tag:blogger.com,1999:blog-37386007868864318072024-02-08T02:41:36.800-08:0020 Minutes into the FutureThe blog title "20 Minutes into the Future (TMITF)” is derived from the 1985 British mini-movie "Max Headroom: 20 Minutes into the Future." This cult classic starred the fictional cyber-celebrity Max Headroom, a sophisticated, surreal and witty critic of contemporary culture of that time. TMITF is intended to continue in the pioneering online spirit of Max Headroom, while at the same time acting as an online hub for the furthering of critical discourse in the arts – whatever that means?!?!Unknownnoreply@blogger.comBlogger34125tag:blogger.com,1999:blog-3738600786886431807.post-40598372716297226662009-09-12T13:34:00.000-07:002010-01-16T13:54:57.750-08:00Taking A Much Needed Break.<span style="font-size:85%;">Dear Readers:</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Thank you so much for your support and interest in my blog. Running a site like this is more work than it would seem on a prima facie level. Hours of research and writing, not to mention plenty of one-on-one time with the art and artists, makes TMITF the success that it is. What started out as an [therapeutic] experiment of sorts has evolved into something truly magical and life altering for me. THANK YOU!!!</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">As many of you may know, I have recently been accepted into the M.A. program at the <a href="http://calarts.edu/">California Institute of the Arts (CalArts)</a> and will be working toward a degree in <a href="http://calarts.edu/criticalstudies/programs/maaestheticsandpolitics">Aesthetics and Politics</a>. This degree will allow me to better synthesize and hone my critical and theoretical outlook on art, culture and the various egos that navigate its stormy seas. Due to the level of rigor and time that needs to be invested in a program like this, I will not be able to contribute as frequently as I would like. However, please keep your e-mails and suggestions coming, as I still plan on contributing stories as time permits. </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Yours,</span><br /><span style="font-size:85%;">Taras</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-66488887305907242922009-08-09T12:45:00.000-07:002009-08-10T03:11:50.497-07:00Guess Who's in the September Issue of AD???<span style="font-size:85%;"><span style="color:#3333ff;"></span></span><br /><span style="font-size:85%;"><span style="color:#3333ff;">Me!!!</span><br /><br />Q: Why should you pick up the September 2009 issue of </span><a href="http://www.architecturaldigest.com/"><em><span style="font-size:85%;">Architectural Digest</span></em></a><span style="font-size:85%;">? </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">A: Because I made it into the "AD Letters" section (page 28)! </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">I authored a letter to the editor regarding an AD article on Brazilian architect Marcos Bertoldi from July 2009. You can read the original article <a href="http://www.architecturaldigest.com/homes/homes/2009/07/bertoldi_article">here</a>, but my claim to fame is in the print version only.</span><br /><span style="font-size:85%;"></span><br /><a href="http://1.bp.blogspot.com/_7CAWFaAK6s4/Sn_vwb3K3sI/AAAAAAAAALs/U4aqFLWcfAw/s1600-h/Marcos_Bertoldi.jpg"><img id="BLOGGER_PHOTO_ID_5368272896240836290" style="WIDTH: 400px; CURSOR: hand; HEIGHT: 331px" alt="" src="http://1.bp.blogspot.com/_7CAWFaAK6s4/Sn_vwb3K3sI/AAAAAAAAALs/U4aqFLWcfAw/s400/Marcos_Bertoldi.jpg" border="0" /></a><br /><span style="font-size:78%;">Osmar and Maria Cristina Casagrande Bertoldiand residence</span><br /><span style="font-size:78%;">Curitiba, Brazil</span><br /><span style="font-size:78%;">Architect: Marcos Bertoldi </span><br /><br /><span style="font-size:85%;"></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-12026061093171126822009-07-23T20:32:00.000-07:002009-08-10T03:12:16.980-07:00TMITF on break until August...<span style="font-size:85%;"></span><br /><span style="font-size:85%;">Dear Readers:<br /><br />I'm taking a mini-vacation from blogging for a bit. I have a lot of stuff going on right now and need time to regroup. I will be back soon, so no need to fret!!! In the meantime, please drop me a line at </span><a href="mailto:tmitf.info@gmail.com"><span style="font-size:85%;">tmitf.info@gmail.com</span></a><span style="font-size:85%;"> if you have any comments or need to get a hold of me.<br /><br />See you in August!<br />TMITF</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-30661023688951820372009-07-20T22:51:00.000-07:002009-08-10T02:31:49.460-07:00Julius Shulman Dies at 98.<span style="font-size:85%;color:#3333ff;"></span><br /><span style="font-size:85%;color:#3333ff;">Farewell "Uncle Julius"</span><br /><br /><span style="font-size:85%;">While in New York this past weekend, I was deeply saddened to hear the news of <a href="http://www.latimes.com/news/obituaries/la-me-julius-shulman17-2009jul17,3,4614136.story">Julius Shulman</a>'s passing. Known to many in his field as "Uncle Julius," Shulman had a long and prestigious career -- which spanned more than eight decades -- as a photographer of some of the world's greatest architectural gems, many of which were located right here in L.A.</span><br /><span style="font-size:85%;"></span><span style="font-size:85%;"><br /></span><span style="font-size:85%;"><br /><a href="http://3.bp.blogspot.com/_7CAWFaAK6s4/Sn_n99wWGGI/AAAAAAAAALk/fdqfC2D9zD4/s1600-h/LA_DWP+Building.jpg"><img id="BLOGGER_PHOTO_ID_5368264332584294498" style="WIDTH: 300px; CURSOR: hand; HEIGHT: 292px" alt="" src="http://3.bp.blogspot.com/_7CAWFaAK6s4/Sn_n99wWGGI/AAAAAAAAALk/fdqfC2D9zD4/s400/LA_DWP+Building.jpg" border="0" /></a><br /><span style="font-size:78%;">Los Angeles Department of Water and Power, 1965</span><br /><span style="font-size:78%;">A.C. Martin Partners</span><br /><span style="font-size:78%;">Photography: Julius Shulman</span><br /><br />Commonly referred to by many as an <em>architectural photographer</em>, Julius Shulman never seemed content with carrying such a moniker. "I'm not an architectural photographer. I hate it when people call me that," Shulman told me back in 2007 when he invited me over for a snort of scotch at his Rafael Soriano-designed home and studio. "I don't just shoot photos of buildings. I shoot photos of buildings interacting within their respective surroundings. I'm an <em>environmental photographer.</em>"<br /><br />When I returned this afternoon to L.A. I was anxious to re-read Julius' contribution to Barbara Isenberg's book <a href="http://www.amazon.com/gp/product/1566636310/ref=pd_lpo_k2_dp_sr_1?pf_rd_p=304485901&pf_rd_s=lpo-top-stripe-1&pf_rd_t=201&pf_rd_i=0307268004&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=1KE4JWF4J735ESM5H9YS">State of the Arts</a> (if you don't have this book, you <em>must</em> get it!) After re-reading it three times, this excerpt felt like a great way to end this post. It clearly illustrated one of Julius' many admirable traits -- confidence.<br /><br /><em>"Every photograph I ever took came out. I never had any second or third exposure or revisits to a site. In sixty-four years of photography, I've never had a remake. I never was told by an architect to go back to and do it over again. Never. As a matter of fact, people began to call me "One-Shot Shulman," because I took one negative of each picture and that was enough. I knew it would come out."</em><br /><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-37417368590991819112009-05-07T19:26:00.000-07:002009-05-11T18:13:46.166-07:00Happy Birthday to ME!<span style="font-size:85%;"></span><span style="font-size:85%;color:#3366ff;"></span><br /><span style="font-size:85%;color:#3366ff;">Piece of cake, anyone???