KM FINE ARTS ˆ LOS ANGELES 814 NORTH LA CIENEGA BLVD, LOS ANGELES JOHN MICHAEL RUSNAK Fear of Nostalgia May 17, 2013 ˆ July 12, 2013

KM FINE ARTS ˆ LOS ANGELES
814 NORTH LA CIENEGA BLVD, LOS ANGELES
ANNOUNCES

JOHN MICHAEL RUSNAK FIRST EXHIBITION AT THE GALLERY
Fear of Nostalgia

May 17, 2013 ˆ July 12, 2013
OPENING RECEPTION, FRIDAY, MAY 17, 2013, 7:00PM ˆ 10PM

KM Fine Arts announces Fear of Nostalgia, John Michael Rusnak‚s first solo exhibition at the gallery. Rusnak‚s iconic series of six magnificent triptychs represent the culmination of more than 100 days spent in Cuba. Although entirely shot in Cuba, the images are universal symbols provoking a reflection on the necessity of equality and equity among people. As the Modernist movement viewed art as a guide for writing, Rusnak‚s interpretations by the inspired writings of Plato, Gandhi, and Cuban José Martí became the basis for his exhibition.  Fear of Nostalgia is Rusnak‚s attempt to stimulate the viewer of humanity‚s pervasive lack of historical reflection that seems to prevent a racially balanced, equal and unified existence for all mankind. 

 

KM Fine Arts
John Hancock Center
875 N. Michigan Ave, Suite 2515
Chicago Illinois 60610
United States

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Honor Fraser Gallery : Alexis Smith. Slice of Life, June 8 – July 27, 2013.

Honor Fraser Gallery
Alexis Smith

2622 S. LA CIENEGA BLVD.  LOS ANGELES, CALIFORNIA 90034   T: 310.837.0191  F: 310.838.0191

http://www.honorfraser.com

Slice of Life is a focused exploration of Alexis Smith's work as portraiture, conjuring people both real and imagined from the material and linguistic cast-offs of American culture. The exhibition includes the iconic collage works that have been her signature for the past five decades, among them several recently completed pieces, and the landmark multimedia installation Past Lives, a poignant 1989 collaboration with writer Amy Gerstler. Taken collectively with Smith's recent critically acclaimed exhibition of landscapes at Craig Krull Gallery in Santa Monica, we can take a long view of Smith's uncanny ability to find profundity in the mundane. Here, Smith fills the galleries with resonant snapshots of people comprising a richly imagined society. She proves her mastery of the poetics of collage by her uncanny ability to create characters from the flotsam of our daily lives, projecting our deeply rooted hopes, dreams and failures into these vignettes.

In Past Lives, a classroom provides the setting for a collection of worn children's chairs, repositories for the promise and disappointments of their tiny inhabitants. Visual markers of institutional indoctrination surround these anthropomorphized objects, but they are ultimately trumped by the unruliness of individuals whose frailties, identified in pithy statements like "Dubbed himself a slave to love," make for moments of identification. The installation highlights Smith's ability to focus the power and pathos of her materials, building a whole community of young souls from these worn seats. Like the chairs, the objects in her collages are replete with the aura of lives lived, fragments that stand-in for people and their stories. She often finds such inspiration in post-WWII material culture, notably the popular diversions emanating from her lifelong home, Los Angeles: Hollywood cinema, mid-century advertising and pop music. Thrift store paintings and other artifacts with the patina of individual sentiment figure equally in the constellation of her sources. The overlaid texts and titles, whether quotes from an Oakland Raider defensive end, dialogue from Dr. Strangelove, or an evocative vernacular phrase, create vignettes replete with wry humor, bittersweet ironies and social commentary. Smith evokes everyone from children to seniors - ordinary, famous, and infamous alike - all with an exceptional sense of sly tenderness.

Smith appropriates and subverts materials in the spirit of her Dada and Surrealist predecessors, developing her own sharply witty mode of collage. While she harnesses the spirit of assemblage artists like Joseph Cornell, Betye Saar and Ed Keinholz, she shares the conceptual sensibilities and approaches to language of her contemporaries - artists such as John Baldessari, Ed Ruscha, Allen Ruppersberg and William Wegman. Smith's alchemical distillation of the detritus of history and mass culture into singular, resonant arrangements finds echoes in subsequent generations of artists who continue to mine the collective desires and failures of our culture.

Smith has been the subject of numerous solo exhibitions, including those at The University of Wyoming Art Museum, Laramie; the Museum of Contemporary Art, San Diego; The Miami Art Museum; The J. Paul Getty Museum of Art, Los Angeles; and a mid-career survey at the Whitney Museum of American Art, New York and the Museum of Contemporary Art, Los Angeles. Recently, her work has appeared in the group exhibitions Under the Big Black Sun at MOCA, Los Angeles;elles@centrepompidou, Centre Georges Pompidou, Paris; WACK, Art and the Feminist Revolution, also at MOCA, Los Angeles and P.S.1 Contemporary Art Center, MoMA, Long Island City, New York; andSunshine & Noir: Art in L.A. 1960-1997, Louisiana Museum of Modern Art, Humlebæk, Denmark, among many others. She has also completed several major public commissions, including a mural for the Las Vegas Central Library; terrazzo floors at the Jerome Schottenstein Center at The Ohio State University, Columbus; a mixed media wall installation for The Restaurant at the Getty Center, Los Angeles; and a site specific work for The Stuart Collection, University of California, San Diego in La Jolla. She is the recipient of several NEA Fellowships, The Rockefeller Foundation Bellagio Center residency, and an Honorary Doctorate from Otis College of Art and Design in Los Angeles. Her work is included in the collections of major museums across the country, including The Museum of Modern Art, New York; the Walker Art Center, Minneapolis; the Los Angeles County Museum of Art; the High Museum of Art, Atlanta; and the Whitney Museum of American Art, New York, among many others.

