Posts Tagged ‘National Endowment for the Arts’
Four Facts: Significant Objects
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 Impressionism. Significant 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:
Written by exhibitioninquisition
August 8, 2012 at 1:12 AM
Posted in Contemporary, Four Facts, Los Angeles, Norton Simon, Permanent Collection
Tagged with Admiraels de gouda, Allegory, Aubert-Henri-Joseph Parent, Blow Up, broken, bulb, capitalism, chaekkeori, Claes Oldenbrurg, connoisseurship, Constitution of 1791, contemporary art, drawing, exhibition, flamed, French Monarchy, gallery guard, Getty, Giant Soft Ketchup Bottle with Ketchup, gilders, Great Tulip Book, impressionism, Joseon dynasty, Korean, LACMA, Lemons, loans, museum, National Endowment for the Arts, Norton Simon, Oranges, Ori Gersht, original, Pasadena Art Alliance, Pasadena Museum of Art, Permanent Collection, relief, Rose, Santa Barbara Museum of Art, Selma Holo, Semper augustus, Sharon Core, Significant Objects, speculation crisis, Stendhal syndrome, still life, Still Life with Steak, tattoo, tulip, tulip bubble, Tulipmania, varieties, wunderkammer, Zurburan
Rashid Johnson: Message to Our Folks
Museum of Contemporary Art, Chicago
Why is Self Portrait in Homage to Barkley Hendricks not included in the MCA’s current Rashid Johnson retrospective, Message to Our Folks? The photographic work is included in the exhibition catalogue, and MCA curator Julie Rodriguez Widholm writes that it is perhaps Johnson’s “most understood work.” The work is an illustrative example of both Johnson’s “dialogue with black American creative and intellectual figures whose impact has transcended race” and his “dialogue with modern and contemporary art history, specifically abstraction and appropriation.” Both these quotes are from the curatorial statement on the MCA’s website. True, other self portraits (some of which engage in appropriation and cultural and intellectual figures) are in the exhibition, but they don’t compare in my opinion to the stark and confrontational Self Portrait in Homage to Barkley Hendricks.
Written by exhibitioninquisition
May 22, 2012 at 2:41 PM
Posted in Chicago, Contemporary, Donors, Inquisition, MCA
Tagged with 1980s, appropriation, archive, Barkley Hendricks, Birth of Cool, Black Book, black penis, Brilliantly Endowed, catalogue, Chicago, collectors, Culture Wars, curator, exhibition, galleries, Getty Research Institute, Homage, Joyce Foundation, Julie Rodriguez Widholm, LACMA, Man in a Polyester Suit, MCA, Message to Our Folks, Museum of Contemporary Art, National Endowment for the Arts, NEA, obscenity, portfolio, public funding, Rashid Johnson, retrospective, Robert Mapplethorpe, Santa Monica Museum of Art, self portrait, shelve, sponsors, This Will Have Been, XYZ