Pop culture from Southern California and beyond.

At Regen Projects, Abraham Cruzvillegas explores a person, a few places and many things

"Chicas Patas Boogie (sweaty & needy)" Rebar, fabric, feathers, chain, and meat

"Preso me llevan (an affective blind date)" Iron rod, feathers, chain, fabric, and meat

Abraham Cruzvillegas is renowned for his use of found materials and his ability to repurpose, reassign, and redefine popular perception of those objects. In a newly christened exhibit, "Autodestrucción 1" up at the Regen Projects Gallery in West Hollywood, Cruzvillegas stays true to his forum of expression and consistent continuity. 

Over the past two decades, Cruzvillegas has quickly ascended the art world food-chain. He was just named the recipient of the esteemed Yanghyun Prize and he will be quite busy for the following year with shows lined up in Paris, London and Mexico. As he rises in success in the ever-elite art society, esssentially it his fundamental understanding of objects and our relationship with them that has put Cruzvillegas on the map.

He has a theory on dealing with those relationships, which might explain his success; "all objects are alive when I use objects in my work. That's my approach. I think things have an opinion, and they either ask you things or they don't," he told KPCC last week


William Eggleston's dye transfer prints: not dye-ing out

Untitled, 1970-1973; from William Eggleston, Chromes; published by Steidl in 2011.

Mark Giorgione at the ROSEGALLERY, standing next to his favorite piece.

William Eggleston at the ROSEGALLERY opening of his exhibit "New Dyes."

Untitled, 1970-1973; from William Eggleston, Chromes; published by Steidl in 2011.

Untitled, 1970-1973; from William Eggleston, Chromes; published by Steidl in 2011.

Lucas Charbonneay, a photographer, standing next to his favorite piece of the exhibition.

Untitled, 1970-1973; from William Eggleston, Chromes; published by Steidl in 2011.

Molly Toberer, the administrative director for the ROSEGALLERY posing in front of her favorite image of the exhibition.

Topey Schwarzenbach, an architect and avid fan of Eggleston throughout his career, posing with his favorite piece.

"William Eggleston almost seems to be knocked out by colors," Topey Schwarzenbach told KPCC last week at the opening of "New Dyes"

Scwarzenbach, an avid fan of Eggleston, referenced the artist's process of creating dye transfer prints, many of which are currently on display at the ROSEGALLERY located within Bergamot Station. 

The deliberate overbearing white walls that frame each piece comprising the exhibition, starkly contrasts the vivid but understated color composition of the so-called "unseen transparencies" featured.

While the prints were made this year, the method used was "actually started in the 20s and 30s for advertising," Molly Toberer, the administrative director of the gallery explained. "William Eggleston was actually the first fine artist to use it in his fine art photographs," she added.


Getty's Messerschmidt exhibit dialogues with the past, present, and the Internet-obsessed

The Getty Center

The Messerschmidt and Modernity souvenir. Jenna Villacarlos and Mimi Villacarlos do their best to mimic The Yawner, part of the Getty Museum's Expression Lab.

The Vexed Man, after 1770

The J. Paul Getty Museum, Los Angeles

Franz Xaver Messerschmidt's The Vexed Man, currently on display at The J. Paul Getty Museum as part of the exhibit Messerschmidt and Modernity.

Messerschmidt's 'Character Heads', 1839

Szépmüvészeti Múzeum, Budapest

A Lithograph depicting the various facial expressions created by Messerschmidt.

The J. Paul Getty Museum

A close-up of one of the degraded photographs part of a series called "Messerschmidt series" by the artist Arnulf Rainer.

Rebecca Vera-Martinez

The Expression Lab, an interactive exhibition where visitors are invited to sit and photograph themselves as they imitate an expression of a Messerschmidt bust.

Make your face cringe. Now, while you cringe, also grimace.  Now, try and roll your eyes back into your head. Hard, right?

According to Antonia Boström, a senior curator of sculpture and decorative arts of the Getty Museum, this is partially the intent of the current exhibition "Messerschmidt and Modernity" - to give the audience a literal understanding of how difficult it is to make a facial expression like the ones displayed on the Messerschmidt busts. 

The exhibit, according to the Getty, "explores the astonishingly modern series of so-called 'Character Heads' created by the German Baroque artist Franz Xaver Messerschmidt." The entire piece, curated by Boström herself, consists of three separate and disturbing rooms.

The first room centers around eight individual busts with varying facial expressions. They have names like, "The Vexed Man", "A Hypcrite and a Slanderer" and "The Ill Humored Man". The British curator explained that the titles of each bust were given ten years after the atrist's death and that "these names, which have nothing to do with Messerschmidt's intention, have stuck because they are all quite similar [looking]."


How Prince William and Kate Middleton met, if it involved dinosaurs and jetpacks

I've written about Neill Cameron before, but I just discovered today that he had illustrated the (not really) true story of how Prince William met Kate Middleton.

Orcs, dinosaurs, swords and jetpacks? This is a royal wedding that I can get behind.

(I also encourage you to check out Neill's A-Z of Awesomeness 2: Japan, raising money for Japan relief through fun art.)

(via Andy Khouri)