Word: koshalek
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...this a claim to be the most ponderous one-man show in history) had to be shipped to Los Angeles via the Panama Canal and set up inside the Geffen Contemporary. The plates couldn't be craned in through its doors, and so, recalls the museum's director, Richard Koshalek, "we took the direct way. We just cut a big hole in the back wall and had the trucks drive straight in." Then, with the help of a compact but powerful lifting crane whose last major job had been to jack up the concrete slabs of Los Angeles' freeways after...
...architecture" as possible. But after a two-day slugfest of a meeting, the board voted 17-3 for Isozaki, at which Palevsky resigned in a huff and sued for half his money back. But by then other key grants were in line. The "major breakthrough," according to Director Richard Koshalek, was getting Security Pacific Banker Carl Hartnack on the MOCA board. This gave MOCA real standing with the downtown business establishment, which came to see the museum's success as a necessary emblem of the economic rebirth of Bunker Hill...
...emblem or not, MOCA has had its share of troubles. It is lucky in its director: Koshalek, 45, formerly curator of the Walker Art Center in Minneapolis and director of the Fort Worth Art Museum, is a man of intelligence and voracious enthusiasm. However, not much in the way of bequests and gifts has yet reached MOCA. Some of its trustees, notably Robert Rowan, have given it good individual works. But so far only one collection has been donated: 64 works owned by the late Barry Lowen, a TV production executive whose tastes for minimal art, neoexpressionism and media-based...
...Count Giuseppe Panza di Biumo, the Italian industrialist who was one of its trustees. Though it seems odd that a trustee could make a fortune by selling to his own institution, the deal was perfectly legal in California. "There's good self-dealing and bad self-dealing," says Director Koshalek philosophically. Then last November word leaked out that Count Panza's fellow trustees had discussed selling some of the works to raise the next $2 million installment. This too would have been legal -- there was no agreement to keep the collection intact -- but when the indignant count blew the story...
...public relations firm to keep them, and him, as visible as can be. There is a persistent rumor in Los Angeles art circles that Broad is waiting for MOCA's operating funds for the T.C. to run out so that he can take it over as his own museum. Koshalek flatly denies that this is in the cards. "The leadership of this board, let alone the city, will never let the Temporary Contemporary go," he says. Nor should they: the discourse between MOCA's two buildings, the spare, rather grand abruptness of Gehry's renovated warehouse contrasted with the hyperrefinement...
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