Archive for October, 2007

October 21, 2007 Art

Thanks to the kids over at Boing Boing, where I came across the above image.  It’s Damien Hirst’s For the Love of God rendered as a pumpkin.  It would be awesome if a consortion of pre-teen lemonade stand operators went in together to buy this as an investment.  It was made by Adrian, and he calls it For the Love of the Great Pumpkin.  Just keeping the Hirst “I slap my forehead when I think of him” thing going.

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October 20, 2007 Food

I’m a reverse blogger - aren’t we all supposed to post all week and take the weekend off?  But I’ve got a whole bunch of little things to post about, and my weeks are crazy.  I joined Studio Artists Jon Nakamura and Edith Abeyta (we just placed Edith - I had to recluse myself from her application processfor lunch again the other day, along with Studio Artists Rique Guzman and Michelle Solorio.  Walking up to Jon’s studio, I could see the Balut boiling in the pot.  I was immediately excited.  I’ve been craving these since my first taste, only a week or so ago.  Anyways, for the long story, read my original post.

Inside a Balut - Embryo and Yolk

Above - The point of this post.  First, this Balut was way more developed than the one I ate previously.  And I feel so damn lucky to get a great, tight, in focus shot of it to share.  The head of the embryo in the last one was pretty much a gelatinous mass - here the bird is much more formed, with little feathers, a discernible, tiny, duck beak and great big eyes.  So feast your eyes on that delicious baby (literally).  Anyways, I had to share.  This guy was so damn good.

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Art, Gallery

I think I’ve uploaded too many images of Terry O’Donnell’s Pogonator, but here it is, with surf racks and boards installed, front and back.  Damn, it’s a good looking vehicle.  I love how the racks bring the boards right over the driver’s head.  Great aesthetic when it all comes together.  So sorry If I’ve beaten this to death, but there just aren’t enough custom cars in my life right now, and besides this car speaks directly to my own unfulfilled desires to both build my own car and learn to surf.

Terry O'Donnell - The Pogonator (front) - El Camino College Faculty Show 2007

Above -  Front View - I just love the way the boards curve down over the windshield.

Terry O'Donnell - The Pogonator (rear) - El Camino College Faculty Show 2007

Above - Rear View - Here you can see one of my favourite parts of the car, the exposed gas tank that sits in the bed.  The more parts of a car’s mechanics that are exposed, the sexier it is.

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Art

Heart - Buttefly - LSD - makeup - love drawing with URL

So later, after some introspection, I’m totally convinced that the above drawing was made either by someone who’s astoundingly mentally ill, or someone under the influence of LSD.  Every element, from the randomness of the URL (presumably taken from the makeup that was used to draw the colours), to the most dead giveaway the words “purple color” filling in between the butterfly antennae adds up to some serious psychedelic action.  Oh and I’m going to presume that the culprit is the named individual “Adrianna Hernandez,”  here represented by a triangular head on the left.

The funny bit is that I saw her again on my drive home, walking lazily down Pacific Avenue.  I really, really wanted to pull over and try to talk with her, but I also didn’t want to give her a bad trip or cause her to freak out or anything.
 

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October 19, 2007 Art, Gallery

So, it’s just about the end of the day and I’m at my desk at Angels Gate, doing the stuff that I do. Just an ordinary day. Completely normal (although I did have more Balut at lunch today - this one was way more formed - it was totally like eating a big-eyed, baby duck, and it was delicious), nothing really going down.

I start hearing thumps from upstairs. We’ve got a poetry/literary thing (Martin Bax from AMBIT is doing a group reading at 2:00 PM) happening tomorrow in the gallery, so I thought for a moment it was the sound of either Robert, our Facilities Manager, or Adan, our maintenance dude setting up the chairs they had brought up earlier. But they’re gone for the day. So I lift my bureaucratically-widening ass up out of my comfy desk chair and hoof up to the gallery to see what’s going on (note to self - get back to that gallery webcam project).

Coming up into the gallery, I immediately smell this lotiony, teenage girl smell, which is weird. That’s followed by seeing that in the back of the gallery this young woman, dressed head to toe in pink and purple, wearing a Strawberry shortcake backpack, has taken off, and very neatly, but loudly (my desk is directly under the area where she was making the noise) set down three of the six Jiang Sae Jern paintings in the show upstairs (reference image here).

