Then it was almost all over, a twelve hour delayed flight to Los Angeles placing us back firmly on the North American landmass, the lip of the western world. We could almost immediately sense its energy and anxiety. An Uber to our hotel in Hollywood, a comfortable bed, familiar television stations, our cell phones working just as they had five months ago prompting conflicting emotions on being back home. But strange also to have a sense of comfort in a city like this, one that thrives on a cocktail of contradictions, ambition and danger. On our travels we had watched the city on fire, it had been headline news in different parts of the world and this created confusion in some places and occasionally unwarranted sympathy when people heard we were from the USA clearly finding it hard to imagine its scale.
We had some activities preplanned, a trip to a Frank Lloyd Wright house nearby, a meeting with the adult children of old friends who now live in Mexico and with some Angelinos we know but it was the unplanned ones that made me happiest; long walks around the hotel and into West Hollywood, something a resident would never do in order to exhaust ourselves in an attempt to purge the jet lag that was still with us.
There are two Hollywood’s, the rather grim fortress-like Movie Studios occupying entire blocks looking exactly as they function; industrial units generating a product exported globally, anti-romantic factories. They generate billions of dollars, make fame and fortune for the leading people, they industrialize themes of love, war, fantasy that repeat a predictable narrative; a dream of America. Meanwhile I watched from my air conditioned and rather sterile hotel room the homeless without shoes limping as they sheltered from the heat. Yet another Hollywood is revealed at night from a car window, now it’s too dark to see the dirt on the sidewalks, the “For Rent” signs and the mess of cables and air-conditioning units, instead we see the houses lite up with fairy lights like a magical kingdom and the dim windows revealing lives we will never know. It is a domesticated enclave, suburban to its core, there are Home Depot’s and McDonalds next to multimillion dollar homes, it’s impossible not to be surprised at its high and low nature. The modest houses that looked unremarkable, like any other western suburb by day, are now a fantasy at night and will likely contain dentists, real Estate agents as well as actors and rock stars.
If you were a fearless and ambitious walker you could take the surface roads from these absurdly expensive homes to downtown LA where there are entire encampments of homeless people, tent cities whose permanence is illustrated by the ingeniously powered TV’s and stoves. Bravely walk further and you are in another city altogether, a place of chain linked fences and angry dogs ruled by gangs and one where you and I are not welcome. Strangely the wealthy and the poor cohabitate without conflict, until some event happens and stores are looted and police arrive in militarized vehicles and things go back to normal.
For some of us it begs the question, why do so many creative people choose to live here? A partial answer comes from the film director Werner Herzog. He is quoted as saying “Wherever you look in LA there is an immense depth, a tumult that resonates with me. New York is more concerned with finance than anything else. It doesn’t create culture, only consumes it; most of what you find in New York comes from elsewhere. Things actually get done in LA. Look beyond the glitz and glamour of Hollywood and a wild excitement of dreams opens up; it has more horizons than any other place. There is a great deal of industry in the city and a real working class; I also appreciate the vibrant presence of the Mexicans”.
Ambition and reinvention drive this culture. For an American the city feels like the edge of the planet, and staring out into the Pacific it’s not difficult to understand why. I would be wary of taking a west bound plane from here, there is a sense that there is nowhere to go but backwards if you are not successful. People still flock here to find its magic to take on a new persona or form, to get a lucky break and achieve the fame, lifestyle or wealth they crave; to be the person they dreamt of being. You meet them serving you in restaurants and bars, driving your Uber.
It’s an easier, more livable, city now compared to how it was thirty years ago when GPS and Cell Phones didn’t exist and taxis were expensive and hard to get. In those days I would drive around with a city map covering the steering wheel, or memorizing the surface road names and that would also frequently be at night when we would go out for dinner and I, the designated driver, couldn’t drink, or relax, as the knowledge of a complicated drive home haunted the meal. Now we have self-driving cars, we have cell phones, we are in control of our plans and its fun to go around without a rental car and this lack of this responsibility offers an almost childish sense of freedom.
