The Los Angeles County Museum of Art has quietly taken the lead in this city as the most interesting art museum. The Norton Simon still has, picture for picture, by far the best collection. The Getty still has the most money. MOCA and the Hammer are in a tussle for the hipness crown.
The urgent task is to save MOCA while it is still possible. Anything less will be a tragedy for Los Angeles in its struggle to match London, New York, and the cities of the future in Asia and the Middle East
A friend of mine said that she thinks the main reasons for LACMA's swarm of weekend museum-goers these days, can be attributed to easy parking and lots of nice outdoor hang-out space. Me? I think it's because of the spectacular attractions.
It's been less than three weeks since Paul Schimmel, Chief Curator of MOCA, was fired and -- despite more than a dozen newspaper articles and an avalanche of reports on the Internet -- no one knows for sure what happened.
The original Barter Show (1969) consisted of watercolor washes which Ed Kienholz bartered for the sums, objects, or experiences painted on them. As a tribute, a group of artists have been commissioned to follow Kienholz's guidelines.
Going on a short press trip to Europe is never a walk in the park. It is more like a headfirst plunge into the local art scene: Exploring, tasting, inhaling it 24/7. And that's exactly how it was during my recent visit to Amsterdam.
Awarded the Golden Lion at last year's Venice Biennale, The Clock is a 24-hour, single-channel montage constructed from thousands of moments of cinema and television history depicting the passage of time.
In the '60s and '70s, Rudi Gernreich, Peggy Moffitt, and William Claxton were central figures in the Los Angeles art community and their exuberant collaboration is the subject of MOCA's delightful new exhibition, The Total Look.
Under the Big Black Sun features more than 130 artists working in an array of mediums and addresses the period in American art when modernism reached its end and a multiplicity of movements began to take shape.
2011 saw the most ambitious graffiti and street art museum exhibition ever with MOCA's "Art in the Streets." The show had record attendance and will be most remembered for giving a new level of legitimacy to art on the streets.
As music throbbed, bodies writhed and shadows danced over the torch-lit sand outside Dasha's half-million dollar party celebrating Art Basel Miami Beach, I couldn't help but think of Nero, who fiddled while Rome burned.
Liz Glynn's final work for "Engagement Party" will take the form of a seated dinner party. The dinner will incorporate imagery from 19th century anatomical theater to explore notions of desire and embodiment.