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.

Post image for Andrew James Paterson on Publishing Decades of Wisdom and Criticism Today

Every city should have an Andrew James Paterson. Pity we cannot clone him.

Since the late 70s, Toronto-based Paterson has produced a mountain’s worth of material in a mountain range long list of disciplines: from seminal New Wave music to Super 8 films, neo-noir novels to ground-breaking critical texts blending art writing and fiction (aka ficto-criticism), diaristic video pieces and digitally sourced art to performed lectures to concrete poems to performance poetry to theatre works. And that’s the short list.

He is arguably one of the most influential figures in Canadian art alive today, and I do not make such statements readily nor lightly. A Toronto without him is unimaginable.

And now, there is even more proof. Collection/Correction, an anthology of Paterson’s critical writings, concrete poems, and film scripts provides a kind of Paterson 101 to new readers and confirms what the rest of us already know – Paterson is an agile and beautifully free thinker, and has always been way ahead of his time. What the hell took this book so long to arrive?

I reached Paterson by email and asked him to “have fun with my questions”. You get what you ask for.