The Flog

mocoll — Sat, 27 Mar 2010 14:05:33 +0000

Photographed by Ed Templeton, Los Angeles, December 2007

The Flog was launched in 2005 by Fette as a way to connect with the flourishing art scene of Los Angeles and to promote the work of the artists working there.

Send us press releases and comments at this address:
fette@the-flog.com

Follow The Flog on Twitter.

Spaces | Berlin

mocoll — Sat, 27 Mar 2010 12:51:41 +0000

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Spaces | LA

mocoll — Sat, 27 Mar 2010 12:48:37 +0000

Beverly Hills

- ACE Gallery
- Benjamin Trigano Gallery
- Gagosian Gallery
- Kopeikin Gallery
- M+B
- Michael Kohn Gallery
- Regen Projects
- The Conference Room

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Chinatown

- 2nd Cannons Gallery
- acuna-hansen gallery RIP
- abacot gallery
- Black Dragon Society RIP
- Bonelli Contemporary
- China Art Objects Galleries
- Chung King Project
- Cottage Home
- Daniel Hug RIP
- David Patton Los Angeles RIP
- David Salow Gallery
- Fringe Exhibitions
- High Energy Constructs RIP
- Jack Hanley Gallery RIP
- JAIL
- Mandarin Gallery
- Mary Goldman Gallery RIP
- Mesler&Hug
- Parker Jones
- Peres Projects
- Redling Fine Art
- Sam Lee Gallery
- Sister
- SolwayJones
- Telic Arts Exchange
- THE BOX
- The Company
- The Happy Lion
- Trudi RIP
- Young Art Gallery

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Culver City

- angstrom gallery
- Anna Helwing Gallery RIP
- Bandini Art Gallery RIP
- Billy Shire Fine Arts
- BLK/MRKT RIP
- Blum & Poe
- cherry and martin
- Cardwell Jimmerson
- Cerasoli Gallery RIP
- Cerasoli:LeBasse Gallery RIP
- Corey Helford Gallery
- CRAIG
- David Gallery RIP
- David Kordansky Gallery
- d.e.n. contemporary art RIP
- fette’s gallery RIP
- Honor Fraser
- Indie Collective
- Kinkead Contemporary
- Kinsey/DesForges RIP
- Koplin Del Rio
- Kim Light / Lightbox
- LAXART
- Lizabeth Oliveria RIP
- MC RIP
- Nicodim Gallery
- Norma Desmond Productions RIP
- Overtones Gallery
- Peres Projects
- POP Gallery
- project: RIP
- Roberts & Tilton
- Royal/T
- Sandroni.Rey
- Scion Installation LA
- sixspace RIP
- Taylor De Cordoba
- The Constant Gallery
- Susanne Vielmetter Los Angeles Projects
- The Lab101 RIP
- The Museum of Jurassic Technology
- Walter Maciel Gallery
- Western Project

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Downtown

- bank
- Bert Green Fine Art
- Cirrus Gallery
- compactspace
- Crewest Gallery
- Dangerous Curve RIP
- FIVE THIRTY THREE
- I-5 Gallery at the Brewery
- INMO Gallery RIP
- Morono Kiang Gallery
- Raid Projects
- Switch Art Gallery
- Tarryn Teresa Gallery
- The Treehouse Gallery RIP
- Unitard RIP

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Hollywood

- ACP (Artist Curated Projects)
- C4 Center for Contemporary Art
- Eighth Veil
- LACE
- Michael Benevento
- Overduin and Kite
- Synchronicity
- Subliminal Projects

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La Brea / West Hollywood

- Circus Gallery
- Fahey/Klein Gallery
- glü gallery
- Khastoo Gallery
- Heavyweight Gallery
- Merry Karnowsky Gallery
- New Image Art Gallery
- SCALO | GUYE
- South La Brea Gallery