Los Angeles is an interior city. If you arrive from Europe or cities on the East Coast where walking and sightseeing is handed to you then you will come away disappointed. For many tourists I know have left angry and perplexed at what seemed to them an ugly suburban mess on the side of a dirty, un-swimmable toxic Ocean. It’s a place that changes with the right amount of due diligence, research and a handful of contacts, even eating in the right place is helpful, whether it is an authentic Mexican restaurant on a sidewalk where you sit on flimsy stools and get served fiercely spicy Tacos’ or a garden on the back of an upscale place in Venice. Many years ago it was a place just like that where we had arranged to meet a friend whose life had taken on the predictable arc of a LA resident. Originally from Philadelphia, she had won a prize for a film project and moved to the city at a time when you could still get a place with a reasonable rent and a vague idea of being a stand up comedian. Now she teaches children with disabilities, a much more challenging but rewarding profession. As we waited for her I saw a large table with one occupant, a familiar face that I couldn’t place and then a few moments later when the other guests arrived several that I could, including the actor Tom Hanks and his wife. Mary had been quicker than me and had already whispered that it was Martin Short. How do celebrities behave when they socialize? As badly as the rest of use, loudly telling stories and drawing attention to themselves.
On this trip we had arranged to meet friends in a highly rated, difficult to get into, Pizza restaurant. We took a fifteen minute Uber to the neighborhood just off West Hollywood which was surprisingly quiet, we later found out that it was due to a Jewish holiday. The Pizza was fine but not as amazing as the reviews on line had suggested, so we extended our evening by moving to a local bar. Here there was a mix of American entrepreneurialism mixed with Korean cuisine which summed up the city, two young multiracial people making just enough money to keep the place afloat. It seemed like hard work to me but they had a passion for what they were doing, they were the center of a local community and happy enough. This quality is perhaps the most perplexing to those of us who have never lived here; let’s consider the risks for a moment, the San Andreas fault provides a few earthquakes from time to time as an amuse bouche to the final reckoning, there are the fires, the floods and the occasional civil uprisings and tensions from the predictable gentrification of once exclusively ethnic neighborhoods, not to mention the price of property and the taxes. Yet for many it is the center of the universe. It manufactures the fantasies and the dramas of the world which have massive global reach, much of the American propaganda we watch is created in the studios or in backyard offices by enthusiastic people who are thrilled to be part of something important even with the knowledge that ultimately it is perhaps just another industry with the goal of making money.
I’ve often fantasized about living in LA for a while but Mary is against it. Perhaps I have the same concerns but they are better hidden, I recall seeing an exhibition of the quintessential LA artist Ed Rusha in New York where some of my prejudices surfaced. It was strange to see the retrospective in New York, a city where the melancholy ghosts of Edward Hopper and Jasper Johns haunt his work as does the influence of Laurence Wiener’s text-based practice. I could also add improbably the early Californian paintings of Hockney being made around the same time, a parallel career yet in some ways his opposite, who shared a love of flatly painted midcentury homes and pools, and even Warhol who relished the unabashed glorification of commerce and glamour, elevating LA’s midcentury vernacular architecture onto the white walls of a gallery. Rusha’s celebration of materiality, of language and unremarkable architecture is regurgitated in repetition sometimes also using gun powder and chocolate to provide a veneer of conceptualism to break free of the categorization of “pop”, already dated as he approached early middle age. What was immediately clear was the rejection of the serious nature of abstract expressionism, and its already dated preciousness, and embrace of the agnostic world of irony and emotional detachment. How much politics at this time influenced him is unclear and he offers no clues, but Vietnam was happening as was the rise of student rebellion around the world which was frequently targeting the prosperity, commerce and empire building from the US government and its large corporations, so some critics warn us not to demand too many answers of this work.
I saw the show on an unlucky day, Friday 13, and that might account for my hesitancy to buy into his greatness, but in truth my ambivalence is a little deeper than that. For as long as I can remember his name has been banded around, normally in my experience from women of a certain age, who regarded him as an art world heart throb. I heard from friends in Los Angeles that he was the personification of an art world “star”, handsome, white, male, rich and heterosexual, he dated intelligent actresses like Diane Keaton, but was still somehow optimistically thought to be available. He was more than just an art world star, he was an insider; he had achieved the goal of a contemporary artist by creating his own brand, he selected some specific imagery, ironically that of commercial brands themselves, repeated it enough times to make it unmistakable his own, cementing this in the world through the supporting infrastructure of the right collectors, curators, museums and publishers. He had the perfect backup, the Ferus Gallery in LA, Leo Castelli in New York, the Venice Biannual, the timing was right for him.
The visual language Rusha adopted was at his doorstep, or at least a short drive from it; Gas Stations, Billboards, Apartment Blocks, Municipal buildings all more striking because of the absence of human beings and of nature with the exception of an occasional ornamental palm tree, garish sunsets, mountains and on a single occasion in the MoMA show a bird, painted with such deliberate artifice than it looked wholly unnatural. They look like screen savers now overridden with text which we are expected to laugh at or at least celebrate the dry wit. Often there is a fire attacking the buildings, a punk impulse to offset his jazz persona, the same casual dismissive brush stokes as Hockney used who painted a splash to animate his flat roofed homes and their pools.
