After ten years, the Santa Monica Museum of Art’s Incognito benefit has become a fixture on the L.A. art world calendar; and although I don’t necessarily make it every year (the never-ending battle of time and distances, to say nothing of travel contingencies), I’m always happy when I do.  There’s always something to surprise, something to bring unexpected pleasure, illumination; and it’s almost astounding to see what an amazingly diverse range of artists can do within the more or less prescribed 10×10 or 8×10 (compressed if not entirely flattened) format.  Given the scale in which some of these artists are accustomed to working, they can be almost impossible to attribute at first – or tenth – viewing – which is part of the point.  I think one reason the event has become such a successful benefit is that (unlike writers) artists actually look forward to that ‘blank page’ (or Arches paper, square of canvas, whatever), and the freedom to do absolutely anything they want.  It’s an out-of-left-field opportunity to set aside their customary approaches, strategies, and media; step outside their practices altogether, their recognizable ‘brands,’ even their DNA….    

Well maybe there’s a limit to that.  That, after all, is what so many are looking for – the ‘brand,’ legacy, blue-chip entries; though it seems ever more absurd.  I will admit there’s a certain satisfaction to be had seeing through these digressions – their feints, distractions, and camouflage – to the DNA.  But it’s far more exciting to be taken by surprise – the familiar in a fresh guise, the complete unknown that gives some glimpse of something entirely unexplored or unseen, or some fresh, impossible beauty.  At a certain point, there’s a bit of a blur – or so it seems after the preview offered at Wednesday evening’s Precognito gala.  But I will say this year’s crop (approximately 700 pieces by some 550 artists) is one of the best I’ve seen.    

I found myself going back to one piece or another, alternately fixating and letting go, and finally (as it seemed) wandering around in circles.  It was fun picking out the work of friends (among the ‘blue-chip brands’), and being charmed again and again.  You’re reminded just how many first-rate artists live and work in Los Angeles.  Looking over the list, you realize that in spite of the seemingly exhaustive roster, there are a number of ‘missing’ names.  I can understand how this might happen (aside from the benefit exhaustion so many L.A. artists suffer).  (It’s called life.)  You may also see a few names recognizable from the L.A. art & culture industry, but not as artists.  I confirmed the identity of one such artist a couple days later at the FIAC press conference.  That, too, is a joy – the extent to which people surprise us in sometimes rewarding ways – whether across a dinner table (I had the opportunity to sit next to the brilliant architect, Kulapat Yantrasast of wHY Architects), or by way of a small work of art.   

Will I see you there tonight?  $350 seems such a small price for a masterpiece.