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SUSANNE VIELMETTER LOS ANGELES PROJECTS YUNHEE MIN "Into the Sun" June 1 – July 6, 2013 Reception: Saturday, June 1, 6 – 8 pm

Susanne Vielmetter Los Angeles Projects is pleased to present our fourth solo exhibition of new work by Yunhee Min in the front gallery. In her new paintings and sculptures Min expands the sensorial aspects of her work by emphasizing the gesture. Using squeegees and sprayers, Min creates richly layered fields of color and shimmering surfaces that generate complex spatial relationships. The surfaces of her paintings oscillate between seemingly liquid and gaseous states; viscous pools of paint pull the viewer's eye to the surface of the canvas while fields of color push back into a deep space of illusion. Min intensifies these effects through the use of iridescent and fluorescent pigments that increase the finely tuned atmospheric nature of the works. The luminescence Min achieves in her paintings is reflected in the color radiating from her fluorescent light sculptures. Made by applying paint directly onto fluorescent tubes, these works have a wonderfully light handed presence, even when they are not illuminated.  They synthesize Min's ongoing interest in her painterly practice and her architectural installations as they effectively shift the viewer's sense of space through light and color. Yunhee Min holds a BFA from Art Center College of Design and an MA from Harvard University. Recent site specific installations and architectural interventions have been on view at the UCLA Hammer Museum, at the LA County Museum of Art, and at the Night Gallery, Los Angeles.  Min has had solo exhibitions at  LAXART, Los Angeles, CA; The Museum of Contemporary Art, San Diego, CA, project space; at ArtPace, San Antonio, TX, project space; the Yerba Buena Center for the Arts, San Francisco, CA; and Exercise, Vancouver, BC. Min's work has been included in exhibitions at the Los Angeles County Museum of Art, Los Angeles, CA; Silvershed, New York, NY; Sweeney Art Gallery, Riverside, CA; the Weatherspoon Museum, Greensboro, NC; the CCAC Wattis Institute for Contemporary Arts, San Francisco, CA; the Seattle Art Museum, Seattle WA; and Artists Space, New York, NY. Her work is in the collections of the Los Angeles County Museum of Art, The Museum of Contemporary Art, San Diego, and the UCLA Hammer Museum, Santa Monica, CA. Susanne Vielmetter Los Angeles Projects is located at 6006 Washington Blvd in Culver City, 1 block west of La Cienega at Sentney Avenue. Gallery Hours are Tuesday through Saturday from 11 am - 6 pm and by appointment. 6006 Washington Boulevard, Culver City, California 90232.  (310) 837-2117   vielmetter.com                                                                LISTEN TO OUR SUSANNE VIELMETTER INTERVIEW AT OUR WEBSITE  http://www.bureauofartsandculture.com/INTERVIEW--SUSANNE-VIELMETTER.html

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Joshua A. TRILIEGI
Editor - in - Chief

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CULTURE WARS The Group vs The Individual : A Critical Look at Media Control in The ARTS Today by Joshua A. TRILIEGI

CULTURE WARS 

 The Group vs The Individual : 

A Critical Look at Media Control in The ARTS Today  

  Joshua A. TRILIEGI  for BUREAU of Arts and Culture Magazine

  There is a serious dilemma facing the human being in today's society. This dilemma can be approached and spoken about in a variety of ways. I will speak about it here as a writer, artist and individual creative human. Many people believe that the individual in today's society is powerless. Any person espousing this declaration would only be justifying their own position within a certain group, network or union of some sort. This publication, BUREAU of Arts and Culture is owned and operated by an individual. The photographs, articles, editorials, interviews and the advertising as well as 

distribution is provided by a single human being. You would be surprised how that little fact angers, frustrates and in one way or another attracts the attention of those who work within a group:a board of directors, a corporation, a staff of decision makers, a hired employee who answers to a hired employee who answers to a hired employee. I have been on a board of directors. I have been a hired employee. I have worked within a group in the 'for profit' as well as the 'non profit' world. I hold no ill will toward any such group whatsoever. If a gallery or private business is science related or religious related or family related or believes in the concept of 'one' . So be it. Though, if a non profit whose mission 

statement is to plant trees suddenly becomes science related, religious related, family related, or a particular belief system pervades its work atmosphere due to it's employees views, then, is it really there to plant trees ? Or is it planting trees only for, with and around people, places and other organizations that hold that same belief ? This is the current dilemma surrounding many of the groups within the city of Los Angeles and the world at large. If you are given a voice in your community as opposed to earning that voice in your community, than it can indeed be taken away just as swiftly as it 

was given. In the past few years, we have seen Disc Jockeys, Columnists, Curators and Actors, Artists as well as Musicians fall prey to the game. Losing positions, contracts & employment. Thus empowering the group & creating an atmosphere of fear among those who still have a position at that particular institute, station, group or business.

  There is a proliferation of groups happening in the present tense that seems to me, to be effecting the way that an individual may or may not go about being an individual in todays society. It would be extremely easy to quote Aldous Huxley or Ray Bradbury or Shakespeare or any person in the past. I will refrain from such logic and attempt to simply describe this condition as it exists in my own reality. One in which as an individual, I find it more and more challenging to create, present, sell and profit without affiliating myself with a particular religion, race, value, nationality or non-profit entity of some such sort. I was raised in an extremely independent atmosphere. One in which we were taught that being an individual, creating as an individual, living as an individual and expressing ones self as an individual was of the utmost importance. Many corporations which will go unmentioned for obvious reasons may be abusing their power to influence society in a way that goes above & beyond their actual business, product and or service provided. There are food chains, delivery services, soda companies, beer and alcohol companies, motorcycle and vehicle manufacturers who may be doing much more than selling product or providing a service to America. I have worked within the film, television, print media world and educated in the landscape of Hollywood, billboards and the media world for most of my life. I am no new comer to journalism, commercialism or the non profit world of fund raising.The last ten years have been devastating to new voices and independent thinking. Even the most independent of thinkers have a radio station, a college, a publisher, a non profit, a group with which they rely on to help support their, 'independent' voice. Most of the major institutes relate on one level or another to a belief and value system which pervades just about every decision being made. Let me lay it out for you.  Skirball , LACMA, MOCA , Hammer have affiliations and the curators, employees and everyone involved have a cultural goal of some sort. These institutes would often prefer to have the first and last word when it comes to their programs being presented to the public.Disney Hall, which houses REDCAT has connections with California Institute of the Arts. This is an Art school for gifted as well as wealthy young folks and experienced Artists and Individuals to gain employment by teaching classes, workshops and the like. The artist John Baldesarri worked and taught at Cal Arts, shows his work at Gemini Gel on Melrose Avenue and is clearly a part of the establishment we are currently discussing. Mr Baldesarri has a very clear understanding of how groups work. There may have been a point in time when he & his contemporaries such as Ed Ruscha were indeed individuals who created art works that were individual. Both are now senior artists who are represented by museums, galleries and a group of world wide art buyers who have invested in the work. They are now a part of a much larger group. What is this group ? How did the work of a few extremely revolutionary artistic individuals become infused in such a way ? Was it intentional ? Was it gradual ? Was it for acceptance ? Was it for success ? Or is this simply a notion created by an observant individual within a system of groups & individuals ? Survival in the arts is political. I have been in the middle of negotiating an ad deal, an interview or simply discussing an appointment when suddenly code words are used to effect a response. Family. Science. One. To name a few. How much of this is effecting business in the arts ? Quite a bit. Most of these institutes have more than an enough funds to support a new arts publication. Not a single institute has supported BUREAU magazine yet.  Has the entire art world and the need for success been co opted by a group of extremely wealthy or extremely powerful or extremely well positioned individuals ? Conversely, will a group of under represented human beings abuse their power to be represented ? Possibly. Who decides what plays, posters, images & commercials as well as copy writers for radio, film & television will be displayed ? How does this landscape of images, both visual & sonic effect the way you or I think about ourselves, our friends, our families or those people we do not know ? The psychology of advertising, the psychology of conversation, the psychology of social media or should we say the child - like - psychology of the world today is offensive, abusive and often ill intended. Ultimately, these tactics often backfire on the abuser(s) of such ideologies, creating a vacuum of negativity and a waste of time, money & even costing people more than they may have intended. When a group of people intend to influence an individual, it is often surprising how resilient, how tenacious, how strong & focused this type of attention can enliven, strengthen and even provide sustenance to that individual. For example, most banned books become international best sellers outside their own nation. Opposing a certain person, place or thing often times empowers that entity. 

  We are now talking about social media, abuse of power by those who own property, businesses and the conservative viewpoint of the world as well as those who would use whatever power they may have that is in direct opposition to the afore mentioned issues. Those who have no property per se, but have bodies on the street, those who may not be conservative per se, but still have an idea about how others should live, believe, worship or love. Those who collectively have a goal in society to further their particular group, nationality, income bracket, or religion. Things have gotten out of hand. 

Everyone has good reason to pursue their goals. Maybe they have been waiting for decades to have a certain amount of power. Maybe they have been oppressed. Maybe they have ancestors who have experienced a form of genocide, holocaust or simply been marginalized. Whatever the issue is, income, jobs, power, religion, belief: group affiliation is often hurting us as humans. We as a group of humans perceivably struggling to further the group that we may look like, talk like, act like. In America and here in Los Angeles there is a culture war that nobody wants to talk about. It is not talked about on the radio, it is not written about in the newspapers, it is not discussed on the television. It is sometimes alluded to in metaphor, in fiction, film and theater. But on the streets of Los Angeles, this war is very much alive and not well at all. There is a struggle, perceived and sometimes very real, for: the customer, the job, the buyer, the opportunity, the sustained lifestyle, the ability to profit, the ability to express one's self, the ability to be supported by the industry in which one chooses to work. Over the past few years, I have quietly created a few literary works which have a long term commitment prior to completion. A book of short stories, a novel, a couple feature documentaries, large bodies of paintings & a series of photographs. As an artist who works as an individual, I have spent a good amount of time away from society . Sometimes days, even weeks, working extensively on a particular project. Writing, photographing, editing, creating a world that others will later view, discover and experience for them selves. This is what the role of an individual artist is about. Upon re-entering society for the purpose of publishing the first edition of a new cultural magazine in which I interview artists, architects, photographers, organic farmers, curators, theater producers in a casual conversational style. I was surprised by the amount of resistance, coercion and down right uncooperative nature with which the very world I was celebrating and those who seek to control it, reacted. The snobbery, meanness, immaturity & selfishness as well as the amount of lies, double talk and ridiculousness that was provided was abundant, amazing, alarming. The down right petty conversations at non profit as well as commercial radio was astounding. The male dominated aspect of certain radio stations and the belittling perspectives that so transparently wish to influence the listener is embarrassingly simple minded. These same personalities love it when they get a good review.We got many emails thanking us for this or that complimentary word.  Don't get me wrong, there are a lot of very cool, intelligent and cooperative individuals out there, but the ratio was definitely skewed toward a certain amount of people who appeared to want something other than what a free publication on Arts & Culture is all about. Many wanted something for free, at any cost. Others went out of their way to influence how and what would be written. Others went so far as to promise, intimate and carrot dangle offers with which they never meant to follow through with. I found it rather amazing how much time and energy some groups invested in attempting to influence, infer or even infatuate to simply get what it was they wanted from this very simple idea of a new magazine that had affordable prices, a great look, a fun and interesting format, with smart and concise writing which continued on-line with extensive audio & visual support on our website. 