Immediately I asked her what was she doing, and she replied “I’m looking at the paintings.” I figured at that point I was dealing with someone who was either dumb as a post, mentally ill or totally wasted (I can totally see her as being on acid, now that I think back about it). She asked me if I wanted her to “put the paintings back.” I didn’t want her touching the paintings - I was already glad that it was Jiang’s work - the frame edges that she probably handled and that the pieces were resting on would be pretty much impossible to damage without some serious incompetence. My response was “No, I want you to leave my building right now.”

She promptly turned and slowly gathered up her things, a stack of papers, a bundle of what looked like short-stem roses, and a great big bottle filled with a clear yellow lotion or gel of some kind, probably responsible for the odor. I followed her downstairs, and she walked right out the door and into the park, passing over a hill and out of sight.

I returned upstairs, and got myself a prize - a drawing left in our sign-in book. A great big heart in crayon with some text in English and Spanish inside - people’s names, mainly - nothing that made sense or was composed of sentences or statements. I’ll have to take a scan of it and add it to my weird artists’ drawing/doodle collection. Below the doodle, in blue pen is the URL www.solluna.com, which leads to a redirect page, that leads to several pages one of which looks like a furry fanfic page. But I have no idea if that’s at all related to the drawing. All I know is that the page in our book smelled like her weird lotiony smell, so it must have something to do with her. So that was the end cap to my day. I kind of wish I had stopped her and interrogated her more - now I’m never going to really know what she was doing or trying to do, so now I’m stuck with a frustrating mystery.

Drawing Update -  I just looked at the drawing, and it’s a a heart drawn in brown makeup, with a sort of face drawn on it with herself and her boyfriend as eyes.   Underneath the eyes are their names, and in the middle is the text “I know! y sharalinne.”  The URL isn’t solluna one, but one for www.soluna.com, a cosmetics company - probably the same company that makes the makeup.  There are weird smelly/oily drops where there are tears coming off the heart/face, that she made with some kind of perfume or something - the oil carried through several pages.  Also, there’s a sort of butterfly antennae thing going on at the indent at the top of the heart, and between the antennae it reads “purple color.”  Definitely LSD at work here.

The weird thing is, this isn’t the first time this kind of thing has happened in the gallery. Years and years ago, we showed these great pieces by an artist who’s name escapes me at the moment, that featured a series of detail self portraits of her body - varicose veins, a hysterectomy scar, various signs of aging and decay. It was a good piece, but we kept getting complaints from this one weird old couple about the work. You could see some pubes, maybe a little butt crack, but nothing explicit. But one day I went upstairs and someone had neatly removed about seven of the twenty pieces and then stacked them in an orderly fashion.

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Uncategorized

Props to to Amy I nouye and Stuart Rapeport for restoring this clucking giant to his proper place in the Los Angeles skyline. I’m the proud owner of a tiny Chicken Boy statuette, and since coming across him during a visit to Future Studio Gallery I’ve been totally obsessed with seeing him return to his proper glory. I can’t wait to get out to Highland Park and see him!

At Top - Chicken Boy rises over Highland Park, photo by Susan C. Weber.

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October 18, 2007 Art, Gallery

Christine-Nguyen---ArmoryI

‘ve been showing Christine Nguyen since she was knee high to a baby bear. The scale of her work has ruined me, made me a big painting, big installation lover. She’s doing great stuff, really getting her work out there, including a recent Hammer Project and just took part in a big group show of LA Artists in Munich, Uneasy Angel / Imagine Los Angeles.

Christine’s work has always been the perfect dream of the merge of drawing and photographic process. She’s also done some amazing drawings on mylar, without any photo work, and they’re just as strong without the novelty of her technique. It’s hard to explain to people, but the results speak for themselves. Her works are dynamic, like panoramic snapshots from another dimension. They’re fantastic in a way that calls to mind the experimental animation of the 60’s and 70’s, when artists seemed to have less inhibitions (probably due to all the drugs). I honestly don’t know where or how she develops her imagery from - it’s as if there’s some well that she has access to, and that we don’t.

