Among our favorite places in Los Angeles is the Arcana bookstore in Culver City. It’s specialized in “books on the arts,” and its collection of books on art, design, photography, architecture and anything aesthetically significant is vast, comprehensive, and well-organized. They seem to have everything. Though Arcana is a business, its ambiance, interior design and space give it a feel that’s more like a library, albeit a handsome, spare, minimalist, post-modern library in a former industrial space. There are long communal tables upon which customers can lay heavy tomes of art and page through these books at a leisurely pace. It’s one of the best bookstores in the world. If GlobalGraphica was an actual place, Arcana would be our preferred physical manifestation of it, though with a kick-ass espresso machine and a rack full of surfboards included.
This beautiful old-school graffiti art is on a corrugated metal fence next to the Venice Beach offices of an advertising agency called Cold Open. Check out this short time-lapse video documenting the painting of this graffiti artwork.
Auteur film director Wes Anderson has produced an amusing short Christmas film (see below) as long-form commercial for the global Swedish clothing retailer H&M. It’s called “Come Together” and stars Adrien Brody as the conductor of a train carrying passengers through a winter holiday storm. The four-minute film is an exercise in branded content for H&M. Aside from a logo “bug,” branding itself and commercial messaging has been kept to a minimum at the end of the video. “Come Together” is quintessential Anderson in terms of style, editing, production design and cinematography, and it is as visually charming as anything we’ve seen from the director. Anderson has directed commercials for other brands in the past and you can see some of them online at AdWeek.
We were driving through Leucadia, California recently on a weekend surf trip when this freight train decorated with lots of graffiti rolled by. Nearly every car in this train had either massive artwork like in the above photo or colorful graffiti tags painted on it. Where and when this graffiti was painted is anybody’s guess, but it wasn’t in Encinitas. The train brings the artwork to audiences far away from where it was painted. It’s an example of what outer-borough subway graffiti writers back in 1970s New York City used to refer to as “getting up and getting out.”
This photo-realistic mural of the late Jack Herer is by artist Brian Garcia (a.k.a., TAZROC). You can find it at 1501 Pacific Avenue in Venice Beach, Los Angeles. Herer was a well-known activist and book author advocating for the legalization of marijuana who was sometimes referred to as “the Emperor of Hemp.” The mural is on a building that at the time it was painted was occupied by the Nile Collective, a cannabis clinic that has since moved to the beach town of Playa del Rey a few miles south.
Time magazine recently published the “100 Most Influential Images of All Time.” It’s a stunning mixed collection of iconic, powerful and beautiful images. Among these images is the first photograph ever taken, a picture from 1826 titled simply “View from the Window at Le Gras.” The image shown above is a 1968 photo titled “The Invasion of Prague.” It’s one of our favorites.
We have a hunch that the message in this typographic garage-door mural by artist Adam Mars may be an accurate description of the person residing in this Venice Beach home. Using our powers of imagination, we picture this “highly successful beach bum” as a man in his early forties, with tousled, shoulder-length hair, perhaps with bleached-out blonde streaks (from spending all that time at the beach), a thin unkempt beard, feet clad in either Havaianas flip-flops or lace-up Van’s and a natural, medium-bronze tan. In his garage is either a vintage Porsche 912b in need of maintenance or a beat-up Land Rover Defender in need of a wash.
Atwater Village in Los Angeles is where we found this stencil street art of a cute Sesame Street muppets-like monster on the sidewalk. (If you’re looking for it, it’s in front of Kaldi Coffee on Glendale Blvd.) There’s not a lot of this type of street art in Atwater, but it’s not much of a surprise to find it here either.
Atwater is a relaxed neighborhood tucked on a plain across the L.A. river north of and directly adjacent to the small mountainous areas of Silver Lake and Echo Park, L.A.’s long-established two-name combo of gentrified hipsterland. These two hoods feel very much a part of the city and have layers of grit and patination suggesting the edgy character of their pre-gentrification past. Atwater, on the other hand, only a couple of minutes drive away, feels like a quiet residential suburb a world away and is largely devoid of central L.A.’s gritty tinctures.
Yet it has captured the hipster overspill of cool restaurants and foodie haunts, third-wave espresso bars, indie book and record stores, vintage clothing shops and yoga studios that have signified the gentrification process in the Silver Lake and Echo Park for the past 10-15 years. With has come art and street art.
That said, there’s some hipster cultural heritage in Atwater. In the 1990s, the Beastie Boys ran their mini music and Grand Royal magazine empire from offices and studios on Glendale Blvd., Atwater’s main drag. They recorded their seminal sample-heavy album “Paul’s Boutique” there, too. Atwater is also home to what some consider to be among the finest tacos in Los Angeles. For a segment a few years ago on his TV series “The Layover,” Anthony Bourdain stopped by Tacos Villa Corona, a microscopic hole-in-the-wall Mexican food joint that the Beasties used to frequent.
