Good buddy Stephanie recently donated a kidney to her father. To mark the successful occasion, she and Brian held a celebration with friends and family at artists’ Sasaki’s loft in Downtown LA, where Stephanie had her heartbeat drawn.
From Brian: You all know that Stephanie donated a kidney to her father in December. Knowing that this was a big event in both of our lives, I decided that I wanted to somehow record the event as a before and after, a milestone.
After doing a little soul searching we thought it might be interesting to engage Sasaki, a friend of ours who records peoples heartbeats as artwork, as a means of marking those points in time.
We decided to make our pre surgery record a relatively private matter, not only because we were unsure about how we would feel having ourselves recorded, but also because we genuinely didn’t know what was going to happen moving forward and wanted the moment to be our own.
The “after” portion is slightly different. The surgery was successful and not only do Stephanie and her dad feel great, they look great as well. So, given the resoundingly positive outcome of the experience, we figured why not turn the record into a more celebratory occasion and take the opportunity to surround ourselves with the friends and family who we cherish the most.
Stephanie, with her pre- and post-surgery heartbeat paintings behind her.
The newest installation going in to Materials & Applications’ Silver Lake courtyard will be Cage Aux Folles by architect Warren Techentin. However, it’s being constructed and pre-assembled 8-miles away in South LA. I rode down to the Slauson workshop of Ramirez Ironwoks to volunteer in the construction of the steel tube structure.
I think many Angelenos would agree that the eastern campus of the Los Angeles County Museum of Art is cluttered, difficult to navigate, and not the best public frontage or “front door” for the museum campus. But it wasn’t always like that. William Pereira’s original 1965 master plan called for a pleasant entrance courtyard off of Wilshire, surrounded by a trio of core buildings. Hardy, Holzman, Pfeiffer Associates’ 1986 addition esentially created a wall along Wilshire Blvd., eliminating the open frontage to the museum. Pity.
So this exhibit of Peter Zumthor’s vision for a new LACMA campus is funny in that, like its predecessors, it reimagines a new campus without these original core museum buildings. This plan, and those famously proposed by OMA, call for the demolition and removal of all existing structures, and developing a new mega-museum building, one that houses all the museum’s functions under one roof. Nice. But maybe too easy? Is there nothing redeemable about the existing master plan to be salvaged? It would be a much bigger feat, and more admirable, if architects were able to reuse some parts of the original buildings, tapping into the sentimental and emotional connections people have with the existing campus. Instead of simply starting over?
This invitation tickled me. Mimi designed the whole thing, drawn by hand. It’s in the same aesthetics as the Save-The-Date Poster she and Jordan sent.
Now that you all know the address of the wedding and reception, I’m expecting you all to be there. Kidding.
I liked the invitation so much, that I didn’t send back the RSVP Card. Woops. Mimi shouldn’t have made it so beautiful.
With just some paint, plants, and fabric, good buddy Mariana Blanco of Hoodablah, along with some creative minds like Graham Keegan and Adi Goodrich, put together a great urban intervention with a “good bomb” in the lunch area of an asphalt jungle at Jordan High School, south LA.
What’s a “good bomb”? In Mariana’s words: “We basically are going to take memorial day weekend, while the kids are gone, and volunteers like us are going to transform the lunch area. Then Tuesday, when the students come back, they’ll have a new, exciting lunch area, and we’ll have made their day, if not the rest of the year and more. We are going to film it, and that video will be used to hopefully inspire others to “good bomb” in their own communities.”
Biked down to LACMA with Kevin Biggers at 10:30pm in hopes of catching the midnight passage of Christian Marclay’s 24 movie The Clock. ”It is in effect a clock, but it is made of a 24-hour montage of thousands of time-related scenes from movies and some TV shows, meticulously edited to be shown in “real time”: each scene contains an indication of time (for instance, a timepiece, or a piece of dialogue) that is synchronized to show the actual time.”
Unfortunately, we didn’t arrive until 11:15pm, and by then, the line was all the way onto Wilshire Blvd. We were still standing in line when midnight struck. Within 5 minutes there was a large exodus of spectators. So we stayed and caught the passing of 1am. Needless, we got a lot of scenes from horror movies, bedside nightstand clocks, late night phone calls, etc. What a treat. I was in a trance watching the movie. I highly recommend it to all those who are as deficient of attention as I am.
Around 1:15am, Kevin, Avishay, Marya, Tommy and I walked over to ForYourArt's new LA gallery space for Around the Clock: 24 Hour Donut City, “a 24-hour pop up donut shop, giving away donuts from LA's best known donut shops. Donut and Clock: two round but seemingly unrelated objects that will be synchronized for this 24-hour event.”
They quickly ran out. I only ate half a donut.
This tube came in the mail the other day. Pleasantly surprised to find Michelle and Jordan’s Save-The-Date tucked inside.
The poster is appropriately and delightfully designed for them. Can’t wait for the real invitation to arrive. I’m expecting someone to pop up out of a cake. A chocolate truffle cake. With bacon on top.
It all started on August 5th, 2010, when Glen Phillips (organizer of the Getty’s Pacific Standard Time’s Performance and Public Art Festival) and I exchanged correspondences about having Materials & Applications (M&A) submit a proposal to the Getty for a grant to perform Judy Chicago, Lloyd Hemrol, and Eric Orr’s 1968 dry-ice installation “Disappearing Environments”. On January 19th, 2012, after 3 planning sesions, M&A, 40+ participants, Judy Chicago, and Donald Woodman collaborated to create "Sublime Environments" at Barkar Hanger at the Santa Monica Airport.
The day started with some bagels from Brooklyn Bagels in Historic Filipino Town.
Then we started getting prepped up for the big performance. This included white jump suits, white spray-painted hair, and work gloves.
The dry-ice came in 12”x12” blocks, and delivered in big bins. We were building 9 ziggurats, with 91 blocks each.
The participants were divided into 4 groups, each group building one ziggurat at a time. Tthe first half of the day consisted of building 4 ziggurats. After lunch, the 4 groups proceeded to do another 4 ziggurats. Then, all the participants helped to build the final ziggurat.
The sublimation of the dry-ice blocks changed throughout the day. As the day got warmer, and the air more moist from the ocean, the fog got thicker. Notice the photos as the day progressed.
The final piece being placed by Judy Chicago and Donald Woodman.
At 5:30PM (sunset), participants lit 30-minute road flares, 10 to each ziggurat, to create a red, glowing, emanating environment.
And to think, I had no idea who Judy Chicago was when I first spoke with her on the phone back in August, 2010. She had fans who dressed up like her at the opening. No big deal.
As the night wore on, the ziggurats slowly began to crumble as the blocks sublimated and shrank. And much like the products and monumental things in our lives we treasure, the block will also disappear, without a trace.
i hosted a figure drawing class at Really Awesome Great Experiments. But instead of spending lots of money on a professional nude model, we just all took turns drawing each other, clothed, and swapping public transportation stories, drinking mulled wine and hot toddies.