Made in L.A. 2012, the Hammer’s first large-scale biennial, officially closed September 2, but if you missed the exhibition you are not entirely out of luck. Certain installations will remain up as we prepare for the installation of our upcoming exhibitions: A Strange Magic: Gustave Moreau’s Salome (opening September 16), Graphic Design: Now in Production and Zarina: Paper Like Skin (both opening September 30).

Pearl C. Hsiung’s work, From Above It Is Not Bright, From Below It Is Not Dark, located on Lindebrook Terrace will remain up through September 9, as will Mark Hagen’s piece, To Be Titled (Additive Sculpture , Los Angeles Screen) located in front of the marble staircase on the courtyard level.  Also open through September 9 is David Synder’s work Me TV Located in Gallery 6.

Koki Tanaka’s Beholding Performer, Performing Beholder in the Lobby Gallery will remain open through September 16. 

Morgan Fisher’s work, Blue Green Red Yellow will remain up through the end of 2012.

And finally, Meg Cranston’s Lobby wall murals, California and Fireplace 12 will remain up through February 7, 2013.

(Captions Top to Bottom, Left to Right: Pearl C. Hsiung From Above It Is Not Bright, From Below It Is Not Dark, Mark Hagen To Be Titled (Additive Sculpture, Los Angeles Screen), David Synder Me TV, Koki Tanaka Beholding Performer, Performing Beholder, Morgan Fisher Blue Green Red Yellow, Meg Cranston California, Fireplace 12. All part of Made in L.A. 2012 Installation view at the Hammer Museum, Los Angeles, June 2-September 2, 2012. Photography by Brian Forrest.)

-Miriam Newcomer, Communications Fellow.

Filed under: Made in L.A. Artists

A buzzing chatter filled the glowing red Billy Wilder Theater at the Hammer as guests eagerly found their seats with only minutes until the start of the public program Zackary Drucker and Her Friends: Films and Discussion on August 22. As I too found my seat, I looked around and saw what seemed to be friends meeting after a long separation. I then realized that many of these people were in fact just strangers welcoming one another with the warmest of greetings. Collaborators and couple Zackary Drucker and Rhys Ernst are artists featured in the exhibition Made in L.A. 2012, and the program drew a large audience from the queer community, as they are both transgender. And that is exactly what the audience of the program felt like… a community.

Still from "At least You Know: You Exist" (Zackary Drucker left, Flawless Sabrina right)

The lights dimmed along with the murmur of voices, and the series of three screenings began with Zackary Drucker’s At least You Know: You Exist (2011, dir. Zackary Drucker with Flawless Sabrina). Made in collaboration with renowned drag queen Flawless Sabrina, whom Drucker deems a mentor, the film is an artful product of two distinct eras and human beings. It begins with vivid and brilliant colors, almost shocking initially, maintaining a sometimes eerie but dreamlike quality. Drucker coalesces the rich imagery with self-narrated poetic lines throughout the sixteen-minute experience. There are a series of provocative images such as close-ups of Flawless Sabrina’s intense make up and goggle-eyed stare and Drucker’s daring nude appearance. The two are contrasted throughout their interactions in the film, while still complementing one another. Drucker represents a youthful and soft appeal of her generation while Flawless Sabrina bears a raw and theatrical essence that is so characteristic of drag in its beginnings. The film is a testament to the interconnectedness of all people, while transcending time and the gender binary.

Holly Woodlawn in "Broken Goddess"

Following this experimental film was the iconic Broken Goddess (1973, dir. Dallas) starring the once Warhol Factory-superstar, Holly Woodlawn. The silent film in black and white contrasted heavily with the stimulating film preceding it. It was an elegant and emotional twenty minute feature depicting a “damsel in distress.” Filmed at the Bethesda Fountain in Central Park in New York City, the story is narrated in title cards drawn from the lyrics of Laura Nyro’s love songs which are embellished with a soundtrack of Claude Debussy’s resonant music. The film opens with Woodlawn draped in a black, flowing garb, descending a flight of stairs towards the fountains. The sight of this image drew a roar of applause and cheering from the audience. After depicting a dramatic struggle through explorations of body movements and a porcelain face crumbling with emotion, the broken goddess emerges a serene and composed woman at the end of the film. She turns her back towards the audience and symbolically ascends the same set of stairs from the start of the film, leaving behind her painful struggle.

