1215 Bates Avenue, Los Angeles, CA 90029
Phone: 323 660-8466
In his feature filmmaking debut, renowned visual artist Takashi Murakami transforms the classic cinematic trope of the new kid on the block into an epic genre-defying adventure. Having recently lost his father, young Masashi moves with his mother to a small city in the Japanese countryside. But when he discovers that their new apartment is already inhabited by a pint-sized, gravity-defying creature, Masashi begins to pull back the curtain on this sleepy town and finds that very little is what it appears to be. Unraveling a conspiracy that involves everything from remote-controlled avatars to crazed rival cults, Masashi discovers that he and his classmates are at the center of a nefarious experiment. Not only an accomplished artist but also a connoisseur of Japanese popular culture, Murakami packs his film with a delirious abundance of ideas and imagery. What other coming-of-age fantasy has tween romance, a role-playing battle royale, nuclear intrigue, rival doppelgangers, and a giant monster? Join us for the North American premiere of Jellyfish Eyes and see for yourself.
Bing Theater | International Premiere | Followed by a Q&A with director Takashi Murakami.
$5 for Film Independent, LACMA Film Club and The New York Times Film Club members | Members of these three groups can purchase tickets starting at 5 pm on Tuesday, March 19 | Limit two tickets per membership | Proof of member status is required to reserve tickets during advance reservation period | Tickets: 323 857-6010 or purchase online.
$7 for LACMA members, students with valid ID, and seniors (62+); $10 for the general public | Members of these four groups can purchase tickets starting at 5 pm on Tuesday, March 26 | Two ticket limit | Tickets: 323 857-6010 or purchase online.
PLEASE NOTE: Tickets can be picked up at the Hammer Building Ticket Office at LACMA during museum hours anytime after purchase or on the night of the screening any time before the start of the event. Ticketed guests must be in the theater by the published start time of the event, otherwise your seat(s) may be released and distributed to the standby line.
#SF: CHRISTIAN MARCLAY BOOK “THINGS I’VE HEARD” BOOK SIGNING AND OPENING @FraenkelGallery #CHRISTIANMARCLAY
#LA: WHAT WAS CONTEMPORARY ART? CONVERSATION W/ #RichardMeyer and @MOCALOSANGELES Director #JeffreyDeitch
Join us for a conversation and book signing with Stanford University professor Richard Meyerand MOCA Director Jeffrey Deitch, moderated by Director of USC Fisher Museum of Art and USC’s International Museum Institute Selma Holo.
Saturday, March 30th at 3pm
MOCA Grand Avenue, Ahmanson Auditorium
FREE; no reservations required
Contemporary art in the early twenty-first century is often discussed as though it were a radically new phenomenon unmoored from history. Yet all works of art were once contemporary to the artist and culture that produced them. In What Was Contemporary Art?Richard Meyer reclaims the contemporary from historical amnesia, exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture. A generous selection of images, many in color—from works of fine art to museum brochures and magazine covers—support and extend Meyers narrative. These works were contemporary to their own moment. Now, in Meyers account, they become contemporary to ours as well.
Richard Meyer is Robert and Ruth Halperin Professor in Art History at Stanford University. He is the co-author, with Catherine Lord, of the forthcoming survey text Art and Queer Culture(Phaidon: 2013). Meyers book Outlaw Representation: Censorship and Homosexuality in Twentieth-Century American Art received the 2003 Charles C. Eldredge Prize for Outstanding Scholarship from the Smithsonian American Art Museum. He guest curated Warhols Jews: Ten Portraits Reconsidered for the Jewish Museum in New York and the Contemporary Jewish Museum in San Francisco and Naked Hollywood: Weegee in Los Angeles at MOCA.
Purchase a copy of What Was Contemporary Art?
at the MOCA Store.
MADE IN SPACE
MAR 16 - APR 15
Michael Decker, Gabrielle Ferrer, Marcia Hafif,
Leah Glenn, Cannon Hudson, Hannah Greely, Jim Isermann. Patrick Jackson, David Korty,
Liz Larner, William Leavitt, Max Maslansky,
Jesse Mockrin, Rebecca Morris, Jorge Pardo, Davida Nemeroff, Eric Orr, Allen Rupersberg, Marina Pinksy, Asha Schechter, Peter Shire,
John Seal, Mungo Thompson, Aaron Wrinkle
Made in Space
1. Someone drank tea. Someone else felt that a specific kind of taco eaten at a particular
geographic location was like a drug. The spices generated a certain kind of energy, or, perhaps,
muscle memory. It was 2012.
