Shot of the westerly side of the Petersen Automotive Museum after its recent renovation; the building is certainly unique, but this view demonstrates an even more memorable scene…
Posts tagged ‘Art’
This Sunday, 12 Feb 2017, was the last day that the Penetrable installation was at LACMA; this photo is to commemorate the fabulous piece of art.
A little of history of Penetrable, (from the LACMA site):
In the 1950s and 1960s, several Latin American artists settled in Paris, where they became key players in the movement of kinetic and op art. One such artist was the Venezuelan Jesús Rafael Soto, whose projects directly engaged the viewers’ participation. This is the case of Penetrable, a long-term loan from the Colección Patricia Phelps de Cisneros, installed on LACMA’s plaza.
As the work’s title implies, the architecturally scaled structure is intended to be pierced both optically and physically by the viewer. This interactive aspect sets it apart from many works presented within museum settings, in which objects are not meant to be touched. The piece is made of basic industrial materials, the bulk of it comprised of yellow plastic hoses that are suspended from a simple steel grid.
When viewers walk through the dense curtain of plastic tubes, they disappear into them and become part of the work. Soto was profoundly interested in the dematerializing effect of light, which he sought to recreate through such works. In the artist’s words “[the] man is no longer here and the world there, he is inside the fullness and it’s this fullness that I want to make people feel.”
Although Soto’s work is conceived as a geometric sculpture, it lacks a solid surface or plane; its shape is easily altered by human contact, or even natural elements such as wind and rain. In other words, it is a work in constant flux. This playful and profoundly sensorial aspect of Soto’s Penetrable has made it one of the most popular works in the museum—an object that invites the viewer to become one with the work of art.
This photo is one in a series taken during a recent trip to the Watts Towers, located in Watts (a region of Los Angeles, famous for the riots in the 1960s). The towers are magnificent- doubly so as they were hand crafted by one man.
The Watts Towers, Towers of Simon Rodia, or Nuestro Pueblo (“our town”) are a collection of 17 interconnected sculptural structures within the Simon Rodia State Historic Park in the Watts community of Los Angeles. The tallest of the towers reaches a height of over 99 feet (30 m). The towers and walls were designed and built by Sabato (“Simon”) Rodia (1879-1965), an Italian immigrant construction worker and tile mason, over a period of 33 years, from 1921 to 1954. The work is an example of outsider art and Italian-American naïve art.
The Watts Towers are located near the 103rd Street/Watts Towers Los Angeles Metro station of the Los Angeles County Metro Rail Blue Line, and off the I-105 Century Freeway. They were designated a National Historic Landmark and a California Historical Landmark in 1990. They are also a Los Angeles Historic-Cultural Monument, and on the National Register of Historic Places in Los Angeles.
(Thanks to Wikipedia for the info)
A skyward view from within Jesús Rafael Soto’s sculpture, Penetrable, on permanent exhibition at LACMA. While it can be fun to play in the spaghetti, it also gives many opportunities to look at the work in and through a different perspective…
A full view of a Mayan round mosaic shield. This artwork was part of the LACMA exhibit, “Children of the Plumed Serpent: The Legacy of Quetzalcoatl in Ancient Mexico”. This mosaic resonated with me- the colours, the details, the amount of work that must have went into affixing tiny chips of turquoise to wood with natural gum… and then lasted for almost a millenium and counting.
Seriously, this piece demonstrates how much beauty the First Nations were capable of.
This stone idol, depicting the Sun and Quetzalcoatl, was the gateway to the LACMA exhibit Children of the Plumed Serpent. The exhibition examined the art and material objects of late pre-Columbian and early colonial societies across Mexico to explore Quetzalcoatl’s role as founder and benefactor of the Nahua-, Mixtec-, and Zapotec-dominated kingdoms of southern Mexico. This piece in particular has the Plumed Serpent coiled about yet rising from the Sun…