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[Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation, 1973, Cotton, polyester knit, and denim, 88 x 80 in. The Museum of Contemporary Art Los Angeles (MOCA). Proposed purchase with funds provided by Joel Wachs]
Enjoy this artwork in the free exhibition "Old and New Dreams: Recent Acquisitions in a Collection" at MOCA Grand Avenue.
Both sides display Pettway’s almost musical flair for improvisation, a hallmark of the Gee’s Bend culture.
Until the latter half of the twentieth century, Gee’s Bend quilts were made of worn-out work clothes, and Pettway’s design riffs on that history, using a wider variety of fabrics to echo and expand upon the work-clothes quilt styles she grew up with.
The front features brightly colored blocks in varying sizes, which call to a tradition of freeform yet geometric design in the Gee’s Bend quilts. The artistic practice Pettway was born into has been shaped by scarcity and ingenuity, making use of fabric scraps and fragments.
Made when she was just 17, Two-sided quilt: Blocks and ‘One Patch’ – stacked squares and rectangles variation (1973) shows Pettway finding her voice as a quilter, having absorbed the vibrant and expressive styles seen in her childhood and reconfigured them in her design language.
For generations, the artists of Gee’s Bend, Alabama, have made striking quilts that set themselves uniquely apart within the tradition of quiltmaking. One of the youngest and few torchbearers of this legacy, #EssieBendolphPettway began sewing in her early teenage years.
The documentary is a poetic odyssey through the Amazon rainforest, in which Indigenous artist Uýra harnesses the interconnecting power of their native, queer, & trans identities to blaze a trail of ecological activism & LGBTQ+ pride across big cities & small villages. #OutfestLA
Our friends at @Outfest are hosting LA's LGBTQ+ Film Festival through July 24! Don't miss this Saturday's "UÝRA – The Rising Forest" screening followed by a Q&A with Juliana Curi. Learn more about the documentary and get your tickets here:… #OutfestLA
Claes Oldenburg, Hamburger with Pickle and Olive, 1962, muslin soaked in plaster over wire frame, painted with enamel, 7 x 9 x 9 in. (17.8 x 22.9 x 22.9 cm). The Panza Collection.]
Installation view of Selections from the Permanent Collection, September 2016 at MOCA Grand Avenue. Photo by Brian Forrest.
[Claes Oldenburg, Pie a La Mode, 1962, muslin soaked in plaster over wire frame, painted with enamel, pie: 12 x 19 x 20 in. (30.48 x 48.26 x 50.8 cm), other (plate): 3/4 x 19 in. (1.91 x 48.26 cm). The Panza Collection.
Read Knight's full remembrance here:…
is its actual focus. A core of his stellar achievement was his capacity to reveal art’s operations circulating within the spectral media-maze of contemporary society. His acutely identified popular forms are merely the contemporary language for its delivery."
MOCA is deeply saddened by yesterday's passing of Claes Oldenburg (1929–2022), the Swedish-born American sculptor. Los Angeles Times Art Critic, Christopher Knight, writes, "Popular culture is regularly misunderstood as the subject of Pop art, but Oldenburg knew that art culture-
[Shi Guorui, Donner Pass, 2006, Unique gelatin silver print, 49 3/4 x 204 1/2 in. The Museum of Contemporary Art Los Angeles (MOCA). Purchase with funds provided by The Kwon Family Foundation and The Audrey and Sydney Irmas Charitable Foundation.]
Shi’s technique conjures history as seen through a dark mirror, inviting us to consider what may be forgotten and what might linger and haunt. Enjoy this artwork in the exhibition "Lonesome Crowded West: Works from MOCA's Collection" at The Geffen Contemporary at MOCA.
The site is famously named for the so-called Donner Party, a group of migrants who met gruesome ends there when they were trapped by snowfall on their journey into California.
Absent from most documentation of the process and certainly from Bierstadt’s paintings were the Chinese laborers who comprised 90 percent of the construction workforce.
Bierstadt’s paintings featured the recently completed Transcontinental Railroad, whose crossing of the Sierra Nevada over Donner Pass had been the most arduous challenge of the entire endeavor.
Serving as inspiration for this work was the famed nineteenth-century German-American painter Albert Bierstadt, whose sweeping Western landscapes included several versions of the same site.
Because the process imprints images upside down and in reverse, the scenery visible through the aperture is realized as a negative.
