Tag Archives: LACMA

JOHN BALDESSARI

John Baldessari’s art is cheerfully laconic. It strikes this special tone, broadcast as if on its own frequency, from its beginnings until the present day. Is there a method to it? And, if so, what does it consist of? The simpler answer points to an ever-surprising change in perspective that Baldessari offers his viewers. A slightly shifted view of art, the world, and its image…

But there is more: a daring intellectual feat in his approach, precisely because it includes acting stupid. Baldessari assumes a calculated risk that he will not be understood fully, but with the aim of deriving intellectual profit from that. Bice Curiger*

*Bice Curiger, “Doubly Detached, Doubly Immersed,” in John Baldessari: Pure Beauty (Los Angeles: Los Angeles County Museum of Art, 2009).

John Baldessari was born in National City, California, in 1931 and died on January 2, 2020 at home in Venice Beach.

John Baldessari, from top: Goya Series: And, 1997, courtesy and © the Museum of Modern Art, New York, SCALA/Art Resource, New York; artist unknown [John Baldessari], late 1960s, reproduced in David Antin’s article “John Baldessari,” Studio International, July–August, 1970; Beach Scene/Nuns/Nurse (With Choices), 1991, courtesy Marian Goodman Gallery; Throwing Three Balls in the Air to Get a Straight Line {Best of Thirty-Six Attempts) (detail), 1973, courtesy and © the estate of the artist, Giampaolo Prearo Editore S.r.L.,Galleria Toselli, Milan, and the Research Library, Getty Research Institute, Los Angeles; The Overlap Series: Jogger (with Cosmic Event), 2000–2001; Wrong, 1966–1968, courtesy of Museum Associates, LACMA and Marian Goodman Gallery; Eight Soups: Corn Soup, 2012, (borrowed an image from Henri Matisse, Goldfish and Sculpture, 1912), courtesy of Gemini G.E.L.; Beethoven’s Trumpet , photograph by Andreu Dalmau; Three Red Paintings, 1988, photograph courtesy and © Douglas M. Parker; Tips for Artists Who Want to Sell, 1966–1968, courtesy of the Broad Art Foundation, Santa Monica; Various Shadows, 1984, courtesy of Jim Tananbaum/Prospect Ventures. Images courtesy and © the estate of John Baldessari and Marian Goodman Gallery.

ERIC FISCHL AND STEPHEN SHORE IN CONVERSATION

On the occasion of Eric Fischl’s first local gallery exhibition of new paintings in twenty-five years and Stephen Shore’s first Los Angeles show in nearly fifteen, Sprüth Magers presents the artists in conversation with LACMA curator Britt Salvesen.

Fischl’s COMPLICATIONS FROM AN ALREADY UNFULFILLED LIFE and Shore’s eponymous show are both on view at the gallery through the end of August.

ERIC FISCHL, STEPHEN SHORE, and BRITT SALVESEN in conversation

Wednesday, June 19, at 7 pm.

Sprüth Magers

5900 Wilshire Boulevard, Los Angeles.

From top: Stephen Shore (2), Los Angeles, California, February 4, 1969, silver gelatin print, and New York, New York, March 11, 2018, printed 2019, pigment print; Eric Fischl (2), Untitled, 2018, and The Artist’s Assistant, 2018; Stephen Shore (2), Los Angeles, California, February 4, 1969, silver gelatin print, and Granite, Oklahoma, July 1972, printed 2012, chromogenic color print; Eric Fischl (2), The Exchange, 2018, and Promise of More to Come, 2019. Shore images © Stephen Shore, courtesy 303 Gallery, New York, and Sprüth Magers. Fischl images © Eric Fischl, courtesy Sprüth Magers.

ELEANOR ANTIN IN CONVERSATION

Eleanor Antin will join LACMA director Michael Govan for a talk about the artist’s landmark performance and intervention work over the last half century.

The talk is in conjunction with Antin’s exhibition TIME’S ARROW, which includes both the 1972 and 2017 iterations of her Carving series.

