One falls, and one rises to take its place. Like a tenor in the last act of a tragic opera, Cannery Row Studios seemingly expired, sang another aria, expired, sang, and only then did the curtain come down. For over 20 years Richard Stephens kept the embers aglow in his gallery. Fast forward two or three months and out of these same embers we have Ego – Fine Arts, a takeover and makeover from the partnership of John T. Cantu and Emiko Wake.
Ego’s inaugural exhibition, which opens Saturday with a reception from 6:30 to 10:30 p.m., is entitled “New Beginning,” and it features eight artists: Yoji Abe, Michael Chomick, Cathie Goldberg, Kyle William Harper, Larry Lubow, Toshikazu Nozaka, Kazu Tabu, and John Cantu.
Ego boosters
Although the word “ego” may have negative connotations, Emiko Wake explains that we are to understand it in its original context, which is that of the “self.” It’s from the self, she emphasizes, that creative artwork emerges.
Cantu acknowledges that “ego” seems to imply self-centeredness, but it’s also what makes us individuals. “If someone mentions, ‘I don’t have an ego,’ I’m thinking, Are you kidding? You’re an artist, you have the biggest ego in the world!”
Every gallery, if and when it finds its footing, comes to be known and respected (or not) for various reasons, and much of this resides in the kind of art – bold? adventurous? tired? classical? contemporary? – that it displays.
Cantu and Wake plan to present a mix of styles, of mediums, as well as a blend of familiar and unfamiliar names. Cannery Row’s weak point or strong point, depending on where one stood, was that Stephens remained faithful to a select core group of artists whom he showed with some regularity every couple of years. Cantu’s allegiances will of course be different.
He talks about exhibiting more international artists, and I’m presuming that we’ll see more Japanese artists – with Wake being from Tokyo and her connections in the Asian community – than in most other area art venues.
“Not only Japanese artists,” Wake says, correcting me, but international artists in general, “as we did in ‘Around the World in a Day,’” which Wake and Cantu presented right next door at Kevin Holladay’s 608 North. That show highlighted work from such artists as Birgit Amadori from Germany, Cecilia Gamet from Mexico, and Mansour Tehrani from Iran.
Cantu originally wanted to title the first show “Juxtaposition,” but apparently the name doesn’t translate smoothly into Japanese. Besides, who’s going to remember a word with five syllables?
When Cantu uses the work “juxtaposition,” however, he’s referring to a placement or presentation of work that is normally not seen together. Or, as Wake summarizes it, Ego wants to be a gallery that surprises people, that exceeds their expectations, and gets them excited.
“I want people to be excited when they come,” Cantu says, although I’m thinking that he’ll especially want them excited when they leave. What he’s saying, in effect, is that he hopes people attend Ego’s shows and walk away inspired.
Wake compares art galleries with restaurants. There are two types of restaurants, she says. “One always serves the same old thing because that’s what people expect. The (other) place always goes beyond the expectation. We want to be the latter.”
“But I think that some of the appetizers, to keep along this road, should be things that people expect,” Cantu says, “because I want people to come in and feel comfortable and engage with the artists, feel at ease,” and to be confident enough “to ask questions. And to criticize, because criticism’s definitely a part of it.”
“It’s the South Bay,” he continues; “it’s a relaxed place. [Ego] should be a place where you come, you can bring your kids, bring your dog – but watch out for the cats because they attack – and enjoy art, you know?”
A full kitchen
Emiko Wake brings up age demographics in the South Bay, where the median age, she says, appears to be in the early 30s. However, if one only attends art openings at the Creative Art Center in Manhattan Beach or the Palos Verdes Art Center in Rolling Hills, one might think it was closer to 50. But that, says photographer Gloria Plascencia, “depends on the art that they’re going to be showing.”
Indeed, because Zask Gallery, located on the hill in the Promenade on the Peninsula, brings in a younger, hip audience. There’s also the Torrance Art Museum, which gives the impression of being here to serve Los Angeles-based artists even though it is funded by the City of Torrance in the South Bay. Its focus is on contemporary art and the artists tend to be young, which isn’t a bad thing at all, but it can seem that its only concession to local artists is its annual “South Bay Focus.” Not surprisingly, resident artists seem to prefer the gallery scene in San Pedro, which usually feels warmer and more welcoming.
“Oftentimes the person running the place lets their personal taste dictate what they show,” Cantu says. “Personally, I think it’s a mistake and I think that’s unfair. A lot of artists have something to say, and just because it doesn’t appeal to you” doesn’t mean you should refuse to put it on view.
This reporter, perhaps thinking of the auteur theory of directing, doesn’t entirely agree. A gallery owner has distinctive opinions, preferences, prejudices, what-have-you, and will make choices that reflect his or her sensibility.
“That’s the reason why we’re always working together,” Wake says, “so that we won’t be too subjective. We want it to be more fair. At the same time, it can’t be objective and 100 percent fair to everybody.”
Her criteria, it seems, is originality. “The ego is about one’s passion of creation or the energy of creation that comes from yourself, so we want that from you.” What she means is that the passion and vision have to be the artist’s own, and not one borrowed or copied from another artist.
They’ll abide by certain standards, of course. After all, both Wake and Cantu are practicing artists themselves, and how those standards are perceived will be a measure of how serious Ego is taken by the community.
“As long as it’s well done and the artist is confident with what they’ve created,” Cantu says. “I don’t want schlock. It has to be presented well.”
Presented well, and embracing artistic diversity.
As Wake said earlier, of the two kinds of “restaurants,” this is going to be the one that offers a surprise menu.
Some of the art may not be to his personal taste, Cantu stresses, but maybe it’ll appeal to someone else.
“Give the guy a chance, or give the young lady a chance,” he says, “because a lot of younger artists are reluctant to show their stuff – especially when they see a show, they think, Well, I can’t do that.
“I want them to have the courage to do it – because that’s the real test when you put your work out there. You’re exposing yourself. You should take pride in your work. I think that’s a quality that’s often lost with people.”
At Ego we should expect a cornucopia of styles and an array of artists, with group shows – rather than solo shows – being the norm. “So when you walk in,” Cantu says, “you may hate that (piece), you may love that, you may hate the rest. But you’ve seen one piece that you like.” And perhaps that one, special piece will be the surprise on the menu that makes our visit worthwhile and introduces us to a new artist or one we’ve somehow overlooked in the past.
It’s a fresh start, and an auspicious one at that.
Ego – Fine Arts presents “New Beginnings,” opening with a reception this Saturday from 6:30 to 10:30 p.m. at 604 N. Francisca Ave., Redondo Beach. Through Sunday, June 30. Gallery hours, Friday, Saturday, and Sunday from 12 noon to 6 p.m. and by appointment. (424) 206-3756.
