Category Archives: Art In Los Angeles

MOCA Board Names Lifetime Trustees

The Museum of Contemporary Art, Los Angeles (MOCA), announced today that its Board of Trustees has designated Maria Arena Bell and David G. Johnson as Life Trustees, acknowledging their significant commitment and service to the institution. Life Trustees are current or previous trustees elected by MOCA’s Board of Directors in recognition of especially meritorious service rendered to the museum. MOCA Life Trustees include Eli Broad, Betye Monell Burton, Blake Byrne, Lenore S. Greenberg, Audrey Irmas, Frederick M. Nicholas, and Thomas E. Unterman.

Bell joined the MOCA Board in 2008 and served as co-chair with Johnson from 2009 until her departure from the board in 2014. Johnson joined MOCA’s Board in 2005. He served as co-chair from 2008 to 2013, first with Unterman, then with Bell, and continues to serve as chair emeritus. As co-chairs, Bell and Johnson revitalized MOCA, initiating and leading a campaign that raised over $120 million for MOCA’s endowment.

“Maria and David have been strong and significant members of the Board, and they were at the helm during a very challenging moment. They led MOCA through the storm and into a healthier, more prosperous time. The Museum and the entire Board are very grateful for their dedication, leadership, and hard work. I am happy that the Board acknowledged Maria and David by making them Life Trustees of MOCA,” remarks MOCA co-chair Maurice Marciano.

Maria Arena Bell

Maria Arena Bell is a television writer and producer who founded Vitameatavegamin Productions to develop projects for film, television, and new media. She is the Emmy Award-winning former head writer and executive producer of The Young and The Restless, the number-one daytime drama, where she had unprecedented success and led her team to two Writers Guild of America Awards. She has also written essays for T: The New York Times Style Magazine, C Magazine, Aspen Magazine, and many others.

Bell chaired five artist galas for MOCA, working closely with artists Takashi Murakami, Francesco Vezzoli, Doug Aitken, Marina Abramovic, and Rob Pruitt on events that were both financial successes and complete, immersive artworks. She co-chaired the endowment campaign and two director searches at MOCA. She chaired the Americans for the Arts National Arts Awards for over a decade, as vice chair of the board, and received the Legacy Award in 2015 for her extensive work in arts education. Bell also chaired P.S. Arts, an organization that provides art in Title 1 public elementary schools in the Los Angeles area, for five years, then served as president (then president at large) and chaired their signature fundraisers for over a decade.

Bell was appointed to the Los Angeles Cultural Affairs Commission in 2013 by Mayor Antonio Villaraigosa and is a former California State Commissioner on the Commission for the Status of Women and Girls. She recently received the 25th Annual Montblanc de la Culture Arts Patronage Award for her work in education and was inducted into the Newport Harbor High School Hall of Fame in 2015. She is also the recipient of a Women’s Image Network Award for Women in Entertainment and Philanthropy. Bell currently serves on the board of MoMA PS 1 and is on the board of advisors for the Mary and Leigh Block Museum of Art at Northwestern University.

David G. Johnson

David G. Johnson is the founder of Act 4 Entertainment, a Los Angeles–based filmed entertainment and new media content company created to motivate and inspire audiences towards social action. Johnson most recently produced the live stage musical American Psycho in London and New York. He executive produced The People Speak, a feature-length documentary based on Howard Zinn’s book A People’s History of the United States, and Angels in Exile, a feature-length documentary about street kids of Durban, South Africa. Johnson also produced The Man Nobody Knew: In Search of My Father, CIA Spymaster William Colby, a feature-length documentary about the career and family life of controversial CIA director Colby, and Company Town, the upcoming feature-length documentary about environmental injustice in Crossett, Arkansas.

Johnson was a cofounder of Agility Capital, LLC, a venture fund for early-stage companies. He was formerly a senior executive at Metro-Goldwyn-Mayer Inc. (MGM) and a partner of the international law firm White & Case.

Johnson co-chaired (with Bell) two director searches at MOCA and led the endowment campaign. He also led a 2008 initiative to raise nearly $57 million and stabilize MOCA’s finances.

Johnson is a board member and former chair of Public Counsel Law Center, the nation’s largest public interest pro bono law firm. He founded the Center’s Opportunity Under Law Project to address economic injustice through large-scale impact litigation. In 2012, Congressional Minority Leader Nancy Pelosi (D-Calif.) presented Johnson with Public Counsel Law Center Founders Award for his commitment to the organization.

