![]() Fans of the city’s irreverent new art fair, Paramount Ranch, organised by newbie gallerists Alex Freedman and Robbie Fitzpatrick with artists Liz Craft and Pentti Monkkonen, are waiting to see whether it will become a regular fixture in the art calendar. Across Grand Avenue from MOCA, in Downtown, the distinctive latticed ‘veil’ designed by Diller Scofidio + Renfro for philanthropists Eli and Edythe Broad’s museum is now mostly in place the porous structure will provide a foil to its brash and shiny neighbour, the Frank Gehry-designed 2003 Walt Disney Concert Hall, when the Broad opens in 2015. ![]() Three of LA’s prominent galleries – David Kordansky Gallery, Michael Kohn and Various Small Fires – have chosen 2014 as the year to upgrade to bigger – and/or better-placed – buildings, adding to the gallery district that has emerged in Mid-City around Highland and La Brea Avenues. The idea that LA’s artworld needs fixing from outside is not a popular one, although most would concede that in order to resist stagnation and complacency, a continuous supply of fresh personnel is vital. (Butler has ties to the city, having served as curator at MOCA from 1996 to 2006.) The idea that LA’s artworld needs fixing from outside is not a popular one, although most would concede that in order to resist stagnation and complacency, a continuous supply of fresh personnel is vital. ![]() Two significant new institutional hires – Connie Butler, chief curator at the Hammer Museum, and Philippe Vergne, director of the Museum of Contemporary Art – relocated from the East Coast. We are witnessing an influx of commercial galleries and midcareer artists, many arriving from New York. Los Angeles’s art community is eyeing the eastern horizon with a mixture of anticipation and scepticism. LA was built on imaginative fictions, and they continue to be the city’s major export. A compelling image also totally untrue, it turns out. Someone recently told me that the hundreds of towering Washingtonia palm trees that were planted to prettify the city for the 1932 Olympics are now at the end of their natural lifespans, and will start keeling over any minute. The city is in a perpetual state of emergence and disintegration a young settlement that is already older than people imagined it would ever be when they perched their stilted wooden homes on dusty hillsides in the early decades of the twentieth century. Enterprises bloom, seemingly overnight, and then wither without warning.
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