February 23, 2010  |  Uncategorized

Screen shot 2010-02-23 at 7.04.28 PM
Billboard by Kerry Tribe

If you live in Los Angeles, you’re well aware of the increasing visual pollution caused by the endless propagation of billboards and supergraphics vying for every open inch of Southland skyline. A welcome break to the aesthetic ad-driven monotony comes in the form of the “HOW MANY BILLBOARDS” project, presented by the MAK CENTER, featuring the artwork of 20+ artists plastered (legally) on billboards at key locations in and around the Hollywood area. While the artist roster doesn’t exactly blow our minds or, likely, the minds of many young people in the area(WTF, no Skullphone, Ron English, Allison Schulnik, Barry McGee, Barbra Kruger, Raymond Pettibon, Catherine Opie, or Chaz Bojorquez?!), the project itself is a great follow-up to the precedent-setting and more visually stunning ARTBOARD FESTIVAL that took place in LA in 1977 and featured artists like Rick Griffin and Ed Ruscha, a project that has been kept alive in recent years by UNDFTD who have maintained their eye-popping art billboard for several years now.

Kimberli Meyer

The philosophical proposition of the exhibition is simple: art should occupy a visible position in the cacophony of mediated images in the city, and it should do so without merely adding to the visual noise. How Many Billboards? Art In Stead proposes that art periodically displace advertisement in the urban environment.

Billboards are a dominant feature of the landscape in Los Angeles. Thousands line the city’s thoroughfares, delivering high-end commercial messages to a repeat audience. Given outdoor advertising’s strong presence in public space, it seems reasonable and exciting to set up the possibility for art to be present in this field. The sudden existence of artistic speech mixed in with commercial speech provides a refreshing change of pace. Commercial messaging tells you to buy; artistic messaging encourages you to look and to think.

Time and space allotted for artworks in commercial space is limited, and the sea of signs is vast. How can a billboard exhibition make a strong enough impact? Most importantly, the art cannot be passive. It must take a strategic approach, be critically oriented, and explore the billboard as a site.

Artistically and culturally, Los Angeles is an aggregate of dynamic histories. Experimental architecture has been active here since the early twentieth century, radical art since the 1950s. An acute awareness of urban space has always influenced both avant-garde architectural and art practices in Los Angeles. Southern California’s overlaps and interweaves of architectural adventurism, pop, and Conceptual Art have generated rich environments for artistic production and yielded influential bodies of art. My co-curators and I felt that these So-Cal syntheses are relevant for the dynamics of pop-public space in Los Angeles today.

It’s a win-win situation.

Los Angeles public space begs for smart art to break up the monotony of everyday media fare, and the billboard provides a fertile position for artists who work critically and site-responsively to test their ideas in urban media space. Contemporary art gains a momentarily broad audience, and city dwellers are extended a daily invitation to reflect and contemplate. Channels are opened for experimentation, innovation, and cultural exchange.

The MAK Center, the project partners, and I invite you to explore, enjoy, and tell us what you think.

*Read more about the project HERE

Billboard by Yvonne Rainer

Billboard by David Lamelas

Billboard by Kenneth Anger

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