Exhibition Inquisition

The stuff you look at, but don't see.

Collection: The First 30 Years – Part 2 (Geffen Contemporary)

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Museum of Contemporary Art

Like the banner says.

After seeing the first part of Collection [link to part one post] at MOCA’s Grand Avenue location I was surprised to see that the seemingly meticulous chronological organization used there, had been abandoned at the Geffen Contemporary portion of the exhibition.  At Grand Ave. a single narrative was created with a series of rooms leading one to another.  The architectural space at the Geffen does not have a series of rooms, and instead has an open floorplan of a warehouse, which does not lend itself to a singular viewing path.  The experience at the Geffen is less rigid but also has little direction.

Burden’s Big Wheel keeps on turnin’.

Because of the lack of a set path, I was free to choose my own, and the first thing I was drawn to was Chris Burden’s Big Wheel.  It’s a large moving object and set right next to the admission counter, so it’s hard not to be drawn to it.  From there I followed a rampway up, passed an awkwardly placed Richard Hawkin’s painting Disembodied Zombie Skeet Pink, and continued on.

(Oh look! A zombie head I completely missed.)

You don’t want this Santa coming down your chimney.

The special installations, like Ruscha’s Chocolate Room at Grand Ave, continued in the second part at the Geffen.  Paul McCarthy’s installation of tarnished Christmas trees festooned in dust-covered flowers and ornaments, along with worktables and photographs of creepy, pervy Santa’s made up the piece Tokyo Santa, Santa’s Trees.

This is not to be looked at, but it kind of is; it’s an exhibition catalogue.

The usage of artists quotes for artworks was carried out again at the Geffen, MOCA’s best attempt at education.  In an additional attempt at education several benches were placed in the galleries with exhibition catalogues.  I wonder how many people actually read a single essay out of the catalogue.  The cover of the exhibition is Baldessari’s work This Is Not To Be Looked At, which is featured at the end of the of the Grand Ave portion of the exhibition.

Varying access to details, from left to right: Hirschorn, Altmejd & Sone.

Large sculptures were placed with enough space for a viewer to completely circumnavigate them.  This was necessary for examining the details of complex works like Thomas Hirschhorn’s Non-Lieux and David Altmejd’s The Egg.  The exception was with the installation of Yutaka Sone’s Hong Kong Island, which was surrounded widely with by black tape and kept the viewer too far to really appreciate the tiny details of the piece.

Outside-in, portals to the video art.

Underneath the platform of the previous galleries one could find creepy little tunnels leading to the video works.  Spelunking into the caves created a sensation of tension that overwhelmed the works; I was more freaked out than really concentrating on the works themselves.

Big, bigger, biggest.

In one room issues of scale were played with.  The attempt to balance large works within the same space, and not have them compete with one another, was successful.  Thomas Struth’s Pergamon Museum II, Berlin seemed large until viewed next to Thomas Demand’s Space Simulator, and that even seemed small with Fred Tomaselli’s Hang Over down the hall. And then the leviathan Khedoori Untitled (Seats) was right next door.

BIGGEST- Khedoori

Certain artists were featured in multiple places in the Geffen.  Baldessari was hung at the very back and also at the very front.  A series of Opie photographs was hung far from another self portrait.  Why do this? The artworks from the same artists did not necessarily speak more to the works they did hang by, and would have been more informative of the artists careers to compare earlier and later works.

Finally, after all of my meanderings, at the end of the exhibition, I came to the introductory wall text.  The bland and uninformative sentences were accompanied by Bruce Nauman’s colorful work Welcome.  The work’s title was appropriate for this placement, but that was about all that was appropriate about it. Now I understood the content warning label at the entry of the exhibition.  I also realized at this point that I had traversed through the show in the wrong direction.

What a Welcome.

I had made it through the show with little direction, which seemed to sum it up.  At the Grand Avenue portion of Collection, it seemed MOCA was presenting a cannon of contemporary art, explicitly creating a narrative.  Where as at the Geffen Contemporary Grand portion, MOCA allowed a visitor to create one’s own narratives.

– H.I.

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