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  • High&Low Bureau is a curatorial duo composed of Yael Messer and Gilad Reich. They curate exhibitions, film programs, performative events and publications, while engaging with a plethora of disciplines, media and modes of artistic expression.Their curatorial practice is dedicated to the exploration of artistic strategies that reflect on, and suggest alternatives to, specific social-political conditions.

  • Los Angeles is a city often described as having no center. Its art community has turned that "disadvantage" into an advantage and given itself a license for adventure. Organizations, galleries, and artists find decentralization to be an exciting option and they establish their addresses in unexpected neighborhoods and zones in the city and even beyond, in other cities and states. What are the challenges and advantages of this programmatic and conceptual strategy? What are the risks, to organization and audience alike? Is this necessary, and if so, is it sustainable?

  • Fritz Haeg

    Sep 25| Lectures
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    Image: Fritz Haeg, working to install the Edible Estate #12 garden in Budapest, 2012. Photo: Andras Kare.

    Graduate Fine Arts, Visiting Artist Lecture Series presents artist, Fritz Haeg.

    Thursday, September 25th 11:15am - 12:30pm

    Graduate Studios: 10455 Jefferson Blvd Culver City CA 90230

  • David Schafer

    Sep 30| Lectures
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    David Schafer is a visual and sound artist working in sculpture, sound, sound, performance, and works on paper. His work is concerned with the structures, translation, and intelligibility, of language and architecture. Schafer has shown nationally and internationally and has received several public commissions. Most recently he has had one-person shows at Studio10 gallery in Bushwick, Brooklyn, NY, and Glendale College Art Gallery, Glendale, CA.

  • Sarah Manguso

    Oct 01| Lectures
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    Sarah Manguso is the author, most recently, of The Guardians: An Elegy for a Friend, named one of the top ten books of the year by Salon. Her previous book, the memoir The Two Kinds of Decay, was named an Editors’ Choice by the New York Times Sunday Book Review and short-listed in the UK for the Wellcome Trust Book Prize and long-listed for the Royal Society Winton Prize. Her other books include the story collection Hard to Admit and Harder to Escape, and the poetry collections Siste Viator and The Captain Lands in Paradise.

  • Graduate Fine Arts, Visiting Artist Lecture Series presents artist, Jennifer Steinkamp.

    Thursday, October 2nd 11:15am - 12:30pm

    Graduate Studios: 10455 Jefferson Blvd Culver City CA 90230

     

  • Pae White

    Oct 07| Lectures
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    Pae White was born in 1963 in Pasadena, California. She lives and works in Los Angeles. She received her M.F.A. from Art Center College of Design in Pasadena and her B.A. from Scripps College in Claremont, California. She also studied at the Skowhegan School of Painting and Sculpture in Maine. Recent solo exhibition venues include Galerie Daniel Buchholz, Cologne; galleria francesca kaufmann, Milan; the Govett-Brewster Art Gallery, New Plymouth, New Zealand; the Contemporary Art Gallery, Vancouver; greengrassi, London; and 1301PE, Los Angeles.

O-Tube

Meg Cranston interview

How does art reflect current media? (or how does YOUR work do this?)
Current or mass media uses exactly the same set of skills as art though art and mass media are valued differently. Art traffics in rarity and, at least superficially, profundity. Mass media, by contrast, is almost purely a numbers game. It gathers meaning and importance by the number of times it is reproduced and by the number of people who engage with it.  In social media (and increasingly, all mass media) value is established by “likes.” Mass media is very direct and democratic in that sense. Like all artists today, I can’t ignore mass media. I don’t want to. It is a language we all use and understand. I use a lot of popular imagery in work. I don’t use an image in the way it was originally intended but I do, in a sense, borrow the power it gained in mass culture. I never wanted to separate myself from the larger culture. I am an optimist. I say yes to everything.

