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Posts Tagged ‘LACMA’

Adele.

I went to see Adele when she was at the LACMA a few years ago, mostly ’cause she’s famous and everyone was making a big deal about her backstory. And then she pretty much paralyzed me in the gallery. 
I couldn’t  walk away from her, even on return trips.  Now she’s here and I can’t decide if I want to go see her when I’m in New York.
I’m terrified that the spell will be broken and I’ll see her in the dorm-room-poster way I had expected to the first time.
All, in all, it’s a pretty fabulous dilemma.
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Met.

I had really high expectations for the Baldessari show at LACMA, and they were met. Big time. Oddly enough I just saw some of them in Barcelona (’cause I’m fancy like that) and it was great to see them again as part of an even bigger exhibition.  His stuff is so fun.

Tips for Artists Who Want to Sell, 1966-1968

I guess you’re meant to use words like  “witty” or “jocular” or something smart-sounding,  but really, it’s just plain fun. It’s fun, and refreshing, while still making you stop, and breathe, and examine, and think, and chat, and compare, and laugh. Go.

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Inside.

My friend Emily shared this today. She works at LACMA and I tend to live out all of my curator fantasies through her.   Ever since I was a little guy  my favorite part of museums has always been the giant elevators. No wonder I still love hearing about anything to do with installations. Mmmmm…retrofitting.

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Renoir.

I saw the Renoir After Impressionism show at the LACMA this week for one of my educator classes. I can’t say I need a Renoir in my house or anything, but we had a curator lecture and docent tour, which for an art nerd is generally pretty great.  The best part was this amazing, five-minute silent film of Renoir at work once he had incredibly severe arthritis in his hands. It was really, (um, trying not to curse….) really, beautiful.

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Martinis.

Someone asked me last week why I like museums so much and at the time I couldn’t articulate my answer. I’m still not sure that I can, but I’m closer since wandering around  the BCAM last Sunday with some lovely gentlemen.

We sat down in the courtyard afterward for martinis, which, I must say, capped off a pretty great afternoon in a pretty great way. (It was during martini hour that one friend mentioned the importance of leaving a gallery before you’ve had too much, and it reminded me of why I haven’t written anything up on my trip to Chicago–it feels like it was just too much to process, let alone quippily write about (yeah, “quippily”). I think I’ll give it a try soon, though. Maybe a little at a time.)

But back to the museum question. The other friend arrived in the courtyard a few minutes after we did, sat down in the sun, and sighed, “It’s almost like a high, isn’t it?”

Yeah. It is.

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Eggshells & Elevators.

My friend Carl saw a documentary on Jeff Koons and loved it, so I suggested we pop into LACMA to see the balloon dog. I’ve never looked so closely at his work, and I’ve definitely never liked it this much. The Cracked Egg is for sure my favorite. Inaugural_Installation BCAM

I wish I had a shot of the gallery from the fish-eye reflection of the egg, but of course I politely asked if it was okay to take a picture before trying, and the guard said no. Next time I’ll play dumb and get one.

Koons’ website is here, and he has an upcoming show here.

We also decided that they should paint the regular sized elevator in the BCAM to look just like the big one, so that when you get in you feel like a giant. Then they can put little figurines on the floor so you can Godzilla stomp all around them.

(We flagged down our LACMA Educator guy and he said he’d put our idea in the suggestion box.)

Oh, and for the record, I can safely say that the Joseph Beuys show next door went completely over my head, and not in the good, “ooh, I want to investigate” way but more in the “meh, this is over my head and I don’t really care” way.

Kinda bummed it’s gonna be in the Ellsworth Kelly room until July, but I’m sure someone will love it.

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Mithila3

There are two shows at the CAFAM right now, and as the CAFAM typically can do no wrong, they are both unique, if anything else. One is Mithila painting from India (and maybe Nepal, too?). Not my favorite aesthetically, but it includes a really interesting write up on the culture and the government’s effort to maintain the artistic tradition. My favorite part was the titles, just about every piece has a literal name, which is refreshing in a world of “Untitled Blue No. 7.” Lots of samples here.

Upstairs is a show called Celestial Ash based on the work of Joseph Cornell. I love Cornell’s shadow boxes, and am usually easily impressed by most things assemblage, but I was kinda underwhelmed by most of the show. Maybe because I was expecting Cornell? I don’t know, there’s a thorough write up on it in the LAT that probably digs a little deeper than I did .

Freakin’ Michael C. McMillen, though.

The Asylum of Lost Thoughts

He used to have a walk-through installation on display at the LACMA called Central Meridian, The Garage. I remember being entirely freaked out by it as a kid, and his creepy-ass installation at the CAFAM took me right back.

(Oh, and the best part is that I googled the name of the garage piece and hit the blog of the LACMA employee who had to take it apart for storage. Ha.)

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