write a report (double-spaced, 10 – 12 pt., at least 5 pages
NoVaa
the_museum_calls_the_broad.docx
The Broad is a new contemporary art museum founded by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles. The museum is designed by Diller Scofidio + Renfro in collaboration with Gensler and offers free general admission. The museum is home to the more than 2,000 works of art in the Broad collection, which is among the most prominent holdings of postwar and contemporary art worldwide. With its innovative “veil-and-vault” concept, the 120,000-square-foot, $140-million building features two floors of gallery space to showcase The Broad’s comprehensive collection and is the headquarters of The Broad Art Foundation’s worldwide lending library.
Its located to downtown Los Angeles I live 30 mins away
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The Rose (V)
2008
acrylic on wood panel
99 1/4 x 291 1/4 in. (252.1 x 739.78 cm)
On View
Accession Date:
03/25/2010
acrylic on wood panel
99 1/4 x 291 1/4 in. (252.1 x 739.78 cm)
On View
Accession Date:
03/25/2010
Accession Number:
B-TWOM-2P10.01a-d
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© Estate of Roy Lichtenstein
Douglas M. Parker Studio, Los Angeles
Femme d'Alger
1963
oil on canvas
80 x 68 in. (203.2 x 172.72 cm)
On View
Accession Date:
06/14/1996
Accession Number:
B-LICH-2P96.08
About this artwork
At the same time as he was borrowing images from comic strips and commercials, Roy Lichtenstein was also borrowing from his heroes. The process of borrowing, updating, and (hopefully) outdoing has always been a strong tradition in art. Pablo Picasso borrowed from everyone, including the theme from Eugène Delacroix’s 1834 painting Women of Algiers in Their Apartment, which Lichtenstein appropriates along with a grid of primary colors à la Piet Mondrian. The women in Delacroix’s painting represent a male fantasy: a harem of women lounging around, waiting. Picasso, in his series from the mid-1950s, further scandalizes the theme. Here, however, Lichtenstein turns the salaciousness in on itself. The woman is a series of fragmented parts, jagged and angular; she is one with the architecture of her space, her birdlike face repels the gaze rather than returns it.
Read more about Roy Lichtenstein
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Deutschlands Geisteshelden
1973
oil and charcoal on burlap mounted on canvas
120 1/2 x 267 3/4 in. (306.1 x 680.1 cm)
On View
Accession Date:
01/11/1988
Accession Number:
F-KIEF-1P88.01
About this artwork
Born at the close of World War II, Anselm Kiefer reflects upon and critiques the myths and chauvinism that propelled the German Third Reich to power. With immense scale and ambition, his paintings depict his generation’s ambivalence toward the grandiose impulse of German nationalism and its impact on history. Painted in extreme perspective, Deutschlands Geisteshelden positions the viewer at the mouth of a great hall, an amalgam of Kiefer’s former studio and Carinhall, a German hunting lodge used to store looted art during the Nazi era. Burning torches line the walls of the space, which is empty except for the names of inspirational artists and writers scrawled above the receding floor: Joseph Beuys, Arnold Böcklin, Adalbert Stifter, Caspar David Friedrich, Theodor Storm, and many others. This is hardly a triumphal place; the lodge keeps vigil, housing names that have become embroiled in a painful history.
Read more about Anselm Kiefer
