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We’re taking a short break for the month of August so we can plan for the new season. We’ve got a lot up our sleeves and we can’t wait to tell you about it. Look for us in September for some big announcements. See you then!

tan mom

Watching the heinous dumpster fire that is the American news these days, sometimes it’s nice to reminisce about a more innocently crispy orange-faced villain from the news cycle’s simpler times. Remember Patricia Krentil, a.k.a Tan Mom? Her fifteen minutes of fame may have been shorter than her toddler’s sessions in the tanning bed, but boy did she leave behind a legacy.

For starters, her attempt to cling to fame with this insanely ill-conceived music video:

And her gay porn cameo.

And the amazing Jaimie Warren self portrait she inspired:

Self-portrait as Tanning booth Mom/Self-portrait as Necronomicon in Tanning Booth Mom Totally Looks like Necronomicon by MDFification

Self-portrait as Tanning booth Mom/Self-portrait as Necronomicon in Tanning Booth Mom Totally Looks like Necronomicon by MDFification

Oh Tan Mom, I’d say you could adopt me, but I don’t think social services would let you.

Post image for L.A. Art Diary: The Final Entry

In his final L.A. Art Diary post, Michael Anthony Farley explains why he can’t live in Los Angeles, even though it seems like everyone else is these days.

Post image for Highlights From The Marciano Collection

The Marciano Art Foundation has been the biggest pleasant surprise of 2017. As I’ve mentioned on the blog before, the new museum, funded by the GUESS Jeans fortune, delivers big-time with site-specific special projects from Jim Shaw and Ryan Trecartin and Lizzie Fitch. Those installations are so enthusiasm-inspiring it’s almost easy to overlook the “quieter” collection itself, on display mainly in the third floor galleries.

That would be a mistake, because the collection—the bones of the Marciano Art Foundation—has been curated in such a satisfying , thoughtfully-paced manner that the viewing experience stays engaging throughout. That’s a rarity, unfortunately, in so many hangs of private collections, which tend not to have a specific focus beyond showing off their holdings. Here, though, there are narrative interests evident in the Marcianos’ collection, perhaps highlighted by the apocalyptic nature of the Jim Shaw show and the site-specific “behind-the-scenes” vibe of the Trecartin/Fitch collaboration—namely an interest in social tension or upheaval and works that reveal their process, respectively.