Because Weegee did not originally intend his photographs to be presented as high art in museums, the exhibition presents his photographs with their crop marks, notes to the printer, and hand-inked captions in tact. Determined to make it in Hollywood, the photographer served as a technical advisor and played bit parts in studio films, but was rarely credited. Through his own lens however, Weegee portrayed himself as the most famous photographer in the world. By capturing perspectives otherwise dismissed as insignificant, Weegee teaches us how to look at Hollywood—and at photography—in a different light.
This unprecedented collaboration, initiated by the Getty , brings together more than sixty cultural institutions from across Southern California for six months beginning October to tell the story of the birth of the L. Pacific Standard Time is a collaboration of more than sixty cultural institutions across Southern California, coming together for six months beginning in October to tell the story of the birth of the Los Angeles art scene and how it became a major new force in the art world.
Each institution will make its own contribution to this grand-scale story of artistic innovation and social change, told through a multitude of simultaneous exhibitions and programs. Exploring and celebrating the significance of the crucial post-World War II years through the tumultuous period of the s and 70s, Pacific Standard Time encompasses developments from L.
Pop to post-minimalism; from modernist architecture and design to multi-media installations; from the films of the African American L. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America. Featuring works by more than artists, this exhibition is the most comprehensive survey to examine the exceptional diversity of art practice in California during the mid- to late s. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions form across Southern California for six months beginning October to tell the story of the birth of the L.
The institution has achieved astonishing growth in its brief history—with three Los Angeles locations of architectural renown; more than 12, members; a world-class permanent collection of nearly 6, works international in scope and among the finest in the nation; hallmark education programs that are widely emulated; award-winning publications that present original scholarship; and groundbreaking monographic, touring, and thematic exhibitions of international repute that survey the art of our time.
MOCA is a private not-for-profit institution supported by its members, corporate and foundation support, government grants, and retail and admission revenues. A MOCA membership provides insider access to the world of contemporary art and the artists, collectors, and curators who make Los Angeles one of the most innovative and active art centers worldwide.
Pauline Adamek is a Los Angeles-based arts enthusiast with twenty-five years' experience covering International Film Festivals and reviewing new Theatre, Film and Restaurants.
Calling all cultural aficionadi and scholars! Bearing a complicated history, today Leaving behind his trademark gritty realism, Weegee began to create surreal distortions and bizarre collages as a means to comment on disparities readily apparent in our city's fascination with fame and fortune, with glamor and beauty.
The resulting pictures are ugly, disfigured and disturbing. And that's a good reason to pay attention to them. Curated by Richard Meyer, associate professor of art history and fine arts and director of The Contemporary Project at USC, the show features approximately photographs organized by theme in several rooms in the museum in the first show in Southern California of Weegee's work.
The show came about because Meyer remembered seeing evidence of hundreds, if not thousands, of images from Weegee's L. He discovered over 1, pictures by Weegee in the International Center of Photography in New York, many of which had never been published or shown before. The accompanying book brings together an essay by Meyer to create a sense of context, as well as the second "pulp" edition of Weegee's collections of his images called Naked Hollywood, which he co-created with Mel Harris; several articles from the s that feature Weegee's pictures; and excerpts from two books he wrote or co-wrote: Weegee's Secrets of Shooting Photoflash, as Told to Mel Harris and Weegee by Weegee: An Autobiography The goal of this collection of work in the book?
Overall, the book and the show together showcase biting commentary and breezy irreverence crafted through various techniques. While Weegee delighted in showcasing the less spectacular sides of Hollywood and Los Angeles, capturing inequities and banalities alike, the images that stand out are the monstrous bodies that he created. He developed what he called an "elastic lens," which made use of trick lens and various forms of manipulation to create freakish forms of well-known celebrities, models and strippers.
Notes Meyer, "Weegee understood his elastic lens as both a response to and a kind of revenge on Hollywood. In his essay, Meyer doesn't shy away from the question concerning Weegee's place in the museum. He explains that the boundaries between fine art, photography and commerce are becoming more blurred since the s when Naked Hollywood was first published. But he also suggests that Weegee has something to teach us, and isolates three key imperatives, all of which are fundamental to Weegee's own work: first, look all around you, not just at the main event; second, think serially and photograph things in sets to create a larger point; and third, consider distortion as a primary attribute of photography.
What Meyer doesn't acknowledge, though, is that the museum needs this kind of imagery to spark interest. It's not simply that offensive and sensational images draw crowds, but rather that the class-based hierarchy between high and low culture - so often figured in the deformation of the body - requires continued attention.
Indeed, Weegee's genius is in his overt manipulation of imagery to create a very specific critical commentary, one that mounts its attack visually.
The shock that we experience isn't just in the deformation of the body, but in the bold criticality of a photographer not content with merely capturing images. The exhibition runs through February 27, Artbound Start watching.
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