“The Innocent Collection” feels thin, not adding much to the sources.Įntertainment & Arts Commentary: LACMA erred big-time in unloading the May Co. Occasionally the references overwhelm Rist’s work. Kazimir Malevich’s “ Suprematist Composition: White on White,” a spiritually radical abstract painting from the anything-is-possible aftermath of the 1917 Russian Revolution, mates with the found flotsam of British artist Tony Cragg’s 1980s wall sculptures made from plastic trash washed up on the beach. “The Innocent Collection,” a white wall covered in white plastic, paper and plastic foam objects - plates, packing material, coffee cups, toilet paper tubes, an apron, etc., all donated by MOCA employees - crosses two predecessors. The “Pixel Forest Transformer,” for one, recalls the boxed mirror environments of American artist Lucas Samaras and Japanese artist Yayoi Kusama. References to other art are common in Rist’s work, where art comes from other art. The layered globe nods in the direction of a famous Modernist object - Danish designer Poul Henningsen’s 1958 “artichoke” pendant lamp - then undercuts its dignified public aura with a laugh-out-loud funny dose of down-home intimacy. It’s like used unmentionables in the wash hung out to dry. A viewer is unobtrusively seduced into being what amounts to a Peeping Tom, peering into a stranger’s windows.Ībove the museum’s front desk, the nine tiers of a big chandelier in the form of a globe are lined with hanging underpants.
GEFFAN MOCA MUSEUM WINDOWS
In the first gallery, the vivid videos brightly playing in the windows of her house - so close up as to make them into blazingly colored abstractions - pull you over to see what’s happening. Rist also takes on the corporate dullness and bland commercial manipulation of most digital imagery, chiefly by putting privacy and intimacy on a public pedestal inside a museum. Familiar with sitting in a car as a passenger looking at the world out the window, experiencing life through a screen? Crash! Smash!
In the context of the exhibition, though, what is emphasized is its upending of the one-step-removed quality of experiencing digital pictures, trapped behind glass. (Almost 20 years later, Beyoncé riffed on it in her 2016 music video for “Hold Up.”) Only in a choreographed work of art could such freewheeling destructive fun exist as a constructive anthem. After the performance, guests moved outside for a late night dance party with DJ Heidi Lawden, celebrating the vital LA institution's rebirth.The installation has long been admired for its jubilant, feminist-inflected defiance of institutionalized norms. Institutional leaders and gallerists in attendance included Brendan Dugan, Tonya Bonakdar, Anne Ellegood, Michael Govan, Shaun Caley Regen, Lauren Wittels and Gan Uyeda.ĭinner concluded with a live performance from Grammy award-winning artist Chance the Rapper who moved the crowd with his hit single “Blessings” as well as his most recent releases “Child of God” and “A Bar About A Bar”. Other artists spotted included Doug Aitken, rafa esparza, Kenturah Davis, Eilliot Hundley, Martine Syms, Jonas Wood, Shio Kusaka, and Ruby Neri. Baca: World Wall, Garrett Bradley: American Rhapsody, and Tala Madani: Biscuits. Photography by Owen Kolasinski/BFAĪnother one of the night's highlights was the announcement of a program of solo exhibitions with LA based artists slated for the fall and winter of 2022 - Judith F. Rist then united the audience through sound with her performance Humming Neighbors which involved each dinner table humming in unison. Later in the Gala's program Rist, in all her radical glory, crawled to the stage and embraced the new MOCA Director, Johanna Burton. The crowd was made up by a diverse mix of patrons and creatives including Christina Hendricks, Keanu Reeves, Alexandra Grant, Charles Gaines, Lauren Halsey, Ron Finley, Beth DeWoody, Joy Simmons, Karon Davis, Henry Taylor, Tala Madani, and of course the Swiss experimental artist Piplotti Rist, the closing of whose major exhibition at the museum Big Heartedness, Be My Neighbor was being celebrated that evening. Photography by Owen Kolasinski/BFAīefore dinner, guests gathered outside for sunset cocktails. Amidst changing leadership and exciting exhibition plans with LA artists, a new MOCA promises to continue its mission of supporting artists and enriching to the city's vibrant artistic community. Last night, the 2022 MOCA Gala at The Geffen Contemporary brought out LA's best and brightest to raise almost $3 million to support museum operations.
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