![]() ![]() Everyone wants to interact and these days taking a picture with the artwork is a moment of stardom. There is something monumental about seeing that big ol' boulder set in the cityscape, with palm trees in the background and traffic flying down 6th street, and knowing that it will be there for the next 3,500 years. But I did feel a bit of fear as I passed directly underneath the 340-ton piece of granite, ugly earthquake proof supports and all. I overheard someone say that it didn't look like it was levitating - true that. People touched the rock, took pictures in front of it, angled themselves to look like they were holding it (a la John Baldesarri) and wandered underneath. I noticed that people were coming from all sides of the museum to see the rock. I guess it's still true that everyone loves a parade. No one I know has had good things to say about the piece artistically but those same people were mesmerized by the transit of the rock from Riverside to the museum. ![]() My next stop was to The Rock, as everyone calls it, although formally Michael Heizer's bit of land art is called Levitated Mass. Next I went into BCAM to more crowds surrounding Chris Burden's Metropolis II, where ground level and balcony viewing areas were packed and cameras and phones clicked away. Me? I think it's because of the spectacular attractions.Īs I walked up, a full on wedding party was taking pictures in front of Chris Burden's Urban Light, as they pulled away in their rented Rolls Royce a little while later, you knew they never made it into the museum. It wasn't long ago, that the only time you'd see the entrance to LACMA (Los Angeles County Museum of Art) filled with people was when a busload of school kids had just been unloaded.Ī 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. ARTS WATCH LA - Yesterday I went to LACMA and I'm still surprised every time I see how crowded the pavilion is.
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