Posts Tagged ‘Broad Art Foundation’
Within just a few months of BCAM’s opening at LACMA, rumors began to circulate Eli Broad had been less than forthcoming about his true intentions. Contrary to his initial denial of it, at the end of 2008 local newspapers began reporting Broad intended to build a new museum for his collections in Beverly Hills.[ii] The City of Beverly Hills quickly identified a prominent parcel of land at the intersections of Wilshire and Santa Monica Boulevards for the project. An architectural competition was announced, a short list determined (Thom Mayne, Jean Nouvel, Shigeru Ban, Rafl Viñoly and Christian Portzamparc), and schematic renderings of the site plan were even published. [iii] If this speedy development seemed too good to be true, it’s because it was.
By the end of 2009, Broad announced there were actually multi cities vying for his collections and a new museum building to house them. Beverly Hills, previously unchallenged was suddenly competing with the City of Santa Monica, and Broad’s foundation announced there was also a third, unnamed city in the running.[iv] This of course turned out to be the City of Los Angeles. Broad said he wasn’t, “trying to play the two [three] municipalities against each other […] he hope[d] that by talking to several different cities he c[ould] accelerate the process of building.”[v] But play them against each other he did, for six months, trying to secure the best deal.
In fall 2008, a long-term beneficiary of Eli Broad’s largesse was in alarming financial trouble; the Museum of Contemporary Art (MOCA) could no longer hide its vertiginous financial mess. In an article titled “L.a.’s Moca In Deep Financial Trouble,” the Los Angeles Times reported MOCA had mismanaged its finances for more than a decade.[ii] The board of trustees had almost completely drained the $200 million endowment by regularly dipping into it to cover costs of expensive exhibitions and operating overhead; overspending an average $1 million a year since 2000.[iii] The public was shocked and enraged; consequently, there was a rapid exodus of board members.[iv] MOCA needed a hero with a rescue plan.
LACMA’s Michael Govan proposed one rescue plan: a partnership in which MOCA would maintain its independence and retain at least one of its venues (the Geffen Contemporary in Little Tokyo) and in exchange MOCA would share its collection with LACMA.[v] Details of the offer were never fully disclosed, but it seemed to be Govan’s attempt to secure a large and well-regarded contemporary art collection for LACMA, and a way to reduce (if not eliminate) LACMA’s need of the Broad collections.
Govan’s offer seemed to be the final straw in the already strained relationship between him and Broad. Broad openly chastised Govan in the Los Angeles Times for his proposed merger plan, and curiously quoted the film Jerry McGuire to demand, “Show me the money.”[vi] Broad had proposed his own rescue plan and was offering a $30 million lifeline to MOCA. Govan was meddling in his plans.
“Even though Eli is not involved with the museum any longer, his name is still on that building. We should have never called it a museum. How can LACMA have a museum? LACMA is the museum.”
– Lynda Resnick, LACMA Trustee[i]
In February 2008, the Broad Contemporary Art Museum (BCAM) opened at the Los Angeles County Museum of Art (LACMA). The Renzo Piano-designed BCAM is not an autonomous museum; it is one of several buildings on LACMA’s museum campus (the largest American art museum west of Chicago).
LACMA was founded in 1961, when it seceded from the Los Angeles Museum of History, Science and Art in Exposition Park. The new art museum opened in 1965 with three buildings designed by William Pereira: the Bing, Ahmanson and Hammer buildings. In 1986, the Art of the Americas Building (then the Anderson Building) opened, and was followed in 1988, with the Pavilion for Japanese Art. The museum continued to grow when LACMA purchased the neighboring May Company department store building in 1994. (LACMA is currently collaborating with the Academy of Motion Picture Arts and Sciences to bring a museum to the vacant building.[ii]) In 2001, plans for a tabula rasa campus designed by Rem Koolhaas were scrapped due to its ambitious scale (all existing buildings would have been raised) and lack of public support (a proposed bill would have provided public funds for the project, but was not passed by voters[iii]). Then in 2004, the board approved a multi-year capital campaign called Transformation.[iv]
Michael Govan, Wallis Annenberg Director and CEO of LACMA, inherited Transformation when he took LACMA’s helm in 2006 (little more than a year before BCAM’s inauguration). Exciting, high profile, high-cost building projects are Govan’s specialty. Before coming to LACMA, Govan had been the director of the Dia Art Foundation where he oversaw the renovation of an old Nabisco factory in the Hudson River Valley, into Dia Beacon—a gargantuan facility capable of housing many large-scale, contemporary art installations. Before Dia, Govan worked under Richard Armstrong at the Guggenheim Foundation and aided in the realization of the Guggenheim Bilbao. Govan had the resume required to lead LACMA during Transformation. Eli Broad was on the search committee that lured Govan to LACMA.[v]
Photographs of Los Angeles from fifty years ago capture an unfamiliar city. In the 1960s, downtown’s Bunker Hill was still occupied by a row of quiet Victorian houses. Since then, the Victorians have been cleared away and the city has experienced a population boom often illustrated as a mushroom cloud-shaped diagram, and now boasts a population of 9.86 million.[ii] While established in many ways, Los Angeles’s philanthropic culture is still in its infancy. Despite ranking the second most populous city in America, the quantity of powerful philanthropists is insignificant at best. Those who are active give to educational, environmental, health, and political causes.
SFMOMA, Cantor Arts Center, LACMA
This week, SFMOMA released additional renderings of its eminent expansion including new views of the interior. Snohetta (the chic, Norwegian architects) and SFMOMA haven’t been apologetic or really skirted the issue about plans to basically gut the entire existing building, keeping only Mario Botta’s postmodern façade. Climbing SFMOMA’s imposing stairs is literally my first memory of being in a museum. As a kid, I tried to recreate the alternating bands of polished and flame-finished black granite of these stairs with a set of sleek dominoes on my living room floor. A friend and I lamented the demise of Botta’s staircase the last time we visited SFMOMA and we brainstormed potential artist projects that might utilize the soon-to-be-dismantled stairs. (The SFMOMA expansion is going to be LEED Certified so maybe some of the black stone will be reclaimed.)
Alas, the released images show all of this will be eliminated in the expansion, sacrificed for the sake of greater street presence and improved openness to pedestrian traffic flow. (The $555 million expansion will also double the current amount of gallery space, so there is that.) New public space includes a multi-storied, glass-fronted gallery open to Howard Street. In the renderings, this gallery space is filled with a massive Richard Serra corten-steel sculpture. This isn’t just a filler “scalie” artwork; Serra’s Sequence (2006) will be installed in the new space when the Snohetta expansion opens in 2016. Sequence is part of the Fisher collection, the donors who generous donated many buckets of ducats for the expansion, and who are kinda-sorta donating their incomparable trove of contemporary art to the museum.
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.
Every Museum in L.A.
One of my favorite blogs is William Poundstone’s Los Angeles County Museum on Fire, it keeps me updated about L.A. and is always witty, and sometimes sassy. Poundstone recently blogged about the Broad Art Foundation’s new acquisition: Glenn Ligon’s Warm Broad Glow, which was in the recent Ligon show at LACMA. The news made me curious to see what else the Broad Art Foundation has been acquiring.