2. In 2002, “thoughts mixed and burned with gasoline” turned to Orange County, a web without a
spider, The Citadel, Eden-Olympia. The commingling of purposefulness and aimlessness was
understood to be the effect of Junkspace.
3. In 1981, Peter Schjeldahl took a trip to Los Angeles and wrote a short essay damning our city
to a future of cultural irrelevance, lest it somehow invert each and every one of its unique
features. He wrote, “The wishfulness of LA’s citizens is simply explained as the effect of a life that
enforces independence to the point of autism. Try to lean on anything or anyone and you’ll fall
down[…] Los Angeles is a city without public spaces. There are only private spaces—fenced
haciendas of self-maintenance and self-invention—surrounded with the soft, dreamy, zinging-with-
light nowhere in particular.” Much as Michael Fried’s write-off of minimalism as theater, Schjeldahl
missed the point.
4. Participants in the 2010 TV series “Wipe Out” drove to Magic Mountain for jouissance: that is,
being battered around by brightly colored, slowly rotating foam shapes.
5. In 1986, a pedestrian observed a pair of giant steel springs rolling down the sidewalk near the
corner of Wilshire and La Brea. Elsewhere, aphasiacs watched Ronald Reagan on television and
were not fooled by his affect. Because they lacked the ability to understand the intended
significance of various facial expressions and/or gestures, their experience of his speech was
divorced from his image, rendering it as inert and senseless as the printed word.
6. A shopper walks the isles of Home Depot in a stupor, hopelessly trying to assemble a mental
list of life goals by way of immediate hardware purchases. Thoughts turn to the specific alienated
labor that produced this situation. Is a kindred soul, another loser, in a cubicle somewhere,
proliferating this amalgamation of thoughtless spatial constructs, endcap displays stacked to the
sky? Is that person horny? Do they have a gaping flesh wound? A fixed quantity of gasoline was
converted to smog today. It is 1999.
7. The Mall of America is constructed in 1992. The FDA urges surgeons to abandon silicone in
breast implants and the first McDonald’s franchise is opened in China. In the words of French
anthropologist Marc Augé, “Place and non-place are rather like opposed polarities: the first is
never completely erased, the second never totally completed; they are like palimpsests on which
the scrambled game of identity and relations is ceaselessly rewritten.”
8. Food is a variety of colors. We all eat food. Certain foods appear one color or another on
account of food dye. Regardless of whether or not their color is a lie or we willingly suspend
disbelief (as in the instance of a Starburst — is it the flavor “Lemon” or the flavor “Yellow”?), we all
eat, and we all shit. In painting, mixing color is a complicated process involving the opacity of
various pigments and substrates. Mixing too many colors results in a sludge that is invariably
described as “muddy.” This is much like our digestive system. Foods we eat are broken down by
procedures which work in concert; the enzymes in our mouth, the acids of our stomach. The color
in foods is combined slowly in our body, until we shit, and see the result of our gastric color
mixing: brown. In 2009, The Wrigley Company discontinued their unpopular “Baja California”
9. A person discovered a pile of feces directly in the middle of a pair of women’s size 10 red
pumps. The distance between the shoes and the feces, which looked very much like a chocolate-
dipped frozen yogurt dessert, or a dog chew, indicated that the person could have been squatting
and defecating. This tableau vivant was found in a parking lot behind a chinese restaurant in
Beverly Hills in 2008. Every transaction leaves a remainder.
10. In 2001, an auto dealership on the 134 Freeway decided to expand its advertising by taking
over an adjacent parking garage. Mannequins, waving and smiling, some posed with balloons,
were installed on its upper levels. This visuality of the frontal, of the fleeting glance, produced a
sensation not unlike V-effekt in passing drivers. Like a Brechtian stage play, their collective event
was stripped of its self-evident nature. That same year, Elizabeth Grosz wrote, “Space, […]
outside the ruses of imagination, is not static, fixed, infinitely expandable, infinitely divisible,
concrete, extended, continuous, and homogenous, though perhaps we must think in these terms
to continue our everyday lives (and the architect is perhaps more invested in this understanding
of space than anyone else). Space, like time, is emergence and eruption, oriented not to the
ordered, the controlled, the static, but to the event, to movement or action.”
