For the Silo, Kelly Hargraves.
Tag Archives: Los Angeles
Beverly Hills Prettiest Mansion
Brunette knockout Christina Estrada modeled for some of the world’s top brands and appeared in the famous Pirelli calendar. Born in the USA, the glamorous Estrada has been based in London since 1998. She was previously married to Saudi billionaire Sheikh Walid Juffali, but the couple divorced in 2016, leaving Estrada the sole owner of a fabulous Beverly Hills villa. The supermodel has listed the stunning estate for sale at $26 million usd/ $37.7 million cad. According to the listing agent, Gary Gold, “This is the quintessential Beverly Hills estate located on the best block of the best street in the Flats. This is the type of home you see in a movie portraying the good life.”
Built in the 1930s, the mansion has been painstakingly restored, blending the irreplaceable craftsmanship of a bygone era with all the latest in modern luxury.
Spanning 9,000 square feet with five bedrooms, eight bathrooms, and luxe modern amenities, the residence will be sold fully furnished.
The two-story home boasts an imposing Italian-style facade. Old World styling is evident throughout the mansion, with columns, archways, wrought-iron details, and exquisite beamed ceilings. Enter through the impressive two-story foyer, featuring double staircases, coved archways, a wonderful chandelier, and a hand-painted ceiling. The chef’s kitchen boasts top-of-the-line appliances and a spacious butler’s pantry, while the formal dining room includes seating for 12. A cozy breakfast offers a more relaxed atmosphere, with yard access for al fresco dining.
The spacious primary suite includes big windows for lots of natural light, a generously appointed bathroom with marble accents and a glamorous mirrored powder room, plus a walk-in closet fit for a supermodel’s wardrobe. Upstairs, find three more bedrooms with their own en-suites, furnished in a classic style. A step-down living room with steel-case windows and an attractive great room with an inviting fireplace offer lots of space for lounging. Meticulous attention to detail is evident in every room, while the chic but understated furnishings allow the home’s timeless beauty to shine.
The spectacular yard offers a resort-like atmosphere with a stylish pool, manicured lawns, and tall hedges for lots of privacy. Multiple balconies offer pool views, while the den and family room connect with the outdoor spaces for seamless indoor-outdoor living, taking advantage of LA’s year-round pleasant weather. The covered loggia is especially lovely, with intricate columns and a curtained gazebo. Other amenities include a library with built-in bookshelves, a five-car garage, and a separate guest house with two bedrooms and two baths.
Located just off world-famous Sunset Blvd, the mansion is convenient to the music and entertainment venues of the Sunset Strip, the high-end shops on Rodeo Drive, the Getty Museum, and the Los Angeles Country Club. Known for its beautiful homes on large lots, the Flats is one of 90210’s most exclusive neighborhoods. Just a few of the zipcode’s illustrious residents include Adele, Taylor Swift, Jennifer Aniston, Jack Nicholson, Ashton Kutcher and Katy Perry. For the Silo, Bob Walsh/ toptenrealestatedeals.com.
The listing is held by Gary Gold at Forward One. Photo Credit: Jennifer Mann, The Luxury Level
Source: soldbygold.net
Heroic Animal Rescue Efforts Amid Palisades Fire
In Defense of Animals Supports Evacuations & Offers Emergency Care
Watch video below-
In Defense of Animals battled through downed power lines, rockslides, and fallen trees to aid animals, and is offering and seeking help for others. Photo: In Defense of Animals
LOS ANGELES (January, 2025) — As the devastating Palisades Fire and others continue to ravage communities in Los Angeles, In Defense of Animals is taking decisive action to support animal rescuers and provide life-saving aid for animals affected by the crisis. Among the heroic responders is In Defense of Animals board member Sammy Zablen, who has been working tirelessly to evacuate animals from dangerous areas.
On January 8, Zablen responded to a plea from Philozoia animal rescue in Malibu’s Tuna Canyon area to evacuate two ponies from their fire-threatened property. What would normally be a 20-minute drive took over three hours due to extreme conditions, including rockslides, downed trees, and fire debris blocking the route.
Navigating a treacherous path that included cutting brush and driving on hiking trails, Zablen’s team encountered harrowing obstacles such as a burning power pole, destroyed homes, and vehicles engulfed in flames. Upon arrival, the team discovered the ponies’ corral broken and the animals missing. Despite an active fire and dangerous rockslides, the team searched the area for 30 minutes, leaving food, water, and dousing the roof with water to mitigate further damage.
The two ponies have now been recovered by Philozia, but two dogs remain missing and the rescue center burned down entirely. Earlier in the day, a pig and 38 dogs were successfully evacuated. Philozoia is seeking urgent foster care for several senior dogs.
In Defense of Animals is collaborating with multiple local rescuers and organizations. Advanced Fire Rescue and Lifesavers Wild Horse Rescue were both vital in coordinating resources and gaining access to this dangerous area.
In Defense of Animals is offering emergency aid to animal rescuers and caregivers affected by the fires and providing free resources for temporary housing and care for wild and domestic animals.
“The devastation of these fires is unimaginable, and animals are often the most vulnerable victims,” said Marilyn Kroplick M.D., President of In Defense of Animals. “We are deeply grateful for the bravery of responders like Sammy Zablen and the other incredible organizations we are coordinating with to help on the ground. Together, we are making a difference for animals in crisis.”
In Defense of Animals urges anyone needing assistance with animal evacuations or free, temporary housing for wild or domestic animals to call Sammy Zablen at 310-869-2383. Please mention The Silo when contacting.
Los Angelenos who can foster a senior dog are encouraged to apply at www.philozoia.org/foster.
In Defense of Animals is seeking donations which are critical to support these emergency efforts, providing resources such as veterinary supplies, food, water, and temporary shelter: www.idausa.org/lafire For the Silo, Fleur Dawes.
- Request Fire Assistance: Sammy Zablen, Board Member, 310-869-2383
In Defense of Animals is an international animal protection organization based in California with over 250,000 supporters and a history of fighting for animals, people, and the environment through education and campaigns, as well as hands-on rescue facilities in California, India, South Korea, and rural Mississippi since 1983. www.idausa.org
Founders Of Hot Rodding Include Canada Born Hilborn
These 5 Hot-Rodders Forged the Legacy of the Flathead
The impact of Ford’s flathead V-8 on the hot rod scene is undeniable. But the individuals that immortalized this engine—and, along the way, laid the foundation for the hot-rod scene—are the real heroes.
photo- Brandan Gillogly
n the early 1900s, horsepower was almost exclusively for the Gatsbys of the world. Ford’s flathead V-8, introduced in the depths of the depths of the Great Depression, changed all that. But it needed some help from car obsessives, who went on to invent what we now know as hot-rodding. Learn about them below, then check out Preston Lerner’s deep dive on the Flathead and its impact here.—Ed.
While it’s not without its flaws, the Ford flathead V-8 marked a significant milestone in the history of American performance. Ford’s mass production of the flathead opened up racing to a whole new audience and helped an industry flourish. Ford wasn’t alone, however, as the factory-built flathead was just a building block. Several individuals, through their own innovation and business acumen, were able to build flathead V-8s to horsepower levels that pushed boundaries of speed, developed a massive segment of our hobby, and forged long-lasting businesses, many of which are still with us today. Here are five pioneers of the aftermarket that used the flathead V-8 to cement themselves and their companies in American culture.
Ed Winfield
1901-1982
Known as “The Father of Hot-Rodding,” Winfield got his first job in a blacksmith shop when he was just eight. By the time he was 11, he was stripping down the neighbor’s Model T to shed weight and make it faster. Two years later, he was working on carburetors in Harry A. Miller’s Los Angeles shop where Barney Oldfield’s groundbreaking Golden Submarine race car was being built. With a knack for machinery and an intimate knowledge of engines, Winfield started his own carburetor company in 1919 and began grinding cams the following year. His carburetors were used on eight of the ten Indy 500 winners from 1933-1946, the only exception was Wilbur Shaw, who had won with a Winfield-fed Shaw/Offenhauser engine in 1937 and switched to Maserati power for his wins in 1939 and 1940.
Winfield did it all, from serving as a riding mechanic and racing at Ascot Speedway to working with major automakers in developing engines. Winfield also helped a young Ed Iskendarian with cylinder head work. He was inducted into the Indianapolis Motor Speedway Hall of Fame in 1983 and the Motorsports Hall of Fame in 2011.
Vic Edelbrock Sr.
1913-1962
Already an established mechanic, Vic Edelbrock Sr. designed the Slingshot intake manifold for flathead Ford V-8s in 1938 and tested it on his own 1932 Ford roadster on Southern California’s dry lakes. After WWII, Vic moved into a new shop in Holywood and designed his first cast aluminum cylinder head for flathead V-8s. Also in 1946, Edelbrock created its first catalog of speed parts, and soon its products were found on cars competing in virtually every form of racing, whether it was on the 1/4-mile, on circle tracks, or America’s dry lakes. His son, Vic Jr., took over the business after his passing and expanded the business to include fuel injection and superchargers. Vic Jr. passed away in 2017, but the company continues to make performance parts. To this day, the company makes Victor and Victor Jr. cylinder heads and intake manifolds that keep their legacy alive.
Stu Hilborn
1917-2013
Born in Canada, Hilborn came to southern California in time to graduate high school and attend junior college in Los Angeles before enlisting in the Army Air Corps (you’re going to notice a trend here). While working on aircraft, Hilborn began scheming up a new way to feed fuel to engines, and once he was back in Southern California, he built a dry lakes racer that would prove his constant-flow fuel injection could compete and win against carburetors. The sleek racer was the first to eclipse 150 mph on the dry lakes and graced the fourth cover of Hot Rod magazine in April, 1948.
Hilborn continued to modify and improve his fuel injection design, and in 1952 Bill Vukovich drove the Fuel Injection Special in the Indy 500, where he led 150 laps and was just nine laps from the finish when a steering issue sidelined the car. That was tough luck for Vukovich, but 22-year-old Troy Ruttman passed him and took the win. Rutman, like Vukovich, was running Hilborn fuel injection, as were the remaining drivers on the podium. You can think of Hilborn’s mechanical fuel injection taking over for Winfield’s carburetors, as the individual throttle body system became the induction of choice for America’s top racers, dominating the Indy 500 for decades, claiming 34 victories along the way. Hilborn stacks appeared on road racers of all kinds, and the company’s two-port units could be found atop supercharged drag cars as well, but it all started with the dry lakes flathead.
Alex Xydias
1922-2024
Alex Xydias passed away earlier this year at the age of 102, leaving behind an impressive legacy of business achievement and generosity. His name is synonymous with the So-Cal Speed Shop, the Burbank speed equipment emporium he founded after leaving the Army Air Corps in 1946. The most famous product of that enterprise is the iconic belly tank lakester that graced the January 1949 cover of Hot Rod magazine after it ran using Ford V-8-60 power. The So-Cal Speed Shop followed on the success of the lakester with a sleek streamliner that would go on to be powered by a Mercury flathead that would push the car to 210.8962mph, the fastest time of Speed Week 1950, earning Xydias back-to-back spots on the coveted Hot Rod trophy, and the first in excess of 200mph.
