In one sense, spectacle shows represent acute risk aversion on the part of museums. It's cousin to the disease that has sacked Hollywood, where only remakes and sequels promise the margins that justify a global blockbuster production—so only remakes and sequels get greenlighted. — citylab
“People used to complain that people went to New York to buy what they could buy in LA,” said Kathy Halbreich, the associate director of the Museum of Modern Art in New York. “I don’t think that happens anymore. I think there’s a recognition that the city matters, that the people aren’t just there for the weather. You see a level of ambition that’s been ratcheted up.” — theguardian.com
This month, audiences will be able to check out the first program to emerge from Vergne's nascent administration: Step and Repeat, a multidisciplinary festival of performing arts, takes place at the Geffen Contemporary at MOCA over four Saturday evenings, beginning Sept. 13 [...] Step and Repeat will feature a unique nightly lineup of poetry readings, noise/experimental music, performance art, stand-up comedy, live bands and deejays, all presented side by side. — LA Weekly
Now that the exhibition has opened at the museum's Geffen Contemporary branch in Little Tokyo, where it will limp along through the middle of September as part of the Getty's Pacific Standard Time Presents series, it's clear that it is the product of an architectural ruling class in Los Angeles that is not so much dysfunctional as increasingly insular. — Christopher Hawthorne, LA Times
A squadron of U-Hauls descended on the parking lot in front of the Geffen Contemporary at MOCA last weekend, setting up a pop-up architecture exhibition in the first in a series of events called On the Road. The U-Hauls served as temporary displays for the work of up-and-coming, experimental architecture practices here in Los Angeles--where architecture businesses are known for being experimental, even if they don't often get a chance to deploy those innovations in Los Angeles. — la.curbed.com
Frank Gehry has pulled out of a major architecture exhibition set to open June 2 at the Museum of Contemporary Art, a move that could force the show to find a new venue or face the prospect of being canceled altogether.
The exhibition... is an exploration of the last 25 years of Los Angeles architecture, with work by Gehry, Thom Mayne, Michael Maltzan, Barbara Bestor, Lorcan O'Herlihy and many younger architects. — latimes.com
The exhibition was planned as an exploration of the last 25 years of Los Angeles architecture, with work by Frank Gehry, Thom Mayne, Michael Maltzan, Barbara Bestor and many younger architects.
It was funded in part by a Getty Foundation grant of $445,000. No other single show in the PSTP series received a grant as large, according to a Getty press release. A 272-page catalog, co-published by Rizzoli, is already complete. — latimes.com
Being a successful collector or dealer does not qualify one to make substantial decisions towards our collective cultural patrimony. — art&education
Deitch’s Disneyesque barrio gave New Yorkers who would never dream of getting off the subway north of 96th Street that delightful frisson of proximity to the underclass, just as the graffiti cult provides affluent viewers with the sense that they are in touch with authentic ghetto culture. — Heather MacDonald, City Journal
...a local Street Artist tweaks the nose of MOCA’s “Art in the Streets” with some actual Street Art in situ... — brooklynstreetart.com
The Los Angeles Police Department believes one of two French nationals detained on suspicion of vandalism near MOCA's Little Tokyo gallery was the famed street artist known as "Space Invader." — latimesblogs.latimes.com
When Los Angeles MOCA Director Jeffrey Deitch ordered the removal of artist Blu‘s mural, which he commissioned, from the wall of his museum, he was quickly accused of censorship by various folks in the art community. In response to his act, an anonymous street artist put up a wheatpasted mural near MOCA that depicted Deitch as the Ayatollah Khomeini, dressed in traditional garb, holding a dripping paint roller with outstretched arm – fresh from removing Blu’s mural from the museum’s wall. — Moca-Latte.org
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