The Beat and the Buzz is the history of the Los Angeles art world since 1970, as told by thirty-three of its participants, in their own words. This art-world family album captures the intimate, lived experiences of artists, dealers, curators and critics whose personal history is becoming codified as art history. Whether you're in Los Angeles, or not, this book is also about the tensions of making it as an artist, or not. Clarifying but also complicating the many factors of success, the accounts here demonstrate that it's not only who you know but also when you know them, and how they're willing to support you at crucial junctures in your career. Finally, "The Beat and the Buzz" is also just gossip: The entertaining anecdotes of thirty-three interesting people with their own inside tales and humorous asides about one another and about the world they have lived and worked in. As artist John Baldessari proclaims, "It's a page turner."Contributors: Tony Berlant, Alexis Smith, Javier Peres, Elyn Zimmerman, Hal Glicksman, Dorit Cypis, Henry Hopkins, Sarah Gavlak, Elyse Grinstein, Edward Goldman, Emi Fontana, Maynard Monrow, Gianna Carotenuto, Ed Moses, Judith Hoffberg, Daniel Hug, Dagny Corcoran, Clayton Campbell, Kathryn Andrews, James Hayward, Robert Berman, Lyn Kienholz, Tom Lawson, Kim Light, David Askevold, Christine Nichols, Marc Pally, Skip Arnold, Barbara Guggenheim, John O'Brien, Heather Harmon, Cliff Einstein, and Jeff Poe.

Jack Goldstein and the CalArts Mafia is the compelling story of artist Jack Goldstein and some of his classmates at CalArts, who in the early 1970s went to New York and led the transition from conceptualism to Pictures art, utilizing images from television and movies with which they had grown up. At the same time, they discovered an artworld increasingly consumed by the desire for fame, fortune and the perks of success. The book is anchored by Jack's narratives of the early days of CalArts and the last days of Chouinard; the New York art world of the 70s and 80s; the trials and tribulations of finding and maintaining success; his inter-personal relationships; and his disappearance from the art scene. Goldsteins's own recollections are complemented by the first person narratives of his friends, including John Baldessari, Troy Brauntuch, Rosetta Brooks, Jean Fisher, Robert Longo, Matt Mullican and James Welling. There are provocative portraits of many well known artworld personalities of the 80s, including Mary Boone, David Salle, and Helene Winer, all working in a time when "the competitive spirit was strong and often brutal, caring little about anything but oneself and making lots of money.": "a biting, controversial, contradictory, hilarious, and riveting read ...," Mariah Corrigan, caa.reviews:: "a first-rate contribution to the history of contemporary art," David Carrier, artUS

A companion to Still Lives—a Reese's Book Club x Hello Sunshine selection—this savvy thriller exposes dark questions about power and the art world and reveals the fatal mistakes that can befall those who threaten its status quo. Brenae Brasil is a rising star at Los Angeles Art College, the most prestigious art school in the country, and her path to art world celebrity is all but assured. Until she is found dead on campus, just after completing a provocative documentary about female bodies, coercion, and self-defense. Maggie Richter's return to L.A. and her job at the Rocque Museum was supposed to be about restarting her career and reconnecting with old friends. With mounting pressure to keep the museum open, the last thing she needs is to find herself at the center of another art world mystery. But when she uncovers a number of cryptic clues in Brasil’s video art, Maggie is suddenly caught up in the shadowy art world of Los Angeles, playing a very dangerous game with some very influential people. And the closer she gets to the truth, the more lies she threatens to expose. Maria Hummel, praised for her "genius for layering levels of meaning" (BBC), has brought us back to her provocative noir Los Angeles with this haunting investigation into power and the art world.

"A groundbreaking biography of Sam Francis, one of the celebrated artists of the twentieth century, and the American painter who brought the vocabulary of abstract expressionism to Paris. Drawing on exclusive interviews and private correspondence, Gabrielle Selz traces the complex life of this magnetic, globe-trotting artist who first learned to paint as a former air-corps pilot encased in a full-body cast for three years. Selz writes an intimate portrait of a mesmerizing character, a man who sought to resolve in art the contradictions he couldn't resolve in life"--