  We have car dealers giving us the wrong number to their ad agencies, keeping us on hold for over twenty minutes at a time, playing the kind of games through their employees and sales persons that I have not experienced since being in grade school. Its amazing how horrible & mean a group of workers could actually be. Sometimes it was simply a disgruntled receptionist or security guard who would insist that so & so was not in the office. Usually it turned out that Mr or Mrs so & so was not only in the office, but was damn interested in the magazine & wanted to assist, get involved, stay in touch or even place an ad. Other times it was clearly a concerted effort to control the amount of dialogue written about a certain subject : ART in this case or MUSIC in that case or THEATER in another case. The average person may not realize how difficult it is simply to review and photograph a band or an art exhibit or a theater piece and get paid for it. On the one hand, writing the article is the easy part. Getting access to the artist, performer or performance is sometimes tricky. Having the theater, gallery or museum contribute to the cause financially can seem impossible. Sometimes these are entities with either a non profit status or a major budget provided by governments grants, or a very strong affiliation with a certain religion, nationality or belief system which this particular publishing entity does not belong to. Quite frankly, as a publisher and editor, I refuse to align myself with any particular group as it would be unfair to any other particular group. The BUREAU of ARTS and CULTURE, by its very nature is an open ended, multi cultural, non political, non religious publication which resolutely refuses to be pandered to, be influenced by or harassed & harangued by those who attempt to do so. It is debatable wether the faith based non profit has done more good than damage to our world. On the surface, it looks like one thing, look again and you may see abuses of power at every level. Even the entities which bring us Classical Music, Jazz Music, Rock Music have been somehow co-opted & often times controlled by a group that is very tightly aligned with either the government, a church or a corporation of some sort. This is not a complaint, this is not an accusation, this is an observance that I believe needs to be discussed, realized and understood by the public at large. Did you know that many of the ' stories ' being narrated on National Public Radio are often completely fabricated or highly skewed, manipulated, or just plain metaphor for a whole other paralleled side story ? Did you know that stories on the BBC Radio about International issues are often fodder for things happening right here in America ?

  We are talking about major museums here, major corporations, sometimes a person or ad agency that controls an entire six block radius of car dealers. Sometimes, BUREAU magazine is in direct competition with a city owned entity that sees another ad option as competition for their own publication. Not to mention the kind of tricks that other independent publications attempt to pull, by using their influence to effect sales of a growing new publication. Other times we are talking about radio stations, commercial & non commercial who are very aware of what we write, the power of persuasion through publication & controlling the conversation as well as keeping a lock on possible revenue. Because of the fact that the BUREAU of Arts and CULTURE communicates with FCC complied entities such as radio stations, news papers, weeklies as well as indie writers, d.j.'s and announcers as well as producers, directors, artists, actors, union officials & a good many people who own their own businesses or play a big part at very powerful non profit entities like most of the museums in town, without exaggeration: influential people of a cultural nature know who we are and what we write. How does a group of people who consider themselves to be independent reconcile the fact that their non profit has to fill out forms and report directly to the federal government on a monthly or yearly basis and still consider itself independent ? There is no such thing as independent anymore. Even the radio stations that have befriended and supported BUREAU of ARTS and CULTURE projects in the past surely must realize that they too are hard wired into and out of a Federally created broadcast system and that although they are allowed a certain amount of commentary, they too are not as so called independent as they wish to appear. Unfortunately, no one is as independent as they wish to be in todays world. It has been an extremely interesting season for our magazine and I have had a wonderful time creating it. I am proud of it. Though, wether we can continue is beyond my control. It may be that we too will soon apply for non profit status to survive, thrive & grow. Because of the fact that we affiliate with & write about Anglo American, African American, Native American, Chinese American, Armenian American, Pacific Rim, European and Middle Eastern art, theater & music, it is safe to say that those who have an influence in these diverse communities through out Los Angeles have heard about us, read about us, know about BUREAU of ARTS and CULTURE. We are about to begin writing about cuisine and other subjects which will include just about any culture that you can imagine: Vietnamese, Cuban, Ethiopian, Thai, Cambodian, French, you name it. Notoriety comes with a certain amount of scrutiny. But I never expected the kind of reaction, direct and indirect that writing about art, theater and music would ever provide. Nor did I realize how the group(s) would collectively react. Some times for, sometimes against, something that would be written. I thought that America was a place where a man or woman could write, paint, compose whatever they wanted. There is a clear and present opposition to new voices emerging in this current landscape. But that fact has only inspired me to dig down deeper.

  As a rule, I do not write the kind of mean hearted criticisms that some publications supply. Being a third generation artist, I find that it is easy enough to ignore bad art, bad film, bad theater or bad music, than to spend too much time talking about it. Plus, who am I to say what is bad ?  If I don't like it, I usually don' t want to spend much time talking about it. On the other hand, I don't write puff pieces either. I do occasionally write what I call an appreciation piece on a senior artist who has put decades into a career or craft. I am an enthusiast, a man who appreciates & recognizes craftsmanship, cultural expression and conceptual ideas, objects, architecture & invention. I find the current atmosphere in todays art, theater and music world to be somewhat harsh. Those in the power positions, those with jobs in the industry, those working on the outskirts as well as those struggling to get theirs are indeed involved in a culture war. It is real. I have experienced it first hand and it is not only hurting the music, the art, the theater, it is often directly in opposition of the very expression being sold on the wall, on the air and on the stage. Oftentimes it's a total mockery and hypocrisy of the very product being pitched or the actual musician' s message or composers lifestyle or artist' s entire oeuvre: amazing. The disc jockey's might think it's funny to belittle a little known fact of Beethoven's life. Providing some sorted little fact or even rumor-like innuendo that half the time sounds like the announcer is at odds with what it is to even be an artist. Did you want an example ? O.k. try Brian Lawrenson or Jim Sjveda at KUSC 91.5 FM where the composers of some of the greatest classical music ever composed are constantly mocked. There is an obsession with the constant reminder that such and such is 'DEAD'. Hey, Jim , It is safe to say that most listeners understand that this is a music written a couple hundred years ago. Half the time the actual living composers who are often guests being interviewed, see through this, but still have to play second fiddle to the D.J. ! It's amazing how the hosts of these shows ego's are totally fragile, overblown and often times at odds with what it is they are there to do: play the music. But you see, and here is my original point, they are there to do much more than play the music, they are there to control the conversation, continue a certain agenda with which they perceive they're listeners either want to hear, or to subtly influence that opinion over time. This is a culture war. It's both passive & aggressive . Or a station manager uses Bob Dylan' s catalogue to raise funds then turns around and talks about him in a derogatory term in front of the telephone volunteer(s). The Museum director lectures about some such conservative value while displaying the works of an extremely free living individual, artist or writer. The radio Disc Jockey plays a new song by R.E.M. then mentions in a negative way that its probably their 300th album, as if that's a bad thing. Its as if the purveyors and presenters have no right to present some of the works with which they are presenting. I have experienced this first hand & this is going on folks. This is the culture war that I am talking about. 

