SURFERS AND LOW RIDERS: " GO GO's DROPPING IN …"





SURFERS 
AND 
LOW RIDERS: 

" GO GO's DROPPING IN …" 





FICTION: Excerpt from The Story Series 

by Joshua Aaron TRILIEGI



 My older brother Chaz is talking Mom into letting me take a day away from school 
to watch the surf contest at Hermosa Beach Break Wall. I wonder what that means, 
were going to break a wall ? We do break it when Mom reluctantly agrees, due to 
my old man seconding the motion. ' The kid needs to learn how to surf, we don't 
want him hanging around these streets & fields for ever.' Somehow,  they agree.
I'm told we will be getting up at five AM. The surf journey starts early when you 
live inland. We pile into someones van & are on the sand lot walking to the reef & 
break by sunrise. If I don't look up, its legs and feet and crotches : I'm nine, ten 
or eleven, the only kid in attendance. Were about to to see one of our neighbor-
hood jesters steal an entire season from a bunch of internationally known pros.  

 People are gathered in groups & huddles. A calm intelligence, mixed with a wild 
sense of un expectancy from the surf, which is cold and grey, is in the air. Big 
sets flow in, getting larger & slanting into even more powerful faces that broaden 
slowly, without notice, becoming the big waves that cats from all over came here 
to be a part of. These are Winter swells. Different than the smooth, silver, glassy, 
summer afternoons we knew so well. This is the mean, cold, sharp, kind of grey,  
jagged, hurtful side of mother nature. An old woman of an ocean ready to take 
the boys into manhood. Several little stands & tables with umbrellas & banners are 
blown over completely. The more concerned sponsors embarrassingly back up their 
entire camps. It's an outsiders nightmare & a locals home favorite kind of condition.  

 It doesn't take long before Go-Go, short for Geronimo, starts scheming to pull 
the kind of prank that makes names and legends and stories such as this one here. 
He's chewing on two pink chocolate sprinkled cakes, shaped like breasts. Chasing 
them down with several gulps of Mad Dog Twenty-twenty & a quaalude or codeine 
'cause his wetsuit has a giant rip in it and he messed up his ankle the night before 
at Oktoberfest. Sleeping in his car in front of Millers Market until pre dawn hours.
He's looking like a coyote running in the back field, while all these pros look like a 
bunch of rabbits, sitting, quiet. Even though they have been in the water for several 
heats or sessions of elimination and judgements on style, distance, etc… Go-Go's 
not even entered in the competition. He's simply going to jump out there and join 
the ranks with a wild sense of piracy that comes with years of life on the water. Like 
a renegade native, getting high on the water. He can't help it. Go Go's dropping in.


 I have heard guys talking about my brother's either bravery or just plain craziness 
in dropping in on the biggies at the break wall. But those were warm Summer swells.
This was after he had dropped out to master Swami's, County Line and Horseshoe. 
Years before the storms took away half the beach from us forever. Back then, there 
were the Hawaiian transplants and Filipino's , the blonde Malibu types and then there 
was Bill. He was my older brothers, best friend's older brother. The first day I met him, 
he was shaping a board in the family garage. He was the conscious of our neighborhood.
A mentor and ex football hero. Now the word is getting and Bill is saying that Go-Go is 
a kook. But everyone else is goading him into it. The b level players like, Gozer, Richie 
and the others. " Yeah Go - Go do it."  So, we're all aware that something is going to 
happen and all the guys that look like newscasters at the table are about to be surprised 
by the " Attack of the Boys from The East End " like a film at the Roadio drive-in. We had 
our own daredevil-jokester-madman-hero and we'd have sent him into anything, just to 
watch him burn, although it was his matchbook, that was always clear, so it didn't seem 
like anyone even thought twice about his safety, except maybe Bill. 

