LAMA & YHBHS

“Well, I’ll confess something. I like happy art.

And you’ll notice most of the art is happy.” - Richard Dorso

image: Richard Dorso's Los Angeles home.

Photography © Grant Mudford.

YHBHS & LAMA! For the next month, I'll be sharing lots of images, related interviews, & events regarding an interior space I have created for LAMA's next auction. The YHBHS exhibition space will be open to the public beginning September 19, until the day of the auction, October 9, 2011. The space is getting close to being installed, painted, wallpapered with KREME papers, furniture selected, & all soon to be photographed! Please check it out in person if you are in Los Angeles.



When Peter Loughrey, Director of LAMA, first showed me the photographs of Richard Dorso's L.A. home, I was immediately transported by his collection & the story his residence told about the forms and colors of 60s California art. I'm creating a temporary open space inspired by the geometrical, hard-edged works from Dorso's collection by Baldessari, McCracken, Ruscha, Arnoldi, and many other early California artists. Lots more to share in the next weeks. - David John







"Los Angeles Modern Auctions (LAMA) and You Have Been Here Sometime (YHBHS) will partner together to produce a special interior showcase for LAMA’s Pacific Standard Time exhibit Collecting in Los Angeles 1945 – 1980. This 3 week exhibit explores the collecting practices of Richard Dorso, a native Californian, who at age 101 left behind a unique art collection spanning much of the 20th century. The exhibit will conclude with an auction of the entire collection on October 9, 2011."



Auction: October 9, 2011; 12pm Noon (PST) Pacific Standard Time Exhibition

Preview: September 19 – October 8, 2011. Open daily 10am – 6pm Auction, Exhibit.

Preview Location: 16145 Hart St. Van Nuys, CA 91406



Visit LAMA here.

Keep informed on events on the LAMA Blog!















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"It seems silly to
superimpose words on work."
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images:

1. John McCracken, electric, in bronze, via David Zwirner
2. Willy Rizzo 1970's coffee table, via here





John McCracken in an interview writes: "It seems silly to superimpose words on work. It seems natural to me that these things are applied to the work as that's what I try to put in it. I've always been interested in metaphysics-so I guess one also does a self portrait of one's body of ideas. My own work has puzzled me-especially as it relates to the plank. I kept coming back to making planks and I kept wondering if I was being habitual or obsessive or responding to demand, or if there was more to this plank form than I consciously realized. I wondered if they were a life form from somewhere that was channeling through me and it didn't make any difference if I understood them or not.


It worried me a bit-I believe in being intuitive but not being unconscious. I started to realize that these were figurative things that are both in the world and out of it. Because it leans at an angle, when you put a plank in a room, it kind of screws things up-it can be a little disturbing, but I found I liked that. When you set things vertically they go with everything but when you set them at an angle then you have something that shifts away from our reality. It's partly in the world and partly out of the world. It's like a visit. "




more of the interview here..









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the
new
green.






"Green is also known to have signified witchcraft, devilry and evil for its association with faeries and spirits of early English folklore. It also had an association with decay and toxicity"


The Wizard of Oz:
"In this story is the Emerald City, where everyone wears tinted glasses which make everything look green. According to the populist interpretation of the story, the city’s color is used by the author, L. Frank Baum, to illustrate the financial system of America in his day, as he lived in a time when America was debating the use of paper money versus gold."




image above:
John McCracken
Green Block
1969








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"probable architecture" pt 1.

aka

"the new sculptural identity."

Mr. McCracken writes that his work draws on major architectural monuments of the past, ''but it has nothing to do with the past itself. It is a matter of finding those particular forms which seem expressive of a kind of very high level of human consciousness."

"What the work of art looks like isn't too important.
It has to look like something, if it has physical form.
No matter what form it may finally have, it must begin with an idea."


-Sol LeWitt, 1967

on anti-environments:

"What I mean is any given place has a preexisting character and identity and when you intervene with a form, that form necessarily changes the character and description of the space and place giving it a new sculptural identity. Often this new identity is considered to be anti-environmental because it alters and changes the existing condition, whether it is urban, architectural or a landscape. It changes how one relates to those spaces and places both perceptually and conceptually.



People become annoyed because they feel that they have a proprietary right over their environment. When it's altered by an interjection that is utilitarian, people don't mind. If you give them a nonworking fountain or a signboard or an advertisement, it is totally acceptable, but if it's a work of art, which is by definition useless, then they protest. I have never completely understood the logic of the protest. Calvinist logic of utilitarian purposefulness continues to be the subtext of most people's reluctance to deal with art in public places."




- Richard Serra




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probable architecture pt 1.

aka

"the new sculptural identity."



images:
1. john mccracken, 1965
2. sol lewitt, 1996, (via 16miles!)
cinder blocks, and concrete
3. sterling ruby









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You have read this article john mccracken / probable architecture / sol lewitt with the title john mccracken. You can bookmark this page URL https://gigibytes.blogspot.com/2010/08/probable-architecture-pt-1.html. Thanks!