July 24, 2013 |
Jeffrey Deitch has made it official: He'll be stepping down after a stormy three years as director of L.A.'s Museum of Contemporary Art. The MOCA board said it had launched a search for his successor. Deitch told the board of his decision to leave at its meeting Wednesday, according to a MOCA statement. "He will stay on to ensure a smooth transition and the successful completion" of a campaign begun in March to boost MOCA's endowment to $100 million, the statement said. The statement said the campaign is "expected to close this fall.
July 17, 2013 |
"Museum Hours," the latest feature by Jem Cohen, has already impressed critics on the film festival circuit and in New York, and is now set to come to Los Angeles. The ultra-indie movie about a friendship between a tourist and a guard at the Kunsthistorisches Museum in Vienna is scheduled open Aug. 16. The official website for "Museum Hours" says the movie will open at the Laemmle Royal, which is in West L.A., but the theater's site doesn't list the title. In the movie, a foreign visitor (Mary Margaret O'Hara)
July 11, 2013 |
Right now the Los Angeles County Museum of Art and the city's Museum of Contemporary Art are holding a pair of highly unusual solo exhibitions. At LACMA, a survey of sculptural environments made since the 1960s by James Turrell to explore human perception has resulted in a show that is on view for more than 10 months - two or three times longer than the typical museum retrospective. Meanwhile, a mid-career survey of sculpture by Urs Fischer occupies about half of MOCA's Grand Avenue exhibition space, plus most of the museum's Geffen warehouse in Little Tokyo - the first time both buildings have been turned over to a living artist since the museum opened a quarter-century ago. Though the duration and size of these two shows might be extremely unusual, another aspect of them is disappointingly routine: Both artists are men. LACMA and MOCA have recently been giving short shrift to solo exhibitions of art made by women.
June 29, 2013 |
The new architecture exhibition at the Museum of Contemporary Art - and we'll get to its ever-changing title in a moment - is the product of a museum in significant disarray. That much has been clear for several weeks, as MOCA director Jeffrey Deitch nearly canceled the show, pushed out its curator and rushed to raise some 11th-hour funds to get the whole thing ready by June 16, two months later than originally planned. FOR THE RECORD: "A New Sculpturalism": A review in the June 30 Arts & Books section of the exhibition "A New Sculpturalism" at the Museum of Contemporary Art's Geffen Contemporary space said several architects have a bigger presence in the final version of the show than they did in a version planned earlier.
June 6, 2013 |
“Mishima in Mexico” (2012), the standout in the debut L.A. solo exhibition of recent work by Wu Tsang, is a cross-cultural, cross-dressing, operatic telenovela imbued with the stylized elegance of Kabuki theater. The video, which was included in the Museum of Contemporary Art's fall exhibition “Blues for Smoke,” is a 14-minute effort to create art and identity within today's swirling sociocultural hall of mirrors. It succeeds by understanding and conveying two things. First, art and identity are both questions, not answers.
May 28, 2013 |
The art market experienced a noteworthy correction in Hong Kong last week. On Friday, a formal debate was held at the newest spinoff of the Art Basel franchise of international art fairs to consider the motion: "The Market Is the Best Judge of Art's Quality. " According to a report in the business section of the South China Morning Post, the motion went down to resounding defeat. Balloting saw 25% voting in favor and 73% against. CHEAT SHEET: Spring Arts Preview Even more damning: Prior to the debate, 20% were in favor and 60% against, with 20% undecided.
May 16, 2013 |
On May 24 at China's Hong Kong Convention Center an outfit called Intelligence Squared will host a formal debate during the debut of the newest spinoff of the Art Basel franchise of international art fairs. The motion under consideration will be: "The Market Is the Best Judge of Art's Quality. " Honest. That's the topic for debate. I figure the program harbors two, maybe three minutes of chat -- tops. The panel is a retread of a 2011 program held at London's Saatchi Gallery.
May 16, 2013 |
After more than a year-long search, the Hammer Museum has hired Connie Butler, currently the chief curator of drawings at the Museum of Modern Art in New York, as its chief curator. She is leaving that position by July 1 in order to assume her L.A. post mid-month. Around the same time, Aram Moshayedi , 31, known for his work with the alternative art spaces REDCAT and LAX Art, will join the museum as a curator in a newly created position. PHOTOS: Arts and culture in pictures by The Times Butler, 50, is a well-known and well-liked figure in the art world, admired for championing artists who are not art-market darlings - and sometimes unfamiliar even to avid museum-goers.
May 3, 2013 |
Frank Gehry has pulled out of a major architecture exhibition set to open June 2 at the Museum of Contemporary Art, a move that could force the show to find a new venue or face the prospect of being canceled altogether. The exhibition, "A New Sculpturalism: Contemporary Architecture From Southern California," is an exploration of the last 25 years of Los Angeles architecture, with work by Gehry, Thom Mayne, Michael Maltzan, Barbara Bestor, Lorcan O'Herlihy and many younger architects.
April 25, 2013 |
Urs Fischer is an artist of the big gesture. It's a mixed blessing. Emblematic is a monumental outdoor sculpture in his newly opened, 16-year survey exhibition, which is divided between the Museum of Contemporary Art 's two downtown L.A. buildings. The monolith of cast aluminum, one of a series made over the last seven years, rises 45 feet above a parking lot. Its shape is chunky and abstract, the color a light-absorbent gray against a bright blue sky. TIMELINE: MOCA in flux Move in for a closer look, and soon it's apparent that the form has been blown up from a small lump of casually manipulated clay.