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Michael C. McMillen at L.A. LouverVisitors to Michael McMillen's captivating present to view passed through a squeaky protection door into a space whose darkness and indigo walls made it have feeling like the outdoors at night. A small painting of natural catastrophe (Marine Landscape) hung upon one wall, and a cast-bronze traveler's bole sat on the floor in a mere of light. Hugging the gallery's back corner was the centerpiece of the exhibit an L-shaped structure built of distressed corrugated metal, a sign upon top reading "Red Trailer Motel" McMillen's screen-door ingress set the mood for this absorbing installation, providing a physical doorsill that echoed the visitor's concomitant passage into a vaguely familiar past, and into a space furnished as a great deal of by the metaphoric as the mundane. The "R Trailer Motel" easeed on a bed of stones that crunched under the feet in brittle counterpart to the bluesy harmonica, piano and vocals that occasionally wafted from one side the space. The building gazeed convincingly like a shabby fragment of a larger arrangement sparsely attended by the detritus of rural life--shovels, gas cans, tumbleweeds and aged tires. A light over the office door cast a sorry be incandescent and the door's handle was missing. Views into the three numbered motel latitudes through lensed eyeholes presented a similar mix of persistence and decay, vicinity and abandonment. The views within appeared continuous with the scale of the exterior on the contrary were in fact meticulously raiseed miniatures. In each, McMillen staged a certain quantity of kind of movement, incongruous or disarming, subversive and poetic. Behind the beige door to latitude number two spread a ramshackle interior, wires hanging set free from the ceiling, broken bedsprings upon the musty floor. The view reach forthed past the disheveled mess on the outside the room's back door, where individual might have expected to diocese a hallway or alley, on the contrary instead, a few live goldfish twitched back and forth, singularly out of scale and without of place. Discontinuity also lay behind the nearest door, of dirty mint virid where empty liquor bottles and an animal brain-pan framed a screen showing a short film made by the agency of McMillen. The quick-cut montage joined base and new footage of gesticulations such as wagging fingers and flailing arms, sites similar as factories and motels, and thing perceiveds like old signs, funnels, a sinking boat and turning gears. McMillen is ready at establishing a sense of place end subtle light and textures defined by means of time and use. An L.A. native, he brilliantly submerges two homegrown traditions: the technical spectacle of the Hollywood stage put and the scrappy realism of assemblage tableaux, a la Kienholz. Into these settings of palpable specificity, he injects the ambiguous and discontinuous. He invites voyeurism, then complicates it, delivering something that speaks reflexively of authenticity, desperation, grit and magic. --Leah Ollman COPYRIGHT 2004 Brant Publications, Inc. PASADENA, CA -- The 5th Biennial Flintridge Foundation Awards for Visual Artists is searching for California-, Oregon- and Washington-based visual artists, whose works have demonstrated high arti... Peeble Laura H Trusts & Estates 08-01-2005 Death of an IDIT Noteholder Byline: Peeble Laura H Volume: 144 Number: 8 ISSN: 00413682 Publi... Abstract The essential oils from the heartwood of a bogwood stub of sugi (Cryptomeria japonica D Don), which is speculated approximately 3000 years in soil, was obtained and first time ana... 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