 Ever since I started writing about art exhibitions, culture, theater, fashion, design, music and Los Angeles, I noticed this little war. And believe me, they noticed that I noticed, because more than once, more than twice, more than a dozen times, I was put on notice. Well, I have decided to fight back. My job as a writer is to tell my readers what's going on out there & from now on, this writer, editor and publisher is going to tell it like it is. If a rude receptionist or a bad attitude security guard or if a disc jockey crosses the line, creates a negative slur or stereotype: I will write about. Like for instance, a security guard at a major film studio who recently shouted , " Hey Sammy ! " with a jewish person within earshot. I may find time to tell our readers more and in extreme detail about it. When, where, who and how many times it happened. A Bus driver, a curator, a snotty employee, a pedestrian on his or her cell phone, a driver running a bicyclist off the road. All open to discussion in a new weekly column on our three blog spots in Los Angeles, New York & San francisco with photographs, drawings, illustrations and locations of the incidents, quotes, etc …   A Weekly Rant as it were. The Report on Culture Wars in the world today. So, you want to play the game ? Cool, lets play, as long as you don't mind others reading about it on a weekly basis. Will there be another BUREAU of Arts and Culture Magazine ? I don't know. That depends on the Galleries, Museums, Clubs, Bike Shops, Surf Shops, Skate Shops, Non Profits, Museums, Commercial Radio, Car Dealerships, and those businesses that traditionally support cultural publications: Beer, Liquor, Fashion, Film, Tourism, Hotels & Restaurants. Biting the hand that might feeds me ? I don't think so. It is pretty clear in recognizing those who like to see a new voice emerge and it is even clearer to witness those who tried to deliberately extinguish such a voice because it did not belong to them, their group, their religion, their institute, their college, their publication. If this is a culture war that I have accidentally or indadvertedly entered, than as a pacifist, I can only hope to identify the skirmishes, avoid the battles and win the war by teaching those in the field that war is hell. Now there' s a quote for you.  

  written by Joshua A. TRILIEGI for BUREAU of Arts and Culture Magazine

BUREAU : FILM APPRECIATION / BIG WEDNESDAY at 35 & UNBEARABLE LIGHTNESS OF BEING at 25

BUREAU: FILM

BIG WEDNESDAY

" Nobody Surfs Forever " 

A Thirty Five Year Anniversary Appreciation

By Joshua A. TRILIEGI

 It's hard to believe that thirty five years have passed since this classic surf film about 

California and specifically Malibu beach surfing culture, characters and history had its 

debut. Upon re watching this classic film recently, I was drawn into a kind of nostalgia 

that reminded me of other classic films from the seventies that seem to define the 

formative years here in California. American Graffiti being the other fine example of a 

piece of cinema that celebrates, defines & indeed explains to outsiders what it was like 

to be a part of a California subculture that has since gone mainstream: Classic Cars. 

Big Wednesday does the same thing for Surfing. These days surfing and its nearest 

offspring, skateboarding, are world renown industries owned by a hand full of companies, 

corporations, associations and ecologically informed non-profit organizations.

 But back in the day, guys like Leroy, Jack and Matt made California surfing. The lifestyle 

and its loyalty to expressing ones self with nature was a coveted and special relationship 

that each surfer had on his or her own. It was a private experience one had with the 

waves, the coast, the ocean, the earth itself.  It is a sacred thing to drop in on a wave 

and ride it as long as one is able. Honing a craft, one-second at a time, in unison with 

mother nature. Simply, a person, their craft and the ocean itself relating to one another. 

 I recently took a bike ride along all the coast passing all best surf spots where much of 

the film was photographed. Pacific Coast Highway starting at the County Line, Topanga 

Canyon & on into Malibu Beach. Re visiting these historic beaches and film locations is a 

beautiful way to understand the art of surfing. Reviewing the motion picture Big Wednesday 

directed by John Milius and starring Gary Busey, Jan Michael Vincent and William Katt and 

thinking about their careers & some of the damage done personally was a bit heartbreaking. 

I guess that's the power of film to preserve a time and a place. To express a moment in time, 

be it, documentary, fiction or otherwise. As far as surf films go, when it comes to fictional 

versions of what surfing is about, Big Wednesday, in my book, is simply the best at capturing 

the philosophy, the lifestyle & the character of what it is to be a surfer at that particular time 

and place: the 1960's and its transition into the early seventies. With a cameo by Legendary 

Lightening Bolt founder and classic surfer, Jerry Lopez. An important casting choice that gives 

the film a groundedness in reality & boosted its credibility with real surf fans during its heyday

i& initial release. The red surfboard with a yellow lightening bolt placed directly in a vertical 

fashion down the center of the board was & will always be as iconic as a Mercedes Benz logo. 

