Christopher Knight of the Los Angeles Times approves of LA MoCA’s recently announced roster of shows. Though he doesn’t like the fact there are no women or persons of color represented, he in impressed by the strength of LA MoCA’s collection and curatorial staff. How, you might ask, did a museum in financial distress produce this roster of shows? With a $15m grant from Eli Broad, of course:
Historical shows include “Latin American Light and Space” — pictured is a work by Venezuela’s Carlos Cruz-Diez — the first museum survey to situate South American contributions to a form of Minimalist object and installation art usually identified with L.A. in the 1960s and 1970s; “California Art in the Age of Pluralism, 1974-1980,” which proposes that the often-overlooked late-1970s was in fact a period of remarkable innovation for what has come to pass since; and “Land Art to 1977,” the first large-scale historical look at the emergence of Earthworks — MOCA owns Michael Heizer’s important “Double Negative” (1969), a massive man-made trench spanning a deep natural gully in the remote Nevada wilderness—coupled with a new project by Swiss artist Christoph Büchel in the Mojave Desert.
Three solo retrospectives of current or former L.A.-based artists are also on tap: William Leavitt, whose quirky Conceptual art exploits narrative forms of painting and installation art; the late Jack Goldstein, who studied at Cal Arts with John Baldessari and merged Pop, Minimal and Conceptual forms in paintings, drawings and films; and Mike Kelley, one of the most important international artists of the last 30 years.
MoCA Begins to Roll Out Future Exhibition Plans (Los Angeles Times)