FOR IMMEDIATE RELEASE
January 7 February 4, 2006
Reception: Saturday, January 7, 6 9 pm
post industrial art for the post industrial age
990 N. Hill St. #205, Los Angeles 90012-1753
(626) 319-3661, Fax (323) 225-1282
Web site, <http://www.l2kontemporary.com>
Thursday Saturday, 12-6pm or by appointment
The subject of the “star” especially the Hollywood star, is so rich, so loaded with messages that most of the art made about it tends to stay on the surface along with imagistic and contextual fringes in a kind of detached safety-zone. There the approaches found to prevail are of the academic-cum-programmatic type, those capable of reducing just about everything under the sun, including your biggest and most bankable star to so much dry and pat information.
Standing out in the sharpest contrast to all of the above, we have the wondrous work of Simone Gad.
Since the early 1970’s, when she first turned to dealing with Hollywood subjects, Gad has opened many a fascinating window on the more profound and hidden levels of significance bound up with the star. From the tableau-installations she did in the 1970’s and during 1980’s to the recent self-portraits with pinups and Madonnas, Marilyns in Los Angeles, and L.A. bungalows, that are being featured in her current exhibitions, she has continued to develop her own vital visual language and also seemy essence of stardom.
Still, it seems her grounding in the Los Angeles art world of the 1960’s and early 1970’s afforded the necessary perspective for seeing the artistic potentials of the Hollywood orbit she was keyed into as an actress.
Among her favorite artists in this period, Gad has recalled, were California artists George Herms and Wallace Berman her first mentors, Al Hansen - Fluxus artist who remained her mentor until he passed away, the West Coast sculptor Ed Kienholz, Andy Warhol, Lucas Samaras, Robert Rauschenberg and Bruce Conner. Assemblage and mannequins and Pop themes were among the main areas she wanted to investigate.
So, as Gad has said: “I decided I wanted to make work that was more personal from my experience as an entertainer.”
In the recent collages, the treatment of stars and self-portraits with pinups and religious iconography, have grown even more complex as the wealth of symbolic associations that made the installations so fascinating to experience is further compounded by the introduction of emphatically autobiographical themes.
1992/2005 Dr. Ronny Cohen, Writer/Art Historian