 Of course , it was about the girls too. A guy like Go-Go who wasn't a pretty boy or 
particularly smart or wealthy could crank up his position on the charisma level. He'd 
be King - for - a Day. Could maybe even shack up with a babe for a week or so after 
a performance like this. A guy would build up his story, it circulated, and he'd ride it 
like the wave that Go-Go was hoping to catch. There are boats at bay, in case of any 
emergency and the girls are all in their bikini's and cut off jeans. They must have come 
up from Mexico the way they look, glowing with that peach, amber glow that white girls 
get after a season or two on the road with surfers. The tips of their hair, the tan toes, the 
bright colored clothes and all the wind blown edges of their attitude. Go - Go slips away 
long enough for us to forget about his plan when someone at the surf officials table 
becomes extremely animated and upset, waiving erratically at some thing no one else 
can see. Another official breaks out the bull horn and starts directing the man on the 
break wall to , " Get away from the water. "  Go - Go continues down the wall toward 
the rocky point where locals, who knew the terrain, could jump off by counting the right 
three second interval between the breaking set and the next rising crest. But today, this 
was just plain f@#*ing insane and everybody knew it. 


I started to get concerned. Not like Bill did, by calling him a knuckle head, but fearful 
that a bad thing could happen. And of course a bad thing could happen, that's the 
point of these manhood rituals with the sea and earth and wind and ourselves. But 
Go-Go was built to do this, just like he was built to steal a police car because the cops 
busted up a party where he was about to get laid and it really pissed him off. Some 
were not impressed, whereas we were ecstatic, I mean I was anyway. The place was 
being robbed of it's boundaries, that was the thing. So Go-Go does a run and a jump, 
off the end of the concrete, over the first set of rocks and launches a toes - out - cat - 
like - flight over the six feet of rocks on the outer side of the break wall and into the 
sacred sea. Breaking several rules, disrupting the contest and banishing himself from 
any future competition position according to the Official California Surfing Federation 
handbook of 1970 - something. But Go-Go wasn't saving for retirement, he was building 
up a different account of sorts and was about to hit the long shot on a late bet at roulette. 
Now he's out there and has to drop in on this next big set and do this thing or it'll flop 
and he'll have lost a chance & completely ruined an otherwise decent Winter competition. 
He works quick, paddling into a larger break point which can completely slam you into the 
rocks if your to close at drop in. By now everyone knows what's going on, all eyes are on 
Go - Go. People in our circle start shouting, " Go - Go  you f*#@er ."  Others join in like 
fans at a Rams game or Stones concert, " Go - Gooooooooo, do it man."  Finally, the war 
cry is heard, " G - e - r - o - n - i - m - o  ! "  I look up and even Bill is beaming. As they 
all shouted into the cold, grey sea, Go - Go dropped in and it was then that I started to 
understand what surfing was really all about.

  

 BUREAUofARTSandCULTURE.com  " Go- Go' s Dropping In  "  from  SURFERS and LOWRIDERS  by J.A. TRILIEGI       
   

The BUREAU [ Volume1, 2 , 3 ] 2013: Ad Rates + Sizes




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Men and Women Tom Wood May 16 – July 22, 2013 at Thomas Erben Gallery New York City

