{ Blues for Smoke @ The Geffen Contemporary at MOCA }

October 21, 2012–January 7, 2013  The Geffen Contemporary at MOCA

Curated by MOCA’s Bennett Simpson, Blues for Smoke will launch in October through January, before traveling to the Whitney Museum of American Art in New York, where it will be presented February through April 2013.

The Museum of Contemporary Art is proud to present Blues for Smoke, a major interdisciplinary exhibition exploring a wide range of contemporary art, music, literature, and film through the lens of the blues and “blues aesthetics.” Turning to the blues not simply as a musical category, but as a web of artistic sensibilities and cultural idioms, the exhibition features works by more than 50 artists from the 1950s to the present, including many commissioned specifically for this occasion and others never before shown in Los Angeles, as well as a range of musical, filmic, and cultural materials. Blues for Smoke was developed over several years by MOCA Curator Bennett Simpson, in close consultation with artist Glenn Ligon.

“Though it takes up ideas from the past, this exhibition is pitched at the present moment,” says Curator Bennett Simpson. “The questions and topics the blues makes us think about, from ambivalent feelings to form as cultural expression, are fundamental to recent art. As I see it, the blues is about anticipation.”

Blues for Smoke will be installed in 24,000 square feet of gallery space at The Geffen Contemporary at The Museum of Contemporary Art, Los Angeles. In addition to the many artworks that feature music or have audio components, the exhibition will present a range of listening posts and video viewing stations, as well as contextual displays of books, photographs, and other documentary material.

ARTISTS  Jean-Michel Basquiat, Romare Bearden, Gregg Bordowitz, Mark Bradford, Kamau Brathwaite, Ed Clark, Roy DeCarava, Beauford Delaney, Jeff Donaldson, Stan Douglas, Jimmie Durham, Melvin Edwards, William Eggleston, Charles Gaines, Renée Green, David Hammons, Kira Lynn Harris, Rachel Harrison, Barkley L. Hendricks, Leslie Hewitt, Martin Kippenberger, Jutta Koether, Liz Larner, Zoe Leonard, Glenn Ligon, Kerry James Marshall, Barbara McCollough, Dave McKenzie, Rodney McMillian, Mark Morrisroe, Matt Mullican, Senga Nengudi, Kori Newkirk, Lorraine O’Grady, John Outterbridge, Adrian Piper, William Pope.L, Jeff Preiss, Amy Sillman, Lorna Simpson, Henry Taylor, Alma Thomas, Bob Thompson, Wu Tsang, Kara Walker, Carrie Mae Weems, William T. Williams, Martin Wong.

via The Curve ,MOCA Blog

{ MOCA, Los Angeles - 2012 FRESH Auction }

Support MOCA at the 2012 FRESH Auction. You’ll have the opportunity to bid on hundreds of works by emerging and established artists, including John Baldessari, Joe Biel, Chaz Bojorquez, Shepard Fairey, Elliott Hundley, Liz Larner, William Leavitt, Faris McReynolds, Kim McCarty, Matt Mullican, Ed Moses, Catherine Opie, Sterling Ruby, Ed Ruscha, Cindy Sherman, and Rena Small. Enjoy music from a live band and L.A.–based DJ Mor Elian, drink, bid, and dig great art.



MOCA FRESH Auction Saturday, March 24, 2012 6-10pm Bidding closes promptly at 8pm MOCA Grand Avenue

FREE PUBLIC PREVIEWS March 17–18, 11am –6pm March 19, 11am–5pm March 20–21, 11am–3pm March 22, 11am–8pm March 23, 11am–5pm

{ Glenn Ligon: AMERICA at LACMA }

Glenn Ligon: AMERICA is the first mid-career retrospective of Ligon’s work in the United States. The exhibition includes unknown early material and the reconstruction of seminal bodies of work such as the Door paintings, the coal dust Stranger canvases and the Coloring series.

Ligon was born in the Bronx in 1960 and continues to live and work in New York. He has pursued an incisive exploration of American history, literature, and society across a body of work that builds on the legacies of modern painting and more recent conceptual art, working in a variety of media, including painting, neon, installation, video and print. In the late 80s and early 90s, Ligon became known for work that explores race, sexuality, representation and language. Ligon’s Notes on the Margin of the Black Book addressed his complicated relationship as a black gay man to the work of Robert Mapplethorpe and shortly thereafter he created the iconic black and white text-based paintings that referenced the writings of noted African American authors James Baldwin, Ralph Ellison and Zora Neale Hurston.