</span><br /><span style="font-size:85%;color:#3366ff;"></span><br /><a href="http://1.bp.blogspot.com/_7CAWFaAK6s4/SgjDrW5ZsII/AAAAAAAAAKc/qX1tz0BE3So/s1600-h/thiebaud_around.jpg"><span style="font-size:85%;"><img id="BLOGGER_PHOTO_ID_5334728908268482690" style="WIDTH: 400px; CURSOR: hand; HEIGHT: 308px" alt="" src="http://1.bp.blogspot.com/_7CAWFaAK6s4/SgjDrW5ZsII/AAAAAAAAAKc/qX1tz0BE3So/s400/thiebaud_around.jpg" border="0" /></span></a><span style="font-size:78%;"></span><br /><span style="font-size:78%;">Wayne Thiebaud</span><br /><span style="font-size:78%;"><em>Around the Cake,</em> 1962</span><br /><span style="font-size:78%;">Oil on canvas</span><br /><span style="font-size:78%;">Spencer Museum of Art, Lawrence, Kansas</span><br /><span style="font-size:85%;"><span style="font-size:78%;">Gift of Ralph T. Coe in memory of Helen F. Spencer</span></span><br /><span style="font-size:78%;"></span><br /><span style="font-size:85%;">Tomorrow is my birthday and I will be out of town celebrating. However, I will be back early next week to review the Judith Bernstein exhibition at <a href="http://www.theboxla.com/exhibitions/index.html">The Box</a> in Chinatown (VERY exciting!!!) If you happen to have a copy of <em>Art in America </em>from June/July 2008, there was a fantastic writeup about her work.</span><br /><br /><span style="font-size:85%;">In the meantime I hope you enjoy the Theibaud painting (above) in honor of <em>moi</em>.</span><br /><span style="font-size:85%;"></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-16133958672387429142009-04-29T08:00:00.000-07:002009-05-01T11:48:06.569-07:00INCOGNITO @ SMMoA this Saturday<span style="font-size:85%;color:#3366ff;">Things Aren't Always As They Seem</span><br /><span style="font-size:85%;color:#3366ff;"></span><br /><a href="http://2.bp.blogspot.com/_7CAWFaAK6s4/SfjA2pnh3FI/AAAAAAAAAKM/IMtN50y67Uo/s1600-h/Baldessari_incognito.jpg"><img id="BLOGGER_PHOTO_ID_5330222204110101586" style="WIDTH: 400px; CURSOR: hand; HEIGHT: 185px" alt="" src="http://2.bp.blogspot.com/_7CAWFaAK6s4/SfjA2pnh3FI/AAAAAAAAAKM/IMtN50y67Uo/s400/Baldessari_incognito.jpg" border="0" /></a><span style="font-size:85%;"></span><br /><span style="font-size:78%;">SMMoA's <em>INCOGNITO </em>logo designed by John Baldessari.</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Just when you thought you were too old to play hide-and-go-seek -- peek-a-boo, there's SMMoA! The Santa Monica Museum of Art will present their 5th annual <a href="http://www.smmoa.org/index.php/exhibitions/details/224">INCOGNITO</a> exhibition and benefit sale this Saturday, May 2nd, beginning at 7 p.m. sharp (get there early if you want to grab a good spot in line).</span><br /><br /><span style="font-size:85%;">For those who have never attended before, you're in for quite an experience. The mood is very much like Black Friday (the Friday after Thanksgiving), only this time artists, dealers and collectors are the ones who are elbowing each other for all the bargains. The show is comprised of more than 650, 8 x 10 in. works which were generously donated by numerous artists working in a wide array of styles. There are no museum labels indicating which artist created which piece, so buyer beware! For only $300 per work (plus tax), you could end up with a killer work by notables </span><span style="font-size:85%;">John Baldessari, Mark Bradford, Kristin Calabrese, Exene Cervenka (BTW, I LOVE the band "X"!), Alexandra Grant, Leonard Nimoy, Ed Ruscha or Jennifer Steinkamp, among others. Are you enough of a connoisseur to recognize who's who? Come down this Saturday night and find out! Admission to the event is $100 per person($135 at the door). But, please, remember that all sales are final! If you'r still on the fence, check out the video from last year's event <a href="http://www.smmoa.org/index.php/multimedia/year">here</a>. </span><br /><br /><span style="font-size:85%;"><em>INCOGNITO will take place at the </em><em><a href="http://www.smmoa.org/index.php/home/display">Santa Monica Museum of Art</a></em><em> on May 2nd, 2009; 2525 Michigan Avenue, Santa Monica; Begins at 7 p.m., but line up may start earlier; Admission tickets are $100 per person ($135 at the door); Works of art are $300 each (plus tax).</em></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-27897273012951750542009-04-23T07:11:00.000-07:002009-04-27T14:07:25.751-07:00The People vs. Louis Vuitton and MoCA<span style="font-size:85%;color:#3366ff;">Honest Oversight or Intentional Scam?</span><br /><span style="font-size:85%;color:#3366ff;"></span><br /><a href="http://2.bp.blogspot.com/_7CAWFaAK6s4/SfAHm0M0ToI/AAAAAAAAAKE/twnORX-p1Eg/s1600-h/Murakami_Prints_MOCA.jpg"><span style="font-size:85%;"><img id="BLOGGER_PHOTO_ID_5327766722608123522" style="WIDTH: 400px; CURSOR: hand; HEIGHT: 248px" alt="" src="http://2.bp.blogspot.com/_7CAWFaAK6s4/SfAHm0M0ToI/AAAAAAAAAKE/twnORX-p1Eg/s400/Murakami_Prints_MOCA.jpg" border="0" /></span></a><br /><span style="font-size:78%;">Takashi Murakami's "limited edition" prints, similar to the works above, sold at MoCA for $6,000 a pop.</span><br /><span style="font-size:85%;"><br /></span><span style="font-size:85%;">LATer Mike Boehm </span><a href="http://www.latimes.com/entertainment/news/arts/la-et-vuitton23-2009apr23,0,6238759.story"><span style="font-size:85%;">reported</span></a><span style="font-size:85%;"> today on the ongoing dispute between luxury goods retailer Louis Vuitton, the beleaguered Museum of Contemporary Art (MoCA) and would-be entrepreneurial print collector Clint Arthur. Mr. Arthur alleges that Louis Vuitton and MoCA failed to adhere to the <a href="http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1740-1741">Fine Print Act</a> which, among other things, legally defines what constitutes a fine [art] print and how it should be sold to consumers. According to the act, the State of California defines it as follows:</span><br /><br /><em><span style="font-size:85%;">"Fine print" or "print" means a multiple produced by, but not limited to, engraving, etching, woodcutting, lithography, and serigraphy, and means multiples produced or developed from photographic negatives, or any combination thereof.</span></em><br /><span style="font-size:85%;"><br /></span><span style="font-size:85%;">That seems pretty legit and straight forward to me. So far, so good. The legal jargon continues with defining limited edition:</span><br /><span style="font-size:85%;"></span><br /><em><span style="font-size:85%;">"Limited edition" means fine art multiples produced from a master, all of which are the same image and bear numbers or other markings to denote the limited production thereof to a stated maximum number of multiples, or are otherwise held out as limited to a maximum number of multiples.</span></em><br /><em><span style="font-size:85%;"></span></em><br /><span style="font-size:85%;">Uh-oh, I think we have finally run into a problem here. Since the works in question were admittedly created from scraps of left over material from the Murakami-designed Louis Vuitton handbags, I think that this evidence alone proves that Louis Vuitton incorrectly marketed the prints a limited edition.</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Usually, limited edition prints of this ilk are printed according to specific guidelines and standards set forth by the artist and a master printer. In consultation with the artist, the master printer will go through several print proof runs in order to achieve the correct color(s) and registration (a fancy print term which means precise color or image alignment) needed to print the edition. Once the desired look is achieved, the master printer will designate that specific print as the <em>bon à tirer</em>, or "good print" in French. The bon à tirer serves as the printer's template (master print) for the rest of the edition. If there is no bon à tirer, then the print is most likely not a true limited edition -- case closed! I'm eager to see how the judge will rule on this, but I guess we'll have to wait until this summer to find out.</span><br /><br /><span style="font-size:85%;"></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-16437166601141020762009-04-08T07:12:00.000-07:002009-04-13T11:59:57.506-07:00Art of Two Germanys/Cold War Cultures<span style="font-size:85%;color:#000000;">DISCLAIMER: This article references my employer, the Los Angeles County Museum of Art (LACMA). The views expressed on this blog are solely my own and do not necessarily reflect the views of LACMA, LACMA's leadership, LACMA's Board, or LACMA's staff. Furthermore, the views posted on this blog have not been influenced in any way by the aforementioned parties.