Doppelganger @ acuna-hansen gallery


Mike Hein
Dylan Palmer
Isaac Resnikoff

March 28th - May 2nd
acuna-hansen gallery
Los Angeles, CA 90012

hey, i hear you kids like art these days

The second annual LOS ANGELES ART WEEKEND, taking place April 2 through April 5, 2009 is a four-day event highlighting the city's foremost in cultural offerings and the vast array of creative talent working in art, architecture, design and performance.

all the info you could ever want, including schedule, HERE


Los Angeles
Mar 31 2009 - Apr 4 2009

Yeah, I could walk a few blocks to The Standard, Downtown LA to catch some bloggers' lectures and you know...fresh air or.....I could just watch it streaming HERE! Hey, I guess blogger nerds are the laziest breed, them and of course video gamers.

PR: On the occasion of Los Angeles Art Weekend, Storefront for Art and Architecture and ForYourArt are pleased to announce Postopolis! LA, a live five-day event of near-continuous conversation about architecture, art, urbanism, landscape, and design to be held in Los Angeles from 31 March to 4 April 2009. Six bloggers, from five different cities around the world, will host a series of discussions, interviews, slideshows, panels, talks, and presentations, fusing the informal energy and interdisciplinary approach of the architectural blogosphere with the immediacy of face-to-face interaction.
Over the course of five days, the six host bloggers will invite 40+ participants from a multitude of fields including architecture, urban planning, geology, defense, publishing, game design, artistic practice, oceanography, music, politics and many others to give brief presentations, each followed by a public discussion.
Postopolis! LA follows in the footsteps of the first groundbreaking edition of Postopolis! held in New York in May 2007, hosted by BLDGBLOG, City of Sound, Inhabitat and Subtopia and attended by several thousand people over a period of five days. Postopolis! LA takes place during the 2nd annual Los Angeles Art Weekend, highlighting the city’s vast array of creative talent.

art blogger of 11:32 AM: KCLOG

hey, look....a NY version (sorta) me:


artist of 11:24 AM: Gerhard Richter

Gerhard Richter
20 February - 10 May 2009

"Gerhard Richter having just celebrated his 77th birthday......By placing paint on photographs, with all their random and involuntary expressiveness, Gerhard Richter reinforces the unique aspect of each of these mediums and opens a field of tension rich in paradoxes, as old as the couple – painting / photography –which has largely defined modern art."

Centre de la photographie Genève

Phung Huynh: Disorientation @ Sam Lee Gallery LA

Phung Huynh: Disorientation
March 28 – May 9, 2009
Sam Lee Gallery


Artists Are Not, Shana Lutker: The Highlights

"...An art historian might teach at a university, write essays, organize conferences, run an art journal, and curate exhibitions. Well, I do those things too—and all of those things are part of my role as an artist. But I also make art..." FULL STORY Artists Are Not, Shana Lutker
The Highlights

Joe Bradley: Like A Turkey Thru Corn @ Peres Projects LA

(above Javier Peres)

Peres Projects
Los Angeles - Culver City

"...Bradley drafts many versions of each gesture before hitting the finished note on raw canvas, as if to imply that automatic writing can be made repetitive (picture a grade school notebook cover) and, as such, eventually reveals potent mutations: slang for heroine (Super Schmagoo), a faceless mouth, the Jesus fish who swims downstream. Perhaps as Jungian children, we've been inbred by appropriation and pop overexposure. Bradley titles the show after late Houston blues legend Lightnin' Hopkins' 1959 tune of a similar name. Hopkins sings about fleeing through the corn fields like a turkey in pajamas: 'Just had to get away from there!' Bradley's work shares this kind of endearing resolution of a fix..."
pretty much the same thing as at Canada Gallery, but looking closer the only repeat is the "S" painting. i really want to hate them but i can't. i enjoy the gutsy departure from his color-stacked-box-men. regardless of his new ideas, i am still a sucker for sketch book quality doodles in charcoal/grease/pencil on raw canvas. as for the new peres projects location, javier you are still 1/1 for me!

saying good-bye to Fette's Gallery LA...

