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Wednesday, May 22, 2013
SURFERS AND LOW RIDERS: " GO GO's DROPPING IN …"
SURFERS
AND
LOW RIDERS:
" GO GO's DROPPING IN …"
audio at http://www.bureauofartsandculture.com/FICTION--SURFERS---LOWRIDERS.html
FICTION: Excerpt from The Story Series
by Joshua Aaron TRILIEGI
My older brother Chaz is talking Mom into letting me take a day away from school
to watch the surf contest at Hermosa Beach Break Wall. I wonder what that means,
were going to break a wall ? We do break it when Mom reluctantly agrees, due to
my old man seconding the motion. ' The kid needs to learn how to surf, we don't
want him hanging around these streets & fields for ever.' Somehow, they agree.
I'm told we will be getting up at five AM. The surf journey starts early when you
live inland. We pile into someones van & are on the sand lot walking to the reef &
break by sunrise. If I don't look up, its legs and feet and crotches : I'm nine, ten
or eleven, the only kid in attendance. Were about to to see one of our neighbor-
hood jesters steal an entire season from a bunch of internationally known pros.
People are gathered in groups & huddles. A calm intelligence, mixed with a wild
sense of un expectancy from the surf, which is cold and grey, is in the air. Big
sets flow in, getting larger & slanting into even more powerful faces that broaden
slowly, without notice, becoming the big waves that cats from all over came here
to be a part of. These are Winter swells. Different than the smooth, silver, glassy,
summer afternoons we knew so well. This is the mean, cold, sharp, kind of grey,
jagged, hurtful side of mother nature. An old woman of an ocean ready to take
the boys into manhood. Several little stands & tables with umbrellas & banners are
blown over completely. The more concerned sponsors embarrassingly back up their
entire camps. It's an outsiders nightmare & a locals home favorite kind of condition.
It doesn't take long before Go-Go, short for Geronimo, starts scheming to pull
the kind of prank that makes names and legends and stories such as this one here.
He's chewing on two pink chocolate sprinkled cakes, shaped like breasts. Chasing
them down with several gulps of Mad Dog Twenty-twenty & a quaalude or codeine
'cause his wetsuit has a giant rip in it and he messed up his ankle the night before
at Oktoberfest. Sleeping in his car in front of Millers Market until pre dawn hours.
He's looking like a coyote running in the back field, while all these pros look like a
bunch of rabbits, sitting, quiet. Even though they have been in the water for several
heats or sessions of elimination and judgements on style, distance, etc… Go-Go's
not even entered in the competition. He's simply going to jump out there and join
the ranks with a wild sense of piracy that comes with years of life on the water. Like
a renegade native, getting high on the water. He can't help it. Go Go's dropping in.
I have heard guys talking about my brother's either bravery or just plain craziness
in dropping in on the biggies at the break wall. But those were warm Summer swells.
This was after he had dropped out to master Swami's, County Line and Horseshoe.
Years before the storms took away half the beach from us forever. Back then, there
were the Hawaiian transplants and Filipino's , the blonde Malibu types and then there
was Bill. He was my older brothers, best friend's older brother. The first day I met him,
he was shaping a board in the family garage. He was the conscious of our neighborhood.
A mentor and ex football hero. Now the word is getting and Bill is saying that Go-Go is
a kook. But everyone else is goading him into it. The b level players like, Gozer, Richie
and the others. " Yeah Go - Go do it." So, we're all aware that something is going to
happen and all the guys that look like newscasters at the table are about to be surprised
by the " Attack of the Boys from The East End " like a film at the Roadio drive-in. We had
our own daredevil-jokester-madman-hero and we'd have sent him into anything, just to
watch him burn, although it was his matchbook, that was always clear, so it didn't seem
like anyone even thought twice about his safety, except maybe Bill.
Of course , it was about the girls too. A guy like Go-Go who wasn't a pretty boy or
particularly smart or wealthy could crank up his position on the charisma level. He'd
be King - for - a Day. Could maybe even shack up with a babe for a week or so after
a performance like this. A guy would build up his story, it circulated, and he'd ride it
like the wave that Go-Go was hoping to catch. There are boats at bay, in case of any
emergency and the girls are all in their bikini's and cut off jeans. They must have come
up from Mexico the way they look, glowing with that peach, amber glow that white girls
get after a season or two on the road with surfers. The tips of their hair, the tan toes, the
bright colored clothes and all the wind blown edges of their attitude. Go - Go slips away
long enough for us to forget about his plan when someone at the surf officials table
becomes extremely animated and upset, waiving erratically at some thing no one else
can see. Another official breaks out the bull horn and starts directing the man on the
break wall to , " Get away from the water. " Go - Go continues down the wall toward
the rocky point where locals, who knew the terrain, could jump off by counting the right
three second interval between the breaking set and the next rising crest. But today, this
was just plain f@#*ing insane and everybody knew it.
