![]() ![]() Sherman is represented in the Broad collections by more than 108 photographs, and the selection of twenty-three photographs in gallery 304 provides a comprehensive overview of the artist's influential career. Charles Ray, in early photographs and later sculptures (in gallery 301), altered the dimensions of mundane forms to render them unfamiliar, a result that is both witty and uncomfortable. Galleries 301, 304, and 302 present several contemporary artists who may be considered in relation to Pop art and whose work the Broads have collected in depth. Also on view are his more-recent maps of Los Angeles that question the means by which we understand and navigate our surroundings. Devoid of figuration, Ruscha's early paintings of words, such as Heavy Industry, require the viewer to reconsider idiomatic phrases that evoke the visual language of advertising. California-based Ruscha represents a particular nostalgia for American culture and West Coast kitsch. Trained as a graphic designer, Warhol used an industrial silk-screening process to create variations on photographs taken from magazines and newspapers. Warhol employed Pop as a critique of American society by recontextualizing mass culture's events and icons, among them Elvis, Jackie Kennedy, and Marilyn Monroe. In later pieces, Lichtenstein suggests painting styles culled from the history of art-recalling Piet Mondrian or Pablo Picasso, for example-yet he renders them with the flattened graphics intrinsic to comics, thereby conflating high and low culture. I'm Sorry reproduce the appearance of cheaply-printed comics by mimicking, on an enlarged scale, Benday dots used to create their shading and color variations. The Broads own more than 25 works by Lichtenstein, and the full range of his career is represented here. Through their incorporation of found objects and vernacular forms, both artists laid the foundation for Pop art-another strength of the Broad collections that is represented in galleries 306 and 307 by the work of Lichtenstein, Ruscha, and Warhol.īased on the ubiquitous imagery of popular culture and characterized by the use of commercial printing techniques, Pop art emerged in the late 1950s. Twombly employs simplified figurative elements and graffiti-like markings in a manner that references ancient history. Johns's Flag replicates the image of the American flag through collaged materials, which illustrate the artist's interest in blurring the boundaries between art and life. Together, Jasper Johns and Cy Twombly, who shared a close friendship, employed an expressive style of painting, but they focused their attention on subject matter drawn from the immediate physical world rather than on the qualities of paint. The exhibition begins in gallery 305 with the artistic dialogue that grew out of the emotive painting style of Abstract Expressionism, which dominated the New York art world in the 1950s. One of the strongholds of the Broad collections is American art dating from the 1980s, and the exhibition examines work from this decade within the context of the pivotal artistic developments that preceded it, while underlining the relevance of the work today. Together, this selection illustrates important artistic trends from the second half of the 20th century. Organized by the Los Angeles County Museum of Art, Jasper Johns to Jeff Koons: Four Decades of Art from the Broad Collections features approximately one hundred works by 20 seminal artists, including John Baldessari, Anselm Kiefer, Roy Lichtenstein, Ed Ruscha, Cindy Sherman, and Andy Warhol. The Broads have a strong commitment to philanthropy, and in 1999 they founded The Broad Foundation, an organization dedicated to improving public education in urban America. ![]() Representing a diverse range of artistic styles that have emerged since the Second World War, the collections particularly target representational works and those with an emphasis on social issues. Today, the holdings of the Foundation and the Broads total over one thousand works by more than 150 artists. In 1984, they established The Broad Art Foundation to act as a lending institution to museums and universities, thereby reaching a wider audience with their contemporary collections. Of his early approach to acquiring artwork, Eli Broad has said, "I had a theory that the great collections of the world were made when the art was contemporary-you can't go back and create a great Impressionist or Post-Impressionist collection today." Since assuming this focus in the 1970s, Los Angeles-based Eli and Edythe Broad have amassed one of the finest collections of recognized and emerging artists in the U.S. ![]()
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