In this edition of BOMB On the Inside, Gilles D’Amecourt interviews photographer Matthew Scott.
On the last weekend of January, the Art Los Angeles Contemporary fair (ALAC) stamped an impressive footprint on the second floor of the Pacific Design Center (PDC). The PDC, aka “The Blue Whale” beached up on West Hollywood in 1975. Measuring about 1.2M square feet, it is an imposing piece of architecture at best, and a colossal eyesore to its neighbors at worst. Normally the PDC is utilized by the design community for showroom space but it has also provided comfortable accommodations for all sorts of events. In this case, and not without a hint of irony, the PDC hosted an Art Fair.
The idea of curating a show entirely from Post-it notes is so simple that it quietly slipped below my critical radar. The concept alone is very layered and clever, in addition to the fact that the format would serve well in a charitable capacity.
Anyone that can get to the UCLA Hammer Museum soon is in for a treat. Two strong yet very different shows share the upper level. Heat Waves in a Swamp: the Paintings of Charles Burchfield (October 4–January 3, 2010) is an abbreviated retrospective curated by Robert Gober and Cynthia Burlingham.
A friend of mine knows that fine art is totally subjective. He has a reply for every criticism, good or bad:
“That’s what makes it so great.”
With confounding kindness, this retort will de-claw even the harshest critic.