Film cover of "The Queen"

The series of films ended with the critically acclaimed documentary, The Queen (1968, dir. Frank Simon), which features Jack Doroshow as Mother Flawless Sabrina. This documentary includes hour long footage of the Miss All-America Camp Beauty Pageant held in 1967 at Town Hall. While the film is entertaining and comedic in the way it captures the colorful personalities of the drag queens in the contest, it is also a marker of progression for the queer community. Through the actual dialogue of the contestants, the documentary clarifies many misunderstandings the general public has about drag queens. A candid conversation between two of the contestants shows their struggles as gay men, misinterpreted to be transvestites. They exclaim that although they enjoy the experience of being feminine in drag, it is only for temporary entertainment purposes and they would “never get the surgery!” The film captures the camaraderie, insecurities, hilarities, and dramatic disputes of the contest. The documentary aims to educate the audience about the culture of drag and to elucidate any misconceptions about the queer community.

In conversation with Holly Woodlawn (left), Zackary Drucker (center), and Flawless Sabrina (right).

The program ended with a conversation with Zackary Drucker and her two beloved mentors, Mother Flawless Sabrina whom Drucker calls Aunty and the spunky Holly Woodlawn. Each member of the trio contributed a distinct character to the conversation. While Woodlawn’s outrageous and witty demeanor resulted in cheering and laughter from the audience, Flawless Sabrina told of the historical significance and importance of the work which was shown. Flawless called herself a “gender clown” jokingly but went on to express that she felt “gender itself is a clown…the biggest men I’ve known are women.” Both Flawless Sabrina and Holly Woodlawn have had extremely intriguing lives, facing discrimination as well as legal consequences for their appearance and even their identities. Woodlawn made light of her struggles as she exclaimed in a humorous tone, “I’ve been humped, dumped, and thrown off a truck!” Drucker joked that the two were often referred to as the Witch of the East (Flawless Sabrina) and the Witch of the West (Holly Woodlawn) . Woodlawn was sure to clarify that neither were evil. The conversation closed with Flawless Sabrina answering a question about the future of the queer world by addressing today’s generation when she said, “Where we’re going is where you take it.”

-Jonaki Mehta, Communications Intern
Jonaki is currently a second year UCLA Student planning to major in Communication Studies.

Filed under: Events

Made in L.A. artists Karla Diaz and Mario Ybarra Jr. take us on a tour of Slanguage Studio in Wilmington, CA.

Filed under: Video

A professional jury and the public selected the recipient of the award

Los Angeles—The Hammer Museum has announced that Meleko Mokgosi (Born 1981 in Gaborone, Botswana; lives and works in Culver City) is the recipient of the inaugural Mohn Award. A recent UCLA grad (MFA ’11), Mokgosi’s monumental painting on view at the Hammer is provocative, deeply political, and grapples with the complexities of post-colonial Africa and issues of representation. Funded through the generosity of Los Angeles philanthropists and art collectors Jarl and Pamela Mohn, the $100,000 award will be granted over two years to Mokgosi and will be accompanied by the publication of a monograph about his work. While a jury of professional curators selected five finalists from among the 60 artists in the exhibition Made in L.A. 2012, the Mohn Award recipient was chosen by visitors to the exhibition through online and on-site voting. Public voting began on June 28 and ended August 12. The public was asked to choose their favorite artist from the five jury-selected finalists.

FIVE FINALISTS FOR THE MOHN AWARD:

• Simone Forti (Born 1935 in Florence, Italy; lives and works in Westwood) Work on view at the Los Angeles Municipal Art Gallery in Barnsdall Park and performances scheduled at both the Hammer and Barnsdall in August.

• Liz Glynn (Born 1981 in Boston, MA; lives and works in Chinatown) Work on view at the Hammer Museum.

• Meleko Mokgosi (Born 1981 in Gaborone, Botswana; lives and works in Culver City) Work on view at the Hammer Museum.

• Slanguage (Karla Diaz born 1976 in Los Angeles & Mario Ybarra Jr. born 1973 in Los Angeles; both live and work in Wilmington) Programs throughout the summer and work on view at LA><ART.

•Erika Vogt (Born 1973 in East Newark, New Jersey; lives and works in Highland Park) Work on view at the Hammer Museum.

