Saturday Night: THE event of the year, you won’t wanna miss this one. Gonna be absolutely nuts, old-school style Volcom rager that we all dream of. Be there, we’ll be!! Live music by Church of Son & Dahga Bloom!
February 28, 2014
February 27, 2014
February 26, 2014
Kyuss King age 13 scores a fun 2 day swell at home in Byron Bay.
Nothing better than being able to ride your bike down to your local break and get shacked!!! ride home, eat and then back down for another session…… KK
Last summer we spent a few days running around with Host Creative in an effort to work out some production schedules and logistics for a larger project we are putting together with them. We were lucky enough to get some solid use out of a Red Epic with a full range of CP2 lens’s. If you’ve not had a chance to shoot with these setups, it’s a bitch. Each shot demands a certain time for set up, the file size is massive, you run through memory incredibly fast, not to mention the stress of holding $40k in your hand sometimes…in the sand…at the beach near the wet water that electronics do not like usually. But, if you get through all of that, the results are nuts. Short of having access to a Cinema Panavision set up, this is what it’s all about. We’ve a few more shoots planned up for the rest of the year, and with our new found knowledge we are stoked to have worked out the learning curves.
February 25, 2014
Sarkisian & Sarkisian
Side by side exhibitions of two contemporary artists,
father and son, Paul and Peter Sarkisian
April 13 through July 27, 2014
NEWPORT BEACH, CA—The Orange County Museum of Art is presenting the long-overdue California survey of video artist Peter Sarkisian (b. 1965, Glendale, California) in the exhibition Sarkisian & Sarkisian, which also includes a survey of the artist’s father, Paul Sarkisian (b. 1928, Chicago, Illinois), a member of the avant-garde movement in Los Angeles in the 1950s and 1960s. For the exhibition, OCMA Interim Director and Chief Curator Dan Cameron selected 23 video sculptures by Peter Sarkisian along with 22 paintings by Paul Sarkisian to develop a thematic bridge between the separate bodies of work; tying together two accomplished careers that achieved distinctively different practices. The exhibition is on view April 13 through July 27, 2014.
Although it employs a single title, Sarkisian & Sarkisian is experienced as side-by-side survey exhibitions of two contemporary artists who happen to be father and son, working in different media. Paul has been an accomplished and dedicated painter for six decades, while Peter studied film directing at Cal Arts and has produced video installations since the mid-1990s. Within an exhibition layout in which an equivalent amount of visual attention is dedicated to each artist’s work, a connection between the two bodies of work emerges in the shared artistic device of trompe l’oeil, whose translation as “fool the eye” is an apt summation of how both artists use pictorial illusion to achieve very different ends.
Sarkisian & Sarkisian began as a straightforward overview of nearly twenty years of work by Peter Sarkisian, whose spatial integration of film, video and sculpture results in precisely calibrated multi-media works that consistently challenge the viewers’ perception of reality and illusion. From the groundbreaking work Dusted (1998), which utilized projection on the five faces of a cube to create the illusion of a mother and infant son inside; to the comical/violent antics of Registered Drive, Full Scale #1, (2010), in which a full-size model of a Ferrari Modena body serves as the frame for a driving lesson from hell, Sarkisian’s work employs video to punch through the spatial limits of pictorial space.
One of the leading members of the generation of video-based sculptors that emerged in the 1990s, Sarkisian’s work, while not as widely known as that of older video artists like Gary Hill or Bill Viola, is widely regarded among curators and writers within this still relatively specialized field. As Sarkisian’s work follows its evolutionary arc to his more recent robotic and levitation pieces, the technical challenges he is forced to overcome become increasingly difficult for ordinary viewers to grasp, and more hypnotically engaging.
Paul Sarkisian began his career in the mid-1950s as one of the founding members of a cooperative gallery in Pasadena whose members also included George Herms and Richard Pettibone. Although his work in the 1950s was heavily indebted to abstract expressionism, by the early 1960s he was making assemblage-based paintings that led to large-scale figurative paintings of an almost photographic precision. Early exhibitions at Pasadena Art Museum (1968) and Santa Barbara Museum of Art (1970) cemented his growing reputation as one of the most promising of an emerging generation of painters, as did his participation in documenta5 in Kassel, Germany, curated by Harald Szeeman. In 1972, as a sign of his growing disillusionment with the increasingly commercialized art market and the pigeon holing of his work as ‘photo-realism; Sarksian moved with his wife and son to the outskirts of Santa Fe, where the next decades of his artistic development remained all but hidden from the art establishment.
As Sarkisian’s painting developed from realism to trompe l’oeil to what became even more erroneously labeled as ‘abstract illusionism,’ his exploration of illusion was gradually supplanted by an a growing emphasis on exploring the qualities of surface in abstract painting, and his work increasingly emphasized large, open expanses of saturated color and dense, opaque polymer resins. With less than twenty examples of his work covering the years from 1971 to 2009, it is only possible to touch on the high points of this development, but the monotypes that occupied his attention in the 1990s, his giant monochromes of the early 2000s, and his recent collaged abstractions are all sufficiently represented to give viewers a taste for his unique artistic trajectory.
Sarkisian & Sarkisian is curated by Interim Director and Chief Curator Dan Cameron.
Orange County Museum of Art is located at 850 San Clemente Drive in Newport Beach, California. Hours are 11 am to 5 pm, Wednesday through Sunday, with extended hours Thursdays from 11 am to 8 pm. Admission is $12 adults; $10 seniors and students; children twelve and under and OCMA members are free. There is no charge for parking. All facilities are handicapped accessible. For more information, call 949.759.1122 or visit www.ocma.net.