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B/D Movie Time this Wed: “Who the #$&% Is Jackson Pollock?”

urban_jacksonpollock

We continue our month long series of free outdoor screenings at Space 15Twenty this Wednesday, May 20th, with “Who the #$&% Is Jackson Pollock?”

 

The screenings are projected on the large outdoor screen located next to the Snack Bar. Seating is limited so arrive early to secure a chair, but if you get there late, no worries you can always sit on the floor or bring your own chair!

 

“Who the #$&% Is Jackson Pollock?” takes a more tongue-in-cheek look at the inner workings of the stuffy art elite than last week’s screening, “Basquiat.” “Who the…” is seen through the eyes of a beer-drinking, sailor-mouthed woman who may have accidentally purchased a Pollock from a thrift store- and the ridiculous rigamarole she must go through to have it verified.

 

Drinks, snacks and popcorn as usual are available at Snack Bar!

 

“Who the #$&% Is Jackson Pollock?”- Wed, May 20
8:00pm
Space 15twenty
1520 N. Cahuenga Blvd
Los Angeles, CA 90028

 

See more Beautiful/Decay Movie Times for the month of May after the jump!

 

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Jennifer Ziliotto

JenZiliotto

Jennifer Ziliotto is a Los Angeles based photographer (and happens to be a good friend and bandmate of mine!) One of my favorite shots is the David Lynch-ian inspired portrait, above, of Zachary James. I love its flickering, dramatic spot- lighting, its textural qualities; the soft focus, played against the cool, hard steel of the sword, the interplay of velvet on velvet, and its stunning jewel-tone palette – a beauty! Could almost be an out take of a surreal performance from Mulholland Drive or an unexpected hallway in Twin Peak’s black lodge. If her stunning, surreal photography that fuses psychedelia with glamour isn’t enough, she’s also an amazing make-up artist, having worked with the likes of Kat von D and Full Metal Jackie of Indie 103.1 fame.

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Studio Visit: Aaron Johnson

aaron sitting in front of 2 new paintings Aaron Johnson’s sunny Brooklyn studio is full of riotous, colorfully undulating, larger-than-life monsters.   He’s getting ready for a show that opens next week.  Luckily, he had some paintings in progress so we can see how he puts his paint on.  Known for making paintings that are both incredibly gorgeous and politically aggressive, Johnson continues to develop and has upped the ante with his new work.  Now he’s including Old-Master appropriations, political satire, religious abominations, gender-benders, and personal references, all played out in monstrous iconography. 

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Mari LaCure

Mari_LaCure Mari LaCure is an artist interested in the minute. She understands the importance of every single element – and explores them with woodblock printing, etching, watercolor, pen, colored pencil, and hand-stitching. Her work uses the macro and microscopic of nature for inspiration to create an aesthetic that looks incredible on screen, and probably even better in person.

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RAMMELLZEE’s Singular Visual Stylings

Recently deceased Hip Hop legend RAMMELLZEE was such an enigma. I often have a hard time deciphering some of his rhetoric. But his genius is so evident. His work (on any platform, vocal or visual) was always a cut above. He always had something slightly different going on. Take his “Letter Racers” (above), for example. Customized skateboard warriors fighting epic alphabet wars? Always on another level. See more from the late great artist after the jump, and listen to “Beat Bop”, the game-changing single that included cover art from Jean-Michel Basquiat.

All photos Copyright The Estate of Rammellzee, Courtesy the Suzanne Geiss Company, New York.

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Kenneth Anger’s Lucifer Rising


Last night I finally went to the Hollywood Forever Cemetery Screenings, a true experiential landmark of living in Los Angeles, and saw a collection of Kenneth Anger (satanic moving-picture majesty) films that he worked on from 1954-1979. The most memorable one was Lucifer Rising (1973) not only for its hauntingly beautiful footage (scenes shot in Egypt with amazing amazing costumes, rituals, strange/awesome editing techniques…), but also for its backstory. The amazing psych-fuzz-rock soundtrack was composed in prison by musician and actor Bobby Beausoleil: Charles Manson Family associate and murderer currently serving life…how much more intense could it get?? Check out the video after the jump.

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Dan Sabau

sabau1

I recently ran into Dan Sabau‘s haunting and ethereal abstract-figurative watercolors at YES Gallery in Greenpoint, Brooklyn. I was immediately drawn to the dashing bright colors and the flow of lines that maintained a definitive form despite allusive strokes of paint. Faces and figures are distraught and aloof, some hidden and others morphed into voluptuous loops. There’s a confounding element of ghastly transparency and confrontational forwardness that makes them disturbing and addictive.

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Mike Nelson Is Destroying Gallery Walls And Deconstructing Installation Art

Mike Nelson - installation

Mike Nelson - installation

Mike Nelson - installation

Mike Nelson - installation

British artist Mike Nelson‘s installations feel a bit like you’ve stumbled onto a movie set. He sets up eerie scenarios that are very minimal, but impactful. His piece To the Memory of H.P Lovecraft (1999,2008) saw him bashing holes in the pristine white gallery walls and freestanding plinths, as if some creature had torn it’s way through the room. Leaving the narrative vague and bare, Nelson leaves it up to the viewer to react to his installations as they want to. Nelson plays with simulation, representations of the real, replicas and objects placed in new contexts. By recreating something quite simple, but in a new and unexpected way, he is able to make us feel at odds with the space.

Nelson rebuilds interior scenes as well as destroying them. In The Projection Room (Triple Bluff Canyon) in 2009 he blocked the access to a replica of a typical south-London Victorian terraced house and forced the visitors to peek through a window. Objects spewed out of one tiny split in the wall in a very bizarre fashion. Nelson talks about his practice:

I’ve always had a slight fear of piles of junk that function purely as decorative ephemera but only act as a signifier of a certain type of installation…I think it’s a constant worry that you’ll make this amount of effort to have something that just becomes spectacle, as opposed to something which moves somebody or encourages somebody to empathize with what you’re trying to lure them into, or coax them towards. (Source) (Via Sweet Station)

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