In both suites of serial manufacture which celebrate imperfections and variations within a certain aesthetic regularity, and crowd-sourced monumental sites of unfired clay which are both unfixed and also aromatic, the passage of time is marked by evidence of human activity in a kind of animistic industry that again fuses micro and macro cultural expressions inside idioms of craft, architecture, gender, materialism, durationality, and abstraction. Clay especially always has a certain resonance with the body, from its hand-worked nature to its fleshy contoured heft. Her considerable sculptural work in cement and clay also comprises both the architectural/industrial and the intimate/performative.
Installation view of Anna Maria Maiolino, August 4, 2017–Januat MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest Installation view of Anna Maria Maiolino, August 4, 2017–Januat MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest In fact, map-making is another prevalent motif - one which is quite successful at merging the personal and political, as chronicling and graphing her own life story mirrors the broader social and political forces which buffeted its course. For example, her utilization of architectural motifs in her cut and sewn paper pieces, which resonate with everything from hints at domestic craft to the dominance of whitewashed Brutalist institutional edifices in the power structure, to Russian Constructivism (a movement born of similar circumstance), the avant-garde of mid-century abstract painting, the art history of compositional and materialist surface excavation, and her own personal affinity for cartographic schematics. Maiolino’s personal stylistic penchant for an abstract, reductive symbology renders much of her work both universal and inscrutable - a captivating paradox that rewards a kind of material osmosis more so than a painstaking exegesis. As with many politically engaged artists whose practices take on complex issues of ethnicity, social justice, and gendered cultural agency, Maiolino deconstructs oppressive hierarchies not only on an institutional scale, but in terms of their everyday manifestations in the daily experiences of the disenfranchised. There is a current of low-key, abstractly conceptual, occasionally intimate, corporeal and performative energy that runs throughout MOCA’s PST LA|LA offering, the first major museum survey spanning roughly 60 years of Brazilian artist Anna Maria Maiolino’s influential presence in the modern art of the Americas. In participation with Pacific Standard Time: La/LA
MOCA MUSEUM GRAND AVE FREE
The museum will celebrate the start of free general admission with an opening celebration at both of its locations - MOCA Grand Avenue and The Geffen Contemporary at MOCA - featuring performances, music, art-making activities and food.Installation view of Anna Maria Maiolino, August 4, 2017–Januat MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest Anna Maria Maiolino through January 22 MOCA members can access the exhibitions free of charge. The exhibit, which opens May 17 at The Geffen Contemporary at MOCA in Little Tokyo, spans more than 30 years of her work in video and audio installation.Īdmission to special exhibitions will increase from $15 to $18. MOCA will continue to charge for special exhibitions, the first of which spotlights Swiss artist Pipilotti Rist. "Offering free general admission is essential for MOCA to be an active, civic-minded institution, open and inviting to our communities." "Everyone at MOCA is so excited and proud to share Carolyn's incredibly generous gift with our visitors," MOCA Director Klaus Biesenbach said. The Museum of Contemporary Art in Los Angeles will begin offering free general admission Saturday at both of its locations, thanks to a $10 million gift from MOCA board President Carolyn Clark Powers.
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