Symptom Check: Visitors are required to self check themselves for COVID-19 symptoms prior to entry.Masks are strongly recommended, except for children two and younger.Please print your ticket or download it to your mobile device.Click here for dual admission tickets to visit JANM and Go For Broke National Education Center on Saturday and Sunday.Please note that if you would like to stamp the Ireichō, you will need to make a reservation separately.For NARM and Western Reciprocal Membership Programs and other free or discount programs and passes, tickets must be obtained upon arrival.JANM Members, please show your current membership card for free admission.Tickets are released four weeks in advance.Admission is accepted up to 30 minutes after your ticket time.Entrance times are on the hour, every hour, starting at 11 a.m.Timed, advance tickets are recommended. Closed Monday and in observance of Juneteenth (6/19), Fourth of July, Anniversary of the Civil Liberties Act of 1988 (8/10), Indigenous People’s Day, Election Day, Thanksgiving, Christmas, and New Year’s Day.Tuesday, Wednesday, Friday–Sunday: 11 a.m.–5 p.m.The rest were first championed elsewhere, and Eli eventually got on board. Tellingly, for all the greatness of his collection - and it is great, with extraordinary works - only Sherman ranks as an untried artist whose reputation he was instrumental in securing. For the cultural life of the city, Broad was a die-hard populist, but there were limits to how far he would go. All are now well-represented among the 2,000 pieces in Broad’s museum collection.īut when BCAM opened with selections from Broad’s collection in 2008, fully 80% of the 176 works were by artists who had shown with a single gallery - Gagosian, commonly considered the leading commercial powerhouse. artists themselves became internationally established, including Chris Burden, Lari Pittman and Robert Therrien. When he began in the 1980s, he was forming two collections simultaneously: one personal, which is where he spent large sums of his own money on blue chip art the other corporate, where he bought work by emerging Los Angeles artists using funds from Kaufman & Broad, his home-building company.Įventually a number of post-1960s L.A. as a burgeoning center for new art, Broad was ultimately conservative in his collecting habits. Ironically, for all his vocal support of risk-taking art and of L.A. In 1972, he had been co-chair of the political group Democrats for Nixon, which spoke to the dissonance that characterized his museum involvements. With a focus on the bottom line, he saw the sign of an art museum’s success as tied to its box office, rather than its more elusive artistic achievement. He tried to impose his for-profit success on the nonprofit museum sector, regularly creating havoc.īroad was at the leading edge of a new generation of problematic philanthropists, who believe social good can itself come from the pursuit of profit, rather than from traditional charity. What important collector would ever engage with the museum again? Broad was never really able to separate his sharp business acumen from his philanthropic activity. The arrangement was strictly rational as a business deal, but it would have wrecked MOCA’s reputation. The huge outcry when the scheme went public foiled the plan. Fundraising for the purchase had lagged, but rather than write a check - which he certainly could afford - Broad thought it sensible to let the acquisition pay for itself. one day by a phone call from Milan from a flustered Panza, who was horrified that Broad, as MOCA board president, was planning to peel off a Mark Rothko painting, maybe one of 11 Franz Klines and perhaps a Robert Rauschenberg “combine” sculpture to send to auction in New York to raise the funds that would pay off the purchase portion of the deal.
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