</span><br /><br /><span style="font-size:85%;color:#3366ff;">"Mmm, <em>Chocolate Lion Tower</em>...aaaaahhhh" (In my best Homer Simpson voice)</span><br /><span style="font-size:85%;color:#3366ff;"></span><br /><span style="font-size:85%;"></span><a href="http://2.bp.blogspot.com/_7CAWFaAK6s4/Sd6dRlRT_XI/AAAAAAAAAJ8/LmDJ3j-_4y8/s1600-h/Dieter_Roth_ChocolateLionTower.jpg"><img id="BLOGGER_PHOTO_ID_5322864734986567026" style="WIDTH: 400px; CURSOR: hand; HEIGHT: 267px" alt="" src="http://2.bp.blogspot.com/_7CAWFaAK6s4/Sd6dRlRT_XI/AAAAAAAAAJ8/LmDJ3j-_4y8/s400/Dieter_Roth_ChocolateLionTower.jpg" border="0" /></a><br /><span style="font-size:78%;"><em>Art of Two Germanys/Cold War Cultures</em> installation view at LACMA. </span><span style="font-size:78%;">Dieter Roth's <em>Chocolate Lion Tower</em> is to the left. </span><br /><span style="font-size:78%;"></span><br /><span style="font-size:85%;">The </span><a href="http://www.lacma.org/art/ExhibColdWar.aspx"><span style="font-size:85%;">Art of Two Germanys/Cold War Cultures</span></a><span style="font-size:85%;"> closes at LACMA on April 19th, so make sure to check it out ASAP! The show is intellectually stimulating (and dense), both in subject matter and artistic tradition. It will definitely leave you with a greater appreciation for and understanding of late mid-century German avante-garde artists working in front of and behind the iron curtain.</span> <span style="font-size:85%;">Selections include works by Joseph Beuys, Hans Haake, Raffael Rheinsberg, Gerhard Richter, Dieter Roth, Sigmar Polke and others. All were scions of twentieth century image making in Germany, and successful at taking visual polemics to an whole new level. </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">My favorite work from the exhibition was <a href="http://www.dieter-roth-foundation.com/en">Dieter Roth</a>'s <em>Chocolate Lion Tower, </em>1968-69. I think that this work conclusively proves that it's okay to play with your food so long as it's in the name of art. Known for incorporating food stuffs into his compositions, Roth's art is <em>tasteful</em>, both, literally and figuratively! T</span><span style="font-size:85%;">he work itself is a recreation of the original from the late sixties. Made entirely of chocolate, the cast sculpture of pint-sized lions stacked on top of one another is meant to slowly decay as the show travels from venue to venue. Roth's medium selection seems to view art through the lens of a perishable object rather than a cherished keepsake. Notions of value and materiality are simultaneously exalted and excoriated. </span><span style="font-size:85%;">In a recent exhibition-related lecture at LACMA, this piece was specifically sited by contemporary artist Paul McCarthy as a direct influence on his 2007 <a href="http://www.peterpaulchocolates.com/corporate.html"><em>Chocolate Factory</em></a> installation in New York City, where he tuned a gallery space into a fully functioning confectionery. </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">This show might be of great interest to people who were far too young to understand the politics of the Cold War, as well as practicing artists with an affinity for conceptual art. This is one history lesson that should not be missed.</span><br /><br /><span style="font-size:85%;"><em>Art of Two Germanys/Cold War Cultures</em> through April 19, 2009 at the </span><a href="http://www.lacma.org/info/HoursDirections.aspx"><span style="font-size:85%;">Los Angeles County Museum of Art (LACMA)</span></a><span style="font-size:85%;">, 5905 Wilshire Blvd., Los Angeles; Phone: (323) 857-6000; LACMA closed on Wednesdays, open Fridays 12:00-9:00 p.m., all other days 12:00-8:00 p.m.; Admission $12.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-60827548784982231322009-04-02T07:55:00.000-07:002009-04-02T16:08:40.972-07:00UPDATE: Tonight's Kehinde Wiley Talk SOLD OUT!<span style="font-size:85%;color:#3366ff;">High Art, High Demand.</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">I noticed that tonight's 7:00 p.m Kenide Wiley lecture at the Getty Center is SOLD OUT. Apparently, there will be a standby line so you may just be in luck...but get there early!!! Otherwise, go to the opening reception at Roberts & Tilton on Saturday, April 4th from 6-8:00 p.m.</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;"></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-74132011424915992642009-03-24T18:58:00.000-07:002009-04-03T10:02:57.284-07:00Keepin' It Real With Kehinde<span style="font-size:85%;color:#3366ff;">He Can Paint and Make a Statement</span><br /><br /><a href="http://2.bp.blogspot.com/_7CAWFaAK6s4/SdUmeuV4AaI/AAAAAAAAAJ0/vwZEzxwMirY/s1600-h/Wiley_Roberts+and+Tilton.jpg"><img id="BLOGGER_PHOTO_ID_5320200844085821858" style="WIDTH: 272px; CURSOR: hand; HEIGHT: 360px" alt="" src="http://2.bp.blogspot.com/_7CAWFaAK6s4/SdUmeuV4AaI/AAAAAAAAAJ0/vwZEzxwMirY/s400/Wiley_Roberts+and+Tilton.jpg" border="0" /></a><span style="font-size:78%;"></span><br /><span style="font-size:78%;">Kehinde Wiley</span><br /><span style="font-size:78%;"><em>Randerson Romualdo Cordeiro</em>, 2008 (from The World Stage: Brazil)</span><br /><span style="font-size:78%;">Oil on canvas, 48 x 36 in.</span><br /><span style="font-size:78%;">Courtesy of Roberts & Tilton, Culver City, CA</span><br /><br /><span style="font-size:85%;">If you have plans next Thursday, April 2nd, say 7 p.m.-ish, break them! Artist Kehinde Wiley will <a href="http://www.getty.edu/visit/events/kehinde_wiley.html">speak</a> at the Getty Center about his work and his upcoming exhibition, <em><a href="http://www.robertsandtilton.com/exhibitions.html">The World Stage: Brazil</a></em>, at Roberts & Tilton in Culver City. Wiley has been one of those artists that I have admired for several years now. His fresh approach to painting and dynamic use of historical references makes him one of the brightest and most innovative artists out there.</span><br /><span style="font-size:85%;"></span><span style="font-size:85%;"><br /></span><span style="font-size:85%;"></span><a href="http://3.bp.blogspot.com/_7CAWFaAK6s4/SdUmNtUlSAI/AAAAAAAAAJs/hOSrCT9gsrE/s1600-h/David+-+Napoleon....jpg"><img id="BLOGGER_PHOTO_ID_5320200551754188802" style="WIDTH: 341px; CURSOR: hand; HEIGHT: 400px" alt="" src="http://3.bp.blogspot.com/_7CAWFaAK6s4/SdUmNtUlSAI/AAAAAAAAAJs/hOSrCT9gsrE/s400/David+-+Napoleon....jpg" border="0" /></a><span style="font-size:78%;"></span><br /></span><span style="font-size:78%;">(Above) Jacques Louis-David's <em>Bonaparte Crossing the Alps at Grand-Saint-Bernar</em>, 1801</span><br /><br /><span style="font-size:85%;">After receiving his M.F.A. from Yale in 2001, Wiley made a name for himself by painting large-scale canvases of young African-American males reenacting religious and classical portrait poses of centuries past (you know, the ones that were only reserved for the rich, powerful and obnoxiously white.) His artistic repertoire also includes some notable Hip Hop sitters, including Ice T, LL Cool J and Grandmaster Flash. Empowered by the medium of the masters along with a skilled hand, Wiley invites the models to come by his studio and flip through various art history books that he has collected through the years. The models are then instructed to pick their favorite paintings and poses, thereby allowing them to envision themselves in a specific scenario or environment that they feel coincides with their individual personalities. And then Wiley takes care of the rest. He sets up a mesmerizing dialogue between himself, the [historical] artist, as well as the sitter. The end result is portraiture with vivid personality, buttressed with contemporary elegance and class that is befitting of Hip Hop royalty. Even if the subject matter does not strike you, the self-evident triumph of technique will. Trust me, these works <em>will</em> blow your mind! </span><br /><span style="font-size:85%;"><br /></span><a href="http://1.bp.blogspot.com/_7CAWFaAK6s4/SdUl9Tko0gI/AAAAAAAAAJk/-c6yidQ4Gxc/s1600-h/Wiley+-+Napolen...2005.jpg"><img id="BLOGGER_PHOTO_ID_5320200269964300802" style="WIDTH: 386px; CURSOR: hand; HEIGHT: 400px" alt="" src="http://1.bp.blogspot.com/_7CAWFaAK6s4/SdUl9Tko0gI/AAAAAAAAAJk/-c6yidQ4Gxc/s400/Wiley+-+Napolen...2005.jpg" border="0" /></a><span style="font-size:78%;"></span><br /><span style="font-size:78%;">(Above) Kehinde Wiley's <em>Napoleon Leading the Army over the Alps</em>, 2005</span><br /><br /><span style="font-size:85%;">Kehinde Wiley, <em>The World Stage: Brazil, </em>April 4 – May 30, 2009 at <a href="http://www.robertsandtilton.com/">Roberts & Tilton</a>, 5801 Washington Blvd., Culver City; Phone: (323) 549-0223; Opening Reception Saturday, April 4th, 6 – 8p.m.