Array


Thomas Erben Gallery

Men and Women


Tom Wood
May 16 – July 22, 2013
Opening Reception: Thursday, May 16, 6-8:30 pm
Thomas Erben is excited to present a third solo exhibition with celebrated photographer Tom Wood (b. 1951, Ireland). Since his last show with the gallery in 2003, Wood has been recognized as a defining presence in early British color photography, along with Martin Parr and Paul Graham. Most recently, the Photographers’ Gallery (London) featured Wood in a highly acclaimed exhibition. His work is currently on view in the major retrospective Tom Wood: Britain 1973-2012, at the Ekaterina Foundation (Moscow), and in a two person show with Martin Parr at the Liverpool International Photo Festival. The works at Thomas Erben are selected from Wood’s forthcoming pair of books, Men and Women (Steidl), on which he collaborated with artist Padraig Timoney.
After studying at the conceptually oriented Leicester Polytechnic until 1976, Wood moved to Merseyside, an English county which includes Liverpool, where he lived and photographed until 2003. By working within this limited area he gradually became very much a part of the environment, accepted among his subjects as “Photieman,” which later became the title of his 2005 book.
Wood does not consider himself a documentary photographer; his aim is to explore the richness and complexity of the photograph as a picture. Photography initially entered his practice through the collecting of postcards, which he would purchase in bulk from thrift stores and then examine and organize in broad categories – a methodology that still characterizes his process. Wood takes his photographs in an open manner, shooting quickly yet precisely, to admit chance into both content and form. From thousands of prints, a second process of discovery consists of choosing and editing, determining over time which of the pictures fit his criteria for an image that, as he says: “works.”
The resulting photographs are spectacularly considered in terms of composition as well as the use of color and shape. While it is easy to emphasize subject matter in Wood’s work, the formal aspects are at least as important: a singular way of tilting the horizon just so, of slightly cropping a man’s hand right at the fingertips, or relating one lady on the far left side of an image to another on the right. These photographs manage to look equally off-kilter and perfectly balanced. And Wood tempers his direct and unapologetic gaze with a subtle form of empathy, vividly showing his subjects as they are, neither mocking nor romanticizing them. His unique combination of form and content makes for substantial, exceedingly complex photography, decisively confirming Wood’s position as one of the major photographers of his generation.



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Toyin Odutola at The Jack Shainman Gallery

"IYANU" (2013) by Toyin Odutola

My Country Has No Name 

Toyin Odutola 

The Jack Shainman Gallery 


lithographs, pen and ink drawings on paper, metallic marker drawings, and ink 

513 W. 20th St., through Jun. 29. Tuesdays through Saturdays from 10 a.m. until 6 p.m.


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SURF BOARD SHAPER : Adam Davenport

Adam Davenport , Davenport Surfboards http://adamdavenport.blogspot.com/






BEST OF WEST HOLLYWOOD ART EXHIBITS THIS WEEK : RACHEL KESSLER at WHARTON + ESPINOZA

Richard Telles presents Richard Hawkins

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RICHARD HAWKINS

MAY 18 – JUNE 22, 2013
Opening reception: Saturday, May 18, 5 to 7pm

Richard Telles presents new paintings and a large pagoda sculpture by Richard Hawkins, his tenth solo exhibition with the gallery.

For his new suite of "Night Gallery" paintings, Hawkins depicts interior antechambers on whose walls lurk pictures of smug and disapproving old haggards, electric pink ladyboys, and willowy ephebes—all hung jerky-janky salon style on bright fat carnival-colored walls. Other smaller "Rainbow Room" paintings take the viewer into sparer quarters, containing only Hawkins' trademark tri-colored trash barrels billowing smoke and darkened somber windows or, occasionally, handsome youths perched behind gloryholes like Adults-Only versions of kissing-booths. The pagoda sculpture on view, standing over eight feet high on a black table, acts as a possible fulcrum to the exhibition as well as the sculptural shell for the paintings.

Surveying these works, the viewer becomes a tourist in an epithumetic dystopia, the pagoda sculpture its primary spectacle. Named "Smut Palace", the multi-tiered Orientalist structure, built from cardboard, wood and paint, shelters different floors under its scalloped eaves, slaking different desires and (dis)comforts on every level (signs on the outside offer "Massage", an "Adult Arcade", a "Head Shop" …). The desires addressed within, aside from what the pagoda's signs offer, skim the surface of lurid exoticist memoires, alluding to a systematic traipsing through of desire itself and its implications. The particulars of those delights though are long forsaken, leaving one with the definite feeling that the party was pretty much over before it even began. Instead, we are left with Hawkins' penchant for polychromatic embellishment in the discordant colors that fleck the pagoda itself: a profusion of chroma, equally indebted to Moreau, Bonnard and Sid & Marty Krofft, manifests the promise of pleasures better dreamed-of than sensed or spoken.

