August 11, 2014 § Leave a comment
Last week, between seeing the Jeff Koons retrospective at the Whitney and visiting Koons’ monumental “Split-Rocker” topiary sculpture at Rockefeller Center, I attended a performance of “Sex With Strangers” at the Second Stage Theater. Written by Laura Eason and starring Anna Gunn and Billy Magnussen, the play explores art, media and success, both the old-fashioned and new, Internet-oriented kind. The title is taken from a fantastically successful blog (and subsequent best-selling books) whose author, a hyperactive young writer and roue named Ethan Strange (nee Kane), arrives at a rural writer’s retreat during a snowstorm. There he barges in on the only other resident, a talented but obscure writer named Olivia Lago, who is putting the finishing touches on her second novel.
Olivia’s first novel was badly marketed as chick lit and sold poorly, but it attracted its share of fans, including a Pulitzer Prize-winning author named Ahmet, a friend of both Olivia’s and Ethan’s. Olivia soon learns that Ethan’s reason for coming to the retreat is not his own looming deadline for a screenplay, but meeting her, the author of the novel he loves. In short order, Ethan convinces Olivia to reissue it under a pseudonym and as an e-book, about which he creates an instant buzz via Twitter. He then sets about selling her new novel by providing an introduction to his literary agent. Ethan also quickly embarks on an affair with Olivia, who despite qualms about him and his past (both sexual and literary) is bowled over by his powers (both sexual and literary).
Who could blame her? Ethan is an immature jerk but a Jedi Master of the Internet. He knows how to get his work in the hands of readers, since his half-million Twitter followers hang on his every word. Applying his special brand of salesmanship to Olivia’s literary novel, Ethan launches a spectacular new career that is not only beyond her abilities but her imagination. Before Ethan, Olivia is like Emily Dickinson, destined (in the best-case scenario) for posthumous fame; after Ethan, she’s like Jonathan Franzen, widely read and financially successful but still literary.
Having gone to “Sex With Strangers” mainly to see Anna Gunn, I had deliberately avoided learning the plot beforehand and was more than a little disturbed by the parallels to my own life. I’m finishing a novel that I have little idea of how to sell, though so far no Ethan Strange has to come to my rescue. As the play makes clear, the old publishing model is dead: ebooks and marketing via social media are the new reality. Then there’s the Janus-faced Internet, which makes it possible for me to find historical materials for my documentaries, publicize them and (lately) sell and rent them to viewers. Yet it also cheapens my ebooks and documentaries, just as it has devalued music. Now that art is “content,” the perception is that it should be free. The sole difference between the real online world versus that of “Sex With Strangers” is that in reality, no one wants to pay for anything.
During intermission, I struck up a conversation about these topics with my seat mate, who told me he was a painter. When I asked what kind, he said, “Fine art. I work for Jeff Koons.” What a coincidence! I confessed that the Whitney retrospective had left me liking Koons’ art less rather than more, and asked what he thought of it. “I’m not a fan,” he said flatly. Though he praised Koons as an employer and a man and said that he enjoyed the camaraderie of working in the studio, he agreed that having assistants do all the sculpting and painting was unprecedented. When I compared Koons to Willie Wonka–“He has a chocolate factory but he’s not making the chocolate”–he offered, “Some people say he’s a charlatan.” He then showed me photos of his own paintings, which were technically and artistically superior to anything in the Koons oeuvre, and so different that I could hardly imagine the same artist creating both.
Seeing “Split-Rocker” in Rockefeller Plaza the next day, I felt some of my old delight in Jeff Koons’ work. But the parallels between him and Ethan Strange, and between me, my seat mate and Olivia, gnawed at me. Perhaps the real test of art comes after the artist’s death, when the Emily Dickinsons of the world rise up to reign supreme. But in the earthly realm, artists have to eat.
August 11, 2014 § 1 Comment
I’ve been spending a lot of time in New York lately, which has been a welcome change from my usual summers in Los Angeles. My last trip in June was very theater-centric: four plays in seven days. This time, my visit was devoted to visual art: two days at MOMA, one at the Whitney and one at Dia Beacon, in the Hudson River Valley.
