Posts Tagged ‘Chris Burden’
“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]
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.
LACMA’s near acre of new exhibition space, the Resnick Pavilion, means LACMA has a lot of exhibitions to program. And they seem up to the task. After the three inaugural shows (Olmec, Fashion, and Eye for the Sensual), LACMA has managed to keep the Resnick Pavilion at full capacity. There are three shows currently in the space: David Smith: Cubes and Anarchy, Gifts of the Sultan: The Arts of Giving at the Islamic Courts, and LACMA’s ticketed blockbuster: Tim Burton. The shows keep with Michael Govan’s strategy for offering unrelated coinciding shows in the Resnick Pavilion.
Across from the Resnick Pavilion, is Renzo Piano’s other LACMA building, BCAM; it too has been kept full. The top floor is still stocked with Broadworks, the second floor is being deinstalled from the recent permanent collection show Human Nature, and the ground floor just had one of the massive Serra sculptures deinstalled, to make room for a new Burden work, which is going to be AWESOME.
Oh Hammer Museum, I don’t expect your gallery guards to be able to discuss your art like a curator would, but I do expect them to be able to tell me why I can’t take a picture in certain galleries. When asked why I could not take a photo of Out of the Box, I was told, “oh well, this is a special exhibition.” Yes it is special…But isn’t this part of your permanent collection? “Uh no, um it isn’t.” Actually it IS gallery guard, the works in Out of the Box were recently acquired jointly with LACMA. When asked why I couldn’t take pictures in Selections From the Hammer Contemporary Collection: “Oh well it’s a special exhibition.” Yes it is special…But the reason why I can’t take photos in here is because some of the works are promised gifts not yet officially part of the collection. Maybe the Hammer should spend some time educating their gallery guards.
Now let’s discuss the summer shows at the Hammer. There is an installation by Greg Lynn, Out of the Box (editions of artists’ prints), a selection from the Armand Hammer Collection, and a selection from the Hammer Contemporary Collection. So that’s three shows/installations of permanent collection works, but I was only allowed to take photos in the Armand Hammer Collection installation. (I didn’t ask if I was allowed to take pictures of the Greg Lynn, it’s out in a public courtyard after all.)
Let’s begin with Greg Lynn’s lovely fountain. LACMA on Fire blog had a fun post about the kitchy work, oh and the blogger doesn’t have a secret identity anymore. (That blog somehow seemed more fun when it was a secret and when it wasn’t hosted on artinfo.) The spurting fountain is made from casts of children’s toys and is an apt summer installation. The work is looking a little dirty though and could use some cleaning, or the Hammer could just dump some bleach into it.
Next up is the installation of works from the Armand Hammer Collection. Yeah, he’s that guy that founded this museum. (That’s right LA, Broad isn’t the first collector to found his museum based on his private collection, oh wait, there’s also the Norton Simon, the Huntington, oh and the Getty, well hmmm.) His portrait bust is right there in the room, just like the creepy J. Paul Getty bust in the Brentwood center. I could swear I’ve seen this room installed this exact way before; do the curators reinstall it the same way every time? So much for enlivening the permanent collection…
The gallery is sliced into three sections. The first section has a row of Van Goghs and some other big name impressionists, and some Rembrandts. Interesting to note that there is no mention of Rembrandt in Southern California, an initiative of several Southern California museums to promote Rembrandts in their collections. Way to be a team player Hammer Museum. And of course the striking Singer Sargent portrait of Dr. Pozzi at Home (1881) is hung prominently in the first room, as the first work you see. Dr. Pozzi was a pretty sexy guy, and a gynecologist! I learned this fun little fact from the wall label, so yes there is some informative text in this installation.
The next room features a display of works from the museum’s Daumier collection: some great sketches and a slew of bronze caricature busts of famous Parisians. This room is a little dark, and I’m unsure why they displayed the busts in this overly theatrical fashion.
The last room has some smaller impressionist works flung together and hung closely on one wall. The other works are given a lot of space. All the big name works from the Armand Hammer Collection (the ones Ann Philbin decided to keep, not the lesser works the Hammer Foundation took back) are here. A Titian portrait of a man dressed as a soldier looks in need of cleaning, or maybe it’s just significantly darker than a similar work that hangs in the Getty.
Two Gustave Moreau’s hang in the last room next to each other: Salome Dancing Before Herod (1876) and King David (1878). These works are absolutely amazing, and you can get up very close to them (the gallery guard didn’t yell at me when I did) to see all the tiny application of bright white paint that Moreau used to achieve his sparkling lighting effect.
Now for the contemporary stuff. This installation is composed of acquired works (bought with that Da Vinci sketchbook deacquisition money perhaps) and promised gifts. The intro wall text thanks the Hammer’s “Board of Overseers for annual contributions to the Hammer Contemporary Collection acquisition fund and to several dedicated donors.” This is the third installation of works from the Contemporary Collection; was the second one Second Nature? No it wasn’t. The two earlier shows were this and this.
A lot of the works in the show come from artists who have been shown at the Hammer, whether in monographic shows, in the Hammer Projects series, or in Hammer Invitationals. No photos from this installation unfortunately, which means you have to go see it for yourself. I was really impressed by how contemporary most of the works are; many of them made in the last five years, and acquired by the museum soon after they were created. The Hammer is doing an impressive job at executing its five-year-old initiative to seriously collect contemporary works. Gold star for you Ann Philbin!
The last of the summer shows (that I’m going to discuss) is Out of the Box: Edition Jacob Samuel, 1988-2010. The collection of prints from the Santa Monica-based EJS studio was jointly acquired by the Hammer and LACMA. I wonder how this joint ownership works. (LACMA jointly acquired an El Anatsui work with another UCLA museum, the Fowler, two years ago.) The list of artists represented in this exhibition is a real who’s-who of the contemporary world; check out the roster below (click to enlarge).
Personally I found the majority of the prints really boring. A series of prints of the number two was less then inspiring. There were few exceptions, but this whole project of prints seemed very elitist and overly self-congratulating. The exhibition design was effective but obvious; to clearly separate the projects of each artist a funny paint job had been devised. Each artist project was demarcated by a band of tan paint that segregated each project from the others. The earthtone paintjob was only about two feet high, and was immediately recognizable as an organizational strategy.
Admittedly I may have been overly critical of the Hammer and its summer shows, but when everyone that works there is so damn smug about themselves I expect the best. Maybe it’s just a slow summer. I’m going to admit that prints are hard to make exciting, and to be fair a lot of the work in the Contemporary Collection installation is really fantastic and warrants a long visit. See, I can be mildly subjective.
Just to make sure you don’t miss any of this great and mediocre stuff here is a rundown of when these shows close:
Greg Lynn: September 26
Armand Hammer Collection: ?
Hammer Contemporary Collection: January 30 (you’ve got a while)
Out of the Box: August 29 (opps you’ve missed it)
Museum of Contemporary Art
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.
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.
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.
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.
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.
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.
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.
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.
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.