John Baldessari and Ed Ruscha highlight LA`s truest and brightest

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LA$tories
A*rgelino :art patriarchs John Baldessarl
and Ed Ruscha pick out their honre city's
: truest voices and brightest new talent
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'Los Angeles is just a bunch of nerve endingsl begins Ed Ruscha.
The artist is sitting at a rectangular table in his
a generously sized warehouse
library
r00m in his Culver City studio
dtat houses his extensive collection of artist catalogues
and monographs, and other books, fiction and non'fiction,
that
he's gathered over
time, subiects indude poetry,
{t
criticismind history, literature, pop culture, fil*, fashion,
politics and, of course, LA.
A lot ofthese nerve endings happen to be artists, and
they're the ones that I listen to. I keep myselfopen to
that, so that's how I've met these people or know about
them,'he says. 'A11 are completely different from one
another and yet they all have the same kind ofpotency
and drive that makes you wake up and smell the roses.'
Take, for instance, Ariel Pink, pioneer oflo-fi sound 'he's way out therei notes Ruscha. Ruscha caught
an early-career Pink set at a nice dinner, a'theatrical,
disjointed performancej that was so 'edgy and
challenging', Ruscha recalls that payment was
temporarily withheld.
'A11 share the same kinds of quirkiness in the idea
of living here,'he goes on. 'They're all pretty much
doing their own thing.' Some are friends, a few he has
encountered briefly, several he doesn't know directly
but collects. (The studio walls proffei pieces by so many
other artists, one is hard pressed to find a Ruscha)
'I've nevet met him but have a couple of his works.
He uses text in funny ways,' says Ruscha, picking up a
)on Pylypchuk collage in which stream-of-consciousness
dialogue is scrawled primitively, attached to a smallish
character costumed in a swatch ofapplied fabric.
Near the Pylypchuk are two Dani Tull watercolours.
Setting offone are variations ofa loosely rendered line,
refractions ofa shape in the body. Ruscha also talks
about novelist Mark Z Danielewski, who arranges his
words into distinct shapes and form. Again, he isn't
personally acquainted but reads him, if that is what
you do with Danielewski.
Ruscha first met Daniel foseph Martinez when
Martinez was a teenage photographer and he was
the assignment. In the decades since, he has tracked
this particular nerve ending, whose conceptual, printed
and performance work marches into'artist-activist'
territories.'He's got something to say,'states Ruscha.
Ruscha, ofcourse, has his own renditions ofthe
city, including Hollywood, Sunseq Santa Monica, Vine
(1998), The Back ofHollywood (1977), and The Los Angeles
County Museum on Fire (t965-68). Ruscha does black
and white and colour but now thinks ofthe city in
monochrome.'When I dream about this place, I picture
it very much like ablack and white movie,'he says.
Not that he's disengaged.'Thirteen thousand people
ry6
wallpaper*
arrive daily to live here. The mayor came by and
I told him that and he kind of changed the subiect,'
mentions Ruscha with an easygoing laugh. Even
Sunset Boulevard, the subiect of Ruscha's seminal
z5ft Every Buildingon the Sunser Srrip (1966), is to be
deluged
with'recently approved skyscrapers.'
'They're on a real rush to develop this city out
and maximise the density,'says Ruscha. 'It's getting
to be claustrophobic.' His respite from the density is
twofold - the solitude of his Mof ave Desert home,
and his warehouse studio.'I've always had this lovehate relationship with LA. I've lived here for 6o years
or so and I still find it inspiring but I can't say why.'
)ohn Baldessari is another artist with an intense
relationship with the city. So much so that when
Michael Govan, director of the Los Angeles County
Museum of Art, was struggling to find anyone that
could deliver a new logo for the museum, he turned to
Baldessari. Several days later, the artist invited Govan
to his studio to see the imagery: an iPhone-photograph palm tree, chumb, pencil - that replicated an image
originally used by the artist in the I96os. 'Palm trees are
omnipresent in LA. The pencil and thumb are a device
for drawing students to use to get perspective right,'
Baldessari explains. It could be his logo too.
In the catalogue for the Hammer Museum's
biennial'Made in LA zor4' exhibition, which focuses
on emerging and under-recognised LA artists, the
museum's chief curator Connie Butler wrote: 'In New
York, it ll'as said, an artist knew she had made it when
she could quir her teaching iob; in California, an artist
knerr she had made it when she landed a teaching job.'