Conceived as a challenge to long–standing conventional wisdom, Creating the Future is a work of social history/cultural criticism that examines the premise that the progress of art in Los Angeles ceased during the 1970s—after the decline of the Ferus Gallery, the scattering of its stable of artists (Robert Irwin, Ed Kienholz, Ed Moses, Ed Rusha and others), and the economic struggles throughout the decade—and didn't resume until sometime around 1984 when Mark Tansey, Alison Saar, Judy Fiskin, Carrie Mae Weems, David Salle, Manuel Ocampo, among others became stars in an exploding art market. However, this is far from the reality of the L.A. art scene in the 1970s. The passing of those fashionable 1960s–era icons, in fact, allowed the development of a chaotic array of outlandish and independent voices, marginalized communities, and energetic, sometimes bizarre visions that thrived during the stagnant 1970s. Fallon's narrative describes and celebrates, through twelve thematically arranged chapters, the wide range of intriguing artists and the world—not just the objects—they created. He reveals the deeper, more culturally dynamic truth about a significant moment in American art history, presenting an alternative story of stubborn creativity in the face of widespread ignorance and misapprehension among the art cognoscenti, who dismissed the 1970s in Los Angeles as a time of dissipation and decline. Coming into being right before their eyes was an ardent local feminist art movement, which had lasting influence on the direction of art across the nation; an emerging Chicano Art movement, spreading Chicano murals across Los Angeles and to other major cities; a new and more modern vision for the role and look of public art; a slow consolidation of local street sensibilities, car fetishism, gang and punk aesthetics into the earliest version of what would later become the "Lowbrow" art movement; the subversive co–opting, in full view of Pop Art, of the values, aesthetics, and imagery of Tinseltown by a number of young and innovative local artists who would go on to greater national renown; and a number of independent voices who, lacking the support structures of an art movement or artist cohort, pursued their brilliant artistic visions in near–isolation. Despite the lack of attention, these artists would later reemerge as visionary signposts to many later trends in art. Their work would prove more interesting, more lastingly influential, and vastly more important than ever imagined or expected by those who saw it or even by those who created it in 1970's Los Angeles. Creating the Future is a visionary work that seeks to recapture this important decade and its influence on today's generation of artists.

"Fondazione Prada presents, within the spaces of Fondazione Giorgio Cini in Venice, an anthological exhibition, curated by Germano Celant, of the American artist John Wesley (Los Angeles, 1928). The event, that will take place in parallel with the Venice Biennale, will be the larger and more complete exhibition ever realized on Wesley's activity, among the most important and significative figures in American modern art. On this occasion, more that 150 works from private collections and prestigeous international museums will be presented. Aiming at a deep examination of Wesley's complex language, the exhibition will maintain a strictly historical approach. Starting from the first works realized at the beginning of the 60's, like paintings and objects, it will develop along the path of his production until his more recent works, marked by a kind of creative freedom that underlines the artist's deep-rooted experimental and innovative nature. Grouped with Pop Art for his use of popular subjects deriving from cartoon characters and advertising photos, and later on linked, due to the essentiality and compositional rigour of his production, to Minimal Art (to such an extent that Donald Judd and Dan Flavin will be counted among his greatest admirers), Wesley, as a matter of fact, eludes a simple critical definition. Besides the imaginary of Pop and reductionism, Wesley's works convey an intricate personal world where the artist's most intimate feelings are intertwined: Wesley losing his father prematurely, the memory of some of American historical personalities, the references to animals and to erotic subjects and quotations from Art Nouveau or Japanese iconography. A subtle flair for the amusing and surreal side of life, that contributes to enhance the inneffable and enigmatic elements in Wesley's art"--Gallery website.

Beginning in 2018, Ahmed M. Badr—an Iraqi-American poet and former refugee—traveled to Greece, Trinidad & Tobago, and Syracuse, New York, holding storytelling workshops with hundreds of displaced youth: those living in and outside of camps, as well as those adjusting to life after resettlement. Combining Badr’s own poetry with the personal narratives and creative contributions of dozens of young refugees, While the Earth Sleeps We Travel seeks to center and amplify the often unheard perspectives of those navigating through and beyond the complexities of displacement. The result is a diverse and moving collection—a meditation on the concept of "home" and a testament to the power of storytelling.

"From the author of Strapless and Guest of Honor, a book about a little-known road trip Andy Warhol took from New York to LA in 1963, and how that journey - and the numerous artists and celebrities he encountered - profoundly affected his life and art"--

Los Angeles magazine is a regional magazine of national stature. Our combination of award-winning feature writing, investigative reporting, service journalism, and design covers the people, lifestyle, culture, entertainment, fashion, art and architecture, and news that define Southern California. Started in the spring of 1961, Los Angeles magazine has been addressing the needs and interests of our region for 48 years. The magazine continues to be the definitive resource for an affluent population that is intensely interested in a lifestyle that is uniquely Southern Californian.

To get to happily ever after, sometimes you need to start from scratch.... Abbey Ross, who runs her own bakery in Oakland, California, is known for her visually stunning wedding cakes. But lately, Abbey's own love life has become stale. According to her best friend, Bendrix, Abbey's not the spontaneous young woman she was when they were teenagers listening to the Cure and creating attention-grabbing graffiti. Of course, her failed relationship with a womanizing art forger might have something to do with that. Nevertheless, it's time for Abbey to step out of the kitchen--and her comfort zone--and Bendrix has even handpicked a man for her to date. Samuel Howard is everything Abbey's dreamed of: handsome, successful, and looking to raise a family. But a creamy icing might be needed to hide a problem or two. When Samuel complains about disrespect for the institution of marriage, Abbey's reminded of her nontraditional family, with thirteen children from various mothers. And when Samuel rails about kids having kids, Abbey thinks of her twenty-year-old sister who's recently revealed her pregnancy. Soon Abbey is facing one disaster after another and struggling to make sense of it all. Her search for love has led her down a bitter path, but with the help of her unique family and unwavering friends, she just might find the ooh la la that makes life sweet. READERS GUIDE INCLUDED