Wacko!

“Wacko!” in neon lights ushers passers-by into a store of kitsch, books, avocado gift wrap, and La Luz de Jesus gallery.

Barbara and Hank Shire started Soap Plant + Wacko, this counter-culture empire in Los Feliz Village, where La Luz de Jesus gallery exists today. Soap Plant + Wacko is the mothership that bears the child gallery, La Luz de Jesus. Nestled in the Northeast corner of this pop-culture trinket shop is the gallery that gave rise to the “Lowbrow” art movement in Los Angeles.

Lowbrow art is a Populist, visual art movement rooted in underground comics, punk, tiki, and California hot-rod culture. Lowbrow gets its name from its perceived content, rather, its lack of intellectual or ‘highbrow’ content. Since artists of the 1970s spawning of Lowbrow didn’t (and don’t) care about mainstream recognition, Lowbrow became known as a Populist movement. More commonly, we recognize Lowbrow art as Pop-surrealism.

Highly stylized and frequently cartoonish, Lowbrow works of art manifest in a variety of mediums. For example, La Luz de Jesus gallery inside Soap Plant + Wacko featured celebrity portraits made from cigarette butts.

In true, Populist fashion, La Luz de Jesus takes submissions from all artists, but keeps best selling artists on rotation. Every first Friday of the month, Soap Plant + Wacko hosts an exhibition opening of a new group show.

The store which houses the art gallery that started Lowbrow offers 6,000 square feet of equally eclectic items that Lowbrow art draws from. From rubber chicken keyrings to alien socks and cactus ring holders, Soap Plant + Wacko is a treat in itself.

Location:
4633 Hollywood Blvd, Los Angeles, CA 90027

Hours:
Tues Sat    11am – 9pm
Sun   12pm – 6pm

Current exhibition:
Lonesome Town

September 7th – 30th

Raleigh Barrett Gallina
Raleigh (Barrett) Gallina from LA ART. Raleigh has been writing for the NoHo Arts District since 2015. Raleigh explores everything from large-scale commercial exhibitions to gratis solo exhibitions showcased by amateur galleries. While her preferences are ever-evolving, her favorite exhibitions include large-scale sculpture or paint, as well as artwork which holds socio-cultural underpinnings. She hopes that by capturing a large array of media and voices (including that of curators and the artists themselves), that readers are able to enjoy and voyeur out of their comfort zones.