After the intensity and non-stop stimulus of NAMM, I try to reserve the final Sunday for solitude and exploration of the greater Los Angeles Area. My most recent post-NAMM exploration included a trip north on I-710.
Officially the “Long Beach Freeway”, the highway runs alongside the Los Angeles River for much of its length. The Los Angeles River is a naturally flowing river, but it has been encased in a concrete channel. It’s a rather dystopian vision, but very much characteristic of 20th century LA. It has served as a setting for numerous movies – think the scene in Terminator 2 where the cars crash in a giant concrete ditch and the shapeshifting guy walks away. Of course, I had to photograph this monument myself as well. I joined I-710 at its interchange with Highway 91. The river immediately comes into view to the right, concrete channel and all. However, along this section there has been a lot of work to provide green space on the banks, with bike and walking paths connecting a series of parks. I left the freeway at the Imperial Highway exit for a closer look.
[The mighty Los Angeles River.]
This location is actually the confluence of two rivers. The San Gabriel River, also enclosed in a concrete channel for much of its length, flows into the larger Los Angeles River – the merging of the two concrete channels is unique.
[The San Gabriel and Los Angeles Rivers.]
I suppose I choose to see the beauty in scenes like these where others refuse to or can’t. But on another level, it is not entirely a choice. I am inexorably drawn to such things. Even as are attitudes towards development change from 20th century models, I’d like to see artifacts like this concrete river preserved.
North of the Imperial Highway, I-710 crosses the Los Angeles River to the east bank.
[I-710 crossing the Los Angeles River.]
The freeway begins to diverge from the river, heading due north towards Pasadena and controversial “dead end”. You can read more about the efforts to complete (or not complete) the highway at the California Highways website. However, I chose to leave the highway and follow the river instead.
A stretch of Bandini Boulevard grazes the river, affording views of a section that is unequivocally industrial. No parks or bike paths here. But even here I can find visual beauty in the bleakness of the scene.
The river is of course in no way devoid of life. Tenacious vegetation can be found along the channel, and there are plenty of birds who take advantage of the shallow water.
I continued north near to the river into the city of Los Angeles. The industrial character remained for a while, and reminded me a bit of the southeastern section of San Francisco that I often frequent, but on a grander scale. I didn’t stop here, but perhaps I should have. Towards downtown, the river becomes incorporated into the greater city, with classic art-deco bridges spanning the channel. I crossed it one last time on the First Street Bridge:
It was early enough to still visit a couple of L.A.’s art museums, but I am glad I was able to spend time first with this piece of the city’s history, and a work of art in its own right.
While in southern California for NAMM last month, I made a point of stopping at the LACMA (the Los Angeles County Museum of Art). The museum and the trip to get there through downtown LA were the perfect coda to the overload of NAMM. And by chance, it was the opening day for a retrospective exhibit of works by Ellsworth Kelly.
[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]
I am quite familiar with Ellsworth Kelly’s paintings through SFMOMA (see my review of the Fisher Collection show from 2010 which featured several large pieces). His large panels in single colors with rectangular or curvilinear shapes are quite iconic, as are his grids of colored squares. But in LACMA’s comprehensive exhibition, which focused on Kelly’s printmaking along with some drawings and paintings, I was exposed to different and unexpected directions in his work. There was a room of minimalist panels, but all in black and white instead of his usual bright colors. There were also pieces with organic and complex patterns based on plants and rivers. In between there were brightly colored abstract works that seem to bridge the gap between the organic and the minimalist.
An example of the familiar and unfamiliar in Kelly’s work appears in the first gallery. Around the corner from a large set of four solid shapes is a piece with a similar curvilinear shape but a rougher and more natural looking texture.
[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]
The next section featured Kelly’s studies in abstraction, influenced from his time in Paris in the 1950s. Here were see experiments with different pairs of colors on the same shape, with simple titles such as Orange over Blue (Orange sur Bleu). The shapes, rounded rectangles and arrows, seem manually cut and have the imperfections of natural (or at least handmade) forms. But through the medium of printing with different colors, they become more mechanized.