ELEANOR ANTIN and MICHAEL GOVAN in conversation

Tuesday, June 18, at 7:30 pm.

Bing Theater, LACMA

5905 Wilshire Boulevard, Los Angeles.

Eleanor Antin, from top: Carving: A Traditional Sculpture (detail, first day of 1972 performance, July 15, 1972, 8:43 am, 125.5 lbs), 1972, photograph; Carving: 45 Years Later (detail, first day of 2017 performance, March 7, 2017, 9:25 am, 130.6 lbs), 2017, photograph; The King, 1972, video; 100 Boots at the Bank , from the series 100 Boots, a set of 51 photo-postcards, 1971. Images courtesy and © Eleanor Antin and Ronald Feldman Gallery, New York.

EMPTY METAL

“A trio of musicians desert their sincere but ultimately uninspired creative endeavors after answering an inexplicable call to action by time-traveling revolutionaries. What unravels is a provocatively efficient assassination plot that reveals the status of the artist for what it is, a particle embedded within some of the sustained injustices of our time: wanton surveillance, drone warfare, toxic masculinity within libertarian ranks, and the enduring inaccessibility to a secure sense of culture, place, and identity by displaced populations living in the United States.

“With the intention of creating a science fiction film set one week into the future, EMPTY METAL is an unselfconscious projection of the furthest political imagination stretched and shared by its directors.”*

LACMA‘s one-night-only presentation of EMPTY METAL—directed by Bayley Sweitzer and 2019 Whitney Biennial artist Adam Khalil—is co-presented with The Autry Museum of the American West, which will screen Khalil’s INAATE/SE/ on Friday, June 7, at The Autry.

“In politics, you’re either a terrorist or a freedom fighter… [With EMPTY METAL, we attempted to] create a Trojan horse for ideas of insurrection.” — Adam Khalil, at LACMA

EMPTY METAL*

Thursday, June 6, at 7:30 pm.

Bing Theater, LACMA

5905 Wilshire Boulevard, Los Angeles.

See Pamela Cohn on Empty Metal.

From top: Pvssyheaven in Empty Metal (2018); Sam Richardson; King Alpha; Austin Sley Julian; Richardson,; Sley Julian; Alpha and company. Screen images courtesy the filmmakers and Steady Orbits.

CHARLES WHITE AT LACMA

The magnificent Charles White retrospective is up for one more month at LACMA, the last stop of its national tour.

In addition to the beautifully designed exhibition in the museum’s Resnick Pavilion, this weekend LACMA is presenting a pristine 35mm screening of ANNA LUCASTA—the 1958 film starring Eartha Kitt and Sammy Davis Jr., featuring paintings by White.

And in June there will be a final Artist Walkthrough, with muralist and Charles White student Kent Twitchell.

CHARLES WHITE—A RETROSPECTIVE

Through June 9.

ANNA LUCASTA

Sunday, May 19, at 1 pm.

KENT TWITCHELL artist walkthrough

Friday, June 7, from 4 pm to 5 pm.

LACMA

5905 Wilshire Boulevard, Los Angeles.

Charles White—A Retrospective, 2019, LACMA, from top: Wanted Poster Series #15, 1970, lithograph on paper, LACMA; Harriet, 1972, oil wash on board, Warfield Center at the University of Texas, Austin; Banner for Willy J., 1976, oil on canvas, Wyatt Collection; Harvest Talk, 1953, charcoal, Wolff crayon, and graphite, with stumping and erasing on ivory wood-pulp laminate board, Art Institute of Chicago; J’accuse #7, 1966, charcoal on paper, private collection; Bessie Smith, 1950, tempura on panel, private collection; The Embrace, 1942, tempura on Masonite, LACMA; War Worker, 1945, tempura on board, Montclair Art Museum; Soldier,1944, tempura on Masonite, Huntington Library; Young Farmer, 1953, linoleum cut on paper, Museum of Fine Arts, Boston; Untitled (Bearded Man), circa 1949, linoleum cut on paper, Museum of Modern Art, New York. Images courtesy and © the Charles White Archives, LACMA, and the lending collectors and institutions.