Tag Archives: Hammer Museum
This is the first of a three-part ARTINFO series on art patronage in Los Angeles.
by Yasmine Mohseni
Published: April 17, 2013
Artadia recently hosted a cocktail reception at Blum & Poe to announce the launch of the Artadia Awards in Los Angeles. Executive director Carolyn Ramo spoke to members of the L.A. arts community, including artist Rosson Crow, gallerist Mary Leigh Cherry, andForYourArt’s Bettina Korek about the organization, which has awarded over $3 million to more than 250 artists since its founding in 1997 by investment banker and art collector Christopher Vroom.
Artist Llyn Foulkes, 78, is having a major moment in the spotlight. The prolific artist has been creating works for over six decades but has been largely under recognized, until now. On Saturday, Los Angeles’s Hammer Museum opened a retrospective of his work, featuring approximately 140 artworks from public and private collections, some of which have not been seen publicly for decades.
LOS ANGELES — With 2012 drawing to a close and a new artgoing season in the works, now is the final chance to visit many of this year’s major exhibits. ARTINFO’s Yasmine Mohseni reports on the top six end-of-the-year L.A. museum shows. Click here to view slideshow.
by Yasmine Mohseni
LOS ANGELES — Allison Agsten, the dynamic and intrepid curator of Public Engagement at the Hammer Museum in Los Angeles, has built her department from scratch. After three years spent designing and refining the Public Engagement department’s infrastructure and mission, she is now poised to make a real impact in a field that is still new and innovative in the museum world. Agsten talks with ARTINFO’s Yasmine Mohseni about her unorthodox career path, her passion for gaming, and which L.A. artist she’s dying to work with. Click here to view slideshow
In Sarah Cain’s As You Continue to Walk Forward, her 2008 site-specific installation at the Orange County Museum of Art, fluorescent colors and patterns crawl up and dripped down walls, ceilings, and floors. The geometric composition in Midnight Mission, from 2009, begins on a canvas and extends beyond its edge and onto the adjacent walls and floor. In Santa Barbara 2, 2011, a deconstructed canvas reveals the architecture of its stretcher bars, an integral component of the work. So, is Cain a painter, a sculptor, or an installation artist? ”I’m a painters,” she says. ”I think of it all as painting. Great painting should expand what painting can be.”