Posts Tagged ‘conservation’
Recognize this image? You might, it’s been featured in numerous movies. On the right is a concrete textile block from the Ennis House in Loz Feliz, on the left is what the brick originally looked like. Suffice to say this brick, and the Ennis House at large needs lots of conservation, and I’m not just a little nip tuck. How much is this browlift going to cost?—Well a bunch of stabilization work was done by the Ennis House Foundation to keep the house from slipping down the hill, but there is still an additional $5-7 million needed. The additional conservation cost is probably the reason why the house sold for WAY below its initial asking price. The Ennis House Foundation made the decision to sell the house to a private owner way back in June 2009 and put it on the market for $15 million. There weren’t any biters, so in February 2010, the price was chopped to $10.5 million. Still no takers, and another chop in May 2010 to $7.5 million. The Ennis House has sat on the market at the price since. Until last week when it was announced that supermarket magnate Ron Burke had purchased the Ennis House for just under $4.5 million. Thanks Ron, one more price cut, and it could have been in my price range. (Yes, all of these links have been to curbed, and here’s another one, full of pretty pictures.)
And in case you still don’t recognize the Ennis House, here are some of the Ennis House’s onscreen appearances:
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.
El Pueblo Historic Monument
Street art is having something of a moment right now in Los Angeles. MOCA’s Art in the Streets show is totally loved and totally hated. And somehow MOCA has managed to underplay the censorship issues that arose months ago when the graffiti artist Blu’s mural was whitewashed from the Geffen Contemporary’s north wall. I’ve been told Blu wanted to show Deitch sketches for the mural, but Deitch couldn’t (wouldn’t?) because he was too busy at Basel in Miami…
Art Institute of Chicago
So I know, the holidays are over, and I missed this occasion slightly, but I still wanted to dish briefly, mostly to focus on the massive amounts of advertising the Art Institute did for this campaign. If you’ve walked in the Loop past a vacant storefront building, you’ve surely seen the massive ads about what’s going on at the Art Institute for the holidays. Or if you’ve been in a subway car recently you might have noticed. You know how sometimes a single advertiser will buy out all the ad space in an entire subway car? You could be in a car with only blackberry ads and find yourself really needing the ability to BBM. Well the Art institute did the same; one night I found myself overwhelmed with ads about something going on at the Art Institute called “Home for the Holidays”—there was even ads for it on the ceiling of the subway car.
The “Home for the Holidays” campaign was a concise (cost effective?) way of promoting several new things at the museum rolled into one campaign. Those things being: 1-the wreathing of the lions, 2 – the decorating of the Thorne Miniature rooms in holiday décor, 3 – the reinstallation of Chagall’s American Windows, and 4 – the installation of the museum collection of arms and amour. And although Chagall’s stained-glass windows aren’t so holiday themed, they sure reek of holiday spirit compared to suits of armor and battle axes.
The wreathing of the lions is a tradition now in its nineteenth year. Last year (2009) the Art Institute mixed tradition up a bit and had a design firm create contemporary wreaths for the lions. This year, the museum commissioned the Chicago-based firm Materious to design the lions’ holiday garb: giant cranberry wreathes. The rich pinks and reds are a strong punctuation on snow-filled Michigan Ave. (The wreaths also light up at night, and are solar-powered, oh hey!) The wreaths look a whole lot better than what they do to the lions when any local sports team wins a championship, and a whole lot better than the shoddy decorations over at the Field. Also notice how the wreaths match the graphics in the “Home for the Holidays” ad campaign.
Be prepared to be underwhelmed with the holiday decoration of the Thorne Rooms. (Full disclosure, I’ve always disliked the Thorne Rooms, but I know that a lot of people love them.) Only a measly six of the rooms were decorated this year; the museum says it’s going to make this a tradition so eventually maybe all the rooms will be dressed up. The decorations are tiny (duh) but also very hard to see, the English Victorian Era room has a Christmas tree, and someone decided the rich people who own the midcentury modern California room are Jewish.
The Chagall windows really did come “Home for the Holidays;” they haven’t been seen for five years during the construction of the Modern Wing. The museum also organized a small exhibition about the legacy of public art in Chicago with models and projects to accompany the windows’ return. The windows also went in for some heavy cleaning, shown in the video below.
The other things that came home (for the holidays) was a selection of the museum’s George F. Harding Jr. Arms and Armor Collection. The installation is complete with a fully-armed knight on horseback, massive tapestries, and cannon. While this installation has nothing to do with the holidays (come on, you know it doesn’t), the wall text gives a hint about to exciting things. It reads: “This temporary installation of arms and armor […] Plans are underway for a larger permanent installation […] This new gallery will be part of a series of galleries that feature the museum’s important collection of medieval and Renaissance Art.” Clearly some large-scale reinstallations are afoot at the Art Institute, ones that are probably going to affect large portions of its well-loved and loved-to-be-seen permanent collection of European art. I wonder how this will affect the museum in the coming years.
P.S. This story piqued my interest today. Starting in June, the Art Institute is getting rid of its free Thursday evening hours, quoting low attendance as a factor. Ahem, I have class on Thursday evenings across the street and know that the line to get in wraps around the building. Okay, I’ll be fair: the museum spokesperson said not enough Chicago residents were coming on those evenings and that it was mostly out-of-towners. AKA people the museum wants visiting during regular hours and paying full ticket price. “Taking free hours off the table was never an option,” said a spokeswoman—well legally you can’t (all museums in Chicago are required to offer 52 free days), so don’t pretend like you do this out of the goodness of your heart.
P.P.S I’m on break in LA, so expect a full report from the West Coast in upcoming posts.