What is the future of gaming? A more diverse community. More seamless and surprising experiences. And a radical redefinition and expansion of the medium. Take a look in the final episode of Art In Video Games Los Angeles.
Aleister Crowley’s Guardian Angel, n.d.
Oil on board
29 ½ x 19 ½ inches
Courtesy the Cameron Parsons Foundation, Santa Monica
Photo by Alan Shaffer
MOCA presents Cameron: Songs for the Witch Woman from October 11, 2014 to January 11, 2015 at MOCA Pacific Design Center.
On set filming The Passengers with @thewifies for @mocalosangeles if you haven’t seen it yet check out MOCAtv for thee full tripppp
Artist and musician Stephen Prina shares the story behind Beat of the Traps (1992), a “combustible” performance about pop music and rock drumming, developed with Mike Kelley and Anita Pace.
[IMAGE: View of Beat of the Traps, 1992, Mike Kelley with Anita Pace and Stephen Prina, Wiener Festwochen, Expanded Art, Vienna, 1992. Courtesy of Mike Kelley Foundation for the Arts.]
For nearly ten years, Tracy Fullerton, Director of the USC Game Innovation Lab (usc-img), has instructed her students to forget the rule book, and to pursue designing games that are sometimes beautiful, strange or unlike anything else you’ve seen before. Meet Fullerton and her students, including Jenova Chen of thatgamecompany, on the new episode of Art In Video Games.
In a new episode of Art In Video Games, Kaho Abe (“Hit Me!”), Richard Hofmeier (“Cart Life”), and Christine Love (“Analogue: A Hate Story”) sound off on what’s so exciting about the polyphony of voices and experiences in independent videogames.
“The Little Girl’s Room (1980) was my first attempt to present an ‘installational’ version of a performance script. The project grew out of a dream within a dream in which a ‘little girl’ envisioned the face of a pimp-like man whose smile revealed an infinity of sharp teeth.
"After she awoke from her dream she immediately changed the décor of her bedroom from flowery and girlish to geometric (with ‘minimalist’ grid-like artworks created by her own hand) and illuminated with black light. This stylistic transformation symbolized her entrance into puberty."
THURSDAY, JULY 24, 6 PM
MOCA GRAND AVENUE
At the center of the work of Elad Lassry is an anthropological interest in the image. In his films and photographs, he examines visual codes and stereotypes, often staging still lives in his studio which refer back to product photographs and the imaging of the entertainment industry. In Untitled (2008), one thinks that what one is seeing is four figures, sitting on a rooftop; in truth, the four models are posing against an enlarged picture from a ’70s science textbook. It’s an approach influenced by artists such as Barbara Kruger, Jack Goldstein and Christopher Williams.
Join us on Thursday at the MOCA Store as Lassry signs copies of his new book, which documents his 2012 solo exhibition at Padiglione d’Art Contemporanea in Milan, Italy, published by Mousse Publishing.
Dream Object (I was looking through dream drawings to find fodder and in more than one found comic book covers of Hawkman in a sky of green snakes and a golden rip in the sky.), 2004
Ink and gouache on board
21 1/8 x 15 1/8 inches
Purchased with funds provided by the Buddy Taub Foundation, Jill and Dennis Roach, Directors
The Museum of Contemporary Art, Los Angeles
"Some artists work by filtering everything. I think I’ve got a strong enough inner critic, and enough self-hatred, that I’m filtering, but I just ignore the fact that I’m supposed to only do a set number of things."—Jim Shaw on Dream Object, one of his assorted works now on view at MOCA Grand Avenue.
Part of a body of videos by Francesco Vezzoli that explore the duality of fact and fiction, and critique contemporary advertising, Jeu de Paume, Je t’aime! (Advertisement for an Exhibition That Will Never Open) takes the form of a promotion, for a fictional exhibition at Jeu De Paume, Paris, titled La Nuova Dolce Vita: Social Life and the Imperial Age. From Poppaea to Anita Ekberg.
Vezzoli uses Frederico Fellini’s La Dolce Vita as a point of departure, casting Eva Mendes in the role made famous by Ekberg, and setting the video to a tune by Fellini composer Nina Rota. Mendes’ flirtations parody the suggestiveness of modern advertisements, reducing a mysterious feminine character to a silly extreme.
God’s Oasis: a punk house in Ann Arbor, Michigan, and home to the Destroy All Monsters music and art collective. That’s Mike Kelley, pictured in the basement of the house, where he lived; and a group photo, with Kelley in front, and Jim Shaw behind the trees, for a local newspaper.
[Images courtesy of Cary Loren and the Mike Kelley Foundation for the Arts.]
I think all art has humor in it. Because all art is about surprise. And so humor is a kind of more socially accepted version of surprise, in which there is a kind of cultural bracket in which you can be surprised…
It’s only because of the pomposity of art that the so-called “normal folk” don’t like art, because they accept shysters, and they accept comedy, but they can’t accept it when it has intellectual pretension. That’s the only difference…
Art is to me is a kind of humor which is just unacceptable because it’s threatening.
—That’s from an incredible, undated interview, probably during the 2000s. Kelley talks about art and comedy at 3:40, after angrily challenging a “New York-centric” view of art history, one that discredits Salvador Dalí’s body of work after surrealism.