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2021–22 MOCA ADVANCE EXHIBITION SCHEDULE

2021–22 MOCA ADVANCE EXHIBITION SCHEDULE

Wednesday, July 14, 2021

JENNIFER PACKER: EVERY SHUT EYE AIN’T SLEEP
JULY 1, 2021–FEBRUARY 21, 2022
MOCA GRAND
CURATOR: BENNETT SIMPSON
Free admission, as part of MOCA’s Art for All initiative

Jennifer Packer, Untitled, 2020, Charcoal and pastel on colored paper, 9 x 9 3/4 inches (22.9 x 24.8 cm). Courtesy of Sikkema Jenkins & Co., New York, Corvi-Mora, London.

In recent years, artist Jennifer Packer has received increasing acclaim for her intensely lyrical and emotionally nuanced portraits of friends and family members, as well as numerous floral paintings memorializing lives stopped by police violence. Rendered in virtuosic expressive style and layered intensity, Packer’s recent paintings and works on paper surface representations of intimacy, embodiment, and loss and mark an important new direction in figurative painting. This exhibition of 25 new and recent works is the West Coast debut of a rising talent.

Jennifer Packer, Idle Hands, 2021, Oil on canvas, 90 x 84 inches (228.6 x 213.36 cm), Purchase with funds provided by the Acquisition and Collection Committee. Image courtesy of Sikkema Jenkins & Co., New York, Corvi-Mora, London

 

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EVIDENCE: SELECTIONS FROM THE COLLECTION
JULY 1, 2021–FEBRUARY 21, 2022
MOCA GRAND
CURATOR: REBECCA LOWERY
Free admission, as part of MOCA’s Art for All initiative

Our experience of time is situational and decidedly elastic, a reality that many of us have perceived with new acuity over the course of the Covid-19 pandemic in ways intimately related to our differing responsibilities and stations in life. This selection of works from MOCA’s collection considers some of the myriad ways that artists mark, capture, or meditate on the passage of time: its duration, its ordering into past and present, and its relation to memory. At center stage is a drawing by Los Angeles-based artist Carmen Argote, Digesting Scroll—Feb, March, April (2020), the first work of art made during the pandemic to enter MOCA’s collection.

MAKING SPACE: RECENT PHOTOGRAPHY ACQUISITIONS
JULY 1, 2021–FEBRUARY 21, 2022
MOCA GRAND
CURATOR: REBECCA LOWERY
Free admission, part of MOCA’s Art for All initiative

This exhibition highlights a selection of photographs that have recently joined MOCA’s renowned collection, including major gifts and both contemporary and historical purchases. Works by artists such as LaToya Ruby Frazier, Senga Nengudi, Wolfgang Tillmans, and others share an interest in the possibilities and sometimes limits of the camera’s definition of space, whether as evidence for a claim on it or of what spaces the camera cannot capture.

PIPILOTTI RIST: BIG HEARTEDNESS, BE MY NEIGHBOR
SEPTEMBER 12, 2021–JUNE 6, 2022
THE GEFFEN CONTEMPORARY AT MOCA
CURATOR: ANNA KATZ

Pipilotti Rist: Big Heartedness, Be My Neighbor is the first West Coast survey of the internationally renowned Swiss media artist. Rist’s installations explore relationships of video and the body; exterior environments and interior psychological landscapes; and reason and instinct. They exuberantly probe the video medium’s capaciousness—for vivid color; sweeping views and extreme close-ups; introspection and cultural critique; and, importantly, the creation of shared experiences within the public space of the museum. The exhibition surveys more than thirty years of the Zürich-based artist’s work, encompassing early single-channel videos; large-scale installations brimming with color and hypnotic musical scores; and sculptures that merge everyday objects, video, and decorative forms. Pipilotti Rist: Big Heartedness, Be My Neighbor also debuts a new audio-video installation made specifically for The Geffen Contemporary at MOCA.

SIMONE FORTI
OPENS AUGUST 7, 2022
MOCA GRAND
CURATORS: REBECCA LOWERY AND ALEX SLOANE
Free admission, as part of MOCA’s Art for All initiative

This exhibition is the first on the West Coast to explore the monumental career of visionary artist, dancer, choreographer, and writer Simone Forti in depth. The exhibition will feature weekly performances of historical works alongside a selection of works on paper, videos, sculpture, and performance ephemera and documentation highlighting key moments from Forti’s six-decade career, which has reframed the dialogue between visual art and contemporary dance.

