Posts Tagged ‘private collection’
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.
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 18th century French peasant saw all the wealth/golden filth in this exhibition, the Revolution would have happened a WHOLE lot sooner. Read the rest of this entry »
Art Institute of Chicago
We haven’t posted in forever; we’re going to make it up to you with a gay show! Everyone is slapping the National Portrait Gallery’s ass for being oh-so-brave for tackling the controversial topic of gay desire in American art. Because no one has dared go gay lately. Oh wait, yes they have, here, here, and here. And that’s just at one museum East Coasters. Museums in the middle of the country have gone gay too; here in Chicago, Richard Hawkins – Third Mind is currently on view at the Art Institute.
This is what we gleaned from the intro walltext: The Andy Warhol Foundation awarded a grant for this show, which is a not-so-unobvious clue that this show is going to be gay gay gay. Third Mind, is Hawkins’s first museum survey, but NOT A RETROSPECTIVE, he’s a mid-career artist and isn’t going anywhere so let’s make that clear. According to the text, the subtitle (Third Mind) “serves as a testament to the duplicity and ambiguity that characterizes his work,” but is probably more a play on this. I don’t know if Hawkins work is as duplicitous and ambiguous as the curators are claiming; to me it’s not that unclear…more on that later. Also the organization of the show is addressed:
Due to the decidedly circuitous nature of Hawkins’s art, linear chronology alone is an insufficient mode of presentation. Thus, this exhibition is laid out in a sequence of ‘rooms’ made up of visual and thematic comparisons that provide just one of many possible bases for comprehending and appreciating the complexities of Hawkins’s practice within the larger historical context provided by the encyclopedic setting of the Art Institute.
What a revelation!—Not. I love it when museums explain themselves, but here there doesn’t really seem to be anything to explain; the curators grouped works from various series of Hawkins work together, aaaand done.
From this first grouping of works (a collage series from 2000) two things are very clear: one, Hawkins excels in collages (paintings not so much, and sculptures sometimes). Two, the majority of people who love to buy Hawkins are from New York, Miami (not a shocker), LA (not shocking), and also Chicago, since apparently someone has been on a spending spree on behalf of the Art Institute.
The next series of collages is funny as hell, and pretty gay. The series combines various cutouts of Greek and Roman sculptures with texts praising this or that dick or ass of the sculptures. Hawkins has no problem pointing out which Greek derriere he prefers most; his sassy comments on men’s physiques are the definition of being a bitchy gay. Take that National Portrait Gallery with your “codified” signs of homosexual desire.
In the next room are several more series. The Hawkins work I knew previously is the Disembodied Zombie Heads series. Look here’s one from a MOCA show, how considerate of MOCA to lend it. And if one Disembodied Zombie Head weren’t enough, and if three Disembodied Zombie Heads weren’t enough (the Hammer loaned not one, but two), the Art Institute has gathered six total (the other three come from LA too). I think six Disembodied Zombie Heads is just overkill (but zombies are hot in Hollywood right now).
Several sculptures are scattered earlier on in the show, but the last room is mostly devoted to them. House of Mad Professor (2008) from the Hammer, Crepuscule #1 & #3(1994), Dilapidarian Tower, (2010) and some other haunted houses litter the space. The sculptures are engaging, mostly because they have elements of Hawkins’s collage practice in them. And don’t forget, this show continues in Gallery 291…
If you want to see some of Hawkins’s paintings you have to go to the other side of the Modern Wing, up a flight of stairs, and navigate to the correct room. It seems like the curators were trying to hide Hawkins paintings, and personally I think it’s because these paintings aren’t Hawkins’s best work. Organizing the exhibition with this divide only makes this fact more obvious to me. (Apparently they do sell; they’re still listed on Hawkins’s LA gallery’s website.) Had the curators chosen only 10 butt sculpture collages, and only three zombie heads, maybe there would have been room to put Hawkins’s paintings in with the rest of the show.
The many similar examples from the same collage series are excessive and unneeded; the effect makes this seem more like a gallery show and less like a thoughtfully curated museum exhibition. Proof of this is in the pictures. The below installation shots aren’t from the Art Institute, but from several recent gallery shows. This is pretty much what the show at the Art Institute looks like.
Maybe the curators wanted to show how widely Hawkins is collected, or maybe they wanted to showcase the shopping spree someone has been on. Many of the works in the show are labeled as newly acquired for the museum, proving that museums are active in the contemporary art market world (although perhaps only as recipients of works that a donor chooses to acquire). Speaking of donors, let’s take a look at the lenders, there are a lot of them, and most of them are from New York, Miami and LA:
Craig Robins – Miami developer (and CE’mO) who loves artistic projects
Blake Byrne – Former-MOCA-board-member-‘mo
Kourosh Larizadeh & Luis Pardo – donate to ‘MOCA in LA
Goetz Collection – Munich, collection of Ingvild Goetz, who is a lady (exception to the trend)
John Morace & Tom Kennedy – New York ‘mos who sponsor a lot of shows
David Campbell – I hope this is the right old guy
Greene Naftali Gallery – Hawkins’s New York Gallery
Paul Chan – New York artist, also represented by Greene Naftali…
Robert Lade & Richard Telles – LA ‘mos(?) and one half of Hawkins’s LA gallery, Richard Telles
Jim Isermann – LA artist, also represented by Richard Telles Gallery…
Tiffany Tuttle & Richard Lidinsky – Un-goggle-able couple
Dennis Cooper – LA, writer-of-Closer-‘mo
Barry Sloane – Big-shot LA realtor, who’s sold a Frank Lloyd Wright
Peter Norton – Gold-shitting heterosexual, of the Peter Norton Family foundation, and Norton Antivirus
And some Private Collection(s) in Chicago
So a bunch of ‘mo are buying Hawkins work, which isn’t surprising since the work is very generous (saturated even) with homosexual desire. Let’s talk about desire: When I was taking notes on my blackberry, I overheard a gallery walkthrough in progress. A young museum educator talking with some silver-haired ladies, and I thought, wow this must be awkward. But she handled it amazing well. She recounted how she had given a tour to a highschool group and asked them to consider the idea of desire, how it is what you want and sometimes what you can’t have, and to question what is keeping you from having it. Sources confirm that Hawkins is not dealing with unfulfilled desires. After covering the subject matter of Greek and Roman sculptures, Hawkins began to focus on images on Asian boys. Hawkins does indeed have a little Asian manfriend, so to his desires seem more fulfilled than un, mostly because little Asian men love him back.
Hope this post was as good for you as it was for me. Why are the gay posts the best posts?
P.S. To my LA readers, Third Mind is headed to Los Angeles (shock of all shocks) after it closes in Chicago, so head over to the Hammer in February.
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).
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.
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.
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.