Anyways, I’m literally hopping from place to place almost all week, and only have a few minutes to gush about how much I like Chirstine’s work. The show is at Andrew Shire and it’s called Transit by Ion. The opening is Saturday, October 20, 6-9 PM, at Andrew Shire Gallery.

At top - Christine in front of a large-scale piece that she installed at The Armory for the show Beyond Image: Photography in Contemporary Art.

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October 14, 2007 Art, Gallery

Lisa Solomon - installation detail 2 - from over the river and through the woods at LIttleBird Gallery

Last night I managed to get my act together and get over to Silverlake to see Lisa Solomon’s show, over the river and through the woods, at LittleBird Gallery.  I’ve blabbered enough here about how into her work I am, so I’ll save you the verbage and get on to the imagery.  I was shooting last night with my 50mm, so there are no wide shots, and I only shot details or small works.  LittleBird is a tight space,  so it was hard to shoot, in general.

I got to meet Lisa, and she’s thoroughly charming and I’m looking forward to finding an opportunity to work with her in the future.  The work is great in person - she has a really, really great drawing hand - everything just seems so full of intention and form.  On to the pictures.

Lisa Solomon - doily trees - from over the river and through the woods at LIttleBird Gallery

Above - this was the only piece like this in the gallery, somehow the artificiality of the plane on which the little doily trees sits makes me think off Josh Keyes work, and the trees themselves kind of remind me of Tanja Rector’s work, especially the installation, Forest, that she did at the Palos Verdes Art Center earlier this year.

Lisa Solomon - mixed media on Duralar 2 - from over the river and through the woods at LIttleBird Gallery

Above - One of the mixed media pieces on Duralar that was at the Gallery.  This work made up the bulk of the show.  All of these pieces invite and demand really close inspection - the details just draw you in.  Here’s a tight detail shot of a section of one of the other pieces in the gallery.

Lisa Solomon - mixed media on Duralar 1 - from over the river and through the woods at LIttleBird Gallery

Above - Another of the pieces on Duralar.  Notice the thread.  Edith Abeyta has used thread in a similar way in her works, and the “inconvenience” of the thread, the physical presence that it puts into the room has always had great effect on me, as it does here.  The thread, either as a connector or as as a “drip” give the pieces a life that goes beyond the representation of drawing.  Like the drip spraycan work, it seems to make the artist present in the work.

Lisa Solomon - installation detail 1 - from over the river and through the woods at LIttleBird Gallery

Above - Solomon’s installation consisted of doilies pinned to the wall, and doily shapes drawn on the wall, throughout the gallery.  I really, really liked this work - given the incredibly small space (I’d say 200-250 square feet) that LittleBird has, it was a great way to get some installation work into the show without the space being cluttered or busy.  There were a lot of objects in the space, and somehow everything seemed to fit just right.

There are more images from this show on my Flickr page, here’s a direct link to all of the images from this show.

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Food

You can eat Balut with a spoon

So I really had no idea what Balut was until it was shoved in front of me. I have a sort of peripheral awareness of the strangeness of Filipino food. A friend of mine used to date this guy who introduced me to pig’s blood/liver gravy (probably the only thing I’ve ever eaten that was “too rich”), and like many Southern Californians, I’m familiar with the puzzling menu at Jollibee. I’ve eaten a number of cuisines that are known for their novelty, but I have a distinct feeling that Filipino cuisine comes pretty close to the top of the list when it comes to weirdness - it has something to do with crazy ethnic history of the Philippines. Maybe Filipino food is futuristic - it’s what we will all be eating when globalization shakes out?

Anyways… So yesterday I was invited over to Jon Nakamura’s studio for lunch, with the promise of “eating chicken embryos.” I had no real idea what this meant until I was eating it - when I sat down at the table to eat, I presumed that the big shabu shabu that Jon had cooked up had the embryos, but I was wrong. But soon Raul Arellano, our resident Filipino artist, showed up and got the show on the road.

There was a lot of anticipation in the room while the Balut boiled away. Going over and looking at the eggs in the pot, there wasn’t much to see - just great big duck eggs in water - nothing extraordinary going on. A flat of Balut in the fridge is equally innocent looking. Even Edith was going to eat one, until the descriptions got a little too graphic for her. I think it was the gelatinousness of the still unformed embryonic duck head that got to her.

