Revisited artist at MOCA

Fumiko Amano is presenting a film in conjunction with the Museum of Contemporary Art here in Los Angeles. It coincides with the exhibit of one of my favorite all-time contemporary artists, Robert Rauschenberg. (I want to see the exhibit again!)

Film Showing:
Saturday, August 12, 2006 10-11pm (Directly following SAUL WILLIAMS)

(That's hotty Rauschenberg on the right - circa 1960's) Image courtesy of Douglas Jeffrey
With John Cage on the left and Merce Cunningham in the middle.

NIGHT VISION: MOCA After Dark
“Poetic Collaborators,” film presentation by Fumiko Amano
Free with MOCA admission. ($8 general; $5 students with I.D. and seniors 65+; FREE for MOCA members and children 12 and under)


The Museum of Contemporary Art, Los Angeles (MOCA)
Ahmanson Auditorium
250 South Grand Avenue, Los Angeles, CA 90012

our artists at MOMA New York

Gallery Revisited artists are shown at MOMA New York for a Cal Arts Tribute Film Festival.
TOMORROWLAND: CalArts in Moving Pictures
May 25–August 13, 2006

Jump on a plane and go check out Ya Ya's film!

Split. 2000. Ya-Nan Chou. Stop-motion fabric animation tells of love torn asunder.

Thursday, July 27, 6:00; Monday, July 31, 8:00. T2


The Film Festival Opening night in May featured an artist we are currently showing - Dane A. Davis
Two-Part Invention: A Portrait. 1979. Dane A. Davis. A composer’s domestic life as musique concrète. 7 min.

Contact me for more information about purchasing the work of Ya Ya Chou or Dane A. Davis. info@galleryrevisited.com

What MOMA says:
California Institute of the Arts was founded in 1961 by Walt Disney to bring the visual and performing arts together under one roof. This exhibition celebrates more than three decades of intimate, inventive, and technically sophisticated student filmmaking and videomaking from CalArts, featuring a breathtaking range of nonfiction, narrative, animation, and experimental styles and genres. Particular focus is given to the famed animation program, where students have used everything from cutting-edge computer and optical printing technologies—many of which they developed themselves—to homespun materials like chewing-gum wrappers and nail polish remover. Luminaries from Pixar, Disney, Laika, and other major animation and effects companies, as well as distinctive independent voices, are represented. Nonfiction and experimental works reveal a sense of political engagement and moral urgency, whether investigating domestic violence, toxic dumping, or the secret histories of seventeenth-century astronomers, Korean war brides, and African American Kentucky Derby riders. Special evenings are devoted to artists like Ericka Beckman, Ken Feingold, Jack Goldstein, Sharon Greytak, Matt Mullican, Tony Oursler, David Salle, Christopher Williams, and David Wilson, whose conceptual films and Portapack videos of the 1970s and 1980s remain startlingly contemporary and provocative. Many of the artists will be at MoMA to present their work.

Organized by Joshua Siegel, Assistant Curator, Department of Film and Media.

With gratitude to Steve Anker. Thanks also to Thom Andersen, John Baldessari, James Benning, Hartmut Bitomsky, Betzy Bromberg, Margaret Crane, Larry Cuba and the iotaCenter, Susan Davis, Myron Emery, Morgan Fisher, Leo Hobaica, Jr., Rachelle Katz, Cindy Keefer, Mike Kelley, Steven Lavine, Gary Mairs, Kris Malkiewicz, Patty Palmer, Paul Reubens, Bérénice Reynaud, Céline Ruivo, Michael Scroggins, Alan Sekula, Maureen Selwood, Jeffrey Shapiro, Christopher Müller and Galerie Daniel Buchholz, and Mark Toscano and the Academy Film Archive. Dedicated to the memory of Ed Emshwiller, Jules Engel, Alexander Mackendrick, William Moritz, and Nam June Paik.

more art Zines and Journals

We launched ARTpage recently.
It is an amazing art and literary magazine edited & published by Paige Wery.
It seems like there are many other journals and art zines launching this summer.

Junc Gallery is having a Zine Show.
While you are in Silver Lake checking out their show, swing by us too - only about 7 blocks away. ARTpage is still available and we have an opened one to view.

Cherry and Martin is having a launching party for a new art journal too called Soft Targets.

Here is what I wrote about ARTpage before it launched:
The guts of the Zine are brimming with noteworthy art criticism, poetry, noise theory, fiction & non-fiction inspired poetry + conceptual entries,
AND 4 SHORT FILMS ON DVD.

Details include a full color front & back cover 8.5" X 11" AND fat full of such deliciousness as escapades, pink sticky things, paper dolls, wonderments of youth & the wonder of non wording.
Now, all this sounds too double-plus good!!
Contributors are noted, established & mid career as well as emerging artists - even a physicist & a psychologist.
Their collective resume includes MoMA New York, The Venice Biennale, The Getty, Britney Spears, NPR, the BBC, galleries around the globe & your back yard.

In addition Fette is constantly posting about Zines.

We also have on hand at Gallery Revisited,
Bedwetter magazines by Christopher Russell.
Journal of Aesthetics an Protest
Cakewalk Magazine
and
Pale House Collective

Good Cause + Free Drinks

I am super excited about the show I curated that features artists from LA Art Association. Gallery Revisited is pleased to remind collectors and visitors to the gallery that 25% of the proceeds for the current show will go to benefit Los Angeles Art Association.
They offer great services and opportunities for artists members - from juried shows to panel discussions, hash sessions and critique groups.


