This Weekend at LACMA: Common Places Opens, Food Truck Event, Holiday Monday, and More

February 17, 2012

Opening tomorrow is Common Places: Printing, Embroidery, and the Art of Global Mapping, a small exhibition highlighting a common thread between three textiles in LACMA’s permanent collection—Alighero Boetti’s 1979 Mappa, a cigarette silks quilt, and a seventeenth-century valance.

Alighiero Boetti, Mappa, 1979, purchased with funds provided by The Broad Contemporary Art Museum Foundation in honor of the museum’s 40th anniversary

The exhibition joins four others currently on view—Maria Nordman FILMROOM: SMOKE, 1969–Present in the Art of the Americas Building; Ellsworth Kelly: Prints and Paintings in BCAM; and In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the U.S. and California Design, 1935–1960 in the Resnick Pavilion.

Mary Ann DeWeese, for Catalina Sportswear, California Lobster Bikini, Man’s Shirt and Trunks, 1949, collection of Esther Ginsberg/Golyester Antiques, © 2011 The Warnaco Group, Inc. All rights reserved. For Authentic Fitness Corp., Catalina Sportswear

As a special event related to California Design, we asked the chefs from five L.A. food trucks to take inspiration from the exhibition and design special menu items on offer this Saturday. All five trucks will be parked in the lot directly across from Urban Light at Wilshire and Ogden.

  • The Lobsta Truck took inspiration from Mary Ann DeWeese’s 1949 two-piece swimsuit
  • No Tomatoes was inspired by Louis Ipsen and Victor F. Hauser’s stacking storage dishes, designed for J. A. Bauer Pottery Company circa 1932
  • Auntie’s Fry Bread chose a screen designed by Greta Magnusson Grossman
  • King’s Corner BBQ chose the beautifully designed Merle Armitage Book of Food
  • Coolhaus picked the Charles and Ray Eames’s living room, which as you may know was disassembled and then recreated entirely for our exhibition
Eames Living Room, as installed in California Design, 1935–1960: “Living in a Modern Way,” installation view, © 2011 Eames Office LLC (

Sunday offers a variety of free activities to choose from: bring your kids for art-making activites as part of Andell Family Sundays. You might also enjoy a free talk on Gustav Klimt’s famous Portrait of Adele Bloch-Bauer by author Anne-Marie O’Connor, who recently published a book on the story behind painting’s theft by Nazis during World War II and its eventual return, sixty years later following an arduous legal battle. Finally, on Sunday evening you can hear pianist Svetlana Smolina perform pieces by Rachmaninoff, Liszt, Chopin, and more as part of our free Sundays Live concert series.

Lastly, heads up: this is a three-day weekend, which means Presidents’ Day is a Target Free Holiday Monday!

Scott Tennent

Step Across the Line: Mike Kelley, 1954–2012

February 16, 2012

Last week, we installed in the Ahmanson Building two works from our collection by Mike Kelley as a humble tribute to the recently deceased artist. News of Kelley’s passing hit the art scene—here and abroad—with a forceful, unexpected shock. Innumerable artists that I’ve met over the years trace some if not all of their formative interest in art to Kelley. Just this week I spoke with an artist whose allegiance to the written word as a component of her practice was deeply shaped by the artist.

Mike Kelley, Wallflowers, 1988, museum purchase with funds provided by the Awards in the Visual Arts Program

On a personal level, I understand, since it was my experience of Mike Kelley’s Proposal for the Decoration of an Island of Conference Room (With Copy Room) for an Advertising Agency Designed by Frank Gehry (1991), included in the seminal MoCA exhibition Helter Skelter: LA Art in the 90s, that drew me to study art. In the early 2000s, I had the opportunity to work for Kelley’s studio. Perversely, it was from Kelley, the artist whose critical engagement with institutions had started me down a path from art making to curating, that I learned firsthand how to work with museums, galleries, and arts organizations.

Digging into our archive, I came across research for an installation the artist did in 1987 for the LACMA exhibition Avant-Garde in the Eighties. Kelley’s site-specific work was originally conceived to connect the museum’s galleries with the loading dock and break room, where visitors would use a battering ram to knock down an “employees only” door to find LACMA’s hidden art treasures: photocopied cartoons and jokes done or exchanged by the staff.

