VEGASinsight Archives

Occasionally — or maybe more often, but outside of this insider’s perspective — Las Vegas’ art scene actually makes itself visible outside of the monthly ruckus that is First Friday. Yesterday was one such day, where the axes of the universe aligned to draw moderate interest to downtown, both in the beleaguered Arts District and the now neon-lit Entertainment District.

Over at Marty Walsh’s Trifecta Gallery (inside the Arts Factory, 103 E. Charleston Blvd.), Eric Joyner was on hand for the opening reception of his new show, “A Twist of Fate.” There were (of course) donuts on hand for the donuts-and-robots-themed show. I made it over there with perfect timing: after the crowds (well, assuming there were crowds) left, but before Joyner left. We had a nice conversation about his art, my robot tattoo and how his mother basically bribed him into attending church with donuts.

Around the corner (OK, technically around three corners and about half a mile south) at Rick Dominguez and Cindy Funkhouser’s Fallout gallery (1551 S. Commerce St.), most of the same crowd that attended Joyner’s reception showed up for the opening of Jerry Misko’s new exhibit, “Smoke & Chanel.” Yes, it was more of Misko’s signature paintings of neon signs. But damn, no one paints neon signs with more vibrancy or compositional creativity than Jerry Misko. Now, if only I could ever afford one of his damn pieces.

Though your faithful blogger did not make it over there, the Downtown Cocktail Room (111 Las Vegas Blvd. S.) hosted an opening party for the Vegas Valley Book Festival, which runs this weekend, partially in concurrence with First Friday, which–oh look at that–runs tonight from 6 – 10 p.m. in the Arts District. There are some pretty cool readings, workshops and events taking place for this year’s Book Festival–follow the link above to find out more.

And don’t forget, among all the other First Friday nonsense and above-mentioned shows, “Wanksy” opens at Art Bar (1511 S. Main St.) tonight, presumably during the same time frame as all other First Friday nonsense. Look for the 16-foot “Wanksy” spray-painted on the side of the bar’s lime green exterior. Want more info? You should totally click here to read a certain awesome preview of the show and comments from the artists.

You have to appreciate an artist who is not afraid to paint things he just loves. Like donuts. Or robots. Or, even better, donuts and robots together on the same canvas. Such is the life of San Francisco artist Eric Joyner, whose first Las Vegas exhibit, “A Twist of Fate,” debuts at Trifecta Gallery inside the Arts Factory (103 E. Charleston Blvd. #108) with a reception Thursday from 5 – 8 p.m.

Joyner’s photo-realistic paintings depict classic tin robots, fluffy glazed donuts and … other figures such as Godzilla, Las Vegas neon signs and lollipops, juxtaposing the seemingly unrelated subjects into subtle commentaries on conflict and peace.

Visitors to Trifecta during the duration of the show–which runs through November 30–can also pre-order a signed copy of Joyner’s forthcoming Dark Horse book, “Robots & Donuts.”

Tonight is the fifth anniversary fund-raiser for Whirlygig, Inc., otherwise known as the non-profit organization that runs First Friday, everyone’s favorite monthly arts festival (sorry, Henderson). It’s being held at the rooftop penthouse atop SoHo Lofts (900 Las Vegas Blvd. S.) from 7 – 11 p.m.

I guess I’m writing about this now because I received ANOTHER reminder e-mail this morning from Amy Schmidt of VURB magazine. The e-mail noted that tickets at the door tonight would be only $50. Originally, advance tickets were $50, jumping to $75 at the door.

Were I given to speculation–oh, who are we kidding, I always speculate–I might venture a guess that ticket sales for the event were sluggish, so the First Friday folk dropped the door price in a last-ditch attempt to raise some more funds and get a few more people through the door. Kind of like when the House of Blues offers its tickets “2-for-1” on Tuesdays in a thinly-veiled effort to pump up poorly-selling concerts.

