Join LAXART director Hamza Walker, OnrampArts founder Joy Silverman, and LAICA founder Bob Smith for a conversation about the changing cultural and socio-political landscape undergirding the role of alternative spaces over the past forty years.
“Since their flourishing in the mid 1970s, alternative art spaces have had an illustrious history—from the championing of new media and performance, which were outside the purview of commercial galleries, to the role they played in identifying and supporting artists that defined the 1980s, to their reconceptualization by a new generation of artists and curators in the early part of the 21st century.”*
ALTERNATIVE SPACES—THAT WAS THEN/THIS IS NOW, Saturday, June 23, at 2 pm.
LAXART, 7000 Santa Monica Boulevard, Hollywood.
THE MODERNIST (directed by Catherine Opie by way of Chris Marker’s La Jetée) is a deadpan eulogy to the demise of traditional American liberalism in the months leading up to the conflagration of Election Night 2016.
Stosh Fila (a.k.a. Pig Pen)—possibly playing either a Tea Partier or the owner of several “Feel the Bern” buttons—goes about his daily task of researching and then torching several once-avant-garde-but-now-mainstream architectural landmarks in the hills of Los Angeles: works by A. Quincy Jones and Pierre Koenig, and the John Lautner-designed homes of Benedict Taschen and James Goldstein.
Reports of these Oedipal feats of arson are splashed over the front pages of the Los Angeles Times, along with headlines noting Hillary Clinton’s “historic” Democratic nomination and the race for 270 electoral votes.
Fila creates a wall collage of yesterday’s papers, and as November 8 approaches, takes a match to his own creation.
To view the 22-minute film, Michael Maltzan has designed a sleek cinema inside Regen Projects, and thirty-three MODERNIST stills have been hung along the walls of the gallery.
CATHERINE OPIE—THE MODERNIST, through February 17.
REGEN PROJECTS, 6750 Santa Monica Boulevard, Los Angeles.
Stosh Fila (a.k.a. Pig Pen) in The Modernist (2017). Image credit: Regen Projects.
Regen Projects’ Spring 2017 show is an extraordinary survey of art from the 1990s.
WHAT I LOVED: SELECTED WORKS FROM THE ’90S includes Catherine Opie’s Vaginal Davis and Justin Bond; Glenn Ligon’s Untitled (I Remember the Very Day); Lari Pittman’s Existential and Needy; Karen Kilimnik’s Actresses sisters as murderers; erotic work from Wolfgang Tillmans, Marilyn Minter, and Cindy Sherman; Elizabeth Peyton’s Stephen Malkmus; Jack Pierson’s large collage tribute to ’50s iconography, Self Portrait (James Dean); Mike Kelley’s Party Girl; wall texts by Kara Walker and Lawrence Weiner; and an extensive series of drawings by Raymond Pettibon. Sixty works by 27 artists are on view.
WHAT I LOVED: SELECTED WORKS FROM THE ’90S, through April 13, 2017.
REGEN PROJECTS, Los Angeles
ISSUE #10 / SPRING 2014
PHOTOGRAPHY HERE AND NOW
Optic Nerve | Catherine Opie in conversation with Dorothée Perret
Collisions Ahead | By Brendan Fowler and Sarah Lehrer-Graiwer
Perversion is Bliss | By Andrew Berardini and Torbjørn Rødland
Anarchy in the Belle Epoque | By Aaron Sandnes and Barlo Perry
Through a Glass, Darkly: a Mapplethorpe Portfolio | By OHWOW and the Robert Mapplethorpe Foundation
Out There | John Divola and Marius Engh in conversation with Dorothée Perret
Traces | By Marlene Marino
Still Life, and Mask | By Hanna Liden
COVER | Ron, 2013 by Catherine Opie
CENTERFOLD | Chanel Summer 2014 Ad Campaign Remix by Pierre-François Letué
POSTER | Exterior: from Zuma Series, 1977-1978 | Interior: from Dogs Chasing My Car in the Desert, 1996-1998 By John Divola