Mike Kelley, Study for "From My Institution to Yours", 1987, gift of the artist

When LACMA’s administration was unable to accommodate Kelley’s request he revised his plan for the piece. Indicative of the artist’s irrepressible humor and anti-authoritarianism, he inserted the following text on the wall: “I am in solidarity with the workers. Climb over the rampart. Batter down the door. Step across the line that separates brother and sister from brother and sister.”

Kelley’s fierce independence, wit, and intelligence are aspects of his character that many will miss, and yet we do have thirty years of his paintings, performances, videos, sculptures, drawings, installations, and writings that will help us both to remember and keep on battering down those doors.

Rita Gonzalez, Associate Curator, Contemporary Art

High School Interns Visit the Studio of Gronk, Asco Co-founder

February 15, 2012

LACMA’s high school internship program gives students the opportunity to work with artists, learn about the art in our galleries, and lead exhibition tours. Our current crop of interns had the opportunity to visit the studio of Gronk, a founding member of Asco, a Chicano performance and conceptual art group that was the focus of LACMA’s recent special exhibition, Asco: Elite of the Obscure, a Retrospective, 1972–1987, which is currently on view at the Williams College Museum of Art.

Visiting an artist’s studio can be an unforgettable experience, especially if that artist is Gronk. Our high school interns had the rare chance to meet the artist and to view his most recent work.  Like the true collaborator he is known to be, Gronk asked the interns to share their ideas about art and a rich conversation ensued.

Here’s what the interns report:

Gronk in his studio

Jelia Saidi: It was an incredible experience meeting someone with so much experience in the realm of art. Talking to him about jazz was one of the highlights of the trip.

Katarina Palermo: Gronk’s studio was creative and perfectly suited for someone with his artistic mind. He inspired us all to work hard and to invest in our favorite artistic expressions, but he also encouraged us to try many different mediums of art.

Gronk in his studio

Marilyn Liu: When I entered into his loft, my eyes could not stop moving around the room. He had art in almost every corner of his home! The interns and Gronk shared a dialogue between our artistic focuses and his. He was such an engaging storyteller that nearly all of us had lost track of time.

Nicole Staake: I found visiting Gronk’s studio to be incredibly inspiring. I really enjoyed hearing about the origins of his work because I think that is something you cannot get from a museum show. He was incredibly welcoming and expressive, and I feel so fortunate to have had the opportunity to meet him.

Gronk with LACMA’s high school interns in his studio

Azalie Welsh:  Learning about Gronk’s relationship to art set my own artistic drive burning brighter than it had before! Gronk’s fascinating stories of experimentation and exploration opened my eyes to so many new and different possibilities in the art world. Visiting his studio was an amazing opportunity, and something I know I won’t forget.

Nicole Cooke: My favorite story of Gronk’s was about his dislike of sleeping in beds and how he will fall sleep anywhere but on a bed. I thought that was a very interesting quirk and made me start to notice the cushioned napping areas in his studio.

Harry Park: From set designs to glass blowing, Gronk has done almost every medium or form of art.  Gronk not only took interest and learned about our passion but also taught us more about himself by connecting our experiences with his.

LACMA’s high school interns, compiled and edited by Sarah Jesse, Director of Community and School Programs, and Eduardo Sanchez and Ben Shaffer, Education Coordinators

Ellsworth Kelly on Ellsworth Kelly

February 14, 2012

While he was here previewing the exhibition Ellsworth Kelly: Prints and Drawings, we caught a conversation between the artist and curators Stephanie Barron and Britt Salvesen.

In the video, below, Kelly touches on his time in Los Angeles at Gemini G.E.L.; making drawings on the hotel stationery at Chateau Marmont; and his feelings about the current exhibition at LACMA.

Amy Heibel

Q&A with Artist Alison Saar about Her Connection to Watts Towers

February 13, 2012

I recently had the pleasure of interviewing Alison Saar, a sculptor who is a native Angeleno, over tea and coffee at Ray’s on LACMA’s campus. I wanted to ask her about the lifelong relationship she has had with the Watts Towers. She comes from a family immersed in art: Her mother, Betye Saar, is also an artist and her father, Richard Saar, was an art conservator. The family’s connection with the Towers began with her maternal great-grandmother, a resident of Watts, and continued with her mother, who saw Simon Rodia’s work in progress, before being passed along to Alison and even now to Alison’s children.

After discussing LACMA’s Watts Towers conservation efforts, we got around to talking about Alison’s connection to the Towers.

Alison Saar at LACMA

Lucas Casso: Could you tell me a little about your first memories of the Watts Towers?