The same could be said, in regards to pleasure, of the tri-colored trashcans that punctuate the sculpture and paintings, some of which spew fat bloated clouds of grey billowing smoke. As much as a roundly horizontal tonic to the flat vertical strips of the paintings, they are curious flourishes to Hawkins's narrative. Smoke, that intangible state of matter, permeates as an absent stench and without knowing what (exactly) is being burned, or what might happen (or has already long-since happened) (or almost but not quite happened) in every cubicle and dusty corner portrayed, Hawkins expands upon his career-long labyrinth of decadent preoccupations in this exhibition, self-referencing the history of his own practice as much he is garnishing it —or corrupting it—for the future.
 
Richard Hawkins has held numerous museum solo exhibitions, most recently at the Art Institute of Chicago, which then travelled to the Hammer Museum, Los Angeles in 2010. He also was the subject of a solo exhibition at the De Appel Center for Contemporary Art, Amsterdam in 2007. Recent solo gallery exhibitions were held at Greene Naftali, New York in 2012 and at Galerie Daniel Buchholz in Cologne and Berlin in 2011. Hawkins will have a solo exhibition at Le Consortium, Dijon, France in October 2013. Hawkins lives and works in Los Angeles.

   For more information, please contact 323.965.5578 or info@tellesfineart.com.
    Gallery hours are Tuesday through Saturday, 11 am – 5 pm, and by appointment.
 
   
   
    www.tellesfineart.com

PETER MAX : SAN DIEGO Saturday, June 8th, 2013 from 6-9 pm Sunday, June 9th 2013 from 1-4 pm



The Peter Max Gallery
Westfield UTC Mall
4545 La Jolla Village Drive
San Diego, California  92122
RSVP: 888.513.8385


Show Dates & Times
Saturday, June 8th, 2013   from 6-9 pm
Sunday, June 9th   2013     from 1-4 pm

CB1 GALLERY : KIKI SEROR Hysteresis West Gallery May 19 – June 23, 2013 Chatroulette Performance: Sunday, June 23, 5 p.m.

KIKI SEROR AT CB1 GALLERY 




BEST CLASSIC PHOTOGRAPH SALE : Edward Steiglitz, "Miss S.R.," 1904, photogravure from original negative, 8 x 5 1/2".


Merry Karnowsky Gallery "Somewhere Else,' Vonn Sumner.

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Merry Karnowsky Gallery is pleased to present "Somewhere Else,' the newest solo exhibition by artist Vonn Sumner. 

Sumner's works are uniquely peculiar: his subjects are arrayed in ludicrous costumes and freeze-framed in farcical actions, and yet exude a mystical level of straight-faced conviction. At first glance his paintings could be the work of an anthropologist, documenting the ceremonial garb of some lost tribe. Instead of feathers, fangs and bone, their costumes are assembled from the detritus of modernity, from trash can lids to throw away kitsch. The nature of the rituals depicted may be lost to the average observer, but their appeal is not. In Sumner's own words, "The figures' gestures and situations alternate between the heroic and the ridiculous, suggesting commentary on human folly and the mystery of existence." Beneath the veneer of absurdist humor lies an almost infinite possibility for deeper engagement.

Clearly, a sense of humor does not negate serious technical consideration. Sumner's aesthetic is carefully constructed and fine-tuned to highlight the emotional and psychological implications. Every detail is vital and cumulative to the final effect of his paintings. Sumner explains: "The limited palette, often nearly monochromatic, takes the paintings another step removed from 'realism' and gives them a sense of fiction, fable or fairy tale ... at the same time the limited palette emphasizes the formalism of the paintings and places them in a pictorial territory somewhere between painting and drawing."  

