March 28 – July 30, 2017
Getty Research Institute
Concrete Poetry Exhibitions are rare so it was exceptional to be able to see a nice collection of concrete poetry related art, books and installations at the Getty Museum. I personally love seeing the Augusto de Campo pieces as he has been a major influence in my own work throughout the years. The scheduled “discussion” was informative but was a little “grey” in that the speakers were mostly talking about the past (feuds and definitions) and slightly patriarchal, where are all the women concrete poets? The evening could have infused more women and younger people into the conversation and discussed where concrete poetry is headed now… as I see it is a viable and stimulating practice.
Wind, Eugen Gomringer
Lygia Fingers, Augusto de Campos
1953, letterpress print
I have passed this street many times on the Upper West Side and finally decided to see why it was named after a favorite and influential American writer. Was it ceremonial or was their some significance or raison d’etre ?
It was a joy to see Ewerdt Hilgemann’s exhibition at Royale Projects today. Having known Ewerdt’s work for 15 years it was great to see what appeared to be a mini-retrospective, with his signature implosions but also a film from the early 70’s and zero / minimalist sculptures from the 60’s. I was also surprised to see a mural on the east wall of the gallery, Ewerdt has always been politically minded but this was the first overt work that I could say was done with a strong message and personal connection together in one piece, bravo!
John McLaughlin Paintings: Total Abstraction
BCAM, Level 3
November 13, 2016–April 16, 2017
The void is tangible to the soul; the void can move you into the realm of clarity and focus and this feeling is perceptible. Seeing the John McLaughlin exhibition at LACMA was a gift to my spirit and had a calming effect (during these precarious times) not withstanding the touch of “perceptive awareness”. I knew the work very well and had seen many paintings first hand over the years but to see all these McLaughlin’s together under one exhibition was enlightening. As I wove through the exhibition last week for the last time during its run I was aware through ponder and focus that it was giving back, Mc Laughlin’s have an imitable way of exuding creative energy in a way that helped me sort through things happening in my art life. I used the exhibition as a doorway to seek direction and focus in my own work and to this end I once again plead guilty for finding solace from others for my own selfish needs. Yes, when proportion and understanding are achieved to the level of a John McLaughlin painting the void is a very meaningful and energetic place!
#5 1974. Oil on canvas
John McLaughlin Exhibition, LACMA 2017
chairs are unnecessary …!
During my recent meander through LACMA I decided to briefly reflect in a “bloggy” kind of way on three icons of 20th century art. Three major artist whose work has helped shape how we see and consume (I mean that in a commercial/financial way of course) art but whose stature has been questioned recently as purveyors of questionable personal judgement or simply bad behavior. Perhaps these qualities enhanced their artistic aura and hence give the work an edge and might even help explain their popularity. In a crass way, I am speaking of a misogynist, a manslaughterer and an emotionally detached automaton. I am referring to Picasso, Pollack and Warhol. I, for one am a fan of these artists’ work, as well as their mythic narratives, but I couldn’t help but wonder if their personal lives might at some point force people to reconsider their oeuvre. Will the art market ever price in the emotional and personal costs left in an artists’ wake?
Pablo Picasso, Man and Women
1969 oil on canvas
Jackson Pollock, Number 15
1956, oil on Masonite
Andy Warhol, Campbell Soup Can
Oil on Canvas, 1964
February 18th 2017
Beyond Baroque, Venice CA
My small sculptural wall relief TEXT (see photo below) was stolen from the stairway leading to the Mike Kelly Gallery during the weekend of February 10, 2017. The culprits preferred the TEXT piece over the TRUTH obviously not able to steal the truth as much as appropriate the text. This was the first time an artwork of mine had been pilfered in a professional gallery setting. I found the occurrence upsetting and wondered what kind of person would rip-off an artist in a space that has a very open and community vibe. Beyond Baroque in Venice, CA did offer to reimburse me for the piece which I donated back to the organization to help update their security around the Mike Kelly gallery.
Starts: Feb 04, 2017, 5PM – 7PM
Ends: Feb 26, 2017, Noon – 4PM
Los Angeles based artist JonMarc Edwards will be exhibiting “The Debriti Show!” a traveling immersive installation that challenges visitors to “Choose Your Words Carefully.” Beyond Baroque will be transformed into a contemporary textual apothecary utilizing all floors and rooms to exhibit this exciting and formidable exhibition. “The Debriti Show” features word-tenders to personally guide you through the process of textual enlightenment. Both witty and profound “The Debriti Show” explores the transformational power of language and tangible text. An installation located in the Mike Kelly Gallery will showcase this unique blend of concrete poetry meets visual expansiveness. Workshops, performances and special “word-tender” appearances will occur during this month long exhibition, stay tuned for more details.
JonMarc Edwards is a visual artist working in the Silver Lake area of L.A. His work is known for paintings that transforms composed writing into concise, legible pictographic landscapes. JonMarc is a visiting artist & adjunct Lecturer, Cal Poly Pomona, Pomona, CA and maintains a studio / gallery, MARKET in Silver Lake.
JonMarc at the Debriti Dispensary, Beyond Baroque, Venice CA 2017
No Ego, Beyond Baroque, Venice, CA 2017
Text Pile Mike Kelly Gallery – Beyond Baroque, Venice CA 2017
Weeping Time, part of the Spatial Dance Scapes at CalPoly Pomona
I contributed to set and prop design for this emotive and personal dance piece by choreographer Gayle Fekete. Please follow the link belowto learn more about this important dance work.
Weeping Time Spatial Dance Scapes, CalPoly Pomona January 2017
Women’s March January 21, 2017 – Los Angeles
Great day to spend with my kids right before my son goes back to college and my daughter prepares for her last semester of High School. It was a wonderful way to channel all the hard feelings of a tRUMP victory and do something positive. The crowds were incredible in size and good spirits. I will be going to the science march scheduled in April…
Bukowski Book Door – Kingswell & Vermont Ave Los Feliz CA