</span><br /><br /><span style="font-size:85%;"><em>Kehinde Wiley on His Art and Its Influences</em> lecture Thursday, April 2, 2009, at the Getty Center, Harold M. Williams Auditorium, 1200 <a href="http://www.getty.edu/">Getty Center</a> Dr. Los Angeles, CA; Phone: (310) 440-7300; Admission: Free; reservations required.</span><br /><span style="font-size:85%;"></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-74442123846575129632009-03-15T21:31:00.000-07:002009-03-18T15:00:22.878-07:00View Not So Clear From the Top Of The Hill<span style="font-size:85%;color:#3366ff;">Critical <strike>Seeing</strike>...</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Mike Boehm's <a href="http://www.latimes.com/news/la-et-getty16-2009mar16,0,2054394.story">article</a> in today's L.A. Times seemed to be a fair piece of reporting that clearly outlined the complexities of the Getty as an organization, not to mention the low morale and lack of support the staff has for Jim Wood. On a somewhat disturbing note, I found some of Mr. Wood's comments quite outrageous. Specifically, the one alluding to calls for a reduction in his compensation. According to The Times, Mr Wood implied that the Getty's problems were "too big to be solved by such 'piecemeal' measures." Say, what?!?! Is it just me, or has he [and Trust leadership] clearly not been paying attention? To my recollection, the comments on the <em><a href="http://silencedogetty.blogspot.com/">Silence Dogetty</a></em> blog have never alluded to the fact that a reduction in Mr. Wood's compensation would alleviate all of the Getty's financial woes. What it <em>has</em> alluded to is the fact that there are no <em>easy</em> answers to this complex financial dilemma. It also mentioned that Mr. Wood could do wonders for staff morale by just cutting his own salary -- he doesn't have to wait to hear from the Board, in May, on that one. Furthermore, doing so would not mean that he was somehow caving into the petty demands of the majority of the staff, but rather recognizing that these changes are <u>real</u> and should affect <u>everyone</u>, including senior leadership -- again, just re-stating the obvious.</span><br /><br /><a href="http://4.bp.blogspot.com/_7CAWFaAK6s4/Sb4L0PivOcI/AAAAAAAAAIM/YQW6Vu5RPjY/s1600-h/Getty+Center.jpg"><img id="BLOGGER_PHOTO_ID_5313697602497100226" style="WIDTH: 400px; CURSOR: hand; HEIGHT: 301px" alt="" src="http://4.bp.blogspot.com/_7CAWFaAK6s4/Sb4L0PivOcI/AAAAAAAAAIM/YQW6Vu5RPjY/s400/Getty+Center.jpg" border="0" /></a><br /><span style="font-size:78%;">View of the West Pavilion at the Getty Center.<br /></span><span style="font-size:85%;"></span><span style="font-size:85%;"></span><br /><span style="font-size:85%;">So what's next for the Getty? Well, it appears that the Getty Trust will continue their silent routine at least until the end of May, when the Board makes a final determination on the budget. In the meantime, the dismayed staff will most likely keep the pressure on The Trust via the <em>Silence Dogetty</em> blog. From a purely observational standpoint it would seem that in recent months online activity of this ilk, coupled with internal pressures, has led to the premature departure of some prominent arts leaders in L.A. Namely, <a href="http://articles.latimes.com/2008/dec/23/entertainment/et-moca23">Jeremy Strick</a> (MoCA -- </span><a href="http://www.mocamobilization.org/"><span style="font-size:85%;">http://www.mocamobilization.org/</span></a><span style="font-size:85%;">) and <a href="http://www.latimes.com/news/education/la-et-artcenter11-2008jun11,0,4593423.story">Richard Koshalek</a> (Art Center College of Design -- </span><a href="http://futureofartcenter.blogspot.com/"><span style="font-size:85%;">http://futureofartcenter.blogspot.com/</span></a><span style="font-size:85%;">). At this pivotal juncture, all eyes are on Mr. Wood and how he will play this one out.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-65988638808977594952009-03-13T07:58:00.000-07:002009-03-15T23:09:35.976-07:00Art Reviews Coming to a Blog Near You...<span style="font-size:85%;color:#3366ff;">Question: When Is TMITF Going to Review Gallery Shows Again?</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Answer: <strong>SOON!</strong></span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">It's tough working a 9-5 job and still have enough energy to go out and review a show on the weekend. Thanks for all of the concerned e-mails flooding my mailbox at </span><a href="mailto:tmitf.info@gmail.com"><span style="font-size:85%;">tmitf.info@gmail.com</span></a><span style="font-size:85%;">. YES, I will be reviewing more shows in the next couple of weeks. Thank you to ALL of the gallery directors who are constantly reminding me that I need to visit them and write about their emerging talent. I don't want to make any promises, but I think the end of March will be a good month to visit this site more frequently than usual. In the meantime, please check out my Twitter feeds on the right-hand side-bar. I do update that with everyday links to news items that I find newsworthy...and some that are just plain interesting!!!</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-36913409004811217752009-02-26T07:59:00.000-08:002009-02-26T12:31:58.005-08:00Good Governance, Bad Governance.<span style="font-size:85%;color:#3366ff;"></span><br /><span style="font-size:85%;color:#3366ff;">Finally, Museum Leadership You <u>Can</u> Believe In!</span><br /><br /><a href="http://2.bp.blogspot.com/_7CAWFaAK6s4/SabpOB7ZY9I/AAAAAAAAAG8/y2hApk2e5K8/s1600-h/High+Museum.jpg"><img id="BLOGGER_PHOTO_ID_5307185638147711954" style="WIDTH: 400px; CURSOR: hand; HEIGHT: 165px" alt="" src="http://2.bp.blogspot.com/_7CAWFaAK6s4/SabpOB7ZY9I/AAAAAAAAAG8/y2hApk2e5K8/s400/High+Museum.jpg" border="0" /></a><span style="font-size:85%;"></span><br /><span style="font-size:78%;">The High Museum in Atlanta, Georgia.</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">In not-so-stunning, but all-too-real announcements, two museums are implementing interim cost-cutting provisions in an effort to curtail the severity of their recent recession-driven endowment losses. The </span><a href="http://www.ajc.com/services/content/printedition/2009/02/26/high0226.html"><span style="font-size:85%;">High Museum</span></a><span style="font-size:85%;"> in Atlanta and the </span><a href="http://www.baltimoresun.com/entertainment/arts/bal-te.to.walters26feb26,0,7920955.story"><span style="font-size:85%;">Walters Art Museum</span></a><span style="font-size:85%;"> in Baltimore have announced staff reductions, pay cuts, as well as furloughs.</span><br /><br /><span style="font-size:85%;">The High Museum will cut their staff levels by 7%. Furthermore, the High's director, Michael Shapiro, will accept a pay cut of 7%, while other director-level employees will see their pay decrease by 6%. The rest of the staff will take a 5% pay cut. Similarly, the Walters will cut seven members of its staff and impose a salary and limited hiring freeze, in addition to staff furloughs. Museum director Gary Vikan will take one month of unpaid leave just before the museum's fiscal year ends on June 30th, in an effort to further reduce costs. </span><br /><br /><span style="font-size:85%;">Taking these kinds of actions are inevitable given the grave circumstances of the current economic downturn. I believe that museums should, as a rule, continually strive to reduce wasteful spending when possible. Indeed, streamlining your operations a bit to make sure that you don't have five people doing the same exact thing is a smart move. But trimming waste, especially in tough economic times, is also a two-way street as clearly evidenced by the strong leadership at the High and Walters. Their plan outlines the sobering reality of the times, but also makes sure that the staff is cognizant that <em>everyone</em> is affected by the changes, even the upper echelons. This kind of strategy does wonders for employee morale and serves as a great model for other museums. </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Conversely, poor and misguided leadership believes that they should somehow be completely immune to the budget cutting process altogether. If you want to see a good example of unwavering institutional waste at its best, please click </span><a href="http://www.getty.edu/about/governance/pdfs/08_compensationdisclosure.pdf"><span style="font-size:85%;">here</span></a><span style="font-size:85%;">. </span><br /><br /><span style="font-size:85%;"></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3738600786886431807.post-42439867813131539882009-02-20T18:28:00.000-08:002009-02-25T18:02:57.519-08:00The J. Paul Getty (Mis)Trust?