Tag Archives: Hammer Museum

VOGLIAMO TUTTO AT THE HAMMER

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In conjunction with MARISA MERZ: THE SKY IS A GREAT SPACE, the Hammer Museum presents the panel discussion “VOGLIAMO TUTTO”: POSTWAR ITALIAN ART on Tuesday evening, July 11, at 7:30 pm.

The words in quotes mean “we want it all,” and curator Marianna Vecellio, New Museum artistic director Massimiliano Gioni, UCLA Professor of Italian and gender studies Lucia Re, art historian Jaleh Mansoor, and moderator and Hammer chief curator Connie Butler will discuss the explosion of experimentation in art and design after the Second World War, and “the dynamic contexts that surround Marisa Merz’s work.”*

HAMMER MUSEUM, 10899 Wilshire Boulevard, Westwood, Los Angeles.

*hammer.ucla.edu/programs-events/2017/07/vogliamo-tutto-postwar-italian-art/

Image credit: A Proposito di Marisa Merz, edited by Carolina Italiano, and published by Mousse and MAXXI.

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WARGIRL AT THE HAMMER

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REBEL REBEL—the Hammer’s July concert series—kicks off on Thursday, July 6, at 7:30 pm. Happy Hour starts at 6:30 pm, and the Hammer’s galleries will be open until 9 pm.

WARGIRL—“third world garage pop” out of Long Beach and L.A.—will open the evening, which includes a performance by Grace Mitchell. KCRW DJ Valida will be mixing sounds throughout the night.

HAMMER MUSEUM, 10899 Wilshire Boulevard, Westwood, Los Angeles.

hammer.ucla.edu/programs-events/2017/07/rebel-rebel-grace-mitchell-with-wargirl-kcrw-dj-valida/

Wargirl. Image credit: Wargirl and the Hammer Museum.

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JUDITH HOPF — HAMMER PROJECTS

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HAMMER PROJECTS—JUDITH HOPF, organized by senior curator Anne Ellegood (with MacKenzie Stevens, curatorial assistant), will be up through August 13.

HAMMER MUSEUM, 10899 Wilshire Boulevard, Westwood, Los Angeles.

 

hammer.ucla.edu/exhibitions/2017/hammer-projects-judith-hopf/#gallery_5de844e90bc4369d902cb020bed28b133d6ccab4


Judith Hopf, Brick–Foot, Bricks, cement. 12 1/4 x 30 11/16 x 13 inches (31 x 78 x 33 cm). Image credit: Judith Hopf and Kaufmann Repetto, Milan and New York.

Judith Hopf, Hand 1, 2016 Bricks, cement. 44 7/8 x 24 x 14 1/2 inches (114 x 61 x 37 cm). Image credit: Judith Hopf and Kaufmann Repetto, Milan and New York.

Judith Hopf, Hand 1, 2016
Bricks, cement. 44 7/8 x 24 x 14 1/2 inches (114 x 61 x 37 cm).
Image credit: Judith Hopf and Kaufmann Repetto, Milan and New York.

Judith Hopf, Waiting Laptops, 2016. Collaged paper, lacquer. 39 3/8 x 27 1/2 in. (100 x 70 cm). Image credit: Judith Hopf and Kaufmann Repetto, Milan and New York.

Judith Hopf, Waiting Laptops, 2016.
Collaged paper, lacquer. 39 3/8 x 27 1/2 inches  (100 x 70 cm).
Image credit: Judith Hopf and Kaufmann Repetto, Milan and New York.

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ROGER GUENVEUR SMITH AT THE HAMMER

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“…Supermarkets, assembly-lines, teen-posts firmly shuttered, one after another. Old structures stand and rot in the sun….decrepit schools, poorly funded community services, inadequate health services, jammed low-income housing. It is the fallout that has firmly secured the media’s eye, not the abundant reasons for it.” — Lynell George, 1992*

To mark the 25 years since the uprising in April and May, 1992, the Hammer Museum and Roger Guenveur Smith present Spike Lee’s new Netflix film of Smith’s performance piece RODNEY KING. This is the ninth Smith–Lee collaboration, and is co-presented with the UCLA Department of History, and the UCLA Interdepartmental Program in Afro-American Studies.

Following the screening, there will be a Q & A with Smith—who wrote a performance piece in 1991 that predicted the events of the following year—and UC Santa Barbara Professor Stephanie Batiste. Join them afterwards for a reception in the Hammer’s courtyard, featuring a live DJ set by the film’s composer Marc Anthony Thompson (aka Chocolate Genius).

 

RODNEY KING, Tuesday, May 2, at 7:30 pm. Free.

HAMMER MUSEUM, Westwood, Los Angeles.

hammer.ucla.edu/programs-events/2017/05/rodney-king/

*Lynell George, No Crystal Stair: African–Americans in the City of Angels (New York: Verso, 1992), 4.

Roger Guenveur Smith in his one-man show Rodney King. Image credit: Craig Schwartz, Star-Tribune

Roger Guenveur Smith in his one-man show Rodney King.
Image credit: Craig Schwartz, Star-Tribune

OZU’S YOUTH, BORZAGE’S HEAVEN

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Before assuming his signature style—restrained domestic dramas shot with an often stationary camera set just below waist level—Yasujiro Ozu had a rich silent period made up of comedies, gangster films, and stories of Japanese family life in the twenties and thirties.

This weekend, as part of their series Hollywood and Holy Wood: Silent Connections Between Los Angeles and Japan, the UCLA Film and Television Archive presents a rare 35mm screening of Ozu’s earliest known surviving feature, the silent DAYS OF YOUTH (1929), featuring Ichirô Yûki and Tatsuo Saitô as two college students in love with the same young woman (Junko Matsui).

Cliff Retallick will provide live musical accompaniment.

Also on the bill is the earlier Hollywood production that inspired Ozu’s film—Frank Borzage‘s 7TH HEAVEN (1927), set in Paris. Starring Janet Gaynor (as a reluctant fille de joie) and Charles Farrell (playing a sewer worker who goes off to the Great War), it conveys the soft-focus sense of enchantment so typical of its director’s masterpieces.

DAYS OF YOUTH and 7TH HEAVEN

Saturday, April 15 at 7:30.

Billy Wilder Theater, Hammer Museum

10899 Wilshire Boulevard, Westwood, Los Angeles.

From top: Ichirô Yûki and Tatsuo Saitô in Days of Youth (2, with 7th Heaven poster in second photo); Janet Gaynor and Charles Farrell in 7th Heaven (2). Images courtesy Photofest/Museum of the Moving Image.