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Modern Master Ed Moses: Discusses Art With The Hollywood Sentinel

Ed Moses is a remarkable figure in contemporary art who keeps getting better and better. His recent show “Ed Moses: Now and Then” closed August 29 at the William Turner Gallery at Bergamot Station in Santa Monica, California, and included new works from 2015 which had never been seen by the public before.

Although I attempted to record our interview on my iPhone, the recording inextricably stopped several seconds after it started. Mindful of the art groupies, friends, patrons and others who were waiting to get a piece of Ed’s attention, I stopped trying to erase videos and manage my storage settings and decided to keep talking, and do my best later on to remember what we’d said to each other.

“I like your shoes.”

That was the first thing Ed said to me, as crowds were filtering in, getting cocktails or organic hot dogs from the patio. The rest of the conversation, though I recall with some accuracy what was said, I could not place in chronological order.

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“Hot pink shoes for a hot day,” added his friend, an art consultant who lives in Beijing and Los Angeles. I’d gotten dressed for a workout and didn’t have time to change into something more upscale, but no one was dressed to impress; rather for comfort and freedom. “I know it’s too hot for long sleeves,” said one man, dressed a bit like Marcel Marceau in black pants and a black and white horizontally striped cotton top, “but we rode bicycles.” Another woman introduced herself to me as “the world’s most prolific collector of dog art.” My sweatpants and hot pink Nikes? No problem.

Although the atmosphere was decidedly laid back, there was an implicit understanding everyone pretended not to think about that something serious was nonetheless happening. After all, these paintings sell for upwards of $60,000. Ed Moses is considered by more than a few people the best and/or most important painter living in Los Angeles today. He is, however, far from pompous. “Yes, sit down,” he invited me, “and I’ll tell you all the lies you want.”

“Your recent work has gotten less pretty,” I postulated, “And more brutal, so it’s more compelling.”

“I like that,” he said.

We talked about the backs of the paintings. I said they tell a story a hundred years from now when the painting has traveled to various museums or through a chain of ownership, and he agreed that they can reveal more than the front of a painting. To a person who loves painting with a passion the back of a painting represents the “inner life” of the painting; it could be the fetishistic attachment of the artist to that which is not on display or for exhibit turned outward in a display of introspection, defiance, or vulnerability; it could be what separates the mere art aficionado from the fanatic, just as a weekend tourist in Napa Valley might conspicuously smell and swill the wine in the glass, but a sommelier will know how far to fill the glass, when to decant, and when the bouquet is open. “You can say I said whatever you want.” he told me, when I told him I was going to have to rely on a mental recording of the conversation. But the things he actually said were delightful.

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He talked about Kauffman and Reinhardt; Paris in 1958; UCLA; and (if I understood correctly) an image of a woman or cat exhaling flames. He talked about soaking his canvases with water before applying brushstrokes and using ground glass. He talked about the white with black piping patent leather wedge sandals of a woman in the crowd, and the reflections of the paintings on the high gloss gallery floor.

A way of seeing tantamount to a way of being: the antithesis of what Reinhardt would call the disreputable practices of artists-as-artists. He complimented an observation that the paintings were about painting rather than meaning after the phrase no meaning came out of his mouth and I’d chimed in, excitedly. He had just finished telling me that there were no mutations in his paintings, but futations, and I’d asked what a futation was. “It doesn’t mean anything.” “It has no meaning.”

Fire? No. Pounding nails? Yes.

“You can make it about whatever you want. Whatever it is to you, it’s right,” he said.

I see two closely related themes in Moses’ work; the (concrete, absolute, sui generis yet organic) brushstroke, and the (abstract, man-made, egoic and ephemeral) cycle of creation and destruction. There were references to Japanese screens and printmaking and its historical influence in 20th century; European painting; patterns of lace; assemblage and deconstructivism; slick use of color and quasi-Scientific symbols of protons. There were dual impulses to allow and shape the flow of paint and a merging of liquidity and time.

Ed Moses was born in 1926 and will be 90 years old next April. I feel very privileged to have had the opportunity to meet and speak with Ed in person along with seeing the new work, and would like to express my special thanks to Ed for his generous kindness, as well as William Turner for hosting the exhibit and Stephen Volenec for his encouragement to do the interview.

This story is copyright 2015, The Hollywood Sentinel, all world rights reserved. The offices of The Hollywood Sentinel do not endorse any advertising or links that may be found on or in connection with this story.

Moira Cue art and literature editor of The Hollywood Sentinel and President of Moira Cue Multimedia. A fine artist, writer, actor, and singer, Moira Cue has appeared on stage at the Viper Room, Key Club, and The Mint among more. Contact Moira at www.TheHollywoodSentinel.com.

Top Ten Divas: Amy Winehouse

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This article is about Amy Winehouse the diva, Amy Winehouse the soul, Amy Winehouse the icon. Though it is impossible to separate Amy from her pain and sorrow, we will attempt here to remember her with respect and focus on many things she did exceptionally well.

Katia Vaz-Hollywood Sentinel

Style. She understood the time she was in. Amy knew how to innovate, and how to hit a nerve with audiences. Amy understood the idea that “it’s all been done before,” and that the original choices an artist can make today involve original pairing, the mixture of ideas that have not been mixed before, rather than new ideas, which are arguably impossible, or a new rehash of old ideas. And so the risks Amy took were with style and also with the level of intimacy she bared in a world that has seen it all. Her extreme vulnerability still impacted us. While her tattoos screamed “biker chick” and her torn jeans “punk,” her giant beehive of black hair, red lipstick and nails, and black eyeliner were straight up borrowed from The Ronettes. A carefully chosen palette. Amy used red and black, bold colors, to accent her bold sound.