I am going to the fund-raiser, of course. I paid $50 for my ticket. And I guess we’ll see tonight how many other people did as well (not counting, I’m sure, the number of folks who are intimately involved with the production of the event, which is probably half of the arts-supporting community who would have been primary ticket buyers in the first place). But here’s the worry: This is Las Vegas. The large numbers of people who appear in the Arts District once a month for First Friday do so because it’s free. And many of them are kids who couldn’t attend the fund-raiser even if they wanted to. So when you remove the moochers and the emo kids, you’re left with the core people who always support the arts scene–people like me, the Vurb crew, gallery owners, artists and a small base of patrons.

In New York or maybe L.A., finding people willing to spend $50 or $75 to support an organization such as Whirlygig would probably be easy as pie. But here in Vegas, everyone else is spending their cash on Halloween parties, Vegoose, probably anything but a fund-raiser, even one as swanky as the First Friday shindig.

My hope: That I’m wrong, and that the turnout is wonderful, and that a bunch of money is raised to help keep FF going and make it a dozen times better. I watched two years ago as people bid ridiculous amounts of money on bachelorettes at another fund-raiser for FF, and event with a $25 cover–and Whirlygig raised $25,000 that night (on paper … not sure how much they actually recovered from those drunken sods bidding on Mehrey Ellis). So hope exists. I guess we’ll find out in about 9 hours.

Oh, and in case anyone needs more incentive than just being a good-hearted patron of the arts to attend, here are a few of the features of tonight’s event, courtesy of Vurb’s e-mail blasts:

Free Booze (beer from Dino’s, wine from Bomas, specialty cocktails from Downtown Cocktail Room)

Great Entertainment (live music, live painting, live theatre)

Amazing raffle prizes (gift certificates to Epic Shoos, LV Paper Doll, The Funk House;

tickets to Le Reve, Spamalot, Blue Man; bar tabs at Beauty Bar, The Griffin and Downtown Cocktail Room; and the GRAND PRIZE, a two-night stay at the MONTAGE RESORT in LAGUNA BEACH and many more)

Silent Art Auction (works by Michael Wardle, Jerry Misko, Curtis Fairman, Steven Spann, Leslie Rowland, Caesar Garcia, Brian and Jennifer Henry, Marty Walsh, Casey Weldon and many more)

Whatever you may think of graffiti mysterioso Banksy–innovative, guerrilla artist or over-hyped aesthetic opportunist–there is little doubt that the stencil king has had a serious impact on the contemporary art world with his legendary street art and obsessive identity obfuscation.

Las Vegas artists Brian and Jennifer Henry certainly have their own opinions about the Bristol, U.K.-based artist, and soon the Vegas art world will gain some insight into those when their latest original show, “Wanksy,” debuts at Art Bar (1511 S. Main St.) on Nov. 2.

“Unlike Banksy’s exploits—which we would argue are exclusively about the artist and not about the subject matter he claims to be addressing—‘Wanksy’ is not about Banksy,” says Jennifer Henry. “It’s about his fans and their reverence for him, the art world and their celebration of him. It’s about the hypocrisy of his popular culture criticisms, the lack of critical reflection on the part of his admirers and about deconstructing the mythology that he/his fans/the art world has built up around him.”

According to a press release issued by the couple, the Banksy-inspired location will explore a number of the stenciler’s themes by aping his own style, to the point of manipulating his most recognizable works. Their pieces will include works inside and outside the Art Bar, which has hosted a different artist’s work on a rotating basis since its opening a few years ago. And unlike the legendary artist at which “Wanksy” takes a shot, visitors can actually meet and talk to these creators.

“We’ll be there, because for us, the show is about the art, not some sort of ‘Where’s Waldo?’,” Jennifer Henry says. “It’s an art show, we made the art, we’re okay with people knowing it was us because really, that’s the least important aspect and we don’t want to waste people’s time and energy trying to figure that out. They’ll need all their time and energy to think about the art—or not—it’s their choice.”

Brian Henry was named “Best Artist” in Las Vegas Life magazine’s “100 Best of the City” in 2005. Jennifer Henry is a local arts and entertainment journalist and editor of the First Friday Newsletter. The couple previously owned and ran capital h gallery in downtown Las Vegas’ Arts Factory. More information about the exhibit and the artists can be found at www.capitalh.org.

