Exhibition Inquisition

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

Posts Tagged ‘retrospective

MOCA Leadership & Their Museums

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Still using the old/new logo on press releases.

Still using the old/new logo on press releases.

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.

Now that’s some interior design.

Now that’s some interior design.

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Chapter 1 (Update): MOCA Drama

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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.

CELEBRITY:

Eli B. and Tony V. celebrating 4-20 (and MOCA).

Eli B. and Tony V. celebrating 4-20 (and MOCA).

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.

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Richard Serra, “Sequence”

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SFMOMA, Cantor Arts Center, LACMA

This week, SFMOMA released additional renderings of its eminent expansion including new views of the interior.  Snohetta (the chic, Norwegian architects) and SFMOMA haven’t been apologetic or really skirted the issue about plans to basically gut the entire existing building, keeping only Mario Botta’s  postmodern façade.  Climbing SFMOMA’s imposing stairs is literally my first memory of being in a museum.  As a kid, I tried to recreate the alternating bands of polished and flame-finished black granite of these stairs with a set of sleek dominoes on my living room floor.   A friend and I lamented the demise of Botta’s staircase the last time we visited SFMOMA and we brainstormed potential artist projects that might utilize the soon-to-be-dismantled stairs.  (The SFMOMA expansion is going to be LEED Certified so maybe some of the black stone will be reclaimed.)

Sequence at SFMOMA of the future.

“Sequence” at SFMOMA of the future.

Alas, the released images show all of this will be eliminated in the expansion, sacrificed for the sake of greater street presence and improved openness to pedestrian traffic flow.  (The $555 million expansion will also double the current amount of gallery space, so there is that.)  New public space includes a multi-storied, glass-fronted gallery open to Howard Street.  In the renderings, this gallery space is filled with a massive Richard Serra corten-steel sculpture.  This isn’t just a filler “scalie” artwork; Serra’s Sequence (2006) will be installed in the new space when the Snohetta expansion opens in 2016.  Sequence is part of the Fisher collection, the donors who generous donated many buckets of ducats for the expansion, and who are kinda-sorta donating their incomparable trove of contemporary art to the museum.

Sequence on Howard Street.

“Sequence” on Howard Street.

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Rashid Johnson: Message to Our Folks

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Museum of Contemporary Art, Chicago

Rashid Johnson, “Self Portrait in Homage to Barkley Hendricks,” 2005.

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.

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Winter BCAM Shows

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Los Angeles County Museum of Art

Let’s follow up a long discussion of three shows at LACMA with a very brief discussion of three shows at LACMA.  The three winter shows in BCAM are: Blinky Palermo: Retrospective 1964–1977, William Eggleston: Democratic Camera—Photographs and Video, 1961–2008, and Color and Form (an installation not exhibition). Let’s make this quick.

Not so much to talk about.

Blinky (yes I’m going to cal him by his first name) is organized by the Dia Art Foundation and the Center for Curatorial Studies at Bard.  The show’s first stop is LACMA, then it travels east to the Hirshhorn and then north to Dia Beacon.  Interestingly the show is presented by Christies (hmm) and the tour is made possible by Gucci (who knew the Italian fashion house was interested in contemporary art or that the Gucci marketing people are).  Above the entrance to the show is the only semblance of exhibition design, a stupid painted blue triangle.  The only interesting thing to note about this show was that the labels were meticulously hidden in the doorways between each room, limiting distraction.  I think LACMA knows how boring this show is and actually stooped this low in a sad effort to make it interesting.

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