January 9, 2014 |
With the new year comes the blast of new art that hits every January. What could be called an “Artapalooza” starts Thursday night with the monthly Downtown L.A. Art Walk. Saturday brings a high concentration of citywide gallery openings. And the annual Los Angeles Art Show opens at the convention center downtown on Wednesday. “Photo L.A.” opens at the L.A. Mart downtown on Jan. 16. And a new downtown art exhibition space, the Mistake Room, which will feature contemporary artists from around the globe, opens Jan. 18 Culture Monster will be posting dispatches from next week's L.A. Art Show starting at Wednesday's artist and celeb-heavy patron party, hosted by Tim Robbins.
February 26, 2006 |
WITH CHIEF executive Barry Munitz gone, the state attorney general investigating its dealings and a foundation watchdog having put it on probation, the J. Paul Getty Trust is considering reforms. In weighing what to do, the trustees must acknowledge that although the Getty Trust is a multiheaded beast -- museum, grant-making foundation, research institute and conservation institute -- art is what holds its programs together.
December 15, 2008 |
The first few times I took my kids to the Museum of Contemporary Art, the visits weren't completely successful. Both children loved the Grand Avenue building, with its pyramid top and the exciting descent down the stairs into the museum. But looking at the art was another matter. My daughter was an adolescent and had learned her museum manners. Her younger brother had not.
October 2, 2001 |
Ayear ago, the Museum of Contemporary Art, San Diego, launched a nationally touring exhibition titled "Ultrabaroque: Aspects of Post-Latin American Art." (Currently it's on view at the San Francisco Museum of Modern Art.) The thesis of this savvy and absorbing show is that established multicultural ideas about Latin American identity as represented in art no longer hold.
January 28, 1992 |
Aggressively titled, "Helter Skelter: L.A. Art in the '90s" exploits a proven method for getting attention. At the Museum of Contemporary Art's warehouse facility in Little Tokyo, the newly opened exhibition reaches for the spotlight simply by playing against type.
August 25, 1991 |
A status conference will be held Wednesday in the continuing litigation surrounding the Boyle Heights mural, "Ancient Energies," which was painted in 1980 by three members of the East Los Streetscapers muralist group. The 1,200-square-foot work, commissioned by Shell Oil for a gas station at the corner of Soto and 4th Street, was bulldozed by Shell in 1988 to make way for a parking lot.
May 15, 1990 |
Suppose you decided to visit a remote outpost in a country whose language was utterly foreign to you. If you hired a guide, you'd surely want this person to be able to communicate with you, even if only in rudimentary sign language. For most viewers, conceptual art is about as "foreign" as art gets. It's one thing for a commercial gallery exhibit to murmur inscrutably to a coterie of knowledgeable followers.
August 30, 1987 |
Dana Friis-Hansen's biggest challenge came concealed in "three huge boxes." The Massachusetts curator recently accepted an invitation to put together this year's "Annuale" exhibit for Los Angeles Contemporary Exhibitions (LACE). His initial charge was to select 25 Los Angeles County artists from among 300 who sent LACE documentation of their work.
June 20, 2010 |
When John Baldessari's retrospective "Pure Beauty" opens at the L.A. County Museum of Art on June 27, expect to see several generations of artists on hand for the opening-week events. For as long as he has been making art in Los Angeles, Baldessari has also been, in a less tangible way, making artists: offering suggestions, encouragement and above all conversation to twenty-something students eager to follow in his footsteps by living a life of art. Follow they did, with their own gallery shows, museum shows, teaching gigs, and some commercial successes that have at times even surpassed their teacher's.
March 22, 2006 |
These days the Whitney Museum of American Art is lodged firmly between a rock and a hard place. The rock is the Whitney Biennial, the periodic survey of recent art that was launched during the depths of the Great Depression, in 1932, and grew into the museum's most prominent exhibition. The hard place is the sheer irrelevance of the show today, a fact again on painful display in the museum's Madison Avenue galleries. The need for a national art survey disappeared long ago.