Nobody Puts Eli in a Corner: Broad Sues over Pokey Panels

broadexteriorAccording to the New York Times, Billionaire art collector Eli Broad filed a $19.8 million lawsuit Friday against German company Seele Inc., for delays in fabricating the building blocks for the façade of his eponymous museum. Construction on the $140 million project, designed by Diller Scofidio & Renfro, began in 2012. Originally slated to open mid-2014, then pushed back to the year’s end, the museum will now open sometime in 2015.

This is not the first setback regarding the façade, which was originally designed to be a load-bearing structure made of pre-cast concrete. When this proved too costly and heavy, a primarily decorative glass-fiber-reinforced concrete design was substituted. The complex honeycomb-like lattice, commonly referred to as the “veil,” will wrap around the building, and is punctured by an “oculus” through which Broad can survey City Hall and the MOCA across the street, like Emperor Palpatine in the Death Star.


According to the lawsuit filed in Los Angeles Superior Court, Seele failed to “deliver a product that was not ‘mere Tiffany,’ but ‘Cartier’ quality.” Members of the 99% will no doubt be disappointed to hear that the aspirational brand with the signature blue box does not meet billionaire standards. The firm has previously contributed to Rem Koolhaas’ Seattle Public Library, Renzo Piano’s New York Times headquarters, Herzog and de Meuron’s olympic “Bird’s Nest” stadium in Beijing. and several Apple stores.

L.A.’s own Medici, a “feared and admired dictator,” Broad has been a major player in the Los Angeles art scene for years. He donated $60 million to LACMA in 2003 for the construction of a contemporary wing bearing his name, and saved MOCA in 2008 with $30 million pledge. When it finally opens, the Broad will house 2000 works of post-war and contemporary art from his and his wife Edythe’s collection.

Made in L.A. Sneak Peek

madeinla2014The Hammer Museum has recently released a sneak peek video for their second biennial Made in L.A. exhibition. The show’s co-curators, Hammer chief curator Connie Butler and independent critic and curator Michael Ned Holte, have selected a tight group of 35 artists, down from 60 in 2012. Focusing on “emerging and under-recognized artists” from L.A., the exhibition will feature a cross section of painting, sculpture, photography, performance, and as befits L.A., film and video.

An encouraging alternative to the gender disparity currently on view elsewhere in the art world, about half of the participants are women. The curators have also sought to highlight the role of alternative and artist-run spaces in LA, such as Lauren Mackler’s Public Fiction gallery and press, micro-gallery the Los Angeles Museum of Art, and DIY radio station KCHUNG. Other participants include androgynous filmmaker and performer Wu Tsang (whose recent Houston performance was covered by Glasstire), Channing Hansen (brother of Beck and grandson of Fluxus pioneer Al Hansen), cross-disciplinary artist and “queer eco-feminist” A.L. Steiner, and octogenarian painter Marcia Hafif, who has been producing sensuous, elegant variations on the monochrome for over 40 years. The curators also give a nod to the current ceramics revival (looking at you Sterling Ruby) with the inclusion of Magdalena Suarez Frimkess and Michael Frimkess, who have been working in the medium since before most of their successors were in short pants. Also notable is the selection of mixed-media paintings by the late Tony Greene, who died of AIDS in 1990. His work was also selected by Catherine Opie and Richard Hawkins for inclusion in this year’s Whitney Biennial.

Made in L.A. will also feature two jury awards worth $100,000 and $25,000, as well a third award for $25,000, the winner of which will be selected by the public. (2012’s exhibition had only one $100,000 prize, for which a jury selected 5 finalists, who were then voted on by the public.)

With current discussions about the bland “biennalization” of biennials and their empty appeals to globalization, perhaps the solution lies in looking at the varied and heterogeneous art being produced in one locale. We will find out if Made in L.A. is able to deliver on this potential when it opens on June 15.

Wu Tsang, Mishima in Mexico, 14 minutes, HD Video, 2012. With Alexandro Segade

Wu Tsang, Mishima in Mexico, 14 minutes, HD Video, 2012. With Alexandro Segade

Helen Molesworth Appointed as MOCA’s new Chief Curator


The Museum of Contemporary Art (MOCA) in Los Angeles announced on Friday that Helen Molesworth has been selected as their new Chief Curator. Her appointment will begin on September 1st 2014.

Molesworth comes to Los Angeles from the Institute of Contemporary Arts / Boston where she had served as the Barbara Lee Chief Curator since 2010. Before that, she helmed the department of modern and contemporary art at the Harvard Art Museum, and served as the museum’s Houghton Curator of Contemporary Art. Prior to her role at Harvard, Molesworth was chief curator of exhibitions at the Wexner Center for the Arts in Columbus, OH.

