Over the last two decades, the UCLA Hammer Museum has dramatically transitioned from a vanity-fueled embarrassment to a vibrant cultural institution. It is one of our liveliest art museums — not just in the city, but in the nation, KnightLAT writes.
Over the last two decades, the UCLA Hammer Museum has dramatically transitioned from a vanity-fueled embarrassment to a vibrant cultural institution. The leap is large. Today it is one of our liveliest art museums — not just in the city, but in the nation.
Indeed, the idea of beginning to form a contemporary collection is tied to the updated and expanded building. A redesigned and welcoming lobby and a former bank office transformed into a gallery are also among the changes, currently housing commissionedfrom Chiharu Shiota and Rita McBride. On the patio adjacent, a monumental Sanford Biggers bronze sculpture of a Zeus-like figure melds African and American forms.
The stark counterpoint is Sakoguchi’s “Towers,” a series of clear-eyed landscape views of and from the concentration camp watchtowers built between Arkansas and California to imprison American citizens of Japanese descent during World War II. They surround a group picture of inmates at Poston, Ariz., the prison where the artist spent part of his childhood, the discomfiting faces echoing a benign high school graduation picture.
Among notable works recalling past shows are Llyn Foulkes’ grim mixed-media painting of a blood-soaked U.S.
All three works put art’s social dimensions front and center, as does Roland Reiss’ room-size “The Castle of Perseverance.” The sofa, side tables, lamps and other furnishings of an ordinary domestic living room, built from soulless sheets of brown particle board as an inert Minimalist still life, speaks eloquently of contradictions within the pop-heavy experience of L.A. — the first great suburban metropolis.
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