Glenn Ligon: AMERICA was organized by the Whitney Museum of American Art, New York.

The Los Angeles presentation was made possible in part by The Maurice Marciano Family Foundation, Peter Morton, and the Steven F. Roth Family Foundation.


William Eggleston Museum Planned

"At this writing I have not yet visited Memphis, or northern Mississippi, and thus have no basis for judging how closely the photographs in this book might seem to resemble that part of the world and the life that is lived there," begins John Szarkowski, the late Museum of Modern Art photography curator, in his introduction to William Eggleston's "Guide" in 1976. Soon, lovers of Eggleston can do what Szarkowski had not: view the Memphis native's images of his hometown, in his hometown. The Commercial Appeal reports that plans are underway for a $15 million, 15,000-square-foot private William Eggleston museum in Memphis.

William Eggleston with his signature Leica / Photograph by Maude Schuyler Clay

Preparation for the new institution has been spearheaded by New York-based intellectual property lawyer Mark Crosby, who rallied a group of philanthropists around the idea. Crosby has already raised $5 million in pledged start-up funds. "They're not creative types, or even fans of Eggleston especially," Crosby told the Commercial Appeal of the anonymous donors, "but they're Memphians who have a public mission."

The museum is expected to open in 2013, in one of three midtown Memphis sites: Overton Park, Overton Square, or the Crosstown neighborhood. It will house the offices of the Eggleston archive -- overseen by the Eggleston Trust, which is headed by the photographer's son Winston -- as well as gallery spaces to show the photographer's work and the work of other contemporary artists. In exchange for storing and maintaining the archive, the museum will have the research and display rights to more than 60,000 photographs.

"At first I thought it was some kind of vague idea," Winston Eggleston told the Commercial Appeal of being approached about the museum. "I didn't realize that it was such a serious thing." With Eggleston's legacy ever more firmly cemented in the history of photography and art -- particularly after his expansive 2008 retrospective at the Whitney, which toured the country -- it is easy to see why other Memphians are giddy about reclaiming a local hero. "You've got the world leader, the man who really placed color photography among the acceptable forms of art... not through elaborate, hard-to-understand subject matter, but by capturing the everyday," Memphis mayor A C Wharton said. "Eggleston truly is Memphis."

According to Szarkowski, however, when it comes to Eggleston's photographs, while they may be of Memphis, they are not Memphis. "It would be marvelous to think that the ordinary, vernacular life in and around Memphis might be in its quality more sharply incised, formally clear, fictive, and mysteriously purposeful than it appears elsewhere," the curator continues in his essay -- but of course this is not the case. The new museum will offer the unique opportunity to observe the gap -- between reality and its sharply focused photographic representation -- firsthand.

VIA - Huffington Post / VIA - ARTINFO.com

Ousmane Sembene's 'African Stories,' 9 Feature Films By The 'Father Of African Cinema'

WHO: Ousmane SembeneWHAT: African Stories- Film Retrospective WHEN: November 5- November 20, 2010 WHERE: WALKER ART CENTER Walker Cinema, 1750 Hennepin Ave. Minneapolis, Minnesota

WHY: Africa, a continent full of stories both old and new, has over the last half century been affected by enormous political, social, and ecological change. Since shedding its long period of colonialism, it has seen newly formed governments, revived countries, and tribal alliances placed under severe pressure by conflicts over resources, foreign intervention, social customs, and religious differences. Perhaps no filmmaker captured these transformations better than Ousmane Sembene, the Senegalese artist who turned his own literature into film and became known as the father of African cinema.

Black Girl (1966)

A Senegalese maid employed in the Cote d’Azur is confined to the kitchen and treated like an object—forced to defend her humanity against a new form of slavery. Sembene’s assured debut, shot in arresting black and white, screened at the Cannes Film Festival and won the Prix Jean Vigo. 1966, 35mm, in French with English subtitles, 65 minutes.

Xala (1975)

Sembene’s comic portrait of the new Dakar bourgeoisie was chosen as one of the British Film Institute’s 100 best films. This brilliantly funny, ironic satire goes sour when it is revealed that businessman El Hadji Abdou Kader Beye got his start by swindling his own family. “A masterpiece considered one of the best films to come out of Africa.” (Time Out New York). 1975, 35mm, in French and Wolof with English subtitles, 123 minutes.

