The film eventually tries to justify its title with a few shots of Christmas decorations and clubs where New Years could be properly celebrated.
While I was running through the Getty Center’s flagship portion of the massive citywide ‘Pacific Standard Time‘ art exhibit, I was struck by just how great this Wallace Berman fellow really was. Known primarily as the ‘father’ of assemblage art, he was also a member of the Beat Movement. He made a single film which occupied much of his time through the 1960s and 70s. It’s less than eight minutes long and it’s a drop dead gorgeous thing to see. He’s one of those film artists interested in what I like to call the messy image. The film seems to have been dragged through ink and dirt. It’s been scratched, wrinkled, folded, cut, slashed and stained. Letters flash by like subliminal messages. Pop culture crashes into modern art. He films magazines, papers, radios, faces, hands, rock stars, body parts, buildings, streets and apparently just about everything he had lying around in his studio. This film is a quiet little reminder that crystal clear HD and super sharp focus are not anywhere near the concerns of some artists.
And here is California assemblage artist George Herms talking about Berman recently as part of the Pacific Standard Time series of exhibits:
Pacific Standard Time is a massive overview of Los Angeles art from 1945 to 1980. At least sixty galleries and museums are taking part over the next few months. I have already been to the largest exhibits at the Museum of Contemporary Art, Los Angeles County Museum of Art, and the Getty Center. The whole thing is a lot of fun and I have discovered artists I never knew about before. There are magnificent things on display and the curators have also published big books to go along with each exhibit. I seriously recommend that you always get the books because they have far more information in them than the exhibits themselves. I view it as my own effort to compile a record of this unique regional art show.
You can find almost everything you need at the Pacific Standard Time web site.
This film was put together for the Getty Center’s flagship exhibit, Crosscurrents, which covers 1950 to 1970. It’s a very nice little documentary about some of the major art developments in Los Angeles.
Oliver Riley-Smith made this short documentary about the disappearing mural art of Los Angeles. It features a prominent muralist complaining about how murals have been ‘bludgeoned by graffiti’ and ‘censored by the city.’ Perhaps so. The city does make it difficult to get permits for murals. But I don’t really like murals. They tend to be stiff and unoriginal. I like the murals that have been vandalized by the graffiti artists. Sorry but I do. They are much more interesting than the clean murals which are entirely unimaginative and offer nothing to move art in any direction whatsoever. If muralists want to preserve their images, they should paint indoors. Look at the mural on the highway underpass wall that’s covered with graffiti at the 42 second mark in the film. Beautiful. Much better than the mural ever was. The muralist in the film says, ‘Museums are for the dead. I want life.’
Bullshit.
There’s a guy in this film called ‘Ghost One.’ I like what he says about art. He’s realistic and open to whatever comes along. He says that taggers mark up murals because they assume that their marks will have more longevity that way. That’s a very interesting thought. An artists seeks longevity by making his mark inside the work of another artist. Fascinating. Much more interesting than the murals. Such thinking shows possibility.
But then the film draws the two sides together and our muralist says he ‘hopes our two styles can work together.’ Well, they can’t really, but it’s a nice thought.
The Los Angeles Times reports that the City Council is easing its restrictions on outdoor murals. It will no longer classify them the same way it does billboards. Since 2002 it has been illegal to paint a mural on private or public property because the artworks are considered advertisements. But Los Angeles is going to try to do a better job of distinguishing between the two.
Of course this will all get muddled again as soon as an artist paints a figure holding a can of Coke! Is it art or is it an ad? As a rule though, it is never difficult to tell when something is a giant ad and when it’s not. It just takes a little common sense and observation. Surely the City Council can manage this.
But the bottom line is that the murals of L.A. are inspiring and extraordinary. The city needs to reclaim its title as ‘The Mural Capital of the World!’
The photo is a portion of a photo by Al Seib for the Los Angeles Times, April 6, 2011.
Former Rage Against the Machine member, Tom Morello, who has been playing for and talking to Occupy Wall Street and Occupy Los Angeles, speaks with reporters about what is going on with this explosive movement.
And here is a repost of my film, ‘One Day Occupy L.A.,’ which features an incredible live soundtrack of Morello playing for the protest in Los Angeles just this week.