Tag Archives: Hammer Museum

REYNALDO RIVERA AND CHRIS KRAUS

Coincident with the exhibition of his works in the Hammer Museum’s Made in L.A. 2020 biennial, Reynaldo Rivera will join Chris Kraus—who wrote a contributing essay for the forthcoming monograph Reynaldo Rivera: Provisional Notes for a Disappeared City—in conversation as part of ArtCenter’s online Graduate Art Seminar series.

For r.s.v.p. information, see link below.

REYNALDO RIVERA and CHRIS KRAUS

ArtCenter Graduate Art Seminar

Tuesday, November 10.

7:30 pm on the West Coast; 10:30 am East Coast.

A signed limited edition of Reynaldo Rivera—which Includes a 7 x 7 archival pigment print on Canson Platine of Gaby and Melissa at La Plaza, 1993—is available.

Reynaldo Rivera, from top: Performers la Plaza,1992; Made in L.A. 2020: a version, Hammer Museum, installation views (2), photographs by Joshua White / JWPictures.com; Reynaldo Rivera: Provisional Notes of a Disappeared City cover image courtesy and © the artist and Semiotext(e); Chris Kraus; backstage at La Plaza; Gaby and Melissa at La Plaza, 1993. Images © Reynaldo Rivera, courtesy of the artist and Reena Spaulings Fine Art, New York and Los Angeles.

ANDREA BOWERS STUDIO VISIT

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The Hammer Museum and the Museum of Contemporary Art Chicago present a virtual studio visit with Andrea Bowers, who will be joined in conversation by Dr. Kaitlin Reed.

The co-curators of Bowers’ forthcoming survey exhibition—Connie Butler (the Hammer) and Michael Darling (MCA)—will introduce the event. See link below to r.s.v.p.

VIRTUAL STUDIO VISIT—ANDREA BOWERS with KAITLIN REED

Hammer Museum and MCA Chicago

Friday, October 16.

Noon on the West Coast; 2 pm Chicago; 3 pm East Coast.

From top: Andrea Bowers, photograph courtesy and © the artist and the Hammer Museum; Hammer Projects: Andrea Bowers (detail), Hammer Museum, March 11–July 16, 2017, image courtesy and © the artist and the Hammer Museum; Andrea Bowers (2021), edited by Connie Butler and Michael Darling, forthcoming exhibition catalog cover image courtesy and © Hammer Museum, MCA Chicago, and Prestel / DelMonico; PARIS LA 14, the Arts Education Issue, Winter 2016, Andrea Bowers, Educate, Agitate, Organize, 2010, low-voltage LED lights, plexiglas, and aluminum, cover image courtesy and © the artist; Kaitlin Reed, photograph courtesy and © Dr. Reed and the Hammer Museum.

CARMEN ARGOTE — FILM PREMIERE AND EDITION LAUNCH

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The Hammer Museum and Clockshop present the livestream premiere of Carmen Argote’s new short film LAST LIGHT, followed by a Q & A with the artist and the museum’s associate curator Erin Christovale.

Shot during the first wave of the pandemic, LAST LIGHT is a meditation on walking and memory in Los Angeles. Argote describes her walking habit as synonymous with thinking, a way of taking in and digesting the conditions of her environment. Through walking, the artist “deconstructs and reconstructs my ideas, thoughts, and self.” Combining video and still images of an evacuated city with an intimate voice-over, the narrator reflects on feelings of vulnerability and betrayal, and draws on childhood memories to make sense of a city transformed. Over the course of the piece, day moves to night as the artist traces a path from demolition and sickness to envisioning a different world.*

Also this week, the artist will launch her limited edition print BLOAT—a LACE edition guided by artist and printmaker Eric Gero—and join a conversation with LACE chief curator and director of programming Daniela Lieja Quintanar.

See links below for details.

CARMEN ARGOTE—LAST LIGHT*

Tuesday, July 21.

6 pm on the West Coast; 9 pm East Coast.

CARMEN ARGOTE—LACE EDITION LAUNCH and CONVERSATION

Wednesday, July 22.

7 pm on the West Coast; 10 pm East Coast.

Carmen Argote, Last Light (2020), images courtesy and © the artist.

SUSAN SONTAG — FROM THE ARCHIVE

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We felt that this was very exciting. That this film could be something very new. But we couldn’t judge. Because the script didn’t say so much. —Agneta Ekmanner, actor in Duet for Cannibals*

On Friday, two UCLA institutions—the Film and Television Archive and the Library Special Collections—will screen the 2K restoration of Susan Sontag’s directorial debut DUET FOR CANNIBALS and present a selection of the Susan Sontag Papers.

DUET FOR CANNIBALS

Friday, February 7, at 7:30 pm.

Billy Wilder Theater—Hammer Museum

10899 Wilshire Boulevard, Los Angeles.

*Agneta Ekmanner, author’s interview in Benjamin Moser, Sontag: Her Life and Work (New York: Ecco, 2019), 313.

See “Benjamin Moser’s Pulitzer Prize for Biography is a Travesty,” by Nádia Gotlib, Lisa Paddock, Carl Rollyson, and Magdalena Edwards.

From top: Susan Sontag, photograph by Jill Krementz, 1974; Sontag, Duet for Cannibals (1969) (4). Images courtesy and © Jill Krementz, the filmmakers, actors, producers, stills photographers, and Metrograph Pictures.

PAUL McCARTHY IN CONVERSATION

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For the opening weekend of PAUL McCARTHY—HEAD SPACE, DRAWINGS 1963–2019, the artist joins Hammer co-curators Aram Moshayedi and Connie Butler for a conversation about his practice.

PAUL McCARTHY, ARAM MOSHAYEDI, and CONNIE BUTLER IN CONVERSATION

Sunday, February 2, at 2 pm.

Hammer Museum

10899 Wilshire Boulevard, Los Angeles.

Paul McCarthy, Head Space, Drawings 1963–2019, Hammer Museum, February 2–May 10, 2020, from top: Wooden Structure Up Against the Wall, Pour a Bucket of Paint, 1972, graphite on paper; Cooking Show, 2001, charcoal, graphite, and oil stick on paper; Indian Mummy (detail), 1965, ink on newsprint, five parts; Void (Cube), 1978, marker and tape on newsprint; Dead H Crooked Leg Maze, 1979, ink and graphite on paper; Dopwhite, WS, 2009, oil stick, charcoal, and collage on paper; Self-Portrait, 1963, ink on paper. Images courtesy and © the artist, private collectors, and Hauser & Wirth.