Posts Tagged ‘Christopher Knight’
Eli Broad’s power is tolerated because it remains remarkably unchallenged. This seemingly monopoly of philanthropic power led Christopher Knight to compare Broad to another infamous, Los Angeles art patron:
[Norton] Simon’s flirtations with giving [his] collection away (at least seven institutions); distrust of traditional museum management; engineering of a bailout of an artistically adventuresome but financially faltering institution (the old Pasadena Museum for Simon, MOCA for Broad); later deciding to open his own museum, and more…[ii]
Another similarity to Broad: Before Norton Simon’s takeover of the Pasadena Art Museum, Simon had intended to establish his collection as a lending organization. Taking control of the Pasadena Art Museum proved irresistible to Simon, and today the Norton Simon Museum rarely loans works. I seriously doubt unfounded rumors that Broad has some kind of evil master plan to takeover or somehow combine his collections with MOCA.
Broad can also be measured to his contemporaries. Los Angeles is not actually a one-philanthropist town. “Pomegranate Queen” Lynda Resnick is an easy comparison. Like Broad, Resnick is a long-time donor and trustee of LACMA. Like Broad, she and her husband provided funds ($54 million) for a Renzo-Piano-designed building at LACMA. The Lynda and Stuart Resnick Pavilion was part of Phase 2 of LACMA’s Transformation and sits directly north of BCAM. When the pavilion opened in October of 2010, one of three inaugural shows was gleaned from the Resnick’s private collection.
“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]
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.
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 18th century French peasant saw all the wealth/golden filth in this exhibition, the Revolution would have happened a WHOLE lot sooner. Read the rest of this entry »
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.
Los Angeles County Museum of Art
Getting Yogurtland was my priority upon landing in LA. This was followed by a close second priority of seeing the three exhibitions which inaugurated the brand spanking new Resnick Pavilion at LACMA. The shows opened while I’ve been in Chicago, but I’ve been following the press about the opening of the Pavilion. Olmec: Colossal Masterworks of Ancient Mexico was something of a blockbuster loan show, Fashioning Fashion: European Dress in Detail, 1700–1915 is a presentation of LACMA’s newly acquired costume collection, and Eye for the Sensual: Selections from the Resnick Collection was an exhibition of the Resnicks’ collection of European painting and sculpture. The three shows have absolutely nothing to do with each other, and that’s just the way LACMA director Michael Govan likes it:
Read the rest of this entry »
This spectacle is the first retrospective of Gérôme’s work in forty years, which means this is the first time a generation has been exposed to Gérôme like this. The Getty’s reasons for the show are questionable since the Getty only has two works by Gérôme in its collection. Whatever the reasons, this show is an amazing spectacle of oriental color and classical characters. Gladiators, Vestal Virgins, residents of Pompeii, and even Caesar are all here. This show might even have been appropriately displayed over at the Getty Villa in Malibu instead of the Center.
Other than a major retrospective of French academic painter, the show is an exploration of the gross commoditization of Orientalism in art, showcasing the hypocrisy of European society’s fascination with Eastern culture with its harems and bath houses. Dialogues on race and culture whether intentional or not, are a major part of this show, from naked little boys to polychrome statues of naked (or is it nude) women.
The exhibition rooms are painted in an appropriate “oriental” palette, ruby maroons, and deep aquamarines are as decadent as some of the scenes in Gérôme’s paintings. The only problem I had with the color scheme was in just one particular instance where The Snake Charmer (1870) was displayed on a aquamarine blue, the clash of the mosaic wall in the painting against the wall it hung on was visual agony.
The exhibition runs the length of two large halls, at the end of the first hall in a small separated space of photographs from the Getty Research Institute’s library. The selection of photographs are ones taken of the during Gérôme’s travels to the Middle East and the Orient. Some of them directly relate to paintings in the exhibition, a photo of a tiled wall is the background in The Snake Charmer, another one shows the obvious inspiration for The Carpet Merchants (1887). The Getty Research Institute has been doing a great job at displaying its special collection of photographs, both at the Getty and elsewhere. There are some photos from the Getty’ collection in the current Eakins’s exhibition going on at LACMA (keep your eyes out for a post on that soon).
Down the second hall, full of more classical and Eastern scenes, one comes to the last room of the exhibition, which Christopher Knight of the LA times has rightly pointed out as particularly interesting. The room showcases Gérôme’s later transition to sculpture. Gérôme’s fascination with the artistic power of sculpture can be seen in his painting of Pygmalion and Galatea (1890). The myth serves as a theme for the room, which contains some of Gérôme’s sculptures. One of the sculptures is the awkwardly sticking polychrome Corinth (1903-04), from the collection of a certain J. Nicholson.
The last work in the show is hung by itself: Gérôme’s non-high-art piece, the advertisement Opticien (1902). The visual pun for “little dog,” in French “petit chien,” being devised here for commercial purposes. This work, while highly enjoyable and a much needed relief from the much heavier preceding paintings, is problematic for me. I don’t know how to resolve the fact that I think a retrospective should be a sincere display of the whole range of a single artist, but at the same time this work is soooo out there. I might have approved of this work had it been snuck into the exhibition somewhere in the middle. But as it stands at the very end of the exhibition, it draws too much attention to itself, and seems like an insincere inclusion when compared to the tone of the rest of the exhibition.
Other noteworthy remarks: Where did all of these works come from? A major contributor of works was the Walters Art Museum in Baltimore, the Metropolitan loaned several works, some from personal collections (i.e. J. Nicholson), and of course work from the Museé de Orsay! As mentioned in the posts about the de Young’s exhibition of works from the Museé de Orsay, congrats once again Museé for effectively getting your pieces out there on display during your construction!
And a completely gratuitous additional painting, only because I have an obsession with tulips.