MISAPPROPRIATION, described as a “pop-up group show,” consisted of
work from four different artists. After checking out the screwdrivers
in the back patio—as in the refreshing beverage, not hand tool—and the
orange flavored candies (Studio Orange was keeping with a theme
fitting to its name), I’m ready to check out some art. One of the
first pieces to catch my attention is a large painting of a woman from
the torso up, but completely covering where her face should be is a
black circle with the words “Your Face Here.” The painting is part of
a series that artist Sonja Schenk calls “Defaced Portraits.” It aims
to explore the, “phenomena of people who photograph, then black out
the faces of their subject, sometimes adding a message.” The artist
says she finds this disturbing and questions the function of the
photographs. Seeing the pieces hanging on the wall does make you
wonder, what’s the point of taking someone’s portrait only to render
it indistinguishable? I guess, thanks to the impersonal world of the
internet, where these photos were found, we will never know the answer
to this question since both the photographer and subject remain
anonymous.

The next series of paintings do in fact show faces, and a whole lot
more. One painting in particular shows a topless woman, sitting up in
bed between two gentleman drinking beer and smoking. The painting is
part of a whole series of paintings which are based on photographs
that artist Brendan Lott finds on anonymous “peer-to-peer file sharing
networks.”  Lott then takes the photo files and sends them to Dafen
Art—A Chinese company of professional artists who create lifelike
paintings based on photographs. Lott’s art definitely incorporates
modern day techniques and processes that could only be created with
the help of the wonderful world of the internet.

After checking out Annie Seaton’s mixed media pieces which use cut
out photos of surfer dudes and shades of blue paint which the artist
masterfully makes to look like moving water and waves, I enter a
second room in the studio. Here I find the work of Ray Beldner. I wear
contacts, but looking at Beldner’s work I have to wonder: did I
remember to put my contacts in today? There on the wall, are several,
small, square paintings of different faces that look faintly familiar
but are hard to make out as they are blurry and fuzzy.  As it turns
out, each painting is a different celebrity, politician, musician or
other well known public person. It became a game amongst us art
patrons to figure out the name belonging to each distorted face. Who
knew art could be so much fun?

Leaving Studio Orange after seeing the works in MISAPPROPRIATION left
me thinking one thing—never put your photograph online. Although this
art was beautiful and unique and intriguing, because of the world of
online, anonymous photo sharing, it’s sort of creepy to realize that
the subjects in the paintings have no idea that their image is being
used and displayed for people they don’t even know. Still, for those
of us who caught MISAPPROPRIATION at Studio Orange, these online
photographs provided some amazing art to enjoy.

WHAT: MISAPPROPRIATION, a pop-up group show
WHERE: Studio Orange, 8526 Washington Blvd, Culver City, CA 90232
WHEN: Jan 23-30

http://misappropriationart.blogspot.com/

The free exhibition runs through July 18, 2010. Regular gallery hours are 10 a.m. – 4 p.m. Monday through Saturday and 1 – 4 p.m. Sunday.

Clearly, it is impossible for the Palos Verdes Art Center to mount a show of van Gogh originals—the facility is not large enough so for this exhibition, the use of well-painted, appropriately framed reproductions of van Gogh’s work to detail his artistic development and contribution as well as the textures and colors of the originals will provide at least the sense of real paintings. A digital reproduction of the original painting will accompany each work for comparison – thus, About, the exhibition’s title, defines what it is.

To extend the educational content of the exhibition, a number of interactive opportunities will be included. Viewers will be invited to participate in a several hands-on projects to stimulate thinking about the artist and how he worked. The ultimate goal is to provide an experience leading to a greater understanding and knowledge of van Gogh’s work and an appreciation of its place in the history of art. An additional part of the exhibition will be a display of a selection of some of the many commercial items creating the van Gogh brand. In themselves these form an interesting and provocative aspect to our knowledge and understanding of the artist and the appreciation of his work. Everything in the exhibition is for sale.

At Home with Vincent – Curator, Robert A. Yassin, the Art Center’s chief executive officer,
will present a series of four informal talks on Vincent van Gogh.
May 20: The family Van Gogh—the nurturing of a great artist?
May 27: The luckiest artist in the world—how and why did Van Gogh become so famous?
June 3: Is Van Gogh a great artist, and how do we know?
June 10: Fair use and van Gogh’s work—the problem of artistic fame in the absence of
Copyright. Reservations are required for the talks and a donation of any amount requested
($5.00 is recommended).

