Notes from the Golden Orange
EppsNet Archive: MOCA
“I love Rothko!” she said. “I used to have a Rothko calendar.”
I admit that threw me off a little. I had expected a lukewarm and/or noncommittal response . . .
“Did you find it had a certain ‘sameness’ about it?”
“No, he used more figures in his earlier paintings.”
“Oh . . . you know, I’ve never been to a museum with someone who actually knows about the art.”
“Ha ha, I don’t know that much, I’m just a fan,” she said.
(Scroll down for photos.)
Unless you reserve tickets well in advance, entry to the Broad is handled via a standby line, which, when we showed up Saturday morning, was about an hour wait, i.e., the museum opened at 10 a.m. and we got in about 11:00.
Because the standby line is in direct sunlight, Broad staff thoughtfully hand out umbrellas to anyone in the queue who wants one. (They do ask for the umbrellas back when you enter.)
The Infinity Mirrored Room is an experiential artwork . . . one visitor at a time enters the room for 45 seconds. It requires a separate reservation which you can make, pending availability, after entering the museum.
Once you get signed up with your name and cell phone, you get a text when it’s your turn to see the room. Our reservation came with a wait time of 4 hours and 35 minutes. Good to know.
That gave us enough time to take in the rest of the museum, and walk across the street to MOCA and take in their entire offering.
A couple of differences between the Broad and MOCA:
- MOCA is more museum-y. It makes you feel like whispering. The Broad is more open, playful and fun.
- Admission to the Broad is free. MOCA costs 12 bucks.
After wrapping up MOCA and heading back to the Broad, we were able to get an update on our Infinity Mirrored Room wait time. We were prepped to get some lunch and come back if we had to wait out the full 4-1/2 hours, but no: only 15 minutes left! Total wait was only about 3 hours.
Here’s a few photos:
Ed Ruscha has resigned as a MOCA trustee, as have John Baldessari, Barbara Kruger and Catherine Opie, leaving no artists on the museum’s board.
“Art” and “artist” are words that get tossed around pretty lightly. Ruscha‘s work — and the same goes for Baldessari and Kruger — consists of modifying photos and other images, often by writing words on them.
It’s like lolcats, minus the occasional wit.
Opie is a photographer whose work is less interesting than the average high school yearbook.
Yesterday, the image below was posted on the MOCA Facebook page. It’s an actual museum piece called “Earthwork aka Untitled (Dirt).”
Yes, it looks like a pile of dirt, but if you click the image to enlarge it, you can see that it’s actually — a pile of dirt!
This is risk-taking art, the risk being that the cleaning crew may accidentally sweep it up and throw it in the garbage.
No doubt the four retiring geniuses can put forth a critical theory, based on “the process of creation,” to explain why a pile of dirt becomes “art” when placed within the walls of a museum. I say good riddance and take your dirt with you.