Category: Michael Govan

Michael Heizer’s City A Scar On The Earth

This is a tale of two cities, though I imagine Charles Dickens never imagined anything like the following. The story has to do with one garden city where gentlepeople exalt art, and another cosmopolis… actually the very same burg, where those identical magnificos step over bodies to see first-class art exhibits.

Wherever you are in Los Angeles, you will come across the homeless, their tent cities sprout up in parking lots, intersections, and under every freeway overpass. Despite the liberal halo of the city many denizens ignore the sight of unhoused people sleeping and living on bus benches, in busses and subways, in parks, and in the doorways of businesses after closing time. I have even witnessed homeless people sleeping in store isles.

“Homeless man, Grauman’s Chinese Theatre, Hollywood Boulevard.” Photo: Mark Vallen.

Many of the homeless are decent people, their numbers include Vets and those who simply can’t afford rent, especially after the “Covid crisis” threw many out of work. Conversely, a huge number suffer from drug addiction and mental illness. Everyone in LA has seen disoriented souls shuffling around in filthy rags, pushing shopping carts filled with their worldly belongings. In 2022 the Los Angeles Homeless Services Authority estimated there are over 69,000 homeless people living on the streets; I’m inclined to believe that is a low count.

“Homeless man, downtown Detroit, Michigan.” Photo: Mark Vallen.

There are many grim stories in LA’s homeless crisis, some are frightfully tragic, others simply disturbing.

However, the suffering is not unique to Lost Angeles, chronic homelessness exists in the US from coast to coast; I have personally seen it in San Francisco, San Diego, and also in Detroit, Michigan.

Since the war between Russia and Ukraine began Biden has sent more than $65 billion in aid to Ukraine—without the slightest bit of accountability or transparency. Meanwhile, Americans who are homeless live and die on the streets.

Which brings me to the magnificos and their cutting-edge art exhibitions.

Michael Heizer produces “land art.” Beginning in the late 1960s “land artists” altered wild natural landscapes, creating site specific earthworks based on conceptual and minimalist art aesthetics; they mostly used rock, earth, clay, sand, tree branches and twigs, and other natural objects to create their works.

“A Line Made By Walking.” Richard Long. 1967. Photo: Wikimedia Commons.

Concurrent with the newfound environmentalist movement, land art oftentimes reflected the concerns of that crusade. One ludicrous example is Richard Long’s minimalist A Line Made By Walking (1967), literally a line worn into a field by the “artist” walking back and forth.

As with Long’s Line, land art is usually extensively documented with photography, and the photos are exhibited in galleries and museums.

In 1969 Heizer created his first land art project in the desert of Moapa Valley near Overton, Nevada. In dynamiting two trenches 30 feet wide and 50 feet deep he removed 240,000 tons of sandstone.

The open trenches cut across the gaping collapsed edge of an eroding plateau; together the geological formations, one natural the other man-made, presented negative space. Heizer titled his dig Double Negative; reportedly it was a statement on the human impact on the environment. But it was really a Double Entendre blasted out with dynamite.

“Double Negative.” Michael Heizer. 1969. Photo: Retis (CC BY 2.0).

Land art was reputedly a way to defy the commercialization and commodification of art. Let’s see how that worked out.

In 2012 the Los Angeles County Museum of Art (LACMA), at the behest of its director Michael Govan, paid Michael Heizer $10 million for a 340-ton boulder Heizer titled Levitated Mass. The huge granite rock was mounted over a slot located outdoors on the LACMA campus, which allowed viewers to walk beneath it.

For the lowbrow crowd the boulder was a backdrop for selfies. Prior to selling the boulder for $10 million, art-world gatekeepers and their plutocrat allies considered Heizer an exemplar of the postmodern school of art; the boulder sale confirmed that title. On Feb, 25, 2012 I wrote a parody of Heizer’s “Levitated Mass” that I titled Alleviated Masses.

Ironically, Michael Govan decided to demolish the Los Angeles County Museum of Art, and build a new LACMA on its ruins for the reputed cost of $750 million. Beginning Jan. 2020 the wrecking cranes and bulldozers began to destroy the museum. By Feb. 2021 LACMA had been totally obliterated. Naturally, Heizer’s Levitated Mass survived the demolition. Ruins on top of ruins.

Heizer reemerged in Aug. 2022 when the media and art world gatekeepers began promoting his just finished project called City, which opened to the public on Sept. 2, 2022. Heizer started building City in 1970. Located in a remote area of the Nevada desert, the ersatz metropolis is a land art cityscape of dirt and clay mounds, gravel covered plazas, roads leading nowhere, and huge useless concrete structures. It’s all vaguely evocative of ancient pre-Columbian cities.

“City” as seem from the air. Photo: Google Maps.

City is a mile and a half long, and half a mile wide. It was not built to house or shelter anyone, it was meant to be empty.

