I lived in L.A. back in ‘92 (in the summer of the Big Bear earthquakes) and was mesmerized by the in-your-face lifestyle of Tinseltown. Not much has changed since then, particularly in terms of the smog and the feaux obsequiousness of your average struggling artist, but I love it anyway. These pics were shot over the last two summers at Rodeo Drive, Melrose, Hollywood Blvd., Mulholland Drive, The Dresen, and Santa Monica Pier (more architectural spaces will be featured soon in “SPATIUM”).
Last but not least, I snapped this at the Derby (where my friend, John Wagner, was playing).
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posted by Jazno at 7:46 pm
posted by Jazno at 2:36 am
As one witty writer once quipped, “Whatever you inferred, I intended.” That is, every observer brings their own life history and subjective sensibilities to a piece of art, which may or may not be germane to the artist’s specific intent; however, it doesn’t ultimately matter if the viewer is moved in some particular way. Jesse Pollock’s work definitely moves me in a number of ways, with its quirky austerity and photojournalistic edge, even though I’m not privy to all the elements of the story; he is not interested in delineating the fighters duking it out mid-punch, but rather the prologue or epilogue to the event. Pollock’s images abound with potential energy and expended energy, like a weather forecaster or forensic expert who must piece together a cogent picture before or after the cataclysm. The result is a rhetorical, Kubrickian distance from the subject, a plaintive and composed portrait of chaos to be reconstructed off camera. As an antidote to this quiet antagonism, Pollock takes a number of meditative pictures with little or no narrative subtext, exhibiting a more Eastern sensibility. Visit his site and blog to see more of his work.
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posted by Jazno at 10:09 pm
