Posts filed under ‘Pictures’

Collection: MOCA’s First Thirty Years – Grand Avenue

Now I’m @MOCAlosangeles Grand Avenue.
5:02 PM Dec 17th, 2009 via txt

Cy Twombly “I like white …It’s not closed…psychologically it’s like there’s no beginning or end.” #MOCA
5:14 PM Dec 17th, 2009 via txt

I really like the way Hannah Wilke uses abstracted femininity in White Plains, 1975. #MOCA
5:32 PM Dec 17th, 2009 via txt

Hannah Wilke White Plains

Hannah Wilke, White Plains, 1975, Voltex, Liquitex, and snaps, 18 x 24 x 8 inches

Very nice Minimalism room with Brice Marden, Agnes Martin, Robert Mangold, James Hayward, David Novros & Tony Smith. #MOCA
5:41 PM Dec 17th, 2009 via txt

Interesting juxtaposing the square black and white McLaughlins with the shaped primary-colored Kellys. #MOCA
5:45 PM Dec 17th, 2009 via txt

McLaughlin & Kelly at MOCA

left to right: John McLaughlin, #7, 1966; John McLaughlin, #6-1969, 1969; Ellsworth Kelly, Two Panels: Yellow with Large Blue, 1970; Ellsworth Kelly, Red-Orange, 1980; Ellsworth Kelly, Blue Green Curve, 1972 (partial view), all oil on canvas

Absolutely loving the Finish-Fetish corner. 3 of my top 10 favorites: John McCracken, DeWain Valentine & Craig Kauffman. #MOCA
5:51 PM Dec 17th, 2009 via txt

John McCracken Firewalker

John McCracken, Firewalker, 1969, polyester resin and fiberglass on plywood, 96 x 14 x 1 1/2 inches

DeWain Valentine Double Disk 1967

DeWain Valentine, Double Disk, 1967, molded fiberglass, re-enforced polyester, 64 x 64 x 64 inches

Craig Kauffman Untitled 1969

Craig Kauffman, Untitled, 1969, sprayed acrylic lacquer on vacuum-formed Plexiglas, 36 x 62 x 16 inches

The Light & Space corner is looking at little too dark. #MOCA
5:59 PM Dec 17th, 2009 via txt

Robert Irwin Untitled 1968

Robert Irwin, Untitled, 1968, acrylic lacquer on formed acrylic plastic, 54 inch diameter

Doug Wheeler’s RM669 has a relaxing effect–just what I needed right now. Nice to get the shoes off too.
6:03 PM Dec 17th, 2009 via txt

Doug Wheeler RM 669

Doug Wheeler, RM 669, 1969, vacuum-formed Plexiglas and white UV neon light, 96 x 96 inches

Cool. Frank Stella’s Ctesiphon I reflected in the Royal Blue Plexiglas of Donald Judd’s Untitled (Meter Box). #MOCA
6:11 PM Dec 17th, 2009 via txt

Donald Judd Untitled (Meter Box)

Donald Judd, Untitled (Meter Box), 1975, copper and Plexiglas, 19 7/8 x 39 1/2 x 19 3/4 inches

The Dan Flavin should have been in a room of its own. It’s ruining the experience with the other work. They look awful. #MOCA
6:17 PM Dec 17th, 2009 via txt

Dan Flavin Monument for V. Tatlin

Dan Flavin, "Monument" for V. Tatlin, 1969, cool white fluorescent light with fixture, 96 x 30 1/2 inches

Surprised by two Ken Price sculptures from the early 60s. A peek into the mysterious interiors. #MOCA
6:30 PM Dec 17th, 2009 via txt

Daniel Buren Photo-souvenir

Daniel Buren, Photo-souvenir: Peinture acrylique blanche sur tissu rayé blanc et rouge, 1971, acrylic on woven red and white fabric, 78 3/4 x 78 3/4 inches

Barry Le Va Shatterscatter

Barry Le Va, Shatterscatter (Within the Series of Layered/Pattern Acts), 1968, glass, 3 1/2 x 82 1/2 x 62 inches

Gerhard Richter Farbtafel

Gerhard Richter, Farbtafel, 1966, lacquer on canvas, 27 1/2 x 25 5/8 inches

Schimmel Walkthrough

Looks like the Schimmel walkthrough is going to be very well attended.
6:32 PM Dec 17th, 2009 via txt

Paul Schimmel

Paul Schimmel at walkthrough for "Collection: MOCA's First Thirty Years"