Literal products of consumers are represented by Steve Bartlett. Oil on panel paintings of "Thermos" and "7-inch grinder".

To consumerism on a conceptual level, with represented wall paper and tiny bits of cardboard or wood-grain vinyl, by Miller Updegraff.

This show is "Consumerism and Product" #2, sponsored by Coke Blak.
I liked the way it tasted ice cold....less sweeteners than regular Coke too.
Come see the show and get your free 4-pack of Coke Blak.

Gallery Hours: Wednesday - Sunday from 12noon - 6pm.

dare to be different

Gallery Revisited walks the line between accessiblity and content.

Think about what that means and how important it is to you.

Tell us what you think.

Legibility vs. Sweat

Aah Semantics and Malapropisms...As the "Lyrics and Dialogue" exhibit featuring ARTpage comes to a close, I mull over various thoughts that pertain to the concept.

Someone was confused about my sign-in sheet because of the line "Legibility ensures your entry in the world of art communication".
"Ppssh - what's That supposed to mean?", they scowled.
"Oh, just write clearly that's all".
"Oh I thought you were doing background checks on people to make sure they are worthy of receiving information."

OK chip-on-shoulder-lady.
I thought how the Heck did she think that? And I realized later she must have misread it and thought it said "Eligibility ensures your entry in the world of art communication". Like I always say, "People are weird".

Well, I guess writing PLEASE PRINT would be clearer...but what fun is that.
Besides it still means nothing.
The way people make letters and numbers - things look like other things all the time.

Anyway, some favorites in this show and the dialogues surrounding them have been(sub-note: a common response in general from viewers is to point at art and say, "That's great"):
The back of the cover art for ARtpage which was used for the inside of the magazine. Amazing how her mind works to do all that work on the back of a piece too. Does she ever make art that looks like the back of this piece but on the front.

"Bonnie Brae All Stars" by Tony Malone and "Cody" by Angeles Terrazas. I did not know that you could buy heroin on that corner - I live up the street from there. Is there really heroin in there? Is Cody the real name of this guy? Who is he? When were these taken (we think the 80's during the 50's revival),I love the glisten on his skin for the sweaty ones.
Mixed media pieces by Nicole S. I love the phrases. They are such a great price (68), I will get 3 and give them as gifts. I love the designs. I can really relate to what she is saying. I need this one. So and so would like these.

"After Irene" by Cathy Stone. Just amazement.

Damien Hirst Shark isn't ageless?

The June 29 issue of the New York Times art section has several articles on art conservation.

One, "Dead Shark Not Aging Well" is about "The Physical Impossibility of Death in the Mind of Someone Living, 1991". To confuse all not versed in what this could possibly mean, it is this: a dead shark in fluid in glass.
Purchased by Saatchi for 11+,000,000 the fliud is becoming murky now. Hirst company known as Science Ltd. has assured all interested parties that "Damien will happily help to refurbish" the piece.
Luckily, according to Gagosian who landed the deal, replacing the shark with another one will not alter the piece since it is conceptual. phew!! - I was worried there for a minute.
Good thing Hirst has a company to take care of that. I think every artist should have a company.....I like the idea of it, so what.

There are other articles too - about the Whitney's conservator, Carol Mancusi-Ungaro and about Donald Judd's work that was deemed by the artist as ruined when the museum repainted it.....wha???
Why did the museum repaint a piece without the artists involvement? Again, good thing that Hirst has a company to take care of that for him. The museum made good by repainting the piece again with the help of a vintage car restorer who had never been to a museum before. The guy, Julian Miller now likes art. Eureka.

Here are some other tips to keeping your art safe and to help prevent restoration. (these tips are from talking to clients and artists - they seem to be common mistakes that result in sad art.)

Keep the art out of direct sunlight. A bright room is fine - not sunbeams.
Lots of new photography is printed with archival inks that have UV protection and most paints are lightfast - but it's the heat too that will crack and dry out the art, not just fade it over time.

Keep the environment the work is in climate controlled as possible. Whether it is in your home or in storage. Even PS Storage is climate controlled in case anyone was wondering. There are professional art storage facilities that also offer specific climate control - many house fine wine collections too. But I am dealing with a lot of collectors who do not store art, but have it up to enjoy.

Keep the art away from moisture and humidity.
Use acid free and archival storage sleeves for paper works not on display. Get paper works mounted on archival boards with the proper adhesive in the proper places. Use a professioanl framer that specializes in archival fine art framing. Some little mom and pop places do a good job with your regular paintings, but paper is more fragile and special. If you buy a ready-made frame, expect to reframe it at some point soon to preserve it.

When transporting and storing art, do not wrap it in bubble wrap super tight with the bubbles facing the artwork. Place a sheet of glassine over the art first and take the bubble wrap off when the work arrives. But keep the glassine on if you are not going to hang it up right away.

For art with shiny surfaces of any kind, do not touch anything to the surface. Fingerprints and wrapping materials - even glassine, creates a weird ghost image when it is removed from the shiny surface. You will have to create a special box with seperators and adhere the piece to a board for shipping by using the hanging device on the back of the piece.

Never clean plastics with Windex. Rubbing Alcohol works if you cannot buy special cleaner. Microfiber cloths used for wiping eye glasses work really great. An anti- static brush purchased at a film supply store works well for dry dusting and will not scratch because the fibers are real hair.

Don't use real dirt mixed with paint to make texture. Use granulated mediums.

Expect food art to get eaten by bugs, but sometimes bugs don't care about your art. Or mice. Beware of Oppossums.