Four Facts: Significant Objects

Norton Simon Museum

As I was finishing up in this exhibition, I overheard a tour being given to what I presumed was a UCLA summer painting course.  “We have the Getty in our own backyard, but the Getty’s collection kinda sucks.  The Norton Simon’s is the really great collection of LA,” the teacher harped. I am paraphrasing.  While I detest uninformed and unnecessary opinions (especially from arts educators) about which museum has the “best” collection, I can’t deny the Norton Simon has a pretty amazing one, and I don’t even like Impressionism.  Significant Objects: The Spell of the Still Life presents a thematic cross section of the museum’s diverse collections and is an examination of “the ways in which these ostensibly mundane and insignificant subjects [harsh!] portrayed in painting and sculpture and works on paper are indeed significant.” Significant Objects does not present groundbreaking, paradigm shift-type discoveries or research, but is a huge success as a rich, educational opportunity for general audiences utilizing the permanent collection.  Permanent collection show hurray! Here are the facts:

A Korean wunderkammer lent by LACMA.

Four Facts: Morbid Curiosity

Chicago Cultural Center

Curious? You should go see this show.  Especially if, like me, you are looking for ways to procrastinate finishing your thesis.  If for no other reason, go see it for the exhibition design of the Kunstkammer of Death (see below image)—who doesn’t like maximalist aesthetic?

More is more: Jodie Carey’s “In the Eyes of Others.”

The show’s website claims Morbid Curiosity is one of the Culture Center’s largest—with over five hundred works and artifacts.  Where’d all this gloom and doom (seriously its not actually that dark) come from? — From Chicago collector Richard Harris’s personal closet of skeletons.  Harris, is not one of those Harrises, and seems like a pretty kooky dude (I mean, obviously).  In the immortal words of Carrie Brandshaw “I couldn’t help but wonder” how does Harris display all this stuff in his house? Like how does he fit the huge bone chandelier in his breakfast nook? (With a Liberace-sized commitment to tackiness that’s how people.)  Anyways, here are your four facts.

Four Facts: This Will Have Been

Museum of Contemporary Art, Chicago

“I got love for you if you were born in the 80s,” croons Calvin Harris. Why thank you Calvin, I was in fact, born in the 80s, towards the end of it, but still.  This is why the MCA’s This Will Have Been is such a fun show for me—because it presents work that I am mostly unfamiliar with.  Unfamiliar, for two reasons: one—the work has not been thoroughly historicized yet, and two—I wasn’t around when most of the work was being produced.

There are A LOT of conversations in the show, some of which you can find here, here, here, and here.  While that might be confusing, the overall curatorial statement is to present “the decade’s moments of contentious debate, raucous dialogue, erudite opinions, and joyful expression.” And there were a lot.

Everybody loves an inflatable bunny!

Four Facts: Light Years at the AIC

I’m going to experiment with a new, more regular (hopefully) feature to summarize the exhibitions I come across.  (I still plan on a series of posts about private collectors who build museums for their collections, because “that shit cray.”) Also meet my colleague and art world partner in crime: Bonnie O; she’s going to be blogging about her art adventures (of which she has many).

Trying to get a few more days out of my leather Jacket.

This Week’s Four Facts:

Light Years: Conceptual Art and Photography, 1964-1977
At the Art Institute of Chicago, through March 11

1 – Early Eleanor Antin work is in the show, and it’s great to see something other than her historical tableaus.  Although a personal goal of mine is to be in one of those photo shoots.  I look great in a toga, Eleanor!