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Brass. Amy knew how to use a big brass band. Backing your vocals with a wall of brass takes a lot of chutzpah, and Amy was a jazz siren for all ages.

A heart of gold. “Ask Amy, she’ll do it,” was the word among London’s charities; her list of contributions is lengthy, and her family is currently involved in the Amy Winehouse Foundation to help prevent drug and alcohol abuse among tomorrow’s artists.

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And most of all, Amy had soul. The voice is the exterior manifestation of an intentional internal vibration of the organs against the bones. While musicians learn to play their chosen instrument, a vocalists uses the body and nothing else. Amy’s voice suggested power, vulnerability, a raspy weariness, confidence, swagger, defiance and submission all at once. It is in her voice we hear the part of Amy that was untouched, at first, by all her troubles.

This content is ©2015, The Hollywood Sentinel.

How To Keep Kids Safe In Hollywood

CoreyFeldman

1. Never pay for your child to be represented. Photo shoots are required and are something you may have to pay, but you should not have to pay for pictures for any kids under 13, as they grow so fast, that the pictures will be outdated too soon. For kids 13 to 17, do not spend more than around four hundred dollars on both printing and headshots and zed cards for modeling all combined if they do all.  You don’t need more than a dozen headshots or zed cards printed at a time. Most printing is not included in shoots, so be sure to find out. Make sure the company has a good reputation with the studios and casting, and gets people work before you sign with them.

2. Never sign an exclusive agreement with your child, and never give up more than 20 percent.

3. Avoid modeling schools, they are a waste of money and not necessary.  Avoid expensive industry seminars for modeling that include panels and so called runway shows which are also unnecessary, and avoid any school or workshop that promises auditions for pay. Legit auditions never require payment.

4. Teach your kids to only give out YOUR cell phone number or email, NOT theirs, and NOT their social media contact. Make sure your number is un-listed. Strangers can locate your address with listed numbers and find where your child lives. Teach them to never reveal to strangers where they live or go to school, or where you and your family work or other personal information such as church, bank, where you shop, or other private information.

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5. Teach your kids not to talk to strangers on the street unless you are there too.

6. Never leave your child unattended or out of  your site even for a second in the entertainment industry. Insist that you go with your child to any agency or management company interview, casting, audition, go see, acting class, or similar. If the people running the event don’t like it- too bad! They can deal with it, or your child will not attend. You have every right to be there. Do it.

7. Never let your child go off to any overnight event unless they are with someone you know very, very well, trust with your child’s life, and have known for years, preferably who also has kids you know, and absolutely who will not let your kids out of their sight.

Richard Bernard Hollywood Sentinel 2014

8. Never let your child be photographed, videotaped or filmed unless you are there observing. Do not allow your child to be photographed in anything inappropriate or in any manner that exploits or sexualizes them.  If any inappropriate filming or photographing happens against your consent when you are present that you forbid that is inappropriate, demand to have it deleted and erased or mention you will sue. Contact our office if you need help in this regard.

9. Instruct your child to never consume any food or drink that has been left unattended, and only eat or drink food that they and you know are clean and healthy, which you know where it comes from.  Never allow your child to consume alcohol or other drugs.

10. Teach your child to never follow anyone in public to any location, to never get in any one’s car except for you or your family, and to never approach any stranger asking for help without you present.

11. Teach your child to not be paranoid, but to be aware of the existence of hidden cameras which can be placed on the ends of canes, umbrellas, on hats, glasses, ink pens, and more.

12. Teach your child to cover their private parts as much as possible when using restrooms, baths or showers in places not at your home or family, or trusted hotel with you, in public type places. It is rare, but it has happened that there have been hidden cameras placed in public restrooms to secretly film people.

13. Teach your child that it is not appropriate to stick their tongues out or have their legs spread open in public, and to dress appropriate to their age and not wear clothing that is too revealing for their age. Make sure that your children wear underwear! Make sure that your children do not do anything focused primarily on their mouths that can be seen or taped.

14. Be in good communication with your child and be willing to communicate with them about anything, without condemning them, so that they know you are a friend who they can trust and tell anything. The more your child feels that they can trust you, the safer you can help them be.

15. Teach your child to speak without swearing or being vulgar, and (when they are old enough to learn), teach them why being trashy (as are many music and some film stars) is NOT cool.

If you have any questions or comments, you are invited to contact Bruce Edwin directly through the front page of www.TheHollywoodSentinel.com.

If you know about someone who is a suspected child abuser or trafficker that has not yet been brought to justice, contact The Office of Bruce Edwin directly at 310-226-7176.

Ten percent of all profit of The Office of Bruce Edwin Productions, The Hollywood Sentinel, Hollywood Sentinel Public Relations, and Starpower Management goes to help fight child sex trafficking and the abuse of children in Hollywood.

Bruce Edwin is a film producer, model and talent manager, public relations expert, and publisher of The Hollywood Sentinel, which publishes ‘only the good news.’ He works with some of the most powerful and biggest names in entertainment in the world of music, film, fashion, art and business.

If you know a parent with children that could benefit from this information, you are invited to forward this link to them.

This content is ©2015, Bruce Edwin, The Hollywood Sentinel, all rights reserved.