Moolaadé (2004)

Fatoumata Coulibaly plays Collé, a courageous mother in a small Burkina Faso village who refused “circumcision” (genital cutting) for her daughter, and subsequently is asked for help by girls who want to be spared. When Collé sets up a magical line of protection for the girls at her home, the village descends into chaos. Winner of Cannes’ Un Certain Regard prize, Sembene’s last feature was an unusual excursion outside of Senegal.

Mandabi (1968)

An unexpected money order appears to be a boon to Ibrahima Dieng and his large family—but Dieng’s attempts to cash it make for a ruefully comic tour of the bureaucracy in a newly independent Senegal. “Displays a controlled sophistication in the telling that gives it a feeling of almost classic directness and simplicity” (New York Times). 1968, 35mm, in Wolof with English subtitles, 90 minutes.

Ceddo (1977)

Slave traders, Christian missionaries, and proselytizing Muslims come together at a mythical, unspecified moment of West African history, as a Wolof princess resists a powerful imam who forcibly converts an entire village. “Ceddo” refers to a caste that refuses conversion to Islam or Christianity. This film, banned in Senegal, incorporates gorgeous costumes and music from Cameroonian jazzman Manu Dibango. 1977, 35mm, in French and Wolof with English subtitles, 120 minutes.

Emitai (1971)

In 1942, Vichy French soldiers stationed in Dakar arrive in southern Senegal to confiscate rice from the fiercely independent Joola people, but the women have hidden the crop. Based on historical events, including a massacre and the deportation of Queen Aline Sitoé Diatta (the “Joan of Arc of Senegal”), this is the only full-length feature in the Joola language. “Sembene does not grab you; he engages you” (New York Times). 1971, 35mm, in French and Joola with English subtitles, 103 minutes.

Faat Kiné (2000)

A successful Dakar businesswoman and middle-aged single mother, Faat Kine still hopes to find love, despite terrible treatment by men in her life. She and her equally independent friends meet up to chuckle at their lovers’ defects in a film that “draws the audience slowly into the rhythms of another world” from the “adroit and elegant storyteller” (New York Times). 2000, 35mm, in French and Wolof with English subtitles, 118 minutes.

Guelwaar (1992)

A missing body delays a Christian funeral—and launches a satire involving religious conflict and still-controversial objections to dependency on foreign aid. When powerful elites fail, Sembene finds genuine leaders in surprising places: a parish priest, a local cop, and a village imam. “A powerful, pointed, and multilayered political satire” (New York Times). 1992, 35mm, in French and Wolof with English subtitles, 115 minutes.

Camp de Thiaroye (1987)

African troops were essential to Charles de Gaulle’s Free French forces, which helped to liberate France after its surrender to Hitler. But upon victory, de Gaulle wanted to see only white faces marching toward the Arc de Triomphe—African soldiers were rapidly demobilized, and some were detained in a concentration camp–like facility at Thiaroye. Sembene is mordantly witty about postwar racial identities: American soldiers are welcomed at a whites-only brothel; and an African-American sergeant from Detroit needs a black Frenchman to explain Langston Hughes and Charlie Parker. With cooperation from Tunisia and Algeria, the entire film was completed on the African continent. 1987, 35mm, in French and Wolof with English subtitles, 157 minutes.


{ william eggleston }

I met William Eggleston last night at LACMA and it was cool. The show is breathtaking - a must see.

William Eggleston: Democratic Camera—Photographs and Video, 1961–2008

William Eggleston is widely recognized as a master of color photography, a poet of the mundane, and proponent of the democratic treatment of his subjects. His inventive use of color and spontaneous compositions profoundly influenced the generation of photographers that followed him, as well as critics, curators, and writers concerned with photographs.

This exhibition includes more than two hundred photographs, the artist's little-known video work Stranded in Canton, his early black-and-white photographs of the sixties, and the vivid dye-transfer work of the early seventies, as seen in the Museum of Modern Art's landmark catalogue of 1976, William Eggleston's Guide. Highlights from the last twenty years includes selections from the Graceland series and The Democratic Forest, Eggleston's great, dense anthology of the quotidian. The exhibition includes a special selection of recent work taken in Los Angeles. LACMA's curator of the exhibition is Edward Robinson, Wallis Annenberg Photography department.

William Eggleston: Democratic Camera was organized by the Whitney Museum of American Art, New York, in association with Haus der Kunst, Munich. The Los Angeles presentation was made possible by LACMA's Wallis Annenberg Director's Endowment Fund, The Jonathan Sobel & Marcia Dunn Foundation, the Eggleston Artistic Trust and Cheim & Read.