Paul Schimmel

Paul Schimmel

Schimmel: Priorities of a great contemporary art museum: 1 Artists 2 Art objects 3 Visitors 4 Trustees #MOCA
6:47 PM Dec 17th, 2009 via txt

Schimmel placed the John Chamberlain with the Robert Frank photos because they had the same feeling of a certain era. #MOCA
6:56 PM Dec 17th, 2009 via txt

Schimmel: MOCA has one of the best collections of Rauschenberg Combines.
7:01 PM Dec 17th, 2009 via txt

Schimmel loves the Kenny Price pieces as much as I do. One of the giants in LA & won’t be with us much longer. See his retro @LACMA in 2 yrs.
7:10 PM Dec 17th, 2009 via txt

Schimmel: If you skip from Abstract Expressionism directly to Pop where would Alfred Jensen be? #MOCA
7:13 PM Dec 17th, 2009 via txt

Schimmel: Don’t always look for the best work by an artist, but a work in which the artist finds themselves. #MOCA
7:15 PM Dec 17th, 2009 via txt

Schimmel: After unwrapping the Billy Al Bengston a gallery preparator thought it had been damaged. #MOCA
7:18 PM Dec 17th, 2009 via txt

Schimmel: Ruscha has stayed true to Ruscha while reinventing himself through the years. #MOCA
7:21 PM Dec 17th, 2009 via txt

Schimmel chose not to light the Irwin disks. He admits it looks better during the day. #MOCA
7:25 PM Dec 17th, 2009 via txt

Robert Irwin Untitled 1968

Robert Irwin, Untitled, 1968, acrylic lacquer on formed acrylic plastic, 54 inch diameter

Schimmel: I’m not sure we would be talking about Turrell as much without that Doug Wheeler. #MOCA
7:27 PM Dec 17th, 2009 via txt

Doug Wheeler RM 669

Doug Wheeler, RM 669, 1969, vacuum-formed Plexiglas and white UV neon light, 96 x 96 inches

Schimmel chose to finish with the Light & Space/Finish-Fetish room because he felt they were ground-breaking giants on par with NY AbExers.
7:29 PM Dec 17th, 2009 via txt

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June 21, 2010 at 5:11 PM 1 comment

Collection: MOCA’s First Thirty Years – Geffen

I’m @MOCAlosangeles Geffen for MOCA’s First 30 Years.
2:08 PM Dec 17th, 2009 via txt

Chris Burden Big Wheel

Chris Burden, The Big Wheel, 1979, cast iron, motorcycle, wood, steel, 112 x 175 x 143 inches

Chris Burden’s Big Wheel is running. How cool is that? #MOCA
2:18 PM Dec 17th, 2009 via txt

Chris Burden Big Wheel

Chris Burden Big Wheel

Chris Burden Big Wheel

Chris Burden Big Wheel

Liz Larner’s 2 as 3 & Some Too was my 2nd favorite piece from her solo show. Sagging/melting cubes of chartreuse & blue. #MOCA
2:49 PM Dec 17th, 2009 via txt

Liz Larner 2 as 3 and Some Too

Liz Larner, 2 as 3 and Some, Too, 1997-8, mulberry paper, steel and watercolor, 112 x 137 x 95 inches

Liz Larner 2 as 3 and Some Too detail

Liz Larner, 2 as 3 and Some, Too, detail

Very lovely tiny gelatin-silver prints from Judy Fiskin. Especially the series of apartment building facades from 1982. #MOCA
2:53 PM Dec 17th, 2009 via txt

Judy Fiskin Untitled 1982

Judy Fiskin, Untitled, 1982, gelatin silver print, 7 x 5 inches each

The Kiki Smith is perfectly positioned under a skylight causing some of the glass pieces to glow. #MOCA
3:03 PM Dec 17th, 2009 via txt

Kiki Smith Untitled 1989

Kiki Smith, Untitled, 1989, glass and rubber, 3 x 108 x 108 inches

I kinda like that Koons’ 3 puppies are staring adoringly at Lari Pittman’s An American Place. #MOCA
3:10 PM Dec 17th, 2009 via txt

Koons and Pittman

left: Jeff Koons, Three Puppies, 1986, polychromed wood, 19 x 27 x 23 1/2 inches; right: Lari Pittman, An American Place, 1992, oil and acrylic on mahogany panels, 80 x 164 inches

Interesting that both Jeff Koons’ stainless steel Pail and Robert Gober’s cast pewter Drain were both gifts from Christopher Wool. #MOCA
3:32 PM Dec 17th, 2009 via txt