<span style="font-size:85%;"></span><span style="font-size:85%;color:#3366ff;"></span><br /><span style="font-size:85%;color:#3366ff;">MoCA Mobilization Bug Has Apparently Caught On at the Getty</span><br /><span style="font-size:85%;color:#3366ff;"></span><br /><a href="http://4.bp.blogspot.com/_7CAWFaAK6s4/SZ9yEgekQwI/AAAAAAAAAGs/ouL9M6mG654/s1600-h/original_image.png"><img id="BLOGGER_PHOTO_ID_5305084307828916994" style="WIDTH: 149px; CURSOR: hand; HEIGHT: 220px" alt="" src="http://4.bp.blogspot.com/_7CAWFaAK6s4/SZ9yEgekQwI/AAAAAAAAAGs/ouL9M6mG654/s400/original_image.png" border="0" /></a><br /><br /><span style="font-size:85%;">There's no doubt that times have been tough at art institutions throughout the country. Everyone is scrambling to hold on to every penny in order to continue with their exhibitions and programing schedules in order to avoid sinking into a financial abyss.</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">It's been almost a year since I left the Getty Trust under bitter sweet circumstances. Sweet, due to the talented and mission-driven colleagues who had a deep sense of commitment and obligation toward making the Getty a top-notch arts institution. Bitter, due to the abrasive, selfish and short-sided leadership of a selected few at the top of the food chain who share similar character traits with those "financial wizards" who brought Wall Street to its knees last November.</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">I was planning on writing an open letter to the Getty's CEO and President, James N. Wood, addressing some concerns that I had about the Getty's future, but apparently someone beat me to the punch. And did a WAY better job at it! Under the nom de plume, <em>Silence Dogetty</em>, some person(s) have taken brave and bold steps in attempting to right that which is <u>obviously</u> wrong at the Getty. Read the post </span><a href="http://silencedogetty.blogspot.com/2009/02/critically-seeing-getty-trust.html"><span style="font-size:85%;">here</span></a><span style="font-size:85%;">. Join the Facebook page <a href="http://www.facebook.com/people/Silence-Dogetty/1400963044">here</a>. </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Without re-hashing what was posted on <em>Silence Dogetty's</em> blog, the biggest issue I had with Mr. Wood was the compensation aspect. In this turbulent economic climate, for the CEO of a nonprofit to propose a budget cut of 20-25% and not even think of adjusting his own $728,000 yearly salary is, in my opinion, absolutely preposterous and disgraceful to say the least. Moreover, the fact that The Trust subsidises his living accommodation expenses to the tune of a $20,000 per month housing allowance, indicates that there is a sever <a href="http://www.getty.edu/about/governance/pdfs/08_compensationdisclosure.pdf">governance</a> flaw that was clearly overlooked post-<a href="http://articles.latimes.com/2006/feb/10/local/me-getty10">Munitz</a> . Thank goodness for the Internet and the empowerment it gives regular individuals to organize! </span><br /><span style="font-size:85%;"></span><br /><br /><span style="font-size:85%;"></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3738600786886431807.post-60359951261193259582009-01-30T20:03:00.000-08:002009-02-17T14:43:55.370-08:00Nasher Sculpture Center Appoints New Director<a href="http://3.bp.blogspot.com/_7CAWFaAK6s4/SYjnsonGzKI/AAAAAAAAAGk/pjvgpYk3bLQ/s1600-h/oh+no.jpg"><img id="BLOGGER_PHOTO_ID_5298739715603090594" style="WIDTH: 384px; CURSOR: hand; HEIGHT: 153px" alt="" src="http://3.bp.blogspot.com/_7CAWFaAK6s4/SYjnsonGzKI/AAAAAAAAAGk/pjvgpYk3bLQ/s400/oh+no.jpg" border="0" /></a><br /><br /><span style="font-size:85%;"><span style="color:#3366ff;">Obama Ain't Got Nothin' on the Nasher Sculpture Center</span><br /><br />As a rule, I try my best not to report arts-related conjecture, unless it is substantiated by relevant and related facts, which would point me to come to a solid and well-informed conclusion. However, I feel that I should, at the very least, comment on the MoCA situation, especially given the fact that the short-term financial side has been resolved and I can finally make sense of the facts, rather than just speculating on an outcome.<br /><br /><u>Recent History 101</u><br /><br />Many Americans, including myself, believe that <a href="http://www.nytimes.com/2009/01/14/us/politics/14geithner.html?_r=1">Timothy F. Geithner</a> was a poor selection, as President Obama's pick for Secretary of the U.S. Treasury. The mere idea of appointing a tax evader to run and oversea the Internal Revenue Service is like calling 911 because your house is on fire, only to have the arsonist sent to the site instead of an actual firefighter. Sure, Geitner made "an honest mistake" by not forking over almost $34,000 in owed taxes to the Federal government, but at least he was forced to pay the government back every penny. Given the present state of the economy, that's just the kind of leadership we need to run the IRS, right? I'll let you be the judge of that.<br /><br />Well, in an all too similar move, the Nasher Sculpture Center in Dallas, Texas announced today that they have hired former MoCA director Jeremy Strick as </span><a href="http://www.nashersculpturecenter.org/Index.cfm?FuseAction=Page&PageID=1000013&ArticleID=52"><span style="font-size:85%;">the Center's new director</span></a><span style="font-size:85%;"> -- yes, no joke! </span><span style="font-size:85%;">Given what we now know about MoCA and his stewardship of that institution over the past nine years or so, one would surmise that Mr. Strick's executive headhunter would have had a difficult time placing him anywhere? I guess I was wrong. </span><br /></span><span style="font-size:85%;"></span><br /><span style="font-size:85%;">So, as a resident (and avid museum goer) of Los Angeles, how should I feel after hearing such news? Disgusted? Angry? Hurt? Or, perhaps, all of the above? Yes, I'd probably select all of the above. It seems so unfair that unchecked power and outright failure should be rewarded with a six-figure salary and directorship at another museum. The job losses, which were announce almost in lockstep with Strick's appointment to the Nasher Sculpture Center, compounded with the measly $6 million MoCA endowment will, indeed, seal Mr. Strick's legacy. I think that many good, competent employees will now have a <em>very</em> difficult time finding employment in this malnourished economy, as a direct result of his financial incompetence and lack of concern for the institution he led. For me, it seems like 2009 will, undeniably, be quite a year in politics and the art world. It's turning out to be a year where greed and poor leadership continues to flourish and be rewarded. And loyalty, hard work and dedication, continues get the shaft. I don't know how the vetting process for the director of the Nasher was conducted, but I can tell you that after reading about Mr. Strick in the L.A. and N.Y. Times, he would have not been at the top of my list. </span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-51027673750597463442009-01-06T19:37:00.000-08:002009-01-15T11:13:52.615-08:00January is L.A. Arts Month<a href="http://2.bp.blogspot.com/_7CAWFaAK6s4/SW6js56W93I/AAAAAAAAAGc/cDZUBXR_0uE/s1600-h/LA+Arts+Month.jpg"><img