To Sumner, "Somewhere Else" represents the fulfilment of a "personal vision that combines figuration and abstraction, performance and minimalism, art-historical reference and contemporary pathos." His style is easily recognizable and resonant, reminiscent of the portraits of René Magritte and of the aesthetic of Fritz Lang's iconic silent film, Metropolis. Like stills from that 1927 silent film, each of Sumner's paintings are visually powerful enough to conjure up a world in which what we are seeing just might make sense.

Vonn Sumner obtained his Master of Fine Arts from University of California, Davis and was mentored by renowned artist Wayne Thiebaud.  His work has been exhibited throughout the United States, as well as, in London and Italy, and has been published in Art Ltd., LA Weekly, NY Arts Magazine, and New American Paintings among many others.

-----

Merry Karnowsky Gallery is also pleased to present "Slow Chemical Orchestra", Jeff Koegel's second solo show with the gallery.  The exhibition will run from May 18 through June 15, 2013, with an opening reception on Saturday, May 18 from 8 to 11 pm. 

Vonn Sumner (Main Gallery)
Jeff Koegel (Square Gallery)


May 18 - June 15, 2013 
Opening Reception:
Saturday May 18, 8-11pm

RSVP mandatory, please email to:
info@mkgallery.com
Guest list at the door


Merry Karnowsky Gallery
(in the ART 170 Building)
170 S. La Brea Avenue
Los Angeles, CA 90036

Phone: (323) 933-4408
Email: info@mkgallery.com
Website: www.mkgallery.com
Hours: Tuesday - Saturday, 12-6pm




BUREAU : BEST INVESTMENT GALLERY IN LOS ANGELES Leslie Sacks Fine Art : JASPER JOHNS


Recent Acquisitions:
Prints and Drawings 1911-2009


Braque, Chagall, Close, Diebenkorn, Francis Frankenthaler, Hirst, Hockney, Johns, Lichtenstein, Matisse, Miró, Motherwell, Picasso, Ruscha, Stella, Thiebaud
May 18 – July 8, 2013
Leslie Sacks Fine Art, Brentwood is pleased to present an exhibition of the most recent additions to the gallery's collection.

The earliest work in this exhibition dates back to 1911, a cubist still life etching entitled "Pal" by Georges Braque. ("Pal" is an abbreviation for "pale ale," this being a rendering of a beer bottle and glass on a table.) One of only ten known Braque prints from the early cubist period, "Pal" is the only one in an oval format, echoing the oval paintings he was executing at the same time. "With the oval format, I rediscovered the sense of horizontal and vertical," he quipped. An example of Pal is held in the permanent collection at the Museum of Modern Art, New York. Other early 20th century works in the exhibition include a Marc Chagall lithograph from the "Daphnis et Chloe" series and a drypoint etching from Picasso's famed "Vollard Suite." The 1933 Picasso print tells the erotic story of the minotaur, a central figure in the "Vollard Suite" and widely interpreted as the artist's self-portrait. Other modern artists in the exhibition include Henri Matisse and Joan Miró.

From the post-war contemporary masterworks in the exhibition, the most iconic work is arguably "Target with Four Faces" by Jasper Johns from 1979. Based on Johns' groundbreaking 1955 painting-slash-object of the same name (which is also in MoMA's permanent collection), this etching-aquatint's delicate crosshatched strokes echo the soft lines and textures of the Braque and Picasso mentioned above. Johns therefore not only reappropriates and softens the familiar iconography of the militaristic target, but also carries forth a graphical tradition utilized by the modern masters like Picasso and Braque. More recently executed works include a Damien Hirst "spot" screenprint from 2007 entitled "Ellipticine" and a minimal but textual Ed Ruscha lithograph, "It is a Go" from 2009. The other post-war and contemporary artists featured are Richard Diebenkorn, Sam Francis, Helen Frankenthaler, David Hockney, Roy Lichtenstein, Robert Motherwell, Frank Stella and Wayne Thiebaud.

Leslie Sacks Fine Art is located at 11640 San Vicente Boulevard in the Los Angeles community of Brentwood. Gallery hours are Monday – Saturday, 10 AM – 6 PM. There is ample validated on-site parking. The gallery can be contacted at (310) 820-9448 and info@lesliesacks.com.

