REEDER I’m working towards a show in L.A. at 356 S. Mission Rd., which will open in late January. I’ve been working on a feature-length movie called Moon Dust, about a failing lunar resort, for the past eight years. Everything’s handmade-looking, and all the actors are amateurs. I’ve still got about 10 percent to shoot, so I’ll build sets and shoot the final scenes there, with a screening in February. David Lynch’s first film took seven or eight years, so if I can finish soon I’ll be right on schedule.
Presented during the exhibition opening for Shimon Minamikawa’s “Retrospective” at The Vanity East, the Second Coffee Party addressed the question: “How Might Painting be Relevant in Today’s POST-CONCEPTUAL ART HISTORY?”
The Discussion or Debate was by Laura Owens, Domenick Ammirati, John Seal, and John Tain.
In conjunction with the exhibition neverhitsend, 356 S. Mission Rd. presented the documentary “The NSA Domestic Spying Program” (2012) by Laura Poitras. The video was introduced by Parker Higgins, an activist at the Electronic Frontier Foundation, a San Francisco-based organization at the forefront of the efforts to bring government surveillance programs back within the law and the Constitution. After the screening, Higgins addressed the current state of resistance against the NSA’s domestic spying program and answered questions from the audience.
Because Sturtevant’s art works the way it works, the book wouldn’t be a biography—although, certainly, there’s a delicious one to be written—or a hagiography, nor could it meaningfully probe her entire oeuvre. I also couldn’t launch things with a straightforward chronology: Sorry folks, no beginning at the beginning… I did know it was time for someone to care enough to verify, with witnesses both for and against and a corroborating paper trail, every artistic move she made, the facticity of all the actions during her first, elusive decade of fun in the frenetic heyday of the 1960s and early ’70s. Of course, the book had to face up to the onslaught of right now as well, since Sturtevantmaneuvers in two time signatures at once: the untimely and the instamatic.
Her various catalytic conversions prove that art can be (at its best?) an impetus for action—aesthetic, cerebral, insurrectionary. I wanted the writing to surf her energy waves, wiping out as infrequently as it could.
-Bruce Hainley, discussing his forthcoming book, Under the Sign of [sic]: Sturtevant’s Volte-Face
Don’t miss the book launch for Under the Sign of [sic] this Saturday, December 7th at 356 Mission / Ooga Twooga. Click HERE for more information!
Panel discussion from the book release for Anna Sew Hoy’s SUPPOSE and a Pair of Jeans, published by Oslo Editions. With Anna Sew Hoy, Trinie Dalton, Rita Gonzalez, Alex Klein, Mark Owens, Tanya Rubbak, and A.L. Steiner.
October 27, 2013 at Ooga Twooga/356 Mission
356 S. Mission Rd. Los Angeles, USA 356mission.com