In 1998 Heizer founded the Triple Aught Foundation to support and maintain his City project. The foundation was joined by bigwigs in the art world like Michael Govan—destroyer of LACMA, and Glenn D. Lowry, director of New York’s Museum of Modern Art. Now the foundation runs the amusement park for Heizer, and has to date raised a $30 million endowment for it. Govan said of City:

“It’s an artwork aware of our primal impulses to build and organize space, but it incorporates our modernity, our awareness of and reflection upon the subjectivity of our human experience of time and space as well as the many histories of civilizations we have built.”

Ultimately City cost around $40 million to construct.

Concrete monument “45° 90° 180°” at Heizer’s “City.” Photo: Triple Aught Foundation/Ben Blackwell ©

Here’s where the magnificos of the patrician art world and mass media enter the picture. With their liberal politics how do they not see that the spectacle of dedicating a huge sham city for $40 million—a fake urban center meant to house no one, is an obscenity while an estimated 550,000 Americans are homeless? I’m afraid the magnificos understand this all too well… they just don’t care.

US inflation has reached a level not seen in 40 years. Hard-working Americans can only afford enough gasoline to take them to and from work, while a gaggle of bourgeois art buffs swoon over a $40 million boondoggle in the desert.

“Homeless woman, San Francisco, California.” Photo: Mark Vallen.

The long-winded pseudo intellectuals of the art world will tell you that Heizer’s City is a work about “our primal impulses to build and organize space,” as our cities deteriorate and homeless Americans die on the streets.

The Triple Aught Foundation can raise $30 million to sustain Heizer’s vacant empty dead space, but the 69,000 homeless people living on the streets of Los Angeles, well… they don’t have a highfalutin, hoity-toity, blue ribbon art foundation backing them.

At the bottom of the Triple Aught Foundation webpage one finds this statement:

“Triple Aught Foundation respectfully acknowledges that City has been created within the ancestral territories of the Nuwu (Southern Paiute) and Newe (Western Shoshoni), who lived in and around the vicinity and call this land home, as their ancestors did before them.”

Since Heizer and his foundation “respectfully acknowledges” that City is built on land the Paiute and Shoshoni call home, what then do indigenous people receive in exchange, I mean… aside from a pat on the head.

City isn’t a commemorative monument to the Paiute, Shoshoni or any indigenous tribe. While art snobs may compare Heizer’s “masterpiece” to the ancient Maya city of Chichén Itzá in Mexico’s Yucatan, it’s a false comparison. Heizer created an outrageously expensive imitation settlement feigning indigenous aesthetics. It sits on Indian land pretending to be profound. Liberals ordinarily condemn such nonsense as “cultural appropriation,” but all I read are accolades for Heizer.

Fake Aztec pyramids at Heizer’s “City.” Photo: Triple Aught Foundation/Tom Vinetz ©

One could construe England’s prehistoric site of Stonehenge as “land art,” it was created over 4,000 years ago by unknown clans. You could interpret the native American Mound Builders of 5,000 years ago as “land artists.” Or, it might come to mind that Heizer has inappropriately exploited the culture and identities of the ancients, and that today’s art and aesthetics are moving backwards.

My problem with City is that it is a heartless work, created during a period when art had already become senseless and indifferent. Heizer’s works, especially City, summarizes the “luxury politics and aesthetics” of today’s postmodern art; it is a monument only to the narcissism of its creator.

I speak as a humble working artist who believes art is a healing force for humanity. I’m not a theologian or moralizer, but as the fussiness surrounding Heizer and City clearly illustrates, today’s art world has a broken moral compass.

I’m not opposed to generous amounts of money being used to create art, or artists profiting from their works, but we’ve swaggered way beyond that. Today’s vainglorious and self-righteous art world gloatingly dances around the Golden Calf… it has become an abomination.

I believe an artwork can be “priceless” in a spiritual sense, but when you start talking about a $40 million dollar imitation city, my eyes glaze over. What price do we put on the lives of homeless Americans? What cost do we put on shattered American communities and hollowed out ravaged municipalities?

“Blossoming Cactus Flower.” Photo: Mark Vallen.

Michael Heizer built City somewhere in the Nevada desert. A desert’s ecology is not barren, lifeless, or quiet. You just need to rediscover how to look and listen.

Learn to hear the raven’s call carried on the wind. Watch for bighorn sheep and the tortoise. The desert is brimming with magic.

The sun brings the world life each morning at dawn, the moon and stars cradle all with silvery light. The universe can be seen in a single blossoming cactus flower. Be silent and calm and you will feel the wandering indigenous and pioneer spirits stirring. The desert is a sacred place I love to visit. But Michael Heizer’s City is not hallowed and sacrosanct… it is a scar on the earth.

The Rise and Fall of LACMA

"Ahmanson Annulled." What was left of the top floor of the four-story Ahmanson Gallery at the Los Angeles County Museum of Art (LACMA) once the wrecking crane was finished on May 13, 2020. Photo Mark Vallen ©.