id="BLOGGER_PHOTO_ID_5291346604062078834" style="WIDTH: 292px; CURSOR: hand; HEIGHT: 143px" alt="" src="http://2.bp.blogspot.com/_7CAWFaAK6s4/SW6js56W93I/AAAAAAAAAGc/cDZUBXR_0uE/s400/LA+Arts+Month.jpg" border="0" /></a><span style="font-size:85%;color:#3366ff;"></span><br /><span style="font-size:85%;color:#3366ff;"></span><br /><span style="font-size:85%;color:#3366ff;">Los Angeles, "...the Venice of the 21st century." </span><br /><span style="font-size:85%;color:#3366ff;">-- Mayor Antonio Villaraigosa</span><br /><span style="font-size:85%;color:#3366ff;"></span><br /><span style="font-size:85%;">At a press conference held this morning at the Japanese American National Museum in Little Tokyo, Mayor Antonio Villaraigosa, along with a cadre of civic and arts-minded leaders, designated the month of January as "<a href="http://www.laartsmonth.org/">L.A. Arts Month</a>." </span><span style="font-size:85%;">When I learned about this announcement, I did a double-take. I thought to myself, 'Hmm, where have I seen and experienced such an event before?' And then, like the 'pop' of a champagne cork on New Year's Eve, it hit me! Back in February of 2007, the mayor hosted a similar conference at the Getty Center where he designated March as "Creative L.A." month. </span><span style="font-size:85%;">The initiative, which exalted the various creative enclaves of this city -- from art to entertainment to science -- delivered a lot of excitement and fan fair on the day it was announced, but now it is all but extinct. I don't even think that there's a website devoted to it anymore (or was there ever?) But there is still an old press release on the Town Hall Los Angeles website -- read it <a href="http://www.townhall-la.org/mediaroom/press/39">here</a>. </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">So, where exactly did "Creative L.A." month go? Did anyone celebrate it last year and will it be celebrated this coming March? My hunch is that it was nothing more than one of those politically motivated and meticulously calculated photo-ops, rather than a serious manifesto lauding the importance of</span><span style="font-size:85%;"> L.A.'s creative industries. I think that designating one month of awareness, whether it be for the arts or any other program, over a long period of time, greatly diminishes the spirit of the cause which you are trying to promote. That's not to say that assigning a specific day or month to draw attention to an important cause is bad, but rather an inefficient way of promoting, interpreting and infusing the visual and non-visual arts as a natural phenomenon and integral part of our daily lives. Arts awareness should be designated a year-round initiative, as should Black history, AIDS and cancer awareness, or any other noteworthy cause which, under the present guidelines, gets 31 days or less to make its case. </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">If Mayor Villaraigosa is truly genuine about his commitment toward promoting the arts in this city, and I most certainly would like to give him the benefit of the doubt, then why is he declaring "L.A. Arts Month" in the last year of his first term? One can't help but question the prioritization of this administration and whether or not it has a truly genuine commitment to the arts? It seems more like a well-calculated public relations move to bolster votes for the upcoming general election in May, rather than a passionate plea to populate L.A's cultural destinations. Sure ticket giveaways and free radio airtime is great. However, art appreciation should be more than just a gimmick to increase attendance and stimulate revenue. It should be treated as a valuable lesson in understanding the diversity of thoughts and ideas through visual and non-visual means -- a process that takes way more than a month, if you want it to <em>really</em> be effective.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-87728279047460927662008-12-13T15:13:00.000-08:002009-01-15T13:00:33.133-08:00TMITF on break until after the New Year<span style="font-size:85%;"></span><br /><span style="font-size:85%;">Dear TMITF Readers:</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">This year has been full of excitement and volatility. Despite the current economic recession, artists are nonetheless committed to their daily practices of making art. They continue to create fresh, new and inventive work in order to sustain our ever-growing appetites for the visual arts. Along the same lines, museums and galleries are tightening up their belts a bit in an effort to continue to give the public the best programming that they have to offer, given the grave financial circumstances surrounding the financial markets. These are tough times to say the least, but sometimes economic meltdowns help us reevaluate ourselves and how we choose to support the arts. </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Since the launch of TMITF back in June 2008, I have received several kind notes and accolades (and some sporadic diatribes) about the blog and the things I chose to feature. I am grateful for ALL of the feedback, both positive and negative, and continue to absorb as much as possible in order to present you with a solid snapshot of current happenings within the greater creative community of L.A.</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Through it all, I would like to convey a special thanks to all the loyal readers of this blog and hope that you will continue to read my posts in 2009. It's much more difficult to manage a blog than I had originally envisioned. Spending l</span><span style="font-size:85%;">ate (sometimes sleepless) nights writing/editing posts, consuming copious amounts of coffee; not to mention the occasional swig from the bottle. All, demands of the job, I guess? But it is something that I truly enjoy doing and am thankful that I have the time and energy to make TMITF a reality. </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Sincerely,</span><br /><span style="font-size:85%;">Taras Matla</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-27901469409692671052008-11-21T09:07:00.000-08:002008-11-21T14:06:18.898-08:00An Artist That Went Beyond Painting Pretty Pictures<span style="font-size:85%;"></span><br /><span style="font-size:85%;color:#3366ff;">Mixing Business with Pleasure</span><br /><span style="font-size:85%;color:#3366ff;"></span><span style="font-size:85%;"></span><br /><span style="font-size:85%;">My first post on LACMA's blog, <em>Unframed</em>, is online now. I wrote a succinct, yet focused piece on California artist </span><a href="http://www.millardsheetscenter.org/fp/foundations/MillardSheets/aboutus-millardsheets.asp"><span style="font-size:85%;">Millard Sheets</span></a><span style="font-size:85%;"> and his influence on architecture in Southern California. Read it </span><a href="http://lacma.wordpress.com/2008/11/21/millard-sheets-architect/"><span style="font-size:85%;">here</span></a><span style="font-size:85%;">!</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-91532974148197090492008-11-19T18:35:00.000-08:002009-04-08T15:41:06.970-07:00Architecture As An Accessioned Work of Art?<span style="font-size:85%;"><u><strong></strong></u></span><br /><span style="font-size:85%;">DISCLAIMER: This article references my employer, the Los Angeles County Museum of Art (LACMA). The views expressed on this blog are solely my own and do not necessarily reflect the views of LACMA, LACMA's leadership, LACMA's Board, or LACMA's staff. Furthermore, the views posted on this blog have not been influenced in any way by the aforementioned parties. </span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;color:#3366ff;">The scope of collecting getting larger and larger -- literally!!!