Your cart is currently empty!
Category: COVID-19
-
Donna Isham in conversation with Shana Nys Dambrot
Fine artist Donna Isham speaks with Los Angeles art critic Shana Nys Dambrot about her recent hugely successful first solo show.
She: unBound, the beauty and power of the unrestrained woman in downtown Los Angeles. The Zoom conversation highlights Isham’s viewpoints on her art today, the power of woman no longer bound by unattainable ideals of perfection, and the raw emotive lyrical qualities of her abstracts. The fundamental need for creativity and art could not be more necessary as the world adjusts to this urgent crisis. The show is currently at the Gloria Delson Contemporary Art Gallery (GDCA) in downtown Los Angeles.
-
Deep Listening By the Light of a “Full Pink Moon”: Opera Povera in Quarantine
The planet, some of us might say, is having a moment. Panic, collapse, disruption—with the tables turned on the principal disrupting species by an errant configuration of protein presumably just doing its thing in the carbon cycle; also course-correction, regrouping, re-orientation, re-alignment. And—also for a change—this might not simply be a function of human projection. As the carbon cycles run their variable course in the biosphere, the planet moves in its own time-space relationship with planets, the nearest stars, and not least of all, its satellite, the moon. These are cycles that can be neither denied nor disrupted for the simple fact that they are unlikely to be resisted by any living thing, even those on the ocean floor.
Whether musicians might be more susceptible to such natural rhythms is a thesis that can’t be proven; but the late composer and theorist, Pauline Oliveros, would almost certainly have embraced the notion of cultivating awareness and sensitivity to environmental rhythm, sound and vibrations. What she and others referred to as “deep listening” or “sonic awareness” were at the core of her artistic practice. From an environmentally engaged approach to listening, composing and making music that ranged from spelunking to the furthest edges of electronic music to pure meditative silence, Oliveros shaped her work by in effect sounding it out peripatetically amid collaborators, musicians, audiences transformed into participants, and the moment itself.
Sean Griffin, the director of Opera Povera, no less than Oliveros herself was, is alive to such moments; and as the moon moved towards its near-perigee alignment with Venus and Mercury that terrestrials refer to, more wishfully than accurately, as the “Pink Moon”—perhaps more wishful than ever, as most of us are nearly frozen in isolation from one another—Griffin seized on the idea of executing Oliveros’ The Lunar Opera: Deep Listening For_Tunes, as if in reverse: instead of simply pulling all of the performers and participants through internet and telecommunications to a single place (the original locus was Manhattan’s Lincoln Center), why not make the cloud in effect the actual platform, convening participants and performers by video-conferencing tools (Zoom) into a live-streamed virtual locus that would unfold as the moon appeared and began its ascent relative to the earth.
“We wanted to open it up to the world. Instead of creating an elaborate imagined city, we could have a series of actions that that we would do together, sonic monuments projecting our good will out to each other.”
His near-random idea (Oliveros would have loved the spontaneity) took shape as he chatted with his CalArts colleague and frequent collaborator, violinist Madeline Falcone, who, along with Nick Norton, rallied to help co-organize the Equal Sound Corona Relief Fund to provide emergency financial relief for musicians who suddenly found themselves without work, contracts, or engagements effectively for an entire season or longer. As the word filtered out via social media, musicians emerged from all corners of the world to participate. Some of the names will be instantly familiar to new music fans both in Los Angeles and world-wide: George Lewis, Anne LeBaron, Max Richter, Carmina Escobar, Midori, Christine Tavolaci, and on—a list 250 names and growing (including many performance and multi-disciplinary artists—Cassils, Nao Bustamante and Susan Silton were just three of the names that jumped out at me).
This will be Falcone’s eighth project with Griffin. They came together in 2013. Falcone, whose Isaura Quartet collaborated with Griffin on two of his 2015 Opera Povera presentations at the Schindler House in West Hollywood—the Charles Gaines Declaration on the Rights of Women from Manifestos 2, and George Lewis’s 2007 Unison, last worked together with Ron Athey in Griffin’s production of Athey’s Gifts of the Spirit – a ritualized setting of the automatic writing ‘seances’ Athey has been conducting/performing for some years now.