Xydias forged relationships with speed parts manufacturers and helped get race-winning parts into the hands of southern California hot-rodders through his shop, but So-Cal Speed Shop also sold parts across the country through its mail-order catalog, using the fame of his racing success to get more enthusiasts involved by proving what the flathead was capable of.
Ed Iskenderian
1921-
Ever a hot-rodder, Ed Iskenderian’s T roadster was and continues to be an influential build, but there’s a reason he’s known as the Camfather. Shortly after returning from United States Army Air Corps service during WWII, Iskendarian was eager to return to building engines, particularly flatheads, but the booming demand vastly exceeded supply. He didn’t waste time waiting for other cam grinders to catch up. Instead, Isky, already experienced with tool and die work, purchased a machine and converted it to grind cams. Not only were his camshafts effective, but Isky was a talented marketer, coining the term “5-Cycle Cam” to describe his camshafts that used valve overlap and the escaping exhaust gases to scavenge the incoming intake charge. In addition to his many pioneering valvetrain advancements, Isky is also credited with selling logo t-shirts before anyone else.
Iskendarian cams are still used by some of the quickest and fastest racers today.
Featured image via –Historic Vehicle Association For the Silo, Fabian Hoberg / Hagerty.
Triumph of Valet Of The Dolls
Breaking barriers in high heels.
In a bustling city with over 100 valet companies, a striking disparity persists: while inexperienced men effortlessly secure valet jobs, women are routinely turned away. Amidst this male-dominated landscape, one company stands out as a beacon of change: Valet Of The Dolls.
Founded in 2003, this trailblazing business has shattered stereotypes, carving out a niche as the go-to valet service for the entertainment industry and even prestigious events at the White House.
Gillian Harris, the current owner, has been at the helm for 21 years, guiding the company with a steadfast commitment to empowering women. Her dedication comes at a time when women’s rights and empowerment are increasingly under threat. “14.7% of all valet attendants are women, while 85.3% are men,” Harris notes, highlighting the gender imbalance that persists in the industry.
Under her leadership, Valet Of The Dolls has built a sterling reputation, attracting hundreds of loyal customers. The company’s motto, “A drive for ambition & an Ambition to Drive,” perfectly encapsulates its spirit and mission.
But the journey hasn’t been easy.
Harris reveals that male competitors are keen to buy her company, not to continue its mission, but to absorb its client base and eliminate the competition posed by a female-led valet service.
This stark reality underscores the vital importance of preserving Valet Of The Dolls. Harris is now focused on finding a successor who will carry forward the company’s mission of female empowerment. “The mission is too important to let it be diluted or disappear,” she asserts. Her search for a like-minded leader is crucial to ensure that the company’s legacy endures.
Valet Of The Dolls isn’t just a business; it’s a statement. In an industry that often sidelines women, it provides a platform for ambitious women to thrive. Harris’s vision for the future includes not only maintaining the high standards of service but also expanding opportunities for women in the valet industry. She envisions training programs, partnerships with women’s organizations, and initiatives to raise awareness about gender disparities in traditionally male-dominated fields.
Harris is a pioneer for the challenges women face in the valet industry.
For over two decades, Valet Of The Dolls has proven that women can excel in any arena, even one as traditionally male-dominated as valet services. As Harris looks to the future, she remains unwavering in her mission to empower the next generation of women drivers, ensuring that Valet Of The Dolls continues to set the standard in excellence and equality. For the Silo, Katherine Fleischman.
Muhammad Ali’s Beautiful LA Mansion
Widely regarded as the greatest heavyweight boxer of all time, Muhammad Ali was named “Sportsman of the Century” by Sports Illustrated in 1999.
Born Cassius Clay in Louisville, Kentucky, he started boxing at the age of twelve. At eighteen, he took home gold in the 1960 Olympics before going pro. In 1964, he upset Sonny Liston to become the heavyweight champion of the world, converted to Islam, and changed his name. Citing his religious beliefs, he refused to be drafted during the Vietnam War, fighting a draft-dodging conviction all the way to the Supreme Court. His stance against the war and his prominence as a black sportsman during the civil rights era made him a hero to African Americans and the counterculture. His fancy footwork and unorthodox movement made him the world heavyweight champion three separate times between 1964 and 1978, while his brash style and poetic trash-talking influenced hip-hop music.
Outside the ring, he was nominated for two Grammys for his spoken word albums. The superstar retired from boxing in 1979 and died in 2016.
Muhammad Ali’s former mansion, a beautiful Italian Renaissance home in a prime Los Angeles neighborhood, is set to be auctioned by Concierge Auctions. Built in 1916 by John C. Austin, architect of the Griffith Observatory and LA’s City Hall, the estate much like the Champ exudes charm and grandeur. A stained glass personally designed by Louis Comfort Tiffany tops a collection of priceless architectural features, including antique fireplaces, French Empire chandeliers, and imported Italian marble.
Ali owned the home from 1979 to 1984.
Stone steps lead up to a European-style facade. Set up for entertaining in style, the mansion’s lower floor features a grand entry hall, a sun room with a glass roof, a spacious salon, an ornate formal dining room, a living room with oversized bay windows, and a den with a wet bar. The estate has hosted a parade of luminaries, including Sylvester Stallone, Clint Eastwood and President Obama.
Upstairs, find bedrooms and offices, including a massive primary suite with its own fireplace. The suite opens onto a columned deck that overlooks two beautifully landscaped gardens. The park-like grounds include a swimming pool, lush lawns, a pergola terrace, stone fountains, and patios. Sitting on a 1.5-acre corner lot, the 10,500-square-foot mansion and 1,000-square-foot guesthouse are surrounded by privacy hedges and nestled behind the guarded gates of Fremont Place, an exclusive gated community in Hancock Park.
Hancock Park is an upscale Los Angeles neighborhood known for its architecturally important homes.
A haven for Golden Age celebrities, some of Ali’s neighbors included Mae West, Clark Gable, and Nat King Cole, plus titans of industry A.P. Giannini (founded Bank of America) and King Gillete of Gillete Inc. Contemporary stars who call the region home include Margot Robbie and Fred Savage. Nearby options for entertainment include the Los Angeles County Museum of Art and the Wilshire Country Club.
Previously listed for $13.5 million usd/ $18.5 million cad, the estate will be auctioned with a reserve. Bidding will close on May 15th.
Photos: Concierge Auctions. Article courtesy of friends at toptenrealestatedeals.com
Geology Studio’s Open 45 Credenza Optimizes Streaming & Vinyl Listening Experience
| Geology Studio’s Open 45 Credenza in white oak LOS ANGELES, Calif. — Geology Studio’s Open 45 Credenza is an innovative, locally crafted, all-in-one listening credenza specifically made for enthusiasts of vinyl record collecting and streaming. Streamers can neatly dock iPads, iPhones, and headphones alongside digital listening gear now. The Open 45 Credenza also promotes the use of your vinyl collection. Many record collections are hidden from sight in cabinets, stacked anonymously on a shelf, or stored too low to reach comfortably. The inspiration for the OPEN 45 is the idea of keeping your records in sight and ready to play, allowing you to spend time enjoying the fidelity of your vinyl. “I’ve had a record player since I was a kid, my record collection spans the spectrum from the Ghostbusters soundtrack I got when I was 9 to Zeppelin to Sir Mix-a-Lot and everything in between. I’ve carried this collection around for years and rarely played it.” “I was on a mission to figure out how to help people like myself engage with their music collections. This piece is the result of that effort,” says designer Adam Friedman. Made to promote the use of your record system and streaming devices, the Open 45 allows the minimum amount of steps to get your music playing. Slotted interior allows for movable divider panels Shelves can be moved to suit your setup Cord channel runs entire length of unit for hidden cable management Available in standard 5’ and 7’ Lengths. Custom lengths available upon request Legs available in matte black, brass finish or custom finish “I’d been neglecting my records because the storage was inconvenient – out of view and not very accessible. In talking to friends and clients, I discovered I wasn’t the only one with this issue. The 45-degree angle of the Open 45 design is a feature informed by function. Bringing albums into view in an organized and accessible way allows people to enjoy their collections and display them with pride, even the Ghostbuster soundtrack. Everyone has their unique setup – explore the flexibility of our modular platform. Shelving sits atop and can be moved around, offering an easy way to customize your setup. A discrete cord channel runs the length of the piece, keeping only the things you want to see on display,” Friedman explains. Standard setup includes the following components: x1 Large Shelf 22” W x 19” D x4 Divider Panels Available in 27” and a low 21” Height Custom Woods and Finishes Available Walnut is the standard option. White Oak is a popular custom option, but most custom wood requests can be accommodated. The base is metal and is typically lacquered in a black or plated brass finish, though this is highly customizable as well. “There’s a high level of precision that goes into this piece because of all of the miter cuts. If your tools aren’t lined up perfectly, the end product won’t come together.” Geology Studio is run by a husband and wife team, Adam and Vanessa Friedman. Each piece is thoughtfully developed by Adam, designer and craftsman and every piece is hand built by local artisans. The finished products you see are a final iteration of many takes. Geology Studio builds and rebuilds to fine tune the design and comfort level. ”The meaning and value of an object reveals itself over time, reflecting the consideration and patience invested in the design process. It is in this process I seek to design objects that listen, effortlessly adapting to the changing needs of a home and the people in it.” Geology finds inspiration by seeking new ways to see, feel and experience the everyday world. For the Silo, Virginia Chavez. |
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“I was on a mission to figure out how to help people like myself engage with their music collections. This piece is the result of that effort,” says designer Adam Friedman.
Canada’s Jim Carrey Lists L.A. Brentwood Mansion
Jim Carrey’s prolific career includes marquee comedy roles such as The Riddler, The Mask and Ace Ventura and critically acclaimed dramas Eternal Sunshine of the Spotless Mind, for which he won two golden globes and eleven MTV awards.
In 2022, he announced that he was taking a break from acting and was considering retirement. The prolific star has relocated to his vacation property in Maui and put the Brentwood estate where he has lived for the last 30 years up for sale.
Now listed for $26.5 million USD/ $35.2 CAD, reduced from $28.9 million USD/ $38.4 million CAD, the sprawling ranch-style mansion is nestled behind huge hedges and private red-brick gates.
The 12,700-square-foot home features five bedrooms, six full bathrooms, and three half baths. The stylish residence’s pitched high-beam ceilings offer tons of airflow, while skylights let in plenty of natural light to bathe the bright white walls and Jim’s extensive art collection, including his own impressive creations. The living, dining, and family rooms flow together with hardwood and polished stone floors, fireplaces and ample windows with views of the lushly landscaped grounds. The well-appointed chef’s kitchen offers an indoor BBQ. A circular breakfast nook looks out onto flowering pear trees. Multiple sliding glass doors open onto a central courtyard that provides space for entertaining or lounging in the classic California indoor/outdoor living style.
Jim’s primary bedroom suite includes its own private patio, plus a stunning wood-paneled bathroom with a copper-hooded fireplace, leaded glass windows, and a soaking tub. An Art Deco-style home theater pays homage to the movie palaces of old, with mohair-covered sofas, burl wood columns, and a lavish marble bathroom. The spacious gym and home office are perfect for the modern remote-work lifestyle. The massive two-acre grounds are a rarity in LA and include a full-size tennis court, a waterfall swimming pool, a pool house with bar, a sauna/steam room, vegetable gardens, and numerous mature trees. Walking paths wind through the serene environment, leading to the yoga and meditation platform. Carrey called the home “a place of enchantment and inspiration” and hopes it will continue to be “a magical sanctuary” for its next occupant.
