Exhibition Inquisition

The stuff you look at, but don't see.

Posts Tagged ‘loans

Four Facts: Significant Objects

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Norton Simon Museum

As I was finishing up in this exhibition, I overheard a tour being given to what I presumed was a UCLA summer painting course.  “We have the Getty in our own backyard, but the Getty’s collection kinda sucks.  The Norton Simon’s is the really great collection of LA,” the teacher harped. I am paraphrasing.  While I detest uninformed and unnecessary opinions (especially from arts educators) about which museum has the “best” collection, I can’t deny the Norton Simon has a pretty amazing one, and I don’t even like ImpressionismSignificant Objects: The Spell of the Still Life presents a thematic cross section of the museum’s diverse collections and is an examination of “the ways in which these ostensibly mundane and insignificant subjects [harsh!] portrayed in painting and sculpture and works on paper are indeed significant.” Significant Objects does not present groundbreaking, paradigm shift-type discoveries or research, but is a huge success as a rich, educational opportunity for general audiences utilizing the permanent collection.  Permanent collection show hurray! Here are the facts:

Scholar's books and objects (chaekkeori), Korean, Joseon dynasty, 19th c - LACMA

A Korean wunderkammer lent by LACMA.

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Resnick Pavilion Inaugural Exhibitions

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Los Angeles County Museum of Art

They paid for the building, they can show their art for three months in it.

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:
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Catherine Opie: Figure and Landscape

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Los Angeles County Museum of Art

As promised, part two of the “gay” shows at LACMA.  But first, let’s discuss the gift shop that bridges the Eakins exhibition with the Opie exhibition.  LACMA, it seems, has been getting more and more brash with their gift shops, Pompeii’s gift shop was a smorgasbord of Italianate tourist crap, at least the Baldessari giftshop had some integrity with those clever erasers.  Let’s let the pictures speak for themselves.

Porn set or museum gift shop?

Okay I’m not really going to let the pictures speak for themselves; just look at those lockers! This is no longer a museum giftshop but a cheap set from a gay porn that takes place in a lockerroom.  Yes you can buy some related books on the two artists, and yes you can purchase some limited-edition Opie prints, but you can also buy LACMA jerseys and LACMA gym bags (sorry you can’t buy them online).  Why would anyone want to buy these items, especially when they don’t even have Baldessari’s logo on them?  When I asked the giftshop attendant if anyone had purchased a LACMA jersey, she said that to her knowledge no one had.  Hope they didn’t order too many of those LACMA jerseys.

Figure(s) and a landscape.

Out of the gift shop one enters into the Opie exhibition.  I don’t know whether I came in through the end, or should have gone through the other way, but I don’t think it mattered.  The first landscapes I saw were a series of surfers from 2003.  Several large framed photos were hung together to create a long horizon; the images practically disappeared into the muted blue walls of the gallery. In another gallery, sunlight (through glass bricks, a building material I think is SO eighties, but is apparently LOVED here in Chicago) illuminated the space and several river and forest landscapes. Sort of boring, where’s the gay stuff?

Contemporary symbols of masculinity waging battle.

In the last room, a cavernous space in the Art of the Americas building, which is usually arranged with temporary walls, was the “gay” stuff: photographs of football players.  High school football players, so let’s be careful because some of these jocks are still jailbait.  This is the major content of the show.  Wide compositions of helmeted players attempting firstdown look like epic battle scenes in this scale, especially compared to TV coverage of games which is usually areal views.  These large landscapes (with figures in them) are punctuated in the room by close up portraits the young men.

My friend who accompanied me (and who also has a thing for highschool football players) was torn between his attraction to these young men with their virile athleticism, and the fact that most of them had disgusting braces, and bad cases of acne.  I wondered if the subjects of these portraits know who Catherine Opie is, that she’s a lesbian, and that she had turned them into objects of homosexual desire, or at least objects of my friend’s homosexual desire.  Like a good blogger, I also wondered where all these photos had come from.

Hot and on loan: Tyler and Sean J.

Tyler (2007) and his farmer’s tan had come from across town, from the Hammer, many of the photos were here courtesy of the artist and her gallery.  Two of these portraits are on loan from private collectors.  The Justin-Bieber-haired Dusty (2007) had been loaned from Gerry Rich, and the ab-displaying Sean J (2008) had come from Eugene Sadovoy. Here is a funny headline about Rich considering this discussion, as well as some shots of his abode.  And Sadovoy seems to like California artists despite being an Eastcoaster who works for the Guggenheim.

The exhibition was curator by the still-new-ish Wallis Annenberg Photography Department curator Britt Salvesen.  I must say I much prefer this show to some of her previous work at LACMA.  Compared to New Topographics the scale of the works compared to the scale of the space is much more appropriate.  No tiny black and white photos on huge white walls here.

– H.I.

Manly Pursuits: The Sporting Images of Thomas Eakins

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Los Angeles County Museum of Art

This is what the fuss is all about.