For this collaboration, though, Falcone will be producing, working alongside the production’s technical director, Sagan West Fylak. “Two of us are going to be at CalArts, where we’ll be running the live feed from a set-up performance area. There will be a lot going on…. It will be chaos at times. Each performer will be able to experience all the performers in the Zoom meeting. The performers will be free to duet with another available musician; and performers can use the chat function to chat with one another. We want this to be a participatory event.”
Griffin elaborates: “This is why I knew the score would work so well. It’s an algorithmic score for large crowds of people: performers listen from where they are for a cue to perform; then when they hear the cue again, they pause, and wait for the cue to happen again.
“Everyone generates his or her own characters. In one passage, everyone will come together to blast out as much noise as they can in different directions. Then there will be a ten-minute passage of complete silence; and another where we’re trying to tune into, mix into each other.
“I have to reinforce that this is a participation opera, and best viewed from inside the opera. The openness of the score is evidence of Pauline’s trust in her fellow artists to create something out of these descriptions which are basically relationships, using that as a compositional device.”
Griffin has some hands-on experience with this kind of material. One of his Schindler House presentations was a treatment of Oliveros’ landmark 1970 To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation.
As they move through—and actually conduct—the chaos, Griffin and Falcone are making room for music or other performance elements that may or may not always mesh with the stream coherently for the rest of the participant-audience. “There will be rooms for participants and small breakout rooms that will not be live-streamed in the international feed.” Griffin mentions costume changes, a “documentation collage.” Falcone independently clarifies, “We will select other sections to feature at our end. We’ll be collecting documentation to be edited afterwards.”
Once again, Griffin and Falcone will be working with Ron Athey, which seems to promise that the essential element of Druid ritual will be working its lunar magic.
The performance begins at 6:00 p.m. PDT (and through to at least midnight); with a pre-concert conversation including Griffin, Athey, George Lewis, and others set to commence at 5:00 p.m. PDT.
Although it’s hard to predict how a net cast as far and wide as this one—with participants everywhere from the California coast to New York to Germany and even Australia—Griffin indicated that a test last Friday night that included at least 66 participants went well. Griffin signs off with an isolation-breaking note, reminding me that “when we look up at the sky no matter where we are, we’re looking at the same world together that night.”
Full Pink Moon streams live beginning at 6:00 p.m. (with pre-concert conversation at 5:00 p.m.) on Twitch, YouTube, FacebookLive and at seangriffin.org/full-pink-moon/livestream. Contributions may be made to the Equal Sound Corona Relief Fund by going to the Equal Sound website.
-
Quarantine Q&A : Luis De Jesus Los Angeles
Q&A with Luis De Jesus & Jay Wingate
Is your current exhibition open to the public by appointment? And does it matter who the “public” is, i.e. only prospective buyers, art critics, art curators?
Yes, both of our current exhibitions are up and open to the public (everyone) by appointment, by calling or emailing the gallery. We’re all working remotely and are very flexible with our schedule.
Britton Tolliver, Spaghetti Mirror, 2018 (current exhibition at Luis de Jesus) Are you in touch with your collectors and are they still interested in buying art or are they showing hesitation due to the stock market slump?
We’ve been in touch with some of our most important collectors and they’re doing exactly what everyone else is doing—staying home and taking care of themselves and their families. Although we are continuing to follow up with pending and confirmed sales as well as inquiries, the interest has slowed to a trickle and people are not in a rush to make decisions or purchases. We had one cancellation from a collector who got cold feet after the initial stock market plunge, however, they’ve assured us that they are still interested and will be buying at some point.
In your opinion, how long will this temporary shutdown of the LA art world last?
That’s the great mystery, isn’t it? A couple of weeks ago, I was confident that it wouldn’t go more than six or eight weeks but now things are completely up in the air. Given the worsening conditions across the country, not to mention the rest of the world, it’s very possible that the shutdown could last through mid-summer. I’m pleased with the stringent efforts that Gavin Newsome is making to halt the spread of Covid-19 in the state.
Ethan Gill, Shallow Standing 2, 2020 (current exhibition at Luis de Jesus) How are you overcoming the challenges we are now facing?
Like many other galleries, we are looking for ways to stay present and relevant. We recently launched our new website and we’re in the process of adding a new page that will pull together all of our artist’s video and film projects as well as links to other feeds and impromptu and intuitive content. We’re in production mode—a good thing.
How can Artillery‘s readers help galleries and artists while they are closed?