"Ahmanson Annulled." What was left of the top floor of the four-story Ahmanson Gallery at the Los Angeles County Museum of Art (LACMA) when the wrecking crane was finished on May 13, 2020. Photograph by Mark Vallen ©.

As a Los Angeles born artist, the tale of the Los Angeles County Museum of Art (LACMA) is a personal story for me; I’m actually older than the museum. My anecdotes will offer a glimpse of its glory days, and my photo essay will depict its inevitable physical destruction under its Director and Chief Executive Officer, Michael Govan. Mr. Govan decided to demolish the old LACMA, and so commissioned Swiss architect Peter Zumthor to design a new LACMA. The price of this unnecessary project? A purported $750 million dollars.

Over the decades I attended countless exhibits at LACMA, and spent innumerable hours wandering though the museum’s halls, sketching, studying, drinking it all in. The following are but a few of the exhibits that not only inspired me, but impacted the wider community of Los Angeles and beyond.

"Headed for Oblivion." The Art of the Americas building faced Wilshire Blvd and housed American, Latin American, and pre-Columbian art. Photo Mark Vallen ©. May 9 2020.

"Headed for Oblivion." The Art of the Americas building faced Wilshire Blvd and housed American, Latin American, and pre-Columbian art. Photo Mark Vallen ©. May 9 2020.

In April 1965 I was a budding 12-year-old artist dabbling in oil painting when my working class parents took me to Wilshire Boulevard for the grand opening of LACMA. It was an event never to be forgotten. Designed by William Pereira, the museum complex was surrounded by a man-made shimmering lagoon. The campus was evocative of Italy’s city of Venice, or the ancient Mexican Aztec capital city of Tenochtitlan—itself a metropolis built on a lake and crisscrossed with canals, bridges, and waterways. Fireworks were set off over LACMA at the end of the festivities, and I marveled at the display mirrored in the museum’s reflecting pool.

Of course LACMA is built on land where crude oil, methane gas, and tar have bubbled up from beneath the ground for thousands of years, creating giant pools of oil and tar that are still active; an outstanding locale for an art museum. The land is also home to the landmark La Brea Tar Pits. By 1966 the tar and oil oozed into LACMA’s once sparkling lagoon, despoiling the ersatz Venice and eventually necessitating the draining and removal of the body of water. This unfortunate event can be seen as a metaphor for LACMA’s destiny.

"The Amazing Shrinking LACMA." View of the museum from Wilshire Blvd. on April 10, 2020. The Bing Theater had met its demise and in the background the Hammer Building, which displayed special exhibits, was being destroyed. The Art of the Americas building at left would soon be razed. Photo Mark Vallen ©.

"The Amazing Shrinking LACMA." View of museum from Wilshire Blvd., April 10, 2020. The Bing Theater had met its demise and in the background the Hammer Building, which displayed special exhibits, was being destroyed. The Art of the Americas building at left would soon be razed. Photograph by Mark Vallen ©.

In 1966 my mother took me to see the Edward Kienholz exhibit at LACMA, his “Back Seat Dodge” assemblage was sending polite society into a tizzy—the LA Board of Supervisors called it “blasphemous” and many wanted the offensive Dodge coupe removed. As a 13-year-old I was surprisingly well versed in DaDaism and Surrealism, but Kienholz drove home to me how art could inflame and provoke… well beyond my then adolescent dreams.

I was 23 when the United States celebrated its 1776-1976 Bicentennial. As part of that observance LACMA presented Two Centuries of Black American Art—the first survey of art by Black Americans held in the U.S. While it featured the work of 63 artists, it was the art of Charles White that truly captured my imagination. Because of his humanistic and poignant figurative realism, in particular his sensitive black and white drawings and lithographs, I always considered him to be a mentor; the LACMA exhibit poster for the show featuring a drawing by White remains in my collection.

"Bing Theater Crater." Facing the Wilshire Blvd side of the LACMA campus, the Bing Theater was the museum’s main venue for symposiums, performances, meetings, art classes, and cinema. It was demolished and most of its rubble bulldozed away by April 10 2020. Photo Mark Vallen ©.

"Bing Theater Crater." Facing the Wilshire Blvd side of the LACMA campus, the Bing Theater was the museum’s main venue for symposiums, performances, meetings, art classes, and cinema. It was demolished and most of its rubble bulldozed away by April 10 2020. Photo Mark Vallen ©.

I was 25 when I stood in line for hours to see Treasures of Tutankhamun (Feb. 15-June 15, 1978), the most well attended exhibit in LACMA’s entire history. 53 stunning artifacts from the tomb of the young Egyptian Pharaoh were on display, including his hauntingly beautiful burial mask. Some 1.2 million Angelenos viewed the show during its four month run.

