I completely missed the opening for this show. I had a previous engagement in L.A. last night. But thank you (once again) to my friend Susie Eaton. Because of her I have pictures of the opening reception to share with all of you. She sent me so many good once, I couldn't decide which ones to edit out. So I said, heck, I'll do my usual Flickr slideshow.
So right now I'm just living vicariously through Susie's pictures. The ball game looked like it was a lot of fun.
The show will be up until December 21st, so there's plenty of time to go catch it if you also didn't go to the opening. I will probably head down there soon to see it.
Since I have a bit of free time post MOCA and Little Pharma, I decided to take a trip down to Pomona to visit my friends Susie Eaton and Juan Thorp over at Bunny Gunner. Susie used to be a staple in Santa Ana, but now resides in the Art Colony.
Currently, they have a show up of new work by Amy Maloof. I missed the opening on Saturday night because I had to be at Fringe Exhibitions for our opening. I think Amy's work is incredibly smart and fun. Everytime I turn around, she comes up with something completely interesting.
Bunny Gunner will have a closing reception coming up on October 25th. From what some little bird told me, Amy may have some more surprises for the event.
Thank you to Susie for images from the opening night reception.
2332 opens at the Huntington Beach Art Center tomorrow night, October 17th. The baseball-themed show features works by Stuart Allen, Travis Collinson, Dean De Cocker, Matthew Furmanski, Jimi Gleason, Robert Jacka, Ian M. Kennelly, Juan Thorp, and Michael Woodcock.
From what my friend Juan Thorp told me, they will be playing a game of whiffle ball around 5pm. Go out there, have some fun, and play ball!
I'm a fan of Sameshima. Everytime I see his work I always think that they are really smart.
The show is called Numbers II (Ode to Johnny Rio).
Numbers is John Rechy's second novel. The hero is young, handsome, narcissistic Johnny Rio who, after three years away from the "scene," is impelled, obsessively, to return to the city of Los Angeles, there to test himself anew in the arena of male love. Johnny, who is seen as an angel of dark sex, is like a retired boxer--an undefeated champion--who refuses to accept the possible ravages of time, and is led by some unfathomable force to return to combat once again. Combat, for Johnny, takes place in the dark balconies and dismal restrooms of the all-night movies in L.A. But these are only warm-up bouts; the real test, Johnny soon learns, will be in the shaded glens of a rambling park, on the outskirts of that sprawling metropolis.
Through those shadowy alcoves, as a gallery of sexhunters emerges, he sets out to discover whether he is really still handsome and desirable, whether the passage of time--as terrifying to the male hustler as to the aging dancer or ingenue--has made visible inroads on that svelte and muscular body in which he has always taken such pride.
His initial forays into the all-night theaters along L.A.'s strip and through the erotic beaches and at a synthetic motel have proven to Johnny that his sexual attraction is still great. But the final proof resides in numbers. In an effort to contain the threatening anarchy, he sets himself a rigorous time-table--ten days--and goal: thirty "numbers" to prove his mettle.
Through all the sexual episodes, the self indulgence which comprises Johnny Rio's tawdry world, there resounds the universal cry of a human being's desperate need to be loved.
I totally forgot that the new art season is upon us. When I arrived to Chinatown I was stunned that all the galleries were throwing openings.
I have never particularly cared for Chinatown paintings. But I have begun to find some favorites over the past year or two.
Amanda Church is currently showing at Jancar Gallery on Chung King Road.