This is the perfect time to catch up with your gallery visits by checking everyone’s current exhibitions online through their websites and social media channels. Ditto for the artists that you follow. Also, remember that a lot of galleries are still open by appointment. So if you really want to see an exhibition you just need to reach out to them and set it up (between your run to the store and the hiking trail).
Jay Wingate, director, Meghan Gordon, associate director, and Luis De Jesus. It’s common knowledge that most gallery pedestrian traffic doesn’t buy art, so how does the closing of your gallery affect your business? And can you see this as a trend for the future?
The biggest difference is in-person and person-to-person engagement. Unless you’re already familiar with an artist’s work, it’s very difficult to fully appreciate and understand it if you haven’t experienced it in person. Nothing compares to it. I’ve always believed that owning an art gallery serves not only our business interests but it provides a place where we can share a heightened experience of art. It raises it to a new level that’s simply not available on a screen or book. Is it possible that the art world would migrate to an exclusive online experience? Yes, it is, but it would be at a huge loss to everyone who loves art.
Britton Tolliver, Climbing the Wall, 2019 During the Great Recession, were people still buying art? Can that still happen again?
In fact, we opened our gallery in September of 2007 and by the following spring and summer were seeing the signs of stress on the economy and gallery sales. When Black Friday hit it all came to a full stop. There’s really no reason why we should have survived. Our sales that first and second year were almost negligible but each one was a small miracle that helped us move forward, one day and one month at a time. We were also very lucky that Jay had a solid job that allowed us to put every penny back into the gallery. Although we didn’t have any employees or salaries, and kept expenses to an absolute minimum, including turning off lights when the gallery was empty, we did participate in art fairs! We did Aqua in Miami in 2007 and 2008, and both years managed to make sales and, most importantly, meet collectors, advisors, and curators that we’re still in touch with today. So, even when things look very bleak it’s important to recognize that you’re not the only one that is crazy enough to be in this business and are trying to make it work.
Jay Wingate and Luis De Jesus. Your email sounded cheerful. Some gallerists are keeping a positive outlook. Others are picnicking. Id love to hear more about this. Could the only silver lining of this situation be is that art fairs are now canceled? (just adding a little humor here)…Is there anything surprisingly positive you have noticed so far? Or otherwise? Or something you feel you or we all could learn from this?
I’ll let my last answer suffice.
Luis De Jesus Los Angeles
2685 S. La Cienega Blvd.
Los Angeles, CA 90034T +1 310 838 6000
gallery@luisdejesus.com -
Tulsa’s Top 5 Interviews
Dear Reader
Well here we are again…same time, same place—boy does that phrase take on a completely new meaning.
I’ve put together five of my Artillery interviews, starting with Catherine Opie, way back in 2006 in our very first issue—that’s 13 years Artillery’s been around.
I hope you enjoy a few of these blasts from the past to wile away the hours. (Btw, that’s me in Tulsa, OK, working at the local alternative weekly, circa 1986.)
-
BUNKERING TIPS
With the idea that everybody is stuck inside, and possibly taking a financial hit, here are some free resources to make another long month a little more bearable.
If you have a device that you can read e-books on, here is a giant list of places where you can legally download books on a variety of topics. https://iheartintelligence.com/free-books-100-legal-sites-download-literature/
A project called Cities and Memory is collecting field recordings of city soundscapes under lockdown. You can explore it here https://citiesandmemory.com/what-is-cities-and-memory-about/
If you have a valid library card, a service called Kanopy lets you stream a wide variety of movies for free https://www.kanopy.com/
If you happen to like opera, The Metroplitan Opera is streaming a free opera every day for 24 hours. https://www.metopera.org/user-information/nightly-met-opera-streams/
This is a good time to learn about the National Emergency Library. It was created to “provide books to students and the public. http://blog.archive.org/2020/03/24/announcing-a-national-emergency-library-to-provide-digitized-books-to-students-and-the-public/
IF (that’s a big if) you need to go out for supplies, here are instructions for making a face mask without sewing, with things around the house. https://blog.japanesecreations.com/no-sew-face-mask-with-handkerchief-and-hair-tie
Photo by Nicholas Kamm via Getty Images. And here is a recipe to make your own hand sanitizer https://www.wired.com/story/how-to-make-hand-sanitizer/
-
Ten Books on Art
Looking to do something other than Netflix and Chill? We got you. One of our funniest, most-loved & recognizable writers, Cat Call columnist, Anthony Ausgang, shares his ten favorite books on art.