There are the documentaries by Bruce Brown: Endless Summer and the like. As well as 

a catalogue of other classics such as Five Summer Stories & the others within the genre.

More recently Stacy Peralta' s Dogtown Documentary & subsequent Lords of Dogtown as 

well as his Big Wave Surf documentaries have added more information to surfing dialogue.

But still and all, Big Wednesday is king. I know because I grew up and witnessed the tail 

end of this particular period and hung out with and admired the older guys who were a 

part of this important period in West Coast & specifically Southern California surf culture.

[ Read the short story SURFERS AND LOWRIDERS on our Website for more on this period]

Big Wednesday captures the music, the friendship, the heroic stature, the generation to 

generation torch passing, the gaining your friends/losing your friends aspect of growing up.

The original musical compositions by Basil Poledouris and theme songs hold up just fine.

Nothing is too trendy or dated, The costumes, sets, locations and acting are what we call 

pitch perfect. The props and logos have become legendary. The BEAR logo to this day is 

being reprinted and celebrated on sweatshirts, classic cars and stickers. Big Wednesday 

is a classic film in the Warner Brothers catalogue that helped to redefine a generation 

of West Coast culture: surfing, skateboarding and the California cool that people from all 

over the world appreciate, envy and honor, sometimes more than the locals themselves.

The actors actually did most of their own surfing in this film, which is rare. There are 

surfing doubles, but the editing and cinematography is extremely well done for its 

time. Shot on real film, on location, with a group of actors and actresses, including Lee

Purcell and Patti D'Arbanville at the very end of a time & place when Hollywood was able 

to create stories that were highly dependent on character, story and emotional content. 

This film which was released in 1978, thirty five years ago, stands up against any film 

of its genre. It's as entertaining as American Graffiti, as honest as Dogtown , as funny 

as Animal House and ultimately a heartfelt and heartbreaking story about the fleeting 

moments in life. Like a wave: life, friends, careers, loves, memories pass rather quickly.

Movies such as Big Wednesday preserve these moments, capture those times, creating 

a painting of sorts, a photograph, a time, a place that will never be the same again. 

Cinema has a way of allowing us to re-enter history, experiencing life itself to enjoy 

over and over. This has been an appreciation of BIG WEDNESDAY on the 35 year 

Anniversary.  An ongoing Series of articles marking the Films, Books & Artworks that  

are worth remembering, re-watching, re-reading and re-celebrating time & time again.

by Joshua A. TRILIEGI Exclusively for http://www.BUREAUofARTSandCULTURE.com

BUREAU: FILM

THE UNBEARABLE LIGHTNESS OF BEING

" In The Kingdom of Kitsch "

A Twenty Five Year Anniversary Appreciation

By Joshua A. TRILIEGI

 In 1988 director Phillip Kaufman brought to the screen a novel by Milan Kundera.

Mr Kaufman has always been at least, a decade ahead of the times. His films have 

constantly created genres, influenced directors and bravely translated literature & 

historical events to the screen. His adherence and loyalty to source material is 

unmatched. The Wanderers, The Right Stuff, Henry and June, to name a few, have 

inspired and set the stage for other films within the genre, consistently raising the 

bar on truth, quality, reverence to the originator and entertainment well beyond the 

current trends. Mr. Kaufman brings to life words with a keen sense of detail and a 

wide world view which brings the viewer into a realm of reality or fantasy that seems 

to punctuate humanity and specifically the boundaries with which life presents.

The Unbearable Lightness of Being might be considered his masterpiece, although,

due to his prolific and influential output in other genres, it is safe to say that Kaufman 

will not be remembered for any one film. He is under rated, in terms of being what 

they call a house hold name. But to directors in the industry, film students and 

international film festivals, associations and aficionados, Mr. Kaufman is heroic. 

The Right Stuff opened the door for a slew of astronaut films including Apollo 13.

Kaufman practically created the genre. By setting an absolute tone, fabulous casting,

flawless research and collaboration with top costumers, photographers and producers 

his influence is felt far beyond the time and the place with which his films are released.

In The Unbearable Lightness of Being a stellar cast of actors bring to life historical 

events. Politics, passion, literature and history meld into a contemporary take on a 

situation which relates to and possibly rivals director David Lean's, Doctor Zhivago. 

Film history relies on itself to continue certain traditions. Film makers grow up watching 

films which inspire works of art that later influence the next generation and so on.

As Zhivago was based on a great novel about love that just so happens to be placed 

in a time of political upheaval, so to does the source material for Milan Kundera's novel.

Daniel Day - Lewis spreads his wings in this production which for the first time truly 

employs his talents to an international audience in a story that juxtaposes his love 

for life, women and country and the complications that arise between politics, change,

revolution and expressing one's self as a writer while making a living at another trade,

in this case : brain surgery. One can imagine Mr. Kaufman's desk covered with book 

options through the years & muttering to his producers cliches' such as, 'It's not rocket 

science.' or 'It doesn't take a brain Surgeon.'  But for Kaufman it definitely is rocket 

science & as far as this writer is concerned, it is brain surgery, for Kaufman is a genius. 

I never use the word and yet there it is on the page. There is something about his films 

that generate a certain amount of passion, interest and bon vivant. His take on life is 

liberated, his characters are on the edge of history, pushing the envelope into a new 

time & place. Sam Shepard' s characterization of astronaut Chuck Yeager in the 

Right Stuff is a perfect example. Characters who break boundaries and later seem to 

go uncredited or under the radar. Or bringing to life the triangular love relationship 

between Henry Miller and his lovers. Source material that few directors would know 

how to approach, let alone, how to raise the funds for and bring to life on the screen.