At 33 years of age I attended the groundbreaking exhibit Impressionist to Early Modern Paintings From the U.S.S.R. (June 26-Aug. 12, 1986). I rejoiced in seeing works from the Hermitage and Pushkin museums; Cezanne, Monet, Renoir, Gauguin, Van Gogh, Matisse, Picasso, and many others. I still have hanging in my home LACMA’s exhibit poster for the show that features Guaguin’s Aha Oe Feii (Are You Jealous?).

The exhibit was presented during the Cold War, when the U.S. and Soviets were slugging it out in Afghanistan, Nicaragua, and beyond. Of the 40 paintings exhibited, 33 had never been seen in the United States. Given the political environment, it was a miracle the show happened at all. The Republican business magnate Armand Hammer (1898-1990), a trustee of LACMA with close ties to Soviet leaders, made possible the cultural exchange.

"More Art." Like so many other lies from the year 2020, the new LACMA will actually have 80% less gallery space, and no room for the exhibit of Permanent Collections, which will be stored offsite. In other words LACMA will offer "Less Art." Photo Mark Vallen ©. May 14 2020.

"More Art." Like so many other lies from the year 2020, the new LACMA will actually have 80% less gallery space, and no room for the exhibit of Permanent Collections, which will be stored offsite. In other words LACMA will offer "Less Art." Photo Mark Vallen ©. May 14 2020.

I was 38 when I viewed Degenerate art: the fate of the avant-garde in Nazi Germany, LACMA’s most scholarly—and dangerous exhibit (Feb. 17-May 12, 1991). It was a chilling recreation of the Entartete Kunst (Degenerate Art) show mounted by the Nazis in 1937 Munich.

That year the Nazis banned and seized art they viewed as Jewish, communist or “anti-German”; the art was confiscated from museums, galleries, and private collections and derided as the product of insanity. It was then displayed in the Entartete Kunst exhibit. Art was purposely hung lopsided, lit poorly, and placed next to slogans painted on the walls reading “Nature as seen by sick minds,” “Madness becomes method,” and the like. When the exhibit run concluded the Nazis auctioned off what art they could, and destroyed the rest by fire.

All of this was recreated by LACMA. Remarkably, 175 surviving works from the original Nazi show were displayed. What’s more, they were shown with the same cockeyed hanging, pitiable lighting, and mocking wall slogans! The exhibit was a blistering curatorial denunciation of Nazi horror, but also a warning against totalitarian systems of culture and thought. Since then LACMA has never mounted such a formidable exhibit, and in these overly sensitive politically correct times, it likely won’t do so again.

"Door to Nowhere." A taped-off door at LACMA’s gutted Art of the Americas building, served as a forlorn message concerning the ill-fated museum. Photo Mark Vallen ©. April 10 2020.

"Door to Nowhere." A taped-off door at LACMA’s gutted Art of the Americas building, served as a forlorn message concerning the ill-fated museum. Photo Mark Vallen ©. April 10 2020.

I attended many other world-class exhibits at LACMA before the tenure of Michael Govan. The museum continued to be an invaluable cultural institution, until Mr. Govan took over as director in February of 2006. I always said he would destroy LACMA, but I had no idea that my dire premonitions would end up being an actual physical reality.

Govan became the perfect postmodern museum director, a promoter of kitsch, installation art, and conceptual art; someone at home in the circus world of vapid art stars and tasteless collectors. But instead of advocating the museum as an institution that acquires, conserves, and displays works of historic import and technical skill, he became a purveyor of the museum as citadel of entertainment and spectacle. And so Govan arranged the exhibitions Stanley Kubrick (Nov 1, 2012–Jun 30, 2013) and Tim Burton (May 29–Oct 31, 2011).

Ironically, Michael Govan’s ultimate contribution to LACMA might be his having molded the museum—according to a 2016 fluff piece by CNN, into the “World’s most Instagrammed museum.” Though even there it was put in 4th place.

"Gutted." The Art of the Americas building on the LACMA campus, facing Wilshire Blvd.—its interior metal parts gutted and bulldozed into a gigantic heap. Photo Mark Vallen ©. April 26 2020.

"Gutted." The Art of the Americas building on the LACMA campus, facing Wilshire Blvd.—its interior metal parts gutted and bulldozed into a gigantic heap. Photo Mark Vallen ©. April 26 2020.

I first felt something was awry when I discovered in 2007 that Michael Govan’s annual salary as Director of LACMA was $915,000—twice the amount of a sitting U.S. President ($400,000). Investigating further I found his actual compensation, after perks, was $1,029,921 per year. LACMA provided Govan with a free $5.6 million house in Hancock Park worth $155,000 a year, according to tax fillings. Clearly, the U.S. presidency with its formidable world-shaking powers, is insignificant when compared to the directorship of LACMA.

