The collection of buildings that make up the Pacific Design Center is a bold, massive landmark of West Hollywood, in Los Angeles. Better known to Angelenos perhaps than the outside world, the PDC has aged remarkably well since the first of its buildings was completed in 1975. The building complex is visually striking and unmissable in its unusual use of primary colors and the asymetrical shapes of the buildings and their arrangement. The architecture was conceived by Argentine architect Cesar Pelli and the PDC seems as fresh a presence as any more recent and contemporary buildings in the area.
The ever-gentrifying Arts District in Downtown Los Angeles is home to lots of large-scale street art, including this classic Shepard Fairey politically-tinged mural on Alameda Street behind the Angel City Brewery. The artwork depicts the late U.S. president Ronald Reagan holding a sign that says “Legislative influence for sale.” Its message — and politically expressive art in general — strongly resonates in the current American political climate.
For years we would see the wheat-pasted artwork of artist Spazmat posted around downtown New York City. His posters were unmissable. His street art was comprised of an iconic image: An illustrated portrait of a skeleton with a cell phone in its bony hand held up to the skull as if talking on the phone. The posters were usually rendered in a stark white on black. Informally dubbed as “Skull Phone,” the image suggested many things, among these the dangers of technology. We hadn’t seen Spazmat’s artwork in many years until we recently spotted one of his skull phone wheaties on a utility box along Pacific Coast Highway in Los Angeles. This one was printed in blue and white with a striped design, almost nautical in style and fitting for its location a few meters across the road from the ocean.
We’re posting a few pix here from the sprawling and electrifying “Jason Rhoades Installations, 1994-2006” exhibition at the massive Hauser & Wirth gallery in the Arts District near downtown Los Angeles. We visited this retrospective of Rhoades work last weekend and were blown away by his darkly beautiful and daring art installations. If you have time and are in L.A., we can’t highly recommend enough that you see this show.
Last week, we stumbled upon this vintage copy of Yoko Ono’s influential 1964 conceptual-art book “Grapefruit.” It was in a display case arranged with various jewelry, accessories and other small objet at General Store in Venice, Los Angeles. The cool-as-fuck book cover has a black-and-white photo of Ono and titles in a lower-case serif typography of a style that has re-surfaced in recent years in the indie magazine and graphic design worlds. The book itself is not so much an artwork as it is a collection of instructions for creating specific performance art pieces and media, a legit artificat from art’s Fluxus movement of the 1960s in downtown New York, where Ono established herself as a leading figure.
Maximalist German publisher Taschen, producer of epic coffee-table books devoted to all things art and design, has recently given its Los Angeles gallery a wholesale pink makeover. It’s part of the company’s promotion of its new book celebrating the work and career of L.A.-based British artist David Hockney. The gallery is playing host to Hockney’s paintings. The pink exterior is accented with a bold, all-caps, blue treatment of the books title: “A Bigger Book.” The colors reference colors often used in Hockney’s many painting of Los Angeles. Pretty awesome.