Support Hyperallergic’s independent arts journalism.
LOS ANGELES —There’s a giant rock in town. If you live in Los Angeles, it’s almost impossible to ignore this fact. Part of that is because the rock — Michael Heizer’s “Levitated Mass” — blocked traffic on its slow journey to the heart of LA and into the Los Angeles County Museum of Art. But it’s easy enough to skip that part of town if you want to. The biggest reason is that almost every Angeleno (at least in my art-loving circle) is talking about it.
Part of this, I have to say, is because of a very successful social media campaign on the part of @LACMA, the museum’s official group feed, which broadcast the rock’s journey from the Inland Empire all the way over to Wilshire Blvd. They used YouTube and blogging to supplement the tweets, and the active #LevitatedMass hashtag encouraged LA-wide discussion and picture/video sharing of the quirky event.
The tweets were classic LA, with turn-by-turn updates and pictures, just like food trucks regularly do for their customers.
Like other successful social media campaigns run by museums, this one tapped into a high energy event that not all Angelenos could access but made it present all the same. And it encouraged arts viewers to participate and upload their own videos and tweets. All in all, the rock’s journey, experienced virtually, was immediate, fun and wonderful.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.