Burton-inspired pics from the public

May 18, 2011

In anticipation of Tim Burton, opening May 29th, we invited the public to show us their “Burton-esque” photos. We have 97 so far. This one comes from our own Erin Sorensen:

A Burton-inspired vision by Erin Sorensen.

Check out the Flickr group here.

garydeo333 submitted this image of Edward Scissorhands, with other Burton characters on the tip of his left hand. “My tribute to the films of Tim Burton,” he says.

ammcnelis submitted several pics of the ultimate Tim Burton (wedding?) cake.

sally’smom1 submitted some pretty cute pics of someone small in dressed as (who else?) Sally, from Nightmare Before Christmas.

Miki has some gorgeous contributions including a photo of a sculpture of Jack Skellington carved from foam.

Some contributors looked at nature through a Burton-inspired lens – like this image of a woodpecker, camouflaged against a tree.

There’s more: tattoos, high school fashions, haircuts, gardens, and…a selection of things from under the sea.

Submit your Burton-esque images here.

Amy Heibel


Michael Heizer’s Levitated Mass is Coming to LACMA

May 17, 2011

As you may have read in Sunday’s Los Angeles Times, we’ve got a new major artwork on its way to LACMA—Michael Heizer’s Levitated Mass. We are beginning prep work for its installation this month and it will make its official debut on campus in November.

So, what is it? The short if incomplete answer is it’s a 340-ton, 21’-6” high boulder that Heizer discovered in a quarry in Riverside some years back. (In terms of height, the boulder is roughly as tall as the Resnick Pavilion. It’s big.)

The boulder in its quarry

But that’s not all it is—the boulder is just the most prominent feature of Heizer’s latest earthwork. It will be installed above a 456-foot-long trench that stretches behind the Resnick Pavilion. You’ll walk the length of the trench, which eventually descends to fifteen feet underneath the boulder before rising back to ground level on the other side. It promises to be quite an experience. “Awesome” is the word that springs to mind. To give you an idea of the experience, you can see in this aerial view of the campus a path that already exists behind the Resnick Pavilion—this is roughly the length of the trench we’ll begin cutting into the earth this month.

Aerial view of LACMA

Last month our own Michael Govan went out to visit the boulder—in the video below he gives you an idea of what you can expect.

Scott Tennent


Marclay Marathon: 24 Hours of The Clock–Today!

May 16, 2011

Christian Marclay, The Clock (still), 2010, purchased with funds provided by Steve Tisch through the 2011 Collectors Committee, © Christian Marclay, photo courtesy Paula Cooper Gallery, New York

Today’s the day: starting at 11 am, we’ll be screening Christian Marclay’s 24-hour film collage The Clock for its full duration, for free in the Bing Theater (co-presented by KCRW). This will be your best chance to see the work in a theater setting, so we hope you’ll find an opportunity to see it today, this evening, tonight, in the small hours, and/or tomorrow morning.

If you’re committing for the long haul, you might like to know that the Plaza Cafe (right next door to the Bing Theater) will be open all night long. Ray’s will also be open extra late tonight–until 2 am–just for you Clock-watchers. Ray’s has a great Monday dinner special, by the way: $10 entrees. If you haven’t had a chance to check out the new restaurant (or if you have), tonight might be the night if you need a break from your art-viewing marathon.

Follow us on twitter today, where we’ll be checking in on The Clock throughout the day. If you’re tweeting, make sure to tag us (@LACMA) or use hashtag #theclock so we can see your tweets!

Scott Tennent


This Weekend at LACMA: ArtWalk, Malick Series, Black American Art Roundtable, and More

May 13, 2011

Is it just me, or is everyone starting to get into the summertime mood? It’s time to get out, have fun with friends, stay up late, enjoy yourself. You can do that all weekend at LACMA in a variety of ways—like tonight, with Jazz at LACMA. The Greg Porée Group (GPG) performs for free in front of Urban Light, just steps away from your best dinner/drinks option in the Miracle Mile, Ray’s and Stark Bar.

On the other side of campus, our Terence Malick film series, which began yesterday, continues with The Thin Red Line, his third film, made in 1998. The wartime film stars Jim Caviezel, who will be here in person. Saturday night, travel back twenty years to 1978 for Malick’s masterful Days of Heaven, with Richard Gere and Sam Shepherd.  Production designer and longtime Malick collaborator Jack Fisk will be at the screening.

As mentioned yesterday, this Saturday is the annual Muse ArtWalk—aka free admission to LACMA and all the other museums on the Miracle Mile. All the galleries in the area will be open as well and there are tons of site-specific performances and artworks commissioned specially for ArtWalk.

While you’re here, be sure to stop in to the Bing Theater for a free roundtable discussion celebrating the thirty-fifth anniversary of the LACMA exhibition Two Centuries of Black American Art, including exhibition curator David Driskell (now professor emeritus, University of Maryland), UC Irvine professor Bridget Cooks (who we interviewed earlier this week), and LACMA curators Franklin Sirmans, Austen Bailly, and Brooke Davis Anderson. We’ve just launched an archival site for this historic exhibition—have a peek, and check in to Unframed again next week for more.

Henry Ossawa Tanner, Daniel in the Lion's Den, 1907-1918, Mr. and Mrs. William Preston Harrison Collection

On Sunday, bring your kids during the day for Andell Family Sundays, or stop in for a free evening concert by The Colburn Chamber Orchestra, performing works by Boccherini, Bernstein, Bartok, and Britten.

And don’t forget: this Monday starting at 11 am, we will be screening Christian Marclay’s The Clock (which LACMA acquired last month) for twenty-four hours straight in the Bing Theater. Admission to this screening is free.