Prior to his Life Trustee designation, Johnson served as chair emeritus on the MOCA Board of Trustees. Johnson is also a trustee of California Institute of the Arts, a member of the board of directors of Children Now and KCETLink, and a member of the board of advisors of the Yale School of Drama.

Visiting Artist: Terry Riley

Composer and performer Terry Riley is one of the founding fathers of the Minimalist Movement. His landmark composition In C (1964) established Minimalism as a vital force in contemporary music and his work continues to be a major influence today. His career, spanning five decades, far from being confined to the minimalist category, has always crossed boundaries and been marked by its effortless transformations and morphing from one strata of thought to another. Highly developed elements of Indian music, jazz, and African and Middle Eastern music can be heard in intricate melding in much of his work. Terry’s list of collaborators includes La Monte Young, Chet Baker, John Cale, Don Cherry, Krishna Bhatt, Gyan Riley, Stefano Scodanibbio, the Kronos Quartet, the Bang on a Can All Stars, artist Bruce Conner, and poet Michael McClure.

Terry Riley–Doug Aitken: Electric Earth

Minimalist composer Terry Riley’s revolutionary 1964 classic In C provided a new concept in musical form, changing the course of 20th-century music. His hypnotic, multilayered, brightly orchestrated improvisations and compositions based on interlocking repetitive patterns set the stage for the prevailing interest in a new tonality, making him one of the most important living composers. Riley has been cited as a major influence by composers Phillip Glass and John Adams, and rock band The Who. During the six-day residency at The Geffen Contemporary at MOCA, running from January 4–9, 2017, Riley improvises solo as part of a series of in-gallery programs focusing on core ideas in the exhibition Doug Aitken: Electric Earth.

Riley will create a series of improvisational performances in dialogue with the multiple moving image installations inside the exhibition Doug Aitken: Electric Earth. In each performance, Riley will use a combination of instruments to explore and respond to the different environments within the exhibition, including the multi-video-channel works migration (empire) (2008) and SONG 1 (2012/2015).

On Thursday, January 5, Riley will do a one-hour concert performance starting at 7pm, and again on Sunday, January 8 starting at 3pm. During the remainder of the residency dates Riley will be doing impromptu performances inside the exhibition. All performances are free with museum admission.

THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES (MOCA)
About MOCA:

Founded in 1979, MOCA’s vision is to be the defining museum of contemporary art. In a relatively short period of time, MOCA has achieved astonishing growth with three Los Angeles locations of architectural renown; a world-class permanent collection of more than 6,800 objects, international in scope and among the finest in the world; hallmark education programs that are widely emulated; award-winning publications that present original scholarship; groundbreaking monographic, touring, and thematic exhibitions of international repute that survey the art of our time; and cutting-edge engagement with modes of new media production.

MOCA is a not-for-profit institution that relies on a variety of funding sources for its activities.

Hours:

MOCA Grand Avenue (located at 250 South Grand Avenue in Downtown Los Angeles) is open Monday, Wednesday, and Friday from 11am to 6pm; Thursday from 11am to 8pm; Saturday and Sunday from 11am to 5pm; and closed on Tuesday.

The Geffen Contemporary at MOCA (located at 152 North Central Avenue, Los Angeles, CA 90012) has the same hours as MOCA Grand Avenue during exhibitions. Please call ahead or go to moca.org  for the exhibition schedule for The Geffen Contemporary at MOCA.

MOCA Pacific Design Center (located at 8687 Melrose Avenue, West Hollywood, CA 90069) is open Tuesday through Friday from 11am to 5pm; Saturday and Sunday from 11am to 6pm; and closed on Monday.

The MOCA Store at MOCA Grand Avenue (located at 250 South Grand Avenue) is open Monday through Wednesday and Friday from 10:30am to 5:30pm; Thursday from 10:30am to 8:30pm; and Saturday and Sunday from 10:30am to 6:30pm.

Museum Admission: General admission is free for all MOCA members. General admission is also free for everyone at MOCA Grand Avenue and The Geffen Contemporary at MOCA on Thursdays from 5pm to 8pm, courtesy of Wells Fargo.  General admission is always free at MOCA Pacific Design Center. General admission at MOCA Grand Avenue and The Geffen Contemporary at MOCA is $15 for adults; $8 for students with I.D.; $10 for seniors (65+); and free for children under 12.

More Information: For 24-hour information on current exhibitions, education programs, and special events, call 213-626-6222 or access MOCA online at moca.org.

