Academy Museum shows whyĪn old department store building was thought to be unusable as a museum, but the film academy has proved different. “The Innocent Collection” feels thin, not adding much to the sources.Įntertainment & Arts Commentary: LACMA erred big-time in unloading the May Co. Occasionally the references overwhelm Rist’s work. Kazimir Malevich’s “ Suprematist Composition: White on White,” a spiritually radical abstract painting from the anything-is-possible aftermath of the 1917 Russian Revolution, mates with the found flotsam of British artist Tony Cragg’s 1980s wall sculptures made from plastic trash washed up on the beach. “The Innocent Collection,” a white wall covered in white plastic, paper and plastic foam objects - plates, packing material, coffee cups, toilet paper tubes, an apron, etc., all donated by MOCA employees - crosses two predecessors. The “Pixel Forest Transformer,” for one, recalls the boxed mirror environments of American artist Lucas Samaras and Japanese artist Yayoi Kusama. References to other art are common in Rist’s work, where art comes from other art. The layered globe nods in the direction of a famous Modernist object - Danish designer Poul Henningsen’s 1958 “artichoke” pendant lamp - then undercuts its dignified public aura with a laugh-out-loud funny dose of down-home intimacy. It’s like used unmentionables in the wash hung out to dry. A viewer is unobtrusively seduced into being what amounts to a Peeping Tom, peering into a stranger’s windows.Ībove the museum’s front desk, the nine tiers of a big chandelier in the form of a globe are lined with hanging underpants. In the first gallery, the vivid videos brightly playing in the windows of her house - so close up as to make them into blazingly colored abstractions - pull you over to see what’s happening. Rist also takes on the corporate dullness and bland commercial manipulation of most digital imagery, chiefly by putting privacy and intimacy on a public pedestal inside a museum. Familiar with sitting in a car as a passenger looking at the world out the window, experiencing life through a screen? Crash! Smash! In the context of the exhibition, though, what is emphasized is its upending of the one-step-removed quality of experiencing digital pictures, trapped behind glass. (Almost 20 years later, Beyoncé riffed on it in her 2016 music video for “Hold Up.”) Only in a choreographed work of art could such freewheeling destructive fun exist as a constructive anthem. Visitingįans of contemporary art shouldn't miss a visit to any of the branches of this incredible museum.The installation has long been admired for its jubilant, feminist-inflected defiance of institutionalized norms. MOCA's newest headquarters, located at the Pacific Design Center in West Hollywood, was inaugurated in 2000 to showcase the works of upcoming artists and offer ancillary programmes based on their permanent exhibitions. ![]() ![]() In 1996 the museum received a $5 million grant from the David Geffen Foundation and was renamed " The Geffen Contemporary".Īs the largest of the venues, it usually exhibits large sculptures and recent works by little-known artists that require large exhibition space. ![]() The laid-back feel to the museum has earned it great popularity, so although it opened its doors as a temporary headquarters, it now houses permanent exhibitions. Inaugurated in 1983 as a temporary exhibition space named " Temporary Contemporary" during the construction of the Grand Avenue headquarters, the building was originally built as a warehouse in the 1940s and subsequently renovated by Frank Gehry to maintain its appearance as much as possible. Located in the heart of Los Angeles, next to the Walt Disney Concert Hall and The Broad Museum, MOCA Grand was built in 1987 with a classic architectural style and currently constitutes the headquarters of MOCA, which displays pieces from the permanent collection, including works by European and North American artists from the 1940s to the present. The Los Angeles Museum of Contemporary Art has three locations in different areas of the city, four if we consider an area of Nevada desert known as " Double Negative" which became part of the museum's permanent collection in 1985. The Los Angeles Museum of Contemporary Art (MOCA) houses a collection of over 6,000 works of which more than 90% were donated by private collectors, and some of which were gifts from the artists themselves.
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