One of LA’s most sought-after neighborhoods, Brentwood is right next to the hustle and bustle of Santa Monica but retains a community feel. Known for its tree-lined streets, unique mansions, and one of the best farmer’s markets in Los Angeles, Brentwood is home to numerous celebrities, including Arnold Schwarzenegger, LeBron James, and Tobey Maguire. Options for entertainment include the world-class Getty Museum, the Brentwood Golf Club, and the upscale shops and restaurants on San Vicente Blvd.
The listing is held by Janelle Friedman of Sotheby’s International.
The 12,700-square-foot home features five bedrooms, six full bathrooms, and three half baths, plus tennis courts, a waterfall pool, and an enormous two-acre lot.
For the Silo, Bob Walsh. Photos: Daniel Dahler for Sotheby’s International Realty
Women Of 1970s & 1980s Punk Rock
The punk rock scene of the 1970s and ’80s in Southern California is widely acknowledged as one of the most vibrant and creative periods in rock and roll.
Over the years, many books have come out exploring this explosive time in music and culture, but none have exclusively focused on the vitality and influence of the women who played such a crucial role in this incredibly dynamic movement.
“Almost a decade ago- IN THE SUMMER OF 2012, I attended an oral history workshop by the social justice organization Voice of Witness. I’m a librarian and professor at Santa Ana College and I participated in the workshop to discover projects I could do with students. I ended up imagining something entirely different: interviewing other women like me, now in our middle or later years, who grew up in the punk rock scene in Southern California. Did punk rock influence the rest of their lives? What attracted them to punk rock and how did they get involved? What was it like being a woman in the scene?
What you can now hold in your hands is the final result of a project that took several years and countless hours to complete.
How did I do it? I created a flyer about the project. I posted the flyer a few places around Orange County and Los Angeles and on Facebook. Women started contacting me to participate. I wrote up a list of questions and bought two digital recorders. I emailed some women directly and asked if they would be willing to participate. Then I started calling women and meeting them, mostly in their homes. A friend called it “punk rock anthropology.” I had no idea what an amazing experience this would be.“
Stacy Russo has created a unique book about the punk rock era, focusing on the women who were such a huge part of it. We Were Going to Change the World: Interviews with Women From the 1970s & 1980s Southern California Punk Rock Scene (Santa Monica Press/2017) captures the stories of women who were active in the punk rock scene in Southern California during this historic time, adding an important voice to the cultural and musical record. Recommended reading. For the Silo, Trina Kaye.
Johnny Depp’s Los Angeles Penthouse Collection Threatened By Divorce
What once was a successful pairing between Johnny Depp and Amber Heard has changed course and their dirty laundry is playing out in real time all over the world. Whether real or as a way to get each back into the limelight and boost their careers, the court case has proven to be entertainment on a level that has at times even had the judge laughing. One thing unfolding is that Amber appears to have her heart set on acquiring one, if not all, of Johnny’s fabulous L.A. penthouses.
What’s so desirable about them? Find out more via this article sent along to us from our friends at toptenrealestatedeals.
Known for being a somewhat dark, idiosyncratic actor, Depp has followed his own instincts in his choice of parts since his first role in Nightmare on Elm Street in 1984.
A Florida high school dropout at age 15, he played in several garage bands and married early. When he and his new wife took a trip to Los Angeles, in a stroke of good luck he happened to meet Nicolas Cage who suggested he go into acting. This led to his first film role in 1984’s Nightmare on Elm Street and quick successes in Edward Scissorhands, Sleepy Hollow and the Pirates of the Caribbean series. He then moved on to more serious parts portraying drug and gangster criminals in Blow, Public Enemies and Black Mass.
Widely considered one of Hollywood’s best actors and box office stars with Golden Globe and Screen Actors’ Guild Awards, Depp has made headlines from his movies, love life and his interesting real estate holdings, which include an island in the Bahamas. At various times engaged to Sherilyn Fenn, Jennifer Grey, Winona Ryder and Kate Moss, Depp had a long relationship with French singer-actress Vanessa Paradis. During his Paradis years, he purchased an entire French village which was recently on the market at $55.5 million usd. After he split with Vanessa, he married Amber Heard in 2015, but divorced just one year later. Listed after the $7 million usd divorce settlement with Heard is Depp’s unique collection of penthouses in downtown Los Angeles.
Depp acquired the five multi-storied, side-by-side penthouse units over a period of years after the building had been refurbished in 2007.
Decorated in his unique style, he never joined the units, but instead lived in them as though going from room to room, or lent to relatives to use.
Whether or not it was a conscious real estate business decision or a happy fluke, it means that the collection of units can be resold as a whole or individually. The group includes five condo units: four two-bedrooms and a one-bedroom, totaling approximately 11,500 square feet.
The 13-story Eastern Columbia Building was designed by Claud Beelman in 1930, considered to be one of the city’s best examples of Art Deco architecture still standing.
Johnny Depp’s collection of five penthouses in the famous Los Angeles Eastern Columbia building were available in 2016 as a group for $12.78 million USD; they are not currently on the market. For the Silo, Genelle Brown.
Photos: James Lang, Berlyn Photography for Partners Trust (now Compass) Video Credit: Sean Evans, @evvo1991
NORTH AMERICAS MOST EXPENSIVE HOME FOR SALE
Once projected to list for $500 million USD, this LA home is for sale at a still staggering $295 million USD.
“America’s Most Expensive Home – Twice As Big as the White House”
One of the world’s most expensive homes, appropriately named “The One,” has just hit the market. Construction ran several years late causing financial issues for the developer. If The One sells anywhere near the $295 million USD ask, it would be the most expensive home ever sold in California, well over the $177 million USD that venture-capitalist Marc Andreessen paid for his Malibu mansion in 2021 and the $165 million USD that Amazon CEO Jeff Bezos paid in 2020 for his Beverly Hills estate.
Perched on a promontory with 360-degree panoramic views of the Pacific Ocean, downtown Los Angeles and the San Gabriel Mountains, the Bel Air mansion is surrounded on three sides by a moat and measures in at a mind-boggling 105,000 square feet – almost twice as big as the White House. Located on 3.8 acres, the house, which was actually raised during construction to further optimize the views, includes 21 bedrooms and 49 baths.
Highlights of The One include five outdoor and indoor swimming pools with the moat encircling three quarters of the exterior, a massive nightclub, full-service beauty salon, wellness spa, 10,000-square-foot sky deck, 400-foot private outdoor running track with a glass-walled view of the city, and a private theater with seating for over 40.
In addition to ownership of one of the world’s most spectacular homes, the property also includes butterfly artwork by Stephen Wilson, an Oto Murano chandelier by Vistosi, a rotating statue by Mike Fields, and a glass sculpture by Italian artist Simone Cenedese. There is also a two-story library/office with a balcony and water features touching three windowed walls, and parquet flooring. Add in a custom bar with a smoked-mirror backsplash and marble countertops, a cigar lounge, four-lane bowling alley, putting green, wellness center, gym, a 64-foot (19.5 Meter) indoor pool with juice bar, tennis court, 10,000-bottle wine cellar, and a 30-plus car garage with two car-display turntables.
Entertaining in such unique luxury might draw some interesting Bel Air neighbors such as Jennifer Lawrence, who moved there last year, Justin Bieber, Taylor Swift, Liam Hemsworth, Miley Cyrus and Kylie Jenner to name just a few.
The property is listed by Aaron Kirman of Compass, Beverly Hills and Branden and Rayni Williams of The Beverly Hills Estates, Beverly Hills, and will go to Concierge Auctions, which if not sold prior, will be held online on February 28th. For The Silo, Terry Walsh/Top Ten Real Estate Deals.com.
ONLINE ONLY CAR AUCTION RECORD BROKEN
A global online marketplace founded by a British car dealer has just broken the online-only world record for a car auction, selling a McLaren P1 for an incredible $1,600,888 usd or $2,010,851 cad .
No other online-only platform for collectible cars has ever achieved a higher sales price.
Unlike traditional auctions, where cars are transported to a central location and bidders attend in person, Collecting Cars has disrupted the industry with an online-only format that has already notched up multiple world records. Cars stay with their owners, and more than 90% of sales happen without a physical viewing. This is made possible by the technology and knowledge behind the platform, which gives bidders a ‘virtual viewing’ of the car in question; supported by more than 150 photos and comprehensive detail on its features and maintenance history.
Bids entered during the online-only auction are legally binding, and Collecting Cars levies a low buyer’s premium of just 5% (+ VAT for UK buyers), which is substantially lower than traditional auction houses that typically charge 12% or more. Furthermore, the buyer’s premium is capped at £5,000 / $5,000 (+ VAT if applicable). On hammer prices above £1m, this means that the buyer’s premium is 0.6% or less.
The world-record car in question was a McLaren P1, one of just 375 examples built, and with only 433 miles from new. Motortrend.com: “The twin-turbocharged hybrid V-8 engine develops 903 horsepower and will launch to 62 mph in under 3 seconds. It’s made of exotic materials like carbon fiber and titanium.”
An original US-market vehicle; it was collected from the McLaren factory in the UK by its first and only owner. The car had also covered less than 100 miles since its most recent maintenance, which also included full checks of all electrical and battery equipment, at a total cost of more than $7,000 usd.
The Founder and CEO of Collecting Cars, Edward Lovett, said: “For around 60 years, car auctions have traditionally charged substantial commissions and premiums, often taking more than 15% out of the total value of the deal. We knew there was a better approach, and we have developed a world-class online marketplace for sellers and buyers without the unnecessary overheads, which is breaking records.
“This result shows the game-changing power Collecting Cars now wields in the global market, with online-only auctions that are cost-free and hassle-free for the seller, and which represent outstanding value for the buyer. In this case, the buyer’s premium for the winning bidder was just 0.3%.”
The company, which has sold over 4,700 lots since launch, was founded by British car dealer Edward Lovett in 2019.
Lovett was born into the family car business, and in more recent years has provided a private brokerage service, finding homes for some of the most sought-after collector cars in the world. Drawing on his significant experience, he saw the opportunity to develop a dedicated online-only platform for iconic, collectible and sporting cars.
As well as its very low premium for buyers, Collecting Cars offers significantly better value for sellers. The detailed photographic presentation and professional descriptions mean their car is showcased in the best possible way, and it is marketed to a huge captive audience of passionate enthusiasts. Furthermore, there is no listing fee, and they receive 100% of the hammer price. For the Silo, Jules Tipler.
About Collecting Cars:
Collecting Cars is an online auction platform that curates consignments from around the world and markets them to a global audience. The streamlined and transparent process makes buying and selling cars, motorbikes, and automobilia via its online auctions one of the most effective and hassle-free ways of transacting.
To date, the Collecting Cars platform has sold more than 4,700 lots, and total sales value generated for sellers exceeds £170 million or $2,864,53718 cad . It also has more than 50,000 registered users around the world. The multi-national auction company has headquarters in London, and offices in Munich, Sydney, and Los Angeles.
