Mimi Zeiger What's the name of MOCA's new show? Depends on who you ask.
This is the sixth and final installment of our Pacific Standard Time Presents diary, tracking modern architecture happenings all over the city during the Getty's big initiative. Check out our previous entries:
*The Getty's Big, New Exploration of L.A. Architecture
*SCI-Arc's Gala and a Concert at Jackie Treehorn's House
*Everything Loose Will Land, A+D and Machine Project
*Where Are the Women?
Gehry's Back at MOCA; LACMA's Black Blob
Previously, on Pacific Standard Time Presents...
Pardon my Days of Our Lives tone, but it would be an understatement to say that my last diary was a bit of a cliffhanger. Over at MOCA's "A New Sculpturalism" exhibit, Frank Gehry was out, then he was back in. Thom Mayne apparently hijacked Christopher Mount's curatorial role. And those who showed up for the opening were greeted with odd branding (really, can anyone read that sign?) and darkened galleries more fitting for a haunted house -- apparently there is not enough money to light the show.
Still, everyone agrees the show is absolutely worth a visit, especially for the incredibly intricate models by Lorcan O'Herlihy's and Hagy Belzberg's firms, or the freaky-tweaky pavilions of Tom Wiscombe and Elena Manferdini. There are plenty of upcoming events featuring many of the architects talking about the show, but for a deeper look, read the LA Weekly review by Tibby Rothman, who delivers perhaps the most salient critique of the show: "If the show fails to help Angelenos understand the men and women who design our city better, it does beautifully help deliver director Jeffrey Deitch's vision for MOCA: broaden the definition of what gets defined as art." Backhanded compliment alert!More »