To my readers: No more posts on LA exhibitions for a while (other than this one and the one to follow); I am now curled up next to a space heater in Chicago, while the rest of you complain about the amazingly hot weather in LA, boohoo.

Admittedly I coerced my best friend to come with me to see these shows (Opie next time) by selling them to him as the “gay shows at LACMA.”  They’re not really “gay” shows, but both have material that might be characterized as homoerotic, and maybe that’s why LACMA curators felt they needed to include the following at the entrance of the Manly Pursuits:

Warning Adult Material. (No joke.)

This begs to question—where!? I don’t see any adult material, unless you mean those paintings and photographs that have naked nude male figures in them.  Is this warning necessary?  Is it there because they’re naked guys? I don’t see labels warning about the naked women elsewhere in the museum.  Where’s the warning sign in the renaissance galleries for that painting of that slut Danae and the golden shower?

Try explaining what a golden shower is to your kids.

Moving on from that unnecessary warning, the always clever exhibition designers at LACMA have come up with inventive signage.  In the entryway a large title banner is hung from a complex rigging of ropes and pulleys.  The didactics in the exhibition are printed on thick canvas (this sailboat not the canvas you paint on), and hung from punctured grommet holes. Very wood shop and very manly I supposed.

Heterosexual exhibition design.

The exhibition is organized into genres of sport: rowing, swimming, hunting and sailing, equestrian, boxing and cycling, and wrestling.  This method is both user-friendly and functionally allowed for smaller and larger spaces.  This is not a full-scale retrospective, but a focused exhibition on one genre of Eakins’s work; this does not mean this is a small show or that it is lacking in works.

The first room, on rowing, had a plentitude of works: completed paintings, preparatory works, and sketches.  Eakins fascination (even obsession) with accurate perspective is evident in these works and the combination of works showcased the artist’s anal-retentive process.

No dick in this pic.

The swimming room is the room that I guess warranted the warning label (maybe also the wrestling room).  There is only one completed oil painting in the room, The Swimming Hole (1884-85), the only Eakins work on the subject matter. The canvas wall text informs that Eakins relied on photographs for this composition; this is obvious since the painting is accompanied in this room by so many photographs.  The photos are of “real” (LACMA’s word choice not mine) naked men, instead of idealized nudes (is that why we need the label?).  All of the photos are preciously small and require close proximity to view them properly.  The photographs come from various places (oh hey a loan from the Getty!) and are labeled as modern inkjets from original glass negatives.  I call them soft-core-porn (kidding, kinda).

Porn so small, you can barely see it.

The main attraction, on loan from the Amon Carter Museum, has chairs placed in front of it (chairs I’m pretty sure came from a conference room inside LACMA).  The wall text also explains that Eakins himself is one of the men in the painting, making this a clusterfuck of viewer-viewed-exhibitionist-voyeur-spectator-participant relationships.  I would like to point out that the finished oil painting has no visible penis in it, so what is the big deal?

Eakins was apparently an avid swimmer, or avid skinny dipper.

I blew through the hunting and sailing room, and the equestrian room, in pursuit of more adult content slash gay porn (still kidding LACMA), which I found in the boxing and cycling room.  This room had more naked photographic studies to satiate my desires (haha) and several large finished works in it including Saltut from the Addison Gallery of American Art (which has been linked to Gerome’s Police Verso which was just in LA), Between Rounds from Philadelphia Museum of Art, and the largest work, Taking the Count from Yale.  Pat on the back for being responsible and looking at where all these loans came from. This room was set with a series of benches arranged as they might be for a spectator sport like boxing (oh yeah that’s the topic of this room).

Art-viewing arena.

On to the wrestling room: This room is organized around LACMA’s The Wrestlers, it is a new acquisition and the central reason why LACMA organized this show.  More chairs from a LACMA conference room were set in this gallery to allow for longer views (also so viewers could get their rocks off) of the works, which include preparatory paintings (one owned by LACMA prior to the acquisition), and more steamy photographs. Damn LACMA I’m all hot and bothered now, all this adult content.

Porn from the permanent collection.

And after I’d already jizzed my pants LACMA really delivered with Tad Beck’s installation Palimpsest.  In a separate room, several works from Beck’s Palimpsest series were displayed, acting in dialogue with Eakins’s work. The subject matter of the male nude (the adult content remember) is not the only similarity Beck explains in an Unframed post.

Palimpsest 1, un(?)arguably homoerotic.

The last room of the exhibition is a reading room.  A really sad little reading room, which had a book on Eakins’s Grafly Album (sexy stuff), some terribly cheap Xeroxed essays, but oh wait, two iPads to read the pseudo-exhibition catalogue on.  This is a big show (in scale and importance), with lots of loans—I can’t believe there isn’t an accompanying exhibition catalogue (is one is in the works?), maybe the organizers didn’t have any funds left for publications.  But they had funds for those iPads…

The unfortunate gift shop and Catherine Opie: Figure and Landscape will have to wait for next time.  But believe me the gift shop was UNFORTUNATE and less noteworthy the Opie show did have figures and landscapes (and more gay stuff).

– H.I.