Tag Archives: la

ARCHITORTURE: WHEN DESIGN WENT GOOGIE-EYED

Architectural styles are subject to the tastes, fashion and trends of a given era. Some architecture stands the test of time. Some age less gracefully and can quickly, embarassingly look dated. Sometimes these become the targets of aesthetic derision, only to become “re-discovered” and re-appreciated decades later and once again deemed “cool.”

The futuristic “Googie” architecture of the 1960sis one example. It is both loved and loathed, but its historical significance cannot be overlooked, especially as time passes and surviving examples of it become fondly familiar landmarks. 

Many examples of Googie can be found throughout Los Angeles and Southern California in the form of homes, diners, motels, gas stations, and car washes, like the one pictured here in Santa Monica. The car wash, that essential feature of L.A. car culture, was especially prone to expressions of Googie style.

Googie originated in Southern California, where it was influenced by the emerging space age, jet travel and ever more reliance on the car in the American post-War era. The style is a modern architectural offshoot of the Futurism and part of the American Mid-Century Modern style.

QUIZZICAL: ART MUSEUM OR HOME DEPOT?

It’s quiz times once again, savvy readers! Look at these photos. Is this a Home Depot or an art museum?

If you said art museum, you are correct. The third photo in this post is the giveaway and the wall placard in the first photo is a clue that this is a gallery in an art museum. 

But without that context, this could be a Home Depot or a Lowes or whichever American DIY home-improvement superstore chain you prefer.

These wooden objects are part of a series of sculptural works by the German artist Imi Knoebel titled “Vivit” and “Vivimus” and are part of the permanent collection of the Broad Museum of Art in Los Angeles.

LOLS: WILL FERRELL & JOEL MCHALE VISIT CONCEPTUAL ART EXHIBITION, HILARITY ENSUES

This is brilliant. In this short promotional video for the Hammer Museum of Art in Los Angeles, actor-comedians Will Ferrell and Joel McHale take a VIP tour of a conceptual-art exhibition at the museum with its curator. The exhibition is called “Stories of Almost Everyone.” Ferrell and McHale are funny as they’re introduced to various artworks, make comments, and ask questions. The larger gist of the video short is that contemporary — and especially conceptual art — and art museums can be approachable for everyone and are places to ask questions and start conversations about what you see, rather than feel intimidated or confused by the art.

STREETSY: IS NEW BLACK-AND-WHITE PHOTO STREET ART BY JR OR JR WANNABE?

Hey, you know JR, right? The French street artist who has become something of a worldwide phenom over the past decade?

Yes, that JR. The one who takes black-and-white photos of people, their faces, close-ups of their eyes and mouths, and then prints them up at massive, mega-blown-up scale and wheat-pastes them on the sides of entire buildings, on the roofs of houses and on the sides of trains.

Yes, that’s the JR we’re talking about.

Well, that JR is the subject of some local speculation with regards to a recent work of street art that appeared on fashionable Abbot Kinney Blvd. in Venice Beach. See pic above.

Or, rather, the speculation is about who put up this street art. It has all the makings of “a JR.” But is it? Is it some other artist? Is it a JR wannabe? A copycat?

And who is the subject of this artwork? Is it, as one commenter on our Instagram feed asked, a photo of octagenarian French filmmaker Agnes Varda?  The face, the eyes and the haircut — especially the haircut — have all the makings of Varda.

These are questions we want answers to, savvy reader. And we have answers! 

The art was put there by JR (or by his assistants / minions / 3rd-party contractor). The image is of Agnes Varda. It’s placement and timing are not an accident.

As some of you savvy readers may already well be aware, JR and Varda collaborated on a documentary film project called “Faces Places.” The film was a critical success and garnered a 2018 Academy Award nomination. The street artwork appeared around the time of the Awards ceremonies in March, which, of course, are held each year in Los Angeles. Varda herself was awarded a Lifetime Achievement Award by the Academy last year.

So there you have it.