</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">Today, on The Times' blog, <em><a href="http://latimesblogs.latimes.com/culturemonster/2008/11/indianapolis-mu.html">Culture Monster</a></em>, Christopher Hawthorne posted a brief write-up on the potential for museums to start collecting irreplaceable works of architecture as part of their permanent collections. The Indianapolis Museum of Art is on the right track by following through with a deal to acquire Eero Saarinen's Miller House from the surviving members of the Miller family. I think that this action finally breaks the ice for museums that have long wanted to pursue this kind of activity, but have been hesitant to do so -- especially during the current economic downturn. Concurrently, it potentially sets the stage for a tug-of-war between museums, foundations and other non-profit ownership of residential architecture</span>.<br /><span style="font-size:85%;"></span><br /><a href="http://4.bp.blogspot.com/_7CAWFaAK6s4/SScMpkiUuMI/AAAAAAAAAGM/Gpkjckoh5vI/s1600-h/miller_house_2_2.jpg"><img id="BLOGGER_PHOTO_ID_5271195797182265538" style="WIDTH: 400px; CURSOR: hand; HEIGHT: 195px" alt="" src="http://4.bp.blogspot.com/_7CAWFaAK6s4/SScMpkiUuMI/AAAAAAAAAGM/Gpkjckoh5vI/s400/miller_house_2_2.jpg" border="0" /></a><br /><span style="font-size:78%;">Eero Saarinen's Miller House, 1952</span><br /><span style="font-size:78%;">The Indianapolis Museum of Art</span><br /><br /><span style="font-size:85%;">Setting up a non-profit foundation with an endowment is key for ensuring long-term sustainability for significant structures like these. Strong examples include the <a href="http://www.eamesfoundation.org/">Eames Foundation</a> and the <a href="http://philipjohnsonglasshouse.org/about/">Philip Johnson Glass House</a> (under the opposes of the National Trust for Historic Preservation). Any property owner can tell you that owning a building has it's ups and downs, especially if it's a historic one. Neutra's </span><a href="http://www.neutra-vdl.org/site/default.asp?11192008153929#"><span style="font-size:85%;">VDL II House</span></a><span style="font-size:85%;"> in Silver Lake is a good example of how a lack of funding and a starved endowment -- and in my opinion, a real lack of financial commitment by Cal Poly Pomona -- can perpetuate a structure's continued disrepair. Let's not kid ourselves, there's plenty of bureaucratic fat that can be trimmed at the administrative level of any university in order to fund a worthwhile project like this. </span><br /><br /><a href="http://2.bp.blogspot.com/_7CAWFaAK6s4/SScNVeqfMlI/AAAAAAAAAGU/DufXGfVMpQ0/s1600-h/nb_eames_house1.jpg"><img id="BLOGGER_PHOTO_ID_5271196551520137810" style="WIDTH: 400px; CURSOR: hand; HEIGHT: 266px" alt="" src="http://2.bp.blogspot.com/_7CAWFaAK6s4/SScNVeqfMlI/AAAAAAAAAGU/DufXGfVMpQ0/s400/nb_eames_house1.jpg" border="0" /></a><br /><span style="font-size:78%;">Ray and Charles Eames built the <em>Eames House</em> (a.k.a. Case Study House No. 8) in 1949.</span><span style="font-size:78%;"> </span><br /><span style="font-size:78%;"><br /></span><span style="font-size:85%;">I know that LACMA has expressed interest in possibly pursuing such avenues, but they should perhaps remain a bit on the cautious side. While it's nice to have historic modern homes in your collection, they should only do so if (a) the price is <em>really</em> too good to pass up or (b) it's a donation, as was the case in Indianapolis. Anything other than those two approaches should be pursued with the utmost caution and precision. A part of a museum's responsibility to the public is to collect and present objects of exceptional aesthetic quality, and place them into an art historical context. In a <em>traditional</em> museum, you can achieve this with great success when you're dealing with easily movable objects, let's say, sculptures, paintings, antiquities, decorative arts, etc. However, collecting architecture is a bit more tricky because of issues pertaining to geographic location, high maintenance costs and the ability to have consistent attendance without alienating the neighbors around you. In other words, you can't treat residential architecture in L.A. like the <a href="http://www.metmuseum.org/works_of_art/introduction.asp?dep=7">Cloisters</a>.</span><br /><br /><span style="font-size:85%;">Houses</span><span style="font-size:85%;"> were really designed to be functional places to live in, not for curious museum goers to trounce around in. I know my argument may seem a bit uptight, but the best way for this concept to work is to have these structures remain independent and occupied by passionate people who understand their importance to the community at large. Perhaps, we could see the formation of a consortium of modern houses in L.A. that works together to offer tours of various houses in the L.A. area on an ongoing basis? One thing is definitely clear -- more must be done about this situation because time is running out to save the irreplaceable. </span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-69922853338980426212008-11-04T07:45:00.000-08:002008-11-13T17:28:39.897-08:00Patriotic Posts on Election Day<span style="font-size:85%;color:#3366ff;"></span><em><span style="font-size:78%;"></span></em><br /><span style="font-size:85%;color:#3366ff;">Vote, vote, vote...</span><br /><span style="font-size:85%;"></span><br /><span style="font-size:85%;">No matter whom you vote for today, get inspired by checking out some of these great <a href="http://www.artsjournal.com/man/2008/11/big_monday_links.html">posts</a> regarding the flag in contemporary art on MAN -- cue shameless plug -- including yours truly on Ed Kienholz. </span><span style="font-size:85%;">And for those who follow the political art of <a href="http://www.robbieconal.com/">Robbie Conal</a>, here's one of my favorite guerrilla works from the 2000 presidential election.</span><br /><br /><a href="http://1.bp.blogspot.com/_7CAWFaAK6s4/SRzSw3xn5eI/AAAAAAAAAFk/RzZrDJcu_Vc/s1600-h/Robbie+Conal+-+Gore-Bush.jpg"><img id="BLOGGER_PHOTO_ID_5268317401164277218" style="WIDTH: 400px; CURSOR: hand; HEIGHT: 299px" alt="" src="http://1.bp.blogspot.com/_7CAWFaAK6s4/SRzSw3xn5eI/AAAAAAAAAFk/RzZrDJcu_Vc/s400/Robbie+Conal+-+Gore-Bush.jpg" border="0" /></a><br /><span style="font-size:78%;">Robbie Conal, 2000, (Left) <em>Tastes Like Chicken!</em>, (Right) <em>The Other White Meat!</em></span><br /><em><span style="font-size:78%;"></span></em>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-54825865456787065172008-10-20T22:15:00.000-07:002008-10-24T18:19:45.852-07:00Old Glory, New Perspectives<span style="font-size:85%;color:#3366ff;"></span><span style="font-size:85%;"></span><br /><span style="font-size:85%;color:#3366ff;">Pledging Allegiance to Poultry</span><br /><br /><span style="font-size:85%;">Building on Tyler Green's "The flag in contemporary art" theme on </span><a href="http://www.artsjournal.com/man/2008/10/introduction_the_flag_in_conte.html"><span style="font-size:85%;">MAN</span></a><span style="font-size:85%;"> last week, I figured I'd post something on TMITF that not only fits the criteria, but is also an amazing and provocative piece of art that should come out from hiding at LACMA -- especially in an election year! My choice is Edward Kienholz's </span><a href="http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=image;hex=AC1999_35_27.jpg"><span style="font-size:85%;"><em>The U.S. Bird, or Home from the Summit</em></span></a><span style="font-size:85%;">. </span><br /><br /><span style="font-size:85%;">The year was 1960 and Dwight D. Eisenhower was concluding his second, and final, term as president of the U.S. Preparing for what he had hoped would be the final accolade of his presidency, Eisenhower received word that on May 1st, the U.S.S.R. had shot down an American U-2 spy plane that had allegedly violated Soviet airspace. This was not the news he had hoped for weeks prior to the convening of an important meeting of the post-war Big Four -- the United States, Great Britain, France and the Soviet Union. After several days of down playing the incident as an unfortunate crash of a U.S piloted "weather" surveillance plane, Eisenhower was later pressured to concede that the aircraft was, indeed, engaged in activities of a more clandestine nature. As the summit began on May 16th in Paris, a furious Nikita Khrushchev denounced Eisenhower and the U.S. for engaging in such behavior toward the Soviet Union and stormed out of the summit. Consequently, the main issues of the summit, which included the division of Berlin and nuclear arms control, became stalled and were never fully resolved. </span><br /><br /><span