In 2007 Michael Govan and Jeff Koons, the “King of Kitsch,” announced their plans to erect a monumental public art “sculpture” by Koons in front of LACMA. Titled Train, it would be an actual 70-foot-long steam locomotive hung from a massive 161-foot heavy construction crane; three times a day the Choo Choo Train would blow its steam whistle and spin its wheels. Of course this would give the museum the look of an entertainment theme park, but Govan compared Train to the Eiffel Tower, saying he hoped it would become “a landmark for Los Angeles.”

The Koons Train project was estimated to cost $25 million, incredibly LACMA was awarded $1 million from the Annenberg Foundation to conduct a “feasibility study” on constructing the curio. Due to the collapsing economy of the Obama years, LACMA was unable—thankfully—to raise enough money to build the banal edifice. Heaven knows where the feasibility study money actually went.

"Dragon Lair." Like a dragon coming out of its lair, a bulldozer pops out of the Los Angeles County Museum of Art, to dump the guts of the museum in a pit of rubble. But in this tale there’s no Saint George to slay the beast. Photo Mark Vallen ©. May 14 2020.

"Dragon Lair." Like a dragon coming out of its lair, a bulldozer pops out of the Los Angeles County Museum of Art, to dump the guts of the museum in a pit of rubble. But in this tale there’s no Saint George to slay the beast. Photo Mark Vallen ©. May 14 2020.

Also in 2007 Govan commissioned conceptual artist John Baldessari to design the gallery space for LACMA’s exhibit Magritte and Contemporary Art: The Treachery of Images (Nov 19-Mar 4, 2007). I always favored the Belgian Surrealist René Magritte, both for his technical skills as a realist painter and his playful wit. However, Baldessari’s scenography garnered more attention than Magritte’s sixty-eight paintings and drawings. And it didn’t help that Magritte’s beautiful oil paintings were surrounded by twaddle from collagist Barbara Kruger, plagiarist Richard Prince, and “works” from other postmodern whiz kids.

Next came a 2008 commission for a large-scale public artwork from performance and installation aesthete Chris Burden (1946-2015). He was best known for his 1971 Shoot performance piece, which involved an assistant shooting Burden in the arm at 15 feet with a .22 rifle. Naturally this hokum made Burden famous, the performance was celebrated as a reaction to nightly news reports on U.S. television regarding the Vietnam war. If so then Burden should have had himself shot with an M16 rifle with its more powerful 5.56mm round, that’s what U.S. troops used in Vietnam… but then, I’m an artistic purist.

"The Ruins." It was the most artful thing I'd seen at the Los Angeles County Museum of Art in some time; made me think of that old Situationist slogan, "Playing in the ruins of tomorrow, today." Photo Mark Vallen ©. Sept 13 2020.

"The Ruins." It was the most artful thing I'd seen at the Los Angeles County Museum of Art in some time; made me think of that old Situationist slogan, "Playing in the ruins of tomorrow, today." Photograph by Mark Vallen ©. Sept 13 2020.

Chris Burden’s commissioned piece turned out to be Urban Light, a grid of 202 antique metal street lights that once illuminated the avenues of Los Angeles in the 1920s and ’30s. A contractor sanded the columns, painted them grey, capped them with period glass globes, wired them, then raised the street lights—as per master Burden’s instructions, in front of LACMA. There they remain, a backdrop for tourists, fashionistas and their endless selfies.

Here’s the truly grotesque thing about Urban Light. As I photographed the demolition of LACMA starting in April 2020—over the months, despite the racket of jackhammers and bulldozers, the clouds of pulverized concrete, the heaps of crumpled metal, wire, and broken cement, and the sight of LACMA’s walls crashing to the ground; people continued to obliviously flock to Urban Light for selfies. If the new LACMA is never completed they will still gather around those damnable street lights like moths to a flame.

"Selfies." In the background you can see wrecking cranes and tractors pulverizing LACMA into dust, as people take selfies at the Urban Light "sculpture." Photo Mark Vallen ©. May 13, 2020

"Selfies." In the background you can see wrecking cranes and tractors pulverizing LACMA into dust, as people take selfies at the Urban Light "sculpture." Photo Mark Vallen ©. May 13, 2020

In 2012 Govan acquired and installed Michael Heizer’s Levitated Mass for an estimated $10 million. Considered a “great sculpture” by the postmodern crowd, Levitated Mass is simply an enormous un-carved 340-ton granite boulder that straddles a deep concrete trench and path that allows people to walk beneath it. If archaeologists from the distant future ever dig through the colossal mountains of commercial detritus formally known as Los Angeles—smashed titanium bicycles, shattered liquid crystal displays, crushed cars made from carbon-reinforced plastic, mashed kevlar bulletproof vests… what on earth will they think of the 340-ton boulder?

"Skeletonized." As good as any abstract painting formerly displayed at the museum, is my demolition photo of the nearly demolished Wilshire Entrance of LACMA, taken April 25 2020. Photo Mark Vallen ©.

"Skeletonized." As good as any abstract painting formerly displayed at the museum, is my demolition photo of the nearly demolished Wilshire Entrance of LACMA, taken April 25 2020. Photograph by Mark Vallen ©.

