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September 17, 1992–November 7, 1992 |
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This exhibition included the work of more than 140 Los Angeles artists of
diverse ethnic and geographical backgrounds who were invited by the Museum
to contribute work relating to the changing social, political, and
geographic boundaries of Los Angeles in the wake of the Rodney King verdict
and ensuing period of civil unrest. Breaking Barriers provided a forum for
artists to add their voices to those of civic leaders, the media, and
politicians as they engaged in the process of analyzing the urban
environment and the rebuilding of Los Angeles. |
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September 26, 1992 |
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The Museum presented a free public concert by the forty-five-member AME
Church youth choir and an accompanying trio of musicians.
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October 9, 1992
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The Museum presented Order/Disorder: Does Art Heal the Ache of Our Time?, a
performance by Hyesook; ENTEREXIT, a one-act performance by Sergio Zenteno;
Redefining Democracy in America, a performance and reading by Jacki Apple,
Hugo Carrillo, Lynel Gardner, Yoko Tanaka, and Kenneth Scott Wiener; and
Blows of the Hammer, a performance by Liz Young, Barbara Pilavin, and Jim
Reva. |
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October 29, 1992 |
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The Museum hosted a panel discussion addressing the cultural and political
dynamics of the art of Breaking Barriers. The panel featured Cecil
Fergerson, community curator; Barbara Goldstein, Los Angeles Cultural
Affairs Department; John Outterbridge, Breaking Barriers artist and former
Director of the Watts Tower Art Center; and Gema Sandoval, Director of Plaza
de la Raza. |
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November 7, 1992 |
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Panelists in this discussion addressing the current state of art in Los
Angeles included Henry Hopkins, Director, UCLA Wight Art Gallery; Max
Benavidez, Los Angeles Times critic; Gwen Darien, Executive Director, Los
Angeles Contemporary Exhibitions (LACE); Thomas Lawson, Dean, California
Institute of the Arts; Adolfo Nodal, General Manager, City of Los Angeles
Cultural Affairs Department; and Paul Schimmel, Chief Curator, the Museum of
Contemporary Art. |
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July 17–August 23, 1992 |
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In this installation, the projection of monumental maps, graphics, and text
revealed varied "perspectives" of the world based on the viewer's position
in relation to several vantage points within the gallery. In addition to the
maps, several video monitors playing programs of reconstructed broadcast
television news were interwoven with—or disrupted by—Williams's own
commentaries. |
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June 26–August 23, 1992 |
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The Alphabet of Lili was a suite of twenty-six large-scale drawings in
acrylic and charcoal that documented Glier's daily experience of parenting
and the changes that transformed his life after he and his wife, Jenny
Holzer, moved to a farm in upstate New York to raise their daughter, Lili.
Exploring the Cubist proposition that perception is not only vision but also
memory, Glier's drawings are the product of periods of sustained observation
on a single topic, buffeted by whimsy, emotion, accident, strong ideas, and
daily life. |
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May 15–June 28, 1992 |
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Richard Jackson's monumental kinetic painting installation combined painted
walls, freestanding sculptures, and spinning fiberglass figures to create
disorienting optical and perceptual illusions. Jackson's active interest in
geometric abstraction, minimalism, and conceptual art, and the ideas
associated with these movements, informed his own art-making and raised
questions concerning representation, perception, and the process of
painting. |
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April 3–June 14, 1992 |
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Knowledge: Aspects of Conceptual Art investigated the relationship of early
conceptual art activities (such as Art and Language, John Baldessari,
Douglas Huebler, Joseph Kosuth, and Lawrence Weiner) to works by a younger
group of neoconceptualists (such as Sarah Charlesworth, Clegg and Gutmann,
Mike Kelley, Louise Lawler, Stephen Prina, and Richard Prince). This
exhibition was organized by Phyllis Plous of the University Art Museum,
University of California at Santa Barbara, and Frances Colpitt of the
University of Texas at San Antonio. |
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March 6–April 19, 1992 |
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This collaborative installation by visual artist Steve DeGroodt and composer
Carl Byron explored the problem of traditional cultures struggling to
maintain their identities in a modern world. The work was based on
DeGroodt's personal observations during travels to Papua New Guinea and the
Fiji Islands. The soundtrack blended field recordings with acoustic and
synthesized sounds created by Byron. |
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December 6, 1991–March 5, 1992 |
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This exhibition included sixty-two works by nine artists who blend
international movements with unique personal expressions. The paintings
presented acknowledged a debt to the history of Mexican art even as they
explored issues ranging from gender and sexuality to the sociopolitical soul
of the artist in a developing nation. The exhibition was organized by Dr.
Edward J. Sullivan, Chairman, Department of Fine Arts, New York University,
and the Americas Society, New York. |
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January 10–February 23, 1992 |
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This collaborative video installation by media artist Ann Bray and visual
artist/performer Molly Cleator presented the artists engaged in a dialogue
about the effects of TV and media. Their taped conversation was played on
two monitors mounted at head level on two motorized wheelchairs that moved
erratically around the gallery, which was filled with more than a hundred
different types of chairs arranged in various viewing configurations.
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