This content is copyright, 2016, MOCA, Hollywood Sentinel, all rights reserved.

Happy Birthday to The Broad from The Hollywood Sentinel!

Last month, The Broad celebrated its one year anniversary. I wanted to take this opportunity to thank each and every one of you (823,216 of you, to be exact!) for visiting, following, and supporting our museum over the last twelve months.

EliteConnections

When we opened last year, our highest priority was to make the Broad collection of contemporary art accessible to the widest possible audience. It has been an honor to see so many Angelenos, families, tourists, art aficionados and novices, downtown neighbors, artists, and others stream through our doors every day to enjoy the collection, its remarkable building, and so many of our live programs.

martinbruinsma

Thank you for embracing The Broad as your own. We look forward to welcoming you back for many years to come. See below for just a few of the things we have for you in the coming month.

–With many thanks,

Joanne Heyler

Founding Director of The Broad

EdgarCayce

If you have net yet stepped  foot in to The Broad, you are missing one of the grandest, most important art museums in the world.  From the sight of its very exterior, brilliant and amazing architecture, to the indoor beauty of its sculptive walls, The Broad houses some of the most important works of modern art of all time. Enter, discover, and explore. It is truly a cultural landmark worthy of its stunning and beautiful building. –Bruce Edwin

This content is copyright, 2016, The Broad, all rights reserved. Copyright 2016, Hollywood Sentinel.

Agnes Martin at LACMA

Agnes Martin, The Hollywood Sentinel, 2016

By Moira Cue

Agnes Martin was an iconic American painter, who lived from 1912 to 2004. On view through September 11, 2016, is her first posthumous retrospective in the United States, at the Broad Contemporary Art Museum at LACMA; on the third floor.

This is a must-see for anyone in, or traveling to, Los Angeles. Reading about Agnes’s work is insufficient; no matter how well described or photographed, the work really cannot be reduced to words or captured by photography.

Martin is known for her trademark use of graphite and her exploration of the “grid.” Her works can be viewed through the lens of minimalism, but they paradoxically connect to the viewer’s emotional receptivity through expressionism―from a distance of ten to twenty feet, the work is geometric, cold, and monumental. But the same work, from an intimate distance of three-eighteen inches (and you will be leaning in, nose forward, with your toes behind a grey line taped to the floor), is delicate, self-questioning, and vulnerable. Those tiny, labored over lines, all the more tentative in pencil, connote the threat of erasure while putting on a brave front. It is equipoise rather than dissonance―”comeheregoaway” rather than “come here/go away” that triggers an immediate, visceral response. I could literally feel my heart melt.

Although Martin’s vision is singular in the nonpareil, it is possible to see a narrative arc (of sorts; more on that later) in the titles of her work. Earlier work is titled in accordance with minimalist trope: untitled, or number five, or such. Then there’s a group of six canvases, tinged with the ethereal colors of Easter eggs and sunrise, which the artist completed in the 1990’s, intended as a single work, called “With my back to the world.” (A documentary by the same name, produced with the artist’s collaboration and released in 2002, is available for those who would like to learn more about the artist. ) It’s a poemy statement (linguistically) in the (formal) realm of the analytical. Both of these observations are at total odds with the palette―a palette you don’t see in post-war art unless paired with jeering insincerity; an insincerity that Martin, perhaps, wanted no part of.

It’s not exactly a sociable posture, but it is unapologetically self-serving. And it’s the polar opposite (or, more accurately, polar inversion) of two of the last canvases: she returns to a dark, somber black and white palette in a dyad named, “Homage to Life” and “The Sea.”

I want to say more about the actual draftsmanship of Agnes Martin. As I’ve stated, and many other critics have stated before me, it’s the intimacy and fragility of her linework that is totally unique. And that oft citied fragility, like everything in Martin’s world, goes beyond duality and reminds me of spider webs, which, for all their gossamer aura, are stronger than steel cables when engineers do a mathematical comparison. There is a Zen quality to the work, too, in that on close examination what a non-artist might think is easy (“draw straight lines” “draw a row of boxes” “draw a grid”) is easy only if it’s done callously, hence, imperfectly. Any one of us can replicate graph paper with a ruler or other straight-edge, but there will be tell-tale signs; in eliminating the callous, we enter the realm of the purportedly tenuous, the imperfectly perfect.

This content is copyright, 2016, Moira Cue, The Hollywood Sentinel, all world rights reserved. Contact Moira Cue at the front page of this sites’ contact box.