What were the most compelling exhibits you saw in L.A. last year? Elsewhere?
The Caravaggio show at LACMA included only eight Caravaggio paintings but that’s a lot because it’s very difficult for museums to borrow the paintings. Caravaggio’s work always looks contemporary. To me, the paintings look like advertising. He knew how to sell a subject in way that is totally understood by contemporary viewers.
The other show that really impressed me was in New York. Thomas Hirschhorn is favorite among L.A. artists and Otis students. He did project at a housing project in the Bronx dedicated to the philosopher Gramsci in which the residents were completely involved in every aspect. They created a radio station, a café, a lecture series, and a garden. It went on for months, and was just really fresh and exciting. Hirschhorn’s attitude is that the purpose of art is to generate energy. Everything else is secondary. I totally agree with that.

What do you see as the difference between L.A. and N.Y. art scenes?
I encounter the N.Y. scene mostly through galleries and art dealers, and less by hanging out with artists. I go to N.Y. primarily to do shows. From that vantage point, N.Y. is all about the market. Dealers like David Zwirner seem to make the news more than their artists. People talk about auctions because the big auction houses are in N.Y., and auctions have increasingly become central to art.
L.A. is different. It’s a place where many great artists choose to live and work. A lot of artists work here and do business elsewhere. That is certainly true in my case.

What's your favorite place in L.A.?
I really admire what (Director) Annie Philbin has created at the Hammer Museum. It is a good model of the museum as social space. There is so much going on, and it really has revitalized Westwood.

What are you reading?  What blogs do you follow?
I recently read Uncreative Writing by poet Kenneth Goldsmith. He argues that creative writing lags behind visual art in the sense that it remains for the most part locked into the self-expressionist model. Long ago, visual artists experimented with using neutral information or strategies to create works that were interesting but had nothing to do with their biography. He argues that writers should be influenced by visual art and the freedom visual artists have to borrow or appropriate from whatever sources they choose. To that end, he made a text using transcripts of weather reports and another using transcripts of 911 calls. Basically the idea is that ordinary “uncreative” sources produce novelty and a new reinvigorated idea of creativity.  Goldsmith also does the site Ubuweb.com, a fantastic resource for film and video, writing etc. I’m also reading Tenth of December by George Saunders. It’s so great that a really good writer has become a best seller.

What do you think about Vern Blosum?
I think it’s funny and totally fine. It was done as a hoax I guess but if the paintings are convincing who really cares why someone made them? I don’t think they are the best paintings but I have no problem with prank. Art is full of pranks. So what?

Dave Hickey, in a recent talk, asserted that "Artists are narcissists and should stay so." He talked about art world people at the top (the folks with “silver bowls full of cocaine”) and people at the bottom, stating that those are the only two positions on the spectrum that could cultivate creative work, and dismissing everything in the middle. He also expressed surprise that critics so rarely write negative reviews, since he so rarely sees artwork that makes him excitedly wonder "what are they going to make after this?" Agree/disagree?
I don’t always agree with Dave Hickey but I appreciate him as a writer and gadfly. He writes very well. That’s important. Ultimately, critics are persuasive because people enjoy reading them, so writing well is critical. I don’t agree that artists “in the middle” can’t do anything. A lot of artists come from ordinary middle class backgrounds and stay more or less middle class. Despite the pose, it was same for many white rock and roll musicians. I agree that few critics seem interested in writing negative reviews. Audiences do like an occasional scathing review but critics have to be pretty certain they’re right.

What are YOU working on now?
I am working on a series of painting for an exhibition in Berlin. I am also on my way to Afghanistan to do a project. A group of L.A. women artists are collaborating with women weavers to design carpets.

If you had to choose one work of art to take to a desert island, what would it be?
Infinite Jest by David Foster Wallace, primarily because it is over 1,000 pages long.

How did you choose the piñata as a means for self-portraiture?
There were two ideas. The first was that having a piñata of you in Tijuana is the ultimate measure of fame. Jeff Koons might be famous but he isn’t piñata famous. No artist is. The second idea came from a famous ethnographic film by Timothy Ashe and Napoleon Chagnon called “Magical Death.” It shows the Yanomamo tribe practicing ritual warfare. They did that to lessen the occurrence of real fighting. The idea was that my effigy would undergo ritual violence so that my actual self wouldn’t have to.