style="font-size:85%;">Fast forward, 48 years later, and you can definitely see how such a piece could continue to resonate with viewers given the U.S's current reputation on the world stage. This work contains several symbolic narratives which allude to the failed Paris summit. </span><span style="font-size:85%;">The stuffed duck, possibly picked off by a skilled hunter, gives off the appearance of being tarred in red, white and blue paint, its lifeless body crammed into a coffin-like box. Kienholz is clearly making a bold political statement regarding the lame duck presidency and failed foreign policies of Eisenhower. He insinuates that the president came home from the Paris summit just as a </span><span style="font-size:85%;">dead U.S. soldier would come home from a conflict region -- in a pine box, draped in an American flag. </span><br /><br /><span style="font-size:85%;">Another interesting point as to why Kienholz may have chosen to use a duck, rather than another animal, is because the comparison between a duck and a U-2 spy plane, in this case, is striking. Ducks are capable of flying at extremely high altitudes and, as a result, are very difficult to shoot down once in full flight. That is why, more often that none, hunters who stumble upon a flock of ducks will startle them in hopes of getting a clear shot just before they approach an altitude where a shotgun slug could no longer reach them. </span><span style="font-size:85%;">While the tone of the work may seem to be more on the serious side, there is also a thin veil of humor embedded within. In my opinion, the composition of a duck in a box also implies the act of gift giving. In this gesture, Kienholz is presenting us with a literal depiction of "flipping off" the viewer. Yes, sometimes <em>giving</em> someone the bird is patriotic!</span><br /><br /><a href="http://2.bp.blogspot.com/_7CAWFaAK6s4/SPl1NjCg-XI/AAAAAAAAAEs/_cFdd5Udo_0/s1600-h/Ed+Kienholz+-+The+U.S.+Duck,+or...+(1960).jpg"><span style="font-size:85%;"><img id="BLOGGER_PHOTO_ID_5258362915536304498" style="CURSOR: hand" alt="" src="http://2.bp.blogspot.com/_7CAWFaAK6s4/SPl1NjCg-XI/AAAAAAAAAEs/_cFdd5Udo_0/s400/Ed+Kienholz+-+The+U.S.+Duck,+or...+(1960).jpg" border="0" /></span></a><span style="font-size:85%;"> </span><br /><span style="font-size:78%;">Edward Kienholz</span><br /><span style="font-size:78%;"></span><span style="font-size:78%;"><em>The U.S. Duck, or Home from the Summit</em>, 1960</span><br /><span style="font-size:78%;">Mixed media/assemblage/collage, Construction,</span><br /><span style="font-size:78%;">26 7/16 x 21 1/4 x 6 in. (67.15 x 53.98 x 15.24 cm)</span><br /><span style="font-size:78%;">Michael and Dorothy Blankfort Bequest</span><br /><span style="font-size:78%;">© Edward Kienholz and Nancy Reddin Kienholz.</span><br /><span style="font-size:78%;">Photograph © 2002 Museum Associates/LACMA. </span><br /><br /><br /><span style="font-size:78%;"></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-32477894834291026052008-10-14T15:07:00.000-07:002008-10-24T13:22:25.468-07:00The Power 100 from ArtReview.com<span style="font-size:85%;color:#3366ff;"></span><br /><span style="font-size:85%;color:#3366ff;">She Blinded Me With Science!!!</span><br /><br /><span style="font-size:85%;">L.A. Times arts writer, Suzanne Muchnic, posted a brief mention of <a href="http://www.artreview.com/power100">The Power 100</a> list from ArtReview.com on The Times' <em><a href="http://latimesblogs.latimes.com/culturemonster/2008/10/top-power-monge.html">Culture Monster</a></em> blog. Cutting to the chase, the top slot went to Damien Hirst and his company, Science Ltd. When he's not playing around with <a href="http://www.whitecube.com/artists/hirst/misclll/">livestock and formaldehyde</a>, he's probably dabbling in bling that would make Liberace hyperventilate. Yes, I'm talking about <em>For The Love of God</em>, the life-size platinum skull set with 8,601 high-quality diamonds. While we can discuss whether or not he should have been number one or not, there was someone else on the list that made me cringe -- THOMAS KINKADE?!?! Who includes <a href="http://www.thomaskinkade.com/magi/servlet/com.asucon.ebiz.home.web.tk.HomeServlet">Thomas Kinkade</a> on a list like this? Sure, he came in dead last at # 100, but I feel that ArtReview really missed the mark on this one. Well, I guess there is something to be said about the strong lobbying power of the AARP! </span><br /><br /><a href="http://4.bp.blogspot.com/_7CAWFaAK6s4/SPUq1nSmIYI/AAAAAAAAAEk/0o04uMStEKc/s1600-h/Hirst.jpg"><img id="BLOGGER_PHOTO_ID_5257155240593334658" style="CURSOR: hand" alt="" src="http://4.bp.blogspot.com/_7CAWFaAK6s4/SPUq1nSmIYI/AAAAAAAAAEk/0o04uMStEKc/s400/Hirst.jpg" border="0" /></a><br /><span style="font-size:78%;">Damien Hirst </span><br /><span style="font-size:78%;"><em>For The Love of God</em>, 2007</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-88109525835787695372008-09-19T12:51:00.000-07:002008-12-29T10:09:36.930-08:00TMITF Will Be Back Soon!<span style="font-size:85%;color:#3366ff;">Stay Tuned...</span><br /><br /><span style="font-size:85%;">Hello loyal readers! I'm back from my trip and, evidently, it was more difficult for me to blog from South Africa than I had previously thought. I was constantly on the move and did not have a chance to do any posting -- SORRY!!! I'll be sorting all of my notes in the upcoming weeks and hope to bring you all up to speed by early October. </span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-9300428204240690412008-08-23T23:39:00.000-07:002008-10-08T16:36:59.945-07:00Neutra's Maxwell House Relocated<span style="font-size:85%;"><span style="color:#3366ff;"></span></span><br /><span style="font-size:85%;"><span style="color:#3366ff;">Neutra's Movin' on Up (To the East Side), to a Deluxe Parcel in Angeleno Heights</span> </span><br /><p><span style="font-size:85%;">There was a great article in today's L.A. Times regarding Richard Neutra's Maxwell House being moved from Brentwood to Angeleno Heights. Having lamented several Neutra houses that have met the all-too-common fate of the wrecking ball, it was inspiring to read about the strong collaboration between the public and private sectors in order to save such a great example of Neutra's residential work. While it is troubling, at times, to see a structure such as this one removed from its original location -- location being an important component of the architecture's over-all design -- at least the house will live on to see another day. Read about the move </span><a href="http://www.latimes.com/features/home/la-hm-neutra23-2008aug23,0,6924.story"><span style="font-size:85%;">here</span></a><span style="font-size:85%;"> and see the images </span><a href="http://www.latimes.com/entertainment/news/arts/la-hm-0823-neutra-pg,0,6061829.photogallery"><span style="font-size:85%;">here</span></a><span style="font-size:85%;">. </span></p><br /><a href="http://1.bp.blogspot.com/_7CAWFaAK6s4/SO00XE9ldqI/AAAAAAAAAEU/hrbUyCGX6ZQ/s1600-h/Neutra+-+Maxwell+House.jpg"><img id="BLOGGER_PHOTO_ID_5254913911284922018" style="CURSOR: hand" alt="" src="http://1.bp.blogspot.com/_7CAWFaAK6s4/SO00XE9ldqI/AAAAAAAAAEU/hrbUyCGX6ZQ/s400/Neutra+-+Maxwell+House.jpg" border="0" /></a><br /><span style="font-size:78%;"><em>Maxwell House</em> (1941) in Brentwood, CA, Richard Neutra</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3738600786886431807.post-5106531721278839392008-08-22T16:37:00.000-07:002008-10-08T15:15:15.890-07:00TMITF in South Africa<span style="font-size:85%;">I'm leaving for South Africa (with a brief stop in Swaziland) next week and will be visiting a lot of interesting places. Please make sure to check back frequently, as I plan to blog about my journey on TMITF -- if I can connect to the Internet, that is! Some things to look forward to: </span><br /><ul><li><span style="font-size:85%;">Indigenous art of Swaziland</span></li><li><span style="font-size:85%;">Arts and culture scene of Soweto (near Johannesburg)</span></li><li><span style="font-size:85%;">Ancient San rock painting in the Cedarberg region</span></li><li><span style="font-size:85%;">Plus more stuff...</span></li></ul><p><span style="font-size:85%;"></span></p>Unknownnoreply@blogger.com