More than 90% of sales since launch have happened without a physical viewing, underscoring the significant trust that Collecting Cars has earned among its customers.
Armstrong’s Heartbeat As Merged Artwork Beamed To Moon
Los Angeles, CA, – Richard Clar using an earth-moon-earth (EME), or moon bounce as it is also called, radioed two very special signals off the surface of the moon where their return was received at Dwingeloo Radio Observatory in the Netherlands.
Clar’s extraordinary two-part project, Giant Step and Lune sur la Lune, paid tribute respectively to Apollo Astronaut pioneer Neil Armstrong’s first step on the moon on July 20, 1969 and to the far side of the moon itself, something witnessed only by a rare group of individuals, the Apollo Astronauts. The two radio transmissions to the moon and back emanated from a radio dish in Italy.
Giant Step is a personal response to an event Clar personally witnessed back in 1969, and he wanted to use his creativity to pay tribute to those who took part in the Apollo program, and especially Neil Armstrong for what he did on that momentous day.
He wanted this work to say something about the moon itself, using the moon.
His interest was piqued after hearing about an earth-moon-earth bounce (EME) from Italian artist and colleague, Daniela de Paulis, who together with radio specialist Jan van Muijlwijk developed the process of using EME to send images to the moon and back in 2009. As he researched the Apollo Archives, he came across an Electrocardiogram (EKG) of Neil Armstrong as he took the first step on the moon on July 20, 1969 – and Richard found his inspiration!
While data scientist Dr. Ryan Compton created the sonification tone from Armstrong’s actual EKG graph, prominent Los Angeles-based double-bass jazz performer and composer Roberto Miranda used the tone to create compelling sounds that have been called “edgy and hauntingly beautiful.”
In addition, an image of the first footprint on the moon was transmitted and bounced back to Dwingeloo. [Listen to Neil Armstrong’s heartbeat beginning at the 2:10 mark here Ed.]
“I wanted the art to say something about the first humans to set foot on the moon. Think how many living beings have observed the moon for eons…and now we have made a number of trips to the moon and back. I want people to have new experiences through my artwork,” says Clar.
Lune sur la Lune, an image of the far side of the moon, was transmitted in a poetic gesture onto the earth facing side of the moon. Since only the Apollo astronauts have seen the far side of the moon, using the radio-reflective surface of the moon to produce a site-specific artwork makes the moon a unique part of the process rather than just a subject matter ─ and also gives people on earth an opportunity to witness this phenomenal event and experience the moon in a new and different way. Shortly after the sound and image from Giant Step and Lune sur la Lune were received and processed at Dwingeloo, and will soon be accessible to the world at www.rockthemoon.com.
There was considerable excitement at the Dwingeloo Radio Dish on September 26th by those who witnessed the sound signal and image signals being received from the surface of the moon after the moon bounce. All in all, the art mission was a great success.
“For me It was an incredible feeling to use this 120 ton radio dish, capable of peering into the far reaches of the universe, to create an artwork focusing on one of the greatest achievements in human history,” stated Clar.
Richard Clar’s timeless work has been exhibited in museums, galleries and universities throughout the United States and Europe. His visionary ‘art in space’ began in 1982 with a NASA-approved concept for an art-payload for the U.S. Space Shuttle. Philosophical in nature, many of Clar’s themes originate in space environment issues, such as orbital debris, war and peace, the Search for Extraterrestrial Intelligence (SETI), and water management on earth.
Clar studied at the Chouinard Art Institute (now Cal-Arts). In 2001 and 2002, he coordinated the Leonardo/OLATS/IAA Space Art Workshops in Paris. Clar is the Director of Art Technologies; a Member of the International Academy of Astronautics (IAA); a Member of the IAA SETI Permanent Study Group; a Member of Women in Aerospace, and a Member of the Leonardo Space Art Working Group. He was the Secretary of the former Art and Literature Subcommittee of the International Academy of Astronautics, and a past Member of the Executive Board, Graphic Arts Council, the Los Angeles County Museum of Art.
Clar founded Art Technologies in 1987 as a liaison between the worlds of art and technology. By collaborating with such partners as the U.S. Naval Research Laboratory, Boeing Aerospace Corporation, and contemporary composers, Clar generates high-visibility art works that transform state-of-the-art technology and highly-engineered materials into evocative contemporary art. His work is found in many corporate collections, including JBL Sound, Home Savings of America, and the MGM Grand Hotel in Las Vegas.
After spending the last fourteen years in Paris, Richard Clar now resides in Northern California. For more information on his extraordinary artwork, please visit:
http://arttechnologies.com
http://rockthemoon.com
https://www.facebook.com/RichardClar.ArtTechnologies
Los Angeles Bans Fur
LOS ANGELES (September, 2018) – Following years of campaigning by In Defense of Animals to end the barbaric fur trade, Los Angeles is making history by becoming the largest city in the world to ban fur sales. Los Angeles’ City Council today voted unanimously to draft an ordinance outlining a city-wide fur ban.
“Los Angeles’ historic move to ban fur sales today is likely to herald the end of the barbaric fur industry for good,” said In Defense of Animals President, Marilyn Kroplick M.D. “This major city sets global fashion and culture trends, and has sent a message to the world that animals should not to be abused for clothing. We are delighted by this significant victory for animals, the public, and activists and organizations around the world who have exposed the cruel fur industry.”
Los Angeles’ fur ban ordinance will prohibit the sale of apparel and accessories made in whole or in part of fur, including coats, handbags, shoes, hats, and jewelry. Retailers will be given a two-year phase-in period. The fur ban ordinance will need to be approved and signed by Mayor Eric Garcetti before officially becoming law.
Councilmembers Paul Koretz proposed the ordinance and highlighted the far-reaching impact of this ban, stating to the chamber, “Other big cities will see what we’re doing and follow our lead, and pretty soon there will be no big cities in which you can buy a fur coat anywhere in the United States.”
4 million Los Angeles residents and nearly 50 million tourists who visit the city every year will be affected by the ban, making it the world’s most significant fur sales restriction to date.
Los Angeles’ ban follows fur sales bans in San Francisco, Berkeley, and West Hollywood. More than 20 countries worldwide have taken national legislative action against fur including the UK, Austria and the Netherlands.
The Los Angeles fur ban builds on years of dedication and hard work of California activists including several members of In Defense of Animals who have spent many years of their lives fighting fur and hosting Fur Free Friday events every year without fail.
Learn more at www.furkills.org
In Defense of Animals is an international animal protection organization with over 250,000 supporters and a 30-year history of fighting for animals, people and the environment through education, campaigns and hands-on rescue facilities in India, Africa, and rural Mississippi.
Supplemental- Germany Votes To Ban Remaining Fur Farms
Carnivores Anonymous Doctor Says Plant Based Diet Fuels Athletic Success
Vegan Cardiologist Heather Shenkman hosts free Carnivores Anonymous 12-Step programs (the next one held on January 22 in Woodland Hills , Los Angeles) to achieve optimum health and tackle food addiction through plant-based eating. While Dr. Shenkman performs complex angioplasties to open up clogged coronary arteries, she prefers to help her patients reduce their risk of heart disease through a healthy lifestyle, including a plant-based diet and regular exercise, in addition to medication when appropriate.
“I am a strong believer in a plant-based diet for heart health,” said Dr. Shenkman. “Join me at Carnivores Anonymous to learn how a plant-based diet has fueled my athletic success, and why I recommend it for all my patients.”
Dr. Shenkman has followed a plant-based diet for thirteen years. She is also an avid athlete, having completed over a hundred events of various distances, from sprint triathlons to Ironman distance triathlons, marathons and ultra-marathons, and several hundred-mile century cycling events.
Carnivores Anonymous meetings brings together a fellowship of like-minded people who share their experience, strength, and hope with each other to recover from eating animal products including meat, dairy, fish, and eggs. The only requirement for membership is a desire to move toward a vegan diet.
“Carnivores Anonymous is a safe and supportive space that enables you to achieve your goals,” said Carnivores Anonymous Director, Marilyn Kroplick M.D. “We encourage everyone to come down to our meeting in Woodland Hills.”
Whether you are a carnivore, vegan, or somewhere in-between, join Carnivores Anonymous and explore food in a whole new way. For the Silo, Alyson Burton. Featured image- Carnivores Anonymous group meeting. photo by Fleur Dawes.
Poltergeist 1982 ★★★★★ Watched Again In 70MM In Hollywood
Warning- mature themes and language use in this article. For the record, I think Poltergeist is every bit as much a Tobe Hooper joint as it is a Spielberg flick. Maybe he didn’t deal with the actors as much and maybe he wasn’t involved in the post-production process, but there’s enough here visually for me to point out similar types of shots and lighting and camera movements in stuff like LIFEFORCE — not to mention a particular kind of coked-up hysteria that occasionally rears its long-haired sweaty-toothed head in pretty much all his films.
Mainly, I want to bring up that scene where visiting paranormal investigator Marty looks at himself in the mirror and…well, you know (or don’t know, which is why I don’t want to spoil it). What really bugged me before that part was Marty raiding the kitchen for some late night eats at the Freeling house; he grabs a leftover chicken drumstick, and that I can understand. But then he pulls out a big raw steak from the fridge and puts a pan on the stove, which made me think What Fucking Balls On This Guy.
Steak has been, is, and always will be expensive. It’s one thing to jack some cheaper stuff from someone else’s fridge, but goddamn steak?! And then to put that steak on the kitchen counter without a paper towel, foil, plate, nothing underneath it! Just plop that raw bloody steak anywhere, chief.
(And not a single hand was washed.)
It’s inconsiderate, is what I’m saying. I bet Marty didn’t even put the steak back in the fridge after his freakout either, the fuck. He deserved what he got.
Poltergeist was released in the Summer of 1982 and was directed by Tobe Hooper, although rumors persist that some/much/all the directing was actually done by Stephen Spielberg. Many actors have been quoted as stating that Spielberg was behind the camera and directing the shots that they were in. For the Silo, E.F. Contentment.
Synopsis- spoiler alert.
They’re here.
Craig T. Nelson stars as Steve Freeling, the main protagonist, who lives with his wife, Diane, and their three children, Dana, Robbie, and Carol Anne, in Southern California where he sells houses for the company that built the neighborhood. It starts with just a few odd occurrences, such as broken dishes and furniture moving around by itself. However, a tree comes alive and takes Robbie through his bedroom window, and Carol Anne is abducted by ghosts. Realizing that something evil haunts his home, Steve calls in a team of parapsychologists led by Dr. Lesh to investigate, hoping to get Carol Anne back, so he can remove his family from the house before it’s too late.
Supplemental- Grauman’s Egyptian Theater Los Angeles, California.
The Metapolitics of Burning Man- ‘Fighting the Lie of The Normal Art Economy’
OCCUPY BLACK ROCK! THE METAPOLITICS OF BURNING MAN by MARK VAN PROYEN
As annual journalistic rituals go, the annual Time Magazine “Person of the Year” has been the most enduring barometer of the spirit of the moment of its announcement. For close to a century, the banner was “Man of the Year,” but after Corazon Aquino and Queen Elizabeth smiled at the world from the front cover of that influential publication, gender neutrality became the preferred modality. In 1982 “the computer” received the coveted award, so gender went out the window altogether. But the 2011 award was given to “the protestor,” and the representative image was a masked face of an angry-eyed anonymous person.
