Arkansas on Monday, returning to Miami late next week to begin
the veggie conversion with the help of Transit Antenna Founder, Bob Snead. Assistance and donations welcome!
"In the winter of 2005, Cynthia Shelton embarked on a journey not many of us would be keen on pursuing- a solo
drive from California to Massachusetts in a 1973 Mercedes run on straight vegetable oil. She was successful in her
journey- documented here- but came away feeling like the people she met on the road needed a way to connect.
What better way to connect than through the internet? Hence the birth of The National VegOil Board. Spearheaded
by Cynthia and other VegOil activists, The NVOB aims to educate the public as well as promote more research into
straight veggie oil as a reliable and clean burning fuel."
Cynthia Shelton, Founder of the National VegOil Board (NVOB).
For more information on Thomas' embarkation please visit: www.transitantenna.com
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Jet Set Saturdays: In Bed Together at Royal T Café
http://www.artlurker.com/2010/01/jet-set-saturdays-in-bed-together-at-royal-t-cafe/
Richard David Sigmund, "Untitled #1" from the Simplicity Series (selected by Jane Glassman), 2009. Photo by Allison Stewart.
Culver City is the Santa Monica of the Millennium – chic, earthy, and replete with trendy shops and restaurants –
and it’s quickly becoming a destination for the glitterati. The Royal T Café is one of those odd little insider places
that operate just below the radar, slightly off the beaten path. The exhibition In Bed Together opened at the Royal T
to huge crowds in December, its “velvet rope” line simultaneously resembling a LACMA trustee meeting and a
raucous house party. The show is hardly your average group show fare with 50 artists selected by 50
curators/collectors. Organized by Jane Glassman, director of private art consulting group ArtTeamLA, the list of
participants is a Rolodex that leaves this Jet Setter salivating.
Gallery says: “ The point of the exhibition being that each specific role in the art world is critically dependent upon
and supportive of the other. Presented together with personal texts, the selections will tell a compelling story of the
contemporary art world
today…”
Upon first impression, the massive and meandering show makes it almost impossible to choose ‘stand out’
contributors. Most works lend themselves to being viewed through the quirky glass wall spaces that house them.
The walls themselves project a deliciously Japanese feeling, almost as if one is looking at art through a vending
machine façade.
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Kendell Carter, "Effigy for a Persisten Wrestling Match with Form and Content", 2009. 14 carat gold-plated boxing shoes & electrical wire.
Dimensions variable. Coutesty private collection, Beverly Hills.
Further investigation reveals that show highlights can be found near the back of the building, one of which is the
work of ghetto-fabulous wünderkind Kendell Carter. Carter’s installation is a dangling pair of gold boxing shoes,
cleverly hung from a line installed high in the gallery space. The hanging shoes remind one of the ubiquitous
hallmarks of every major US city and apparently, in Carter’s heart, every gallery as well.
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Installation Shot. Foreground: Richard David Sigmund. Background: Kendell Carter, "Effigy for a Persistent Wrestling Match with Form and
Content" (selected by Helen Lewis), 2009. Photo by Allison Stewart.
Diagonal to Carter’s work is a sculpture by Richard “David” Sigmund. Selected by Glassman herself, Sigmund’s
sculpture seems at home in its glass case, removed and distant from its obviously painstaking process. The
flawless beauty of the form, hand-shaped by Sigmund through hours of repetitive sanding, creates a Zen-like
moment in all of the group show chaos. To the right of Sigmund’s piece one finds a jarring but hypnotic video
entitled “play” by R. Luke DuBois selected by the collector Kai Loebach. The video features faces taken from
covers of Playboy magazine, superimposed and flashing in sequence. The models seem to share a similar stony
gaze that remains transfixed on an automated imaginary lover.
Pae White, "Booth Family Sampler" (selected by Suzanne Deal Booth). Photo by Allison Stewart.
Finally, this critic was impressed by the Pae White sculpture in the store’s front window. White’s “Booth Family
Sampler” selected by Suzanne Deal Booth dominates the front of the show with its angelic nimbus-like form made
out of twisted plastic coated metal wires. Clearly made to hover in the front shop window, White’s work becomes a
lens that focuses in on and reiterates the show’s premise, a direct connection between the artist and the collector.
In Bed Together is an expose of sorts -- that pulls back the sheets on the creative connections between artists and
their muses -- making us all
feel the love inside and out.
This post was contributed by Mary Anna Pomonis.
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SUPER 8 NIGHT at Bas Fisher Invitational
http://www.artlurker.com/2010/01/super-8-night-at-bas-fisher-invitational/
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SUPER 8 NIGHT. Photo courtesy of Alexandra Kuechenberg.
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the fetishized rarity. There is libration in that multiplicity and enjoyment to be had, but it collapses easily. Although
phenomenological re-signification of imagery can be rewarding this one becomes redundant, leaning hard on
novelty.
The intention is to turn the event into a series, a regular night similar to but less frequent than the weekly Theory
Nights hosted on Thursdays at the space by MOCA’s Assistant Curator Ruba Katrib, however nothing is
scheduled yet. What we would like to see, if this evening continues, would be an attempt at the demystification of
the medium; a steady prolonged exposure to the mechanical process and history of the camera. More than sitting
down to passively enjoy someone else’s impression of what Super 8 is or represents, a more formal course-like
introduction would maybe sustain the series and add much-needed grounding to an otherwise potentially elitist
niche that only those with specialized knowledge can really [claim to] enjoy.
At the end of the day, maybe the lure of Super 8 film, like any homemade film, is the event, and perhaps the way in
which people unite over it and talk about it. In this regard, hopefully SUPER 8 NIGHT facilitates a richer dialog
about and appreciation for the medium of film, as opposed to it being the completely digital interface that we have
all grown so used to[.]
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This post was contributed by Angela Diaz.
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The Sunday Video: Fightin' Texas Aggie Bonfire
http://www.artlurker.com/2010/01/the-sunday-video-fightin-texas-aggie-bonfire/
This week's Sunday video is dedicated to anyone whose AC is also broken and whose log pile also got saturated
in yesterday's rains. Here's to the bastard cold front and the inconvenience inherent in spontaneity!
"Aggie Bonfire is a long standing tradition at Texas A&M University as part of the college rivalry with the University
of Texas at Austin. For 90 years, Texas A&M students—known as Aggies—built and burned a bonfire on campus
each autumn. Known to the Aggie community simply as "Bonfire", the annual autumn event symbolized Aggie
students' "burning desire to beat the hell outta t.u.", a derogatory nickname for the University of Texas. The bonfire
was traditionally lit around Thanksgiving in conjunction with festivities surrounding the annual college football game.
Although early Bonfires were little more than piles of trash, as time passed the annual event became more
organized. Over the years the bonfire grew to an immense size, setting the world record in 1969. Bonfire remained
a thriving University tradition for decades until, in 1999, a collapse during construction killed twelve people—eleven
students and one former student—and injured twenty-seven others.
The accident led Texas A&M to declare a hiatus on an official Bonfire. However, since 2002, a student-sponsored
coalition has constructed an annual unsanctioned, off-campus "Student Bonfire" in the spirit of its predecessor." Wikipedia.
Aggie 'Student' Bonfire, 2008.
For report on the Aggie Bonfire tragedy of 1999 courtesy of the engineering disaster slot of Modern Marvels please
go here.
This post was contributed by Thomas Hollingworth.
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The Sunday Video: Ghost Ride the Whip

Transcription

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