My first stop was the Whitney’s huge Jeff Koons retrospective, a mid-career exhibition that took up four floors and the sculpture garden. I went in hopes of overcoming my love-hate reaction to Koons’ work, but emerged hours later feeling lukewarm to cold about all of it. Nevertheless, seeing the sculptures and paintings at close range increased my admiration for their meticulous craftmanship: it’s obvious that a great deal of skilled labor went into each one. My negative reaction was aimed at the conceptual level–significant because concept is all that Koons does at this point. Regardless of medium, all his works are created not by him but by a team of artists, who (along with support staff) currently number 140.
For years I’ve delighted in the balloon dogs and suspended basketballs of Koons’ early career, as well as the giant topiaries (“Puppy,” “Split-Rocker”) of the past twelve years. But at the Whitney, in rooms of lighted vitrines full of vacuum cleaners, sculpted blow-up toys, giant Play-Doh sculpture and large format photo paintings, the charm of Koons’ work faded. “Play-Doh,” a monumental and life-sized colored rendering that took a decade to make because of technological difficulties, was a particularly vivid example. Standing before it, my only thought was why? Similarly, his porcelain sculptures–such as “Michael Jackson and Bubbles”–were both technical marvels and conceptual blanks. Looking at them, I could glean no greater meaning than what appeared on their shiny surfaces.
The permanent collection acted as a palate cleanser for the Koons exhibit. I found solace in a room full of Agnes Martins (“The Islands”) and a wall of Ed Ruschas. Even the Warhol Brillo boxes seemed masterful in comparison to the Koons Play-Doh and pool toys. And Jean Michel Basquiat’s painting “Hollywood Africans”–regarded as a daring example of street art when it was new–seemed rigorously formal thirty years later, or perhaps just in contrast to the Koons retrospective.
I had a better experience with “Split-Rocker,” (top) Koons’ topiary in Rockefeller Center. Even more than “Puppy,” “Split-Rocker” is a multi-faceted delight: not only because of its dual pony/dinosaur face but because it looks radically different at different distances. It’s a grey-green monolith from a great distance, a huge flowering toy from middle distance, and a fascinating collection of flowering plants close up. There’s even a ribbon of mirror that reflects viewers.
It’s a given that Koons is the most commercially successful fine artist of his generation. The question is whether his work will be well-regarded, or even remembered, beyond his lifetime. Will he be another Marcel Duchamp or another Paul De Longpre, whose paintings were all the rage during his lifetime and instantly forgotten after his death? Questions of art, commercial success and posterity were very much on my mind when I had an illuminating encounter a couple of days later. More about it in Part II.
July 10, 2014 § Leave a comment
My new release consists of two short films: a biographical documentary featuring interviews with Peg Entwistle’s surviving family, as well as previously unpublished photos and artifacts; and a silent black-and-white feature about her fateful walk to the Hollywood Sign in 1932. It’s available as a download for the first time; $4 to rent; $9 to buy.
Here’s the trailer:
For more about Peg Entwistle, my ebook Peg Entwistle and The Hollywood Sign is available at Amazon and other ebook sellers:
July 7, 2014 § 4 Comments
Recent decades have seen a gradual shift toward preservation, thanks largely to the Los Angeles Conservancy’s efforts. (Disclosure: A longtime Conservancy member, I have actively supported the landmarking of the Capitol Records Building and the Century Plaza Hotel, among others.) So it was a shock to learn in May that John Lautner’s Rehabilitation Center in Woodland Hills (now known as the Paul Weston Work Center) was about to be demolished by its new owner without so much as an Environmental Impact Report. After the Department of City Planning “concluded that the project site contained no potential historic and/or cultural resources”* it issued a Mitigated Negative Declaration (MND), clearing the way for demolition. Strangely, DCP did this without consulting its own Office of Historic Resources. In late May, letters and testimony in support of the Rehabilitation Center were presented at a hearing. A decision is pending. http://www.postperiodical.com/group-seeks-to-block-rehab-center-demolition/
John Lautner (1911-1994) trained under Frank Lloyd Wright at Taliesin, where his apprenticeship included carpentry and plumbing. Like Wright, he believed in “total concept” architecture, where the building is indivisible from the site. Though he was from Michigan, Lautner chose to settle and establish his practice in Los Angeles because its climate, both physical and philosophical, provided the ideal laboratory for his geometric forms and indoor-outdoor ethos. Like his mentor Wright, he was democratic, designing houses for middle-class clients as few prominent architects do today. As a result, his houses are scattered throughout Southern California, including two in Beachwood Canyon.