THE MOHN AWARD JURY:

• Cecilia Alemani, curator and director of High Line Art Program

• Doryun Chong, associate curator at the Museum of Modern Art

• Rita Gonzalez, curator of contemporary art at LACMA

• Anthony Huberman, independent curator and writer

DOWNLOAD PRESS RELEASE & IMAGES

About the Artist

Meleko Mokgosi uses painting to interrogate the limits of representation, the politics of abstraction, and the dynamics created when viewing representational canvases on institutional gallery walls. The artist’s technical acuity delivers a kind of critical visuality, asking viewers to draw out affinities between experiencing and interpreting. The work on view at the Hammer is part of a larger series dealing with post-colonial Africa. Pax Kaffraria: Sikhuselo Sembumbulu (2012) addresses the question of nationalism in relation to globalization and resistance. The work meditates on sikhuselo sembumbulu, a Xhosa term meaning “bulletproof.” This is a reference to the Xhosa cattle killings of 1856–57, which were intended to drive away colonial powers and simultaneously resurrect ancestors. The series of paintings frames the historic event and considers a legacy of resistance that continues today—namely, the persistent drive to become bulletproof. At the same time this history is represented as only partially available to viewers, suggesting the difficulty of cultural translation.

Captions, top-bottom: Meleko Mokgosi. Pax Kaffraria: Sikhuselo Sembumbulu, 2012. Oil on canvas. 96 x 584 in. (243.8 x 1483.4 cm). Made in L.A. 2012 Installation view at the Hammer Museum, Los Angeles, June 2-September 2, 2012. Photo by Brian Forrest; Meleko Mokgosi portrait by Paul Mpagi Sepuya.

Filed under: Made in L.A. Artists

Jason Meadows. Venice Beach Beach Cruiser Challenge, 2012.

The title of VBB is apropos—a tongue-in-cheek reference to the Venice Biennale in Italy, the oldest international biennial in the world—and VBB was indeed a savvy satire of the global biennial phenomenon that gently questioned the economies of culture. Biennials and art fairs have long been utilized as civic strategies to drive cultural tourism, and as international biennial curator and critic Ivo Mesquita remarks, “There’s nothing new in this system, which seems to reproduce endlessly. On the contrary, it seems to validate economy more than arts and culture.” Rather, Mesquita posits, “it would be better for artists and exhibition curators to design and carry out projects…taking into account the challenges of a world of fluid identities and trespassed borders—one in which local and global are inexorably linked, where politics is cultural…and where such unresolved contradictions provide the dynamic space of creative inventiveness.” VBB embraced this dissolution of boundaries and network of political, economic, and cultural linkages through its amorphous structure—it layered over and blended with the local culture in a way that was not at all oppositional or interventionist, but rather embedded and respectful of the informal and formal relations of the boardwalk itself. In this way, it created a semi-autonomous space for creative production that could not be instrumentalized (in that moment) by a typical art world economy, but instead promoted a more democratic cross-current of exchanges that conformed to the culture of the boardwalk. Both high-level collector and weekend tourist could haggle over the same art performances, trinkets, and art objects following precisely the same social codes. All the artists arrived bleary-eyed at 5:30am each morning to claim their vendor stalls.

Of course, it would be naïve to believe that the nicely produced map/brochure, Hammer web and media presence, and inclusion in the VBB would translate into cultural capital that could be equally cashed in by every artist on the boardwalk. For many, their lives will continue as usual, with their participation in VBB perhaps yielding a positive uptick in sales for a few days, some good connections (and others that are fairly meaningless), maybe some flack from their neighbors and fellow regulars who remain unsure of the Hammer’s motives. It’s hard to say. For some of the “white cube” artists, participation in this event will increase their artistic capital and result in potentially lucrative connections, especially for recently graduated MFAs for whom this is their first museum-sponsored exhibition. Or maybe not so much—it’s hard to say.

It was also hard to put my finger on exactly what I took away from VBB, but as I reluctantly returned my bike, collected some trinkets that had piled up in my basket, and headed back to my car, I reveled in the memories of a great ride on the beach, some fascinating artwork, a two-headed turtle, Jimi Hendrix on roller skates, a dog in a bikini, and some good conversations. Which is quite a bit more than your typical art opening. As Ali described, “It’s exhilarating to have the conversation of art amongst all the noise.”

-Sue Bell Yank, Assistant Director, Academic Programs

Filed under: Venice Beach Biennial

Made in L.A. artist Kathryn Andrews discusses how working with fabricators influences the final product.

Filed under: Behind the Scenes, Made in L.A. Artists, Video

Cara Earl with her Los Santos de Terrorismo.

