Top: Marc Jacobs FW 14
Bottom: Max Streicher
The space is interesting and reminiscent of a mobile. The curves are organic and a bit confusing but beautiful. One is never sure what way to go, so while there is never a logical path, the process isn’t forced but revelatory in it’s casual progression. Calder’s oeuvre includes so much more than what the casual fan (including myself) expects and the evolution is a wonder to behold. The levity and playfulness of the sculptures really infects your soul. The only problem I had with the show is the off-putting feeling of being surrounded by immobile mobiles. I understand the conservational need to protect these treasures, but it evoked the same feeling as one gets in a zoo, the restraint of natural power. Animals in cages waiting to be freed.
I must say my favorite thing must be how excited the guards are to be in there and talk with you about the pieces. It’s a true estimate to how art can influence a mood. Genuine smiles and conversation abounded between the guards and patrons as if everyone knew what a special moment they were participating in and couldn’t help but share it with everyone within arms reach. Truly beautiful.
What are you doing this weekend? Seeing the Calder show at LACMA? Thought so.
On February 10, 2014, The Museum of Contemporary Art, Los Angeles installed Barry Le Va’s Shatterscatter (Within the Series of Layered/Pattern Acts) (1968-1971) under the guidance of MOCA Curator Bennett Simpson with a sledgehammer.
Born in Long Beach, California in 1941, Le Va gained prominence when his felt “distribution” works appeared on the cover of Artforum in November 1968. Scattered across large expanses of floor, these works appeared at first to be random in their execution and were grouped with the art of emerging sculptors such as Robert Morris and Richard Serra. But unlike those artists, whose main concerns involved the reliance on chance, Le Va’s distribution pieces were the result of carefully planned and choreographed activities.
In Shatterscatter, six sheets of glass are stacked on top of one another, and as each new layer is added, it is struck with a sledgehammer at its center, causing it to shatter. A final layer of glass is placed over the stack of shards and left untouched. The resulting sculpture is cut off from other works within the exhibition space; its pristine glass top encases the raw energy of the work’s creation into what Le Va called an “isolated contained act.”