This colorful flurourescent-light sculptural object at San Francisco MoMA is a minimalist classic by the late artist Dan Flavin. Regular visitors to GlobalGraphica may have noticed that we’re suckers for minimalism (it’s true). Works like this really appeal to our sense of a lean, clean, pared aesthetic and the power of empty space. Like much of the work that marked the latter and better-known part of his artistic career, Flavin’s SF MoMA installation makes use of readymade materials — tubes and fluorescent lights — and is composed within site-specific architectural spaces.
The message “Peace is found on common ground” is written at the top of this vivid street art by the Bay Area artist Konorebi. The mural depicts a lion and bear roaring at each other on a segment of wall at an auto-body shop in the Mission District of San Francisco. Though this artwork was created earlier this year, it provides an apt visual metaphor for the current anxiety and tension in America given the recent U.S. presidential election and its dramatic results.
UK artist J Goldcrown has made these “Lovewall” / “Bleeding Hearts” murals of simple, spray-painted hearts part of the urban scenery of Los Angeles and New York throughout the past year. This one is painted at the entrance to Alfred Coffee, a popular cafe in the fashionable “establishment hipster” neighborhood of Silver Lake in Los Angeles.
Last weekend we went to Mercado Sagrado, a two-day festival-like event showcasing music, fashion, food, art and surf films held amid the small Old West movie-set town at Paramount Ranch near Malibu, California. There we stumbled upon some beautiful surfboards shaped and designed by Australian label Dead Kooks. The boards were laid out on display at the vendor tent of super awesome surf brand Kassia, one of dozens upon dozens of mostly clothing, home and lifestyle goods makers set up on the sprawling ranch property. The longboard pictured here looks like one Dead Kooks “Nausea” single-fin logs, a fitting board for Malibu. As surfers, we’re kind of in love with Dead Kooks’ aesthetic, though we have yet to buy one of their boards. Eventually, when we’ve put aside enough scrilla to cover the costs and shipping fees from Down Under, we’ll order a board.
We’ve seen these mysterious circular stickers of a boy’s face around Los Angeles in recent weeks. The face is drawn in a style that reminds of the graphic novels of Charles Burns. There’s something a little creepy about the face. The eyes are beady and suggest evil thought. The stark blue-on-black drawing adds to the layer of darkness and intrigue. Send us a note if you know who the artist behind these stickers is or the story behind them.
The artwork of the late American conceptual and minimalist artist Sol LeWitt dominates the new mezzanine-level ticket lobby of the expanded San Francisco Museum of Modern Art (SFMoMA). This massive, painted installation is titled “Loopy Doopy” and is another example of LeWitt’s use of bold color and lines in his body of work. The artwork is fresh and exuberant and its curva-linear lines compliment the clean geometric lines of the architecture.
Today is election day in the U.S. If you’re eligible to vote and haven’t done so already, go do so! We went to our local polling station this morning and voted. After we turned in our completed ballot, the staff at the polling station gave us this little “I Voted” sticker with translation in six foreign languages. Go vote!!!
The New York Times Style magazine “T” recently published an excellent feature on photographer William Eggleston, considered the pioneer of color photography. The article was written by Augesten Burroughs and offers images of Eggleston (like the one below) shot by another influential photographer, Wolfgang Tillmans. The online version includes video by Tillmans and a slideshow of some never-before-published images by Eggleston. Great stuff and a must read for fans of the photographer and his style.
We came across this awesome movers truck decorated with the artwork of artist and musician Luke Pelletier. The truck was parked on 3rd Street in Santa Monica near our Los Angeles HQ. Pelletier’s artwork draws on a colorful illustrative style and array of images reflecting Southern California and its beach culture. The “locals mostly” text painted on one side of the truck is reference to surf culture’s “locals only” cliche and a lettering style that emanated from the SoCal surf and skate scene.
We stumbled upon this this first-edition copy of the long and precisely titled “Surf Photographs from the Eighties Taken by Jeff Divine.” Published in 2011, this art-coffee-table book presents hundreds of images by prolific and influential surf photographer Jeff Divine that document surfing in the 1980s, a more visually vibrant and colorful decade in surfing history in terms of style, design, fashion and surf culture. The edition pictured here is the house copy at Sandbox Coffee, a cafe popular with surfers in Ventura, California. The book is so well worn that its binding is held together by duct tape.
Along Pacific Coast Highway, across from famed Malibu Beach and its iconic pier, is this amusing life-size stencil street art of a cat’s silhouette on a brick wall. The feline is depicted in mid-stride at sidewalk level as if casually padding down the pavement in search of the next meal. Next to the cat is the stenciled message “only fools litter.”