Erika Vogt’s mystery IOU currency is a poetic commentary on the Venice Beach context, one based in a long history of struggles to preserve the free expression and exchange of ideas along this strip of public space. Ali and project coordinator Claire de Dobay Rifelj learned much about the ins and outs of the Venice Beach artistic community from several insiders, including long-time artist Arthure Moore (as portrayed in this video) and free expressionist Therese Deitlin. Though there is far more complexity than is possible to cover here, they essentially learned that Ocean Front Walk has maintained its status as a “Free Speech and Expression Zone” amid many governmental attempts to impose stricter rules regarding performance and free speech on this tourist hub. It is currently regulated by Ordinance 42.15, which was heavily lobbied and revised by free speech activists to preserve this zone of open expression.

The ordinance also defines the types of wares allowed on the boardwalk–these are “expressive items,” and “created” items that are “inherently communicative and of nominal value or utility apart from its communication.” Hence, the city’s definition of art, encoded as a matter of public policy. The designated vending spaces are further regulated by informal codes enforced by a tight network of regulars, who collectively decide space reservation protocol and an internal system of priorities around the city’s “first-come, first-serve” policy. As a result of this contentious history, some artists and Venice Beach activists were initially suspicious of the Hammer Museum and its motives—how could the institution avoid being seen as an interloper into a complex network of relations and policies determining the usage of this public space?

But as the result of radical inclusivity and a lot of personal outreach and groundwork (mostly in the form of Ali and Claire’s genuine enthusiasm, accessibility, and desire to meet with every person who raised any sort of objection or question), VBB was able to foster a summer camp-like atmosphere of extreme bonding. This included a kind of “initiation” of newbie Hammer artists, connections and collaborations with regulars, peace offerings of food and t-shirts, and a little extra excitement in the air. Some regulars still protested their characterization in an artist booklet produced by Lisa Anne Auerbach and Robby Herbst, and some retained a sense of exclusivity or trespass on the part of the Hammer, but most went right along with the flow and even enjoyed it. The Venice Beach community is certainly not monolithic, and the beauty of VBB was that it never made (as a curatorial project) any attempt to frame it as such.

Arthure Moore with his "Funky Pussy" paintings

- Sue Bell Yank, Assistant Director, Academic Programs

Filed under: Venice Beach Biennial

Matt Chambers with his painted beach towels.

Sue Bell Yank is the Associate Director of Academic Programs at the Hammer Museum. She also writes about contemporary art for various arts outlets, including her own blog, Social Practice.

On Friday July 13, I rented a pink beach cruiser (with a basket!) on the edge of the Santa Monica-Venice border and rode south to check out the Venice Beach Biennial. A weekend-long affair organized by Hammer curator Ali Subotnick in conjunction with the Hammer’s first Made in LA biennial, the VBB took place Friday-Sunday in public spaces between 17th Ave and Ozone Ave on Ocean Front Walk, with a cluster of activity in the recreation and parks area. Although I am a Hammer staff member, I was uninvolved in the planning of the biennial and had few expectations other than a vague notion that “white cube” artists (contemporary artists who traditionally show in gallery and museum venues) would be exhibiting their wares alongside artists who were Venice Beach regulars.

Sarah and a visitor enjoying Liz Craft's Weed Couch.

When I hit the joyful chaos of Venice, the activities of the VBB blended so seamlessly with the wandering tourists, sidewalk artists, s¬¬and sculptors, skateboarders and loungers that I cruised around a little aimlessly for a while. Slowly, as I got my bearings, signifiers of the VBB began to pop into focus – legions of bobbing pink balloons emblazoned with Arthure Moore’s Funky Pussy logo on most vendor stalls, and screen-printed VBB posters and t-shirts peeked through the crowds. I circled the recreation and parks area for a little while, said hi to Ali and a couple of artists I know, and began to notice some interesting stuff. A little Ooga Booga Chinatown façade by Pentti Monkkonen, some Barbara Kruger stickers on the ground, Liz Craft’s strange yellow Weed Couch, a stark Jason Meadows sculpture, and my buddy Nery Gabriel Lemus stenciling finely ground colored sawdust into precise patterns on the ground. Matt Merkel Hess, wearing a straw fedora, was selling his beautiful, useless ceramic sunglasses in one of the vendor stalls, and Alexis Smith and Scott Grieger were selling a variety of funny objects included gold-plated dog poo (“We made about a hundred dollars,” Alexis shrugged). I tried to use the pink and yellow Hammer-produced map to figure out where everything else was, but the work was so embedded and hidden (in cafes, bookstores, or in the very social systems of the boardwalk itself – like Erika Vogt’s special IOU currency, which I never glimpsed) I quickly gave up, threw the map in my cruiser basket, and began to notice everything interesting¬, VBB or not.