BOTTOM Black Rock City seen from Old Razorback Mountain
Photo: Peretz Partensky
This image followed a long year of public demonstrations that started at Cairo’s Tafir Square in late January 2011, spread to the shores of Tripoli and then moved on to Damascus. In September 2011, it arrived in New York’s Zucotti Park, a tiny sliver of public space surrounded on all sides by the world’s most prominent financial institutions. According to the surging multitudes that participated in what would come to be known as Occupy Wall Street, those institutions were evil, and needed to be called into account.It took the major media a full ten days to report the story of the occupation of that little park, although the story had already been thoroughly distributed via social media networks. The movement’s rhetoric was ingeniously crafted for those modes of distribution, and usually took the form of declarative slogans. These proclaimed that the protestors represented the 99 per cent of the American population that would no longer stand for being fleeced by irresponsible government tax policies, a lack of regulation of the financial markets and a vast system of political bribes routinely called “campaign contributions.” Conservative commentators squealed “Class War!” in comic disregard of an OWS placard reminding its readers “they call it class war when we fight back!” From the OWS point of view, that war had been ongoing since Ronald Reagan’s first term in office. When the major media did get around to picking up the story, “What do they want?” or “What are their demands?” were published everywhere, as if the protestors were unintelligible in their calls for economic justice and political fair play. OWS did not give in to the “demand for demands” and this is crucially important, because their movement never was nor is now a conventional exercise in political advocacy. It is much better to describe it as a case of spontaneous socio-cultural upheaval intended to reshape contemporary political priorities into a more ethical form. In an America where an uber- wealthy minority has garnered a proportionally larger piece of the economic pie for decades, one might have anticipated that the protesters would have adopted a more conventional form of utopian rhetoric. But theirs was decidedly pragmatist. They pointed at real problems that could and should be solved in a political practice governed by simple sanity. One sign read, “I don’t mind you being rich. I mind you buying my government out from under me.” The sign referred to the draconian political atmosphere created when the Supreme Court voted five to four to overturn the McCain/Feingold Campaign Reform Act in the now infamous Citizens United vs Federal Election Commission decision of 2010. 3
The real issue at stake in the Occupy Movement’s actions is the control that money exerts over the political process. The movement reveals the plutocratic Achilles heel of neoliberal corporatism’s claim that it is more democratic than its chief rivals in model government. I call these rivals “state capitalism” and “theocratic tribalism,” and intend them to be non-euphemistic names for what are conventionally called socialism and religion-based social organization. Because of its distinctly modern emphasis on upholding the prerogatives of individual political actors, neoliberal corporatism is easy to sell as the ideology of choice for free thinkers. But, as history shows, free thinking never stays free for long, because it too has to live in a marketplace of encouragements and discouragements governed by instrumental rationales that are epiphenomenal to the formation and protection of wealth. In other words, those who have the gold set the standards, regardless of any vision of or obligation to social fair play. This insures that instrumental reason will always protect itself from any utopian vision so that in the realms of conventional discourse, we are always given an “intelligentsia” that functions as the public face of bureaucracy and policy. However “oppositional” its posture of hidden loyalty might be, it will nonetheless always end up fleeing from the Socratic mandate that philosophical thinking helps its aspirants to actually live better. From the point of view of the Occupy movement, that mandate desperately needs to be returned to the core of any thinking that seeks to establish anything resembling a political priority.
When I refer to model forms of governmentality, I am not pointing to any operational political entity, any and all of which are circumstantial admixtures of the three models of neo-liberalism, state capitalism and tribal theocracy all achieving legibility much in the same way that tertiary colors do through the mixture of the primary hues of red, yellow and blue. For example, social democracy is really a blend of neo-liberal corporatism and state capitalism. Another example reminds us that there will always be a black market of goods and subversive ideology working in the shadows of any state capitalist system, or for that matter, within any theocratic tribe. Any system configured around any of these three model forms will also contain latent aspects of one or both of the others, arranged into dominant and subordinate formations. These are always in a perpetual state of change and reconsolidation.
They are also always in a state of subtle redefinition, and the factors that shape these redefinitions can sometimes come from surprising vectors. The Occupy Wall Street movement is one such example, surprising in that it refuses to operate according to the rules of normative political advocacy. Whereas the extremely conservative Tea Party rallies held during the previous year were examples of a durable tradition of anti-government American populism, the OWS movement is representative of an equally durable anti-bank populism that has a long-standing place in American history reaching back to early colonial laws against debtors’ prisons. Even though the two groups blamed different entities for the economic misery that swept the land after the 2008 financial crisis, there is an important difference: in an act of support for the second amendment, Tea Party activists often brought guns to their rallies. The only firearms seen at Occupy Wall Street (and its more contentious sister event, Occupy Oakland) were in the hands of over-zealous law enforcement officers. Occupy Wall Street events are significantly more complicated animals than their Tea Party predecessors. The movement has gone far out of its way not to be co-opted by the mass media or any collection of candidates for public office. Conversely, the Tea Party groups were all too happy to be ventriloquized by Rupert Murdoch’s Fox News affiliates. OWS had a justifiable concern that any such affiliation would inevitably lead to the seven stages of political futility: cooptation, division, dilution, pacification, neutralization, disappointment and betrayal. Because of these concerns, what one sees coming out of the Occupy movement is not an exercise of politics defined by the normal terms and conditions of any conventional political science. Rather, it operates as an example of what Alain Badiou has called a Metapolitics, that is, a strategic restaging of the ethical grounds by which political matters are imagined, understood, debated and acted upon. According to Badiou, Metapolitics is a form of “Resistance by Logic.” 4
No group, no class, no social configuration or mental objective was behind the Resistance… there was nothing in the course of this sequence which could have been described in terms of objective groups, be they ‘workers’ or ‘philosophers’…. Let us say that this resistance, proceeding by logic, is not an opinion. Rather, it is a logical rupture with dominant and circulating opinions…. For the contemporary philosophical situation is one where, on the ruins on the doctrine of classes and class consciousness, attempts are made on all sides to restore the primacy of morality. 5
It is particularly interesting to look at Badiou’s metapolitical thesis in light of his larger project to transform the most basic grounds of philosophical inquiry so as to place greater emphasis on ethics. He is well known for proposing a change in the basic categories of philosophy (metaphysics, ethics, logic and epistemology), seeking to restage them as the interdependent “truth procedures” of “art, love, politics and science.” 6
His metapolitical restaging of the truth procedure of political science can be understood to be of a piece with his postulation of an ethical “inaesthetics.” This seeks to deny the meditative subject/object relationship of contemplation with something suffused with “immanence and singularity,” leading to a “transfiguration of the given.” The Occupy Wall Street movement has followed suit on this score, fashioning itself as an immanent and singular metapolitical gesture that has embraced a unique resistance by logic that was and still is a vigorous disruption of logic. It has accomplished this by staging a theatrical moment that calls attention to the withering state of the commons, that being the place of democratic co-existence and rational debate where all citizens can freely enter and exist regardless of their inability to rent media time. And let there be no mistake: in the second decade of the twenty-first century, social media has become the new commons, needing only a shared event to galvanize its attention to the point of putting a wide-ranging discourse about political priorities into play on a vast and unregulated scale. Occupy Wall Street is one such event, one whose time has clearly come. But the model for this kind of actual/virtual exercise in reformulating a common space into a rhetorical congregation had been established two decades earlier in a very different public location that also galvanized a vast virtual community. It too was a brilliantly conceived exercise in a metapolitical “resistance by logic.” That space was and still is the vast Black Rock Desert, a dry lakebed in northwestern Nevada that is administered by the Federal Bureau of Land Management.
PHOTO: ROGER MINKOW M.D.
The event was and still is Burning Man. Since the early beginnings of the Internet, many observers have postulated that there was revolutionary potential in its ability to widely and instantaneously distribute unmediated information. Some have proclaimed it to be the new commons, this in recognition of how the forces of neoliberal corporatism have turned the old commons into shopping malls of various kinds, those being places where the subtle doctrine of “pay to play” began to slowly displace all other opportunities for political participation. Burning Man was the first major instance of an organized recognition of this new communal possibility of the digital revolution, and the first to act upon it at any meaningful scale. It did so by “occupying” a piece of public land in a wilderness area, and then configuring itself as a kind of free city where monetary exchange and corporate advertising would not be allowed. Participation, collaboration and self-reliance were upheld as paramount civic virtues, and art was defined and welcomed as the product of any “radical free expression” that any person could devise, regardless of any lack of previous experience or education. When web-browsing software first became available in 1994, Burning Man was already nine years old, and had already been using email networks and virtual bulletin boards to distribute its messages to a growing audience. The emergence of such communications technologies were a natural fit for the event, and even to this day, it has never paid for any advertising beyond the printing and mailing of its own promotional materials. That was the same year that the mass media initially came out to report on the event. The following year, the population doubled, making it clear that a tax on participants was needed to cover necessary costs for staging the event on a much larger sale. Admission tickets were sold, and federal rules were re-written so that the federal Bureau of Land Management could charge the organizers of Burning Man a hefty fee to use the space. Soon after that, much more money was spent in legal fees to support litigation that should have never have come to any court’s attention, if constitutional guarantees of rights to free assembly and self-expression were deemed worthy of any respect. But they weren’t, because it was difficult to convince certain political operators that the self-expressive thing that had engendered Burning Man’s free assembly of pilgrims had anything to do with art. From their point of view, what was happening at an increasingly large scale every year in the Black Rock Desert on Labor Day weekend was much more frightening, in that its almost complete lack of artistic supervision portended something akin to a mass participation Satanic ritual.7 It also threatened to unmask the lie that art had become.
I
From the perspective of an art world populated by museum curators, globe trotting art collectors and the toney gallerists working the crowds at international art fairs, Burning Man represents a kind of Special Olympics for Art. To give credence to this view, all any nay-sayer would have to do is attend the event and take in its many starry-eyed unicorns and countless geodesic domes built in service to obscure comic-book deities fashioned from disfigured mannequins. If our nay-sayer were guided by courage and in search of additional evidence to support her initial observation, the next logical destination would be the large indoor exhibition space called the Café, which is usually decorated by the work of a great many amateur photographers and collage artists working on heavy doses of misinformed spiritual pretense and undeserved self-esteem. And yet, as revealing as the Café environment might be, it still pales in comparison to the best place to witness Burning Man’s culture of unfettered creativity, that being the array of unmapped theme camps located away from the Esplanade that separates the event’s semi-circular camping area from the mile-wide no-camping zone at its core. Here, one is liable to find a vast assortment of incomprehensible do-it-yourself efforts at representational makeshiftery, often times manifested in things that look more like distorted family entertainments than the objects of any conventional art history. Looking like the mutant offspring of a theme park and a slum conceived in the prop closet of George and Mike Kuchar’s Studio 8 Production Company, 8 these provisional amalgamations of such materials such as fluorescent fabric and solar powered lava lamps oftentimes seem to allegoricize the traumas and contradictions of a consumer culture blindly addicted to the debt-driven circulation of pseudo-goods and non-services; all saying something troublingly oblique about an America that is amusing itself to death in the age of Walmart.
