Hey, look! The Hammer Museum of Art in Los Angeles has some new artwork! The museum, more often referred to by locals simply as “The Hammer” (and, by the way, how fucking cool of a name for a museum is that?) recently acquired some new art. It’s mostly of the contemporary variety, which regular readers of Global Graphica will know, we L-O-V-E the most.
As an art museum is wont to do, the Hammer has put on an exhibition of these newly acquired works in a show titled “Living Apart Together.” Among the standout pieces in the show (and there are many) is Los Angeles artist Barbara T. Smith’s “Field Piece,” a small forrest of 16 tall, narrow resin trunks (described by the museum as fiberglass “blades”) that are not too dissimilar to — dare we say it — male genitilia. A.k.a., dicks! In other words, some people might call these “phallic.”
But, we dear reader, are not one of such people. We don’t think these are phallic at all, and we do believe that it was not in the mind of the artist to create something as such at the time (that time being between 1968-1972, when Smith created “Field Piece”).
But no matter. Because “Field Piece” is thought-provoking, as all rewarding encounters with art should be. It’s that … Aaaaaaaaand it’s also something that would look fantastic in our living room!
The artwork of Los Angeles-based American artist Sam Durant has often addressed social, political and cultural issues in bold ways. His work titled “End White Supremacy” was recently added to the collection of the Hammer Museum in Los Angeles. The lettering style of this direct, unequivocal message was inspired by the hand-written sign carried by an American civil-rights protester in the 1960s. Durant put these words on the type of backlit commercial signage one sees at businesses and strip malls everywhere. The work amplifies a message of activism through the medium of business and advertising.
In her body of work, Los Angeles artist Liz Craft has created some fascinating and evocative sculptural objects that have death and the human form at the thematic center. In fact, a couple of notable works from her that have been shown in Los Angeles museums the past year have “death” in the title. One is the powerful and darkly comic “Death Rider,” recently on view at the Hammer Museum and pictured in this post. The other exhibitied last year at LACMA is “Death of a Clown,” which you can see here.
The work of Brooklyn-based artist Simone Leigh explores many themes. Among these are the African diaspora and identity. A small exhibition of this work is currently on view at the exceptionally well-curated Hammer Museum of Art in Los Angeles. The show includes sculpture and an installation of an African-modeled thatched hut that houses a monitor displaying a video of a choreographed dance.