Alexis Smith's Stand.

Which, of course, was precisely the point. The curatorial framework of the VBB was almost the negation of structure – it insisted on fluidity and non-definition. The organizing principles of VBB did not attempt to reign in, but punctuated and interwove a professionalized art world familiar to the Hammer (the university-educated, gallery-represented, MFA set, plus donors, viewers, collectors, and other afficionados) into the slipstream of culture that is the organized chaos of the Venice Boardwalk. Ali Subotnick was intentional in preserving these undefined edges – she told me she was specifically not trying to “go and take over” the boardwalk, but rather to intensify an awareness and serious consideration of all the multivalent artistic activity in Venice Beach, and to highlight its very unique cultural community. “Where is the art?” people would ask. I would answer this by borrowing a phrase from artist Mario Ybarra, Jr., “You’re breathing it in.”

Nery Gabriel Lemus mid project.

-Sue Bell Yank, Associate Director of Academic Programs

Filed under: Venice Beach Biennial

DUBLAB co-founder Mark McNeill, a.k.a. Frosty.

Made in L.A. Soundmap is a companion iPhone app to Made in L.A. 2012. Soundmap explores Los Angeles as context for the exhibition through interviews with Made in L.A. artists and curators, providing visitors with insights into art making in Los Angeles today.

Excerpts from audio interviews with Made in L.A. artists and curators are embedded into an L.A. area map, with each excerpt—or segment—relating to a destination on the map. As the app user moves through the city, the audio segments are automatically triggered by the user’s location. In between segments music curated by local collective DUBLAB creates a soundtrack for the journey. DUBLAB co-founder Mark McNeill, a.k.a. Frosty, talks with Soundmap co-creators Elizabeth Cline and Amanda Law about the curatorial process for the DUBLAB playlist.

Amanda & Elizabeth: What kind of mood or vibe were you thinking of when choosing tracks for Soundmap?

Mark: When selecting songs for the Soundmap I had Smokey Robinson’s words in mind, “Music was made for love, cruisin’ is made for love. I love it when we’re cruisin’ together.” I thought it would be nice to create a soundtrack for communal cruising by L.A. art lovers. I love the idea that we can all be virtually connected in a city-wide tour of inspiring landmarks while enjoying music that reflects the wide spectrum vibes of Los Angeles. All of the music I selected for the Soundmap was made by L.A. musicians (for a full list see bottom of this entry). The art presented in Made in L.A. is such a great document of the current visual community, so I thought it would be fitting for the audio companion to be equally representative of the vibrant music community. We are the ultimate car city but let’s not forget to activate the Soundmap while cycling, walking, surfing and gliding.

A&E: Do you have a favorite Soundmap moment to share?

M: My favorite Soundmap moment was the first time I activated it. The Soundmap is an elegantly designed, functional tool that can spark action packed excursions around L.A. I was totally wowed on the first use and rerouted my predetermined path of duty to hit some more hotspots. I ended up seeing a much different side of L.A. than I would have otherwise and it has continued to sway me in new directions.

A&E: What types of responses have you heard from people about Soundmap?

M: I’ve been seeing a lot of people chirping about the Soundmap on Twitter. It seems like folks have really grasped the offer to take a sound tour of L.A. People have also been activating the soundtrack in contexts other than the art/info/tour experience suggested. I’ve heard from folks taking the Soundmap App with them to the beach to just relax and enjoy the tunes. Another person told me they enjoyed a great sounding grocery shopping journey with the Soundmap at their side.

A&E: What do you think is the future of this kind of technology?

M: I hope more art institutions will develop apps to accompany their exhibitions. It creates a rich experience that deepens the impact of a show, and in the case of the Soundmap, serves as a stand-alone tool that provides continued adventures long after the gallery walls have been rehung. I love the fact that this app in particular really motivates people to get out and explore the incredible city we live in.

MUSICIANS ON THE SOUNDMAP PLAYLIST
The Life Force Trio
OJO
Sun Araw
Piano Overlord
Soft Metals
Languis & Fer Chloca
Teebs
Jonwayne
Gaby Hernandez
Blank Blue
Nobody + Mystic Chords of Memory
Build an Ark
SA-RA
Austin Peralta
Carlos Nino & Miguel Atwood-Ferguson
Anenon
Daedelus
Dntel
Co.fee
Carlos y Gaby
Asura
Kutmah
Julia Holter
Adam Rudolph
Hashim B.
TAKE
Golden Hits
DJ Lengua
SFV Acid
Weave
Peaking Lights
Lucky Dragons
Farmer Dave Scher
Suzanne Kraft
Brogan Bentley
Thundercat
GB
Teebs & yuk
Andres Renteria
matthewdavid
Alejandro Cohen
Pharoahs
Adventure Time

Filed under: Behind the Scenes, Soundmap

Artist Fiona Connor at the photocopier in the Hammer Museum Lobby. Photo by Marianne Williams.