The Palos Verdes Art Center, a non-profit community organization, has served the South Bay with visual arts exhibition, education and outreach programming since 1931. For more information about About van Gogh or other Art Center programs, call 310-541-2479 or visit www.pvartcenter.org

Photo Slide Show By Nancy Accomando

Video By Linsey Levine

Story By Lisa Manson

Often mistakenly dubbed as the “Mexican Halloween,” Dia de los Muertos, or Day of the Dead, holds a special significance to the descendants of the Meso-Americans. Part of a ritual that has been practiced for over 3,000 years, Dia de los Muertos honors death as a continuation of life. Celebrants wear skull masks, called calacas, or face paint to honor deceased relatives and build elaborate altars to fill with offerings for the dead. For all its mysticism, at its core, the celebration is about family and community.

This past October, the art community came together at the Carter Sexton gallery to enjoy the debut solo show of photographer and Forth contributor Nancy Accomando, who has been documenting the local celebration of Dia de los Muertos for years. Admittedly, I was no expert on the Dia de los Muertos celebrations, but I have long been awed by the intricate and colorful painted faces that seem to be ubiquitous around Halloween. So I came to the show not only to view some art, but also to learn.

Nancy’s photo-documentary was shot in October 2009, during the week long celebration on Olvera Street in Downtown Los Angeles. Olvera Street’s Dia de los Muertos is a rich and festive experience (and knowing what Olvera Street is like on a normal day, this came as no surprise). In addition to her photographs, Nancy also created a “shadow box,” which featured a paper mache skull with Day of the Dead-themed designs on it . If you looked through the eyes of the skulls, you could see a slide show of Nancy’s images that were shot during the first event she documented. Through these pieces, Nancy was able to capture the sense of community along with the sense of celebration. The focus of her photographs was the people, both those who have obviously been participants in the ceremony for years (and had their calacas down to a science) and those who were clearly new to the tradition. Nancy’s lens gave them equal significance, since both represent the diverse and dynamic community of Los Angeles. By doing this, she was able to show that the celebration is simply an “appreciation of a time we all share together in this world and beyond.”

The gallery itself also served as a host for a mini celebration, which truly drove home the theme of community. People broke bread (or taquitos), sipped sangria, and filled the cozy gallery with a happy clamor of conversation. The real treat (besides the delicious food) was when the crowd parted for a group of four elaborately-dressed women with full skull makeup. In the middle of the room, they improvised an eerily beautiful dance to three Mexican-influenced songs. The dance group, known as “The Nautch Conspiracy,” is composed of Leila Maitland, Cory Podielski, Hannah Trimbath, and Jennifer Knott. When that was over, and while you were waiting to get some face-time with the artist, you could wander outside and get some airbrush art from Mr. Hoodbrush. Fun and festive times abound. For someone who came in knowing Dia de los Muertos simply as “Mexican Halloween,” I left feeling like I knew a little something more about the Los Angeles community of which I am now a part.

Unfortunately, the exhibition ended on November 12th, but many of the pieces (and others) can still be seen on Nancy’s website:

nancyaccomando.weebly.com.

Quick View:
WHAT: “Dia de los Muertos: Olvera St., L.A.” at Carter Sexton Gallery
WHERE: 5308 Laurel Canyon Blvd., North Hollywood, CA
WHEN: October 8th, 2010, 6 pm – 12 am
WEBSITES: nancyaccomando.weebly.com
cartersexton.com/mrhoodbrush.com

When I found out that the 15th Annual Los Angeles Art Show is taking place at the LA Convention Center this year, I immediately flashed back to the last time I was there, about 5 years ago, getting sworn in as an American citizen. Instead of being surrounded by fellow foreigners awkwardly waving our tiny American flags as a video George Bush, wheat fields, and smiling children played on a large screen, this time I was surrounded by rich old people, hipsters, and hungry reporters.

“Who’s here? What celebrities? Who’s checked in so far?”
“Tatyana … hm… something,” the publicist was a bit taken aback by his ferocity. “Let me look it up, I’m not good with celebrity names.”
“Honey, if you can’t remember the last name, they’re not important.” BURN.

All I was hungry for was pasta and possibly champagne. Journalism is usually an individual sport, lonely, cold and demanding, like curling, so when fellow reporter Tommy Tung, a freelancer for Juxtapoz, suggested we wander the art show together, I was excited to have a partner in crime. Especially when it came to snagging a drink and food at the same time – teamwork was of the essence.

