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.

Leadership

The Getty

There have been a lot of announcements from on high lately.  The critics have begun to weigh-in on the recent appointment of Timothy Potts as the new director of the J. Paul Getty Museum.  The Getty also disclosed a list of its highest paid personnel.  Here’s an infographic to help make things easier.

The Trust officers are google image search shy.

 

Paris: Life and Luxury

Getty Center

Oh how the rich suffer!

NOTICE: This is the last week to see Paris: Life and Luxury, at the Getty Center. I’ve seen it twice, and am going back a third time this weekend.  There is a lot to see; there is also a lot to read, lots of walltext, and a lot of it is hilarious.  Beginning with the intro walltext, which explains why most people are unfamiliar with French decorative art from this period:

Largely unfamiliar and underappreciated today, over shadowed as they are by the tumultuous social and political events of the French revolution of 1789.

Oh my god, this stuff is so underappreciated! Who doesn’t love Rococo?  If an 18^th century French peasant saw all the wealth/golden filth in this exhibition, the Revolution would have happened a WHOLE lot sooner. 

Siqueiros Americá Tropical Project

El Pueblo Historic Monument

Street art is having something of a moment right now in Los Angeles.  MOCA’s Art in the Streets show is totally loved and totally hated. And somehow MOCA has managed to underplay the censorship issues that arose months ago when the graffiti artist Blu’s mural was whitewashed from the Geffen Contemporary’s north wall.  I’ve been told Blu wanted to show Deitch sketches for the mural, but Deitch couldn’t (wouldn’t?) because he was too busy at Basel in Miami…

Caught in the act.

Cult Statue of a Goddess (aka Aidone Aphrodite, aka Venus of Morgantina)

Restitution Issue: J. Paul Getty Museum

Sure LA is hot right now with contemporary art, but some of its older holdings are getting a lot of press.  I’ve decided to take a minor tangent from exhibition critique and do a series of posts on issues of restitution in major LA institutions.  Some of these issues have been resolved, some are still being disputed, and some aren’t even creating waves (at the moment at least).

Now you see her, now you see something else.

At the end of 2010, a small party was held at the Getty Villa in Malibu.  This event wasn’t exactly a celebration; it was a farewell party.  The Getty finally had to say goodbye to the now infamous Cult Statue of a Goddess.  The larger-than-life-sized acrolithic sculpture had dominated the “Gods and Goddesses” room of the Getty Villa as long as I can remember.  Even though I knew she’d be gone by the time I got back to LA, I still wasn’t prepared to miss her so much.  In her place the Getty has placed the Mazarin Venus, a smaller and less-clothed sculpture.  While she is pretty, she doesn’t anchor the room quite like Cult Statue of a Goddess did.  This may just be my biased opinion, but the Mazarin Venus just isn’t as demanding a presence.  This will probably be a temporary issue; according to an LA Times piece: “Karol Wight, the Getty’s chief antiquities curator, said Zeus will be promoted to top star of the “Gods and Goddesses” gallery where the cult statue holds sway. Plans call for reconfiguring the room.”