The following is an interview conducted by the Hammer Museum’s new media associate Amanda Law with Made in L.A. artist Fiona Connor regarding her project Lobbies on Wilshire Publishing House. From June 28 – July 12 Connor worked with a host of collaborators to activate her installation by organizing a workshop and publishing house to create an alternate catalogue for Made in L.A. 2012. During this time Connor generated content by collecting documentation and reaction to the exhibition and events from invited guests and museum visitors. Articles were printed using a photocopying machine installed in the lobby and distributed daily.

Amanda: How long have you been working in the lobby now?

Fiona: I’ve been here for two weeks.

Photo by Salonee Bhaman.

A: What were you responding to in terms of creating this publication?

F: Um. That’s a good question. I think it came—That’s a really good question.

A: Was it a long journey to this point?

F: Yeah, such a long journey.

A: Did it start with the stairs, or…

F: No, it started with coming into—being invited to respond to a lobby, and the idea of making the lobby more lobby than it already was. And through this clogging, all that multiplicity, how would it change the way we acted within it? Part of that proposal was to take all the printers from the whole building and relocate then in the lobby. I’m interested in how upstairs, in the admin offices, there’s all this printing and production that goes on, but there’s no visibility, so taking that site of production and transferring it to the lobby—so that every time somebody prints something from admin, they would come downstairs and gather their printing.

Photo by Marianne Williams.

A: So people are actually doing that?

F: No, that got kaboshed. So at the same time that I was developing that proposal, we were developing these shows where I was trying to collapse the documentation of a site specific installation with the installation itself, because it’s like a problem of doing installation – can these works travel? Like they can’t transcend time and space. Which is a really important value, or something that people ask of art to do. So, I thought if the publication gets generated and produced in the space, it’ll be more close than doing this more conservative documentation that doesn’t question how work is documented. So saying a catalogue is another type of architecture of an exhibition, but then that architecture moves past the parameters of the show. What if you put as much rigor and thought into the documentation as the work itself – so acknowledging it as a new site.

A: So say I’m a visitor to the museum, and I walk up to your setup–would you interact with me?

F: Definitely.

A: What would you say to me?

F: The most important part of the work is that it gives a platform for visitors to – for their voice to be inserted, historicized, cataloged. I’ll basically tell you it’s an alternative catalog, and you can take as many as you want, and it would be great to get a response. And that conversation can go as far as you want, to the point of like, someone who comes and stays the whole day with us. It’s a very messy open project and I think the only rule is that all of the content is generated within close proximity to the exhibition, which is the point of departure from a lot of catalogs, which are produced before the exhibition. So there are the opinions of Jarl Mohn, and then there’s the voice of the artists, voice of the visitors, and voices of the curators. They’re all collapsed together in this one document.

Photo by Marianne Williams.

A: When can we pick up a catalog?

F: They are going to be placed in libraries in LA. And also it’s going to be scanned into a giant PDF. I’m not sure where that will be available yet, but maybe it’ll be a website where it’ll just be a click to download it.

A: What have you noticed by being in the lobby every day?

F: It’s actually amazing how productive it’s been. If you have a table and a computer and a power plug, you can just really settle. We’ve been really focused.

A: How has the technology worked for you? Have there been any crashes?

F: No, we’ve been good. Just the usual jams.

Photo by Marianne Williams.

A: Working at the museum, I love coming through this space now. I’m not a huge fan of this lobby space, but having somebody inhabit the space that’s not normally inhabited makes it much more human.

F: Hopefully! These guys have been working so hard.

A: It looks like it. You want to give an oral shout out to…

F: Yeah, definitely! Emi, and Salonee, and Ana, and Alex, and Elizabeth Cline’s been…it’s been a really intense conversation, because we’ve both been pushing our boundaries heaps, there’s been a lot experimentation for both of us. You know? I reckon like, I got a feeling that it was a leap of faith.

A: That’s cool.

F: Yeah, it is cool.

July 13, 2012
Hammer Museum

Filed under: Behind the Scenes, Made in L.A. Artists