Chapter 2 (Part 3): Venture Philanthropy & Other Styles of Giving

“Andrew Carnegie said, ‘He who dies with wealth dies in shame.’ And someone once said, ‘He who gives while he lives also knows where it goes.’”[i] – Eli Broad

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 (to 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.

Walter De Maria’s “The 2000 Sculpture” installed in the Resnick Pavilion.

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.

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Chapter 1 (Part 2): LACMA’s BCAM – A Museum Within a Museum

“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).

The original LACMA was not exactly popular. Ed Ruscha’s 1968 vision of the museum.

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]

Paris: Life and Luxury

Getty Center

Oh how the rich suffer!

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 18^th century French peasant saw all the wealth/golden filth in this exhibition, the Revolution would have happened a WHOLE lot sooner. 

Beauty and Power: Renaissance & Baroque Sculpture from the Peter Marino Collection

Huntington Library

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.

Let’s talk about this.

Resnick Pavilion Inaugural Exhibitions

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:

Donors: Lynda & Stewart Resnick

Vanity Fair

As promised in my post about the new pavilion at LACMA which bears their names, I present to you the fabulous Lynda and Stewart Resnick.  How glamorous is this picture!? I’m going to admit it right now: I love Lynda Resnick, she’s the pomegranate queen after all, and her fashion choices are daring and faboosh!  This post is getting pretty gay, but I’m trying to insert a bit more personality into these posts (while at the same time not going over the top homo).

Carrie Bradshaw moment: Hello, Lynda Resnick lives here.

And let’s take a look at that Sunset mansion she is so lounging in front of.  It’s hard to find great shots of this house, but there are some aerial and street shots, and I’ll never pass up an opportunity to link to Curbed LA.

Oh and one of the three inaugural exhibitions in the Resnick Pavilion is from their collection—Eye for the Sensual.  I bet my bottom that Lynda Resnick does indeed have an eye for the sensual.  Below are some works from their collection.

Francois Boucher’s Leda and the Swan, sensual indeed.

Okay I know I’m going into a tizzy about Lynda Resnick, but really the woman is pretty amazing.  She’s been massively successful in her public relations business (oh hey I’m an Annenberg Public Relations program graduate), and is even pretty suave with the social online media, she has a blog and of course a twitter.

“Warring Angeles” not my words.

Above is a full page spread featuring some of the characters involved in this saga as told by Vanity Fair.  Look, Michael Govan’s daughter loves the Robert Irwin palm garden! Based on these photographs I’d much prefer to housesit for the Resnick over the Broads. I’ve always found that Jeff Koons Rabbit really, really terrifying. Can you image living with that thing?  Oh, and some more press about Deitch as the new director of MOCA. As if no one had heard the news.

– H.I.

Lynda and Stewart Resnick Exhibition Pavilion

Los Angeles County Museum of Art

Today only, except not.

This above sign is misleading…

Because I am an avid reader of LACMA’s Unframed blog, I knew that LACMA was having a two-day only viewing of it’s brand-spanking-new building the Resnick Pavilion.  Of course I made sure to get my self over to LACMA to see the building, I’ve been eager anticipating its completion since I attended the press conference announcing the museum’s Transformation Phase II.  The day of the press conference all that was at the site of the planned building was a huge slab of concrete with red painted words announcing the Resnick Pavilion.

Yes, of course it’s in the Baldessari-designed LACMA font.

Well it turns out that LACMA had such great attention with its first preview, it decided to do another one-day-only viewing about a month later.  I still feel special, but not as special.  I especially wanted to see the building since I won’t be in LA when it opens in the beginning of October.

LACMA's Westside

The soon-to-be-finished building is, like its neighbor BCAM, designed by Renzo Piano.  (The new building has affectionately been dubbed the Baby Piano).  The Renzos face each other, both faced (oh word choice) in travertine marble, and mirror each other with their mostly glass facades.  Both buildings also have signature accents of red.  The BCAM has “the spider” escalator in glaring fire-truck-engine red, and the new Resnick Pavilion has huge HVAC units painted the same optimistic color.

When will this red cease to be an accent color?

Surrounding the building is Robert Irwin’s Palm Garden, which has been an evolving project at LACMA. I am all for palm trees, and was sad when exploring Chicago earlier this summer to discover the palm does not flourish in climes where it tends to snow.  Interior:  The building may seem vapid, but that is because it was designed specifically for temporary exhibitions.  The pavilion serves as a huge art warehouse, an acre of space with which the curator may do what with it he or she pleases.  Think lots of temporary walls.

Reflections of BCAM

The whole front of the building (the side that faces BCAM of course) is nearly a whole wall of floor-to-ceiling glass.  The use of natural light dominates the space; the Resnick Pavilion has the same saw-toothed roof that BCAM has, which allows plenty of natural sunlight to flood the interior.

Term of the Day: "Sawtoothed"

The space is epically big.  And of course Michael Govan wasn’t going to let the public sneak a peak at an empty building.  A temporary installation of Walter de Maria’s The 2000 Sculpture, had been laid out with loving devotion inside the pavilion.  All 2000 polygonal plaster rods of it.

Like throwing a hotdog down a hallway.

The installation of de Maria’s work filled the entire central third of the building.  There are two rows of support columns, which divide the interior into three long sections…Along the otter thirds of the space, one could see (what I think is the only problem with the building) rows and rows of vents.

Equivalent to wire hangers.

The vents are violently distracting in the otherwise uninterrupted flow of the building.  Maybe the vents won’t be so distracting when exhibitions are installed.  Here’s me thinking wishfully.

Room with a view.

Light streams in through the north end of the building as well.  Another almost-entire glass wall looks out onto 6^th avenue. It’s unclear where the planned land art piece, Levitated Mass, by Michael Heizer will be placed on the LACMA campus, but maybe it’s going to be somewhere out on that large patch of now, unremarkable dirt.

Coming soon to a pavilion near BCAM!

As mentioned before the leviathan of an interior is divided into three segments by the support columns.  And what a coincidence! LACMA is planning not one, not two, but three! inaugural exhibitions for the Resnick Pavilion (again all opening the beginning of October).  Words cannot describe how sad I am to be missing this opening. I’ve anxiously watched the progress of this building and hope to see the finished product when I visit LA in winter, hopefully before these shows close.

Never forget to thank your donors.

– H.I.

Interesting: when I visited the Resnick Pavilion on the preview day it seemed like a lot of people (most those of us slightly older of age) where having severe problems with the steps in front of the building.  LACMA had station guards (visible in picture on the left) to warn people about the shallow steps, which as you exited the building were actually invisible.  A more recent visit revealed that the life-threatening steps have been jackhammered away.  My guess is that someone (probably important and probably white-of-hair) almost tripped and died and may of have said something.  I actually have no evidence of this, so I’m not suggesting anything. Yay safety upgrades!

Taking care of a lawsuit-waiting-to-happen.

Related: Apparently there is a was being waged in LA betwixt LACMA and MOCA! See this um, interesting Vanity Fair article.  The online version doesn’t have the fab! photograph of Lynda and Stewart Resnick (yes the people that paid for this building) lounging in their Beverly Hills abode.  I’ll try and scan my copy, because this photo is priceless.