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Contemporary Art

November 19, 2013 | By Richard Fausset
MEXICO CITY - The Museo Jumex, the latest museum to go up in this deliriously art-rich city, is a stout limestone box of a building, with a signature roof made up of four right triangles lined up in a jagged row. They are, almost literally, new waves. Don't say you haven't been warned. The museum, fueled by the riches of Grupo Jumex, the massive Mexican fruit juice company, opens Tuesday in a bustling, ultramodern neighborhood of glass-and-steel high rises just north of the ritzy Polanco district.
October 16, 2013 | By Mike Boehm
Jeffrey Deitch says his next move in the art world following his premature exit as director of Los Angeles' Museum of Contemporary Art will happen in New York City: a bid to create a “hybrid” between a museum mounting exhibitions geared to a broad general audience, and a gallery that doesn't have to deal with the complex institutional issues that come with running a nonprofit museum. “I'm more interested in the exhibition project than the institution,” Deitch said Tuesday after engaging in a public conversation about creativity and entrepreneurship with fellow guest Michael Chow, known for making visual artists and their work part of the fabric of his Mr. Chow Chinese restaurants, and host Steven Lavine, president of California Institute of the Arts.
September 7, 2013 | By Christopher Knight, Los Angeles Times Art Critic
The $650-million plan to remake the jumbled campus of the Los Angeles County Museum of Art on Wilshire Boulevard is the fourth such effort in the last three decades. Challenging in concept and architecturally ambitious, the design by Swiss architect Peter Zumthor, 70, unveiled in a summer exhibition closing next Sunday, also can't help but make one wonder about the apparent difficulty in building good museum galleries. Is it really so hard? Here's a quick, relatively inexpensive and aesthetically surefire way to construct a first-rate museum building for art. It turns out to be as simple as one, two, three.
August 31, 2013 | By Scarlet Cheng
SANTA BARBARA - Speaking recently to a sold-out crowd at the Santa Barbara Museum of Art, noted British ceramic artist Grayson Perry held forth as his alter ego, Claire, in a pageboy blond bob and a satiny yellow frock dotted with cheerful coffee mugs. Asked if he had faced difficulties being accepted by the art world, he deadpanned, "The art world had more problems with my working in ceramics than being a transvestite. " Laughter erupted in the auditorium, acknowledging what many know: There's plenty of snobbery against those who work with their hands in the fields traditionally known as "crafts.
August 28, 2013 | By Kelly Scott
In an interesting twist for those watching the empty chair in the director's office at the Museum of Contemporary Art, Stedelijk Museum Amsterdam director Ann Goldstein has resigned from that position. Goldstein has been identified as a possible successor to departing MOCA director Jeffery Deitch. Goldstein, who was senior curator at MOCA before she left to direct the Stedelijk, will leave the Amsterdam museum's top job Dec. 1. She has been director since January 2010. Goldstein led the Stedelijk through the final years of a massive renovation -- altogether it had been closed for nine years.
August 23, 2013 | By Steve Chawkins
William Kieschnick, a chemical engineer who in the 1980s led the Atlantic Richfield oil company and used his executive skills to help stabilize the fledgling Museum of Contemporary Art in Los Angeles, has died. He was 90. Kieschnick had Parkinson's disease and recently suffered a stroke, family members said. He died Wednesday in Napa, his home since 1990. Soft-spoken and understated, Kieschnick guided Los Angeles-based Arco through a period of dramatic cutbacks. During his tenure as president and chief executive from 1981 to 1985, he laid off 13% of the workforce, reduced spending on exploration, closed 2,000 gas stations, borrowed billions to buy back outstanding shares and ward off corporate predators, and sold the metals and mining operations championed by his flamboyant predecessor, Robert O. Anderson.
August 7, 2013 | By Suzanne Muchnic
Japanese American artist Ruth Asawa was interned during World War II, first at the Santa Anita racetrack in Arcadia, where she lived in a horse stall that reeked of manure, and then at a relocation center in Arkansas, where 8,000 detainees were surrounded by barbed wire fences and watch towers. It was a defining experience, but not a devastating one. Decades later, when Asawa had achieved fame in the art world and admiration in San Francisco as an educator and arts advocate, she told an interviewer that she felt no hostility about the painful period in her youth and blamed no one for her hardship.
August 2, 2013 | By Deborah Vankin
Art rule No. 1: There are no rules. Or maybe there are -- tons of rules -- but they are just chaotic, freewheeling and ever-changing. The London-based Institute of Contemporary Arts will launch a Twitter-like social media platform on Aug. 21 dedicated entirely to art, the Guardian reported. The site, called Art Rules, aims to draw a younger, more digitally-focused audience and spark their interest in art. PHOTOS: Arts and culture by The Times It also hopes to start a global, online conversation about the nature of art -- from esoteric questions about what is and isn't art to more practical artist survival tips.
July 27, 2013 | By Steve Appleford
In a corner office at the Museum of Contemporary Art, a big white board is a tangle of names, dates and ideas scrawled in brightly colored markers. At the center is a chart for the video network MOCAtv, plotting new programs on the artist Urs Fischer and leading architects, on the raw symbolism of punk rock and on something called "CRIME: The Animated Series. " It represents an ambitious range of art-based programming, only some of it directly tied to a MOCA exhibition. "The contemporary art world has so many tangents that we are still reaching out to," says John Toba, MOCAtv's head of production, looking up at the board.
July 25, 2013 | By The Times editorial board
Jeffrey Deitch's embattled stewardship of the Museum of Contemporary Art has ended with his resignation as director three years into his five-year contract. That's probably a good thing for the museum, which was under serious financial strain for most of his tenure even as it engaged in a bitter battle over the artistic direction in which it was moving. Deitch was a risky hire from the start, an innovative but untested New York gallery owner tapped for a job that traditionally goes to someone with a scholarly, curatorial background and administrative experience.
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