\\'ith an I8-r ear-run at CalArts, begun in l97o and
follor' ed :r nearlv a dozen more at UCLA, Baldessari
exemol:i:s :he rradition. He remained a teacher even
as in:e::a::o:ai recognition grew. His laidback style
anc :..::.:,:: ',r.:e a stark contrast to the viciousness
oi:h. :-.::::., ar:'school-crit. 'He didn't resist younger
ge:l.::::::-: -. o:k.' one former student remembers.
'H. .... ,:-:::.aiened by it.' Instead, more than four
tie:.::,,. ::::. :istudents have been through
cj:s..s ::..: l.-:essari taught, creating a sort ofLA
at:.':: : -:.::::r:r of'six degrees ofBaldessari'
i:: :, r: : -- . -':-, : :-e -ieems to connect back to |ohn'
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Culture
Berman
ffB*eremgx.eg,:Eaer
Molly Berman, daughter of Star Trek
producer Rick Berman, attended a private school
As a teenager,
in Los Angeles but felt
a distance
from her peers.
LA seemed vapid, misunderstood by those attracted
to it, a glamorous surface with little beneath.
Returning from Bard College, a small New York State
liberal arts institution, 'I realised how wrong I was.
When you get out of a place, you can start to see
new parts ofit,' says the z4-year-old photographer.
On a road trip across America, taken iust after
graduating, Berman became transfixed by decrepit
buildings in decaying towns or on stretches of
withering roads between them. She took photographs
of them and, in doing so, wondered,'Is it elitist
to find beaury in them?' Her current series of
imagei of comfortable Angelenos, living in highly
sought-after zip codes, considers that same question.
Posed with a set of their belongings, the images
have the tinge of a luxury advertisement. 'But I try
and add a little bit of emPtiness to them,' she says.
,ORDINARY COMBUSTIBLES'
,I
TAKE PHOTOCRAPHS AS
A JUSTIFICATION FOR MY
TENDENCY TO STARE. IVY
SHOW'S TITLE DERIVES FROI\4
THE FACT THAT I PHOTOCRAPH
Greg
EVERYDAY OBJECTS WITH
THE HOPES OF BRINCINC NEW
LIFE TO THEN,4 AND ALTERINC
THE WAY THEY ARE VIEWED'
PHOTOCRAPHED AT HON,1E IN
I\IIRACLE N,1ILE, 9 ]ANUARY 2OI5
Wilken'
eld
scLgcT$
,ON THE ROAD OF A
THOUSAND TiVONDERS" 2OII
WILKEN TRACES WALKINC
TRAILS tN CALIFORNIA,
INCLUDINC THE CA]\,4INO
REAL, THAT BECAN,4E RAIL LINES
THENROADS'PALIMPSESTS
OFFERINC TRACES OF
MAN'S IVlOVEI\,4ENT ACROSS
THE LAND',
,ON THE NATURAL HISTORY
OF JUAN FERNANDEZ', 2006
THIS TOOK WILKEN TO AN
ISLAND OFF CHILE WHERE A
SCOTTISH SAILOR LANCUISHED
FOR FOUR POST.SHIPWRECK
YEARS IN THE 17OOS. HE
WOULD LATER BECOME THE
INSPIRATION FOR DANIEL
DEFOE'S ROBINSON CRUSOE.
PHOTOGRAPHED ON HIS
SAILBOAT IN I\4ARINA
DEL REY, 8 JANUARY 2015
'Art is a great excuse to be curious about the rvorld
and, while doing so, live a pretty interesting life,' says
Greg Wilken, a graduate of LA's Otis College of Art
and Design, who now lives on a sailboat he restored
in Marina del Rey. His large-format photoeraphs and
self-published books are in-the-field erplorations of
extraordinary history and geograph,v' \\'ilken's most
recent excursion is his most far-flung: ren months
in the Republic of I(iribati, a remote nation of tiny
arolls in rhe equatorial Pacific rhat s at risk oi
disappearing because ofsea level rise. The trip, funded
by a Fulbright grant, also took him to a ne\{ creative
place - working with moving image and sound.
