As the meaning of housebound takes on a new dimension, all the cleaning and redecoration do nothing to raise the spirit, and the only sensible thing is to go to Japan, tops on the bucket list, now!
Heading east, to celebrate the reopening of LACMA, and escape the hostilities, restrictions and broken spirit of New York.
(Los Angeles—March 15, 2021) After more than a year of mandated closure as a result of the COVID-19 pandemic, LACMA will reopen its galleries to the public on April 1, 2021, following the guidelines provided by L.A. County for museums. LACMA members will be welcomed for Member Previews on March 26–30. To provide a safe environment for visitors and staff, LACMA has implemented new health and safety protocols and procedures in accordance with the guidelines provided by the L.A. County Department of Public Health.
The new health and safety protocols include limited capacity (25% in red tier as required by the State), advance timed-entry online ticketing, required face mask wearing, mandatory online health screening and temperature check, a touchless visitor experience (including a new touchless check-in system and new sensor-based facility fixtures), enhanced and more frequent cleaning and sanitizing protocols, one-way paths through galleries, physical distancing cues and labels, new gallery guidelines to reduce gathering, hand sanitizing stations, and health and safety protocols signage throughout campus. All in-person events, such as art classes and activities, talks, concerts, film screenings, and group tours have been suspended.
LACMA Modern Art
LACMA’s Modern Art collection, which primarily features European and American art from 1900 to the 1960s, returns to public view with examples of work from the museum’s American, Decorative Arts and Design, and Latin American Art holdings.
As in the past, several galleries are dedicated to the Janice and Henri Lazarof Collection—including concentrations of work by Pablo Picasso and Alberto Giacometti—and others are devoted to the museum’s renowned German Expressionist holdings of paintings, sculpture, and works on paper. The installation presents Michael McMillen’s immersive environment Central Meridian (The Garage) (1981), and recent acquisitions by Josef Albers, Judy Chicago, Theo van Doesburg, Maren Hassinger, Jacob Lawrence, Anne Truitt, and others are displayed for the first time. The Modern Art galleries have been redesigned in collaboration with Frank Gehry and Associates, and include new interpretive texts, a series of thematic audio tours, and an installation soundtrack.
Yoshitomo Nara is among the most beloved Japanese artists of his generation. His widely recognizable portraits of menacing figures reflect the artist’s raw encounters with his inner self. A peripatetic traveler, Nara’s oeuvre takes inspiration from a wide range of resources—memories of his childhood, music, literature, studying and living in Germany (1988–2000), exploring his roots in Japan, Sakhalin, and Asia, and modern art from Europe and Japan. Spanning over 30 years from 1987 to 2020, Yoshitomo Nara views the artist’s work through the lens of his longtime passion—music. Featuring album covers Nara began collecting as an adolescent, paintings, drawings, sculpture, ceramics, an installation that recreates his drawing studio, and never-before-exhibited idea sketches that reflect the artist’s empathic eye, this exhibition shines a light on Nara’s conceptual process. One of the main highlights will be Miss Forest, a 26-foot outdoor painted bronze sculpture that will grace Wilshire Boulevard.
Halfway there, airport, please! heads to the the newly opened Artizon Museum in the Ginza district of Tokyo. The Bridgestone museum of Art has been closed since May 2015, and opened as a new museum under the name of Artizon Museum.
The museum’s name change expresses its determination to step out in new directions while continuing to uphold the traditions cultivates during history of more than 65 years. The idea of changing the museum’s name, was once considered by its founder, Shojiro Ishibashi, but no change was made at that time. Now the aspirations of the founder will thrive in new directions under the new name. Reborn as a new museum, the museum will be able to presents the varied pleasures of art to all people, surpassing generational and geopolitical boundaries.
The founder, Shojiro Ishibashi, established the Bridgestone Museum of Art in 1952 with the great desire to make a cultural contribution to society. The museum became a leader among Japanese art establishments in promoting art and culture in central Tokyo. The Ishibashi Foundation was established in 1956 to carry on these aspirations, and it has guided the history of the Bridgestone Museum of Art’s activities ever since.
With all-new facilities, the new Artizon Museum will continue to build on thepast achievements and heritage of its predecessor as it evolves to servethe public interest even better than before as an art museum that will shape the future.
Every new work of art shines a little more light onto our future path. All of the art museum’s activities, including our collection, are underpinned by the desire to propose, protect, and foster creativity that illuminates the way forward.
Our concept for the new museum is “experiencing creativity.” We will not only provide a place for art appreciation, but also encourage visitors to experience creativity in the works of art by seeing, feeling, and understanding. Our hope is for this inspiration to provide the impetus for tracing a new path. The Artizon Museum aspires to contribute to culture as a place that supports creativity.