Posts Tagged ‘exhibition’
LA, or certain people who write about the art scene in LA, or people who get quoted about the art scene in LA, seems to have an inferiority complex. Everything that happens in the arts (a new exhibition, a new art fair, a new museum director…) is deemed the thing that will finally turn LA into an/the art capitol. William Poundstone did a survey of this decades-long mentality[ii] this week inspired by an article in The Economist titled, “2014 may prove a turning point for art museums in Los Angeles.”[iii] But come on – LA, people who write about the art scene in LA, people who get quoted about the art scene in LA, and the people of LA have nothing to prove. The Getty squashed that issue a few years ago, didn’t it?
Back in 2011, the Getty’s ten-years-in-the-making endeavor, Pacific Standard Time (or PST as it has come to be known) opened. Over 60 institutions across Southern California presented exhibitions focused on the region’s art scene between the years of 1945 and 1980. The Getty’s goal was to record, preserve, and present the many contributions Southern Californian artists and arts organizations made to contemporary art during the time period. Initial grants were given to arts organizations to catalogue archives from the period, followed by exhibition grants. Some of these exhibitions traveled to other venues in the country and some traveled internationally. Catalogues from these exhibitions were published and quickly integrated into university curriculums. Besides this trove of scholarship, another goal of PST was to present Los Angeles as an artistic capital.
When I read the news this week that LACMA is bringing back its legendary Art and Technology Program, I basically freaked out. But before I get into the new program I wanted to re-explore the original program. (I knew this grad school paper would come in useful for something.) I gleefully just re-read the program’s catalogue: A Report on the Art and Technology program of the Los Angeles County Museum of Art. Long title, amaaaaazing read.
ART AND TECHNOLOGY PROGRAM, 1967 – 1971
In 1967, the five-year-old Los Angeles County Museum of Art began a multi-year project called The Art & Technology Program. The Program placed artists into residencies within technology companies with the intention that these corporations facilitate and/or fabricate the creation of new works, which would be shown in a culminating exhibition at the museum. The Art and Technology Program was the brainchild of LACMA’s curator of Modern Art, Maurice Tuchman. Read the rest of this entry »
Jeffrey Deitch will bid adieu to the Museum of Contemporary Art and the Best Coast and head back to New York, where his genius is appreciated and where he is already curating a show. Poor Deitch, un-hip, philistine LA just didn’t get him. The biggest Deitch defender in the press has been Art in the Streets associate curator (non-MOCA curator) Aaron Rose: “We had something going in L.A., and it’s over now. Jeffrey’s resigning is really a statement about what the city is. All people in L.A. want is interior design. They want paintings to put over the couch.” Let’s leave generalizations about “people in L.A.” out of this Aaron Rose, and take a moment to remember that time New York Times Magazine did a spread on “Jeffrey’s Deitch’s Party House.” Let’s talk about that interior design Aaron Rose: Deitch may not have paintings over his couch, but he does have painted couches.
When I began writing this update to my previous post, I thought a list of bullets with links to the LA Times would suffice, but then I realized a crazy amount of MOCA drama has occurred in just over a year. At least Vanity Fair journalists who love to write about the LA art scene have plenty of material.
It’s easy to make accusations about MOCA’s obsession with celebrity considering the museum’s galas. Following Francesco Vezzoli‘s Lady Gaga gala in 2009, the museum hosted a gala directed by Marina Abramovic in 2011. The Abramovic gala drew the ire of some for being exploitative of performers who served as live centerpieces… Debbie Harry also performed, and the whole shebang culminated in Harry and Abramovic hacking into cake-effigies of themselves… Last this year’s gala happened on 4-20, and was themed appropriately – Cheech Marin attended and guests wore Hawaiian leis for some reason.
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]
de Young Museum
I have not seen this exhibition (because I have neither renewed my FAMSF membership, nor managed to convince the bitchy membership counter boys to let me in for free), so I’m just going to judge the exhibition website for the de Young’s latest touring celebrity, Girl With a Pearl Earring.
That’s right, SHE WINKS. Oh this is painful. Vermeer’s iconic masterpiece (reduced to a not-even-clever gif) and other treasures from the Mauritshuis are currently touring the globe (or parts of it) while the Dutch museum undergoes extensive renovations. Good for the Mauritshuis for making some buckets of ducats while closed, but one wonders how much the Fine Art Museums of San Francisco are shelling out for the traveling show. Read the rest of this entry »