MOCA Announces Show on Post-War Japanese-American Artists
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| Chiura Obata, Topaz War Relocation Center by Moonlight, 1943. Utah Museum of Fine Arts |
Interest in Ruth Asawa and the art of WWII Japanese-American internment camps is trending. MOCA is planning a large, scholarly exhibition of the generation of West Coast artists whose careers were interrupted by Executive Order 9066. It will examine not only the art made in camp but how the history affected postwar art and resonates in a xenophobic 21st century. "Afterlives: Japanese American Artists and the Postwar Era" will be at Grand Ave. Feb. 28–Sep. 12, 2027.
Also on MOCA's schedule is an adaptation of the Michael Asher exhibition that recently appeared at Artist's Space, New York. "Michael Asher" runs Feb. 24–Aug. 2, 2026, at MOCA Grand Avenue.
In the works are two large installations of MOCA's permanent collection: from the 1940s to 1970s at Grand Ave. (Apr. 26–Sep. 20, 2026) and from the 1960s to the present at Geffen Contemporary (Aug. 2, 2026–Mar. 7, 2027).
Comments
> large installations of
> MOCA's permanent
> collection:
MOCA definitely has to keep a close eye on its expenses. If they didn't, they'd be scheduling a lot more of the generic, Hauser-Wirth-type exhibits of contemporary art that LACMA is so much in love with.
So Govan's LACMA can't necessarily claim their tight budget prevents them from doing big-time Met-on-5th-style special exhibitions. Actually, it does.
However, if LACMA really wanted to reign in its budget, since at least 2020 they could have had selections of their own permanent collection, particularly in the Resnick Pavilion, on ongoing display. But, no, because even though it costs a bit more, regional-style shows of on-loan contemporary art (such as of Met-Opera-type chandeliers) appeal to people like Govan and his staff more than their own (non-modern, non-contemporary) collection does.
Incidentally, a study of what took place in the 1940s of the incarceration of US citizens of Japanese descent is reminiscent of what took place in 2020 (when LACMA's 1965-1986 campus was torn down) during the period of SARS-CoV-2. In both instances, ethics and transparency took a hit. Or, "no questions allowed."
However, come to think of it, Michael Govan hasn't been too transparent and necessarily ethical in the way he's handled the rebuilding of LACMA either. But I'll admit the installation of old street lights in front of the museum has been better received (ie, "popular") than the old pools and spigot fountains of LACMA were in 1965.
Beverlypress .com: “We now have butterflies on Wilshire Boulevard,” Govan enthusiastically said, referring to the fauna attracted to “Split-Rocker’s” flora. “Who wouldn’t want to move to the good weather in Los Angeles, especially if you’re a flower sculpture, which otherwise, in the winter, has to go to sleep.”
Govan added that the artwork’s “split” means many different things and will be interpreted in many ways by visitors to LACMA’s new campus. He added that another outdoor art piece – Chris Burden’s “Urban Light” – was initially met with trepidation when it opened in front of LACMA but is now an irreplaceable part of the campus, and predicted that “Split-Rocker” will be just as popular. [End quote]
Regardless, there are aspects of both NYC and LA that are as depressing as hell. Other cities too. Also, most nations.
I've often assumed it must have been fairly bad in Europe in the 1800s or 1900s (obvious world wars notwithstanding) for people barely scraping by, leave their life and family behind, and pick up and move to the hinterlands of the US.