Unbearable Lightness of Being also visits this type of triangular passion and complicated 

relationship that make for great drama. Kaufman's take on life, love & history are dramatic, 

but laced with a pathos, irony and humor that keeps one interested through out. He has 

a rare viewpoint that illustrates life's issues and relationships in an original & complicated 

way. With stellar performances by Lena Olin and a fresh faced newcomer on the scene, 

Juliet Binoche. Supporting cast includes Stellan Skarsgard. This erotic, yet human feature 

film takes us inside Czekloslavakia during a particularly tumultuous time in their history 

with an oppressive an invasive Russian takeover during the nineteen sixties. Politics, passion 

and provocation abound. Kaufman's films almost never come in at the usual commercial 

time of ninety minutes. He is an artist, most of his features are two hours or more. 

Unbearable Lightness of Being comes in at an epic 172 minutes, just under three hours. 

Every scene, every line, every moment is fresh, alive, undeniably truthful, unabashedly 

human & heartbreakingly real. Originally a part of the Orion Pictures catalogue. Produced 

by The Saul Zaentz Company. A brave and bold historical film well worth celebrating.

This has been an appreciation of UNBEARABLE LIGHTNESS OF BEING on the 25 year 

Anniversary.  An ongoing Series of articles marking the Films, Books & Artworks that  

are worth remembering, re-watching, re-reading and re-celebrating time & time again.

by Joshua A. TRILIEGI Exclusively for http://www.BUREAUofARTSandCULTURE.com

   

BUREAU : BEST OF L.A. THIS WEEK / GUSFORD : PAINTING / STARS : ANTIQUES / COAGULA : SCULPTURE / ROBERTO : STREET ART ...

Schroeder Romero Editions was founded in 2012 by Lisa Schroeder and Sara Jo Romero

We will be releasing two new editions
by Susan Hamburger and Jim Dingilian soon!

In the meantime, please visit our website
to see the four inaugural Schroeder Romero Editions.


Remember--these editions are sold only on the website on a first-come, first-serve basis. The response so far has been fantastic and once an edition is sold out no others like it will be produced.

Works will be shipped personally by us within 8-14 business days of purchase or, if in New York, one can also choose the "local pick-up" option when checking out.

We continue to take pride in the quality and craftsmanship of the artworks that we choose to present. We are available any time via email should you have any questions.


Jennifer Dalton, This Too Shall Pass, 2012,
Glass jar with lid, vinyl letters, homemade butterscotch candy
10 x 6 x 6 inches, Edition of 50 + 6 APs
(*note: the image shows the four sides of the jar to include all the text.
The finished piece is one jar.)
$ 150



Susan Graham, Insomnia, 2012
Glazed porcelain, dimensions vary

3 x 3.25 x 1.75 inches; 2 x 3.25 x 2.75 inches; 3 x 3 x 1.75 inches; 1.5 x 3.25 x 2.25 inches

Edition of 25 + 4 APs

Please note that each sculpture is created by hand

and therefore slight variations in size and detail may occur.

$ 250 for the set of four




Lisa Levy, Self-Portrait, 2012
Acrylic on canvas, 11 x 14 inches
Edition of 50 + 4 APs

Each painting multiple is hand-painted by the artist therefore there may be slight variations.

$ 150




Michael Waugh, The Practice of Funding (The Wealth of Nations, part Ω), 2012
Silkscreen on mylar, 15 x 11 inches, paper size
Edition of 99 + 6 APs and 2 PPs
$ 100 unframed



Schroeder Romero Editions aims to produce high quality editions and multiples hand-selected by us at affordable prices, with the majority exclusive to Schroeder Romero Editions. We plan to debut new editions each month by contemporary artists and will occasionally offer non-exclusive editions and multiples by various artists (from various eras). Editions will be produced with represented and non-represented artists and will vary in media, but the edition will have a significant visual and conceptual affinity to the artist's larger body of work. Editions will be available on a first-come, first-served basis and will be released via email announcement and on our new website.


Schroeder Romero | Mailing address: 214 Weirfield Street | Brooklyn | NY | 11221

Please contact us for more information: info@sreditions.com




Schroeder Romero Editions was founded in 2012 by Lisa Schroeder and Sara Jo Romero with the aim of producing exclusive, hand-selected, high quality editions and multiples at prices almost anyone can afford.

In 2001 Lisa Schroeder and Sara Jo Romero also founded the contemporary art gallery Schroeder Romero. Originally based in Williamsburg, Brooklyn, the gallery relocated to Chelsea in 2006. The mission of Schroeder Romero has always been to promote work of emerging and mid career artists, concentrating on solo exhibitions of local, national, and international artists. Our artists and gallery have been featured in articles and reviews in The New York Times; The New Yorker; ARTnews; Wall Street Journal; Art in America; Artforum; Art Monthly; artnet; Bloomberg; The Brooklyn Rail; Huffington Post; Art Economist; T, The New York Times Style Magazine; Hyperallergic; The Art Newspaper; Sculpture Magazine; Tema Celeste; Time Out New York; Contemporary; Flash Art; New York Observer; Modern Painters; Cool Hunting; and The Village Voice among others.






BUREAUOFARTSANDCULTURE.COM
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WE ARE GOING TO PRINT IN 2013 WITH [10,000] MAGAZINES

THE STUDY Project Space: Bret Slater March 28 - April 27, 2013

Installation view of Judith Belzer's exhibition, Edgelands, on view through April 27

Join JUDITH BELZER for brunch and a conversation with Wave Hill curator JENNIFER MCGREGOR this SATURDAY, APRIL 20, 10AM-12PM. The conversation will begin at 11:00am. Belzer's solo exhibition, Edgelands, is on view through April 27, and her work is included in two concurrent museum shows in New York: Against the Grain at the Museum of Arts and Design and Drawn to Nature at Wave Hill.

In a statement about the work, Belzer writes:

My new paintings explore the complex relationships between nature and culture through the lens of the landscapes we have created. The current series investigates the edge lands where the built environment and the natural landscape converge, clash and interlace. The engagements that occur along these boundaries are dynamic, unpredictable and sometimes chaotic. Using a broad painting language of mark-making and a kind of bent, vertiginous perspective (often from an overhead angle), the paintings evoke a visceral sense of what it feels like to live in a landscape in the process of being transformed by our own industriousness.

