Tag Archives: MOCA

CHILL

Relax this Saturday at QUIET MORNINGS—ART x MINDFULNESS, MOCA’s “one-of-a-kind event, pairing a guided meditation exercise with the opportunity to experience Adrián Villar RojasTHE THEATER OF DISAPPEARANCE.”

This morning meditation is a Flavorpill project.

 

QUIET MORNINGS—ART X MINDFULNESS, Saturday, November 11, at 9:30 am.

ADRIÁN VILLAR ROJAS—THE THEATER OF DISAPPEARANCE, through May 13, 2018.

GEFFEN CONTEMPORARY AT MOCA, 152 North Central Avenue, downtown Los Angeles.

moca.org/program/quiet-mornings-art-x-mindfulness

Bottom: Adrián Villar Rojas, The Art of Disappearance. Image credit: MOCA.

Quiet Mornings: Art x Mindfulness @ MOCA
AVR_T-O-D__KUB_0128-34

 

 

LIAM YOUNG ON ADRIÁN VILLAR ROJAS

This week, join architect Liam Young at MOCA Geffen for a discussion about the practice and influences of artist Adrián Villar Rojas and the exhibition ADRIÁN VILLAR ROJAS—THE THEATER OF DISAPPEARANCE.

 

LIAM YOUNG ON ADRIÁN VILLAR ROJAS, Thursday, November 2, at 7 pm.

ADRIÁN VILLAR ROJAS—THE THEATER OF DISAPPEARANCE, through May 13, 2018.

GEFFEN CONTEMPORARY AT MOCA, 152 North Central Avenue, downtown Los Angeles.

moca.org/program/liam-young-on-adrian-villar-rojas

moca.org/exhibition/adrian-villar-rojas-the-theater-of-disappearance

Adrián Villar Rojas in 2013. Photograph by Doris Kessler.

Adrián Villar Rojas, 2013

Villar-Rojas-Adrian-2013_Photo-Doris-Kessler-980x653

ARTHUR JAFA IN LOS ANGELES AND LONDON

“There’s just a certain genius to accompaniment, how you actually support other people being expressive, and that’s the jazz thing again. I keep coming back to that: listening and responding, but responding in a way where you still allow the person a certain kind of platform. To a certain degree it goes into this whole space that I circle back on so often, this “usher” work. How do you function as a platform for other people’s expression or articulation, which I think everybody’s sort of doing all the time in jazz. They cede the floor to one another. So I always definitely saw DREAMS ARE COLDER THAN DEATH as usher work. It was always about creating a platform for black folks—as I say, uncommon black folks—and for specialists to voice their feelings about where they were but ostensibly where we are, collectively.” — Arthur Jafa*

As part of the MOCA exhibition ARTHUR JAFA: LOVE IS THE MESSAGE, THE MESSAGE IS DEATH, curated by Helen Molesworth, the museum and Los Angeles Film Forum at MOCA present a screening of Jafa’s 2013 documentary DREAMS ARE COLDER THAN DEATH.  The film will be introduced by Saidiya Hartman, Professor of English and Comparative Literature at Columbia University, who will participate in a post-screening Q & A.

 

ARTHUR JAFA: DREAMS ARE COLDER THAN DEATH, Thursday, May 11, at 7 pm.

THE GEFFEN CONTEMPORARY AT MOCA, 152 North Central Avenue, Little Tokyo, Los Angeles.

moca.org/program/los-angeles-filmforum-at-moca-presents-arthur-jafas-dreams-are-colder-than-death

 

ARTHUR JAFA: LOVE IS THE MESSAGE, THE MESSAGE IS DEATH, through June 12.

THE GEFFEN CONTEMPORARY AT MOCA, 152 North Central Avenue, Little Tokyo, Los Angeles.

moca.org/exhibition/arthur-jafa-love-is-the-message-the-message-is-death

 

Jafa’s first solo show in London will open next month at the Serpentine Sackler Gallery. ARTHUR JAFA: A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS, curated by Amira Gad, “will take the form of a site-specific installation at the Serpentine Sackler Gallery, while also expanding beyond the gallery to the peripheries of the city with a series of performances, screenings, and events in venues or areas of London that function for Jafa as ‘black sites.’ ”*

 

ARTHUR JAFA: A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS, June 8 through September 10

