The Audacity of Stillness

Two things --

1. Your Bright Future at LACMA – Chance and fate have dictated that I am currently housemates with Korean artist Nakhee Sung at the moment, here at my home, Raid Projects. It's quite serendipitous, then, that LACMA should have an exhibit of contemporary Korean art at the same time. The show is indeed a good time. Christopher Knight has chided it as “90’s festival art”, and though I agree it has some dull spots, overall it made me want to go to Seoul and make video art.

A standout was Choi Jeong-Hwa’s plastic container installation that should have been a few acres bigger, but provided a delightful forest to lose oneself in. It was an interesting contrast to the other “forest” on the LACMA campus – Burden's streetlights – whose permanent status on the grounds served to highlight how disposable Choi’s materials end up being.

Of course, Do Ho Suh’s pieces kicked everyone’s dick in the dirt. His ability to get so much artistic mileage out of the places he has lived as the source for his work is mind bending. His brother’s an architect Nakhee tells me.

Love that Young-Hae Chang Heavy Industries, wish they would have mounted the monitor in the elevator, to see how they play off of the permanent Krueger installation. My favorite in the whole show, however, was Kimsooja’s unbelievably provocative video installation A Needle Woman. So achingly simple, so hypnotically compelling, so tellingly revealing, she has managed to concisely and articulately show how contrary to conventional wisdom it is to literally take a stand. Kim does nothing in these videos, and yet the audacity of her stillness so quickly instills a similar notion in the viewer. The presentation of multiple videos from all over the world make the universality of her stance (and her stance) visually and poetically apparent. One simple move, or more correctly a lack of moving, and Kim has transformed herself into a force of nature, dictating the direction of the humanity around her, instead of the other way around. An inspiring solution to anyone who has felt caught up in life’s flow.

Plenty of other goofy and great pieces, by other goofy and great artists, an overall paradoxical feeling of a group of artists at different forms of play, yet united by something globally plugged in, but decidedly non-Occidental. A heavy prevalence on video is a badge worn almost patriotically in this show, and a picture of Korea is presented that makes a case for a country whose artistic identity could easily be the meat in an Asian contemporary art sandwich, surrounded by the hearty bread of China and Japan. But only as long as it’s one of those Vietnamese sandwiches. Because those are fucking tasty.

2. I was going to write about Mat Brinkman’s Multi-Force comic book, but Frank Santoro over at the Comics Comics blog has beat me to it. I agree with almost all of his assertions, save for his initial feeling that Brinkman’s most representative output was his “official” art – the drawings, the installations, etc. For me, I’ve always just been waiting around for Brinkman’s work in book form – his comics – and everything else was ancillary to it. At most, I sought to incorporate and connect his other output to what I saw in Paper Rodeo, or Kramers Ergot, or Teratoid Heights. His show at M+B Gallery here in LA a little while back totally confirmed this for me, as it was easy to see those drawings as depicting denizens of Citadel City and the surrounding areas. It seems “cartoonist” is a term that needs re-defining in this new wonderful era of avant-garde comics. The Comics Comics gang seems to be at forefront of articulating this new contextualization, and it is them, frequently, that I turn too when I myself am trying to wrap my brain around the larger picture of what is being produced by fellows like Brinkman. I sort of thought of Brinkman as an artist who has maintained a comics practice, but maybe it’s my problem with the word and not the word’s problem…………

A Study Hall Notebook From the 12th Dimension

So. Melissa Brown and Mat Brinkman at M+B Gallery. Mat Brinkman is one of my favorites. Definetly my favorite of the fabled Fort Thunder artists from Providence, Rhode Island. He doesn't show that much it seems, and the plethora of drawings he had at this show was more work of his than I've ever seen in one place.

