The Broad

I’ve moved around all of my life. So of course, before I move out of California, which I one day will, I had to go to The Broad museum.

I was disappointed that I didn’t get to visit the Infinity Mirrored Room, by Yayoi Kusama, because I wasn’t able to reserve tickets to see the exhibit. However, I did get to see all of the other exhibits such as the gigantic table and chairs, the metal, dog balloons, and also Andy Warhol’s art.

There were three pieces that stood out to me the most.

ruined-shot

Green Kiss, Red Embrace 1988
by John Baldessari

This is my favorite piece because it reminded me of the concept of “star-crossed” lovers. These two people will be separated forever since that’s how Baldessari decided them to be. I’m also a little sad that this guy ruined my shot, but then again, his expression is pretty funny.

a-deep-funky-funk

Like You 1995
by Lari Pittman
“The work depicts an event in full swing — an upheaval of order, perhaps a riot or a parade with androgynous thong-wearing revelers and hands that could be praying or clapping. The scale and the amount of imagery in Pittman’s painting are aggressively magnanimous. Rendered in exquisite detail, the overflowing canvas presents nuanced complexities and the city portrayed may even be Los Angeles in the aftermath of the 1992 riots.”

The phrases “An over-whelming sadness,” and “a deep funky-funk,” really drew me to this piece. The two phrases reminded me of a conversation my friend and I had about how many people hide their feelings, and their true intentions, incredibly well. Sometimes, you wouldn’t know that someone was in “a deep funky-funk” unless they tell you.

anslem-keifer

Deutschlands Geisteshelden 1973
by Anslem Kiefer
“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.”

I love this piece because of its use of perspective. It looks like as if the the room goes on forever. This also stood out to me because the room was a room where the Germans “used to store looted art during the Nazi era” and I was reminded of the art that the Nazis had destroyed and lost. According to TIME magazine, there were about 30,000 looted or lost during World War II. I was also reminded of the movie, The Monuments Men, which is a movie about retrieving the art lost during World War II.

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