ReviewWACK! Art and the Feminist Revolution. Curated by Cornelia H.  Butler. The Geffen Contemporary at the Museum of Contemporary Art, Los Angeles, March 4–July 16, 2007.WACK! Art and the Feminist Revolution. Exhibition catalog. Edited by Lisa Gabrielle  Mark. Los Angeles: Museum of Contemporary Art, 2007.

Signs ◽  
2008 ◽  
Vol 33 (2) ◽  
pp. 475-478
Author(s):  
Carolyn Stuart
Keyword(s):  
Los Angeles ◽  
Contemporary Art ◽  
Feminist Revolution ◽  
Museum Of Contemporary Art

Masters of High and Low: Exhibitions in Dialogue

2020 ◽  
pp. 211-214
Keyword(s):  
Popular Culture ◽  
Los Angeles ◽  
Contemporary Art ◽  
Modern Art ◽  
Art World ◽  
Public Dialogue ◽  
Art Spiegelman ◽  
Comic Art ◽  
Museum Of Contemporary Art

This is a brief interstitial introduction by art historian Kim A. Munson explaining the importance of and interaction between two blockbuster exhibitions featuring comics, High and Low: Modern Art, Popular Culture (MoMA, 1990) and Masters of American Comics (Hammer & Museum of Contemporary Art, Los Angeles, 2005). This chapter discusses The Comic Art Show (Whitney, 1983), Jonah Kinigstein’s satirical cartoons about the NY art world, and the critical and public dialogue surrounding both High and Low and Masters, which has shaped many of the comics exhibitions that followed. This chapter tracks the team of comics advocates that organized The Comic Art Show (John Carlin, Art Spiegelman, Brian Walker, and Ann Philbin), their reactions to High and Low and the production of Masters of American Comics in response.

An Uneasy Accord: LA Museums Open Their Walls to Comics as True Works of Art

2020 ◽  
pp. 264-270
Author(s):  
Scott Timberg
Keyword(s):  
Los Angeles ◽  
Contemporary Art ◽  
Fine Art ◽  
Art Spiegelman ◽  
Los Angeles Times ◽  
Works Of Art ◽  
The Future ◽  
Comic Art ◽  
Museum Of Contemporary Art ◽  
Art School

This chapter contains an in-depth exploration of the issues surrounding comics and museums written by cultural journalist Scott Timberg for the Los Angeles Times in 2005 during the opening of the Masters of American Comics exhibition at the Hammer Museum and the Museum of Contemporary Art, Los Angeles. This chapter includes interviews with Ann Philbin, Art Spiegelman, John Carlin, and Brian Walker about the organization of the show. This chapter discusses the valuation of comic art versus fine art, the disillusionment some cartoonists feel about art school and contemporary fine art, and opinions on the future of comic art shows from curators at other museums.

Philanthropy and Plutocracy

October ◽  
2017 ◽  
Vol 162 ◽  
pp. 31-38 ◽  
Author(s):  
Andrea Fraser ◽  
Eric Golo Stone
Keyword(s):  
Los Angeles ◽  
Social Services ◽  
Contemporary Art ◽  
Art World ◽  
Open Letter ◽  
Government Responsibility ◽  
Cultural Activism ◽  
Ongoing Effort ◽  
The Arts ◽  
Museum Of Contemporary Art

Two texts by Andrea Fraser are reprinted as part of October's ongoing effort to publish contemporary documents of cultural activism that aims to create spaces of progressive resistance to threats of authoritarianism. Written as a speech delivered at the Museum Ludwig Cologne in 2017, Fraser's “Trusteeship in the Age of Trump,” demonstrates how the privatization of social services and the arts through philanthropy is part of a larger withdrawal of government responsibility for the welfare of its citizens. Accompanying the lecture is an open letter, drafted Andreas Fraser and Eric Golo Stone in late 2016 and signed by dozens of art world figures, demanding the resignation of now Treasury Secretary Steven T. Mnuchin from the Board of the Museum of Contemporary Art, Los Angeles.

After Masters: Interview with Gary Panter

2020 ◽  
pp. 295-296
Author(s):  
Kim A. Munson
Keyword(s):  
Los Angeles ◽  
Contemporary Art ◽  
Comic Art ◽  
Museum Of Contemporary Art

This chapter includes a brief commentary between art historian Kim A. Munson and artist Gary Panter about the legacy of the Masters of American Comics exhibition (2005, Hammer Museum, Museum of Contemporary Art, Los Angeles) after the show’s ten-year anniversary passed in 2017. This chapter discusses roadblocks and benefits to doing comics shows, the difficulty of being a comics expert, valuation of comic art, kid-friendly shows, problems of the comics canon and categories.

How Low Can You Go?

2020 ◽  
pp. 257-258
Author(s):  
John Carlin
Keyword(s):  
Popular Culture ◽  
Los Angeles ◽  
Contemporary Art ◽  
Modern Art ◽  
Pop Culture ◽  
Fine Art ◽  
Comic Art ◽  
Museum Of Contemporary Art

This chapter includes a 1990 review of MoMA’s High and Low: Modern Art, Popular Culture by cultural entrepreneur John Carlin, co-curator of The Comic Art Show (Whitney, 1983) and curator of Masters of American Comics (Hammer, Museum of Contemporary Art, Los Angeles, 2005).  This chapter discusses the differences between fine art and pop culture,the importance of excluded topics like jazz, video, and film, and how pop culture is environmental. Carlin explains: “Pop culture is ugly, rude, sexist, racist and politically naive. Fine art is obscure, elitist, misogynist and has no politics. Obviously they were made for each other.”

scholarly journals D37

October ◽  
2019 ◽  
Vol 168 ◽  
pp. 110-147
Author(s):  
Cameron Rowland
Keyword(s):  
Los Angeles ◽  
Contemporary Art ◽  
Museum Of Contemporary Art

Artist Cameron Rowland presents texts written as part of the exhibition D37 at the Museum of Contemporary Art, Los Angeles, from October 14, 2018, to March 11, 2019. The accompanying images document the works included in the exhibition.

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