![]() Though local museum backers downplay competition between the County Museum of Art and the new building downtown, back-to-back openings and overlapping aesthetic territory have made the subject irresistible. And it is still the habitation of choice for most of the country’s artists.” The Eastern city remains the primary place where art is made, viewed, discussed, promoted, sold and resold. In a New York Times Magazine cover story on contemporary art in Los Angeles, Grace Glueck allowed that the city “has come a long way” but defended Eastern superiority: “Los Angeles is still a far cry from New York, with its dense network of museums, foundations, dealers, galleries, alternative spaces, publications, research and educational facilities. Anderson Building are generally favorable, while the concept that Los Angeles has become a cultural mecca remains in question. ![]() Early reactions to the Museum of Contemporary Art and the County Museum of Art’s Robert O. Ink is still flowing now that the first major, double-barreled phase of that development is complete. Since then, no ink has been spared on MOCA-or on the larger phenomenon of Los Angeles’ growth as an art center.ĭuring the summer of 1984, New York Times Art Critic John Russell spent some time here and predicted: “If all goes well, the greater Los Angeles area will be a place in which high art can be studied as advantageously as it can be studied today in New York, in Washington and in the greater Boston area.” MOCA had already held that position for four years, according to Lewis MacAdams in California magazine: “Probably no museum has ever been as thoroughly dissected before it opened, or had pinned on it the artistic/aesthetic hopes of so many people, as has MOCA.” “The Los Angeles Museum of Contemporary Art may soon be the country’s best known unbuilt art museum,” Patricia Failing wrote three years ago in ArtNews magazine.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |