Four years after graduating from the Chouinard Art Institute (now California Institute of the Arts), a young Allen Ruppersberg took over a house on Sunset Boulevard in Hollywood and converted it into a hotel. Al’s Grand Hotel only lasted for six weeks, but maintains a mythic quality in LA’s art history, as an early example of social sculpture inspired by consumerism and entrepreneurial marketing (and, of course, as a fantastic hangout). The rooms for rent in the “hotel” included The Ultra Violet Room, The Jesus Room and The Bridal Suite.
Now Ruppersberg is collaborating with Public Fiction to re-stage Al’s Grand Hotel at Frieze Projects in New York this week. Ruppersberg will be present, in character as hotel manager, to “handoff” the project to a new generation.
Don’t miss your opportunity to make a reservation! Rooms are still available by calling 646-578-8471. Overnight guests are promised “a special selection of movies and videos,” and during the day the hotel will be open to all visitors for “just hanging out.”
The Getty Museum is showing this remarkable c. 1750 portrait of an opera singer, on loan from a private LA collection, reports William Poundstone in Artinfo. The Getty owns several works by the 18th century portraitist Jean-Étienne Liotard, whose pastels, when they’re good, are very extraordinary.
Wildflowering L.A., artist Fritz Haeg‘s project in conjunction with LAND – Los Angeles Nomadic Division and the Theodore Payne Foundation, will culminate this weekend with a 2-day exhibition on April 26-27 from 12-6pm both days at THE SHED, Pasadena’s emerging space for planning, land use, urban gardening, and more. Stop in to learn more about for cuttings, conversations about landscape, and activities for kids.
Sarah Gavlak at her apartment gallery in 2009 [via NYT]
Onetime Angeleno Sarah Gavlak is returning to LA to open an outpost of her eponymous Palm Beach gallery this June. The second Gavlak will be 5,000 square feet, at 1034 North Highland Avenue and neighboring Hannah Hoffman, Michael Kohn, and Regen Projects. The gallery’s press release is careful to note that they will be working with artists “who do not have representation in LA”, although Liz Craft, Lecia Dole-Recio, and Vincent Szarek have all been invited to participate in the inaugural group exhibition, opening on June 26.
Richard Jackson, The Little Girl’s Room, 2011, mixed media. Credit: Frederik Nilson/David Kordansky Gallery. [via LAT]
It may be premature to call Mid-City a new art destination, but the September arrival of the new David Kordansky space (joining existing S. La Brea gallery Kayne Griffin Corcoran) will make it a little more official.
Kordansky is moving on up: the new 20,000 square foot space will triple the gallery’s current footprint. The architecture firm wHY has been seleted to build out the new space, always an indicator that grandeur is the goal (although let’s hope Kordansky doesn’t go the way of previous wHY clients Perry Rubenstein and L&M Arts). Kordansky’s current location, at 3143 S. La Cienega Blvd, has never been very easy to get to and never felt like part of the Culver City row, so the new digs should be a big improvement. Catch the last show in the current space, new works by Mary Weatherford, running May 19 -31.
This week a bevy of Southern California galleries are headed to Texas for the sixth Dallas Art Fair. The exhibitors include longtime visitors Thomas Solomon and Charlie James, as well as newcomers M+B, OHWOW, and Luis De Jesus, among others.
“Tom Solomon got the ball rolling, because he was out here first,” says Charlie James. “LA dealers see Dallas is deep with potential new collectors who are turned on by the passion of collecting, and they’re getting to know it now. And we see there’s wealth here, and it’s fun, and people want to come check it out.” James reports that the fair had “a significant positive impact on our 2012.”
The fair is generally acknowledged to have dramatically improved over the years, with this year’s exhibitor list being the strongest yet (although how many of those will be showing slick abstract paintings remains to be seen).
“We plan on coming back to Dallas every year,” says James. “It’s a lot more gusher than duster, to put it in Texas terms.”
John Baldessari, Camel Contemplating a Needle, 2013
In a post worthy of Fox News, Buzzfeed has worked itself into a lather about a John Baldessari sculpture of a camel contemplating a needle. The sculpture was purchased by the State Department for a cut rate of $400,000, and is earmarked for the US embassy in Islamabad, where, Buzzfeed righteously reports, the “average yearly income in impoverished Pakistan is about $1,250 per year.”
Ah yes: there are poor people in the world, therefore US embassies shouldn’t have any art. The Art Newspaper reports that the Republican Congressman Jason Chaffetz called the camel “a questionable use of taxpayer resources” in a letter to the Secretary of State John Kerry on 1 April. Apparently Chaffetz, who chairs the Oversight Subcommittee on National Security, wants all documents related to embassy art purchases since 2010. Because it matters for National Security.
OK, whatever: it’s another fabricated uproar on a slow news day. Buried in all this is the charming fact that the STATE DEPARTMENT wants this sculpture, a wonderfully deadpan reference to the famous observation (found in both the New Testament and the Qur’an) about rich people getting into heaven. Forget all the noise about the art program for embassies (which comprises 0.5% of their construction budgets for new projects, the horror!) Let’s celebrate the fact that somewhere, deep in the bowels of State, there’s a functionary with an eye for great American art who wants to share it with the world.
Rendering of “Not a Whole Fence” (working title) by Ball-Nogues Studio
In addition to the upcoming show Citizen Culture at the UTEP Rubin Center (which will originate at the Santa Monica Museum of Art), the city of El Paso is also embarking on a major public art program, via a quality of life bond that passed in 2012. One of the key pieces in a new Triple-A baseball stadium (for the charmingly, albeit unferociously, named El Paso Chihuahuas) will be an installation by LA-based architectural Ball-Nogues Studio. The design, an elegant metal fence behind the outfield, will allow pedestrians to peer through round portholes and watch the Chihuahuas in action.
We reported on the Ball-Nogues selection last year, and a recent visit showed the city hustling to get the stadium finished in time for its opening day in one month (with no sign of any public art yet).
Architectural rendering by Teddy Cruz
One of the things people always say about El Paso is that it’s closer to Los Angeles than it is to the eastern part of Texas. Perhaps that proximity is driving the current flurry of activity by California artists. All over this city in the desert, El Paso curators are looking west for collaborations and talent to mine.
First off is the show Citizen Culture. The Santa Monica Museum of Art received a $121,500 grant from the Warhol Foundation for this show, which opens there this fall. Curated by Lucía Sanromán (who’s also doing this summer’s Site Santa Fe), the show will travel to the Rubin Center at the University of Texas El Paso (UTEP) in the spring of 2015. The show includes San Diego architect Teddy Cruz and will feature international artists and architects working to change public policy.
As reported in Artnet, artists John Baldessari, Barbara Kruger, and Catherine Opie have rejoined the MOCA board after resigning in protest during the troubled tenure of former director Jeffrey Deitch. The artists left the board ultimately over Deitch’s firing of longtime MOCA curator Paul Schimmel.
While the return of well-known artists will arguably create goodwill for MOCA, they (along with three other non-artists who have also rejoined) were at the helm during the worst crisis in the history of the institution, and one wonders about the strength of leadership they will bring (back).
There is an argument to be made that, however much a disaster Jeffrey Deitch was (and he was certainly a disaster), he was hired to make changes, not keep things the same. Did the board members who resigned in protest never ask the hard questions of Deitch during the hiring process? Did nobody say, “What do you think about Paul?” Rather than running to fetch their smelling salts en masse, the departed board members should have looked in the mirror. The job of a board is to hire and fire the director, and Deitch’s tenure, and his decisions, lay at everyone’s feet — even the members who’s last names weren’t Broad.