It seems as though burlesque has experienced a resurgence of popularity in the last half-decade or so, albeit in different forms. Modern-day outfits such as the Pussycat Dolls and Suicide Girls have taken progressive twists on the classic art of choreographed strip tease, applying, respectfully, pop and punk music styles. Other parties, such as the multi-city Babes in Sin troupes, produce shows that hem closer to the glamorous origins of the art form.

Here in Las Vegas, all of the above approaches to the rebirth of burlesque have made Sin City into its unofficial home. From mainstream nightclubs featuring their own take on burlesque dancing–such as Forty Deuce and Tangerine–to the retro stylings of groups such as the aforementioned Babes in Sin to the modern moves of groups such as the Vegas Vixens, there is no denying burlesque’s prominence in the Entertainment Capital of the World.

However, this past year, the relocation of the Burlesque Hall of Fame to Las Vegas cemented that standing. The organization behind the Burlesque Hall produced the Miss Exotic World convention and contest in Vegas for the last few years, so its nesting here only made perfect sense.

One of the Burlesque Hall’s biggest supporters has been Todd VonBastiaans, an art patron and enthusiast who first made his splash on the local art scene by co-creating, with First Friday organizers Whirlygig, Inc., the Obstacle Art Course, an interactive miniature golf course designed by a number of local artists. He recently opened a curated retail space called Atomic Todd, located at 1541 S. Commerce St., adjacent to the Arts District in downtown Las Vegas.

VonBastiaans featured “In Bed with Liz Renay” at Atomic Todd early this summer, which featured the paintings, books and furnishings of legendary burlesque performer, model and actor Liz Renay, who died in Las Vegas this January.

His love affair with the classic era of burlesque did not end there, however. On Oct. 3, VonBastiaans opened “Peeping Todd: Select Treasures from the Burlesque Hall of Fame,” an exhibit featuring the costumes, posters, headdresses and other paraphernalia of performers from the golden age of burlesque. At the opening reception, performers Kalani Kokonuts and Jami Deadly were on hand to entertain the gallery’s guests, as well as retired burlesque legend Dixie Evans, looking as radiant as ever.

According to Atomic Todd’s website, many of the costumes on display have not been shown publicly for years, and quite possibly not since these classic performers originally wore them.

“Peeping Todd” shows throughout the month of October at Atomic Todd. For more information, call 702-386-8633 or visit www.atomictodd.com.

Photo by Geoff Carter

I must have been 16 when I first met Julie Brewer. She was the coolest chick in the world, as far as I was concerned. With her long, dark tresses flowing behind her, she brought such an energy and joy to the garden cafe she’d created behind the soon-to-be-defunct Vintage Madness, which we would all come to know as Enigma.

As much as we supported Julie and Enigma, she supported us. Her mere existence injected this city with a tangible force whose effects are still being felt today.

When Enigma closed — after expanding to three buildings with the help of Lenadams Dorris — it didn’t matter how long the time between our meetings or chance run-ins; Julie was still there, arms open.

More than a few years ago, I started work on a book about the Vegas underground scene. Julie and I met to discuss it. She loved the idea. She was more excited about it than was I. Selflessly, thoughtfully and without provocation, Julie bestowed upon me a very special item — a clock suspended within a birdcage (get it?), which used to hang inside Enigma. She remembered how much I loved it. I barely did, as those days were hazy flashes of memory for me. But she remembered, and she gave me a piece of Enigma. She gave me a piece of herself.

We were supposed to meet again, to talk about her memories, her impressions, her experiences. We both got busy. She was a mother and a wife, and she helped spark what became Las Vegas’ most prominent cultural feature, First Friday. I had my own projects, as well as momentous personal shakeups. Julie and I never met again to talk about “the old days.”

I saw her about once a month, usually at First Friday, and though our words were brief, she always seemed genuinely interested in my life. And proud. She seemed so proud, like a big sister. Like the coolest chick in the world, with her permanent dark glasses and cigarette and disaffected gaze.

