Tag Archives: LACMA


In conjunction with the LACMA exhibition JULIE MEHRETU, join Sadie Barnette and curators Erin Christovale, Cecilia Fajardo Hill, and Essence Harden for the panel discussion FEMINIST PERSPECTIVES ON JULIE MEHRETU.

Rujeko Hockley, co-curator of the exhibition, will moderate.


Monday, March 2, at 7:30 pm.


5905 Wilshire Boulevard, Los Angeles.

Julie Mehretu, from top: Stadia II, 2004, ink and acrylic on canvas, Carnegie Museum of Art, Pittsburgh; Julie Mehretu, exhibition catalog; Retopictics: A Renegade Excavation, 2001, ink and acrylic on canvas, photograph by Erma Estwick. Images courtesy and © the artist, the photographers, Carnegie Museum of Art, and the Whitney Museum of American Art.


The most interesting thing for me now is to make sure that the planet is going in the right direction. I keep the words sky, water, earth, fire in my mind. Those are the elements, and that’s what my work has come to be about. That’s what I’m about… When I think about my painting and the political and the planet, it’s about the hope that it’s not too late and that people can still get together and in whatever small way make a difference that adds up. As far as physical strength and ability goes, I’m very weak, of course, because of my age, but I still can paint, I can still draw. And so that’s my contribution…

I enjoy life, and I feel I’ve been different people. I was a different person, for example, when I did these very sexy drawings and paintings of my body, looking at my body. [Laughs] It’s the truth. Sex was all I could think about…

When I used to go to my house in Taos, New Mexico, and go to watch tribal dances, they wouldn’t ask me if I was Indian; they would say, “What tribe are you?” I would say, “Venezuelan.’”And they’d say, “I’ve never heard of that one!”… Within myself, I felt that I was Indian. I felt that very much when I went to the dances, because the tribes had a complete attitude towards the earth, that it was alive. I remember asking why the dances in the winter were different from the summer dances. A lot of stomping went on in the summer. I asked a man about this once, and he said, “Because the earth is asleep, of course, in winter.” Instead of stomping, they drag the foot, so as not to wake the earth. It’s an attitude toward the planet as a living thing.Luchita Hurtado*

Frieze Los Angeles brings Hans Ulrich Obrist to the city for a conversation with Hurtado, who worked with the curator on her retrospective I LIVE I DIE I WILL BE REBORN—which opens at LACMA on February 16..

The discussion will be moderated by Jennifer King, associate curator of Contemporary Projects at LACMA.


Saturday, February 15, at 2 pm.


5905 Wilshire Boulevard, Los Angeles.

*“The Painter and the Planetarian: Luchita Hurtado in Conversation with Andrea Bowers,” Ursula 2 (Spring 2019).

Also see the monograph I LIVE I DIE I WILL BE REBORN.

Luchita Hurtado, from top: Untitled, 1973, oil on canvas and thread, photograph by Brian Forrest; Encounter, 1971, oil on canvas; Untitled, 1975, oil on canvas, photograph by Jeff McLane; Untitled, 1971, photograph by McLane; The Umbilical Cord of the Earth is the Moon, 1977, oil on canvas, photograph by McLane; Untitled, circa 1951, Los Angeles County Museum of Art, photograph by Genevieve Hanson; Untitled, 1972, oil on canvas, photograph by Hanson; Luchita Hurtado—I Live I Die I Will Be Reborn monograph cover, image courtesy and © Walther König.

Photograph of Luchita Hurtado by Man Ray, 1947, courtesy and © Man Ray 2015 Trust/Artists Rights Society, New York / Adagp, Paris. Artwork images courtesy and © Hurtado and Hauser & Wirth.


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.


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.


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 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.


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.