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LEARN: Performance Art in L.A.

Posted on: January 19th, 2012

As Part of the Citywide Pacific Standard Time: Art in L.A. 1945-1980 Collaboration, the Getty Center has Recently Launched an Interactive Web Archive. ForYourArt Asked Claire de Dobay Rifelj to Help Navigate the Archive.

This dynamic site offers a digital snapshot of the art scene in Los Angeles from 1945–1980 via artworks, documentary images, video interviews with artists and a historical map related to its four exhibitions. (more…)

LEARN: Alex Israel’s New Mural in Venice

Posted on: January 26th, 2012

Alex Israel Talks with ForYourArt About His New Mural on Abbot Kinney Boulevard

 

This Friday marks the unveiling (and subsequent party, 7-11pm, ribbon cutting at 8pm) for a new mural created by native Angeleno Alex Israel.  The commission has been spearheaded by Esther Kim, the proprietor of a recently opened gallery on Abbot Kinney in Venice called VARIOUS SMALL FIRES (the name comes from a 1964 book by Ed Ruscha, who also kept a studio in Venice). The mural features imagery iconic of Los Angeles, from the lifestyle and the ethos of the Venice neighborhood to city’s nearby beach culture, all of which are prominent and recurring in Israel’s work. (more…)

LEARN: Glenn Kaino Represents U.S. at Cairo Biennale; Cesar Garcia Appointed U.S. Commissioner

Posted on: February 29th, 2012

Glenn Kaino Will Represent the U.S. at the 13th International Cairo Biennale in December

Los Angeles-based artist Glenn Kaino was recently selected by the Bureau of Educational and Cultural Affairs of the U.S. Department of State to represent the United States at the 13th International Cairo Biennale. Cesar Garcia, Associate Director and Senior Curator at LA><ART, has been appointed U.S. Commissioner. (more…)

LEARN: Donut Scholarship

Posted on: March 21st, 2012

Donuts VS. Doughnuts

Artist Matthias Merkel Hess donuts (or doughnuts) reading list:  (more…)

Interview with Mike Mills

Posted on: April 10th, 2012

Mike Mills Talks About Los Angeles and His Artistic Practice

Karen Marta interviewed Mike Mills on the occasion of the launch of Mills’ first retrospective monograph, Graphics Films, in 2009.

Karen Marta: Why did you leave NYC? What do you like about the LA scene?

Mike Mills: I lived in NY for 15 years, from the age of 18 to 33, and I just wanted to go home. I wanted a yard, I wanted the sun and the plants and the hills I grew up with. I was also tired of how relentlessly hip, sophisticated, trying to be new New York can feel. Or maybe that was my fault, but the New York my soul kept running into was trying very hard to be the next thing. It was nice to come to the boredom of LA. But now I miss all the people, the throngs of people you see and walk through everyday in NYC. And that its’ a village, a walking place with small places, I miss that a lot.

Marta: Did studying at Cooper Union give you the freedom to make graphic art into fine art? Or was it from making graphics for skateboards?

Mills: In a way, I studied with people who theoretically didn’t buy the value difference between the two, didn’t fall for the High-Low divide. If anything there was a lot of criticism of being a traditional artist, a painter for instance – when I was at Cooper. Being a painter was sort of the equivalent of being a banker, especially a straight-white-male-form-privileged-background-painter – that would be the most regressive choice you could make, the most boring.

Marta: When did you first go from flat to the three-dimensional media? Was it a music video?

Mills: I did a bunch of interviews and kind of a story for Frank Black when he first left the Pixies. Then quickly a short film for myself and then more videos. I begged all the people I was doing videos with if I could do a video for free. It took a couple of years of doing that. Videos were great in that there was lot of freedom but the short format helped the young film student I was. You only had to pull something off for three minutes. Plus, it strangely began sort of an auteur thing with some directors: You wrote the idea and with the directors I admired, the idea, not the look was the most important part. So ideas turned into stories, and that really led me to being a writer director instead of just a director.

Marta: Graphics are flat and still, while film is 3-D and moving. Was it hard to make the transition? What did you take with you to Thumbsucker?

Mills: I’ve sort of brought my flat and presentational sensibility into film. It’s not like they’re divorced practices for me. I think of film much like I do presenting any still visual image. I’ve become more adept with film over the years, more able to think in more traditional film terms, but I still enjoy coming from that graphic perspective. My next film will have even more of that.

Marta: Many artists like Andy Warhol, William Klein and Roy Lichtenstein transformed imagery from popular culture. What were you looking at? Decals, advertising, t-shirts, skateboards?

Mills: But they had to transform it. I don’t need to, I’d just present it as valid, filled with history and personal story, a totally complete cultural event on it’s own.

Marta: Several artists have crossed mediums with great ease. Has your work been influenced by this freedom?

Mills: People like Charles and Ray Eames, the Bauhaus, Hans Haacke, Fischli and Weiss – by the time I left college, these people were my guiding light.

Marta: What was your favorite commercial when you were going up? Why?

Mills: I don’t really remember any. Funny. I loved TV though: Mash, Six Million Dollar Man, Adam 12, etc. all that was big for me.

Marta: What are you working on next? What is your next film about?

Mills: I hope to shoot my next film this year. I’ve been writing it for years now. I’ll keep the contents a secret for now.

Image:
Mike Mills by Brian Sheer