A Big Bus and "Seven Stations" at MOCA
|Mason Williams' Bus, 1967, with Robert Rauschenberg's untitled Combine, about 1954|
Bus anchors the first of seven rooms in "Seven Stations: Selections from MOCA's Collection," organized by Mia Locks and Bennett Simpson with Karlyn Olvido. The rooms range from the museologic traditional (a white cube of Rothko paintings) to provocative juxtapositions across time and sensibility. MOCA has done this sort of thing from its inception, but for some it will invite comparison to new MoMA (or future LACMA).
|Terry Adkins, Forst Mosaic, 1997|
The second room has two large found-object assemblages, both new acquisitions, by Terry Adkins and Nari Ward. The Adkins is made from tags used for a brand (Forst) of pork sausages. It's a van Gogh sunflower gone to seed, and oblique political commentary ("Forst" = "forced"?)
|Carlos Cruz-Diez, Chromosaturación, 1965|
That's followed by the late Carlos Cruz-Diez's Chromosaturación (1965), a room-sized installation jointly owned with the Hirshhorn. That in turn leads to a Rothko mini-chapel exploring the power of juxtaposed color in a completely different way.
|Mark Rothko paintings|
|Beverly Pepper's Untitled Stainless Steel, 1963; Ruth Asawa's Untitled (Hanging, Two Lobed, Interlocking Continuous Forms Within Forms), about 1955; and Richard Serra's Untitled Trapezoid, 1976|
|Liz Larner, You might have to live like a refugee, 2019|
|Martha Rosler, Semiotics of the Kitchen, 1975|