Bright and cheery “Things WIll be Fine” installation artwork made of yarn, neon light, and googly eyes on the wall at Dinosaur Coffee in Silver Lake, Los Angeles.
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.
Love is a recurring theme of a lot of street art. And often it’sin its simplest, plainest, most straightforward expressions that resonates with viewers. JGoldcrown’s widely Instagrammed “Lovewall” comes to mind, as does Casey Kulig’s globally-spread “Love Me” meme. “Love Me Anyways” is painted on sidewalks and walls in a handwritten-style of lettering that exposes some personality in the artist. The example pictured above was found in the Arts District in Downtown Los Angeles.
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.
This 2007 sculptural object by artist Jimmie Durham is a bold assemblage of red oil drums, canvas, acrylic, PVC and an old wooden boat the artist found in Lisbon, Portugal. The title “L’essence” is the French word for gasoline. The boat seems to be afloat atop the metal oil barrels. The artwork is currently on view at the Hammer Museum in Los Angeles, part of a retrospective of Durham’s work.
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.