Ed Ruscha's images of Sunset Boulevard get interactive, Jenny Wong joins the Master Chorale and Latinx arts team up â in our weekly arts newsletter.
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[Los Angeles Times]
Essential Arts
October 10, 2020
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I am fully in the thrall of Netflixâs [âTaco Chronicles,â]( aided and abetted by Javier Cabralâs [wondrous piece of service journalism]( for L.A. Taco: a guide to all the spots in L.A. you can find the styles of tacos featured in the show. Iâm Carolina A. Miranda, staff writer at the Los Angeles Times, and Iâm currently cleaning cochinita pibil off my keyboard. I may also have some essential culture news:
Take a little trip
Ed Ruschaâs âEvery Building on the Sunset Strip,â from 1966, is one of the rare works of art to embody the truly unseeable nature of Los Angeles. An accordion-style book that folds out to a length of 25 feet, it offers [a linear, deadpan catalog]( of, quite literally, every building on the north and south sides of the Sunset Strip. It is a work of art that is also a book, a book that is also art, an object that could be described as the prescient, physical precursor of Google Street View. Like the city that inspired it, you can admire its magnitude from afar, but the only way to truly see âEvery Building on the Sunset Stripâ is to get in close, for it is then that Los Angeles becomes legible.
[A black and white photo shows Danny Kwan at the wheel as Ed Ruscha and Bryan Heath stand in the bed of Ruscha's truck]
Danny Kwan, Ed Ruscha and Bryan Heath in Ruschaâs Datsun pickup truck in 1975, preparing to shoot L.A.'s Sunset Boulevard. (Ed Ruscha / Getty Research Institute)
Ruscha told me during an interview for a [story on his 2013 show]( at the Getty that in making the work heâd been intrigued by the horizontal nature of L.A.'s streetscape, with its boulevards that unfurl âlike ribbons.â He was also intrigued by L.A. architecture, something that stood out to him when he landed here from his native Oklahoma.
âI came from this kind of stoic background visually, then I come to California and I see this jazzy, swank take on life, with their jazzy names on the apartment houses and all of these buildings saying, âLook at me!ââ he said. âYou could say it was egotistical architecture.... I began to observe it and it got under my skin.â
It was from that interest that projects such as âEvery Building on the Sunset Stripâ emerged. And it has been highly influential to countless other artists since.
New York artist Amy Park, for example, created [a series of watercolor paintings]( of Ruschaâs book that were shown at Kopeikin Gallery in 2016. In creating the work, which come together into a continuous 110-foot installation, she tells me she began to feel that she had âenteredâ Ruschaâs process âand the architecture of Los Angeles.â The experience, she says, is âmuch like walking down the Sunset Strip itself.â
[A single watercolor panel in tones of blue, black and gray on white paper shows Modernist buildings on Sunset Boulevard.]
âEd Ruschaâs Every Building on the Sunset Strip, #4 of 54,â 2016, a watercolor section of painter Amy Parkâs work that explores Ruschaâs famous photo book. (Amy Park / Kopeikin)
As maniacal as âEvery Building on the Sunset Stripâ is as a work of art, it is actually just one tiny piece of a much larger project for Ruscha. For more than four decades, the artist has repeatedly photographed the entire length of Sunset Boulevard from downtown to the beach â some 65,000 pictures in total. And as my colleague Deborah Vankin reports, those photos now make up [a wild new digital project]( that was just unveiled by the Getty Research Institute.
Titled â12 Sunsets: Exploring Ed Ruschaâs Archive,â [the site]( allows viewers to navigate the images, which have been strung together in sequence by decade â making for a compelling portrait of Sunset Boulevard over time.
âItâs not just capturing the buildings that weâre all so familiar with,â Ruscha tells Vankin, âbut the curbs and the drainage channels and power poles and everything else â municipal concrete â that makes the whole study worthwhile. Because you can go back and compare: âOh, thereâs that tree or Mexican fan palm and look what size it is today.â I just look at it like: âThis is our destiny.ââ
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Jumboâs online
The pandemic has shut down dance venues of all sorts. Among them: the beloved Jumboâs Clown Room in East Hollywood. The Timesâ Makeda Easter reports that some of the venueâs dancers wasted no time in [putting together twice-weekly virtual versions]( under the moniker Cyber Clown Girls. The enterprise, she writes, has given the dancers âa new sense of agency and empowerment in an industry that is notorious for taking advantage of women.â
[Four dancers pose in revealing outfits and high heels in front of Jumbo's Clown Room]
Dancers Coco Ono (Kayla Tange), Kitty (Kelly Vittetoe), Danielle (Danielle Henderson) and Reagan (Megan Rippey), from left, in front of Jumboâs last month. (Kent Nishimura / Los Angeles Times)
Easter also writes about â45 Lies 2020,â a national campaign of rappers, poets and playwrights who are sending a message [about President Trumpâs myriad falsehoods](. The concept: each performer picks a lie and creates a poem or rap calling out the disinformation, then challenges two other artists to do the same. Says Marc Bamuthi Joseph, who organized the project, âWe want to enliven folks who have become numb, who donât necessarily trust their information sources.â
Classical notes
The Los Angeles Master Chorale recently pledged to devote 50% of all future programming to work by composers from historically marginalized groups. To help see that pledge through will be Jenny Wong, who has just [assumed the new role of associate artistic director]( at the organization. (She was previously an assistant conductor.) The Hong Kong native is the rare woman of color on a conductorâs podium. âThe reason I get to be at a podium in Disney Hall is that there were people who came before me who worked hard, with great intention, to make that possible for me,â she tells Jessica Gelt.
