("Surface Tension by Ken Gonzales-Day: Murals, Signs, and Mark-Making in LA" runs at the Skirball Oct. 6, 2017–Feb. 25, 2018. The Danny Trejo mural, at Van Nuys Blvd. and Telfair Ave, Pacoima, is by Levi Ponce.)
Start with the new kid on the block. The Santa Monica Museum of Art has reinvented itself in DTLA as the Institute of Contemporary Art LA. It will open with 12,700 square feet of wHY/Kulapat Yantrasast-reconfigured exhibition space and a Mark Bradford-designed logo.
|Francisco Artigas and Fernando Luna, Residence in El Pedregal de San Angel , Mexico City, 1966. Photograph © Fernando Luna.|
Two big PST shows are already up: "Home—So Different, So Appealing" (through Oct. 15, 2017) and "Playing with Fire: Paintings by Carlos Almaraz" (through Dec. 3, 2017). Coming soon is "A Universal History of Infamy" (Aug. 20, 2017–Feb. 19, 2018). The title is from Borges; the theme is Latin American art, in any medium, that subverts the concept of Latin American art. This is the show that will include the crowd-funded journey-performance of a replica of Guatemala's NuMu ("the egg museum").
Many Americans don't even know that Mexican mid-century modern was a thing. "Found in Translation: Design in California and Mexico, 1915–1985" (Sep. 17, 2017–Apr. 1, 2018) ought to change that. Exploring the connections between West Coast and Mexican modernists, it should draw on the popularity of LACMA's 2011 "California Design, 1930-1965."
Spanish Colonial painting has only lately entered the vocabulary of North America's encyclopedic museums. LACMA, and curator Ilona Katzew, have played a significant role in that. This fall's "Painted in Mexico, 1700-1790: Pinxit Mexico" (Nov. 19, 2017–Mar. 18, 2018) promises over a hundred works, many never published or shown off-site before.
LACMA will roll out its two world-class Persian carpets, rarely shown. The Ardabil Carpet (small detail below) runs Sep. 17, 2017–Feb. 18, 2018. It will be followed by the Coronation Carpet, Feb. 25, 2018–Sep. 8, 2018. Both are Safavid from the early 16th century, an abstract Renaissance contemporary with Europe's.
"Golden Kingdoms: Luxury and Legacy in the Ancient Americas" is among the Getty's most ambitious loan exhibitions outside of its European comfort zone. With 300 objects, from 1000 BC to Columbus, from Mexico to Peru, it draws heavily on new archeological finds. Above is a Moche (Peru) Octopus Frontal dated 300–600 AD. It is gold with inlays of chrysocolla (a turquoise-like stone) and shell. "Golden Kingdoms" rethinks bling. What we call semi-precious stones, of the Jewelry Channel sort, were once valued more than gold or platinum; as were certain seashells and feathers. (Sep. 16, 2017–Jan. 28, 2018.)
"Radical Women: Latin American Art, 1960-1985" is another biggie: 260 works by a hundred-plus artists from 15 nations. The Hammer describes it as "the first genealogy of feminist and radical art practices in Latin America and their influence internationally." Shown is Teresinha Soares' Lovemaking Box, 1967. (Sep. 15, 2017–Dec. 31, 2017.)
"Axé Bahia: The Power of Art in an Afro-Brazilian Metropolis" might be a sleeper. It's a survey of the fascinatingly hybrid art scene of Salvador, Brazil, since the 1940s a melting pot of African and global influences. For most Americans it will be terra incognito. (Sep. 24, 2017–Apr. 15, 2018.)
No mirror-room selfies for you, unless you log on to the Broad site promptly at noon Sep. 1 for tickets to "Yayoi Kusama: Infinity Mirrors." That'll be $25, thank you much. (Oct. 21, 2017–Jan. 1, 2018.)
Argentinian sculptor Adrián Villar Rojas, who did this year's Met Roof Garden installation, will occupy the Geffen Oct. 22, 2017–Feb. 26, 2018. The MOCA site has a long description that doesn't say much about what to expect. Villar Rojas will create "dramatic architectural and aesthetic shifts" drawing on "technologies used in Hollywood special effects" and recycling "petrified wood from Turin, stratified columns from Sharjah, and silicone molds from Istanbul.” The Geffen installation with be called "The Theater of Disappearance," a title the artist has given to other installations and to a film trilogy that will be screened at MOCA. Shown is a "Theater of Disappearance" in Bregenz, Austria. Expect something completely different.
|José María Velasco, Valle de México (The Valley of Mexico), 1877. Museo Nacional de Arte, Mexico City.|
The Scott Galleries will ofter another American dichotomy: hard-edged Frederick Hammersley and biomorphic Louis Comfort Tiffany. "Tiffany Favrile Glass: Masterworks from the Collection of Stanley and Dolores Sirott" runs Oct. 7, 2017–Feb. 26, 2018.
|Tiffany Studios, Cypriote Vase and Flowerform Vase. Collection of Stanley and Dolores Sirott. © David Schlegel, courtesy of Paul Doros. Image courtesy of The Huntington Library, Art Collections, and Botanical Gardens.|
Gene Autry's cowboy museum has discovered Indians, and this fall it discovers Chicanos. "La Raza" features the photojournalism of the bilingual newspaper of the 60s and 70s. "Harry Gamboa Jr.: Chicano Male Unbonded" catches up on the artist's ongoing series of nighttime portraits of creative Latino dudes. (Shown, Geraldo Velázquez, Synthesized Music Composer.) Both shows run Sep. 16, 2017–Feb. 10, 2018.
Pomona College Museum of Art
Pomona College's claim to art-history fame is José Clemente Orozco's Prometheus (1930). It was the first mural by one of Los Tres Grandes in the U.S., predating Diego Rivera in Detroit and Rockefeller Center. Pomona's "Prometheus 2017: Four Artists from Mexico Revisit Orozco" has Asa Carrillo, Adela Goldbard, Rita Ponce de León, and Naomi Rincón-Gallardo doing related installations (Aug. 29–Dec. 16, 2017).
Long Beach Museum of Art
Though not a PST show, "Rafael Soriano: The Artist as Mystic" will end in cross-border detente. The Cuban abstractionist fled the Castro regime and spent most of his career in Miami. The multi-city tour, now at the Long Beach Museum of Art through Oct. 1, will end up in Havana for the first Cuban showing of Soriano's mature achievement. Shown, The Night, 1970.
an installation of the collection's works from Latin America. The interesting news here is that the Marciano has enough Latin American art to do a show. The Broad, I'm pretty sure, doesn't.
This installation, on the Marciano's third floor, is to run Oct. 19, 2017–Jan. 20, 2018. Below is Jose Dávila's Esfuerzo común (Common Effort), 2014.