Fette's Gallery
The Flog
Fette leaves Wednesday for her new home base in Berlin.
Is the LA art scene dead/dying? We shall see.

"The gallery is closing its doors in Los Angeles and will be relocating to Berlin.
Stay tuned for the launch of the new website and the opening of the new space in September 2009.In the meantime, Fette will be curating exhibitions at Kopeikin Gallery in Los Angeles."

Silvia Kolbowski: Two in One

Silvia Kolbowski: Two in One
"The following is President Obama’s inaugural speech, edited to remove references to religion, the celebration of militarism, delusions of national power, the phantasmatic projection of enemies, the glorification of the struggles of the poor, the puritanical elevation of suffering, the erasure of difference, etc." CONTINUE
E-Flux Journal

looking to define the current movement?


Altermodern – Tate Triennial 2009
curated by Nicolas Bourriaud
@ Tate Britain
4 February – 26 April 2009

"...Many signs suggest that the historical period defined by postmodernism is coming to an end: multiculturalism and the discourse of identity is being overtaken by a planetary movement of creolisation; cultural relativism and deconstruction, substituted for modernist universalism, give us no weapons against the twofold threat of uniformity and mass culture and traditionalist, far-right, withdrawal.
The times seem propitious for the recomposition of a modernity in the present, reconfigured according to the specific context within which we live – crucially in the age of globalisation – understood in its economic, political and cultural aspects: an altermodernity.
If twentieth-century modernism was above all a western cultural phenomenon, altermodernity arises out of planetary negotiations, discussions between agents from different cultures. Stripped of a centre, it can only be polyglot. Altermodernity is characterised by translation, unlike the modernism of the twentieth century which spoke the abstract language of the colonial west, and postmodernism, which encloses artistic phenomena in origins and identities...The Tate Triennial 2009 presents itself as a collective discussion around this hypothesis of the end of postmodernism, and the emergence of a global altermodernity." Nicolas Bourriaud


Greta Waller: One Item or Less @ David Salow

Greta Waller: One Item or Less
March 28 - May 2
David Salow Gallery

@ UCLA open studios HERE

Maybe you can help me solve this mystery. I normally would not think twice about shows like this but I got drawn in starting at the UCLA open studios where Waller, in a formal black dress amidst her studio's traditional still life setup with bowls of fruit and easel out for painting demos, seemed totally serious about her little landscapes and food paintings. Me, being completely immersed in conceptual/philosophical readings and questioning the whole influx of MFA'ers was taken aback when I was told by another UCLA student, that yes, she is completely serious (no Bob Ross puns here) about her painting and that UCLA is hopped up on the "return of painting."
Which brings me to the curiosity to traffic the Chinatown opening Saturday. Based on the works, many the same from her studio, I am still holding a smirky, curled lip and raised eyebrow. Despite the subject matter, which is inconsequential, the execution isn't expressive or gestural yet knowingly falls short of realism in a way that makes me lose gaze and think of local art fairs but according to her statement is deliberate (from what I can tell). Diving in further, some of the canvases are buckling and a couple hang off the wall at an angle. This criticism seems fair because I didn't see any signs that imperfections in the display or execution are beneficial to the overall concept. (Are they even intentional?) Reading that Greta's focus is on the act of preserving the practice of this particular form of painting and simultaneously comparing it to the Èpuration period (when France was on trial after the war) I cannot help but be confused. I am having a hard time believing the truth/intent of the artist message. If the paintings (and her website) are a type of commentary on the joy of painting, I am ready to move on.

From artist website:
"...The purging act of my painting is emblematic of a fear of being persecuted for realism. The repetition and stillness of the paintings could be simulacrums for a multitude of conceptions such as global warming, current fast paced society, but this is not the case. For me, recognition is repetition. I am using recognition as a catalyst for innovation in my technique and to persevere in this genre of painting. It is important in my work to display both honesty and a true love for the act of painting while acquiring a balance in between the illusion of painting and the paint itself..."