[Jenny Wong stands against a white wall in a bright floral yellow pant and blouse suit]
Jenny Wong will work closely with Master Chorale artistic director Grant Gershon on programming. (Jay L. Clendenin / Los Angeles Times)
Mark Swed is still deep listening â and this week he is turning his ears to Felix Mendelssohnâs Octet. âMendelssohn was 16 when he produced this truest embodiment of [unbridled, anything-is-possible youth]( writes Swed. âUnlike a document â film, painting, photograph, printed or even spoken word â it is neither youth preserved nor mimicked but, in each performance, youth reborn.â When I was 16 I held a job at Sizzler.
Find the entire âHow to Listenâ series [right here](.
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At the museums
Earlier this week, Christopher Knight reported that the Palm Springs Art Museum was [considering deaccessioning]( a major work by Helen Frankenthaler. The move came after deaccessioning rules were loosened by the Assn. of Art Museum Directors because of the pandemicâs financial toll. In June, [an open letter]( posted by a former museum employee alleged that the museum had failed on issues of equity. âThat makes the planned sale of a work by Frankenthaler, a prominent female artist, especially surprising,â writes Knight.
Now the decision is official. Frankenthalerâs painting, âCarousel,â 1979, will go up for auction at Sothebyâs [on Oct. 28](.
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NBA team owner Tom Gores is [stepping down from the board]( of LACMA after calls for his ouster over his investment firmâs ownership of a prison telephone company called Securus, reports The Timesâ Laurence Darmiento. A letter released by his firm stated: âParaphrasing a salient question at last weekâs board meeting: âOkay Tom, we appreciate your efforts to âtake the hillâ and reform Securus. But why does LACMA have to take the hill with you?â The simple answer is: You donât.â
A group of Latinx-focused cultural organizations â LA Plaza de Cultura y Artes, Self Help Graphics, the Museum of Latin American Art, the Vincent Price Art Museum and SPARC â have teamed up to form the Latinx Arts Alliance, an organization that will help[support and promote Latinx cultural events]( across L.A. âLatinx cultural organizations and POC cultural organizations are not the mainstream, not well-funded and systemically undercapitalized,â Self Helpâs Betty Avila tells Deborah Vankin, âbut when we come together, weâre amplifying our voice.â
Contributor Scarlet Cheng profiles Che Zhao Sheng, the landscape artist behind [the magnificent penjing garden]( at the Huntington. (Penjing are miniaturized trees, arranged in the Chinese style, similar to the Japanese practice of bonsai.) Sheng, who immigrated to the U.S. from China in 1986, studied the exacting technique in his native country. âPenjing takes time, a lot of time,â he says. âIt can take 20, 30 years, like raising a child.â
[Che Zhao Sheng, wearing a broad straw hat, adds soft stones to the bases of a miniaturized tree.]
Che Zhao Sheng adds soft stones to the bases of a newly placed penjing. (Josie Norris / Los Angeles Times)
Awards season
The MacArthur Foundation has announced its class of 21 new fellows â the so-called âgeniusâ grants. This year, they include performer [Ralph Lemon]( cultural theorist [Fred Moten]( USC historian [Natalia Molina]( and playwright [Larissa FastHorse]( whose works, such as âThe Thanksgiving Play,â center the Indigenous experience.
A former dancer, FastHorse [told The Times last year]( why she got into writing: âMy gift is as a translator. What I can do well is take Indigenous contemporary experiences and translate them for white audiences because thatâs what we have.â
[Playwright Larissa Fasthorse stands in a portico, her thumbs hooked in her jeans]
Playwright Larissa FastHorse at the Geffen Playhouse last year. (Genaro Molina / Los Angeles Times)
This yearâs Nobel Prize [in literature]( went to Louise Glück, a former U.S. poet laureate. The Swedish Academy said in its Thursday announcement that the award honors âher unmistakable poetic voice that with austere beauty makes individual existence universal.â News of the award caught Glück unaware â and in desperate need of [morning coffee](.
