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...anxious uniformity of taste? And did dealers ever have such an unbridled influence on museum trustees and, through trustees, on curators? The problem is not confined to Los Angeles, but it seems to show itself there more vividly than in any other major art center. Such lobbying is why MOCA's opening show, Individuals: A Selected History of Contemporary Art, presented as an account of world painting and sculpture since 1945, became a travesty of its subject, albeit one that contains some distinguished...

Author: /time Magazine | Title: Art: Getting On the Map | 1/12/1987 | See Source »

...cost of the new museum was $23 million.) So the CRA made the construction of a free museum incumbent on any developer who submitted a proposal. The city of Los Angeles gave the land, and the developer the building; total operating responsibility was reserved to MOCA. After 1983, while the Bunker Hill site was in construction, MOCA began its operations in the Temporary Contemporary, or T.C., a former police warehouse renovated to remarkable effect by Los Angeles Architect Frank Gehry...

Author: /time Magazine | Title: Art: Getting On the Map | 1/12/1987 | See Source »

...Thus MOCA is the red cherry atop a huge and ugly sundae of realty speculation. But the building itself, designed by Tokyo-based Arata Isozaki, is a triumph, perhaps the most thoroughly felt new museum to rise in an American city since Louis Kahn's 1972 Kimbell Art Museum in Fort Worth. Its chief exhibition spaces are under the courtyard level, lit from above by beautifully proportioned groups of pyramidal skylights. In this way Isozaki has made the subtlest possible use of Los Angeles' main natural asset, its clear and candid light. No architect in America, not even Kahn himself...

Author: /time Magazine | Title: Art: Getting On the Map | 1/12/1987 | See Source »

...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...

Author: /time Magazine | Title: Art: Getting On the Map | 1/12/1987 | See Source »

...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...

Author: /time Magazine | Title: Art: Getting On the Map | 1/12/1987 | See Source »

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