Exhibition-related programs are supported in part by a generous gift from the Photographic Arts Council and by the Ralph M. Parsons Fund.

Image: William Eggleston, Algiers, Louisiana, c. 1972, from William Eggleston's Guide, 1976. Dye-transfer print; 16 13/16 x 11 in. (42.5 x 27.9 cm). The J. Paul Getty Museum, Villa Collection, Malibu, California. © Eggleston Artistic Trust, courtesy Cheim & Read, New York.


MOCA presents Double Standard



Join MOCA and the Southern California community for a special tribute to acclaimed actor, film director, and artist Dennis Hopper at the premiere of Dennis Hopper Double Standard. Curated by Julian Schnabel, Dennis Hopper Double Standard is the first American museum survey exhibition to showcase the remarkable body of work Hopper produced in a formidable career spanning over half a century.

Special DJ set by Eddie Ruscha

FREE FOR MOCA MEMBERS* $10 general admission at the door, no student/senior discounts Cash bar. Self-parking in surrounding lots. Due to popularity, there may be wait times to enter the event and view the exhibition.

*Skip the lines! Present your MOCA membership card to receive free admission for two and priority check-in. Join MOCA at the event and receive a 10% discount on your annual membership! Offer only valid on-site on all levels from Individual ($75) through Art Advocate ($650).

IMAGE: Double Standard, 1961, gelatin silver print, 16 x 24 in., © Estate of Dennis Hopper, courtesy Estate of Dennis Hopper and Tony Shafrazi Gallery, New York

Dennis Hopper Double Standard is presented by The Eli and Edythe Broad Foundation.

Major support is provided by The Graff Foundation. Generous support is provided by Tod's, Ruth and Jake Bloom, and Peter M. Brant.

In-kind media support is provided by Ovation and KCRW 89.9 FM.

moca: first 30 years {kara walker}

From Collection: MOCA's First 30 Years Website:

GO SEE - COLLECTION: MOCA'S FIRST 30 YEARS! The Museum of Contemporary Art, Los Angeles (MOCA), Collection: MOCA's First Thirty Years, the largest-ever installation of its renowned permanent collection featuring more than 500 artworks by over 200 artists. MOCA’s collection, which numbers nearly 6,000 works dating from 1939 to the present day, is internationally regarded as one of the most important collections of postwar art in the world. While works from the collection have been seen in more than 100 thematic exhibitions at MOCA since the museum's founding in 1979, the new installation will make a significant portion of the collection accessible to the public on a long-term basis. The layout of Collection: MOCA's First Thirty Years will be chronological, providing a comprehensive survey of the past 70 years of contemporary art history. Filling the galleries at both of MOCA's downtown Los Angeles locations, the installation will occupy 24,000 square feet of exhibition space at MOCA Grand Avenue with works dating from 1939 through 1980, and an additional 26,000 square feet of exhibition space at The Geffen Contemporary at MOCA with works dating from 1980 to the present.

Kara Walker About the title—I had wanted to title this “sketch after my Mississippi youth” or “the Excavation” as I pictured it a sort of introduction to the panorama to come. However the image, which is partly borrowed, is of an Indian mound—painted by Mr. J Egan in 1850—is meant to remind the dear viewer of another place altogether, from which we suckle life. Perhaps my rendering is too subtle… 2002

Kara Walker is best known for paper cut-outs, which come out of the tradition of Victorian-era women’s crafts, composed of large-scale black silhouettes of people and objects applied directly to white gallery walls to create nightmarish tableaux about slavery. These works challenge viewers’ ability to identify and construct narratives with only the rough outlines of figures in landscapes, presenting ideas about stereotypes and how assumptions are formulated and perpetuated. About the title is a drawing that depicts the excavation of a grave mound in the antebellum American South. The work links archaeological excavation with the process of confronting cultural memory and mythology; Walker has used “excavation” to refer to the digging up of dormant elements within psychological, emotional, and physical states.

Kara Walker (b. 1969, Stockton, California; lives and works in New York) About the title—I had wanted to title this “sketch after my Mississippi youth” or “the Excavation” as I pictured it a sort of introduction to the panorama to come. However the image, which is partly borrowed, is of an Indian mound—painted by Mr. J Egan in 1850—is meant to remind the dear viewer of another place altogether, from which we suckle life. Perhaps my rendering is too subtle…, 2002 Graphite on paper 66 3/8 x 138 3/4 in. The Museum of Contemporary Art, Los Angeles Partial and promised gift of Manfred and Jennifer Simchowitz