Anne Ellegood collaborated with Chief Curator Douglas Fogle on the Hammer’s sixth Invitational entitled All of this and nothing, an intricate extravaganza of local and international artists whose works traverse many media but remain connected by conceptual quandaries. Together they reject the monument, celebrate the ephemeral, and cordially demand a slow, considered viewing. This interview by Drew Denny.

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DISTRO HAS BEGUN! SIDE A LACO$TE by Daiana Feuer HANNI EL KHATIB by Lainna Fader DEATH by Kristina Benson GANG OF FOUR by Lainna Fader TEEBS by Kristina Benson OFF! by Chris Ziegler TOM TOM CLUB by Daiana Feuer FORT KING by Dan Collins LUIS & THE WILDFIRES by Lainna Fader MY DRY WET MESS [...]

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Tiny Creatures was born in May 2006 with its release of Ariel Pink’s Haunted Graffitti’s My Molly EP and grew into a gallery space that September when founder and director Janet Kim opened her home to a community of artists and performers in search of a space that could absorb their wildness and reflect their [...]

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From bedroom recordings and family band theatrics that sounded like melted cassettes left out in the sun to tastefully professional production and performances—Ariel Pink and his Haunted Graffiti has risen to the rank of the rock star, headlining a show featuring one of the world’s greatest psych rock bands with a legacy of nearly 40 years.

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Tonight at Pehrspace, LA indie pop purveyors Big Whup celebrate the joint release of their first two music videos with a screening that pairs dictators with dancers and pillow fighting with glitter. Band members Drew Denny, Jenna Eyrich, Geoff Geis, Morgan Gee, and Rand Voorhies joined forces with directors Kate Gill and Matthew Chevlen for [...]

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In the preface to The Order of Things, Foucault recalls Borges’ description of a ‘certain Chinese encylopedia’s’ taxonomy of fauna (a. belonging to the emperor, b. embalmed … ) as a magically humorous interpretation of reality. Such is the interpretation offered by the Museum of Jurassic Technology. Founded and directed by David Wilson since its nomadic inception in ‘84, the Museum of Jurassic Technology needs not distinguish history from fantasy. Wilson’s collection investigates the whimsical with as much ardor as the technical, the old wive’s tale with as much nuance as the astrophysicist’s process. A walk through his Museum leads one from micro-miniature to 3-D, stereoscopic to X-ray, model to map to taxiderm— instilling within visitors a sense of wonder that endures far beyond the Museum’s doors, turning Culver City into another Borgesian Labyrinth. This interview by Drew Denny.

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The Telethon is an inclusive group swimming upstream for an eternity. The community might never find that home, and the needs might never fully be met, but it’s that eternal striving that puts the “Eternal” in Eternal Telethon. Benefits may include hugs, balloons, and cake. This interview by Drew Denny.

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The Center For Land Use Interpretation, founded and directed by Matthew Coolidge, wants to keep you on your toes! It is clothing optional, and there are no security guards outside CLUI’s exhibits, nor are there locks. A simple code will get you in because CLUI trusts you. They will not, however, make anything too easy for you to find. Heightened awareness, inspired by this search connects a human to her surroundings—a good thing if you ask Matt Coolidge, who spends his days documenting and interpreting human ity’s constructed landscape, scribing stories and drawing bits of meaning but making no conclusions, mind you, because doomsday has come and gone and the Garden of Eden was only a previous version of whatever nature means to you. This interview by Drew Denny.

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We Are The World choreographer Ryan Heffington connects the underground to the mainstream pop circuit, the sewing machine to the street and the studio to the wilderness to the screen. Between touring to Mexico City and finalizing Ke$ha’s “thug dance,” Ryan took a minute to relay a manifesto that outlines dance for the people and drags performers from the stage to public space while scoffing at outdated notions of gender and sexuality—the only concepts this artist can’t choreograph. This interview by Drew Denny.

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Now this is music I can masturbate to! As danceable as it is disturbing, Clay Stones squirms me right from the get-go: “Foot Follows Foot” and “Clay Stones” are coming-of-age ritual music for the last pagan rave.

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