I started to get concerned. Not like Bill did, by calling him a knuckle head, but fearful
that a bad thing could happen. And of course a bad thing could happen, that's the
point of these manhood rituals with the sea and earth and wind and ourselves. But
Go-Go was built to do this, just like he was built to steal a police car because the cops
busted up a party where he was about to get laid and it really pissed him off. Some
were not impressed, whereas we were ecstatic, I mean I was anyway. The place was
being robbed of it's boundaries, that was the thing. So Go-Go does a run and a jump,
off the end of the concrete, over the first set of rocks and launches a toes - out - cat -
like - flight over the six feet of rocks on the outer side of the break wall and into the
sacred sea. Breaking several rules, disrupting the contest and banishing himself from
any future competition position according to the Official California Surfing Federation
handbook of 1970 - something. But Go-Go wasn't saving for retirement, he was building
up a different account of sorts and was about to hit the long shot on a late bet at roulette.
Now he's out there and has to drop in on this next big set and do this thing or it'll flop
and he'll have lost a chance & completely ruined an otherwise decent Winter competition.
He works quick, paddling into a larger break point which can completely slam you into the
rocks if your to close at drop in. By now everyone knows what's going on, all eyes are on
Go - Go. People in our circle start shouting, " Go - Go you f*#@er ." Others join in like
fans at a Rams game or Stones concert, " Go - Gooooooooo, do it man." Finally, the war
cry is heard, " G - e - r - o - n - i - m - o ! " I look up and even Bill is beaming. As they
all shouted into the cold, grey sea, Go - Go dropped in and it was then that I started to
understand what surfing was really all about.
BUREAUofARTSandCULTURE.com " Go- Go' s Dropping In " from SURFERS and LOWRIDERS by J.A. TRILIEGI
Monday, May 20, 2013
The BUREAU [Volume1, 2 , 3 ] 2013: Ad Rates
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JOAN SCHULZE : BAY AREA POTRERO HILL ARTIST
JOAN SCHULZE : BAY AREA POTRERO HILL
LISTEN TO THE AUDIO INTERVIEW IN - STUDIO WITH THE BAY AREA ARTIST
http://www.bureauofartsandculture.com/INTERVIEW--JOAN-SCHULZE.html
BU
BUREAU MAGAZINE is Focusing on various Cities besides our LOS ANGELES BUREAU Office.
Volume One has a SPECIAL Look at SAN FRANCISCO and The BAY AREA. Joan Schulze is a
Collage Artist with decades of interesting Artwork, an inspiring career, a wonderful book
and a lovely Art studio on Potrero Hill. We spoke with Joan, spent time in her city and
in the studio discussing, Art, Philosophy and her career as a teacher, artist and lecturer.
JOAN is featured in the Paper Version of BUREAU Magazine with KRISTEN STEWART on
the Cover for her role in ZOETROPE Studios great New Adaption of JACK KEROUAC ' s
Classic American Novel, ON THE ROAD which will open nation wide this SPRING 2013.
Most Interviews, Articles, Fiction and Columns will continue on - line at the BUREAU site.
" I am motivated to do it [ ART ] because I have had an experience that I
have to some how make visual "
- Artist and Lecturer JOAN SCHULZE
LISTEN TO THE AUDIO INTERVIEW IN - STUDIO WITH THE BAY AREA ARTIST
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DIEBENKORN : The Early Years at de Young Museum Golden Gate Park
DIEBENKORN : The Early Years
at de Young Museum Golden Gate Park
Richard Diebenkorn, Seawall, 1957. Oil on canvas, 20 x 26 inches. Fine Arts Museums of San Francisco, gift of Phyllis G. Diebenkorn, 1995.96 © 2013 The Richard Diebenkorn Foundation
Richard Diebenkorn: The Berkeley Years, 1953–1966
HERBST EXHIBITION GALLERIES
June 22, 2013 - September 29, 2013
This exhibition will examine one of the most complex periods in the distinguished career of Richard Diebenkorn, exploring his shifting conceptions of abstraction and figuration through 131 paintings and works on paper, and emphasizing the formal evolution of these diverse works, their interrelationships, and their possible meanings for the artist.
Although Diebenkorn (1922–1993) was born in Portland, Oregon, he grew up in San Francisco’s Ingleside Terraces neighborhood and attended Lowell High School, Stanford University, and UC Berkeley. He lived in Sausalito from 1947 to 1949 and was both a student and instructor at the California School of Fine Arts (today the San Francisco Art Institute). After sojourns in Albuquerque, New Mexico; and Urbana, Illinois, Diebenkorn returned to the Bay Area in 1953 and settled in Berkeley, where he stayed for 13 years.
This exhibition is the first to focus specifically on this fertile period for the artist. His artistic evolution during what is now known as the “Berkeley period” yielded many of his best-known works and marked this era as one of the most interesting chapters in postwar American art. The Berkeley period included an abstract phase (1953–1956) and a figurative phase (ca. 1955–1967) that included landscapes, figures, interiors, and still lifes.
