Scott Wade lives on a dirt road, full of limestone dust that loves to rest on the back window of any car that goes through it. Seizing the opportunity, Wade, instead of writing something like “Scott was here,” started his very own genre of art, “Dirty Car Art.” Yes, Wade “paints” with dirt.
Van Halen at the Forum, 1984. Photo credit: Paul Chinn.
Mötley Crüe rehearsal, 1983. Photo credit: Gary Leonard.
Anthony Kiedis and Flea, 1989. Photo credit: James Ruebsamen
Dickies show, 1989. Photo credit: Todd Everett
Southern California, thanks to its diverse landscape, has always enjoyed a wide variety of musical genres. Los Angeles in the 1980’s saw a kaleidoscope of tunes, and different beach communities, the Valley, South Central, the Inland Empire and East LA each had its own form of local music. Plus, since the late 60’s, a growing number of major record labels had/were setting up their headquarters there. Coupled with an abundance of clubs, Los Angeles become the epicenter of the music industry.
So, not surprisingly, major rock groups did very well in Los Angeles – devoted fans packed their venues. While the alternative scene got less coverage, the free press such as L.A. Weekly, the L.A. Reader, BAM, Rock City News, and Music Connection provided the recaps and nightly gigs around the town.
If you’re local to Los Angeles, stop by and see the exhibition at the LAPL History & Genealogy Department from January 8 to June 28, 2015. In addition, there’s a companion catalog available for purchase on Amazon.
Paris based designer Laurent Desgrange not only creates some interesting apparel including fancy bow ties but he also has a great collection of psychedelic collages which sometimes find their way on his apparel.
California based artist Evan Holm, creates Submerged Turntables, a kinetic installation featuring salvaged objects, turntables, records, and dark, murky water. The piece, which Holm used to perform at San Francisco’s Museum of Modern Art but now resides in his studio in Oakland, is meant to serve as a reminder that “all tracings of human culture will dissolve back into the soil under the slow crush of the unfolding universe.” By playing the records in the piece’s pitch-black pool, Holm is “enacting a small moment of remorse towards this loss.”
For this work, Evan submerged a working turntable in a dark liquid; he then proceeds to pick a record from his wall, which then is inserted onto the wet record player. The functioning underwater turntable is a mystery, and I think that that’s the most enticing part of the work; the turntable’s ability (against all odds) to play music under water, it is quite remarkable.
The work, heavy on symbolism, relies on our negative notions of pairings involving electricity and water (a parallel to doomed feelings). How can we ever think that an electric turntable could effectively work under water? It is this notion that brings Holm’s concept to a clearer view. By making this possible, he brings forth an “optimistic sculpture, for that just after the moment of submergence..the tone, the melody is pulled back out of the pool, past the veil of the subconscious, out from under the crush of time, and back into a living and breathing realm.” (via IGNANT)
Founder of Los Angeles-based architecture and design studio Urbana, Rob Ley has yet made another venture into the world of interactive architectural installations. This time large-scale. His project “May-September” features a field of 7,000 angled multi-color metal panels constructed onto the facade of Eskenazi Hospital in Indianapolis.
According to Ley, the project began when he started wondering about the typical notion of the parking structure. Often these huge concrete constructions are unappreciated and ignored by public. Ley posed himself a challenge to turn it into a dynamic system that would interact with the viewers as they pass it by.
Together with Indianapolis Fabrications, they’ve built a huge angular aluminum and stainless steel installation (12,500 square feet) that also features an east/west color strategy (yellow and blue). The visual experience of changing colors and patterns depends on observers’ perspective and speed when they move across the hospital grounds or drive along the street. The piece also interacts with nature as every sun beam or cloud can shape the hues and saturation of colors.
As in nature, the volume and shade offered by the piece shies away from harsh, geometric patterning – instead tending towards a gentle, dappled variability in form <…> [parts of installation] work together as brush strokes to create a dynamic façade <…>.
Christian Cuoco is an illustrator and graphic artist working in New York. Cuoco states his fondness of “existentialism, books on improvement, and films by Stanley Kubrick.” He currently works with Gojiberry NYC building websites and does freelance graphic design. His mixed media pop art is inspiring to say the least.