Jeff Koons Pail

Jeff Koons, Pail, 1986, stainless steel, 12 x 13 1/2 x 13 1/2 inches

Robert Gober Drains 1990

Robert Gober, Drains, 1990, cast pewter, 3 3/4 inch diameter, edition of 8 with 2 APs

Christopher Wool Untitled 1990

Christopher Wool, Untitled, 1990, alkyd and acrylic on aluminum, 69 x 64 inches

Robert Gober Untitled 1998

Robert Gober, Untitled, 1998, wood, steel and enamel, 81 5/8 x 58 x 41 3/8 inches

Fred Tomaselli’s Hang Over is pure joy. A tree full of garlands of pills, butterflies, flowers, birds, lips, eyes, leaves, hands, etc. #MOCA
3:52 PM Dec 17th, 2009 via txt

Fred Tomaselli Hang Over

Fred Tomaselli, Hang Over, 2005, leaves, pills, acrylic, resin on wood panel, 84 x 120 inches

Fred Tomaselli Hang Over detail

Fred Tomaselli, Hang Over, detail

Always amazed at Llyn Foulkes, Pop every time I see it. I like the installation in a totally black room with audio. #MOCA
4:06 PM Dec 17th, 2009 via txt

I’m not really feeling Jason Rhoades yellow scattertrash or David Altmejd’s pine tree branches & crystals. Mess without meaning. #MOCA
4:13 PM Dec 17th, 2009 via txt

June 17, 2010 at 5:16 PM Leave a comment

Best Los Angeles Art Shows of 2009

David Bowen Photographic Drawing Device

David Bowen, Photographic Drawing Device, solar-powered mini-robots, charcoal, paper

Data + Art: Science and Art in the Age of Information @ Pasadena Museum of California Art An apt show for the Over-Information Age.  Curated by Dan Goods and David Delgado, both from the Jet Propulsion Laboratory, the show included both aesthetically pleasing data visualizations that broadened awareness and understanding such as Jim Bumgardner’s “A Year of Sunsets,” and geeky gadgetry employed for artistic expression. The best mix of data and art was David Bowen’s “Photographic Drawing Device,” which used light-seeking, solar-powered mini-robots to draw charcoal circles on paper.

Gary Lang Ace Gallery

Gary Lang at Ace Gallery Beverly Hills

Gary Lang: Circles Lines Grids Paintings @ Ace Gallery Beverly Hills Standing up close to the surface of Lang’s paintings you could see the slight wiggle in each hand-painted line, and the color juxtapositions seemed a little odd, but when you stepped back these paintings hummed and glowed as if they were actually breathing with life.  They were stunning and magical.

Femke Hiemstra In Thought

Femke Hiemstra, In Thought, graphite on paper, 8 x 10 inches. Courtesy of Copro/Nason

Femke Hiemstra: The Herring’s Hairdo @ Copro/Nason Her paintings and drawings had this authentic old-fashioned feeling that you don’t find in most Magic Realism/Pop Surrealism, and they had just the right mix of childhood fairytale/storybook style and eerie/scary subtext.  I particularly liked the paintings on book covers and graphite drawings on paper.

Penelope Gottlieb at Kim Light/Lightbox

Penelope Gottlieb, No $ Down, installation view. Courtesy Kim Light/Lightbox

Penelope Gottlieb: No $ Down @ Kim Light/Lightbox Monochrome color-pencil drawings of idyllic suburban homes were matched with coordinating, brightly-painted vintage frames and arranged salon-style on the walls along with a fake fireplace and gray wainscoting to boot.  The cheerful display of real estate dreams juxtaposed with the phony architectural elements seemed particularly poignant as the mortgage industry was ominously imploding and foreclosures escalated.

Rebecca Campbell Do You Really Want to Hurt Me detail

Rebecca Campbell, Do You Really Want to Hurt Me, detail, avocado tree, velvet, glass, bronze, Windex

Rebecca Campbell: Poltergeist @ LA Louver Campbell expertly took on the subject of memory and nostalgia from a particular, personal perspective without sliding into over-sentimentalization.  The highlight of the show was an amazing velvet covered avocado tree populated with Windex-filled glass birds. Its haunting aura was counterbalanced by more quirky aspects in the show like the clock running backwards on the olive-colored wall oven stuffed full with childhood books.