The LA Art Show is vast in size and scope. Kim Martindale, the Director/Executive Director of the show, had a very clear vision for utilizing the space to its maximum advantage, including giant live painting installation Vox Humana, the Downtown Gallery Association, and the Sister City Los Angeles International Art Exhibition. “The great thing about the convention center versus any other facility in Los Angeles, is that you have the potential to do these things. When we moved the show here we were at 70,000 square feet, this is 150,000 square feet.”

The size of the space is important, since Kim’s view of the LA Art Show is encyclopedic, “We have [everything from] very historic work to really cutting edge. This show is about showing all the different types of art.” That may account for some overheard grumblings at the show about Holly Hobby art, or declarations that the LA Art Show is no Art Basel. But for every complaint, there is a gallery or an artist that has a chance to show its work to an outside audience. Be it the art of Uruguay, the debut country for the brand-new Guest Country Program, or the graffiti of Retna and El Mac, this convention center is a site where many unlikely matches of artist and art lover will occur.

Tommy and I were most excited for the Vox Humana Art Performance, which is curated by Bryson Strauss of LA ART MACHINE. There are two separate 12’x12’ murals for Mear One and Kofie, and a joint mural that’s a collaboration between Retna and El Mac. It is a black and white photorealist portrait of a woman, a universal mother figure with pained eyes and a wrinkled face – El Mac’s contribution. Her face touches something primal inside, a nostalgic guilt that is so familiar to every kid who’s ever upset his mother. Starting from the top left corner, Retna has begun to cover the background in his signature calligraphy, beautiful in its fluidity and grace. By the end of the show, he will complete the Spanish quote, which so far reads “I am your mother, who gave you the earth that bore you, now my tears…” I can’t wait to see the finished product.

A featured spot at the LA Art Show brings a certain legitimacy to an art form that is illegal in its natural environment; a fact that’s easy to forget with artists like Shepard Fairey and Banksy having become pop culture staples. Kim Martindale is proud to aid this shift in perception with Vox Humana, marking the first time a prominent art fair has featured street art: “Graffitti art is part of that latest movement that has gone through transitions, where people pushed it aside, saying it’s an evil thing for our society, and in the last 5 years you start hearing a lot more about those artists, and they really are artists.”

Just as the live graffiti art installation is a first of its kind for any art fair, not just the LA Art Show, it is a first event of its kind for the artists as well. Retna tells me he’s excited to paint here, “It’s nice to be able to be in an environment like this and be able to produce the pieces that we would normally do on the street.” For El Mac, the ability to paint on a 12’x24’ canvas is another bonus – he says his work has a lot more impact large, in addition to minimizing a perfectionist streak that can run wild when he is working on a small scale.
Retna and El Mac are glad to expose a different kind of audience to their work, seeing the difference between this gig and what they usually do as merely a difference between the private and public sector. “We kinda do it for everyone, it’s a universal thing, there’s stuff we give away to the people and there’s stuff we give away for a commercial purpose, but the meaning is the same,” says Retna.
For El Mac, creating the giant murals under the watchful eyes of an ever-changing crowd goes hand in hand with the exhibitionist nature of being a graffiti artist, “The more the better. That’s the whole point, isn’t it? Wanting people to see the work, whoever they are, whether they are little old ladies, or rich Italian people. Whoever might like it, whoever it might do something for.” Both artists hope that the exposure will lead to new opportunities and new investors.

After taking some video of Mear and Kofie working their magic with aerosol cans, acrylic paint, and rulers, I head over to the giant Hershey kiss that has been beckoning to me throughout the evening; even more than the pomegranate martinis.

The 20’x12’ kiss is one of several delightful offerings of CA mosaicist Jean Wells, presented by Timothy Yarger Fine Art. Its Oldenberg-like oversized playfulness draws people from all around the show like a shiny silver beacon, and its little paper flag flies a promise of something fun, silly, and sweet. It does not disappoint – inside there is a little bench, where videos of silent movie kisses play on a loop. It is an escape pod from reality, a giant piece of brain candy.

Elizabeth Yochim, the Director of International Exhibitions for the gallery, shared what she thought made Wells’ work so popular internationally in the last couple of years, and so attractive to serious collectors: “It seems very simple, but it is very highly crafted mosaic works, each piece is hand-cut glass. [And] they find her work refreshing, whimsical, funny, nostalgic – which can be a trite word, but it truly does remind you of a innocent happy time, and also [attracts] people who are just drawn to objects of pop vernacular.” Ah yes, Jeff Koons fever.