And then … I didn’t see her again.

These words aren’t perfect. They aren’t expressing accurately how I feel. For her family. For her friends. For myself, this city, everything. My stomach is in knots. My eyes are…needing to cry, but won’t.

I don’t think I’ve been this shocked by a death in a while. It kind of knocked the wind out of me.

There are so many feelings, conflicting anger and sadness and disbelief kicking around, I’m not sure what to do about it, save for write this unfitting tribute. I just don’t know what else to do.

Photo by Aaron Thompson

Walking into the Box Office–an otherwise non-descript, beige building on Casino Center Boulevard in the heart of the Arts District–during a Freakout! is like stepping into someone’s basement or rec room. There is the faint smell of food in the background, as if your friend’s mom might be making dinner upstairs in the kitchen. Red tapestries cover the windows and people sit around the room in folding chairs, on old couches, worn carpet and random cushions. Surrounded by colorful, abstract paintings covering the walls and ceiling, musicians perform on a makeshift stage, lit by only a single track light and the swirling colors of a novelty-shop party light.

“The purpose of Freakout! was to showcase sideshow, performance art, dance, experimental, indie, shoegaze, and psychedelic music. The festival is best attended in its entirety to truly experience the ‘trip,’” says Jason Sturtsman, co-founder of the Freakout! series and LVexperimental.org. “The Freakout! itself is supposed to be a piece of performance art. Turn on to art, tune in your mind and drop out from your previous ways of being.”

It’s obvious–by both the setup of the events and Sturtsman’s comments–that the Freakout! shows are intended to recreate the spirit of the late-1960s counterculture. While it’s a valid attempt, there’s a certain element of danger missing–as if the unholy trinity of sex, drugs and rock ‘n’ roll has been invoked without the first two facets. But given that the events are open to audiences 16 and over, it makes sense that Sturtsman and his crew play it somewhat safe.

“We started booking shows at the Box Office due to wanting a larger venue for the Freakout! shows that would allow individuals under 21 to experience music and art downtown on a day that was not First Friday,” Sturtsman says, reinforcing his focus on providing youth-friendly programming. “There are very few venues in the city for individuals under 21 to experience music and connect with their friends. There are also few places where young bands can develop before they play larger venues.”

Despite the teen-friendliness, the diversity of performance at the Freakout! events–typically held bi-monthly–offers something of interest to almost anyone. Swing Shift Sideshow often performs its freakish antics, including human suspension, glass-walking and fire-breathing. Bands such as Ambry Underground and The Modern Speed provide garage rock-influenced soundtracks perfect for zoning out. And Box Office owner Cion keeps attendees and performers satiated with a fully-loaded and reasonably priced snack bar.

Though it’s still ramshackle as a venue, the Box Office has become popular enough to yield other events produced by Sturtsman and his compatriots, including hip-hop nights and fashion shows.

“The goal of the Freakout! is to continue to grow the event’s size and to challenge the audience with new art and music,” says Sturtsman. “I would hope that someday we can move it to a larger location downtown or expand it out onto the streets of the Arts District. There needs to be other events happening in the Arts District downtown besides First Friday. I love the neon heart that beats downtown in the Arts District and Fremont East. It feels authentic to me.”

The Las Vegas art and design scene looked to the light recently — to neon light, that is.Last Friday, the monthly “Mojitos & Modernism” event at BlankSpace in Mandalay Place featured a reception for local artist Jerry Misko.

“Mojitos & Modernism” is held at the design store on the last Friday of each month. It’s an evening of artists meeting with the public amidst BlankSpace’s tableau of art and design items, complimentary mojitos and a fantastic cheese spread.

According to Sandra Sharma, BlankSpace buyer and general manager, “Mojitos & Modernism” is growing in popularity and attendance.

“More and more people are getting to know about it … new people who haven’t been to it before,” Sharma said.

According to Sharma, Las Vegans are excited to learn that there is an organized, regularly-held event at Blank Space.

