On the last weekend of January, the Art Los Angeles Contemporary fair (ALAC) stamped an impressive footprint on the second floor of the Pacific Design Center (PDC). The PDC, aka “The Blue Whale” beached up on West Hollywood in 1975. Measuring about 1.2M square feet, it is an imposing piece of architecture at best, and a colossal eyesore to its neighbors at worst. Normally the PDC is utilized by the design community for showroom space but it has also provided comfortable accommodations for all sorts of events. In this case, and not without a hint of irony, the PDC hosted an Art Fair.
Tag Archives: Gilles d’Amecourt
The first thing that came to mind when I saw Post-it Show 4 at the Giant Robot 2 gallery in Santa Monica was… why didn’t I think of that? The idea of curating a show entirely from Post-it notes is so simple that it quietly slipped below my critical radar. The concept alone is very layered and clever, in addition to the fact that the format would serve well in a charitable capacity. Post-it Show 4 is now over, hopefully number 5 is in order, and if that’s the case then just consider this a preview.
A new gallery opening in the wake of this depression is nothing short of a miracle, but to say that Prism Gallery “opened” is an understatement. Its appearance in Los Angeles was more like a close encounter of the third kind.
“That’s what makes it so great.”
With confounding kindness, this retort will de-claw even the harshest critic.
Anyone that can get to the UCLA Hammer Museum soon is in for a treat. Two strong yet very different shows share the upper level. Heat Waves in a Swamp: the Paintings of Charles Burchfield (October 4–January 3, 2010) is an abbreviated retrospective curated by Robert Gober and Cynthia Burlingham. In another well designed space hangs The Bible Illuminated: R. Crumb’s Book of Genesis (October 24–February 7, 2010).
One of my favorite movies related to photography is “Pecker” by John Waters. It’s a charming story about a young, amateur photographer from Baltimore who turns the New York art scene on it’s ear. Pecker’s pictures are so honest, they turn ugly into beautiful, common to unique, and pretense to absurdity. Maybe this is why I like Mathew Scott’s photographs.
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