While queuing to enter the screening dome set up in the middle of Regen Projects, the gallery’s director Shaun Regen fluttered by with a worried expression on her face. Not everyone would get inside to see Catherine Opie’s first foray into film-making, The Modernist. “It’s difficult,” Regen sighed, feeling the burden of the growing popularity of art exhibitions, where an overflow of gallery-goers seeking a shared experience end up just sharing the experience of waiting in a line. Thankfully, the 22-minute stop-motion, slideshow-style film is worth the wait. It follows her longtime collaborator Pig Pen as a serial arsonist who methodically, and often hilariously, burns down LA’s most famous mid-century Modern homes. Pig Pen pours gasoline all over these landmarks—the Chemosphere, a saucer-shaped house perched in the Hollywood Hills designed by the architect John Lautner and now owned by the publisher Benedikt Taschen; the Sheats-Goldstein Residence, also designed by Lautner and recently donated by the eccentric millionaire James Goldstein to the Los Angeles County Museum of Art; and Larry Gagosian’s Beverly Hills base, originally built for the actor Gary Cooper—before dropping a single match and scampering off. The real catharsis comes in the form of newspaper articles Pig Pen cuts out the next morning and pastes up on the wall like a serial killer, particularly the one that reads: “Fire at Global Art Dealer Larry Gagosian’s A. Quincy Jones House.”
Diarypreview
Catherine Opie’s first film is right on queue
Part of Maxwell Williams' Take it to the Max
1 February 2018