In this case, he collected footage lor an inscallation
that uses che impact of global rr'armrng on iand to
explore 'the mental space thar opens u hen viewers
are confronted by the friction benteen different ideas'
or scales, of time'. He says, 'The concept that during
one lifetime an entire nation could disappear is akin
to someone relling me the sun \1on r rise tomorrow''
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,GAWDHEAD AND THE
CAVE MIND" 2OO9
POST.PSYCHEDELIA, TAKING
IN CAVE MEN, CREATION,
PSYCHOACTIVE DRUCS
AND ANCIENT TOTEIVS,
,ODD ARK" 2OO6
LINE DRAWINCS OF HEAVYLIDDED CARTOON STONERS
AND MOCK.UPS FOR A
N/ACAZINE TITLED MY
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PHOTOCRAPHED AT HIS
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IO JANUARY 2OI5
sSLg{fE& We${Kg >
MAPS TO THE STARS
WACNER'S SCREENPLAY FOR
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THE FILM, D!RECTED BY DAVID
CRONENBERC, SECURED A
COLDEN CLOBE NOMINATION
FOR JULIANNE IVOORE,
WILD PALMS
FIVE.HOUR ORWELLIAN
I\IINISERIES, SCREENED IN
1993 AND BASED ON WACNER'S
CON1IC STRIP OF THE
SAI!1E NAIVE, FIRST PUBLISHED
IN DET,A/LS I\,4ACAZINE
PHOTOCRAPHED AT A PRIVATE
RESIDENCE NEAR SUNSET
BOULEVARD, 9 JANUARY 2015
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Dani Tull
^
Third generation artisc and musician
Dani Tull possesses serious LA cultural pedigree.
His grandfather, Sam Cherry, photographed Charles
Bukowski, while his parents - both artists - founded
pioneering vintage clothing store Aardvark's on
Melrose Avenue. Early-career solo outings, such as
a show at Blum & Poe, had a PoMo bent, while more
recently, he's been known for pieces that tap into the
mystical and subconscious. His latest show, at LAM
Gallery, features hand-built sculptures that reflect
in'the analogue'. Web tendrils are
etched into rhe incandescent wax surface ofirregularly
shaped rripodal forms, then inlaid with paint. 'l could
easilr- ser :hese fabricated or 1D printed buc I want my
hand inr oli'ed. he says. 'The work I am making, and
a lor oi och.l rrork rhat I see being made right now,
is a re sp:n.e ro social media and the way technology
is so cee: r :nreqraced into our lives. There is a natural
respo:!i ::: -.s ro seek out things that are handmade.'
Tul1's ners interest
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Delia Brown
PHOTOCRAPHED AT HER HOI\IE ]N
SAN IA N,4ONI(A O ]ANUARY )OI\
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A few years ago, the painter Delia Brown returned
from a spell in New York to a single-family home
neigl-rbourhood a few blocks north of Venice. The buzz
ofher 'Sex in rhe Ciry phase'was over, replaced by
open water swims in the Pacific. Brown first earned
crirical attention, not all ofit friendly, for her'Gueri1la
Lounging'series, paintings ofher girlfriends in the
homes ofwealthy collectors, arranged in decadent
tableaux to create Monet-tinged portraits, drenched
in fine
r,.n= r:.:.ck
and luxuries. Televisual glamour
remainei a . :,.-rn. and the artist's current obsession
is 7Lr,l.,;. :, :, ,:, :; ;-i series. Brown's original idea was
to ger -::: ., : :::useryife tl-rat painted'but she has
scale: ::=, -.:, .r pastoral portraits. In the first tobe
'LAST EXIT: PUNTA
JUNTA" 2OI2
A CLAMOROUS FEN,IALE
PARTY ON ST BARTHS
-, - :..s LuAnn, of theTheRealHousewives
of,\,, :' - . ==:es lrom a private dock, languid
in a.l,:= -., :-:.. as sheenjoyshermorningcoffee.
Ir is ::.. , . . ,.::es that could run and run.
'WHAT, ARE YOU
JEALOUS?,, 20OO
B KINI.CLAD WON,4EN LOUNCE
AROUND BEVERLY HILLS
S\\ LI\4MINC POOLS,
cor-i-1p..,.*
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