The real value of Burning Man lies in how it reverses this model. It does so by simply allowing its participants to amuse themselves back to life through their participation in a week of collective catharsis. Fortunately for our dyspeptic pilgrim, the artistic offerings of Burning Man get bathed in a seemingly endless sea of electro-luminescent blinky lights when nightfall arrives, and her attention will then most likely be diverted by an omnipresent soundscape of pulsating techno music punctuated by the explosive flashings of propane fireballs surging into the sky. To this, add the lumbering peregrinations of large, slow moving vehicles that appear as grotesque carnival rides taken from a Dada-themed amusement park, and the picture of a vastly absurd semiotic entity comes close to completion, a relational esthetics
gesamtkunskwerk 9 that is metaphorically and geographically located at the exact half-way point between San Francisco’s Mission District and Robert Smithson’s Spiral Jetty protruding from the north shore of the Great Salt Lake. It is equal parts game space and refugee camp, and as such, it presents itself as a gargantuan omni-participatory rejoinder to the regulation of subjectivity embedded in the cognitive illusions bred by normative market-defined existence. And for this reason, the ensemble experience of participating in Burning Man provides a much-needed transfiguration of everyday assumptions about what passes for cultural nourishment. Its chief lesson lies in the way that it demonstrates how well a do-it-yourself social economy can work if and when it reframes itself in the terms of a do-it-with-others ethos, and this represents a profound political revelation as well as its chief metapolitical legacy to be later taken up by the Occupy Wall Street movement.
Rather than calling this vast entity by its proper name of Black Rock City, lets give it a more descriptive moniker: the living model of an alternative version of contemporary culture based on advancing an ethical glocalism as the highest of priorities. And then let us note that, in theatrically performing itself as such a model, it also forms itself into a fun house mirror reflection of the absurdities of twenty-first century existence, all-the-while organizing itself as a temporary corrective for many of that century’s social and political shortcomings, especially those pointed toward systematically excluding people from social participation for no good reason. At Burning Man, the stranger is always welcome, and there are always opportunities for any given participant to do things that she never imagined herself to be doing. And in so doing, she oftentimes learns a great deal about the roles that she plays in her everyday life, in turn allowing her to imagine and act upon other roles that might lead her to a better world, at least for herself and maybe for others. Yes, Burning Man does feature a great deal of so-called “New Age” art made by people who might best be called hippies, and yes, almost all of that art is at best a guileless exercise in naïve cluelessness that is scripted not so much by any “radical free expression” as it is by the simplistic recirculation of pop cultural cliché. At worst, it is something on a par with toenail fungus, but even that can be strangely entertaining when contrasted with the vastness of the desert. Indeed, accounting for maybe two- or three-dozen notable exceptions during the past decade, we would have to concede that almost all of the art at Burning Man is as bad as its detractors say that it is. But in admitting this fact, another obvious question comes to the fore: in the great scheme of things, how important is it whether any of it is bad or good? And following from this, another obvious set of questions: who or what are the entities that are empowered to decide on any such differentiation? What values do they represent? What is masked by the authoritative proclamation of said values? And again: why does any of it matter?
Turnabout being fair play, it now becomes obligatory to imagine what an everyburner might make of the current world of contemporary art, resplendent as it is when ensconced within opulent museum architecture and festooned with price tags that are the monetary equivalent of real estate when it is not. It is undeniable that those environments are the sites of a kind of authoritative coldness designed to intimidate the viewer into a kind of passive submission to the historical authority of those things that are beheld within them. It is also undeniable that the large majority of those snobjects contain very little that conveys the kind of truthful generosity that might reward the attention of the serious viewer who is not party to the vested interests that have been influence-peddled into the visible existence of their environment’s adoration.
And so, our everyburner would no doubt ask: given the sorry state of the world, why all the fuss? Presumably, money is part of the equation, although it is difficult for the uninitiated to see exactly how it plays out through the elaborate web of private, corporate and public support that buoy any given museum’s orchestration of the importance effect. As Paul Werner succinctly put it in 2005: “The illusion that art museums could be run for profit like everything else was derived from the notion museums themselves had worked so hard to foster: that art and capital were all one and circulated in the same manner.”10
Werner goes on to quote former Metropolitan Museum director Phillipe de Montebello’s statement that “It is the judicious exercise of the museum’s authority that makes possible the state of pure reverie that an unencumbered esthetic experience can inspire,”11 and then goes on to state that “by the same logic, the absence of ‘a state of reverie’ interferes with ‘the judicious exercise of authority.’” Werner drives this point home when he writes “What Brecht wrote of the Nazis then now applies to cultural apparatus of the twenty-first century: they want to turn the People into an audience. Same policy, different means.”12
Once again, we are reminded of the truism stating that propaganda works best when those who are being manipulated believe that they are acting on their own free will. How you might ask, and the answer is obvious: in the way of the translation of a certain class of objects—let’s call them symbolic commodities—into a certain class of equities. It is easy to suppose that said equity is simply gained from the fortuitous position that any given investor might take amid the normal value/worth fluctuation of the commodity in question. But works of art are not commodities in same way as are barrels of crude oil or tons of copper, nor is it a form of reserve currency as are ounces of gold or silver. The commodity value of a given work of art is instead a function of its status as a reliquary representation of its own myth status, and that is something that continues to be manufactured long after said work of art leaves the studio of the artist who created it. Ultimately, it is the museum that confirms the mythic status of the objects that it chooses to display and collect, creating a fortuitous feedback loop that points to how the world of contemporary art has been transformed into a rather perverse epiphenomena of the financial services industry.
Here is how the normative art economy actually works. Artist a) makes a work of art b) and shows it at the gallery of dealer c), who gets it written about by critic d) and then sells it to collector e) for f) amount of money. Collector e) hangs on to artwork while the reputation of artist a) rises by way others repeating the same machinations described in the aforementioned equation, and then, at a fortuitous moment, she either sells said artwork for profit f)+x , or more normally donates said artwork to museum g), for which she receives donor recognition h), which represents the fair market value that museum g) places on artwork b).
Because the work has been accepted into museum g)’s collection, its fair market value automatically rises, so that donor recognition h) is actually worth much more that the original purchase price f) of work of art b). And it is donor recognition h) that collector e) sends to the tax collector as a claim for a tax deductable charitable contribution that reduces collector e)’ s overall tax burden by a significant sum of money (yes, the federal government does support the arts!). The value added portion of this equation lies in how much greater a sum of money donor recognition h) represents in relation to original cost of artwork b), and in many cases that sum is ten or 20 or 100 times the original investment. Thus the economy of art is laid bare, and it can rightfully be called a speculative marketplace in objects that might represent a significantly enhanced tax-deductability that can be exercised at some future juncture, all assuming that museum g) is interested in acquiring work of art b) at any point in time. This means that work of art b) has to fit in with what museum g) considers to be a worthwhile esthetic experience, based in part on its own vested interest in perpetuating its ability to exercise such consideration. Werner gets that particular point right when he states that “if the Guggenheim, or any other museum, had actually covered its expenses through admissions, that would have harmed its true function: The manufacture of exclusiveness.”13
But, even though money is a major part of the equation, it by no means is all of it. It is worth noting that Werner’s remarks about the museum world point to a specific historical moment, and that moment was defined by the aftermath of the politically motivated reformulation of the National Endowment for the Arts that took place between 1989 and 1994. After that reformulation (which effectively ended government support for the arts in the United States), both the world of the museum and the larger world of contemporary art were momentarily recast as perverse sub-functions of the entertainment industry, with a reigning style called “Pop Surrealism”14
This coming to the fore as the stylistic marker for the art of that brief and bygone moment, and indeed, a perfectly useful and legitimate term that could accurately describe much of the art that one might find at any given iteration of Burning Man. In fact, it is a far more accurate term than the more common ascription pointing to it as new form of “outsider art.” This is so because at that particular moment, there was a major lack of clarity about what was inside or outside of anything other than what financially motivated turnstiles might keep in a state of separation, and in the wake of the cessation of government funding, an increase in audience size became an necessary institutional mandate. Thus, we had an art style that “took its inspiration from popular culture,” meaning that it was trying and failing to be popular culture, rather than the kind of critical comment on it that we saw with 1960s Pop Art. Part-and-parcel with the 1990s embrace of Pop Surrealism as an audience development strategy was another related trend called Postart spectacle, which transformed whole museums into elaborately staged pseudo-operas of the type made famous by Matthew Barney, Paul McCarthy and Martin Kippenberger—artists who all infused Pop Surrealist esthetics with the theme park ambience of an arena rock concert. Finally, it is worth noting that the rhetorical pendent that was hung around the neck of this esthetic shift toward popular entertainment was something called “art writing.” It did not come from the traditional world of art historically trained art critics, but instead issued from a new hybrid discourse that proclaimed itself to be something called “visual studies,” which in many cases was little more than culturally sensitive entertainment reporting—“celebrity porn journalism” to use a deservedly uncharitable term. Its most characteristic feature was a shameless willingness to be used as a tool for institutional audience development.