Dorany Pineda rounds up some of the authorâs [essential works](. And Dwight Garner of the New York Times comes through with [an appraisal]( âOne of the things to love about Glückâs poetry is that, while her work contains many emotional registers, she is not afraid to be cruel â she confronts the monsters in herself, and in others.â
Plays and players
Poet Javon Johnson has produced [a new spoken-word commission]( titled âStill.â It was created as part of the Pasadena Playhouseâs new digital platform, PlayhouseLive, as a response to the killing of George Floyd. The work is âa knockout punch,â writes contributor Margaret Gray, offering meticulous plays on structure and language.
[Javon Johnson looks over his shoulder as he stand on an empty stage]
Javon Johnson, onstage in an empty Pasadena Playhouse, is the creator of âStill.â (Jeff Lorch)
Times theater critic Charles McNulty tuned into âThe Great Work Begins: Scenes from Angels in America,â [a one-hour livestream]( featuring scenes from Tony Kushnerâs prize-winning play as a benefit for AmFar. The show (on view through Monday) features performances from a âdream castâ that includes Glenn Close, Patti LuPone, Brian Tyree Henry and more. âQuarantine has proved a springboard for creative experimentation and nontraditional casting,â writes McNulty. âThereâs a research and development value to this rendition of âAngels in Americaâ that should inform future productions of the modern classic.â
McNulty also checks out the latest from the Geffen Playhouseâs Stayhouse series: âInside the Box,â by David Kwong, who is also a crossword designer. The show explores [the nature of puzzles as well as their history](. It âwill tickle the frontal lobes of puzzle fanatics,â writes McNulty. âBut despite the cognitive cleverness, this unfailingly amiable show hasnât cracked the secret code of theater.â
Game critic Todd Martens, in the meantime, attended [a participatory performance]( titled âFire Seasonâ at Paramount Ranch. Organized by the immersive theater company Capital W, Martens reports that the work, which involves viewers being loosed on the ranch with an FM transmitter and backpacking chair, feels âdecidedly timely, reflective of an era when the loss of life can feel overwhelming to the point of paralyzing.â
Essential happenings
Matt Cooper comes through with [all the latest online happenings]( including deets on the hour-long âAngels in Americaâ production and the virtual CelloBello Gala, which will feature appearances by Yo-Yo Ma, Sheku Kanneh-Mason and Alisa Weilerstein.
Cooper also rounds up [nine events you can do IRL]( including a drive-in screening of a new dance film featuring companies such as Westside Ballet, Barak Ballet and Ballet Foklórico de Mayo.
Galleryplatform.la put a fresh crop of new works up this week and I was intrigued by a new video by L.A. artist Joel Kyack, presented by François Ghebaly. âTIME TIME TIME,â 2020, is a nearly 12-minute video that dwells on the more material aspects of time. What does it look like to watch time pass â say, in an hourglass? Or what does it sound like â symbolically â to mark the beginnings and ends of all human life on earth?
The pandemic has screwed up our understanding of time. (The presidential debate was 10 years ago, right?) Let Kyack mess with it further.
You can find the video [here](. (Note: it contains graphic violence, albeit of the feature film sort.)
[A video still shows an hour glass against a sky blue background]
A still from Joel Kyackâs video piece âTIME TIME TIME,â 2020. (Joel Kyack / François Ghebaly )
While on the site, be sure to check out [this pandemic-perfect series of works]( pulled together by curator Ali Subotnick.
Passages
Kenzo Takada, the fashion designer known for bold, brilliantly-hued garments and âmischievous sense of fun,â has died from complications of COVID-19 [at the age 81](. âFashion is not for the few â it is for all people,â he said in 1972. âIt should not be too serious.â
In other news
â A&M Records founder Jerry Moss and his wife Tina [have donated $25 million]( to the Music Center for free outdoor concerts.
â Broadway theaters will remain closed [at least through May](.
â âItâs not about the artist, itâs about us.â National Gallery of Art director Kaywin Feldman talks about why the Philip Guston show [was postponed](.
â [A portfolio]( of artists from Jenna Wortham and Kimberly Drewâs âBlack Futures.â
â Author Lynell Georgeâs [favorite California books](.
â The [architecture profile]( everybodyâs reading in L.A.: Dana Goodyearâs profile of Peter Zumthor in the New Yorker. Thereâs a lot of woe-is-me-I-am-a-misunderstood-genius happening here.
â [A topping out ceremony]( was held on Tuesday for the new Orange County Museum of Art, designed by Morphosis.
â The restoration of Houstonâs Rothko Chapel, led by New York-based Architecture Research Office, [is now complete]( â and a skylight is bringing new life to the paintings.
And last but not least ...
[COVINGO](
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