The World Overlooked: William Kentridge’s Receiver
Receiver, an artist’s book featuring poems by Nobel laureate Wisława Szymborska and images by William Kentridge, investigates what it means to be human through a complex stratigraphy of image and text. It poses and transposes questions about our shared experience in ways that speak to the problems facing the individual and the complexities shared by the group. It charts the imagination and the circuits it travels, and at the same time it explores the universe and our relative place within it.
Lunchtime Art Talk Recap: Robert Heinecken's Iconographic Art Lunches #3
Circles glowing with orange and brown tones, light and dark playing across their surface like hills and hollows on the face of a celestial body, sharp yellow curves with ragged edges resembling some foreign calligraphy, small dots of iridescent green, points and pocks on the bright white surface, and flowing organic yellow lines twisting their way almost touching but not quite bridging the gap between the two distinct compositions differing in shape and color.
Lunchtime Art Talk Recap: Brasília at the Hammer
On Wednesday July 30, I had the pleasure of delivering a Lunchtime Art Talk to a group of Hammer Museum enthusiasts about Clarissa Tossin’s installation Brasília, Cars, Pools, and other Modernities. I met Clarissa around 2010 in Houston, Texas, when the car (the central piece of the artwork) was still in Brazil—in her parent’s garage to be more precise—and the thought of one day bringing the car to the United States was a dream wrapped in a logistical headache.
Coming up on the Gold Stage
A dancer rehearses on stage as the sound of applause erupts in the normally peaceful museum courtyard. The enthusiasm that day was coming from the soccer fans watching the world cup, but those near the stage watch the open rehearsal in relative silence, absorbing the bodies in motion and art taking place outside of the galleries. The Gold Stage in the Hammer Courtyard, a part of Made in L.A. and an extension of James Kidd Studio, has served as a platform for dancers and performers to share their practice with the community in a public, yet protected space affected by and affecting the surrounding environment for the duration of the exhibition.
Notes Toward a Lunchtime Art Talk: Mariah Garnett's Full Burn
The four questions that Mariah Garnett posed to her interview subjects: Have you ever been injured on set or at war? Have you ever been afraid for your life (on set or at war)? What are the parallels between being a soldier and being a stuntman? Was there ever a time on set that reminded you of being in combat or in the military?
Now in its ninth year, JazzPOP brings some of the most singular voices in West Coast jazz to the Hammer courtyard for concerts that embrace sound and song, groove and grunge, and feature original music grounded in indie rock, chamber music, and jazz improvisation.
Lorene Bouboushian on the Gold Stage
For Made in L.A., James Kidd Studio makes Gold Stage, a satellite center based on her Lincoln Heights dance studio named Pieter. This gold-painted rounded stage in the Hammer Courtyard is an open platform for local, national and international artists of all disciplines to perform, rehearse, mediate, think, exchange, consider. This stage as studio space is an experimental practice in designing a truly functional space to work in, conscious that the courtyard is a public, yet protected.
Now Playing: Renegade Tours
Kids giving tours? Elementary aged children talking about paintings from the 19th century? It happened here at the Hammer. And we have videos to prove it! We recently uploaded videos of our youngest, most adorable tour guides on our new Hammer Kids YouTube playlist. From Moreau to Daumier to Rubens, our petite tour guides are featured sharing a wide range of observations about paintings in the Armand Hammer Collection.