Protests erupted over a painting based on a photograph of Emmett Till (at the Whitney Biennial in 2017) and a sculpture evoking the hanging of Dakota Indians (at the Walker Art Center the same year). In the last three years, museums have become flash points for debates about racial justice after displaying artworks by white artists that address subjects like violence against African-Americans. Leonardo staged a nonverbal performance that brought together four groups with conflicting views on the debate over guns in America. In “Primitive Games,” enacted at the Guggenheim Museum in New York in 2018, Mr. Leonardo tells them that police will interpret self-defense as resisting arrest. “I Can’t Breathe” is a self-defense workshop where participants learn how to escape the chokehold that killed Mr. Leonardo, a Queens-born artist, has focused on social justice art, dealing with issues like the numbers of black and Latino men in prison, racial inequality, police use of force. Since the death of Trayvon Martin in 2012, Mr. Leonardo said the reason he was speaking out now, months after the show was canceled, “was in reflection of what I saw as empty messaging coming out of primarily white art institutions since the death of George Floyd.” For example, the Getty Museum in Los Angeles apologized for a May 31 Instagram post calling for “equity and fairness” that did not mention Black Lives Matter or Mr. It was performed in 2017 on the High Line in New York. Leonardo’s works also include “ The Eulogy,” in which he delivers remarks about Trayvon Martin and other black men and boys who have been killed, accompanied by a band playing a New Orleans funeral march. In subsequent conversations “with civic leaders and other members of the community,” she said, she heard “with difficulty and tough love, that the black community is not monolithic, that we should have sought other voices.”Įarlier this year, “The Breath of Empty Space” was exhibited without incident at the Maryland Institute College of Art in Baltimore - a community scarred by the death of Freddie Gray, 25, in police custody in 2015. Snyder, who said the museum has undertaken diversity initiatives in the past, added that she wished that she had invited the artist into the conversation and engaged a broader African-American constituency. In doing so, we failed the artist, we breached his trust, and we failed ourselves.” It concludes, “The work of anti-racism involves taking responsibility and supporting risk. Leonardo on the museum’s website, which reads, in part: “I would like to acknowledge our failure in working through the challenges this exhibition presented together with Mr. Snyder posted a lengthy public apology to Mr. One change he’s considering is reducing admission fees.On Sunday, Ms. He brought in a new chief curator in August, but it will take time to restore the museum to its former prominence. Known for his collaborative and artist-oriented style, he has said MOCA has to be the most innovative museum in the country. MOCA endured six rocky years of financial problems and increasingly sparse programming before new director Philippe Vergne was lured away from New York’s Dia Art Foundation in early 2014. San Vicente, West Hollywood) is an earth-toned cube next to the design center that focuses on contemporary architecture and design. MOCA Pacific Design Center (8687 Melrose Ave. With the easiest parking of the three, it’s a good place to start. Temple Metro Gold Line to Little Tokyo/Arts District) shows the museum’s most interesting rotating exhibitions-it held the largest show of Mark Kelley’s work to date in 2014. The warehouse-like Geffen Contemporary at MOCA in Little Tokyo (152 N. It also houses the museum’s popular restaurant, Lemonade (open during museum hours tel. Thad Kosciuszko Way Metro Red Line to Pershing Square.), the main venue, opened “Andy Warhol: Shadows,” the first West Coast showing of all 102 parts of the monumental painting, in September 2014. The imposing red sandstone MOCA Grand Avenue (250 S. Its 6,800-piece collection-one of the best in the country, including numerous Rothkos, Pollack’s first drip painting, Johns, and dozens of other 20th century artists, as well as challenging work by emerging artists-is spread among three locations. Known for its provocative, ambitious, and sometimes difficult exhibits, MOCA is L.A.’s only museum focusing solely on art from 1940 to the present.
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