Julie Blackmon, Family Portrait

Julie Blackmon, Family Portrait, 2007, archival pigment print, 22 x 22 inches, Edition of 25. Courtesy of Fahey/Klein Gallery.

Julie Blackmon: Domestic Vacations @ Fahey/Klein Gallery These wonderfully humorous fictional photos of family life paradoxically balanced relaxation with chaos and escape with everyday stresses.  I had fun deciphering what just went on in each image from the visual cues and ended up chuckling at every one.

Kaz Oshiro False Gestures

Kaz Oshiro, False Gestures, installation view. Courtesy of Rosamund Felsen Gallery.

Kaz Oshiro: False Gestures @ Rosamund Felsen Gallery Oshiro’s painting/sculpture facsimiles were illusion to perfection. The suitcases and shelves alluded to the disparity between simulation and reality, while the metallic blue panels with faithfully replicated duct tape made evident the tenuous line between realism and abstraction.

Lorser Feitelson Untitled 1971

Lorser Feitelson, Untitled, 1971, acrylic on canvas, 60 x 60 inches. Courtesy Louis Stern Fine Arts.

Lorser Feitelson: Late paintings @ Louis Stern Fine Arts In these paintings, Feitelson’s took his hard-edge, straight-line geometry to another level.  The sensuous curves, curls and undulating ribbons were so sexy.  It’s hard to believe they were painted in the late-60s, early-70s given their immaculate surfaces and contemporary feel.

William Powhida How to Destroy LA

William Powhida, How to Destroy LA, 2009, graphite, colored pencil, and watercolor on paper, 18 x 15 inches

William Powhida: No One Here Gets Out Alive @ Charlie James Gallery This dead-on skewering of art world insiderness and the bad-boy-artist mayhem of Powhida’s alter ego was effectively tongue-in-cheek but also achingly honest, openly admitting artists’ gripes and egoism as well as worries and self-doubt.  I absolutely loved the way he used the crossed-out word to convey humor.

Zadok Ben-David, Blackfield, 2009

Zadok Ben-David, Blackfield, 2009, painted stainless steel and sand. Photo: Elizabeth Gilson and Andrew G. Glennon, courtesy of Shoshana Wayne Gallery.

Zadok Ben-David: Blackfield @ Shoshana Wayne Gallery This installation was totally amazing. As you walked into the gallery you saw a sea of tiny, delicately-cut sheet steel botanical shapes coming up from a perfect rectangle of white sand.  They were black, as if charred or dead.  But then, as you walked around to the far side of the gallery you began to see that the back of each minute plant was painted with vibrant, bold colors.  Once you reached the back of the gallery you were faced with a glorious field of flowers, full of joy and life.  Visitors were audibly gasping as they circled around the installation.

Richard Wilson, Town to Town

Richard Wilson, Town to Town, 2008, acrylic on canvas, 24 x 60 inches. Courtesy of Carl Berg Gallery.

Richard Wilson: Rises @ Carl Berg Gallery The perfectly balanced, asymmetrically stacked, rectangular and square canvases had the most absolutely pristine surfaces. Wilson took Donald Judd’s dictum “one surface, one color,” and had some fun with it.  The spot-on color combinations in each grouping covered not only the front of each monochrome canvas, but also rectangular areas along the edges, allowing him to toy with the tropes of geometric Hard-edge painting as well.

Irving Penn, Deep Sea Diver

Irving Penn, Deep Sea Diver (B), New York, 1951, gelatin silver print, copyright 1951 (renewed 1979) by Conde Nast Publications Ltd., Partial Gift of Irving Penn, The J. Paul Getty Museum, Los Angeles, CA

Irving Penn: Small Trades @ Getty Museum Amazingly, Penn’s subjects were both individual and typical.  The attire, trappings and tools of each tradesperson at first seemed obvious and conventional against the plain studio backdrops.  But before you could pigeonhole the sitter, their stark surroundings allowed you to notice clothing details like the wrinkled suit of a harmonica player or the crisp apron and toque of a London chef.  Facial expressions and postures were also telling.  Some seemed like nothing but affectation like the upturned head of a proud undertaker or the contrapposto of a deep-sea diver in full gear.  Others revealed humility and honesty like the tired face of a New York groom clad in worn shoes or the slouching shoulders of a milkman with a heavy milk bottle carrier in hand.  The simple style and elegance of this series of photographs could easily have seemed antithetical to his chosen topic, but Penn’s talent made this tension work.