For me the coup de grâce was the Ahmanson Foundation refusing to gift LACMA with European Old Master paintings and sculptures. The decision came in Feb., 2020 after a 60 year relationship that saw the Ahmanson donate more than $130 million in art treasures to LACMA. The Ahmanson Foundation had provided the core of the museum’s European art collection, and its founder, banker Howard Ahmanson, played a pivotal role in the creation of LACMA.

The Ahmanson ended its relationship with LACMA because Govan’s new museum will not provide dedicated exhibition space for the display of permanent exhibits, which the Ahmanson acquisitions were meant for. Instead, the art will end up in offsite storage; some of it will see the light of day at the new LACMA only if selected for rotating exhibits. That means paintings by Rembrandt, Frans Hals, Titian, and many others will languish in storage. This is not how a prestigious art museum serves a community—but it is a prime example of Michael Govan’s total lack of leadership. The entire postmodern putsch is a war against art.

"Going, Going, Gone." Emblazoned on the wrecking crane slamming the facade of LACMA’s Ahmanson Building is the slogan of GGG Demolition Inc., the company that conducted the destruction of the museum. Aptly enough, the three Gs stand for "Going, Going, Gone." Photo Mark Vallen ©. Sept 13 2020.

"Going, Going, Gone." Emblazoned on the wrecking crane slamming the facade of LACMA’s Ahmanson Building is the slogan of GGG Demolition Inc., the company that carried out the destruction. Aptly enough, the three Gs stand for "Going, Going, Gone." Photo Mark Vallen ©. Sept 13 2020.

"Reflections." Across the street from LACMA is the 5900 Wilshire skyscraper; my photo captures the museum reflected in the skyscraper’s windows. Marking the 1989 demolition of the Berlin Wall, 10 original segments of the Wall were installed at the 5900 in 2009. Ironic that LACMA and the Berlin Wall are both gone. Photo Mark Vallen ©. Sept 13 2020.

"Reflections." Across the street from LACMA is the 5900 Wilshire skyscraper; my photo captures the museum reflected in the skyscraper’s windows. Marking the 1989 demolition of the Berlin Wall, 10 original segments of the Wall were installed at the 5900 in 2009. It's ironic that LACMA and the Berlin Wall are now both gone. Photo Mark Vallen ©. Sept 13 2020.

And speaking of war. As a result of his 2003 invasion of Iraq, President George W. Bush built a sprawling U.S. Embassy in that war-torn country that cost $750 million dollars—people bitterly complained that it was a complete waste of money, I know because I was one of them.

What else can $750 million purchase? In August 2020, the Trump administration signed a $750 million deal with Abbott Laboratories to buy 150 million rapid-result Covid 19 testing kits. That seemed a necessary thing in a time of pandemic, but does tearing down a first-class art museum and constructing a new one in its place for over $750 million appear to be a crucial imperative in pestilential times?

Michael Govan’s LACMA boondoggle, with its declared $750 million price tag, will likely cost more than $1 billion. Nevertheless, aside from the bold and fearless minority of art advocates who fulminate against the demolition of LACMA… who’s complaining?

"Everything’s Fine." A couple leisurely strolls by the massive piles of rubble that were once the Los Angeles County Museum of Art. Photo Mark Vallen ©. Sept 13 2020.

"Everything’s Fine." A couple leisurely strolls by the massive piles of rubble that were once the Los Angeles County Museum of Art. Photo Mark Vallen ©. Sept 13 2020.

“Playing in the ruins of tomorrow, today” is an old Situationist aphorism that very much describes the postmodern state of Los Angeles. In characterizing my home city to visitors I have always remarked that it reinvents itself every twenty years, tearing down the “old” for the “new.” How apropos that LA’s once celebrated art museum now lies in utter ruin. It’s an open wound on the metropolis, one that I fear will never heal.

"The Scar." LACMA’s director Michael Govan created this scar on the landscape of Los Angeles—may he always be remembered for it. Photo Mark Vallen ©. Sept 14, 2020.

"The Scar." LACMA’s director Michael Govan created this scar on the landscape of Los Angeles—may he always be remembered for it. Photo Mark Vallen ©. Sept 14, 2020.

"Razed in L.A." Here today, gone tomorrow. The LACMA campus obliterated. This is the end, beautiful friend, this is the end. Photo Mark Vallen ©. Feb 14, 2021.

"Razed in L.A." Here today, gone tomorrow. The LACMA campus obliterated. This is the end, beautiful friend, this is the end. Photo Mark Vallen ©. Feb 14, 2021.

"LACMA Idyll." A formidable grey security wall some 15 ft tall, encircles what is left of museum grounds. The barrier completely forbids the public a view of ongoing construction. An incongruous "welcome" sign cloaks a drab tableau of destruction. Photo Mark Vallen ©. Feb 14 2021.