Alison Saar: Well, actually, one of my first memories of the Towers is one of the first memories I have. I think I was three years old and my mother took myself and my sister [artist Lesley Saar], who must have been five or six, to the Towers. We must have been under one of the main towers, and when we looked up it was like a spider web. It was really wonderful for us as kids that age because it was a kind of micro-world where we could get really up close to things. Back then they let you climb on the towers and touch them, which is probably why we need conservation efforts now.

It had a huge impact on me, and my mother’s grandmother lived in the neighborhood, so my mother actually got to see Rodia working on the Towers. It was always a place we would go to visit on family outings.

LC: Do you have a favorite spot in Watts Towers?

AS: I love when you’re underneath the towers and it creates this whole other view that you can’t experience until you’re within them. But I also like the walls and where Rodia’s signature is, along with the stamps of his tools—that really stands out in my mind. It’s funny though, because you go and you start looking at things you’ve never seen before. You recognize tiles and china from different eras, which I find pretty interesting. The Towers are a coming together of histories by using the objects and refuse from the community, and probably also beyond the community—a testimony to those who have lived in that neighborhood.

The Watts Towers of Simon Rodia, 1921-54, photo © 2011 Museum Associates/LACMA

LC: As an artist who often uses found objects in your work, does Rodia’s use of pottery shards and bottles from the neighborhood resonate with you?

AS: Very much so! I used to live in Laurel Canyon, an area devastated by fires in the 1950s, and every time it would rain, all of this stuff would turn up on the dirt roads – little bits of china and things that we would collect. I feel that Watts Towers let me know, even then as a little kid, that these things could be part of something else later and have the potential for a second life.

LC: How important was Rodia’s status as an art “outsider” with no formal training to your appreciation of the Towers?

AS: Aside from just the aesthetics of them and the notion that he made them from nothing, there’s the idea that he was compelled to make this thing without any sort of qualms as to whether it would fit into any sort of idea of “art” or whether it would be appreciated by anyone. The Towers just arose out of a passion. I think that was really inspirational for me and also caused me to look into other self-taught artists, specifically African American artists, who would just want to make their art out of this passion and vision of making beautiful things. So Rodia was certainly more inspiring than a lot of the artists I was learning about in school.

LC: Do the Towers still influence your work today?

AS: I think it all goes back to the notion of making things out of found objects, and not so much as objects in and of themselves, but sometimes portions or remnants of other objects. I know that it wasn’t Rodia’s intention per se—I think his intention was really to get materials that were beautiful and free—but he created this sort of refuse archive of the area. My interest in that part of the Towers is definitely still prevalent in the work that I do now—the idea that an object has a history and wisdom to it.

The Watts Towers of Simon Rodia, 1921-54, photo © 2011 Museum Associates/LACMA

LC: Say you were able to ask Rodia one question about the Towers. What would it be?

AS: I would actually ask a technical question, like “How the heck did you do that?!” As an artist without any real technical training, it’s really interesting to me in terms of how despite not knowing how to do something, you just figure it out.

LC: What would you say to someone who has never seen the Towers?

AS: You know, the Towers are one of L.A.’s seven-wonders-type things. They have this strange, magical mystery to them – why they’re there, how they were built, etc. You come up to these things that are so otherworldly in this environment with all of these little houses . . . It really does alter your consciousness in terms of why to make art. Everything now is produced for a purpose, and I think it is a really interesting lesson in making things that are true to your heart.

Lucas Casso, Intern

This Weekend at LACMA: Ai Weiwei Closes, Mike Kelley Installation, Sidney J. Furie Double Feature, and More

February 10, 2012

This weekend is your last chance to enjoy Ai Weiwei’s outdoor installation, Circle of Animals/Zodiac Heads. The exhibition seems to have inspired a number of our curators to write Unframed posts: contemporary curator Franklin Sirmans gives some background on the artist and installation of the zodiac heads at LACMA. Stephen Little, head curator of Chinese and Korean art, wrote about the presence of European Jesuits in eighteenth-century China and the creation of the Yuan Ming Yuan, or “Palace of Perfect Brightness,” where the original Zodiac heads that inspired Ai’s piece resided before the palace was destroyed in 1860. Decorative Arts and Design curator Elizabeth Williams used Ai’s sculptures as a jumping-off point to talk about the influence of Chinese motifs in eighteenth-century European decorative arts.