January 16, 2010 at 7:32 PM Leave a comment

Ned Evans: Inside the Prism @ William Turner

Ned Evans Saburo

Saburo, acrylic and mixed media on canvas, 75 x 51 inches

Ned Evans Mexicola

Mexicola, acrylic and mixed media on canvas, 78 x 39 inches

Ned Evans Cremesicle

Cremesicle (triptych), acrylic and mixed media on canvas, 80 x72 inches

Ned Evans Chewy

Chewy, acrylic and mixed media on canvas, 39 x 78 inches

William Turner Gallery
2525 Michigan Ave., E-1
Santa Monica, CA 90404

November 7 – December 19, 2009

Twitter Review:
Ned Evans: Inside the Prism @ William Turner (****) Best Evans paintings I’ve seen in awhile-bleeding acrylics slashed with crisp diagonals.
4:38 PM Nov 14th from txt

November 15, 2009 at 9:33 PM Leave a comment

Scot Heywood: New Paintings @ Frank Lloyd

Scot Heywood New Paintings at Frank Lloyd Gallery

left: Untitled Blue, Yellow, White, 2009, acrylic on canvas, 67 x 119.5 inches; right: Untitled Sienna, Yellow, Black, 2009, acrylic on canvas, 79.75 x 108.5 inches

Scot Heywood New Paintings at Frank Lloyd Gallery

left: Untitled Green, Umber, Yellow, 2009; right: Untitled Red, Blue, Yellow, 2008

Scot Heywood, Untitled Green, Umber, Yellow, 2009

Untitled Green, Umber, Yellow, 2009, acrylic on canvas, 54 x 49.25 inches

Scot Heywood, Untitled Red, Blue, Yellow, 2008

Untitled Red, Blue, Yellow, 2008, acrylic on canvas, 79.5 x 72 inches

Scot Heywood, Untitled Green, Yellow, White, 2009

Untitled Green, Yellow, White, 2009, acrylic on canvas, 54 x 49.25 inches

Frank Lloyd Gallery
2525 Michigan Avenue, B5B
Santa Monica, CA 90404

November 12 – December 19, 2009

Twitter Review:
Scot Heywood @ Frank Lloyd (****) Warm with siennas, yellows and reds to foil the black and white. One shifted panel in each spices it up.
2:58 PM Nov 14th from txt

November 14, 2009 at 11:50 PM Leave a comment

David Allan Peters: Integrity Spiral @ Ruth Bachofner

David Allan Peters Integrity Spiral

David Allan Peters Integrity Spiral

David Allan Peters Integrity Spiral

David Allan Peters Untitled

David Allan Peters Untitled

David Allan Peters Untitled

David Allan Peters Untitled

David Allan Peters Untitled

David Allan Peters Untitled

David Allan Peters Untitled

David Allan Peters

Ruth Bachofner Gallery
2525 Michigan Avenue #G2
Santa Monica, CA 90404

October 24 – November 21, 2009

Twitter Review:
David Allan Peters @ Ruth Bachofner (***) Maximal layering. Prefer wht/blk/metallic monochromes w/ 1 or 2 carvings better than overall cut pieces.
1:27 PM Oct 25th from TweetDeck

November 13, 2009 at 11:07 PM 3 comments

William Powhida: No One Here Gets Out Alive @ Charlie James

William Powhida at Charlie James Gallery

Opening reception for William Powhida's "No One Here Gets Out Alive" at Charlie James Gallery

William Powhida at Charlie James Gallery

William Powhida at Charlie James Gallery

William Powhida at Charlie James Gallery

William Powhida at Charlie James Gallery

William Powhida at Charlie James Gallery

William Powhida How to Destroy LA

William Powhida, How to Destroy LA, 2009, graphite, colored pencil, and watercolor on paper, 18 x 15 inches

William Powhida LA Makeover Chart

William Powhida, LA Makeover Chart, 2009, graphite, watercolor, and colored pencil on paper, 22 x 30 inches

William Powhida The Blue Period

William Powhida, The Blue Period, 2009, graphite, colored pencil, and watercolor on paper, 18 x 15 inches

William Powhida at Charlie James Gallery

William Powhida, smiling, enjoys the reception.

Charlie James Gallery
975 Chung King Road
Los Angeles, CA 90012

October 24 – December 5, 2009

Twitter Review:
William Powhida: No One Here Gets Out Alive @ Charlie James (*****) Absolutely love the way he uses the crossed out word to convey humor.
7:58 PM Oct 24th from txt

November 7, 2009 at 7:40 PM 2 comments

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