Horsegirl- Switch Over
Every month I listen to the majority of bands and musicians who are playing in Los Angeles and select some for a monthly playlist. It includes a variety of genres and usually newer work by the artist.
The song above is from Horsegirl‘s 2025 album Phonetics On and On.
Below are the August’s selections-
Worthitpurchase- Sideways
This song is from LA band Worthitpurchase‘s upcoming self-titled album, releasing 10/3/25. To celebrate the release of the new album, the band is playing at Non Plus Ultra in Los Angeles on Thursday 10/2, with Le Pain and Quad Super Six.
“Imagine a World Without America”, 2007, Screen print and acrylic on canvas
The painting above is by Brooklyn-based artist Dread Scott and was on view as part of the 2019 group exhibition Borders at James Cohan gallery in NYC.
From the press release about the work-
His 2007 work, Imagine a World Without America, calls upon the viewer to participate in the titular thought experiment and contemplate that absence. The painting de-centers the United States of America from the middle of the map that most Americans are familiar with. Scott utilizes the language of cartography to encourage the exploration of social questions, not geography. Land mass and sea are depicted but—like the world as it actually is—borders don’t exist.
The work is currently on view as part of 15, a group exhibition at Cristin Tierney gallery, celebrating the gallery’s anniversary and new location. 15 will be on view until 10/4/25.
Dread Scott has created political works throughout his career in a variety of mediums. In the video below he discusses how one of his art installations, What Is the Proper Way to Display a U.S. Flag (1989), drew controversy- including denouncement by then President George H.W. Bush.
Christopher Parks, aka Palehorse, is based in St. Petersburg and created the murals pictured. The first, pictured above, is of Hindu goddess Saraswati and is located on the wall behind the Floridian Social Club.
From his website–
This mural honors and celebrates the blessings of the Hindu Goddess known as Saraswati, whose image symbolizes the qualities of knowledge, music, art, speech, wisdom, & learning. Her auspicious presence & the properly tuned strings of her veena instrument remind us all to tune our hearts to divine Love, so that we may live in harmony with nature & all beings around the world.
He also created Temple of Eternal Bliss, pictured above, for the 2019 edition of SHINE Mural Festival.
From his website–
Guardian lions protecting the temple entrance represent the indestructible nature of the Self and our ability to realize universal truth and absolute freedom in any age.
Sat Chit Ananda – सच्चिदानन्द – Consciousness of truth is bliss.
For more of his work, also check out his Instagram.
Alice Bag performing with the Bags for “The Decline of Civilization I”
Ozzy Osbourne from “The Decline of Civilization II: The Metal Years”
Street kids from “The Decline of Civilization III”
From 1979-1998 director Penelope Spheeris made three films documenting the music scene in Los Angeles for the trilogy, The Decline of Western Civilization. All three combine interviews with musicians and their fans with live footage from the shows. Spheeris is able to capture the unique energy of the different scenes and present the participants she interviews without judgment.
The first, released in 1981, and probably the strongest, features concert footage of X, Black Flag, Circle Jerks, Bags, and the Germs, among others. Many of these artists continue to perform to this day, like Pat Smear of the Germs who would go on to play with several bands- including Nirvana and Foo Fighters.
It’s also fun to see a young Phranc (pictured below) playing in Catholic Discipline. She would later switch to folk music and creating fun cardboard sculptures. At the same time it’s sad seeing Darby Crash behind the scenes knowing he would die by suicide in 1980 before the film was released.
X (Exene Cervenka and John Doe)
Phranc
Darby Crash
Pat Smear
The second installment, The Decline of Western Civilization Part II: The Metal Years, changes tone quite a bit as Spheeris covers the heavy metal scene in the late 1980s. Big hair, big hopes, and lots of makeup mark a big change from the previous punk era, both in attitudes and musical style. Several big names show up along with the lesser known bands including Ozzy Osbourne, Lemmy from Motörhead, Poison, Aerosmith, and Alice Cooper. Gene Simmons and Paul Stanley from KISS also make appearances, the latter filmed on a bed surrounded by women.