=
11640 San Vicente Boulevard
Los Angeles, CA 90049

Phone: (310) 820-9448 
Fax: (310) 207-1757
Email: info@LeslieSacks.com
Website: www.LeslieSacks.com
Hours: Monday - Saturday, 10am-6pm







Left:
Jasper Johns, "Target with Four Faces,"
1979, etching and aquatint.

BUREAU PICK OF THE WEEK ! IKON at BERGAMOT STATION : Harland Miller This Is Where It's Fuckin' At, 2012 56 1/2 x 43 1/4 inches 15 color screenprint, edition of 50



RYAN WALLACE at MORGAN LEHMAN


RYAN WALLACE
Left: Untitled (2.13), 2013, Mixed Media on Canvas, 20h x 16w in
Center: Untitled (1.13), 2013,  Mixed Media on Canvas, 20h x 16w in
Right: Untitled (2.13) #2, 2013,  Mixed Media on Canvas, 20h x 16w in
$2,500 each
In Ryan Wallace's Redactor series, Wallace brings his materials to the surface, revealing the artist's hand in layers of discarded tape, mylar and scraps of painted and printed materials. Inspired by trends in 21st century science and technology, Wallace translates complex scales, charts and data into vast abstract compositions that are simultaneously sublime and gritty. Wallace's innovative multi-media practice pushes the boundaries of his materials in densely formal works that are defined by their processes.
View more work by Ryan Wallace here.



Luis De Jesus Los Angeles : ANTONIA WRIGHT




ANTONIA WRIGHT

Be

May 18 - June 29, 2013
Artist's Reception: Saturday, May 18, 6-8 pm.


Luis De Jesus Los Angeles is pleased to present Cuban-American artist ANTONIA WRIGHT in her first Los Angeles solo exhibition, titled Be, on view in Gallery One from May 18 - June 29, 2013.  An artist's reception will be held on Saturday, May 18, from 6-8 pm.

The sad, strange and beautiful vulnerability of the human condition are all considerations in the work of Miami-based artist Antonia Wright.  Wright explores the various politics and comic facets of human experience through a multifarious, process-oriented practice combining video, performance, photography, poetry, sound and sculpture.  Wright acknowledges the layers of societal taboos and barriers between her artistic choices, and pointedly pushes them into the public realm for the viewer to examine.  

The exhibition will present two videos: the premiere of the eponymously titled Be (2013) and Deep Water Horizon (2009).  For Be, Wright covered herself in a colony of bees while practicing Tai Chi.Tai Chi and bees are similar in that they both have the capacity for violence, but in their peaceful states, raise vitality in the body and the environment.  Wright's decision to place her own life in danger becomes a powerful metaphor for the fragility of life and a lesson for how we can remain peaceful in the face of danger.  In preparation for the performance, Wright spent an extended period learning Tai Chi and meditation, including traveling to India to receive personal instruction at an ashram.
  
For further information and images, please contact the gallery at 310-838-6000, or email:gallery@luisdejesus.com.








LUIS DE JESUS LOS ANGELES  
T 310 838 6000
F 310 838 6001


AMERICAN LEGACY FINE ARTS ...


Summer Stone Carving with Béla Bácsi

Here is a unique opportunity to learn about the time-honored tradition of stone carving by master artist Béla Bácsi! Bácsi will provide
individualized set-up, materials, and instruction for intermediate to advanced students at his Santa Barbara studio.
Fridays and Saturdays:
June 7 - July 13 
& July 19 - August 24 
For more information please contact Bácsi by phoning
(805) 687-2636 or emailing bbacsi@aol.com


GALLERY HOURS:
By Appointment
Saturday 11 a.m. - 5 p.m.
Tuesday through Friday 10 a.m. - 6 p.m.
949 Linda Vista Avenue
Pasadena, CA 91103
626.577.7733




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