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.

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.

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 Proposições para o futuro, proposições ético-estéticas: sobre a espacialidade depreendida na exposição “2012: proposições sobre o futuro”

GeoTextos ◽  
2013 ◽  
Vol 9 (2) ◽  
Author(s):  
Sibele Paulino
Keyword(s):  
Present Article ◽  
Contemporary Art ◽  
Art Exhibition ◽  
Important Resource ◽  
Works Of Art ◽  
The Future ◽  
Museum Of Contemporary Art ◽  
The Relationship

Este artigo trata da reflexão sobre a espacialidade proposta pela exposição de arte “2012: proposições sobre o futuro”, ocorrida em Curitiba, no Museu de Arte Contemporânea do Paraná. Constatou-se que a relação entre obra e visitante na perspectiva dessa “arte contemporânea” promove novas espacialidades, que simbolizam as que são criadas pelo sujeito da atualidade, mais autônomo na configuração de sua espacialidade, segundo Berdoulay e Entrikin. O olhar geográfico aqui proposto coaduna-se com a geografia voltada para as representações e resgata a noção de experiência proposta por Yi-Fu Tuan, pois, nas novas espacialidades desse novo sujeito, é ativada a percepção mais que seu conhecimento pré-adquirido. Assim, interessa-nos as representações daí advindas, como as obras artísticas, que são dependentes do diálogo e do ato responsivo de quem as “contempla”, para usarmos as expressões de Bakhtin, intelectual que também baseia nossa presente análise. Abstract PROPOSITIONS FOR THE FUTURE, ETHICAL AND ESTHETICAL PROPOSITIONS: ON THE SPATIALITY INFERRED FROM THE ART EXHIBITION “2012: PROPOSITIONS FOR THE FUTURE” The present article aims at analyzing the spatiality proposed by the art exhibition “2012: propositions for the future”, taken place at the Museum of Contemporary Art in Curitiba/ Brazil. It was verified that the relationship between works and visitor from the perspective of “contemporary art” promotes new spatialities that symbolize those created by individuals in the present, who, according to Berdoulay and Entrikin, are more independent in configuring their spatiality. The geographical view proposed by this article relates to the geography concerned about representations and can be traced back to Yi-Fu Tuan’s notion of experience, for in new spatialities configured by new individuals perception is a more important resource than previously acquired knowledge. Thus it is that our focus lies on representations sprung therefrom, such as works of art dependent on dialog and responsive attitudes. We took these expressions from Bakhtin, whose thinking also sets the basis for our present analysis.

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.

Post Luxury: Normcore as Node and Prism

APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 25-37
Author(s):  
Charlotte Bik Bandlien
Keyword(s):  
Los Angeles ◽  
Trend Analysis ◽  
School Context ◽  
Los Angeles Times ◽  
Oxford University ◽  
The Future ◽  
Fashion Theory ◽  
Trend Forecasting ◽  
Consumption Theory ◽  
Oxford University Press

'Normcore' was not only the most Googled fashion trend of 2014 but also the runner-up for neologism of the year by Oxford University Press. The phrase generated numerous headlines, such as "Normcore Is (or Is It?) a Fashion Trend (or Non-Trend or Anti-Trend)" in the Los Angeles Times in 2015 or "Everyone's Getting Normcore Wrong, Says Its Inventors" in Dazed in 2014, indicating a multi-faceted and intriguing phenomenon. This article employs the timing of post peak normcore to investigate a trend that surely entailed more than meets the eye. Described as "a unisex fashion trend characterized by unpretentious, normal-looking clothing" by Wikipedia, normcore was in fact not meant to be a trend at all, nor was it meant to be used to refer to a particular code of dress. Initially a spoof marketing term coined by the art collective/trend forecasting group K-Hole in 2013, normcore was originally a subversive concept, anticipating an alternative way forward, proposing anti-distinction as the radical new, analysed here as a mode beyond luxury—as 'post luxury'. Combining anthropology, consumption theory, and critical fashion theory with a practice-based insight informed by the author's background in trend analysis and brand planning as well as the art school context, this article attempts to frame and unpack normcore in order to speculate about the future of luxury.

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.

Remasters of American Comics: Sequential Art as New Media in the Transformative Museum Context

2020 ◽  
pp. 275-288
Author(s):  
Damian Duffy
Keyword(s):  
African American ◽  
New Media ◽  
Contemporary Art ◽  
Fine Art ◽  
Art Museum ◽  
Sequential Art ◽  
University Of Illinois ◽  
Racial Inclusion ◽  
Museum Of Contemporary Art ◽  
Contemporary Art Museum

This chapter includes a 2009 essay by multi-faceted University of Illinois at Urbana-Champaign professor Damian Duffy highlighting the curatorial philosophies that avoid confronting the conceptual challenge of bringing the comics medium into the museum by attempting to fit comics, to one extent or another, into traditional fine art frameworks, including as examples the 2003 Contemporary Art Museum Houston exhibition Splat, Boom, Pow!, Masters of American Comics 2005, UCLA Hammer Museum and Museum of Contemporary Art, Comic Release! from Carnegie Mellon University, and his own curatorial work in partnership with John Jennings on the exhibitions Other Heroes: African American Comics Creators, Characters, and Archetypes. This chapter discusses new media, if we still need canons, comics versus fine art, comics as non-art, lone genius versus collaboration, display tactics, narrative, and racial inclusion.

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