Tagged: LACMA

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Art by kids at Charles White Elementary School

I spent an afternoon hanging at LACMA’s gallery at Charles White Elementary School, watching artist Shinique Smith and a crew of kids make a sculpture out of socks. In a city as sprawling as Los Angeles, it’s interesting to see an institution take bits of its collection off-campus in this way. Southern California could use more of this type of cultural decentralization…

Please click through and listen to my story and see pictures over on KCRW’s site!

Calendar. 03.13.13. (Sorta.)

King Kong GIF
I’ve got deadlines coming out of my ears, so listings are rilly thin. (Don’t have time to comb through all the press releases.) But you can entertain yourself by checking out my MOCA-LACMA explainer, as told in animated GIFs.

Photo Diary: Stanley Kubrick retrospective at LACMA.

Two screens playing clips from various Kubrick films flank the entrance to the show. I watched ‘em all.

A vitnage Adler typewriter, an original prop from The Shining. Wanted so desperately to touch it.

A reproduction model of the war room for Doctor Strangelove. Very Frank Lloyd Wright.

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Photo Diary: In Wonderland, surrealist women at LACMA.

Las dos Fridas, 1939, by Frida Kahlo.

Rainy Day Canape, 1970, by Dorothea Tanning.

I Have No Shadow, 1940, by Kay Sage.

LACMA has a beguilingly weird show of surrealist artists up: In Wonderland: The Surrealist Adventures of Women in Mexico and the United States tracks surreal art in North America during the middle years of the 20th century. There’s some freaky dark stuff in the show (including a picture by Lee Miller that show mastectomied breasts on a plate). But it also has its charmingly bizarre parts (love the Tanning stuffed couch piece above). And it includes little-known works by well-known artists. Definitely worth it if you’re looking for something out of the ordinary.

In Wonderland is up through May 6th.

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Calendar. 04.03.12.

Beauty Parlor, Tokyo, c. 1975, by Daido Moriyama. Part of the exhibit Fracture: Daido Moriyama, at LACMA. Opens Saturday, in the Fairfax District. (Image courtesy of LACMA.)

Calendar. 03.28.12.

A rain god vessel, c. 1100-1400 from Mexico, in the Mixtec style, Middle Post Classic period (1200-1400). Part of the exhibit Children of the Plumed Serpent: The Legacy of Quetzalcoatl in Ancient Mexico, at LACMA. Opens Sunday, in the Fairfax District. (© Kimbell Art Museum, Fort Worth, Texas / Art Resource)

  • Fort Lauderdale: On the roster for the Girls’ Club ‘Chick Flick’ screenings: Fur: An Imaginary Portrait of Diane Arbus and I Scream Therefore I Exist, both at Girls’ Club. This Saturday at 7pm, in downtown.
  • NYC: Donald Steele, The Queen and I, at Pocket Utopia (the gallery’s grand re-opening). Opens today at 6pm, on the Lower East Side.
  • Plus: Get the rest of my New York picks over at Gallerina….

Photo Diary: LACMA’s Levitated Mass in transit.

Moving Michael Heizer’s Levitated Mass, somewhere in Rowland Heights, Calif. Yes, this is total boner art. But as the daughter of an engineer, I can’t resist the transport of a 340-ton granite boulder. The L.A. Times has the blow-by-blow. (Photo by C-M. More pix here.)

Photo Diary: Contested Visions at LACMA.

A clay sculpture of an Aztec warrior dating back to the 15th century — the first time this particular piece has been seen in the U.S.

Bring out yer dead: A detail from a painted screen depicts European notions about America, confused-looking unicorns and all. (The full screen is featured after the jump, below.)

A funerary cape crafted from the feathers of Amazonian birds, from 12-13th century Peru. Obtaining feathers, shells and materials from the furthest reaches of their empires was one of the ways that the Incas and Aztecs showed their power.

Because of various deadlines and lots of travel, we’re a little late getting up this photo essay of from LACMA’s exhibit Contested Visions, which explored the ways in which Spanish and indigenous cultures both faced off and fused in the period of colonial rule (from the 15th to the early 19th century). The show, unfortunately, has already come down, but thankfully we have this photo essay from a tour I attended with the show’s curator, Ilona Katzew. If you’re in Mexico City, expect this to land at the Museo de Historia at the Castillo de Chapultepec in July.

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