Ai Weiwei: Circle of Animals/Zodiac Heads (installation view), © Ai Weiwei, photo © 2011 Museum Associates/LACMA

Starting Saturday, you’ll find two works on paper by the late Mike Kelley, on view in the Ahmanson Building across from the Art Catalogues store. Kelley, who lived in Los Angeles, was one of the most influential artists of his generation and will be greatly missed. The installation will be up through March 11. Look for an Unframed post on Kelley next week.

Mike Kelley, Wallflowers, 1988, museum purchase with funds provided by the Awards in the Visual Arts Program

Tonight our tribute to 100 Years of Paramount Pictures continues with a double feature of two films directed by Sidney J. Furie. First up is 1972’s Lady Sings the Blues, starring Diana Ross as Billie Holiday and also feature Richard Pryor and Billie Dee Williams. The second feature sees Pryor and Williams teaming up again a year later for the action film Hit!

Bring your family for our weekly—free—Andell Family Sunday activities, which include art-making fun inspired by California Design, 1930–1965

On Sunday afternoon curator Stephen Little will give a talk on authenticity in traditional Chinese painting—how does one tell a fake from the real thing? The lecture is $10 for general admission, $5 for LACMA members, and is free for members of the East Asian Art Council.

The weekend concludes with a free concert by the Lincoln Trio, who will perform works by Beethoven, Lera Auerbach, Stacy Garrop, Jennifer Higdon, and Astor Piazolla for our weekly Sundays Live series.

And of course there are many other exhibitions and installations on view, including In Wonderland, our specially ticketed exhibition on surrealist women artists; Chris Burden’s Metropolis II (check for operating times over the weekend); and the stunning Ellsworth Kelly retrospective.

Ellsworth Kelly: Prints and Paintings (installation view), January 22–April 22, 2012, Los Angeles County Museum of Art, photo © 2012 Museum Associates/LACMA

Scott Tennent

In Wonderland Inspires Artist App

February 8, 2012

Sometimes we invite artists to respond to exhibitions on view at the museum with web-based projects that we can distribute to our virtual audience. In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States caught the attention of Jody Zellen, who created a free app for iPhone and iPad inspired by a popular surrealist parlor game known as the “exquisite corpse.” As the method goes, one person would write or draw on a sheet of paper, fold it, and pass it to the next participant, who would then add their own contribution and so on, resulting in a composition made up of chance and juxtaposition. The app allows users to create a collage in similar fashion, combining images from our collection, from the exhibition, and/or from their own camera roll.

We asked Zellen about the project:

LACMA: Did you identify with the artists in the show?

Zellen: As a woman working with technology, I feel like I’m in a man’s world. And when you think about surrealism, you often think about male artists. In Wonderland is an exhibition of artists claiming that traditionally male territory – rather than being so-and-so’s girlfriend, they are the artist. I was energized by that idea.

LACMA: What are your thoughts about technology as a medium for making art?

Zellen: What’s most exiting for me about working in this whole field is that you can think of what you’re making as an artwork, but it’s an interactive artwork that everybody can download and have a personal copy of. You’re giving it away or giving people a tool to make their own works of art. The potential for sharing is exciting too. The project creates a dialogue.

LACMA: How did you choose the images that are included in the app?

Zellen: The app begins with a selection of twelve images from the show and from LACMA’s collection already loaded. The app allows you to add more images from the museum’s collection if you want—I chose about 100 works of art from LACMA’s free image library representing all different periods and cultures. I also built in the capacity to add images from your own camera roll, or take a new photo with the camera on the phone or iPad and add that to the mix.

LACMA: How did you make this particular example?

Zellen: I have a lot of drawing and paint programs in my iPhone so I was able to pick some of my own drawings and then combine those with works from the exhibition and other random photos from my camera roll.

LACMA: What satisfied you about this project?

Zellen: It allows people to play and learn at the same time. You’re not just combining three sections of different pictures—you’re encountering works of art from all different time periods and cultures, and you can learn about them. Also, I was able to include images of three examples of exquisite corpse drawings from the Art Institute of Chicago to give people a little bit of a history.  You can take the images in the app and mix them up, combine them with, say, an image of your cat or a sunset, and it becomes something magical.

The way it functions mirrors the approach of the artists in the show, in many ways. It’s about play and fun and making uncanny juxtapositions out of things that already exist—taking something that is a given and reading it in a new way, putting a new twist on it.

The images split in fascinating ways and it’s really endless fun in terms of the combinations you can make. You can add and subtract images and come up with limitless variations.

Find out more about the app here.

Amy Heibel

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