If you go to certain street art and graffiti corridors in Hollywood and Downtown, you may find yourself giggling in delight at paintings that feature smiley, happy, cherub cheeked kids and a winking spray paint can. The work is undoubtedly familiar. The folks behind these pieces are girlfriend/boyfriend art team Dabs Myla, a couple from Melbourne who currently call Los Angeles home. Their work has an extreme positivity to it and a lot of humor. It’s easy to love.
Booking Los Angeles artists Mel Kadel and Andrew Hem for a show together would appear to be an unlikely pairing. Kadel’s work is light and of a very specific style while Hem can be heavy and a bit aggressive: their work could clash, competing for a viewer’s attention. The content of their work couldn’t be more opposite and the execution—while very much their own—aren’t quite aesthetic bedfellows.
However, that juxtaposition is alluring: the two artists are both the subjects of a Merry Karnowsky show that sees both Kadel and Hem sharing new works. There is a dreamy element of confusion that both artists possess which is exactly why their being grouped together is successful. Their work favors realities undiscovered and unknown.
Victor Jones thinks about Los Angeles in a way few people do: he thinks about it in the future tense, as a place of myriad possibilities. “Los Angeles, unlike most well known cities, is a twenty-first century paradigm in terms of its ability to inform how people live and what people do and how they experiences civic and public space. It is a new physical model of urbanity: I think Los Angeles is a fantastic case study.”
“Thats the draw here,” he says. “While perfect weather, a great economy, and geography have made life easy to take for granted my work in academia and design pushes back on the city, forcing people to reconsider the evidence of things not seen. This push back is to say—Hey.—let’s stop and revisit this, acknowledging that we are a part of a discussion, that we are not completely inside ourselves and that we are becoming a greater reference globally. When we look at urban development in Beijing, Dubai, Mexico City for example, Los Angeles has become a reference versus traditional nineteenth century cities. Let’s try to understand the physical implication of these things.”
There may not be rain this weekend but there sure is ample going on, from here to SXSW. You’re going to need help figuring out how to handle yourself. CHECK THE RECAP!!
If you’ve been on the Internet this week, you have seen all the buzzing surrounding Iggy Azalea‘s new music video for the song “Fancy.” The song is very simple since it is basically another common entry in the “Hey, y’all: I’m a rapper—and I’m fancy.” category. Champagne is sipped, swagger is bragged about, and names are spelled out: whatever corny rap tropes you could hope for, Iggy gives it to you.
The reason why this song has become so popular is because of it’s video because Director X was able to distill Los Angeles cult classic Clueless into a three and a half minute bite. It is a now/then referential playground that some young nineties obsessed musician was going to do for a video: it is not surprising. What is surprising is that the execution is so flawless that it needs some praising.