LOOK INTO MY OWL

If you are in or traveling to California this month you will be pleased to hear that “Skateboard” has been extended through August 29th at the California Heritage Museum.

The museum has pulled together more that 275 skateboards from some of the most impressive collections available. The exhibit houses skates, scooters and modern boards tracing the development of the technology through the decades.

The California Heritage Museum is located in Santa Monica, the birthplace of contemporary skateboarding. It was here, in Dogtown that the sport of short shorts and banana boards matured into the physical and visual expression that is now cherished internationally.

SKATEBOARD: Evolution & Art in California
14 November 2009 – 29 August 2010
California Heritage Museum
Santa Monica, CA

“Surviving the End of Your World” is the first Los Angeles solo exhibition from Chad Person. The multimedia effort currently fills the Mark Moore Gallery and continues through the middle of August.

Chad Person, The Mayor Rests, vinyl, steel, electronics & mixed media, 2008.

The economic downturn has left most of the country feeling a little flat. A large inflated sign of power slumped in the corner might not make anything better but it can’t hurt. In trying times, change occurs and we’ll need to be ready. For his part, the artist has constructed an “apocalypse bunker” in New Mexico and has been appearing in the gallery from there via live video feed.

Chad Person, Improvised Double Barrel Shotgun, wood, steel pipe and fittings, glue and twine, 2010.

“Surviving the End of Your World,” is a display of repurposed goods. The halted commercial backdrop to these pieces exclaims a transformation of value and a new sense of what may constitute as raw material.

Chad Person, Twelvepack, US currency on canvas, 2010.

Chad Person
Surviving the End of Your World
10 July – 13 August 2010
Mark Moore Gallery
Santa Monica, CA

On Tuesday, June 22, Dread Scott performed “Money to Burn” in New York City’s financial district. The project was made possible, in part, by the Franklin Furnace Fund.

Dread Scott, Money to Burn, still from video, 2010.

The artist meandered among the midday money manipulators bellowing “Money to Burn!” The repeated outcry was presented generally as a statement and then to individuals in the form of a question. Scott burned several of his own bills and then those from interested bystanders. The crowd soon attracted the attention of police and they began also to gather around the performance. Eventually, the law swooped in and put an end to the interaction issuing the performer a citation for disorderly conduct.

Dread Scott, Money to Burn, still from video, 2010.

The action raised a lot of questions that offer no simple answers. It is interesting to note, however, that it is very easy to land a court date in this country. Here is video of the interplay as released by Dread Scott.

Mary Reid Kelley recently opened her first solo show in NYC. Two videos are being shown at Fredericks & Freiser on W. 24th Street. Both of these pieces utilize live action performance in combination with stop motion animation. The effect, along with the heavy World War I era influence are a visual banquet.

Mary Reid Kelley, Sadie, The Saddest Sadist, still from video, 2009.

The speech in her videos is broken down into sets of consonantal and vocalic alliteration that further disfigure the principals of the exchange. In “Sadie, The Saddest Sadist”, rhyming patterns of speech overlay a story of destroying to consume.

Mary Reid Kelley, Sadie, The Saddest Sadist, still from video, 2009.

“The Queen’s English”, a previous video will be running parallel to the headliner. Language again is the catalyst to a visual breakdown. The beauty in deterioration is explored through an anecdote of bereavement.

Mary Reid Kelley, The Queen’s English, still from video, 2008.

Mary Reid Kelley
Sadie, The Saddest Sadist
1 September – 3 October 2009
Fredericks & Freiser
NYC

An exhibit of sculpture and photographs from Roman Signer is on view at Häusler Contemporary in Munich. “Der Letzte Schnee” (The Last Snow) is comprised of work created in 2009 specifically for this show.

Roman Signer, Beim Chef (With the Boss), 2009.

Water in it’s many forms has been a reoccurring theme in the Signer’s work over the past four decades. Following the physics of fluid his artwork is intended to take the shape of it’s container. These boundaries have been set like a science experiment with the results firmly established as art.

Roman Signer, Fenster (Window), 2009.

Room is left for variables in these investigations. More than simply proving a hypothesis, the artist is interested in data that falls beside success. Hit or miss the denouement always entertains the unpredictable. The detachment involved in calculated performance is at once broken when the artist hand delivers a small box of snow to the doorstep of a participant.

