Now, materiality in general is the principal through-line defining hugely diverse work made by the show’s 39 artists.Įntertainment & Arts The archive is the art at this Hammer Biennial ‘Made in L.A.’ exhibitīy collecting and framing contemporary art and ephemera, the Los Angeles Contemporary Archive is lifting the veil on the art-making process. That show, however, was a one-shot deal charting a particular artistic strain. The museum’s 2005 show “ Thing: New Sculpture From Los Angeles” was a thoroughly engaging chronicle of a return to prominence among a host of younger artists of object-sculpture, a category that had long taken a back seat to installation-oriented work, video, photography and mediated Conceptual art practices. In the exhibition catalog, Diana Nawi, guest co-curator with new Hammer curator Pablo José Ramírez, whose ably handled debut this is, cites an important precedent. This “Made in L.A.” emphasizes the handmade - objects that used to just be called paintings and sculptures, which partly represent the artists’ presence. The show offers material, flesh-and-blood presence in place of ubiquitous camera pictures, both analog and digital, or their standard Conceptual art kin. Artists are embedded in the institution, and “Acts of Living” asks us to look in that direction. Instead, on an irregular schedule for the show’s duration, Pirouzmand herself will be sitting inside that museum wall. Here, however, information from photographic reproductions of the world beyond the wall is the tattered and elusive prize - ragged ephemera, but imagery commonly encountered in art museum galleries.
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