Category Archives: Art In Los Angeles

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.

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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.

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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

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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.

L.A. Art Show, 2016

By Moira Cue

The Artist-Friendly Gallery: A Short Interview with Gallerist Eric Nord of Leon Gallery at the L.A. Art Show

“We consider it a collaboration with the artist. The core group of artists we work with,” says Eric Nord, “are like family to us.” “One of the things we do is say, ‘Here’s our space, tell us the show you’ve always wanted to do. And let’s make it happen.”

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No wonder Leon Gallery, in Denver, Colorado is booked up two years in advance. Artist-friendly gallerist Eric Nord has a passion for the artists at Leon that goes above and beyond the average relationship of dealer to artist. The gallery gets involved in the long-term growth of its artists by doing things that other galleries don’t, like helping the artist find residencies or large scale public installations.

In the video below, Eric, who co-owns the gallery along with Eric Dallimore and Camille Shortridge, discusses the work of Diego Rodriguez-Warner, Matt Scobey, and Tim Schwartz with The Hollywood Sentinel.

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