[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]
The next room was the most surprising. All the works here were in black and white, something which I had not associated with Kelly up until this moment. One wall featured the same curvilinear or angular shapes as his more colorful abstract works, but in monochrome they are far more severe. But this is good thing. In monochrome, he plays with contrasts and positive and negative space with the shapes without the distraction of color.
[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]
But even more unexpected were his monochrome prints based on natural forms, which were in this same room. He did a series of lithographs of botanical forms in the late 1960s that featured simple line drawings that capture the imperfections of natural subjects. I would never have guessed these pieces were his without the labels. More recently, he did a series of large monochrome prints based on the texture of the moving water in the some of the world’s most famous rivers.
[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]
So how does one fit these in the context of Kelly’s more colorful abstractions? Certainly, the black fields can be seen as simply another color study; and the rivers can be seen as abstract but complex textures informed by nature. The textures of the rivers can be seen reflected in abstract piece Red Curve (State I) from the first room of the exhibit. The botanical pieces are the ones that are the most difficult to place in context aesthetically, the artist himself states that “the drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings of 1949 that are the bases for all my later work.” It is possible to see the repeated curving shapes in his abstract work as inspired by plant forms.
The final room featured more of the style that I most associated with Kelly: angular solid fields and color grids.
[Installation view. Ellsworth Kelly: Prints and Paintings. January 22-April 22, 2012. Los Angeles County Museum of Art. Photo (c) 2012 Museum Associates/LACMA]
It was in this last room that another museum visitor came up to me and asked, “Why is this good? What do you see in it?” I’m sure I was gazing rather intently at various pieces which probably signaled to her that I had a genuine interest in this work. I did my best to try and answer her question, which seemed to be as much about minimalist artist general as Ellsworth Kelly in particular. For me, good abstract and minimalist art captures my attention and “arrests the mind” (with apologies to James Joyce). Additionally, all art and perception of art has context. There was the context of each piece, even if a single-color panel, within the greater body of work on display. There was context of my experience, and joy in looking at these works in the quiet gallery, the calming effect. There is also the execution, choosing the right colors and the right proportions for shape and size of each piece, that Kelly was able to do consistently. I’m not sure the woman was particularly satisfied with my answers. She walked away saying “I guess I just don’t understand why this belongs in a museum.” I did my best – I do truly want to share the enjoyment of modern art, and especially abstract art, with others, which is why I write articles like this.
Also on view at LACMA was Metropolis II, large kinetic installation by Chris Burden. It features stacks of highways weaving their way among densely packed buildings. A continuous stream of cars speed along the highways, some of which are six lanes across. The result is a frenetic pulsating vision of a future city, or an imagining of the pace and anxiety of a contemporary city. This piece is best experienced in motion, and you see a bit of it in this video:
This piece of course appealed to me as a person who loves cities and the urban landscape and who has a fascination with the patterns of roads and highways. Looking from above, the traffic is simply a current like moving water and provides none of the stress that one experiences on actual city streets. I can also admire the amount of work that must go into making something like this. The toylike scale of the installation also gives it a playful quality. It was just fun to experience.
Ellsworth Kelly: Prints and Paintings will be on display through April 22, and Metropolis II is ongoing. Both are worth seeing if you are in Los Angeles.
I had planned to post the story of Adam and Abe, the cats that survived a wildfire for Thanksgiving after reading their story on Monday. That was before more of the world started burning – some of the fires are natural, some human-made, and all are tragic. But perhaps this story is still appropriate, to know that these beautiful and much-loved black cats both survived the terrible wildfires in southern California and that small joys are always possible.
This is the famed five-level intechange of 105 and 110 in Los Angeles, a rather impressive engineering feat.
Interstate 105, the Century Freeway, is one of the last of the major LA freeways to be built, and one I had neither seen nor driven until a wonderful Hollywood/LA/Orange County adventure that took place almost a year ago (it was in early February of 2006). I will spare you the details, dear reader, but I will say that it was cooincident with the 2006 Grammy Awards and was an amazingly memorable “night that never ended” until I returned home on “the 101” a day later…