Bar at the Folies-Bergère

How would Manet react, I wonder…

Daughter of Art History, Theater A, 1989 || Yasumasa Morimura
Daughter of Art History, Theater B, 1989 || Yasumasa Morimura

Since the early 1980s, Yasumasa Morimura has been appropriating and restaging famous paintings, casting himself in the role of the figures depicted. By fabricating elaborate sets and costumes, he does not merely replicate his sources but also presents a pastiche of references that simultaneously pay homage to and satirize the original works. [source: The Getty Center]

Los Angeles

May 10th, 2019

The Sleep of Reason Produces Monsters

The Sleep of Reason Produces Monsters (Asia), 2008 || Yinka Shonibare CBE || Chromogenic prints
The Sleep of Reason Produces Monsters (Europe), 2008 || Yinka Shonibare CBE || Chromogenic prints
The Sleep of Reason Produces Monsters (America), 2008 || Yinka Shonibare CBE || Chromogenic prints

The Getty Center, L.A.

May 10th, 2019

Broadening Perspectives

@The_Broad

Edward Ruscha || The Right People || Those Other People || 2011 || Acrylic on linen
Edward Ruscha: Turn Around, 1979 – Gunpowder on paper || Will 100 Artists Please Draw a 1950 Ford from Memory?, 1979 – Pastel on paper || The Girl Always Did Have Good Taste, 1976 – Pastel on paper || Hollywood Is A Verb, 1979 – Pastel on paper
Ellen Gallagher || DeLuxe, 2004-05
Ellen Gallagher || DeLuxe, 2004-05
Ellen Gallagher || DeLuxe, 2004-05
Robert Therrien || Under the Table, 1994 || Wood, metal enamel
Robert Therrien || Under the Table, 1994 || Wood, metal enamel
Mark Tansey || Four Forbidden Senses, 1982 || Oil on four canvas panels
Jenny Holzer || Inflammatory Essays, 1979-82 || Offset posters on coloured paper
Jenny Holzer || Inflammatory Essays, 1979-82 || Offset posters on coloured paper
Jenny Holzer || Inflammatory Essays, 1979-82 || Offset posters on coloured paper
Wadsworth Jarrell || Black Prince, 1971 || Acrylic paint on canvas
Wadsworth Jarrell || Revolutionary (Angela Davis), 1971 || Acrylic and mixed media on canvas
Yayoi Kusama || Longing for Eternity, 2017 || Mirrored box and LED lights
Barkley Hendricks || Blood (Donald Formey), 1975 || Oil and acrylic on cotton canvas
Betye Saar || Spirit Catcher, 1977 || Rattan, wood, leather, mirror, bones, feathers, shells, rope, acrylic paint

Downtown L.A.

May 9th, 2019

The Alphabet of Art

Lee Krasner || Primeval Resurgence, 1961 || Oil on canvas
Alberto Giacometti || Tall Figures II & III, 1960 || Bronze
Robert Rauschenberg || Coca-Cola Plan, 1958 || Pencil on paper, oil on three Coca-Cola bottles, wood newel cap, cast metal wings on wood structure
Mark Rothko || Black on Dark Sienna on Purple, 1960 || Oil on canvas
Rosemarie Trockel || Untitled, 1991 || Enameled steel and three stove plates
Robert Gober || Untitled, 1998 || Wood, steel, enamel
Senga Nengudi || R.S.V.P., 1975|| Nylon mesh and sand
Dan Flavin || ”monument” for V. Tatlin, 1969

”Flavin’s work generates ambient light that reaches into the viewer’s space. The form, resembling a skyscraper, refers to a never-realized, but nonetheless influential, monument to an organization supporting Communist revolution designed by the Russian constructivist artist Vladimir Tatlin in 1920. It was to be a spiraling steel framework thirteen hundred feet tall in which rotating glass rooms would be suspended. Though utterly impractical engineering-wise, it remains an influential symbol of the artist’s efforts to combine art and technology. Flavin’s “monument,” despite its low-tech, small-scale nature, pays homage to Tatlin’s futuristic, utopian ideals.” [source: MOCA]

Robert Smithson || Mirage No. 1, 1967 || Nine units of mirrored glass
Roy Lichtenstein || Man with Folded Arms, 1962 || Oil on canvas
Cady Noland || Basket of Nothing, 1990 || Wire basket with assortment of building tools and materials
Julia Wachtel || Landscape No. 2 (Aerobics), 1989 || Oil, flashe, lacquer ink on canvas
Manuel Ocampo || Untitled, ca. 1991 || Oil on canvas

The Museum of Contemporary Art, Los Angeles

May 9th, 2019