LACMA's "New Abstracts"

Channing Hansen, Algo 54 4.2, 2015. LACMA
LACMA's "New Abstracts" is a small installation of contemporary abstract painting, its heirs and assigns. Channing Hansen's Algo 54 4.2 is a hand-knitted, algorithm-prescribed picture in yarns spun from sheep, goats, and camels. Here the algorithm is the agent of chaos, the spider on LSD. 

Peter Bradley, Coravilas, 2021. LACMA, purchased with funds provided by the Jared and Jan Stone Collection
Peter Bradley grew up in the world of jazz, meeting Dizzy Gillespie and Miles Davis. He became a New York gallerist while forging a career as painter. "Coravilas" refers to a track by saxophonist Bill Evans
Sarah Crowner, Untitled, 2016. Promised gift of Ann Colgin and Joe Wender
"New Abstracts" includes work by Tanya Aguiñiga, Sarah Crowner, Jadé Fadojutimi, Marley Freeman, Naotaka Hiro, Alex Hubbard, and Lee Ufan. It runs through May 29, 2023.


Anonymous said…
> LACMA, purchased with funds provided by the Jared and Jan Stone Collection

That's nice and all, but given how much of most museums' collections end up hidden away in storage, I often wonder how the arrival of a new acquisition (other than a blockbuster work) is due largely to culture-oriented, arts-committed philanthropy and how much is due largely to Form-1040, IRS-deduction calculations.
Anonymous said…
The only time these artworks will ever be on exhibit. Low quality art overall.
Anonymous said…
LACMA should've save those acquisition funds for works that are of actual good quality
Anonymous said…
An embarrassing display of mediocre abstractions about nothing. These must have chosen by the LACMA collectors on the board. There is no excuse for this lack of understanding of what abstraction is or can do. Where is the curatorial eye? Very pathetic.
Anonymous said…
The selection of Ufan Lee is so embarrassing. Because he is a suspect in many of his forgery. The museum, which has been the standard of American abstract art by emphasizing the public interest like LACMA and publicly presenting the standards of American Western art, bought the work of Ufan Lee, a suspect who helped to conceal the forgery.

He protected related galleries and counterfeiters by professing that he did all of the counterfeit works that were clearly fake, involving large galleries.

How embarrassing...Treating such a man as a painter and now becoming an abstract painter of LACMA...My pride in LACMA began to crumble today.