Three weeks ahead of the California primary, I was ambling through a crowded tent at the Museum of Contemporary Art’s (MOCA) annual gala when I spotted the Egyptian-born media mogul Haim Saban holding court at the front of the room.
For those who live and work in downtown Los Angeles, it often seemed the day would never come.
A throng of art-world insiders, media and members of the public swirled around the top-floor gallery of The Broad for a sneak peak at Los Angeles’ newest art museum … before the art was installed.
The Museum of Contemporary Art’s (MOCA) newest exhibition, “Ends of the Earth: Land Art to 1974,” on view through Sept. 3 at the Geffen Contemporary, raises one important question: Just what is Land Art? If you think it is easily answered, you are probably wrong. When it comes to the art of ideas and the Earth, very little is set in stone — unless, of course, it’s set in stone.
When artist Sharon Lockhart traveled to Israel in 2008, she wasn’t searching for Noa Eshkol. The Israeli dance composer and textile artist was not well-known outside her own country. In fact, Eshkol isn’t terribly well-known within Israel, where companies like Batsheva, Inbal, Bat Dor and the Israel Ballet hold far more cachet than Eshkol’s humble troupe.
Regarding either Jewish or feminist art, we may ultimately be stuck with Justice Potter Stewart\’s comment about pornography, \”I know it when I see it.\” And perhaps that will be the most valuable contribution of this exhibition.
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