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Mid-Wilshire

- 1301PE
- ACME
- Angela Hanley RIP
- Carl Berg Gallery
- Concrete Walls Gallery
- Crisp London Los Angeles
- Hammer Museum
- Karyn Lovegrove Gallery
- LACMA
- Marc Foxx
- PawnShop Gallery RIP
- Steve Turner Contemporary

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NELA

- Another Year in LA
- Apartment 2
- Drkrm
- Glendale College Art Gallery
- Kristi Engle Gallery
- LittleBird Gallery
- Me & You Variety Candy Los Angeles
- Monte Vista
- Outpost for Contemporary Art
- Shotgun Space RIP

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Santa Monica

- Angles Gallery
- GR2
- Christopher Grimes Gallery
- Craig Krull Gallery
- James Gray Gallery
- Mark Moore Gallery
- Patricia Correia Gallery
- Patricia Faure Gallery
- Patrick Painter Gallery
- Richard Heller Gallery
- Robert Berman Gallery
- Rose Gallery
- Ruth Bachofner Gallery
- Rosamund Felsen Gallery
- See Line Gallery
- Shoshana Wayne Gallery
- Track16 Gallery

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Silver Lake

- Chime and Co.
- Found Gallery
- Gallery Revisited RIP
- GarageGallery
- Ghettogloss Gallery
- Hope Gallery
- Junc Gallery
- Justin’s Museum of Contemporary Art
- Kreiling &
- LA Municipal Gallery
- Light & Wire Gallery
- Little Bird Gallery
- Machine Project
- Materials & Applications
- Thinkspace
- Secret Headquarters
- siteLA
- Subiminal Projects

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Venice

- Commissary Arts
- LA Louver
- The Balmoral RIP

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Andrews, Cook, Vance, and Williamson at David Kordansky.

fette — Wed, 17 Mar 2010 22:37:29 +0000

Kathryn Andrews, Heather Cook, Lesley Vance, Lisa Williamson @David Kordansky Gallery (January 23 – March 06, 2010)

From the press release:

The exhibition will contain new work by the four Los Angeles-based artists, and will highlight the contrasts and commonalities in their respective methodologies, while focusing on how each uses material criticality and formal relationships to suggest new possibilities for abstraction.

Each artist’s contributions reflect a heightened awareness of the history of her chosen media, as well as an incisive sense of curiosity and play. Andrews, Cook, Vance and Williamson are all deeply engaged in material experimentation. In particular, each addresses the legacy of minimalism, drawing attention to the basic physicality of objects while asking: Is it possible to perceive materiality in and of itself, apart from the symbolic so strongly associated with it? To answer this question, each artist trades in abstraction, but each elides its traditional mode, in which the movement is away from a given form toward a representation of it, opting instead for a lateral approach, a serial one, using materials differently from one work to another.

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The Art Collection of James Wagner and Barry Hoggard.

fette — Sat, 20 Feb 2010 02:57:13 +0000

The Art Collection of James and Barry. New York. October 5, 2009.

October. Now February, and I am finally getting around to posting the shots of my wonderfully amazing visit of the art collection of two equally amazingly wonderful people, James Wagner and Barry Hoggard.

Back in the Fall, they were in the process of inventorying their now sizable collection – the couple began collecting in the mid 1990’s – with the project of launching a website that would present all of the works. The idea is nothing short of admirable and exciting – and to my knowledge unheard of, and helps reinforce the true foundations of a free, accessible and revealing internet.
The art world can certainly be one impenetrable vault, with its hushed prices, undercover investors and its mostly hidden collections, so when such initiatives are carried out, I breathe optimism back in and become intrigued and inspired again by what Art can generate and make us question.
And to my amazement, the site came to life a few days ago.

As the scrolling bar on this post indicates, I kept a relatively loose hand for the editing of the photographic results of my journey inside the visually inspiring salon. And I certainly hope that you will enjoy the visit as much as I did.

And because I ran into the following piece earlier today, I thought I would place it here, as an outro sort of commentary.

CLEANING PIECE III
Try to say nothing negative about anybody.
a) for three days
b) for forty-five days
c) for three months
See what happens to your life.

Yoko Ono, 1996. Via.

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Note. Both gentlemen will be participating in the workshop, or #class, organized by Jennifer Dalton and William Powhida taking place at Winkleman Gallery, New York on Sunday, February 27th.

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Cody Critcheloe aka SSION at Peres Projects.

fette — Thu, 18 Feb 2010 08:00:15 +0000

Cody Critcheloe aka SSION: BOY @Peres Projects (January 16 – April 3, 2010)

From the press release:

First things first! It’s SSION, pronounced “shun,” as in mission, fission, ambition-all apt words to describe the gesamtkunstwerk that is Cody Critcheloe and the queer punk/performance/art band he invented ten years back as a high school student in Lewisport, Kentucky.
(…)
Critcheloe’s songs are catchy, not abstract, and his visuals and live shows are crafted to appeal to more than an art-going crowd. SSION could easily cross over to become a pop phenomenon-a potentiality (or prophecy) which, in a stroke of self-reflexive genius, Critcheloe has already written into the narrative arc of his work to date. The story of SSION is a raucous, louched up, camp parody of Critcheloe’s own life, in which a small-town punk kid hooked on doughnuts and pizza follows his dreams with razor focus to emerge as a svelte, smoky-eyed pop star embraced by adoring crowds.

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Patrick Lee and Russ Meyer at Western Project.

fette — Wed, 17 Feb 2010 21:27:42 +0000

Justin Bower, Sush Machida Gaikotsu, Patrick Lee, Russ Meyer, Mark Dean Veca, and Liz Young: Cherry Pie @Western Project (January 16 – February 20, 2010)

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Patrick Lee.

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Russ Meyer.

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Tom LaDuke at Angles Gallery.

fette — Wed, 17 Feb 2010 19:46:47 +0000

Tom LaDuke: Auto Destruct @Angles Gallery (January 16 – February 20, 2010)

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Chris Burden’s Big Wheel at MOCA.

fette — Wed, 17 Feb 2010 08:39:58 +0000

Performance by Stacie B. London @MOCA part of the exhibition Collection: MOCA’s First Thirty Years (November 15, 2009 – Ongoing)

Chris Burden, Big Wheel, 1979. February 11, 2010.

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Bifocals resting on his nose, Chris Burden mounted the scrawny Benelli motorcycle and kicked the machine to life. Revving the motor in first gear to make sure the 41-year-old beast would stay awake, he upshifted to second, then third, forcing the rear wheel of the tiny bike to spin faster and faster against the big wheel with which it was making contact.
(…)
Big Wheel in action is striking in its simplicity, mesmerizing in its movement and awe-inspiring in its scope and scale. The entire piece weighs 5,000 pounds, including the 3,200-pound steel flywheel (which was originally part of a generator and found in a Long Beach scrap yard), the 300-pound bike and the 1,500-pound trestle, which Burden engineered himself using building timbers.

Susan Carpenter for the Los Angeles Times, November 2009.

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Artemio at LAXART.

fette — Wed, 17 Feb 2010 06:08:19 +0000

Artemio: ChakrAK-47 @LAXART (January 29 – March 20, 2010)

From the press release:

The ornamental patterned design on the tiles, while seemingly abstract and decorative, reveals an intricate assemblage of rifles, guns, knives and other violent weapons that formally contemplate Mexico as an increasingly complex and violent locale. The accompanying neon sculpture in the gallery space echoes the visual ornamentation of the exterior tiles to evoke a mandala-like structure that is both aesthetically rich and iconographically loaded. Artemio’s project coincides with the beginning of Mexico’s year-long bicentennial celebrations, while providing a distinct model of rigorous contextual responsiveness. His poetic treatment of Mexico’s current tumultuous political condition is reminiscent of a shadowy reality that permeates the intensely visual festivities, thus putting forth a provocative interrogation of a nationalistic climate dependent upon celebratory complacency.

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