FROM THIS EPISODE
A novel and an exhibit bring alive the experimental art and architecture scene in LA and New York, in the counterculture years. Pop Art expert Christopher Finch talks about his first novel, “Good Girl Bad Girl,” a crime yarn set in the Soho art scene in the late 1960s; Sylvia Lavin talks about her MAK Center exhibit “Everything Loose Will Land,” about the “loose” artists and architects in 1970s LA
Christopher Finch produced the first of what will be a series, Good Girl, Bad Girl, featuring the slightly hapless private eye Alex Novalis (Finch describes him not as a hard-boiled PI, but rather “scrambled on bagel”), a former art fraud detective, on the hunt for a missing “bad girl” amidst the garbage, grunge, sexual and political radicalism of the era. It’s a great read and a light way of taking a dose of art and urban history – in the brief moment before the art world exploded, Manhattan cleaned up, and Soho became accessible only to stockbrokers. Christopher Finch talks about the novel, what propelled him to write it, his own teen experience living among young criminals, and how in a future book Alex Novalis just might come out to LA and hang out with the “artists floundering in Venice.”
Of all the Pacific Standard Time Presents shows on right now, there is a small exhibit at the MAK Center for Art and Architecture at the Schindler House that has garnered a big response. It is called “Everything Loose Will Land.” The name is borrowed from Frank Lloyd Wright’s: ‘Tip the world over on its side and everything loose will land in Los Angeles,’ but, as Lavin explains on this DnA, it also refers to the “looseness” of the experimental artists and architects as they played with form, materials and societal expectations.
Sylvia Lavin, Professor at UCLA's School of Architecture and Urban Design