The announcement comes shortly after MOCA’s appointment of Philippe Vergne as director in March. The museum’s previous director, the divisive former dealer Jeffrey Deitch, resigned last July after a turbulent three-year stint that saw the resignation of all four artists on MOCA’s board as well as the ouster of long-time Chief Curator Paul Schimmel. These two recent appointments, as well as the raising of MOCA’s endowment to $100 million in January, may signal a comeback for the museum after recent financial setbacks and crises in leadership.

Molesworth has been responsible for a number of well-received exhibitions including This Will Have Been: Art, Love & Politics in the 1980s, a re-appraisal of visual arts in the US during that period. She has also organized and contributed to monographic shows on Catherine Opie, Zoe Leonard, Amy Sillman, and Luc Tuymans among others. A Kerry James Marshall retrospective she guest-curated for the Museum of Contemporary Art, Chicago will travel to MOCA in 2017, according to the Los Angeles Times.

“She curates transversally; meaning that she does not follow beaten, fashionable paths but knows how to open new roads, diverse roads with integrity and rigor,” remarked new MOCA director Vergne. “She is a marvelous scholar and writer and knows how to listen, work and dialogue with artists.”

Molesworth’s recent Artforum review of the Whitney Biennial may give some indication of the curatorial vision she will be bringing to MOCA.

New Director to take on OCMA

Incoming OCMA director Todd DeSheilds SmithTodd DeShields Smith has been named to head the Orange County Museum of Art, ending six months for the institution without a director. Smith joins OCMA from the Tampa Museum of Art, where his experience getting the new $32 million building finished there was undoubtedly a plus on his CV for OCMA, whose attempts to move to a new space at the Segerstrom Center for the Arts in Costa Mesa have foundered. [via LATimes]

Broad Primes the Pump with Famous Artist Talks

fischl-martinIn anticipation of its opening in 2015, The Broad is hosting a series of talks this year called The Un-Private Collection. Although the series is described as “exploring contemporary and controversial themes,” (which usually is code for “themes that were controversial 50 years ago”), we have to admit: they look interesting. Each talk pairs an artist from the Broad collection with a sort-of related person (one of whom is Steve Martin, but that talk, with Eric Fischl, is already sold out). The three remaining conversations, including Takashi Murakami, John Currin, and Kara Walker, will delve into issues facing African-American artists, contemporary Japanese culture, and, uh, the depravity of rococo painting. Or something. Look out world, here comes the Broad!

Al’s Grand Hotel Returns to Frieze


Four years after graduating from the Chouinard Art Institute (now California Institute of the Arts), a young Allen Ruppersberg took over a house on Sunset Boulevard in Hollywood and converted it into a hotel. Al’s Grand Hotel only lasted for six weeks, but maintains a mythic quality in LA’s art history, as an early example of social sculpture inspired by consumerism and entrepreneurial marketing (and, of course, as a fantastic hangout). The rooms for rent in the “hotel” included The Ultra Violet Room, The Jesus Room and The Bridal Suite.

Now Ruppersberg is collaborating with Public Fiction to re-stage Al’s Grand Hotel at Frieze Projects in New York this week. Ruppersberg will be present, in character as hotel manager, to “handoff” the project to a new generation.

Don’t miss your opportunity to make a reservation! Rooms are still available by calling 646-578-8471. Overnight guests are promised “a special selection of movies and videos,” and during the day the hotel will be open to all visitors for “just hanging out.”ruppersberghotel3



Gavlak Going Hollywood

Sarah Gavlak at her apartment gallery in 2009 [via NYT]

Sarah Gavlak at her apartment gallery in 2009 [via NYT]

Onetime Angeleno Sarah Gavlak is returning to LA to open an outpost of her eponymous Palm Beach gallery this June. The second Gavlak will be 5,000 square feet, at 1034 North Highland Avenue and neighboring Hannah Hoffman, Michael Kohn, and Regen Projects. The gallery’s press release is careful to note that they will be working with artists “who do not have representation in LA”, although Liz Craft, Lecia Dole-Recio, and Vincent Szarek have all been invited to participate in the inaugural group exhibition, opening on June 26.


Mid-City Just Got a Little Artier


Richard Jackson, The Little Girl’s Room, 2011, mixed media. Credit: Frederik Nilson/David Kordansky Gallery. [via LAT]

It may be premature to call Mid-City a new art destination, but the September arrival of the new David Kordansky space (joining existing S. La Brea gallery Kayne Griffin Corcoran) will make it a little more official.

Kordansky is moving on up: the new 20,000 square foot space will triple the gallery’s current footprint. The architecture firm wHY has been seleted to build out the new space, always an indicator that grandeur is the goal (although let’s hope Kordansky doesn’t go the way of previous wHY clients Perry Rubenstein and L&M Arts).  Kordansky’s current location, at 3143 S. La Cienega Blvd, has never been very easy to get to and never felt like part of the Culver City row, so the new digs should be a big improvement. Catch the last show in the current space, new works by Mary Weatherford, running May 19 -31.