(Uh, BTW, follow us on Instagram! We’re @globalgraphica )

NEEDS: A PALM TREE WEARING SUNGLASSES, RIDING A SKATEBOARD

Needs. We all have them. And who doesn’t need a “shady palm.” That is, a palm that just doesn’t provide shade, but wears shades. A palm tree that sports sunglasses. 

What more could one want? Well, sun-protection eyewear aside, we need a palm tree that can handle a skateboard. A palm that can shred the boardwalk and the skate park.

This small, cartoony wheat-paste street art is a cute visual pun. The artist is New York City-based artist Raddington Falls, a.k.a., “RAD.” Find “Shady Palm” on Abbot Kinney Blvd. in Venice, Los Angeles.

Check out more of RAD’s work on this website.

PUMPIN’: STREET ART WITH LOTS OF HEART

We love coffee. You probably do too. But we REALLY love coffee. It’s actually kind of a problem, and, though we may try to curtail our consumption from time to time, we will probably never give it up. Caffeine is a drug.

This addiction has driven us to go above and beyond in seeking out good espresso. Over the past three or four years we’ve visited the cafes, coffee roasteries, and espresso bars of almost every significant purveyor of freshly brewed third-wave coffee in Los Angeles, New York, Amsterdam, and Tokyo. 

In Los Angeles, one of the relatively newer players in the local coffee situation is Alfred Coffee. From its beginnings in L.A.’s fashionable Silver Lake neighborhood a few years ago, it has sprouted several branches.

The most recent outpost is in Beverly Hills and like the Silver Lake cafe, it’s decorated with a mural by British artist JGoldcrown and one of his “Lovewall” (a.k.a., “Bleeding Hearts”) murals. Goldcrown’s street art pieces have popped up all around the City of Angels in the past couple of years.

Goldcrown’s heart-filled street artworks can be found on buildings from Santa Monica and Venice on the the city’s beachy far west  side, to the Valley, to Silver Lake and the Downtown Arts District on the east, and now in between, in one of the poshest neighborhoods in the world.

Each “Lovewall” is a rectangle of cartoony, roughly-drawn heart shapes in various colors. Some are outlines of hearts, others filled in. The effect is like that of a casual array of doodles scrawled out of boredom on a high-school student’s notebook.

These hearts are often on a white background, but recently the artist has created versions on a black background or with words written into the field of hearts. The new mural at the new Alfred Coffee in Beverly Hills is yet another variation. It’s on a pink background, which is the most evocative — and our favorite — color yet.

Goldcrown’s “Lovewall” murals are on the road to becoming iconic landmarks. In Beverly HIlls, it will make it easier to spot the new Alfred Coffee as you navigate Santa Monica Blvd. traffic in search of a stylish flat white with almond milk and an extra shot of espresso. Like we need that extra shot. (We do.)

UNBEARABLE LIGHTNESS: AWESOME “BUMBLE BEE LOVES YOU” INVADES OFFICE

We stumbled upon this commissioned mural by the Los Angeles-based artist who goes by the moniker “Bumble Bee Loves You” in the corporate office space for an anonymous entertainment/film production company near West Hollywood.

 

PRINTED MATTER: THE RETURN OF THE AWESOME CRAPPY ‘ZINE

“Can’t Steal Our Vibe” is a lo-fi, black-and-white ‘zine published by Lone Wolfs (sic) Objets de Surf, a surf brand and shop in Venice, Los Angeles, as well as a music production company and studio.

CSOV is more of an art zine than a surf mag and has virtually nothing intrinsically to do with the act of surfing itself or the “sport.” It’s more a mirror reflection and by-product of surf culture and Venice Beach, with endearing surf illustrations and photos and a brief Q&A with former surf-pro and Venice resident Brad Gerlach. 

It has no real articles or substantive text in the usual sense, but instead relies more on images and artwork. The overall effect is one of an aesthetic and a vibe, which makes its title all the more apt.

“Can’t Steal Our Vibe” comes off as a vapid, hasty and lazy throw-away of a magazine produced with tongue-firmly-in-cheek, great if inscrutable style, and zero fucks given. Its got the intellectual nutrition value of a Twizzler. But it’s a Twizzler we want to keep chewing over and over and over again. 