1. The Recognitions, by William Gaddis
2. The Apes of God, by Wyndham Lewis
3. Vincent and Theo, by Deborah Heiligan
4. A, by Andy Warhol
5. The Warhol Diaries, edited by Pat Hackett
6. Interviews with Francis Bacon, by David Sylvester
7. Here to Go: Planet R-101, by Brion Gysin
8. LA’s Early Moderns, by Victoria Dailey and others
9. Point and Line to Plane, by Wassily Kandinsky
10. The Kandy-Kolored Tangerine-Flake Streamline Baby, by Tom Wolfe
Comment below other list recommendations you’d appreciate. Be safe everyone.
Follow Anthony on Instagram: @anthonyausgang
-
Quarantine Q&A: Sean Meredith of Track 16
Is your current exhibition open to the public by appointment? And does it matter who the “public” is, i.e., only prospective buyers, art critics, art curators?
We switched to appointment only as a precaution before the shutdown announcement. Now the Bendix Building – and LA for that matter – just closed completely until April 1st. As a result, I can’t even enter the building by myself, let alone do appointments.View from the gallery. Are you in touch with your collectors and are they still interested in buying art or are they showing hesitation due to the stock market slump?
A couple of people are asking about things. Mostly we’re talking about life—checking in how each other’s family is doing, best places to scream into the void, will art-handling gloves protect us from the virus? That kind of thing. It’s a mutual support system.In your opinion, how long will this temporary shutdown of the LA art world last?
I think galleries will be in “by appointment” mode until June. Hopefully we can have openings by this fall. But the world we face is changing so quickly; it’s impossible to tell.Elyse Pignolet’s exhibition “You Should Calm Down” (2019) How are you overcoming the challenges we are now facing?
We haven’t overcome any of them yet! I’m prioritizing talking with our artists about ideas on how to share their art with people trapped in their homes. I’m committed to continuing to sell their works; artists were in precarious financial situations BEFORE the pandemic. So, we’re working to develop online shows where all us shut-ins can look and enjoy but also get a piece and support the artist and our program. I’m making videos about artists in our current show which is getting extended. We need collectors to support what artists do: birth into this world things that affirm life, which is imperative.Noa Yekutieli’s exhibition “Pedestal” (2019) How can Artillery’s readers help galleries and artists while they are closed?
Simple. If someone wants to support artists and the galleries that present them, they can buy art to help allay the cabin fever. Make virtual appointments whether it’s just an email exchange or FaceTime. Gallerists want to know what you’re interested in too. We are here ready to champion the art we love, so give us a chance to continue that while quarantined.Director Sean Meredith at opening of Robbie Conal’s exhibition “Cabinet of Horrors” (2018) It’s common knowledge that most gallery pedestrian traffic doesn’t buy art, so how does the closing of your gallery affect your business? And can you see this as a trend for the future?
Online sales are important to us, as are direct offerings to longtime collectors. But almost half of our sales happen with the collector in the gallery. What’s nice about visiting a gallery or museum is the speed of your walking controls viewing. Our click-fingers move very fast online and can suck the life out of the experience. That said, people are going to be home a lot. I’m already considering an interior design overhaul. Anyone can collect art—whether it’s a painting, print or poster. It’s nice to keep company with things that can grab us by the collar and give our souls a rattle.Mondongo’s exhibition “What Are We Gonna Say After Hello?” (2018) During the Great Recession, were people still buying art? Can that still happen again?
We sold a lot of art in 2007–09. But, we lost money every one of those years. In tough times, you want to do your best to work out deals with collectors, who themselves have less money. People will keep buying art, yes. What they collect and hang on their walls could change as all of our mindsets shift towards a new unknown future.View of Track 16’s storage/work area. You mentioned you are worried. Could the only silver lining of this situation be that art fairs are now canceled? (just adding a little humor here)…Is there anything surprisingly positive you have noticed so far? Or something you feel you or we all could learn from this?
I’ve had a few people—some I don’t know well—reach out and tell me how much they appreciate what we do (which was unexpected, but appreciated). Even as the director of the gallery, I’m uncomfortable with attention. Still, it was very touching to receive an email that included, “we can tell that your gallery is built on a genuine love for and understanding of Art and Artists.” I’m a dark-humored cynic, but I can’t help but be moved by the kindness our of community.