As usual, with food, the best way to tell the story is with pictures. I’m always hungry for pictures of food, myself.

Inside of a Balut

Above - Here’s pretty much the scoop on Balut. You open up the still warm, just boiled Balut by cracking the round end of the egg with the back of a spoon, and start to pick away the shell and membrane (the membrane at this point has this beautiful veiny pattern on it - an aesthetic joy in itself). The inside of the Balut contains three things & flavours. The first thing you encounter is a juice, which tastes exactly like really, really good chicken soup (even though we are eating a duck here). If you grew up Jewish and had an aunt like mine, that light chicken flavour is probably one of your fondest Passover memories - all I need is a bowl full of it and a few rock hard, baby’s fist sized kneydlach, and you’re in heaven. You suck the juice out of the cracked egg - shown at top. You can season the juice and any other part of the Balut with salt, vinegar or hot sauce. I went with the hot sauce on the body of the Balut, but the juice needs nothing - it’s perfect.

Aside from the juice, most of the egg is filled by a neat division between the embryo and the yolk. The yolk is a hard boiled egg yolk, and is great with salt and Tabasco. The embryo is a tiny, delicious duck, with no real bones, feathers or other obstructions to make it hard to eat (these were at 16 days when we ate them). The head is a little unformed, and kind of gelatinous, but delicious and rich. Here’s an extreme closeup of the image above, you can really see the form and details of the baby duck in this image. The general flavour of the duck embryo is “light duck.” There’s really nothing too challenging or exotic going on here, really - the most striking thing about Balut is the ordinariness of the flavours, despite the unusual dish.

At the bottom of the egg, there’s a hard, inedible calcium deposit, that’s kind of bouncy like a superball when you take it out (you can see it here, in my “remains of Balut” picture). You don’t eat that, and apparently dogs love them as chew toys - too bad my dog wasn’t there to pig out, and I’m glad he doesn’t read my site or he’d be pissed that I didn’t bring some home for him. It’s easy to spot, and smooth, so you’re not going to bite into anything weird or inedible.

All in all, Balut is delicious. We’re eating bar food here, and as far as egg-based bar foods go, I’d pick a handful of these guys as side to my beer over a pickled egg any day of the week. I’m thinking about going out to the Filipino part of Carson and buying myself a carton of these and just laying around on a Sunday, drinking beer and pinching grey salt.

Roy Kunisaki eating Balut

Above - Ceramist Yuichiro Roy Kunisaki eating Balut. One of the best things about eating Balut is watching other people eat Balut. They get all into sucking out the food from the egg. Roy seems to really like his Balut.

Raul Arellano eating Balut

Above - That’s Raul Arellano working on his balut. He really goes at it, slurping the whole thing down quickly and efficiently. He was talking about eating eight of these in a sitting - I can totally understand that.

Jon Nakamura eating Balut

Above - Jon Nakamura going after the Balut, drinking the juice. It was also Jon’s first time eating Balut.

Me eating Balut

Above - Sorry, no Balut action shot for me. I wish I had a picture of me sucking the juice out of one of these guys, but I don’t. I think this was only the third or fourth time in my life I’ve cracked a boiled egg open - here I’m trying not to make a mess of things.

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October 12, 2007 Art, Museum

Edith Abeyta - sumo mug - in production at Angels Gate

I had lunch (much, much more on that later) with my friend Edith today, and caught her in the middle of some serious multiple making for her upcoming solo show at El Camino College, Salty: Three Tales of Sorrow.  Edith has been renting time in the Angels Gate Ceramic Studio to mass produce components of the exhibition’s various installations.  Without getting too far into the details of the show (more on that later, too), there’s a boatload of ceramic components to be made.  Edith has been making boxes full of plates and spoons for months, and today I caught her making a pile of sumo-themed mugs like the one up top.

Edith Abeyta - plates and spoons - in production at Angels Gate

Above - Spoons and plates in production.  Closeup of the glazed spoons here.  I don’t know how many of these Edith has made so far, but it’s a ton.  I’ve got a flame shaped bowl (courtesy of ex-AGCC Studio Artist Liz Blum) just about overflowing with broken spoons that I’ve been collecting.  Has someone put a name to the law that any object, no matter how mundane, in multiple, eventually becomes art in significant quantity?

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