"LACMA Idyll." A formidable grey security wall some 15 ft tall, encircles what is left of museum grounds. The barrier completely forbids the public a view of ongoing construction. An incongruous "welcome" sign cloaks a drab tableau of destruction. Photo Mark Vallen ©. Feb 14 2021.

BP’s Oil Slick: LACMA Woes

A postmodern artwork in LACMA's collection?

A postmodern artwork in LACMA's collection?

If you think the eerie green photograph shown at left is just another postmodern artwork to be found in the collection of the Los Angeles County Museum of Art (LACMA), then you are not too far off the mark. While the weird image was certainly not conjured up by one of today’s fashionable art stars, it is in a manner of speaking, one of LACMA’s most recent acquisitions, and it has been supplied by one of the museum’s leading benefactors.

In March of 2007, LACMA’s Director Michael Govan struck a deal with oil giant BP (British Petroleum). Govan agreed to accept a $25 million “donation” from BP that would help in the renovation of the museum, and in return the entry way on LACMA’s newly expanded campus would be christened, “The BP Grand Entrance.” At the time Govan touted BP as a “green” company, telling the Los Angeles Times that he accepted the oil company’s money because: “What was convincing to me was their commitment to sustainable energy (….) We won’t make the transition without the help and cooperation of these major corporations.”

Since that March 2007 deal I have unremittingly covered the oily relationship between LACMA and BP – and the story only continues to worsen. The above photograph is not part of LACMA’s collection, though it could be included in an exhibit that explores just exactly what a “commitment to sustainable energy” means to the museum and its director. In actuality the photo was taken by the U.S. Coast Guard, and it shows a broken underwater oil pipe that is presently spewing over 42,000 gallons of crude oil into the Gulf of Mexico per day. That particular oil drilling operation gone awry is run by none other than LACMA’s major patron, British Petroleum. LACMA has not acquired a work of art, but the stain of collaborating with one of the planet’s most rapacious polluters.

You may have heard about the tragic fire and explosion on the huge Deepwater Horizon oil rig located in the Gulf of Mexico, if not, ask Michael Govan about it. The oil rig was owned and operated by the Swiss based firm Transocean; however, its operations were under lease to British Petroleum. Transocean was drilling an exploration well for BP when the Deepwater Horizon rig exploded and sank on April 26, 2010 – killing eleven workers. The capsized rig, with a platform larger than a football field, broke away from the pipe that connected it to the oil well 5,000 feet below the ocean surface; the broken underwater drilling infrastructure is now pouring out 1,000 barrels of crude oil per day into the Gulf of Mexico. At the time of this writing, the growing oil slick covers well over 3,360 square miles of ocean, and there are fears the massive slick will affect the coastal communities of Texas, Louisiana, Mississippi, Alabama, and Florida.

BP’s enormous oil slick, less than 36 miles from the Louisiana coast, is directly threatening the Breton National Wildlife Refuge and the Delta National Wildlife Refuge. Located off the coast of Louisiana, Breton Refuge is the second oldest wildlife refugee in the U.S. Founded in 1904 by President Theodore Roosevelt, it is accessible only by boat and it provides habitat and colonies for over twenty-three species of seabirds and shorebirds. Delta Refuge is located at the mouth of the Mississippi River. Established in 1934, its 49,000 acres provides habitat to huge numbers of fish, mammals, reptiles, and birds. If the oil slick were to reach these nature reserves, the result would be a catastrophe of unparalleled dimension. As it is, BP’s oil slick will cause tremendous devastation to the fragile marine ecosystem found in the Gulf of Mexico, and untold numbers of fish, birds, mammals, and crustaceans that live in the Gulf will die.

The Gulf of Mexico oil slick confirms BP actually stands for “Big Profits” and not “Beyond Petroleum.” On April 27, as the U.S. Coast Guard struggled to contain the ecological disaster in the Gulf, BP posted a huge surge in its earnings – a phenomenal increase in profits from last year’s $2.39 billion to this year’s $6.08 billion. Now that BP is glutted with oil and flush with cash, perhaps LACMA’s Michael Govan can ask them for another “donation.” I am sure BP could use an excellent public relations gimmick right about now, so I would like to suggest that LACMA construct “The Grand Deepwater Horizon Exit Gate” as part of their new BP financed campus.

While Govan and BP run for political cover in the wake of the Gulf oil spill, they will not be alone in doing so. Just days after millions of people in the U.S. celebrated the 40th anniversary of Earth Day, what is left of the Deepwater Horizon oil rig is gushing crude into the Gulf in a slick so massive it is larger than the state of Rhode Island. NASA has photographed the gigantic slick from space. And what is the response from President Obama, especially since he has announced a plan to open over 500,000 square miles of U.S. coastal waters to oil drilling – including a vast area in the Gulf of Mexico that has never before been drilled? On April 23 President Obama’s spokesman Robert Gibbs alleged there is no reason to give up plans to expand offshore oil drilling, declaring; “In all honesty I doubt this is the first accident that has happened and I doubt it will be the last.” Perhaps when Michael Govan leaves LACMA in disgrace, he can get a job in the Obama administration.