“They’re really excited that were doing events,” Sharma said.

Kelly Scherbenski, also of Blank Space, added that the event is getting traction in some circles.

“It’s becoming known as the ‘Fourth Friday’ of the month,” Scherbenski said in reference to Downtown Las Vegas’ “First Friday” celebration.

And while previous “Mojitos & Modernism” events have brought in national and international guests, featuring native Las Vegan Misko made perfect sense for Sharma.

“He is well-known for his paintings of iconic signs,” she said. “I think his paintings are a lot of fun. They’re really representative of Vegas.”

At the event, Misko met with a healthy crowd of a few dozen during the event.

According to Misko, his brightly-colored paintings of signs developed from his earlier career. “I spent a lot of years doing graphic design,” he said.

This makes for an all-up-front quality to Misko’s paintings. There is little depth of perspective in his paintings. The haloes around signs, which might be seen in real-time vision as curves and outward arcs, are rendered by Misko all on the same plane.

“When I make my paintings, I have this in the back of my head — my formative years — doing 2D things,” Misko said. “Very flat, high tolerance in color separation.”

Misko doesn’t favor an infinite point in his paintings, a source of distance and a perceived third dimension.

“Process-wise, that’s how I want it to look,” Misko said. “They’re supposed to be flat… about light.”

Misko’s paintings, such as the ones featured at the “Mojitos & Modernism” September event, are 100 percent Las Vegas.

“These things started as coming out of casinos after partying — light and signs,” Misko said, referring to his youthful apprenticeship in artistic observation.

“I use the reference all the time — Monet painted water lilies because they were there, I paint signs because they’re here. I love ’em.”

“The paintings are like me. They’re big, they’re pretty and they’re smarter than they look,” Misko said, laughing.

San Francisco-based jewelry designer Robindira Unsworth is pictured, center, during her discussion at Blank Space inside the Mandalay Bay on Friday, July 28, 2006. Unsworth’s current line of jewelry is based on Near Eastern traditions.

With a backdrop of glinting gold, shimmering silver and multifaceted crystal jewelry, BlankSpace, the future-forward and mid-century-is-now design boutique in Mandalay Place held its July “Mojitos & Modernism” event on Friday evening.

“Mojitos & Modernism” is an informal series where taste-making designers and artists meet with art-lovers to discuss their works. The free event is held on the last Friday of the month.

This month’s featured artist was Robindira Unsworth, a San Francisco-based jewelry designer. Unsworth’s current line of jewelry is based on Near Eastern traditions. According to Unsworth, the line was inspired by jewelry she witnessed as a guest at a royal wedding in Jordan.

Unsworth said her jewelry caters to many tastes — from a penchant for the ornate and effulgent to that of a more a more understated and simple adornment.

Throughout the event, Unsworth met with “Mojitos & Modernism” attendees to explain her methods of creating jewelry and her artistic vision.

And, as “Mojitos & Modernism” has become known for, there were the mint-and-lime-infused, namesake Cuban cocktails and a fabulous spread of artisan cheeses to be enjoyed for all.

Looking for a quick fix of contemporary art in southeast Vegas? Well, pardner, be sure and stop by the Winchester Cultural Center by July 22.

There, in the center’s small gallery, The Grand art show is on display.

You can touch a button on a DVD player and watch the hip-hop-notic beat box winner, a fun, stop-start breakdance video by visual artist Damien Gilley. The video was judged best in show and bagged the titular one grand prize.

Also showing are photographs by Gilley, and other works by artists Catherine Borg, Shan Michael Evans, Haya Gil-Lubin, Stephen Hendee, Larry Rogosch, Grayson Ronk and Dustin Sparks.

The Grand show, a yearly event, was juried by contemporary artist Tim Bavington, an MFA graduate from UNLV. Bavington recently had a critically-acclaimed one-man show at G-C Arts, which is located in Downtown Las Vegas’ Arts District.

For more information on the show, call the Winchester Cultural Center at 455-8239.

The Winchester Cultural Center is located at 3130 S. McLeod.

Click here for related gallery.