11. In 1993, someone sat in a recliner in Long Beach with a VHS deck balanced on each knee.
One screen played Hitchcock’s “Rope” while the other played Altman’s “Short Cuts.” Nearby,
under a bridge, someone was feeling like his only companion was the city he lived in, the City of
Angels. Around the same time, a wallet was left in El Segundo.
12. Two friends, both architects, drove to Brentwood in 1994. They got out of their car and ran
alongside OJ Simpson’s Bronco, hoping to catch a glimpse of reality in progress and joining
thousands of people on the streets and overpasses in communal euphoria.
13. Two curators drove by a flip flop in the road. This was mutually lauded for its demonstrative
effect. It was 2013.
#LA: Visit “Purple Glass” Overduin and Kite #purpleglass #groupshow #hollywood #gallery #overduinandkite
February 10th - March 23rd, 2013
reception: Sunday, February 10th, 6-8pm
OVERDUIN AND KITE
6693 Sunset Boulevard Los Angeles, CA 90028
Tuesday-Saturday 10am-5pm and by appointment
2640 S. La Cienega
Los Angeles, CA 90034
Mar 2 - Apr 20, 2013
Alex Israel received a BA from Yale University and his MFA from USC in 2010. Israel has exhibited at the 2010 California Biennial at OCMA, Venice Beach Biennial, part of “Made in LA” organized by the Hammer in collaboration with LA><ART, Reena Spaulings Fine Art, New York, Peres Projects, Berlin, Greater LA, New York. Forthcoming projects include Museum of Contemporary Art Utah, Garage, Saint Petersburg, Almine Rech, Paris and LA><ART, Los Angeles. His ﬁrst public project through LA><ART was a video installation on Sunset Boulevard Videotron entitled “Roughwinds,” 2010.
February 23 – March 30, 2013
Opening reception: Saturday, February 23, 6 – 8 PM
Blum & Poe is very pleased to present an exhibition of new work by Los Angeles-based artist Henry Taylor. This exhibition marks Taylor’s second solo exhibition with the gallery and continues his exploration of portrait painting, while delving deeper into the history of oppression, exposing realities of the so-called American dream. His portrait subjects typically consist of friends or historic figures, which are painted with an unmediated sense of spontaneity and happy accidents throughout.
In addition to his customary portraits, Taylor introduces anonymous farm workers captured from WPA-era photographs. A more deliberate hand is at work on these portraits, elevating what could be simple documentation to that of a religious or imperial icon. On the gallery floor will be rows of dirt intended to mimic freshly plowed fields and a stately dinner table with a chandelier hanging overhead. The juxtaposition of manual labor versus genteel living creates a charged atmosphere, recalling the history of black American labor, as well as the realities of all forms of blue-collar work.
In this exhibition Taylor returns to a mainstay of his practice, using readily available materials to create social commentary. He routinely scours the neighborhood surrounding his Chinatown studio for discarded items, repurposing them into installations imbued with memories of oppression and the abuses of authority. The overall impact effectively demonstrates the subjective nature of equality within the United States.
Henry Taylor (born in Oxnard, California, 1958) received his bachelor of arts from California Institute of the Arts and has had solo exhibitions at MOMA PS1, Santa Monica Museum of Art, and Studio Museum in Harlem. He has been included in numerous group exhibitions, including Blues for Smoke, Museum of Contemporary Art, Los Angeles and Whitney Museum of American Art, New York; Made in LA, Los Angeles Municipal Art Gallery, Los Angeles; Human Nature: Contemporary Art from the Collection, Los Angeles County Museum of Art, Los Angeles; and 30 Americans, Rubell Family Collection, Miami, FL and North Carolina Museum of Art, Raleigh, NC.
LOS ANGELES, CALIFORNIA 90034
T: +1 310.836.2062
F: +1 310.836.2104
VARIOUS SMALL FIRES (VSF) is a gallery in Los Angeles operated by ESTHER KIM VARET.
It opened its doors to the public in January 2012.
We are located on Abbot Kinney Boulevard, the main commercial street of Venice Beach. Venice is the home of Los Angeles’ original avant-garde of the 60s and 70s. In homage to this legacy, VARIOUS SMALL FIRES borrows its name from local artist Ed Ruscha’s conceptual book, “Various Small Fires and Milk,” self-published in 1964.
1212 Abbot Kinney Boulevard
Los Angeles, California 90291
office hours: Tuesday - Saturday, 12-6pm
telephone: 1 (310) 426-8040
1212 ABBOT KINNEY BLVD., LOS ANGELES, CA 90291 U.S.A. +1-310-426-8040