JUDITH F. BACA: THE WORLD WALL
OPENS SEPTEMBER 11, 2022
THE GEFFEN CONTEMPORARY AT MOCA
CURATOR: ANNA KATZ
Free admission, as part of MOCA’s Art for All initiative

Celebrated Chicana muralist Judith F. Baca began her collaborative, portable mural The World Wall: A Vision of the Future Without Fear in 1990. An ambitious, utopian, and international project, The World Wall is rooted in the philosophy that in order to achieve world peace, we must first be able to envision it. Baca painted the first four ten-by-thirty-foot canvas panels; as the work traveled abroad, between 1990 and 2014, artists and community groups from Finland, Russia, Israel and Palestine, Mexico, and Canada contributed five additional panels, employing figurative and symbolic visual vocabularies to depict a vision of the future without fear. All nine panels will be shown at MOCA in an enveloping, cathedral-like installation, marking the first complete presentation of this monumental project in the artist’s hometown of Los Angeles. Pointing to the legacies of both the Chicano arts movement of the 1970s and Mexican muralism movement of the 1920s, this timely exhibition considers the visionary role of activist-artists in imagining a peaceful future for us all.

GARRETT BRADLEY: AMERICAN RHAPSODY
OPENS SEPTEMBER 11, 2022
THE GEFFEN CONTEMPORARY AT MOCA
ORGANIZING CURATOR: ANNA KATZ
Free admission, as part of MOCA’s Art for All initiative

Garrett Bradley: American Rhapsody is the first solo museum presentation of the work of Los Angeles and New Orleans-based artist and filmmaker Garrett Bradley; it is organized by Contemporary Arts Museum Houston (CAMH) and curated by Rebecca Matalon. Bradley works across narrative, documentary, and experimental modes of filmmaking to address themes such as race, class, familial relationships, social justice, southern culture, and the history of film in the United States. Employing a collaborative and research-based approach to filmmaking, Bradley explores the space between fact and fiction, embracing modes of working and of representing history that blur the boundaries between traditional notions of narrative and documentary cinema. The exhibition features a selection of recent single and multi-channel films and videos, including America (2019), in which Bradley constructs a visual archive of early African American cinema and poignantly asks what it might mean to model a history of black visuality and representation that privileges depictions of pleasure over spectacles of pain.

TALA MADANI 
OPENS SEPTEMBER 11, 2022
THE GEFFEN CONTEMPORARY AT MOCA
CURATORS: ALI SUBOTNICK AND REBECCA LOWERY
Free admission, as part of MOCA’s Art for All initiative

MOCA is organizing the first North American survey of Iranian-born artist Tala Madani’s paintings, animations, and drawings. Bringing together fifteen years of the artist’s incisive work, the exhibition will highlight the often-absurd socio-cultural dynamics enacted within Madani’s art and, more broadly, the potent and combustible relationship between art history and global history. Madani’s paintings and animations are powerful meditations on the potential for art to reflect the deeply-seated cultural fears, conflicts, and desires of our present day. Rich in narrative and heavy in irony, they elicit curiosity, fantasy, and repulsion.

HENRY TAYLOR
OPENS FALL 2022
MOCA GRAND
CURATOR: BENNETT SIMPSON
Free admission, as part of MOCA’s Art for All initiative

Surveying thirty years of Henry Taylor’s work in painting, sculpture, and installation, this retrospective will celebrate a Los Angeles artist widely appreciated for his unique aesthetic, social vision, and freewheeling experimentation. Taylor’s portraits and allegorical tableaux—populated by friends, family members, strangers on the street, athletic stars, and entertainers—display flashes of familiarity in their seemingly brash compositions, which nonetheless linger in the imagination with uncanny detail. In his paintings on cigarette packs, cereal boxes and other found supports, Taylor brings his primary medium into the realm of common culture. Similarly, the artist’s installations often re-code the forms and symbolisms of found materials (bleach bottles, push brooms) to play upon art historical tropes and modernism’s appropriations of African or African-American culture. Taken together, the various strands of Taylor’s practice display a deep observation of Black life in America at the turn of the century, while also inviting a humanist fellowship that pushes outward from the particular. This will be the first large-scale museum exhibition in Taylor’s hometown.

General admission to MOCA for the noted exhibitions is free courtesy of Carolyn Clark Powers.

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