Nonetheless, in the art world, all of this was brief and transitional, because the focus would again shift in dramatic form after the 9/11 terrorist attacks, making Pop Surrealism suddenly look very anachronistic. Very soon thereafter, Globalism became the new buzzword for a suddenly robust emphasis on a transnational art hailing from under-recognized parts of the world. Presumably, Globalism represented an impetus toward encouraging the embrace of art as an instrument of national liberation, or failing that particular pretense, as a focal point for the kind of cultural lubrication that might politically facilitate desirable access to the labor, natural resources and markets of the developing economies so dearly prized by neoliberal corporatism. It might also represent a politically motivated usage of art as an instrument of pacification, that is, as an administrative technology for deflecting the potential for actual conflict into the containable realm of symbolic conflict. The visible shape that this newly globalized art took on was not manifested in any particular form of artistic cultural production, but instead, was revealed as a relatively new form of cultural presentation called the Mega-Exhibition. These were exemplified by such time-honored extravaganzi as Documenta and the Venice Biennial, but also by a metastasizing host of newer entries into the global mega-exhibition fray, held in such cities as Istanbul and Taipei. These are giant affairs that operate under the guidance of an elite class of internationally renown curatorial directors, and in addition to operating as certification mechanisms for the investability of the art contained by them, they also function as major engines of cultural tourism and transnational ideological propaganda that have been used to enrich the coffers of their host cities. It is also worth thinking about how other imperatives might be in play. As Okwui Enwezor has written, globalism embodies a new vision of global totality and a concept of modernity that dissolves the old paradigm of the nation-state and the ideology of the ‘center,’ each giving way to a dispersed regime of rules based on networks, circuits, flows, interconnection. Those rhizomatic movements are said to operate on the logic of horizontality, whose disciplinary, spatial, and temporal orders enable the mobility of knowledge, information, culture, capital, and exchange, and are no longer based on domination and control… globalism was part of the maturation of a certain kind of liberal ideal, which in its combination of democratic regimes of governance and free market capitalism was prematurely announced as the end of history.15
These attributes are all pointed at the imagination of “a truly unified world system whereby all systems of modern rationalism would finally be properly fused.”16
Of course, the inquiring mind will ask, to what end? And more importantly, to whose end? Of course, answers to these questions are never made clear, perhaps because they cannot be made clear. But it is worth pointing out that the impetus toward the aforementioned fusion is a very different thing than the impetus toward cultural diversity, and it is also interesting to note that among the many topics of cultural identity that have surfaced during the heyday of the global mega-exhibition, the debt obligations of post-colonial nation states is one that almost never comes up. That is because the thing instigating and benefiting from the aforementioned fusion is a global, trans-national banking system that has learned how to use both art and nation states as tools for its own purposes. That much said, we can go on to productively note Burning Man is also a mega-exhibition, but in many ways it is also an anti-mega-exhibition, especially in the ways that it prefigured, mirrored and satirized the “the rhizomatic logics of horizontality, interconnection and dispersal” that have become de rigueur themes in twenty-first century art. III
For all of Burning Man’s claims of being a place apart from the default world that it pretends to leave behind, it nonetheless does seem that the event sustains an oblique relationship to that world. During the technologically addled 1990s, Burning Man seemed to be prophetically far ahead of the cultural environment surrounding it. The chief reason for this was its far-reaching imagination of the ways that new technology could recast how social relations might be reconfigured in critical relation to what Naomi Klein would later call “Disaster Capitalism.”17
In those days, the presiding spirit of Burning Man was not any getting back to the mythical garden that so captured the imagination of the Woodstock generation so much as it was a celebration of various kinds of real and imagined love taking place amongst the post-apocalyptic ruins of rampant military adventurism and financial and ecological unsustainability. But in 2001, the specter of real apocalypse became traumatically evident when the 9/11 terrorist attacks ushered in an unfunded war wedded to the draconian trappings of the National Security State. Suddenly, the world caught up with Burning Man’s parsing of the utopian and dystopian themes of technologically-assisted social capitalism, making them seem redundantly similar to the mass media narratives about a brave new cyber-economy as well as the emergence of other forms of Postart spectacle that had come into prominence in the art world. The fact that Burning Man had become the putative darling of a kind of trivializing mass-media condescension did not help, and over time the event become more-and-more indistinguishable from the “wild and crazy” caricatures that were heaped upon it. By 2007, the event had clearly become a victim of its own clichés of flagrant silliness, mired in a repetitious cycle of nostalgia for the exuberant 1990s. Soon after that, that the world would pass it by, because in 2008, the story would take another turn, a downturn to be exact. The financial crisis that exploded in October of that year once again recalibrated the larger terrain of cultural understanding, and the urgency of that moment began to make Burning Man look every bit as indulgent and frivolous as it did the institutional art world. Soon thereafter, a new concern for the politics of social justice had come into the foreground, eclipsing the themes of alternative identity and self-sustaining community-of-desire that were such prominent features of the event during its 1990s heyday. It was time to pass the metapolitical torch of the do-it-with-others ethos so that a very different fire might be lit with the aid of a few well-placed Falstaffian pitchforks.
Returning to Badiou, we read that the ethical understanding of justice is something quite specific. It is based on the following injunction: “to examine political statements and their proscriptions, and draw from them their egalitarian kernel of universal signification.”18
If Burning Man has done nothing else, it has certainly created an Archimedean ground from which such an examination might proceed, much more successfully than anything that happened in the institutional art world during the same time period. Following from this recognition, we might then ask how the metapolitical kernel of Burning Man was passed to Zucotti Park, as if, in an age of social media, the assertion and exertion of any influence on anything can somehow be supposed to not be operable until proven otherwise. We know that one of the key instigators of the OWS movement was Micah White, the Berkeley-based co-editor of the Vancouver-based journal Adbusters , therefore a Bay Area connection is easily made, although it is not clear if White was in any way influenced by Burning Man. Because there is a very large contingent of Burning Man participants that hail from New York City, one could easily suppose that their experience of the event might have had something to do with the encampment at Zucotti, especially since Occupy Wall Street initially took place just ten days after the conclusion of the 2011 Burning Man event. But there is one important kernel of indisputable influence that clearly stands out, and that is Bill Talen, who is better known in his performance guise of Reverend Billy of the Church of Stop Shopping, a New York-based performance group that has extensively toured the United States and is the subject of two widely circulated documentary films. What makes Talen’s performances so timely for this discussion is his evocation of the tropes of a theocratic tribalism that are severed from the politics of hate and fear, all enacted in service to the kind of communitarianism and pleas for justice that earmarked the earliest Christian communities of the second century. Obviously, those same values are in short supply among so-called evangelical churches populated by legions of CINOs (Christians-in-Name-Only), reminding us of how deeply perverted the gospel message has become in twenty-first century America. The fact that the more organized churches proclaiming allegiance to the gospels have been outdone on this score by a performance artist should be cause for concern, outrage and cruel mockery. Starting in 2002, the 30-member band and gospel choir of the Church of Stop Shopping has regularly performed at Burning Man, putting on a rousing revival show that is a stunningly convincing mimic of similar services consecrated to “the old time religion” a la Elmer Gantry, only at Burning Man, it was comically staged under the shadow of an 40-foot-tall effigy that echos the real old old old time religion of Neolithic cult worship.
At the forefront of the Church’s performance is Talen’s character named Reverend Billy, who preaches in passionate, Elvis Presley-inflected voice about the evils of consumerism and the tragic human cost of debt-driven consumption, backed up by a gospel chorus and small orchestra featuring a church organ. The chorus sings songs about the virtues of an economic democracy that is described as a promised land, and the mood is always persuasively festive, even joyous.
Talen’s passionate and eloquent sermons come across like rhapsodic poems made from the many fragments of Occupy Wall Street signage, and in fact, Talen did perform (sans choir) at the 17 September 2011 beginning of OWS, just a few days after returning to New York from Burning Man. Subsequently, he performed with the choir at Zucotti Park on several other days, to audiences that grew ever larger during the month of October. These were rousing and inspirational shows that galvanized the attention of ever-growing crowds in a way that gave them a coherent group identity, meaning that, for a few brief moments, the Occupy protesters found themselves attending a church of their own politically inclusive revelation, which allowed them to see themselves as being a part of something much larger than themselves.
As always, Talen’s performances were a brilliant obversion of the pernicious role that religion has come to play in American politics, where so-called “values” candidates have been using church affiliation for decades as the preferred excuse for supporting candidates and policies that embody the hateful opposite of Christian morality. Such ethically duplicitous rhetoric also has a metapolitical name, and that name is Neoconservatism when practiced by Americans who identify with Judeo-Christian tradition, and fundamentalism when practiced by others. Either way, the word “fundamental” applies in all of its many nuances, especially the one that highlights its definitional opposition to enlightened sophistication. Essentially, Neoconservatism is a subtle theologicization of the neoliberal doctrine that defines the subject along the secular lines of economic self-interest, but it deviates from that doctrine in that it assumes that self-serving moral edicts are required when the economic interests of cultural Others begins to gain too quickly in relation to the economic self-interest of the culturally entitled.
Talen’s Reverend Billy performances are so entertaining and well executed that it is easy to miss the seriousness of the metapolitical critique embodied in them. Certainly, they provide a thoughtful and dramatic critique of the empathy deficit disorder that is bred by neoliberal corporatism, and they command and entice their audiences to insist on ethical correctives. As for the relation of his work to his experience of Burning Man, Talen himself has a clear vision of the similarity between Burning Man and the OWS movement. He writes: Burning Man and Occupy Wall Street share this: we discovered that living together is a performance with long-range power. How we live—people watch and learn. Then they live back at us and we change too. We experience the decisions of how to live as drama, and (we found out) as protest—more than traditional theater which rarely has electrical charge these days. For years we were the butt of journalist jokes, calling us refried 60s protesters—angry people carrying signs and chanting. All that was wiped away by the glorious arrival of Occupy, which was the simple notion of living together in public, in a park under the scrapers of Wall. Sharing food, stories, making media, figuring out laws, discussing health, feeding each other—LIVING TOGETHER is the devastating protest form of our day. Burning Man’s fascination—you see it around the world—flows from living together under arid desert conditions for a week. BM also chucks the conventional stage and finds a new charged theater in sashaying in outrageous costumes and nakedness in front of 50,000 people who are doing the same thing back at you. Burning Man is great theater—leaves Broadway in its playa dust. And Wall Street guys are there too—wearing fluorescent underwear while they check out a 100-foot-long chandelier. How change comes to the world from these two forms of theatrical living— stay tuned! It has begun.” To this I can only say Amen.
notes- *apologies for layout issues, text spaces have been modified to allow for full citation listings.
1.
Alain Badiou,
Metapolitics
(1998), translated by Jason Barker, London: Verso Books, 2005, p. 19.
2.
Jean Tingley, “On Statics,” (text from a leaflet dropped near Dusseldorf in 1959. Recorded in
The Diary of Anaïs Nin, Volume VI
, edited by Gunther Stuhlman, New York: Harcourt, Brace and Jovanovich, 1966 p. 284.
3.
See Adam Schiff, “The Supreme Court Still Thinks That Coroporations Are People,” (July 18, 2012)
The Atlantic Monthly
; http://www.theatlantic.com/politics/archive/2012/07/the-supreme-court-still-thinks-corporations-are-people/259995/court-still-thinks-corporations-are-people/259995/
4.
Badiou, Op. Cit., p. 5.
5.
Ibid, pp. 5–6.
6.
For a synopsis of Badiou’s key claims, see his
Manifesto for Philosophy
, translated by Norman Maderaz, State University of New York Press, 1999. Further references to Baudiou’s ideas are extracted from this source, unless otherwise cited.
7.
Claims of Burning Man being a socially dangerous satanic ritual were made on the 18 May 1998 broadcast of Pat Robertson’s 700 Club program on the
Christian Broadcast Network
.
8.
George Kuchar (1942–2011) and Mike Kuchar (b.1942) were San Francisco-based underground filmmakers whose low budget works used and misused exaggerated gender clichés to satirize the most preposterous aspects of conventional “sinematic” exposition. George Kuchar’s most well known film was titled
Hold Me While I’m Naked
, 1966, while Mike Kuchar is best known for his 1966 film titled
Sins of the Fleshapoids.
In 1997, they collaborated on a book of comic reminiscences titled
Reflections from a Cinematic Cesspool
(San Francisco: Zanja Press). Here we might note a persistent albeit unconfirmed rumor that San Francisco’s long-running stage play titled
Beach Blanket Babylon
was originally indebted in some way to the George Kuchar esthetic. In Jennifer Kroot’s 2009 documentary film titled
It Came From Kuchar,
it was revealed that Bill Griffith’s comic character named
Zippy the Pinhead
was modeled on George Kuchar.
9.