Two members of Poison
The third installment, released in 1998, returns to punk music twenty years later. It also returns to the style of the first installment, but this time focuses more on the “gutter punks”- homeless kids living on the streets of Hollywood. There are several scenes of them panhandling, partying, and talking about their rough upbringing. These scenes are mixed with band footage and interviews with some of the musicians from the previous punk scene, like Flea and Rick Wilder (of The Mau Maus), who provide their perspective on the changes. Spheeris was so moved by the stories these kids told, she went on to be a foster parent after making the film.
Rick Wilder of the Mau Maus
All of these films were released in a box set with the help of Spheeris’s daughter Anna. They are also available on several streaming sites.
Truman Sinclair- Bloodline
This song by LA musician Truman Sinclair is from his 2025 debut album, American Recordings.
He is opening for Runnner at Lodge Room in Los Angeles on Thursday 9/25/25.
Wax Monument IV (Free Wax) by Sandy Williams IV was on view at Socrates Sculpture Park in 2020 for Call and Response, Part II of the MONUMENTS NOW exhibition. The outdoor exhibition included ten monuments projects realized by the Park’s 2020 Artist Fellows.
From Socrates Sculpture Park about the work-
A monument to living history, this wax flag can be set alight from multiple-wicks and rests perpendicularly upon a black mulch base shaped like the borough of Queens. Rendered in black and white, the wax flag is reminiscent of – but not equivalent to – the U.S.’s own flag and emblem of patriotism. By enlarging the candle- a commemorative form often spontaneously employed in immediate reaction to events, Williams celebrates this popular, accessible form of expression. Alive with transformative potential, the work invites participation, mark-making, melting, and molding of a malleable symbol.
The 2025 Socrates Annual: Up/rooted– featuring new commissions from the Park’s 2025 Artist Fellows: Natalia Nakazawa, Pioneers Go East Collective, Rowan Renee, Catherine Telford-Keogh, Zipporah Camille Thompson – opened on 9/12 and will be on view until 4/6/26.
Abstract expressionist artist Mark di Suvero‘s sculpture Declaration (pictured above) is located on the Venice Beach Boardwalk in Los Angeles. It was installed in 2001 to commemorate the Venice Art Walk’s 22nd year and in support of the Venice Family Clinic, a local organization that provides quality health care to those in need. Di Suvero turned 92 today, 9/18.
Although he is well known for his large sculptures, he is also a painter. Some of these works were shown in 2019 at L.A. Louver in Los Angeles along with some of his smaller sculptures (pictured below).
From the L.A. Louver press release about the paintings-
A selection of brilliant abstract paintings by the artist accompanies the sculptures. Like the sculptures, his paintings are never still. Created with dazzling colors in dense layers of linear and freeform gestures, they project a swirling sensation akin to the twirling movement in his three-dimensional works. Accented with phosphorescent paints, the works luminesce and reverberate even in the absence of light (and are especially dazzling when activated by black lights installed throughout the gallery space). “The heart of art is the search for form that is electrifying, that gives life to our vision,” explains di Suvero. “This is the language of emotion. Anesthetic is to kill feeling. Aesthetic is the opposite, aesthetic is feeling. The thing that is most important is the dream, the vision for what doesn’t exist that could exist.”
It was recently announced that L.A. Louver will be closing their Venice Beach space, but in happier news they will be donating the gallery’s complete archive and library to The Huntington in San Marino, California.
MIEN- Empty Sun
This song is from MIEN‘s recently released album MIIEN. The video was created by band member John Mark Lapham.
The band is playing at the Lodge Room in Los Angeles on Thursday, 9/18/25, with Monde UFO and Al Lover.
Born today, 9/12, artist Robert Irwin used light and space in his work as a way to create an experience for the observer. He started out as a painter but later became well known for his site-specific installations and architectural and outdoor projects- including the central garden at the Getty Center in Los Angeles (pictured below) and his work for the Chinati Foundation in Marfa, Texas.
The works above are from his 2020 exhibition, Unlights, at Pace Gallery in New York.
