Posts Tagged ‘bronze’
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).
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.”
One of my goals for the New Year is to write blog posts in a timelier manner; like attempt to write about shows before they close. That being said, I have one more post on an LA exhibition that has already closed. Opps.
Christopher Knight was critical of the show, mostly because it’s a collector’s show. Regardless of the quality, or significance of the works in the show (the Huntington proclaimed the collection is, “one of the finest private collections of French and Italian bronze sculptures”), the education that supplemented the show justified it completely in my mind. The Huntington’s decision to host this traveling show fits its own collections and programming. Several Huntington bronzes and a whole room of books from the library supplemented the show.
Norton Simon Museum
The “Fierce deities with bared teeth, flame-like tongues, and wicked expressions” of this exhibition are contained to a small concise space, but the show itself is rich and meaningful. The show is unavoidable because of where it is located. At the bottom of the staircase down to the Asian galleries of the Norton Simon, there it is: a nice little alcove of a space, nicely tucked away.
Only approximately 20 works make up the exhibition, most of them are small-scale and necessitate a closer, intimate inspection. The Norton Simon has also done an amazing job with the education of this show. There is a large wall text which nicely explains the items in the exhibition:
“These powerful figures also destroy demons and inner obstacles to enlightenment, such as greed and anger. Their frightening appearance belie the good deeds they perform in protecting individual devotees, monasteries and Buddhist doctrine…In the photo below, the Dalai Lama of Tibet, holding a ritual thunderbolt and bell, performs an initiation ceremony seated in front of a large appliquéd image depicting wrathful gods.”
This wall text was very informative, though some sentences were constructed awkwardly. The mention of the Dalai Lama seemed to be a reference to something from Tibetan culture which perhaps was somewhat recognizable the audience of museum. Along with the introductory wall text, every item in the exhibition had an accompanying wall label with an educational paragraph
Interesting to me was the color chosen in this room. The medium-tone blue paint was too-odd-to-be-a-coincidence similar to the blue-colored walls in LACMA’s Tibetan galleries. To be fare the color was located elsewhere in that level of the museum, but I’m curious as to why this color is so popular in being partnered with Tibetan art.
The museum has provided two small, wooden, yet comfortable benches in the small space. The only medium not present in the small exhibition was stone sculpture, but these works were displayed right outside this space, and were all very large. The show was focused on the close inspection of small intimate objects.
The exhibition was strikingly symmetrical. The C-shaped exhibition was reflective on left and right. Along the right wall were watercolors and small sculptures. One watercolor was framed in a blue mat and ark wood frame, which matched another watercolor across the room which made me think that the works might have been acquired by the same time, or come from the same place.
The display case along this wall contained six objects. The objects are made from a wide range of medium, from different times, but all from Tibet. An accompanying diagram to the right of the case provided the labels for these objects as well as more educational information. This small case was like a treasure chest full of precious objects. The workmanship and the details were beautiful in this case, including the carving of a conch shell, and the small inlaid eyes of a skull.
Another example of small scale details was in another small plexiglass display case. The small bronze sculpture of Chakrasamuara & Vajravarchi (China, lat 18th c.) invited close inspection. The wall text described in detail the gruesome nature of the details: “Each of Chakrasamuara’s four faces has a fierce expression, a fierce eye and a skull tiara. In addition he wears garlands of skulls and severed heads and in his 12 arms holds various attributes: a lasso, and arrows, as well as a thunderbolt and bell.” This description encouraged further investigation of the piece, were those really garlands of heads draped around the figures neck?—Why yes there were, isn’t that precious…
This work led to the central (in terms of location) work of the exhibition. The Mandala of Chakrasamuara (Nepal, Kathmandu, 1648) is a large painting featuring the same demonic character as the sculpture directly to the right. Again, a beautiful description accompanies: “surrounding the palace are eight graveyards, separated by stylized waves representing rivers. These charnel grounds…” All of the wording of these texts is very vivid, and helps to explain not only what we are seeing, but also utilizing colorful language which achieves a grim effect integral to this installation examining violence and demons.
Speaking of violence, the case to the left of the Mandala painting holds some sensational objects, which honestly look like props from a Hollywood movie. The case with ritual weapons holds a Ritual Staff or Club (Tibet 20th c.) and a Ritual Axe (Tibet 20th c.). These objects finalize and literalize the exhibition’s theme of violence.
Among the hall of blue were accent colors. Three items were distinguished by their special mounting in the exhibition. A wooden ritual sword from Tibet, a bronze sculpture of Hayagriva, and a mask of Bhairara were displayed differently from the rest of the works in the room. All of them were displayed in specially made shadow boxes. The frames clearly had been made specially for this exhibition because they were made to look like they were attached to the walls permanently, and painted the same blue color. However, the accent was the orange color used on the interiors of these frames. But why the bright orange color? To admit the first thing I thought of when I saw the color in this context was that it was the color of Buddhist monastic robes (which could be seen in the images of the Dalai Lama in the exhibition). The orange accents did a lot to subtly highlight these works.
These objects fit nicely into the symmetry of the exhibition. All in all the small show was informative and beautiful, showing that even topics of violence can be beautiful.