|
November 15–December 29, 1991 |
 |
|
|
In painted murals and sculptural shrines dedicated to jazz legends, Wyatt's
installation depicted the history and significance of the Los Angeles jazz
movement. The piece paid homage to such musical pioneers as Buddy Collette,
Teddy Edwards, Billie Holiday, Art Tatum, Dexter Gordon, and Ivy Anderson
and the clubs they made famous: the Downbeat Room, Club Alabam, Last Word,
and the Jungle Room. |
|
|
September 13–November 24, 1991 |
|
|
|
Between Worlds exhibited the work of sixteen photographers from across
Mexico whose images document the diversity of contemporary Mexican culture.
The accompanying 145-page catalog featured contributions by five Mexican
writers who amplified the strong cultural traditions presented through the
imagery. Between Worlds was curated by Trisha Ziff, organized by Pilar
Perez, and circulated by Curatorial Assistance.
|
|
|
July 13–September 1, 1991
|
|
|
|
Crossings was a mixed-media installation using a single, repeated object—a
plaster cast of an army cot that was multiply reproduced and
recontextualized. The resulting constructions conjured images of Arlington
Cemetery, Leni Riefenstahl, a bombed city seen from the air, hospital wards,
troopships, and public homeless shelters. |
|
|
July 13–August 18, 1991 |
|
|
|
Coe's cycle of work from 1988–1990 presented a thoroughly researched and
extraordinarily moving exploration of the American meat industry, from
biotechnology and factory farming to meat processing, marketing, and the
environment. Porkopolis, which included forty-eight of Coe's strongest
watercolor and graphite drawings and paintings, was organized by Galerie St.
Etienne, New York. |
|
|
June 13–June 16, 1991 |
|
|
|
Cohosted with the Museum of Contemporary Art, Los Angeles, and brought to
L.A. through the National Performance Network, this modern dance company
from Boston combined elements of classical, modern, and jazz movements with
reenactments of everyday human activities to create dances about the
interaction of the external world and the imagination. |
|
|
March 28–May 26, 1991 |
|
|
|
This survey exhibition of contemporary Japanese art of the 1980's combined
work by an older, established generation of artists—painter Lee U-Fan,
ceramist Kohshoh Itoh, and sculptor Makio Yamaguchi—with the
installation-based work of a younger generation of artists including Chie
Matsui, Chu Enoki, and Toshihiro Kuno. Seven Artists was organized by Kazuo
Yamawaki of the Nagoya City Art Museum. |
|
|
February 15–March 17, 1991 |
|
|
|
Adrian Piper's interdisciplinary work addresses the sociological
ramifications of her own mixed racial heritage using herself as both subject
and object. This twenty-year survey, curated by Jane Farver of the
Alternative Museum in New York, included drawings, photographs, phototext
collages, diaries, mixed-media installations, videotape, and audiotapes. |
|
|
February 8–March 17, 1991 |
|
|
|
In this collaborative installation, which focused on their experience of
growing up in the United States as individuals of non-Western origin, Bravo
and Page explored themes of cultural identity, sexual stereotyping, and
behavioral imprinting. Through video, paintings, and photography, they
contrasted the affirmation of one's own persona with the dichotomy between
the West's encoding of behavior and cultural diversity in contemporary
society. |
|
|
January 17–February 10, 1991 |
|
|
|
Consistently fascinated by individuals living in extreme situations, Mogul
presented a video diary of her travels to Poland, Czechoslovakia, and
Yugoslavia within an installation that simulated her apartment in Warsaw.
Drawing upon her affinity with the poetic irony prevalent in Eastern
European art and literature, Mogul also presented an idiosyncratic and
intimate conversational monologue based upon her three-month visit to
Eastern Europe during the summer of 1990. |
|
|
November 15, 1990–February 3, 1991 |
|
|
|
Birrell's gradually evolving installation, which incorporated photographs
and found objects, was presented in three parts in a specially built space (
25 feet long, 15 feet deep, and 10 1/2 feet high) inside the Museum's west
gallery. Within this structure, Birrell utilized natural motifs, such as
growth, branching, and trees, as metaphors for progress, selection, and
ordering. Visitors viewing each of the three progressive permutations gained
a successive and cumulative overview of this mixed-media, multidimensional
presentation. |
|
|
December 6, 1990–January 13, 1991 |
|
|
|
Roush's oblique series of discrete installations made reference to the
interior and exterior structural realities of the Frank Gehry-designed
Museum. Building on the viewer's associations with interlinking and
referential objects and dealing with contrasting forms of transparency and
light, Roush created an ineffable sense of magnitude and volume, allowing
viewers to feel the ephemeral as a material presence.
back to top |