Featuring vibrant and varied works that are both abstract and representational, this unique selection traces the artist’s dramatic stylistic and thematic transformations during this pivotal period through well-known pieces as well as striking recent discoveries rarely or never before seen in public. The Fine Arts Museums of San Francisco have been longstanding supporters of Diebenkorn: his first solo museum exhibition was held at the Legion of Honor in 1948, and the permanent collection houses key works from his Berkeley period including Berkeley #3 (1953) andSeawall (1957). The exhibition features loans from many prestigious public and private collections, including that of the Diebenkorn family.
The exhibition is organized by the Fine Arts Museums of San Francisco, in collaboration with the Palm Springs Art Museum. President’s Circle: Ednah Root Foundation. Curators Circle: Koret Foundation. Conservators Circle: Christie’s. Benefactors Circle: National Endowment for the Arts. Supported by an indemnity from the Federal Council on the Arts and the Humanities.
The catalogue is published with the assistance of the Andrew W. Mellon Foundation Endowment for Publications.
Related Lectures & Events
LAWRENCE FERLINGHETTI at GEORGE KREVSKY GALLERY
LAWRENCE FERLINGHETTI at GEORGE KREVSKY GALLERY
77 GEARY STREET SAN FRANCISCO CALIFORNIA 94108 415 . 397 . 9748
MAY 30TH THROUGH
TO JUNE 29TH 2013
SURF BOARD SHAPER : Adam Davenport
Dan Quintana Zero Instruments Opening Reception: May 25, 6-9pm
Dan Quintana
Zero Instruments
Opening Reception: May 25, 6-9pm
Varnish Fine Art is pleased to present Zero Instruments, a solo exhibition of new work by Dan Quintana, opening on May 25th, 2013. This exhibition showcases Dan Quintana oil paintings and charcoal drawings, featuring the bold figures set in allegorical landscapes that Quintana is known for.
Zero Instruments… these (musical) devices will serve as an allegory… Our hearts and minds are a concerto of one. In this case, zero. The essence has and will always remain. Savage. –Dan Quintana
Hailing from Los Angeles, CA, painter Dan Quintana channels a style reminiscent of the late Hieronymus Bosch, but with a modern twist. The tones, brushwork and overall technique of Quintana yield a result which pays homage to the great 13th century master, but it is his subject matter, and re-imagining of today's "earthly delights" that puts his work in a class all of its own.
Collectors Preview for Zero Instruments HTTP://VARNISHFINEART.COM
Zero Instruments
Opening Reception: May 25, 6-9pm
Varnish Fine Art is pleased to present Zero Instruments, a solo exhibition of new work by Dan Quintana, opening on May 25th, 2013. This exhibition showcases Dan Quintana oil paintings and charcoal drawings, featuring the bold figures set in allegorical landscapes that Quintana is known for.
Zero Instruments… these (musical) devices will serve as an allegory… Our hearts and minds are a concerto of one. In this case, zero. The essence has and will always remain. Savage. –Dan Quintana
Hailing from Los Angeles, CA, painter Dan Quintana channels a style reminiscent of the late Hieronymus Bosch, but with a modern twist. The tones, brushwork and overall technique of Quintana yield a result which pays homage to the great 13th century master, but it is his subject matter, and re-imagining of today's "earthly delights" that puts his work in a class all of its own.
Collectors Preview for Zero Instruments HTTP://VARNISHFINEART.COM
Luis De Jesus Los Angeles : ANTONIA WRIGHT
http://www.bureauofartsandculture.com/SUMMER--ADS----PRINTING-SOON.html
ANTONIA WRIGHT
Be
May 18 - June 29, 2013
Artist's Reception: Saturday, May 18, 6-8 pm.
Luis De Jesus Los Angeles is pleased to present Cuban-American artist ANTONIA WRIGHT in her first Los Angeles solo exhibition, titled Be, on view in Gallery One from May 18 - June 29, 2013. An artist's reception will be held on Saturday, May 18, from 6-8 pm.
The sad, strange and beautiful vulnerability of the human condition are all considerations in the work of Miami-based artist Antonia Wright. Wright explores the various politics and comic facets of human experience through a multifarious, process-oriented practice combining video, performance, photography, poetry, sound and sculpture. Wright acknowledges the layers of societal taboos and barriers between her artistic choices, and pointedly pushes them into the public realm for the viewer to examine.
The exhibition will present two videos: the premiere of the eponymously titled Be (2013) and Deep Water Horizon (2009). For Be, Wright covered herself in a colony of bees while practicing Tai Chi.Tai Chi and bees are similar in that they both have the capacity for violence, but in their peaceful states, raise vitality in the body and the environment. Wright's decision to place her own life in danger becomes a powerful metaphor for the fragility of life and a lesson for how we can remain peaceful in the face of danger. In preparation for the performance, Wright spent an extended period learning Tai Chi and meditation, including traveling to India to receive personal instruction at an ashram.
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For further information and images, please contact the gallery at 310-838-6000, or email:gallery@luisdejesus.com.
LUIS DE JESUS LOS ANGELES
2685 S LA CIENEGA BLVD
LOS ANGELES, CA 90034
T 310 838 6000
F 310 838 6001
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