Other pieces include a ritzy gold teddy bear in a hilarious brightly patterned vest – it has the expensive look of the Damien Hirst diamond-encrusted skull but it comes with a sense of humor. As I let a giggle escape, I catch an older man frowning at me and the bear, which reminds me that a lot of people do not consider this art. Elizabeth is used to hearing that. “Whether or not the art world accepts it as art, or fine art, it touches people. Everybody who looks at that teddy bear smiles,” says Elizabeth. “Is that art? Is it an expression of the human condition? Of course.” As I watch people interact with the bear and the kiss, I see their emotional response, and the whole argument becomes moot.

On our walk back to the parking lot, I overhear a formidable-looking gentleman with neck tattoos tell his friend with a shiver, “That painting sucked the life right out of me.” I want to recommend that he check out the Hershey’s kiss, where his vigor would be surely restored, but he heads straight for the bar. That works too.

I leave the LA Art Show feeling excited and inspired by what people are trying to create here, the city that Kim Martindale believes is the new epicenter of the art world. He tells me that there is a far greater purpose to the obvious desire for the commercial success of the show: “You are trying to develop an interest in art, in the community. It’s about uniting all those non-profit, for-profit, institutions large and small so that more people talk about art, and create an excitement about art, because without that, my soul is lost.” Couldn’t have said it better myself.

To view Mario Canali’s art is to transport into a world of paradox, both delightful and disturbing. Featuring inquisitive human hybrids and surreal landscapes, Canali’s works are disruptive, edgy and innovative, as they were when he painted them in the 70s’ and 80s’. To gaze into the eyes of his creatures is like looking into the eyes of a lion, knowing you are safe only because they are caged. Canali’s hybrid humans not only catch the eye, they hold it spellbound.

In 1978, Canali’s first show in his native Italy featured oils of human hybrids in beautifully stark, colorful dreamscapes drawing critical praise. Comparisons to the medieval painter-priest, Hieronymus Bosch would be ongoing. Canali’s painting style ignited what would become a lifelong exploration of symbolism, archetypes, surrealism and many other philosophies. Canali’s commercial success was viable, as well. Between 1977 and 1979, Canali sold nearly 100 of his oils, pastels, ink drawings and etchings.

Canali’s art works express symbolic stories to something deep in our DNA, inviting lingering looks. Each painting’s exploration of symbols and philosophy, presents a compelling image which Canali would make his signature style.

According to Canali, “The first paintings came from dreams especially images that appeared as I was falling asleep, during the hypnagogic state, between wakefulness and sleep. At that time my painting style was figurative, fantastic looking at symbolism and surrealism,” Canali laughed. “That kind of painting, in those years, went against the trend, that’s for sure.”

This was the first wave of Canali’s artistry. A consuming force was about to drive Canali to produce a prolific outpouring of work for the next three decades.

After a decade of painting, Canali got wired. Computers emerged in the mid-eighties and Canali immersed himself in the digital world. Mastering computer technology, Canali produced Europe’s first digital art.

“Those were the years of the digital revolution, lasting until the mid nineties,” Canali said. “Having been one of those pioneers, it was both an exciting and rewarding adventure.”

His pioneering digital art was the spark for Canali’s fascination with virtual reality. Moving to Milan, Canali became a founding member of the Correnti Magnetiche Research and Electronic Art Group. Inspired by Fritjof Capra’s book, “The Tao of Physics”, Canali began integrating innovative scientific paradigms into his imagination, creating digital and animated works via computer. For the next decade, Correnti Magnetiche produced groundbreaking digital images and 3D animations to widespread appeal, earning awards at international exhibitions like Siggraph in Los Angeles, Imagina in Monte Carlo and Nastro d’Argento in Rome. Canali used the new technology in a variety of ways, producing, for example, a series of electronic games about pollution for the Italian Ministry of Environment.

Absorbed with the computers’ socio-psychological applications, Canali began working with a computer scientist to create his first interactive installation, Satori which featured the use of immersive virtual reality for each individual’s artistic and expressive purposes in 1993.

“Interactivity involves a relationship with the public. The study of states of mind and conscience, the mechanisms of emotion. This is why interactivity appeals to me,” Canali said at the time.

