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Everything is going political -- Peter Wegner is taking on the desolate void he sees in America lately and turning it into a series of great works. Neon, too! I love neon, and especially the idea of artwork illuminating the space around it, not being able to be confined to frame restrictions. Even though he is one of the first contemporary artists I connected with, I've forgotten to mention his solo show at Griffin because I didn't [for once] attend the opening, so I suppose it slipped my mind. I wish they would stop mailing the same type of cards for every show -- heavy cardboard with block recess print. It's getting a bit boring. The open bar will have to compensate.
Peter's one of those wonderful zany Yale-educated artists, who, contrary to being tagged as conservative East Coast-ers, are products of one of the most revolutionary art departments anywhere. I particularly love his interest in color theory -- there just aren't enough of those artists around anymore, and it really showcases his strong background. I am getting terribly sick of hearing about the engineer/lawyer/accountant/whatever who woke up one day and decided to throw some paint down and convince the right people that it works. What ever happened to really studying the art form? The one thing, however, that dissapoints me time after time is the over-used referral to Ruscha, especially his Standards [I'm sorry to say, Peter did it here]. I almost feel that the artists who are educated in art history try to show off their knowledge a bit too much, instead of sticking to their pure creativity. And Ruscha is such an obvious choice. Inspiration should be more than just 50% from within.
Griffin's keeping this one open for more than another month -- much longer than most popular galleries keep a solo show -- but I think it will be time well-spent on one of their main stable artists. And I always trust Bill's judgement, he's a real genius with these things. And who wants to rush in Santa Monica?
One Santa Monica hot spot I will never be sick of is Bergamot Station. Free, outdoors, boxy -- totally bohemian meets the industrial minimalists. I would spent every Saturday of my life meandering around if I could, just make sure you don't get careened into by the trucks lumbering out of the loading docks on your way in. My favorite space is the William Turner Gallery, where David Palmer's 'FOREVER ALMOST FALLING' was just replaced by Ned Evans' new work today. They got lucky with the prime front & center lot, but are usually showing color block landscapes that are really visually unstimulating. I am hoping they show more of Palmer's work as soon as the glaze from Evans' color stripes wears off.
Imagine -- it's linoleum! Absolutely stunning. James Gray Gallery is its last week of showing some awesome Andrew Rogers sculptures in the main gallery, and I have to say I wasn't sad to see the Mindy Seeger works go. Personal struggle has to be more than a mess of canvases that look like knock-off Australian aboriginal pieces. If you're in for business, take James a mint lemonade from the café [although the best is really the blackberry ice tea] to tip the scales.
Skip Ruth Bachofner, it always feels too serious and emotionally oppressive. Rose Gallery is my third favorite -- even though I don't connect with photography as much as I'd like to. The Gallery of Functional Art is worth a walk-through; it reminds me of west coast kitsch. Frank Studio, amidst all the galleries, is actually a hair salon! An old favorite of mine [I was a regular for four years], they do ascribe to the gallery aesthetic of Bergamot, and have shown some of my favorite Ruscha works on the walls above the sinks and in between the stylist stations. Frank himself is quite intimidating [and overpriced], but Michele is the best best best. And I've never left Bergamot Station without lunch from the café...
Peter's one of those wonderful zany Yale-educated artists, who, contrary to being tagged as conservative East Coast-ers, are products of one of the most revolutionary art departments anywhere. I particularly love his interest in color theory -- there just aren't enough of those artists around anymore, and it really showcases his strong background. I am getting terribly sick of hearing about the engineer/lawyer/accountant/whatever who woke up one day and decided to throw some paint down and convince the right people that it works. What ever happened to really studying the art form? The one thing, however, that dissapoints me time after time is the over-used referral to Ruscha, especially his Standards [I'm sorry to say, Peter did it here]. I almost feel that the artists who are educated in art history try to show off their knowledge a bit too much, instead of sticking to their pure creativity. And Ruscha is such an obvious choice. Inspiration should be more than just 50% from within.