When you aim a video camera at a live video projection generated from the same camera in real time, the results are fascinating and in the right circumstances can created biological-like patterns akin to “brain coal,” as seen in the above screenshot and video below, which was made by Ethan Turpin. Awesome.
We’re not religious. But museums are our cathedrals, our churches and temples, our shrines. MoMA may be the modern art world’s Vatican, but in terms of pure open space, MoCA’s Geffen Contemporary in Los Angeles comes closest to a giant cathedral like Notre Dame with its massive, cavernous structure. We’re not saying that this museum is equivalent to Notre Dame as far as degree of architectural achievement and historical significance. We’re saying that it is a big fucking space and one that invites reflection and a kind of awe.
The Geffen was kind of a happy accident. The building wasn’t purpose built to be a contemporary art museum. The structure is in LIttle Tokyo in Downtown LA and was originally built in the 1940s for the city as a warehouse and LA Police Department garage accommodating hundreds of vehicles. At the time, MoCA’s use of the space was purely practical.
While the main landmark MoCA branch was being built on nearby Grand Avenue in the early 1980s, the warehouse/garage in Little Tokyo was used as a temporary exhibition space dubbed the “Temporary Contemporary.” Its purpose was to host art shows until construction of the new main MoCA would be completed. The acquisition of the building made sense. The Temporary Contemporary was a success.
It was repurposed as a permanent exhibition space and extension of MoCA. Architect Frank Gehry led the effort. The Geffen’s location is walking distance to the main MoCA location in Downtown LA, and the former LAPD garage offers the kind of space that allows for sprawling exhibitions and epic, large-scale sculptural artworks and installations that might be more diffciult or impossible to mount in other museums.
We recently went to a series of meetings at a creative agency in Southern California. The walls of the conference room where the meetings were held were covered in wheat-paste street art. Most of the artwork was boldly illustrated black-and-white poster cut-outs of hand-drawn graphics in a comic style. Our favorite was a large graphic of a masked Mexican “lucha libre”-style wrestler. The artwork gave the conference room a lot of energy and a sense of fun, while showcasing the tastes of the company’s creative team.
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The cafe at Menotti’s Coffee is a third-wave espresso joint and a friendly little hub for the legion of caffeinated locals and a certain stylish subset of Silicon Beach worker bees in the heart of Venice in Los Angeles. The baristas are serious about their coffee game but with zero pretension, in spite of the smattering of hipster accoutrements. Sure, there’s a skateboard and fixed-gear bicycle propped against a wall inside the cafe, and there’s beautiful, curated art photography on the wall, but its presence seems more a natural byproduct of taste than strategic. Across from the cafeteria is the famous, epic-scaled Venice “Touch of Evil” mural. On a slow day, we’ll cruise over to Menotti’s on our bikes for a long break and a flat white cappuccino.
Menotti’s Coffeeはロサンゼルスのヴェネツィアで “Silicon Beach”で働くスタイリッシュな若者やカフェ、親しみやすい小さなエスプレッソバーです。 カフェバリスタはコーヒーについて真剣です。 彼らにはプレテンションはありません。 しかし、彼らはヒップスターです。 もちろん、カフェの中にはスケートボードと固定式の自転車があります。 壁に美しくキュートな芸術的な写真があります。 これはメノッティスタイルの例です。 カフェの通りを渡って、有名な、壮大なサイズのヴェネツィア「Touch of Evil」の壁画があります。 私たちが忙しくないとき、仕事から休みを取って、メノッティに自転車を乗せて、美味しいフラットホワイトのカプチーノを飲むことにします。
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.