Loteria!!!

Detail of Death by Tupperware (2005) by Daniela Edburg

Although I love going to the Museum of Latin American Art in Long Beach, sometimes their way of presenting the permanent collection baffles me. The curation seems a bit arbitrary or disconnected to the actual premise of the artwork on view. Since their collection is really impressive, this seems to be a lost opportunity to educate museum visitors as to the actual context or intent of the works displayed.

For instance, their current exhibition is LOTERIA: An Interpretation of MOLAA's Permanent Collection, in which various artworks have been selected to represent certain cards from the game, Loteria, a Mexican game of chance, like Bingo. This is an interesting approach; after all, if one can build a show around landscapes, still life, portraiture, or era, then why not organize based on game iconography? The problem is that the works have no inherent connection to gaming or game symbolism.

Nevertheless, the art in this exhibit is really good. Yeah, the curatorial approach seems scattershot, but the end result is enjoyable. Although organized as representing Loteria cards, this conceptual framework doesn't detract from appreciation of the pieces themselves. And, to be honest, this arrangement is no more arbitrary than setting them up on the wall in accordance with date of production or the letter of the artist's last name.

Detail of Citzij (2006) by Veronica Riedel

So, if there's no harm, then there's no foul. It doesn't really matter if a work is arranged as representative of The Crown or The Drunk or The Moon. As long as the art is accessible, then the curation has done its job.

Sights to Delight

Sculpture of a Feathered Serpent from the Mayan civilization at Chichen Itza, AD 850-1100, on view in LACMA's "Children of the Plumed Serpent" exhibit.

I have been fortunate over the past few weeks in being able to visit various art venues, museums and galleries. Although I plan on writing about a few of them individually, I figured that sharing a few images would make for a fun post.

So, I have recently gone viewing in four of the city's cultural centers: the Miracle Mile, Culver City, Bergamot Station, and Long Beach. It's been a great start to the Summer.

Midnight Ride (2006) by Deborah Kupinsky, on view at the Long Beach Museum of Art


Lots on interesting works on display. I'm especially happy to have visited some venues down in Long Beach, an area that I enjoy but rarely visit.

Modernism in Art and Dance

Angel of the Americas (2005) by Perez Celis, on view at the Museum of Latin American Art

Last weekend, I paid another visit to the Museum of Latin American Art (MOLAA) to see their exhibit, MEX/LA: "Mexican" Modernism(s) in Los Angeles 1930-1985, which I had seen briefly on a previous visit. The works on display were very thought-provoking.

This time, I took a leisurely stroll through the galleries, giving the pieces great consideration, both as regards their individual qualities and as regards their contribution to the overall premise of the show. Curation is often times like constructing an argument, beginning with a thesis statement, then laying out statements and evidence of support. An exhibition ought to be every bit as conceptually tight as a refined work of rhetoric or logic.

The MEX/LA show covers a wide range of artists, styles, and eras, but it succeeds in showing various approaches to the expression of a cultural construction. It's both aesthetically and intellectually engaging.

Portrait of the Artist as the Virgin of Guadalupe (1978) by Yolanda Lopez 

While I was at the show, a live dance performance by the Regina Klenjoski Dance Company took place within the galleries. I didn't know such an event was scheduled. So, it was a pleasant surprise for me. ;-)

Pacific Standard Time: Update #6

Pacific Standard Time logo


Well, it's been a month since my last Pacific Standard Time update, which is why I dropped the "weekly" from the post title. Apparently, that would have been one very long week. ;-)

The reason for my lack of updates is that I wasn't attending enough events to justify the necessity for one. Of course, there were many awesome events in November, but my health difficulties kept me from experiencing them. I'm seriously hoping that I can soon start aggressively covering the art scene again, including the PST events. Moreover, I still haven't visited either the Getty or MOCA, both of which have been on my "to visit" list since October.

It's a frustrating situation.

Nevertheless, I've finally got enough to make for an interesting update. Last weekend, I was able to attend two PST related talks. The Norton Simon Museum had an informative "salon talk" regarding their exhibition, "Proof". And dnj gallery, at Bergamot Station, had an engaging talk featuring photographers, Robbert Flick and Susan Rankaitis. In both cases, the learning about the historical context in which the art pieces were created made for a fascinating topic.

As I finally seem to be making my way back into good health, with the assistance of modern medication, I'm chomping at the bit to get back onto the Art Beat. Woo hoo!!!

Anyways, here are the shows that I've visited since the last update:

The Group Shoe (1962) by Roberto Chavez

Autry National Center

Art Along the Hyphen: The Mexican-American Generation

Peace Press Graphics

CSU Long Beach, University Art Gallery

Peace Press Graphics 1967-1987: Art in the Pursuit of Social Change










 

L.A. Diary excerpt #20 (1967) by Robbert Flick


dnj Gallery (Bergamot Station)

Then and Now












Gypsy Rose by Jesse Valadez

 
Museum of Latin American Art (MOLAA)

MEX/LA "Mexican" Modernism(s) in Los Angeles, 1930-1985







 


Jivaroland Frog Cup (1968) by Ken Price

Norton Simon Museum

Proof: The Rise of Printmaking in Southern California












 

Brillo Boxes (1969) by Andy Warhol


 Pacific Asia Museum

46 N. Los Robles: A History of the Pasadena Art Museum










Enjoy!!!