This week’s Modern Art Notes Podcast features Los Angeles Times art critic Christopher Knight, who joins me for a look at the Pacific Standard Time series of exhibitions in southern California.
Knight has reviewed many PST exhibitions, including: “State of Mind” at the Orange County Museum of Art, “Artistic Evolution” at the L.A. Natural History Museum, MOCA’s “Under the Big Black Sun,” “Now Dig This!” at the Hammer Museum, “Crosscurrents” at the Getty, and “Phenomenal,” at MCASD. He also wrote this essay about why California-based painter John McLaughlin is a key, under-studied artist.
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In our conversation, Knight and I discuss:
- The high points of the PST series of shows;
- What we’ve learned about post-war American art from the exhibitions and the related scholarship;
- What’s missing from PST I; and
- Whether there should be a PST II and what it might include.
In this week’s draft, Ed Schad discusses his story in this week’s LA Weekly, “Hastings Plastics: Legendary Maker of Sculptures for L.A. Artists Closes After 55 Years.” In the story and on the program, Schad explains how and why Hastings was so important to light-and-space artists, and picks three of his favorite Hastings-related pieces.
The Modern Art Notes Podcast is an independent production of Modern Art Notes Media. It is released under this Creative Commons license. For images of the works discussed on this week’s program, click through to the jump.
UPDATE: This just in: Since recording the podcast, I’m told that LACMA’s Asco exhibition will indeed travel. It opens at the Williams College Museum of Art on Feb. 4. For more information, click here.
James Turrell, Stuck Red and Stuck Blue, 1970. Collection of the Museum of Contemporary Art San Diego.
Bruce Nauman, Green Light Corridor, 1970. Collection of the Solomon R. Guggenheim Museum, New York.
Doug Wheeler, Untitled, 1969. Collection of the Museum of Contemporary Art, San Diego.
De Wain Valentine, Gray Column, 1975-76.
Robert Irwin, untitled, 1969-70. Collection of the Museum of Contemporary Art San Diego.
Peter Alexander, Cloud Box, 1966.
Helen Pashgian, Untitled, 1974.
John McLaughlin, #26, 1961. Collection of the Los Angeles County Museum of Art.
Just wanted to let you know that Asco: Elite of the Obscure, part of Pacific Standard Time, is indeed traveling outside of California. It opens at the Williams College Museum of Art in Western Massachusetts on February 4, 2012 and runs through July 29. There will be a symposium on March 4 with the curators, artists, and scholars, as well as ongoing programming through the summer.
Sorry, I gave you the wrong date for the Symposium. It is March 3. Here is the information:
On Saturday, March 3 a Symposium will be held from 1:00–5:30 pm at Brooks-Rogers Recital Hall at Williams College. Conversations with artists and scholars will feature exhibition co-curators C. Ondine Chavoya, Associate Professor of Art and Latina/o Studies at Williams College, and Rita Gonzalez, Associate Curator of Contemporary Art at the Los Angeles County Museum of Art; Asco artists Sean Carrillo, Harry Gamboa, Jr., Willie F. Herrón III, Patssi Valdez; scholars Colin Gunckel, Amelia Jones, Amalia Mesa-Bains, and Mario Ontiveros. These events are free and open to the public. For the symposium please r.s.v.p to wcmareservations@gmail.com or call (413) 597-4545. For more information, visit wcma.williams.edu
[...] conceptualism around 1970. Also, don’t miss Knight discussing PST writ large on this week’s Modern Art Notes Podcast. I think artists in particularly will get a lot out of it! « Friday exhib: [...]
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