About that show from Pace-
Irwin’s new works are composed from unlit six-foot fluorescent lights mounted to fixtures and installed in vertical rows directly on the wall. The glass tubes are covered in layers of opulently colored translucent gels and thin strips of electrical tape, allowing the reflective surfaces of unlit glass and anodized aluminum to interact with ambient illumination in the surrounding space and produce shifting patterns of shadow and chromatic tonality. Reflecting his recent turn toward the perceptual possibilities of unlit bulbs, Irwin’s new body of work expands the range of possibilities for how we experience sensations of rhythm, pulsation, expansion and intensity, while continuing the artist’s long-standing interest in registering the immediacy of our own presence in space.
Expanding from his breakthrough disc paintings of the late 1960s, Irwin’s new works effectively dissolve the perceived border between object and environment, focusing the viewer’s consciousness on the act of perception. Each light fixture in Irwin’s sculptures contains one or two unlit bulbs—or no bulb at all—while alternating gaps of “empty” wall are painted in subtle shades of gray, producing a sense of uncertainty about what is tactile and what is merely optical. As the shadowed, painted and reflected intervals of space reverberate in the viewer’s visual field, the wall itself enters the composition, destabilizing any sense of figure and ground. To encounter Irwin’s sculptures is thus to allow oneself to be caught in a ceaseless oscillation between flatness and volume, transparency and opacity, solidity and atmosphere.
In Irwin’s art, the object functions as a kind of score for orchestrating “the continual development and extension of humans’ potential to perceive the world.” Although unlit, the bulbs in these new sculptures are therefore never “off.” Their optically rich surfaces serve as energetic loci for heightening the sensory possibilities of the human body. In their chromatic complexity, the works convey an almost painterly quality, recalling Irwin’s origins as a second-generation Abstract Expressionist painter in the 1950s. Suggesting a rhythmic, minimal composition of repeated linear elements, the works also evoke his innovative line paintings of the early 1960s, which involve us physically and perceptually in an open-ended, immersive and transitory experience of seeing.
Widely recognized as a pivotal figure in contemporary art, Irwin is closely associated with the Light and Space movement that emerged in Los Angeles in the 1960s, and he has continued to live and work in Southern California for his entire career. He first used fluorescent lights as substrates for producing what he has called a “conditional art” in the 1970s, often in combination with architectural scrims and other spatial interventions. In the 1990s he introduced colored gels to the fluorescent tubes to alter the chromaticism of the light, and, over the past decade, began isolating the bulbs and fixtures as sculptural objects in their own right. In returning to the use of solely ambient light, Irwin’s new sculptures embody the culmination of seven decades of rigorous experimentation.
“Everything in the world is ultimately conditional,” Irwin has observed. “There is nothing that’s transcended or infinite or whatever you want to call it. Everything acts within a set of conditions.” Like all of Irwin’s works, his new sculptures respond differently to the conditions of each specific environment in which they are installed, attuning our senses to a given context and making possible an intuitive and incidental experience of seeing that resists rational or conceptual explanation. “It’s not about answers,” the artist once remarked, but rather about the act of questioning: “It’s the constant pursuit of the possibilities of what art is.”
Getty Center, Los Angeles
Below is one of his earlier paintings Untitled, 1964-6, which was on view at Palm Springs Art Museum for the 2024 exhibition Particles and Waves: Southern California Abstraction and Science, 1945-1990.
From the museum about the work-
Although this work appears to have a monochromatic white surface from afar, a matrix of thousands of painted dots becomes visible from a closer vantage point. Irwin aimed to highlight the visual effects of color interaction by juxtaposing light green and lavender, complementary colors across from each other on a color wheel. The canvas’s outwardly bowed supports and the increasing density of dots towards the painting’s center further heighten the viewer’s perceptual experience of the work.
The documentary Robert Irwin: A Desert of Pure Feeling, does an excellent job detailing his life, art, and the philosophy behind his work. It is well worth a watch and inspiring to watch him still at work in Marfa at 87. He passed away in 2023 at the age of 95.