Working with Italy’s leading physicists, psychologists, engineers, software designers, musicians and film-makers, Canali wanted his interactive installations to enable people to experience a previously unknown awareness of their inner states. These invisible reactions were Canali’s impetus, his tools for creating interactive art. With Canali’s installations, participation is integral to the art. The art occurs as a result of the user participation with output based on the individuals’ involuntary bio-rhythmic responses.

Expanding the connections between art, science and technology, Canali’s installations received widespread European attention. Current Italian President Napolitano even participated in a demonstration. Now that Canali could bridge the human psyche, his curiosity about society burst wide open.

“I was inspired by the unanswered questions. Who is not satisfied? Who has a dream, a talent not yet recognized,” Canali said. “The fundamental questions of who are we? What is this reality? Why we do what we do? Is it books? Nature? The events that daily life gives us? What is the beauty that excites us?”

Canali’s forte became firmly established as he created of over a dozen interactive installations using bio-rhythmic and human inputs. One installation evaluated scribbles or doodles on a surface. Another installation required user’s to put their heads into the virtual womb of a woman’s body.

By 2000, Canali had officially made the transition from artist innovator to thought leader. Italian universities offered doctorate classes in their design and architecture programs on Canali’s work. Canali also guest lectured at the Brera Fine Arts Academy and at the NABA Academy of Arts and Design in Milan.

During this time, Canali created a psycho-bar, with performer Xena Zupanic for experimentation and event production as interactivity continued to dominate his world. The hybrids of his early work still appeared in his digital art. But now Canali had a new hybrid, the interactive installation.

His art was no longer a solo effort from Canali’s hand to the canvas or computer. It was now participation based, created through the combination of involuntary biorhythms of the users, light, sound or music. Canali had discovered expression for a language that had been previously inaccessible in humans. Like the Rosetta Stone, Canali’s interactive installations gave us access to our inner language. Biorhythms accessed, harnessed interactively and made visible with Canali’s interactive furniture, lights and enclosures, using displays combining light, sound, images and/ or video.

Canali’s projects stayed focused on the expansion of socio-psycho parameters. He organized a series of meetings with philosophers focused on the conceptual understanding of the interaction of art, science and philosophy, the Arcnaut project, in 2004. Next, using technology and digital thought as a means of promoting social interaction, Canali designed the Cultural Entertainment Centre with the Reload Cultural Association. In Milan, Canali began a building restoration that would serve as his creative space for his research and development. This became Studio Canali where Canali works daily.

Throughout Europe, thousands have experienced Canali’s virtual art and interactive installations in venues ranging from traditional museums to fashion shows, technological festivals, psychology conventions, raves and technology shows. Canali is one of the world’s leading experts in avatars as well as in creating software capable of recognizing and interpreting biometric data. Canali, true to his Italian forebears, has become a 21st century Renaissance man; artist, designer, engineer, lecturer, philosopher and scientist.

With a half century of artistry in Europe behind him, Canali is showing his work stateside, for the first time in America, in Los Angeles this February.

To celebrate Canali’s arrival, the National Italian Americans Foundation, NIAF, and the Istituto Italiano di Cultura Los Angeles join as hosts to welcome the artist at an opening reception and art show on Thursday night, February 11 from 6:30 p.m. – 9:30 p.m. during the Los Angeles Downtown Art Walk.

Several art works will be shown along with an interactive installation called Ritmi (Rhythm) and Korazone which are bio-rhythmic lights.

Featured graphite drawings are among the most complex Canali has ever accomplished. Several of Canali’s works were completed over a course of years. Canali started the graphite on panel, ‘Avatars Parlano Della Vita’ or ‘Avatars Talk about Life’ in 2002 and finished in 2008. The finished work is almost 5 feet long and 27 ½ inches wide.

“In recent black and white works is my vision of the world. The complexity, the different perspectives, the dance of interaction,” Canali said. “At some point, the work dictated its rules and what I had left was the pleasure to see it grow. What I think I will find in America is an environment closer to my current artistic inspiration,” Canali said.

Canali has produced a handmade, signed art book, limited to 100 editions, to be sold at the opening reception and art show, 100% of the proceeds from the $30.00 price will go to the Exceptional Children’s Foundation (ECF). The DAC Gallery is a non-profit organization supported by the ECF.

For information on Mario Canali or the sponsoring organizations, please go to www.studiocanali.com, www.dacgallery.com,www.NIAF.org or http://www.iiclosangeles.esteri.it/IIC_Losangeles

Contact: Vicki Godal

310.254.4094