Do yourself a favor and google 'Fort Thunder' if you're not hip to this super-influential group of artists and musicians. Let me put it this way: If Gary Panter was shot in a rocket to a distant moon, and a thousand years later we found his descendants, long since having created a new world and culture out of whole cloth, what they wrought would look something like the output of the Fort. And Brinkman and his otherworldly imagery from a study hall notebook from the 12th dimension is my favorite of the bunch. His only solo published book that I know of is Teratoid Heights, and I forgot to bring it for him to sign, though I did get to meet him. He's from Texas like me. I also got to meet Dan Nadel, mastermind behind Picturebox Inc., who publish much of the Fort Thunder and related books and whatnot, along with many other super amazing things. I can honestly say that Picturebox probably gets more of my money more than any other book publisher. So there.

I first discovered the work of the Fort years ago in Houston, when The Comics Journal did a huge feature on them in one of their issues (Oct 2003 issue). There in my lonely Houston apartment, at the tail end of my undergrad education, the story and work of this group totally took hold of me as something unlike anything I had ever previously encountered. Here was a group of young artists creating as purely as possible, eschewing labels or categories that could pigeon hole whatever is they chose to make, be it posters, prints, comics, sculptures, performances, or music. My first hand encounter with Brinkman was the cover of Kramers Ergot 4, which was another eye-opener to this strange new world.

Their legacy continues -- Ben Jones, Paper Rad, C.F., as well as the original Fort dwellers continue to produce work, much of it published by Nadel and some others. Do yourself a favor and immerse yourself in this rich body of kookiness and spread the love.

Oh yeah, I met and talked with Winona Ryder at the opening. She was very nice.

These are the highlights of what I got, Fort Thunder-wise, if you feel the need to come over and drink some beer and look at some books. I have a clipboard if you need to check something out.

Wunderground: Providence, 1995 to the Present -- This is the catalogue of a show put on by RISD in 2006 celebrating the history of the Fort, its artists, and current artists that continue in the same spirit.

The Comics Journal #256 -- This issue's feature, from October 2003, explains the whole Fort deal, and has interviews with a few of the artists involved, including Brinkman.

Teratoid Heights -- Nice, weird, chunky book by Brinkman that is pretty representative of his output.

Ninja -- Super huge mega-comic by Brian Chippendale that features some more recent stuff intermixed with childhood drawings. Very cool.

Maggotts -- Also by Chippendale. A labrynthine adventure through some of the most obsessive and insane drawing you'll ever see.

Paper Rodeo -- This is the comics newspaper put out by some of the Fort artists that featured work by the above mentioned cats. I have 3 or 4 issues.

Lightning Bolt, Mindflayer, and Forcefield -- Three bands featuring Brinkman, Chippendale, and others. I have albums of all three. All noisy, calamitous, kookiness. I think Lightning Bolt is the best.

I have some other related stuff by some other related artists, but I'm about to list the better part of my library here. What's above should get you started. Enjoy.

Save the Taco Truck

So the man is trying to shut down the taco trucks in LA.  The one behind my building makes the deadliest breakfast burrito in the galaxy.  There ain't a thing about it that's Mexican except the tortilla.  I have seen the dude unwrap a Kraft American single and put it in the thing.  It's delicious.  But more than one a week is a death wish.  But what a way to go.  But this post is only partially about the Great Taco Truck Skirmish of '08.  Its about Gary Panter.  I just got his new two-volume slipcased monograph (published by the fantastic Picturebox, Inc) in the mail today.  I had to go to teach soon afterwards so I only got to glimpse it.  Much like taco trucks, I identify Panter's work with Los Angeles, him being part of Slash magazine and knowing PKD, his Paul Rubens connection, and try not to look at Jimbo: Adventures Paradise and tell me that's not LA.  I have a particular affinity with him being from Texas, like me.  I've met the man a few times, and can do a decent impression of him.  He sounds Californian.  He lives and works in Brooklyn, now.  I'm sure I'll have more to gush about him once I have some Glenlivet and give the new monograph a once over, but for now, I just wanted to give a 'fuckin' a' to taco trucks and Panter.