Having abandoned modern cameras in the 1990s, #ShiGourui uses camera obscuras—large, empty structures where a small aperture allows light to pass through and expose photographic paper—to create his unique photographs.
SoCal museums are getting ready for Getty's @PSTinLA event on Art and Science in 2024. MOCA's sustainability expert Simone Paz spoke to a group of museum pros yesterday about sustainable exhibition practices. Learn more about our environmental efforts:……
And then I went to @MOCAlosangeles. My favorite thing was Trulee Hall's Witch House. Upside down headless sex dolls painted black, weird black mass altar, and freaky video with snake phallus? Sign me up. Photo via Deitch Projects…
Retweeted by MOCA
Join our membership program and support contemporary art in Los Angeles by becoming a MOCA member. You can become a member starting at $30, and you will gain access to exclusive events such as this one. Learn more:…
DJ set by @bapari_ Catering by @joyonyork Drinks from @yolamezcal and @BetterBooch
$5 valet parking available Monday, July 18, 2022 6:30pm–8:30pm MOCA Grand Avenue
Presented in collaboration with Feminist Center for Creative Work, the Members Only event will take place in the outdoor courtyard with a live DJ, an open bar, small bites, and exclusive access to the museum’s galleries. Check out all the details below.
MOCA MEMBERS: Come hang with us next Monday after-hours at MOCA Grand Avenue!
Hey there! Quick question: If you could spend all the time you wanted with an artwork, which one would you choose?
...Purchased by The Museum of Contemporary Art with funds provided by the Acquisition and Collection Committee; Purchased by the Hirshhorn Museum and Sculpture Garden with the Joseph H. Hirshhorn Purchase Fund, 2012.]
[Carlos Cruz-Diez, Cromosaturación, 1965, re-fabricated 2010 (exhibition copy), painted drywall, fluorescent lights, and colored plastic, 50 5/16 x 24 1/4 x 13 ft. Joint acquisition of The Museum of Contemporary Art, Los Angeles and the Hirshhorn Museum and Sculpture Garden...
Tap the link in bio to make your reservation and visit MOCA’s latest exhibitions. General admission to MOCA is free courtesy of Carolyn Clark Powers. #ArtForAll
He said “I don’t make paintings, nor sculptures. I make platforms for occurrences. They are platforms where color is being produced, dissolved, generated in a perpetual instant. In it there’s no notion of past nor future. In it is the notion of the present moment, just like life”
“Cromosaturación” is an immersive light & color experience from Venezuelan artist #CarlosCruzDiez currently on view. Cruz-Diez understood color as a physical experience. Cromosaturación transforms the color spectrum into a space you can feel, interact with, and become part of.
🟩 🟦 🟥 What does each color make you feer5P
Thanks for the shout-out @iamemhn 💕✨ And hey friends! Tickets are FREE to visit Grand Avenue and The Geffen Contemporary. You can grab yours via advance reservation. All you have to do is visit our website and visit us in…E
An anonymous donor generously supported this installation of Barbara Kruger’s “Untitled (Questions).” [Barbara Kruger, Untitled (Questions), 1990/2018, on view at The Geffen Contemporary at MOCA. Photos by Elon Schoenholz and Gene Ogami.
Listen to the artist discuss her work:…
The work holds an iconic presence in the collective memory of Los Angeles’ art community. This iteration is installed on the north facade of The Geffen Contemporary at MOCA, facing Temple Street.
The emblematic red, white, and blue artwork was originally commissioned by MOCA in 1989 for the exhibition “A Forest of Signs: Art in the Crisis of Representation” and was last installed in 1990 on the south wall of MOCA’s then Temporary Contemporary building.
Her instantly recognizable images, immersive room wraps, multi-channel videos, billboards, buses, and train station installations have been exhibited globally at public sites and institutions.
For over four decades, Barbara Kruger has merged her background in art and design into a renowned body of work that questions its viewers about feminism, consumerism, individual autonomy, desire, and power.
“I continue to try to address the issues of control, loyalty, hope, fear, and the uses and abuses of power. It’s both tragic and disappointing that this work, thirty years later, might still have some resonance.”
When #BarbaraKruger’s “Untitled (Questions)” was installed in 2018, the artist commented:
[Francesca Gabbiani, Hot Panorama, 2003, Colored paper collage, gouache, and airbrush on paper, 96 x 156 in. (243.8 x 396.2 cm). The Museum of Contemporary Art (MOCA), Los Angeles. Purchase with funds provided by the Drawings Committee.]
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