APPROPRIATION: CLOTHING STORE MINES ‘80s L.A. SURF CULTURE TO HELP SELL DENIM

Junk Food Clothing and Levi’s, the iconic purveyor of denim jeans, had collaborated on a pop-up concept store in Venice, Los Angeles.

The store is located on fashionable Abbot Kinney Blvd. and is called Tees & Jeans. It offers customers personalization of the brands’ clothing, which is  growing fashion-and-style trend.

In the service of the selling of these clothes, and adding edge to the shop’s collabo idea, is a retail design concept and interior decor that rips from a specific era of Los Angeles’s pop cultural history: Gritty 1980s Venice and the SoCal surf and music scenes as epitomized by an obscure local band called the Surf Punks.

The clothing is sparsely displayed a minimalist space that feels raw, under-decorated and under-produced. But it is very much produced and every detail has been thought through.

These details include the vintage framed black-and-white promotional photos of the Surf Punks, founds objects like  traffic road signs, and used surfboards covered in dirty wax and scrawled with graffiti, deftly propped up in a corner of the store. (Yet another example of the over-employed cliche of a surfboard as decorative object in a shop or restaurant, as also seen here.)

SIGN OF THE TIMES: LAIDBACK SURFER HAND GESTURE GETS A SPICY UPDATE

“Shaka” or “Shaka, brah!” Maybe you’ve heard this expression. Maybe you’ve uttered those words in earnest salutation or ironically. Maybe you’re a core surfer living on the North Shore of Oahu, Hawaii, and these words are your go-to, standard form of salutation. You use it all time without even really thinking about it. (For example, when you stride into Ono’s in Haleiwa for a pork sandwich, you offer a shaka to staff at the counter.)

In any case, the word “shaka” and its utterance are but only part of the communications protocol here. Those words are said with an accompanying hand gesture that might be more familiar to many readers than the words. 

The shaka hand gesture, sometimes referred to as the “hang loose” sign, is similar to the “devil horns” gesture associated with heavy metal music. But with the shaka, the pinky finger and thumb are extended outward from the palm while the index, middle and ring fingers are bent down into the palm.

With fingers configured as such, the hand is then raised or extended and often given a little back and forth wiggle or shake, a motion functioning like a wave of the hand, to emphasize and visibly highlight the message to its intended audience.

The gesture is one of positivity. It’s loved by most surfers but also loathed by some surfers, hence the use of the “ironic shaka.” The shaka is undeniably a part of surf culture and has its modern usage and cultural origins in the birthplace of  surfing: Hawaii.

But culture and its symbols evolve. The shaka in the pic above is part of a two-page graphical spread in the zine Can’t Steal Our Vibe that show the gesture altered as a mash-up with the standard “f*ck you!” middle finger gesture.

In this new versions, the extended pinky of the shaka is pulled in, and the middle finger is extended. On first try, it’s not an easy gesture to make with natural fluidity, compared to the shaka.

But no matter. It’s what the gesture means that’s important here. And what does it mean? That’s the beauty of it: For now it’s subject to interpretation. And if the creators have a denotation for it, its esoteric.

We love  that the “F-You-Shaka” hybrid brings together the insouciance, anger and insult of the middle finger with the friendly, laidback “everyone’s a bro” vibe of the trad surfer shaka. These are opposing sentiments and may confuse.

The mashup, we think, is more ironic and captures even more accurately the contemporary core of surf culture: Its rebel semiotics and its knowing cues and tribal codes.

Can’t Steal Our Vibe, BTW, is a zine published occasionally by Lone Wolfs (sic), a surf brand and shop and music studio in Venice, Los Angeles, that uses the new “F-You-Shaka” as a kind of logo on stickers. The title of the zine is taken from a graffiti-like, spray-painted message written on a panel that covered a door that had been shattered in an attempted burglary at Lone Wolfs in 2016. The shop has also spray painted the phrase as a tagline on the side of the store.