Roman Signer, Schnee (Snow) 3, 2009.

Roman Signer
Der Letzte Schnee
25 June – 5 September 2009
Häusler Contemporary
Munich, Germany

It is safe to turn off the television for the next few months as there is a constant sideshow on stage in London’s historic Trafalgar Square. Antony Gormley has invited 2400 people to occupy the fourth “empty” plinth for one hour each over the course of 100 days. The entire spectacle is being broadcast via live streaming video at One & Other.

Antony Gormley, One & Other, still from video, 2009.

The Fourth Plinth was constructed in the 1840’s to support an equestrian statue. Owing to financial shortcomings, the statue was never erected and the plinth has stood vacant. In 1998 commissioned works from contemporary artists began to appear atop the structure and Gormley’s project is the latest installment.

Antony Gormley, One & Other, still from video, 2009.

The democratization of space in one of the most recognizable spots on the planet is a moving gesture. The intent of the artist is for the public to encounter ideas that their neighbors feel are important. These living statues may choose to forward a cause, express personal issues or just spend an hour doing nothing. The experiment promises a current portrait of the United Kingdom. I’m hoping that the exhibit grows into a traveling show.

Antony Gormley, One & Other, still from video, 2009.

“One & Other” is a fitting title for this brilliant piece. There is a strong draw to find out how the “plinthers” will use their hour in the spotlight. At the same time, Gormley incites us to ponder the things that we cherish. What would you do?

Applications for time slots are still being taken. Head to the website for details. Below you will find a video where Antony Gormley describes his project in detail.

Antony Gormley
One & Other
6 July – 14 October 2009
Trafalgar Square
London

The first retrospective on U.S. soil for the legendary Dan Graham is currently on view at the Whitney Museum in NYC. The museum has a rich program of exhibitions for the summer including Sadie Benning, Claes & Coosje and Photoconceptualism. I’ll be in the city for a few days in August and the Whitney is a guaranteed stop.

Dan Graham, Figurative, 1965.

Dan Graham has exhibited extensively since the 1960’s pioneering some now fundamental concepts that are in play through every conscious mode of expression. He was among the few that understood that it was conceivable to mash minimalism with rock music, high art and tract housing. The practice of contrasting opposing cultural preferences was unusual and even regarded with apprehension. Brave experimenters like Graham nudged us all a bit into the future.

Dan Graham, Detail from Homes for America, 1966-67.

Graham has enjoyed success in many media including print, film, performance and architecture. The artist has imbued each aesthetic with a flow of heady notions cooked down to simple principles.

Dan Graham, Performer/Audience/Mirror, 1977.

In keeping with the spirit of their subject for this retrospect, the Whitney is hosting a wide array of events. The show opened with an acoustic concert by the Feelies with more music planned through July. There are also film screenings, discussions, and a conversation with Dan Graham and Glenn Branca on tap. Check the schedule as you may want to plan several trips.

Dan Graham, Skateboard Pavilion, 1989.

This is the second leg of the tour for “Beyond”, the exhibit was held at the Museum of Contemporary Art, Los Angeles earlier this year and continues on to the Walker Art Center in the Fall.

Dan Graham
Beyond
25 June – 11 October 2009
Whitney Museum of American Art
NYC

“Tian’anmen” is the first solo exhibition in Los Angeles from Ma Yanling. LA Contemporary is hosting the show of recent mixed media paintings.

Ma Yanling, Tian’anmen-B, 2007.

Ma Yanling extends her expression through painting, photography and performance. These painted canvas giclées demonstrate facets of each approach. Yanling photographs her suicide performances and prints them on canvas. The reproduction is then hand painted utilizing a traditional Chinese technique that is composed of eighteen distinct strokes. The fine brushwork is weaved on the surface actualizing a veiled conclusion.

Ma Yanling, Tian’anmen-Gray-A, 2007.

The Tian’anmen Square is a cultural center with a checkered past of protest. The government is concerned with the actions of citizens in the Square and maintains a close control over the area.

The essence of these works satisfy established convention and topical concerns. The statements are not a lionization of violence. The artist makes a call for political change with her display of the paramount in personal freedom.

Ma Yanling, Migrant Worker, 2008.

Ma Yanling
Tian’anmen
23 May – 20 June 2009
LA Contemporary
Los Angeles