View more of Edgelands here.



Current Exhibitions:

Judith Belzer: Edgelands

THE STUDY Project Space: Bret Slater

March 28 - April 27, 2013



Upcoming Exhibitions:

Nancy Lorenz: New Work

THE STUDY Project Space: Aaron Wexler

May 2 - June 29, 2013


535 West 22nd Street
New York, NY 10011


email: art@morganlehmangallery.com
phone: 212.268.6699 fax: 212.268.6766
web: morganlehmangallery.com


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BUREAUOFARTSANDCULTURELOSANGELES.BLOGSPOT.COM
1282 W SUNSET BOULEVARD LOS ANGELES CALIFORNIA USA
WE ARE GOING TO PRINT IN 2013 WITH [10,000] MAGAZINES

RICHARD KESSLER : FINE ARTIST

BUREAUOFARTSANDCULTURE.COM
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BUREAUOFARTSANDCULTURELOSANGELES.BLOGSPOT.COM
1282 W SUNSET BOULEVARD LOS ANGELES CALIFORNIA USA
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SPOKE ART IN NEW YORK CITY : THE SCORSESE SHOW

Spoke Art is excited to return to New York City this week following last month's appearance at the Scope Art Fair. Our April exhibition, "Scorsese: an art show tribute" opens this Friday night at Bold Hype Gallery in Chelsea, where it will be on view for one weekend only. Read more below!

"Scorsese Collage" by Joshua Budich
complimentary signed and numbered 12" x 18" screen print
available only to the first 100 attendees

Scorsese: an art show tribute

Acclaimed film director Martin Scorsese is to be honored this weekend in a dynamic art exhibition featuring over one hundred original works of art from an international roster of painters, sculptors and printmakers.



On Friday, April 19th, Spoke Art Gallery of San Francisco, CA will debut a special weekend-long pop up exhibition in Chelsea, New York City, dedicated to the storied filmography of the legendary director. Over 70 artists from around the world have created new and original works of art in honor of Mr. Scorsese in an eclectic showing of over one hundred paintings, sculptures and screen prints.


Opening reception:
Friday, April 19th 6pm-late
all ages I no cover I complimentary beverages I artists in attendance
hosted at Bold Hype Gallery

On view:
Saturday April 20th and Sunday April 21st
11am - 5pm



Participating artists include: Aaron Jasinski, Adam Maida, Akira Beard, Alex Pearson, Alexander Iaccarino, Andrew Spear, Beau Stanton, Bethany Marchman, Brian Ewing, Brian Methe, Casey Weldon, Chuck Sperry, Dave MacDowell, Dave Perillo, David Moscati, Derek Gores, Derek Weisberg, Epyon5, Erik Jones, Fernando Reza, Gabz, Geoff Trapp, Greg Gossel, Hydro74, Ibraheem Youssef, Isaac Bidwell, James Gilleard, Jayson Weidel, Jessica Deahl, Joel Daniel Phillips, Johannah O'Donnell, JoKa, Jon Smith, Jonathan Bergeron, Joshua Budich, Justin VanGenderen, Kevin Jay Stanton, Kristopher Joesel, Lucien Shapiro, Matt Needle, Matt Taylor, Meghan Stratman, Melissa Ling, Michelle Coffee, Monkey Ink Design, NC Winters, New Flesh, Nick Comparone, Oliver Barrett, Paul Shipper, Peter Adamyan, Rafael Santiago, Rhys Cooper, Rich Pellegrino, Sam Gilbey, Sam Ho, Sam Smith, Sandi Calistro, Scott C, Scott Weatherwax, Serge Gay Jr., Steve Daily, Steve Hughes, Tessa Morrison, Toobs, Tracie Ching, Ty Mattson, William Arvin, Zach Landrum, Zeb Love

Facebook Event Page: here

Spoke Art website: here

Online release: coming soon

Sales: Out of respect for the fans who will be lining up for the opening night, there will be no pre-sales of original art or limited edition prints. Any remaining works left over from the weekend will be placed online the week after, more info to come soon.

"Taxi Driver" by Grzegorz Domaradzki / Gabz
screen print I 18"x24" I edition of 100
inspired by "Taxi Driver"



"
"The Key to Everything" by Chuck Sperry
screen print I 19"x35" I edition of 50
inspired by "Casino"

"The Five Points Experience" by Scott C.
watercolor on paper I 20"x24"
inspired by "Gangs of New York"

"The Half Gangster" by Tracie Ching
screen print I 9"x12" I edition of 25
inspired by "Boardwalk Empire"

"William Cutting" by Primary Hughes
acrylic on board I 8"x10"
inspired by "Gangs of New York"






Coming next month: Scott Hove "Guns and Ecstasy"

For our May exhibition here at Spoke Art San Francisco, we are proud to present sculptor Scott Hove's "Guns and Ecstasy", a solo show featuring all new works and an installation.

Artist Website: http://mshove.com




Things To Come:

May 2nd - Scott Hove - "Guns and Ecstasy"

May 16th to 19th - SF Fine Art Fairs

June 6th - "The Black Robe" featuring Barron Storrey, Mike Dringenberg and Keita Morimoto, curated by Eidolon Fine Arts

July 6th - Ron Ulicny - "Paintures"



BUREAUOFARTSANDCULTURE.COM
JOSHUA@BUREAUOFARTSANDCULTURE.COM
BUREAUOFARTSANDCULTURELOSANGELES.BLOGSPOT.COM
1282 W SUNSET BOULEVARD LOS ANGELES CALIFORNIA USA
WE ARE GOING TO PRINT IN 2013 WITH [10,000] MAGAZINES