Scott Tennent


This Saturday: Muse ArtWalk 2011

May 12, 2011

This Saturday, Muse Artwalk explores the Miracle Mile with free access to LACMA, the Architecture+Design Museum, the Craft and Folk Art Museum, Page Museum, and Petersen Automotive Museum, along with fifteen participating galleries and a wide range of artist projects. No genre is ignored as ArtWalk plays host to painting, music, dance, readings, film, and conversation. Here are just a few of the highlights:

It’s Cool, I’m Good by Stanya Kahn
“With a complex sound score and over twenty locations featured, It’s Cool, I’m Good reflects a stressed personal state amidst a stressed environment…With an inexorable sense of humor, Kahn’s protagonist is vulnerable and manipulative, narcissistic and generous, steering the viewer as an enthusiastic tour guide all the while offering a non-stop flow of anecdotes, observations, and advice on how to navigate this difficult reality.” —ArtSlant 

Vox Humana Project with LA Art Machine
Founded in January 2010 and based in L.A., Vox Humana is a program of carefully selected live art happenings and mural installations in the U.S. and abroad by celebrated street artists and muralists from around the world. Artists participating at ArtWalk include Mear One, Jamie Johnson, John Park, and Hans Haverson, plus Jean Wells installs her Urban Fruit Tree.

John Park and Hans Haveron

A Gallerina’s Guide by Heidi Duckler Dance Theatre
In addition to site-specific dance performances all over LACMA’s campus, A Gallerina’s Guide is a living art show and interactive exhibit that explores real opportunities for engagement with contemporary art. With the audience listening on infrared headsets, live performers in oversized frames expose the mysteries of the Nude, the action of Still Life and the kaleidoscope of Color Field.

A Gallerina's Guide

Scott Benzel  Concentric Circles (After David Smith)
Benzel’s performance/installation is for 3 (infinite) lock groove lacquers and a string trio. Benzel is joined by Heather Lockie and Cassia Streb on viola along with Jessica Catron on cello. Taking place inside the Resnick Pavilion, the ethreal sound will give the exhibition a cinematic quality.

This is just a small taste of everything planned for this Saturday’s free extravaganza. For the complete list of museums, galleries, and programs, visit lacma.org/muse.

Jason Gaulton, Muse Coordinator


Time Passes Before Your Eyes

May 11, 2011

As you may have read, last month we acquired The Clock, Christian Marclay’s 24-hour film collage. This Monday, starting at 11 am, we will be screening The Clock in the Bing Theater for 24 hours straight—for free!—for the first time anywhere on the West Coast. (Beginning Friday, May 20, The Clock will be on view during regular museum hours in a gallery setting.)

Christian Marclay, The Clock (still), 2010, purchased with funds provided by Steve Tisch through the 2011 Collectors Committee, © Christian Marclay, photo courtesy Paula Cooper Gallery, New York

Watching The Clock is like watching the clock—quite literally. The sudden realization when you’re observing this work that you don’t need to keep checking your own watch because the visuals and audio on screen are actually in real time hits you hard. “I’ll just stay five minutes,” you tell yourself, and then you get sucked in.

What’s that actor’s name? Oh, I know this movie! I remember this TV series! You’re hooked.

“I’ll stay a few minutes longer,” and the minutes go by… then quarter hours, and then hours go by without you really realizing—except that you do, because the time is constantly being thrust in your face, in full sight and sound, on the screen in front of you. Time seen on a clock face, the chime of a timepiece, the passing of time. Time flies by. It’s visually compelling and at the same time frustrating, because you want to stay but you know you have to leave—there are things to do, places to go, work to be done. But the opportunity to see as much as you can of this visual extravaganza of film and television clips ensnares you, and you feel compelled to stay and see as much as you can. That is, if you have the time to spare. Time waits for no one.

Miranda Carroll, Director of Communications


Medieval Mourners

May 10, 2011

The Mourners: Tomb Sculptures from the Court of Burgundy just opened last weekend. The installation is beautiful, with spotlit alabaster figures set on a platform in a dramatic darkened gallery. The figures are not commonly seen in such a minimalist setting; they come from the lower register of the elaborate tomb of John the Fearless, one of the powerful 15th century dukes of Burgundy. The tomb is now a centerpiece of the Musee des Beaux-Arts de Dijon. The gallery that houses it is being renovated, so the figures have been on the road for over a year. Isolated as discrete works of art, the sculptures (each about sixteen inches high) stand out like miniature portraits of distinct personalities who retain their individuality despite the passage of more than five and a half centuries.

Each figure is captured in an apparently spontaneous posture of grief. Some wipe their tears, while others bow their heads, sing, or wring their hands.

Jean de la Huerta and Antoine le Moiturier, Mourner with Head Uncovered, Wiping His Tears on His Cloak with His Right Hand, no. 55, 1443-56/57, alabaster. Musee des Beaux-Arts, Dijon. Image FRAME 2010. Photography by Jared Bendis and Francois Jay.

They are so detailed that even those who appear to hide under their cloaks have finely carved facial features if you bend down and peek under their hoods.

Mourner with Cowl Pulled Down, Right Hand Raised, Left Hand Holding a Book in a Flap of His Cloak, no. 78, 1443-56/57, alabaster, Musee des Beaux-Arts, Dijon. Image FRAME 2010. Photography by Jared Bendis and Francois Jay.

The French Regional American Museum Exchange (FRAME) has produced an extraordinary online collection of photographs of the mourners. Before the figures were transported to the US for exhibition, they were documented in more than 14,000 high res and stereo 3D photographs. Mourner no. 64 is my favorite, caught in a very personal gesture, pinching his nose as if to stop his tears. You can view the images full screen, zoom, rotate them, and select various angles.

Curator J. Patrice Marandel talks about the poignant humor of the mourners, the artists who carved them, and the installation at LACMA:

Amy Heibel


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