He used a camera with the same discipline. From the mid-sixties he took repetitive photographs of buildings on Sunset strip moving on to other similar rigorous studies of local building or pools, always dehumanized, the cameras as conceptual tool, not capturing beauty or visually remarkable images, the kind of work being promoted at that time by Bernd and Hilla Becher in Dusseldorf. But of course, the same central ambiguity exists with this work, we can never be sure if he ridiculing formalism or participating in it.
It has been pointed out before that he is one of the few artists who straddles film culture in LA and its contemporary art scene and that strong parallels exist between the two. The major film studios certainly held, and continues to hold, global influence over the portrayal of American culture globally, much of the romance and visual deceit of the movie industry lies in its language and when I grew up the words Sunset Boulevard, Beverly Hills, Pacific Palisades, Malibu all possessed romantic and exotic connotations long before I actually saw how shabby they are in real life. The art world also mirrors the film world with its hierarchies and A lists mainly because the two industries share the same problem, there are few legitimate entry qualifications instead success is defined by luck, determination and willingness to understand and play the necessary games. It’s not hard to imagine the bedside conversations between the artist and the Hollywood actresses he dated. But let’s not forget that the art world embrace is a tentative one. In an interview in Gagosian magazine the artist Maurizio Cattelan shared his vulnerability within the art world and reminded his interviewer that “art world names are written in pencil”. He also expressed his worst fear; “it took me a long time to where I am and I’m still terrified of being kicked out”.
It was not far from me to walk from my home on second and 57s street to MoMA which is just off 5th avenue at 53 street. It was under an airbrushed blue sky, more LA than NY, and a day of autumnal freshness despite the heaviness of the political situation on the middle east where medieval atrocities were taking place. Serious political problems have to be dismissed, so what if the world is on fire? particularly in light of the cool, detached feather weighted lightness of show I was walking to, as the artist said, “he would have painted the river Seine if he lived in Paris” and so he simply painted gas stations and billboards, an agonizing admission. Perhaps the joke is on us, foolishly we seek answers from artists, expect them to explore what they see, what they desire and what they fear but it’s asking too much, maybe we should accept this nihilism, be helpless and detached after all why wouldn’t an artist’s work that personified coolness leave you cold?
We had one last stop before going back to the East Coast, a short trip to Salt Lake City to see the Spiral Jetty an art work by the late Robert Smithson. The image of a spiral was omnipresent during our trip, in Polynesian culture it symbolizes immortality and specifically for Mauri’s it symbolizes new beginnings, growth and the interconnectedness of life. And so this Koru felt like the perfect place to end our trip.
The flight to Salt Lake City in Utah was a short one and we spent the evening walking into the city, which was surrounded by snowcapped mountains. It’s a prosperous place thanks to being the head offices, and in some cases the back offices, of some large corporations and so could sustain good restaurants, convention centers and hotels. We hired a car and drove out to the Salt Flats the next day and were surprised to find the site empty and it was rather miraculous to have the place to ourselves, one of complete emptiness save for the occasional horse or photogenic groupings of cattle, and the salt of course which we could taste on our lips and in the tightness of our skin already burning a little from the sun.
Robert Smithson was a land artist and this work probably his most famous. It was completed in April 1970 and has come to represent a major landmark in his career and in the history of this genre. It is smaller and more elegant than photographs suggest, and my initial feelings about the arrogance of making an art work that is only truly visible from the sky, an almost unattainable view point, was soon dispelled as it is clearly seen after a steep climb up a nearby hill. But that’s not really the point, it’s better to be a participant; to walk through its channel of mud, salt crystals and basalt to its center. Its flat, empty surroundings are remarkable to those of us from the Eastern side of the USA and can be regarded as anti-pastoral, the opposite of a conventional idea of beauty. There is a sad postscript, Smithson died three years later in a light aircraft, imspecting another work in Amarillo Texas along with the pilot who was also a photographer and although the work was finished after his death it has subsequently become overgrown and eroded.
Later that day we walked back into the City, ate in a great Sushi restaurant, found a lovely ice cream Parler and smiled smugly at each other, very much aware of our good fortune and the promise of new beginnings, the knowledge that we would be boarding a plane the next day to Philadelphia, the place where we had started from five months earlier.