Gesamtkunskwerk
literally means “total work of art.” It was coined by Richard Wagner to describe his view opera production as a synthesis of all of the arts. See his
The Artwork of the Future
(1849, translated by William Ashton Ellis) at http://users.belgacom.net/wagnerlibrary/prose/wagartfut.htm. “Relational Esthetics” was a term originally coined by Nicholas Bourriard in 1986 as a way of calling attention to certain artistic practices that were/ are less concerned about the creation of a final product than they are about the social processes of inclusion and participation leading up to it. Bourriaud defined the approach simply as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.” (p. 113). See Nicholas Bourriard,
Relational Esthetics , Dijon, France: Les Presses du Reel , 2002. For a critique of Bourriard’s thesis, see Claire Bishop, “Antagonism and Relational Aesthetics,”
October 110, Fall 2004. Bishop points out that “The curators promoting this ‘laboratory’ paradigm—including Maria Lind, Hans Ulrich Obrist, Barbara van der Linden, Hou Hanru, and Nicolas Bourriaud—have to a large extent been encouraged to adopt this curatorial modus operandi as a direct reaction to the type of art produced in the 1990s: work that is open-ended, interactive, and resistant to closure, often appearing to be ‘work-in-progress’ rather than a completed object. Such work seems to derive from a creative misreading of poststructuralist theory: rather than the interpretations of a work of art being open to continual reassessment, the work of art itself is argued to be in perpetual flux. There are many problems with this idea, not least of which is the difficulty of discerning a work whose identity is willfully unstable. Another problem is the ease with which the ‘laboratory’ becomes marketable as a space of leisure and entertainment. Venues such as the Baltic in Gateshead, the Kunstverein Munich, and the Palais de Tokyo (in Paris) have used metaphors like ‘laboratory,’ ‘construction site,’ and ‘art factory’ to differentiate themselves from bureaucracy-encumbered collection-based museums; their dedicated project spaces create a buzz of creativity and the aura of being at the vanguard of contemporary production. One could argue that in this context, project-based works-in-progress and artists-in-residence begin to dovetail with an‘experience economy,’ the marketing strategy that seeks to replace goods and services with scripted and staged personal experiences. Yet, what the viewer is supposed to garner from such an ‘experience’ of creativity, which is essentially institutionalized studio activity, is often unclear.” (p. 52) Bishop goes on to quote Bourriard: “It seems more pressing to invent possible relations with our neighbors in the present than to bet on happier tomorrows” (p. 54;
Relational Esthetics,p. 45), Then she adds “This DIY, microtopian ethos is what Bourriaud perceives to be the core political significance of relational aesthetics.” (p.54). It is worth noting that there has never been much difference between Bourriard’s assertion of “Relational Aesthetics” art practices and Allan Kaprow’s much older advocacy of Happenings, the first principle of which being “the line between the Happenings and daily life should be kept as fluid as possible,” so that “the reciprocation between the handmade and the ready-made will be at its maximum power.” (Allan Kaprow, “The Happenings are Dead: Long Live the Happenings!” (1966) in Jeff Kelly ed., The Blurring of Art and Life: The Collected Writings of Allan Kaprow , Berkeley: University of California Press, 1996, p. 62). The key point lies in how both Relational Esthetics and the earlier Happenings resurrect the tenants of Lukasian social realism by substituting real-time face-to-face encounters for the older tropes of representing and/or narrating ideas of “class consciousness.” More recently, similar activities have again rebranded themselves as “Social Practice Art,” as a way of emphasizing more specific political ambitions. See Nato Thompson, Living as Form: Socially Engaged Art from 1991 to 2011,
Cambridge, MA. MIT Press, 2012. But even here, the obvious equation of institutionally supported “social practice art” with inefficacious postures of mild political concern (scented with the bad faith of loyal opposition) are never directly addressed. An important early instance of a Relational Esthetics artwork was San Francisco-based artist Tom Marioni’s Drinking Beer with Friends is the Highest Form of Art
, a weekly relational esthetics performance that has been ongoing since the mid-1970s. Clearly, San Francisco-based Burning Man is far and away the largest and most complex example. Neither was mentioned in Bourriard’s famous book.
10.
Paul Werner,
Museums, Inc.
, Chicago: Prickly Paradigm Press, 2005, p. 9.
11.
Ibid., p. 15.
12.
Ibid
.,
p. 58.
13.
Ibid
.,
p. 41.
14.
Pop Surrealism was the name of a 1998 exhibition organized by Richard Klein, Ingrid Schaffner and Dominique Nahas held at the Aldrich Museum in Ridgefield Connecticut. It contained the work of artists such as Peter Saul, Mike Kelly, Paul McCarthy, Lisa Yuskavage, Ed “Big Daddy” Roth, John Currin and Robt. Williams, and could be said to have reprised and expanded upon an earlier exhibition titled Helter
Skelter that was organized in 1992 by Paul Schimmel at the Museum of Contemporary Art in Los Angeles. The monthly publication Juxtapose (founded by Williams in 1994) has done much to promote many of the artists associated with the Pop Surrealism movement, but the publication’s claim that the movement originated in southern California is erroneous. The real historical sources of the Pop Surrealism movement is found in the earlier work of Bay Area-based artists such as Peter Saul and George Kuchar, as well as the underground comics movement that was based in the same area during the middle 1960s. Chicago artists of the early 1970s such as Jim Nutt, Gladys Nielson and Karl Wirsum were also important early influences. The most important aspect of the Pop Surrealism movement lied in its embrace of a populist turn in art that was responsive to circumstances related to the political controversies surrounding government funding for the arts. In 1998, the National Endowment for the Arts published the findings of a multi-year research project that concluded that the arts were widely perceived to be irrelevant and elitist. The project was called American Canvas
. See Gary O. Larson,
American Canvas: An Arts Legacy for Our Communities
, Washing ton D.C.: US Government Printing Office, 1998.
15.
Okwui Enwezor, “Mega-Exhibitions and the Antinomies of a Transnational Global Form,” in Andreas Huyssen ed.,
Other Cities, Other Worlds: Urban Imaginaries in Globalizing Art
, Duke University Press, 2008, pp. 148–149.
16.
Ibid
.,
p. 149. In an anonymous introductory remark made in the online journal
Italian Greyhound , we read that “Enwezor uses as an illustration of the serious and thoughtfully considered nature of righteous internationalists in fomenting new representations in academic programs and curated collections by pointing to a think tank he participated in 1997 in Italy whose members came from Brazil, Turkey, Cuba, Australia, South Africa, and Thailand, amid other countries. These panelists endeavored to recode the complex dialectics between globalization and the long process of modernization towards market basked-economies on the course of which much of the developing world was set since the early days of decolonization. Enwezor reports that this group drew and reached no conclusions other than to continue meeting at subsequent retreats and biennale exhibitions.” The same anonymous interlocutor also summarizes a response formulated by art critic George Baker to Enwezor’s essay that takes exception to its optimistic assessment of the equalizing nature of enormous international art fairs, arguing that “the only valid definition of globalization is one that must include an acknowledgement of the invasiveness of multinational corporations.” Baker defiantly asks “who and where is the audience for mega-exhibitions?” echoing Enwezor’s use of the words “spectatorship” and “spectacle.” The roving biennale, Baker says, “creates a traveling fair for global elites, excluding both artists and the local populations where such exhibits take place.” Baker dismisses Enwezor’s Trauma and Nation model concepts, claiming instead that “shows such as Documenta existed for years merely as a forum for exported American art and views of art.” Baker further argues “mega-exhibits are in fact created, like the Olympics, with the intent of defining, promulgating, and delineating American culture.” Baker asks “why it is that biennials,” (which are, he says, “essentially the same showcasing of many of the same works repeated in different time zones”) “are the new model for counter-hegemonic spectatorship?” (See the summary provided at athttp://italiangreyhounds.org/errata/2007/06/13/“mega-exhibitions-and-the-antimonies-of-a-transnational-global-form”-by-okwui-enwezor-vs-“the-globalization-of-the-false-a-response-to-okwui-enwezor”-by-george-baker/)
17.
See Naomi Klein,
The Shock Doctrine: The Rise of Disaster Capitalism,
New York: Henry Holt &Co., 2007.
18.
Badiou, Op. Cit., p. 17.
19.
Bill Talen, Email correspondence with the author, 7 April 2012.
SLOW BURN245BARBARA TRAUB
SLOW BURN
BARBARA TRAUB
Monolith
, 2012
246SLOW BURN247BARBARA TRAUB
Playa Play
, 2000
Greeter Station
, 1997
Double Expusure
, 1995
248SLOW BURN249BARBARA TRAUB
Guiding Light
, 1999
250SLOW BURN251BARBARA TRAUB
Ravishing Raven
, 2000
Desert Rat
, 1997
252SLOW BURN253BARBARA TRAUB
Dust Cloud
, 1996
Tableau Vivant
, 1994
Water Woman
, 1997
Through Mediums of Painting and Written Narrative, FLY shares Tales of Tremendous Strength and Courage
Electronic Jazz Collective Hits SOMA FM charts
The music collective GANFUNKEL released the 5-song-EP Fighting Music with Music following the successful 2013 release of Machine Coincident Jazz. The former album produced one song that reached #1 on jazz radio charts, 2 songs that reached #2, and one song that reached #3.
Ganfunkel is California-based and led by Simcoe native Rik Ganju. Personnel on Fighting Music with Music have recorded and toured with Esperanza Spalding, the Kronos Quartet, John McLaughlin, Terry Riley, Bela Fleck, Wayne Shorter and Zakir Hussain.
Ganfunkel’s sound is influenced by rock, jazz, funk and Indian classical music. Standing out on the new album is Stars Fell on Daniel featuring tabla maestro Salar Nader, and the legendary George Brooks on saxophone.
“The success of Machine Coincident Jazz validated our belief that multi-genre music has an audience that doesn’t want to be confined by traditional categories, “ says Ganju. “People are open to many styles of music depending on their mood. And just as film music evolves from minute to minute, our sound changes texture as the mood of the tune allows.”
Ganfunkel albums are available today on iTunes, Amazon, Google Play and most major music download sites, and music videos can be found by searching on Ganfunkel at Vimeo.com
Ganju’s experiments with multi-genre music stretch back to the mid-2000s when he collaborated with Jarrod Barker on many avant-garde experiments.
The track listing for Fighting Music with Music:
- Chunky Town (featuring Kai Eckhardt and Dana Hawkins)
- Shot in a Gambling House
- Stars Fell on Daniel (featuring Salar Nader and George Brooks)
- That Feel on Flesh (featuring Kai Eckhardt and Dana Hawkins)
- Venezia
All songs are composed by Rik Ganju.
Video for Stars Fell on Daniel: http://vimeo.com/94441271
CNBC’s “Secret Lives of the Super Rich”
CNBC’s half-hour primetime series “Secret Lives of the Super Rich,” premiered Tuesday, June 10th at 10PM & hour episodes began airing each Tuesday for four consecutive weeks.
Reported by CNBC’s Robert Frank and featuring New York City super broker Dolly Lenz, “Secret Lives of the Super Rich” unlocks the mansion gates and gives you rare access to a world inhabited by the wealthiest people on the planet. Here’s a sneak peek courtesy of The Silo:
http://video.cnbc.com/gallery/?video=3000236913.
In the first episode, we met a man who’s taken his lifelong Lamborghini obsession from land to water. Also, “Secret Lives of the Super Rich” gets a rare invite on a luxury safari where there’s no shortage of wild life, or champagne. And, an exclusive look inside a Star Trek mega-mansion that may have you wondering if it’s actually the Starship Enterprise (video: http://www.cnbc.com/id/101735785 also see Star Trek Home Theater profiled here at the Silo: https://www.thesilo.ca/beam-me-up-35000000-usd-home-theater-for-sale-in-boca-raton/)
