Everyday Rebellions
"The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion." - Albert Camus
Lemonade Syllabus
Time for Student Evaluations











The spectacularization of art

In the nineties architecture and design acquired a new importance in culture at large. Although this prominence stemmed from the initial debates about postmodernism, which centered on architecture, it was confirmed by the inflation of design and display in many aspects of consumer life - in fashion and retail, in corporate branding and urban redevelopment, and so on. This economic emphasis on design and display has affected both curatorial practice and museum architecture as well: every large exhibition seems to be conceived as an installation piece in itself, and every new museum as a spectacular Gesamtkunstwerk or "total work of art."
Diller Scofidio + Renfro, The Broad, 2015.











Frank Gehry, Guggenheim, Bilbao, 1997.
Frank Gehry, Disney Concert Hall, Los Angeles, 2003.











William Pereira, LACMA, 1965.











LACMA 1965
Peter Zumthor, proposed LACMA expansion, 2009











LACMA redesign











In The Society of the Spectacle (1967) Guy Debord defined spectacle as "capital accumulated to such a degree that it becomes an image." This process has become more intensive in the last four decades, to the point where media-communications and entertainment conglomerates are the dominant ideological institutions in Western society. - Art Since 1900
Matthew Barney, River of Fundament, MoCA, 2016.











Alfredo Jaar, Gold in the Morning, 1987. Lightbox with color transparency.











"The traveling 20-year retrospective of French Conceptual artist Pierre Huyghe turns the Los Angeles County Museum of Art into a mammoth vivarium — a carefully orchestrated, walk-in terrarium-cum-aquarium. The exhibition creates a self-contained ecosystem of plants, sculptures, video projections and installation works, plus a variety of animals." - Christopher Knight
Pierre Hughye at LACMA











Like other mega-museums, they were designed to accommodate the expanded field of postwar art, but in some ways they also trump this art: they use its great scale, which was first posed as a challenge to the modern museum, as a pretext to inflate the contemporary museum into a gigantic space-event that can swallow any art, let alone any viewer, whole. - Art Since 1900
Doug Aitken, Electric Earth installation, 2017.











Ai Wei Wei, Sunflower Seeds, Turbine Hall at the Tate Modern, 2010.
On the installation












Ai Wei Wei, Study of Perspective,Washington D.C., White House, 2000.
Ai Wei Wei, Study of Perspective, Peking, Tiananmen Square, 2000.
Ai Wei Wei, Never Sorry, 2012.











Pipilotti Rist, Ever is Over All, 1997.











Andrea Bowers, #sweetjane, 2014.











Andrea Bowers, #sweetjane, 2014.












Andrea Bowers, #sweetjane, 2014.












Andrea Bowers, One Big Union, 2012.
Marker on found cardboard, 157 x 105 in.











Andrea Bowers, Wall of Letters: Necessary Reminders from the Past for a Future of Choice #7 (detail), 2006.