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.

The National Italian American Foundation and the Istituto Italiano di Cultura Los Angeles co-host Canali.
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.

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“The Indians are circling the wagon.”
“The rich buy art and keep prices inflated.”
“We’ve been sold down the river by big money.”
“The social safety net is dismantled- its a house of cards.”
Billy Shire fired off these warnings as he held court in his office at the recent Billy Shire Gallery opening reception for artists Tony Fitzpatrick and Chris Mars.

It is the middle of a beautiful Saturday, a couple of weeks before the hustle and bustle of open studios. I decide to take a tour with one of Santa Monica Art Studios’ two directors, Yossi Govrin. Stupidly, I almost miss my turn because I’m too distracted watching a plane land at the Santa Monica Airport. It’s an interesting place to find 22,000 square feet dedicated to the fine arts.