Of course it is a lucky thing for me that I do not have my name on the lease, although if I did I would have been making sure that my half of the rent money was going to the landlord instead of being wagered on soccer on betting sites. I moved in this place at the start of the semester, straight out of the dorms. Ronnie and Kelly were here already and I have no clue if either or neither of them have their name on the lease. I just know that I do not and so I am going to pack up and find a new place to stay as quickly as I can.
I never really met any sort of escort before this weekend, and the ones I met were really nice. One of them was advertised as a Latina escort, but she told me that she was a Filipina. Either way she was really nice and seemed to like me a lot, although she did not seem interested in having a boyfriend for a few days until I left the city and went back on my sales route. It was not as though I did not try. I did not offer to pay her or the others, although I am pretty sure that they did not do much that I did not see them doing. In fact I am not quite sure how I ended up at this bachelor party. I knew the guy who invited me and no one else. He disappeared and somehow I ended up getting to know these girls. They thought it was cute that I was shy.
I never really liked to walk around with my shirt off when I went to the beach because I was always afraid of letting people see my back. I had a few moles back there that I didn’t like people to see. Everyone else thought I was crazy and kept telling me that the moles weren’t that big of a deal, but they weren’t the ones that had to deal with the moles. They told me that if the moles bothered me that much, I could just go to a clinic for aesthetic in Singapore and have them removed.
For as much as I complained about the moles, I never thought about going in for a removal. I made an appointment and visited the clinic to have my moles examined.
The Company is pleased to announce Lisi Raskin’s first solo exhibition in Los Angeles, titled Mt. Disappointment (1). Raskin will utilize The Company’s main gallery and garage in her staging of an immersive play environment. The show’s narrative begins in the garage where Raskin has installed a large collage to serve as a stand-in for the incoming bomber threat that the Nike/Hercules (2) missile program was designed to thwart. In response to this bomber collage, Raskin constructs a crude replica of a Browning M2 machine gun, a versatile, firearm usually mounted to tanks. However, in this case, Raskin has mounted the machine gun to a sculpture instead. Over the course of the exhibition, the garage space will also be the site for various performances that Raskin will stage.
In the main gallery space, Raskin retrofits an architectural gesture/framing device for various smaller scale collages that both describe the Nike/Hercules sites that she visited on her research trip and use abstraction to loosen the semantic attachment to the nature of the sites, bringing to the foreground ideas of form, composition, color and geometric abstraction.
Over the past ten years, Raskin has explored the nuclear-powered sublime on a first hand basis and used her findings in the field to develop artwork. This interest has provoked excursions to malignant locations like former East German Atomic Bunkers and the Swedish Space Corporation’s Esrange Launch Site in the Arctic Circle.
Raskin received her BFA from Brandeis University, Boston, and her MFA from Columbia University, New York. In 2007, Raskin was invited to be an Artist in Residence at the IASPIS program in Stockholm, Sweden, and in 2008 was invited to be an Artist in Residence at the Center for Curatorial Studies, Bard College. Her work has been exhibited at the Blanton Museum, TX; PS1/MoMA, NY; Kunsthaus Graz, Austria; and MoCA, North Miami. Collections include Dia Art Foundation, NY and Hessel Museum, Bard College. Raskin lives and works in Brooklyn, New York.
(1) The actual Mount Disappointment is located in the San Gabriel Mountains in Los Angeles County and contained a Nike missile site from 1955, and was converted into a military radio relay site in 1965.
(2) There are sixteen decommissioned Nike/Hercules missile sites surrounding Los Angeles. During the early years of the cold war (1950 – 1974), the Nike/Hercules missile sites, in tandem with NORAD early warning sites were the mainstay of the United States Military’s defensive strike strategy. In essence, the Nike/Hercules missiles remained on 24-hour ready alert in order to thwart incoming bomber attacks. Since their decommissioning, the L.A. area Nike/Hercules sites have gone through a multitude of different functions. It is the physical residue of these functions, an interest in obsolete military weaponry, and the way entropy shapes post-use sites that galvanized her decision to use these locations as the backdrop of this project. An example of this predictable yet absurd use-cycle is the area of land now known as the Long Beach Airport. In 1960, the Nike missile site was known as L.A.-40 and today, the exact location of the missile battery is an office park.
View Lisi Raskin Artist Page