In the twenty years since his death, Lautner has been greatly celebrated for residential commissions such as the Chemosphere and the Wolff House, but his public buildings haven’t fared as well. In researching the Rehabilitation Center, I was stunned to learn that it is his second-to-last major surviving non-residential commission in Los Angeles County. (The other, Los Feliz’s Mid-Town School, is home to Lycée of Los Angeles.)
If the County allowed the Rehabilitation Center to be razed, Lautner’s public legacy would be halved, an odd fate for a man whose architecture is synonymous with mid-century Los Angeles. In that case, the most publicly accessible of his projects would probably be the glass addition of the Beachwood Market. Built in 1954, it remains so modern-looking that City building officials who inspected it after the 1994 Northridge Earthquake assumed that it was new.
*Los Angeles Conservancy mailing, 5/21/14
June 25, 2014 § Leave a comment
I spent the last week in New York, on a much-needed break from Los Angeles in general and Beachwood Canyon in particular. Or so I thought. On Day 1, riding the subway downtown, I found myself sitting next to a young woman having a cell phone conversation about her teaching job in Culver City. Later that same day, I sat in a Chinatown restaurant listening to three twenty-somethings discussing Burning Man and Coachella. It was as if Los Angeles had followed me to New York. But my biggest LA moment was deliberate: having learned of a new Ed Ruscha commission on the High Line, I hoofed it over to West Chelsea for a look. Entering the park at W. 23rd Street, I initially walked by the work because of its size: I didn’t realize it took up the entire side of a building. A word painting on a hot pink background, it reads, “Honey, I Twisted Through More Damn Traffic Today”–an LA sentiment if ever there was one. It was appreciated by a crowd of passersby as well as a steady audience on the bleacher-like seating across from it.
Although today Ed Ruscha is an international star whose work can be seen in museums and collections worldwide, when I first became a fan of his work, in the early 90s, he was still considered a “California artist” by the New York art world, relegated by geography to a secondary tier. (Disclosure: I met him briefly during that time, along with Billy Al Bengston, though only I would remember.) The fact that his most famous paintings, including “Twentysix Gasoline Stations” and “Norm’s, La Cienega, On Fire,” depict Los Angeles didn’t ingratiate him with New York critics. Nor did the fact that he never lived in New York, having come directly to Los Angeles from his native Nebraska to attend what is now CalArts. (Born in 1937, Ruscha is probably unique among his Pop Art contemporaries in bypassing the NYC rite of passage.) His word paintings, “Another One of them Bikini and Chainsaw Movies” and “Another Hollywood Dream Bubble Popped,” don’t exactly bring to mind Manhattan. Neither does his famous photography collection, “Every Building on the Sunset Strip.”
But instead of attempting a shift in subject matter, as another artist might have, Ruscha continued along his chosen path, creating images of the Hollywood Sign, palm trees and LACMA. (His iconic “The Los Angeles County Museum on Fire” is owned–in a delicious bit of irony–by the Hirshorn Museum in Washington, D.C.) As an artist Ruscha has always been his own man, resolute in his methods and subject matter. But along the way something interesting happened: the New York art world embraced him, and on his terms. His work was prominently displayed in the 2012 Met show “Regarding Warhol: Sixty Artists, Fifty Years,” a blockbuster that probably influenced the High Line commission. Now a blue chip artist with a worldwide following, Ruscha hardly needs my promotion. But the High Line painting will be up until May, 2015 and is well worth a visit.
June 10, 2014 § 2 Comments
As soon as I moved into my house in Hollywoodland in 2005, I started planting fruit trees. Over the years, I’ve planted Meyer lemons, a Bearss lime, a Valencia orange, two peaches (one of which died a sudden fungal death, and a recently planted O’Henry), a Green Gage plum and a Royal Blenheim apricot. Most of my trees have struggled in the rocky, arid soil, but the apricot–now in its fourth year–has produced superb fruit in exponential quantities. The photo above represents less than a third of the 2014 harvest, all of it picked today.
A look at Beachwood Canyon’s history proves my apricot tree is no anomaly. Before 1911, Beachwood Drive ended at what is now Graciosa Street. Beyond the paved road lay orchards that grew apricots. And beyond the apricot orchards was a single ranch, the future Hollywoodland.