SERPENTINE SACKLER GALLERY, West Carriage Drive, London

*serpentinegalleries.org/exhibitions-events/arthur-jafa-series-utterly-improbable-yet-extraordinary-renditions

 

*Cassie da Costa, “Interview: Arthur Jafa,” Film Comment, May 8, 2017:

filmcomment.com/blog/interview-arthur-jafa/

Also see: frieze.com/article/arthur-jafa?language=en

Image credit: Arthur Jafa, Love is the Message, the Message is Death

Image credit: Arthur Jafa, Dreams Are Colder Than Death

 

 

KERRY JAMES MARSHALL AND HELEN MOLESWORTH IN CONVERSATION

“[Kerry James] Marshall’s Garden Project series, five enormous canvases produced in 1994 and 1995, is one of the great painting cycles of our period….Before seeing the group installed together, as it is in MASTRY, one might have thought it impossible for contemporary painting to simultaneously occupy a position of beauty, difficulty, didacticism, and formalism with such power. There are really no other American painters who have taken on such a project.” — Carroll Dunham*

On the occasion of the Museum of Contemporary Art exhibition KERRY JAMES MARSHALL: MASTRY, the Colburn School welcomes Marshall and Helen Molesworth—chief curator at MOCA—for a public conversation.

MASTRY—organized by Molesworth, Ian Alteveer (associate curator at the Metropolitan Museum of Art, New York), and Dieter Roelstraete (guest curator for the Museum of Contemporary Art, Chicago)—is Marshall’s first major retrospective exhibition in the United States.

 

KERRYJAMESMARSHALLANDHELENMOLESWORTHINCONVERSATION

Thursday, March 30 at 7 pm.

Zipper Hall, Colburn School, 200 South Grand Avenue, downtown Los Angeles.

 

 

KERRY JAMES MARSHALL—MASTRY

Through July 3.

MOCA Grand Avenue, 250 South Grand Avenue, downtown Los Angeles.

*Carroll Dunham, “The Marshall Plan,” Artforum, January 2017, 184–185.

Kerry James Marshall, Untitled (Painter), 2009, acrylic on PVC, 44 5/8 x 43 1/8 x 3 7/8 inches. Collection of the Museum of Contemporary Art, Chicago. Gift of Katherine S. Schamberg by exchange. Photograph by Nathan Keay © MCA Chicago.

Kerry James Marshall, Untitled (Painter), 2009. Acrylic on PVC, 44 5/8 x 43 1/8 x 3 7/8 inches.
Collection of the Museum of Contemporary Art, Chicago.
Gift of Katherine S. Schamberg, by exchange.
Photograph by Nathan Keay
© MCA Chicago.

 

HORACE TAPSCOTT AT MOCA

“The [Lionel Hampton] band came to Los Angeles for a gig out on Sunset Boulevard. I’ll never forget. After the last performance, we were getting ready to head back to New York. At four o’clock that morning, I got off the bus….I wanted to do something else. I wanted my own thing; I wanted to write it and I wanted to help preserve the music….Nobody knew who wrote the music or cared….This is when I first started thinking about putting the Arkestra together and that’s why I got off the road to start my band, to preserve black music. I wanted to teach and show and perform the music of black Americans and Pan-African music, to preserve it by playing it and writing it and taking it to the community.” — Horace Tapscott*

In the early 1960s, Horace Tapscott (1934 –1999) left the Hampton band and returned to Los Angeles to fulfill his dream. He shifted his practice from the trombone to the piano, and—with the Pan-African Peoples Arkestra—began composing, archiving, and preserving. He was also a community activist who was blacklisted in the ’60s, and during the Watts Rebellion of 1965, the LAPD shut down his performances.

This week, at the Museum of Contemporary Art, filmmaker Barbara McCullough will present her documentary on Tapscott and the history of African-American art, music, and activism in Los Angeles.

HORACE TAPSCOTT: MUSICAL GRIOT, Thursday, March 9, 2017 at 7 pm.

The Call (1978 ) is the second LP by Horace Tapscott's Pan Afrikan Peoples Arkestra. Image: Coverjazz Canalblog

The Call (1978 ) is the second LP by Horace Tapscott’s Pan Afrikan Peoples Arkestra.
Image: Coverjazz Canalblog