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 On May 20, 2010, Greenpeace UK launched an art competition (www.greenpeace.org.uk) to redesign the BP corporate logo. In this anonymous submission to the contest, the designer transformed BP’s green sunflower icon into the eye of an oil covered sea bird.

On May 20, 2010, Greenpeace UK launched an art competition (www.greenpeace.org.uk) to redesign the BP corporate logo. In this anonymous submission to the contest, the designer transformed BP’s green sunflower icon into the eye of an oil covered sea bird.

Updates, May 20 through 29, 2010: On Saturday, May 29, the Associated Press reported that BP chief operating officer Doug Suttles admitted that BP’s “Top Kill” effort to stop the oil leak was a complete failure. Suttles commented, “This scares everybody, the fact that we can’t make this well stop flowing, the fact that we haven’t succeeded so far.”

On May 27, national and international media, taking information from BP and the Obama administration’s U.S. Coast Guard, reported that BP’s “Top Kill” effort to stop the torrent of oil from gushing into the ocean was a “success” and that “industry and government engineers had pumped enough drilling fluid to block oil and gas spewing from the well.”

Yahoo News and CBS News both reported that at President Obama’s May 28th press conference on a beach in Grand Isle, Louisiana, an event meant to show the president was “in control” of response efforts, BP bused in hundreds of temporary workers to clean-up oil off the beach. After Obama left the scene, BP dismissed the workers.

May 27, national and international media report the U.S. government’s pronouncement that the BP catastrophe is the worst eco-disaster in U.S. history – with U.S. Geological Survey scientists calculating that the broken BP pipeline is spewing more than one million gallons of crude a day into the Gulf of Mexico, the gusher will no doubt become the worst eco-disaster in world history. Starting on May 20, 2010, Greenpeace UK launched an art competition to redesign the BP corporate logo.

Updates, May 15, 2010: The U.K. Telegraph reported that President Obama’s Environmental Protection Agency gave BP permission to use massive amounts of a chemical dispersant underwater, despite there being no scientific knowledge regarding the ecological dangers posed by such a huge application of the toxic chemical known as “Corexit.” The New York Times reported that to date, BP has applied more than 400,000 gallons of Corexit in the Gulf of Mexico, and it has 805,000 gallons of the chemical on order. The New York Times also revealed that “of the 18 dispersants whose use EPA has approved, 12 were found to be more effective” than Corexit. The toxicity of the 12 alternatives was in some cases “10 or 20 times less” than Corexit. Nalco manufactures Corexit, and that company’s current leadership includes executives from BP and Exxon – LACMA and its director Michael Govan continue to remain silent regarding their ongoing financial relationship to BP.

UPDATES, May 5 through 14, 2010: A National Day of Protest against BP was called for May 12, 2010, with protests held in U.S. cities from Los Angeles to New York City – Both NPR and the New York Times have reported that scientists are saying the BP broken rig is spilling, not 5,000 barrels a day, but up to 100,000 barrels a day – Politico.com reported that President Obama has “received a total of $77,051” from BP over the last 20 years, making him “the top recipient of BP PAC and individual money.” –  McClatchy Newspapers reports that “Since the Deepwater Horizon oil drilling rig exploded on April 20, the Obama administration has granted oil and gas companies at least 27 exemptions from doing in-depth environmental studies of oil exploration and production in the Gulf of Mexico.”

[ Friends of the Earth are asking people to sign their online petition calling for President Obama to abandon his plans for expanded offshore oil drilling. ]

The LACMA Train Wreck

Train - by Koons

"Train" - Jeff Koons. Work in progress. The Director of the Los Angeles County Museum of Art, Michael Govan, has compared the $25 million 70-foot locomotive dangling from a 161-foot crane to the Eiffel Tower in Paris.

On November 23, 2009, Bloomberg News filed a report titled “Koon’s $25 Million Dangling Train Derailed by LACMA Shortfall.” The story covered the now delayed collaboration between the Los Angeles County Museum of Art (LACMA) and artist Jeff Koons, whose monumental “sculpture” titled Train, LACMA continues to insist will be erected at the museum’s entrance.

With a projected price tag of $25 million, the work by Koons – if undertaken – will be one of the most expensive public art projects ever to be mounted. However, the collapsing economy continues to incapacitate museums and galleries across the U.S., and LACMA is no exception.

In a Nov. 21, Los Angeles Times article titled “Los Angeles County Museum of Art is hard hit by recession“, writer Mike Boehm reported that the museum’s endowments and donations shrank from a total of $129.7 million in 2007-08, to $29 million in 2008-09, a stunning loss of over $100 million!

As a result LACMA has pushed back plans to build and install Koons’ Train until 2014 at the earliest, as the museum simply does not have the required financial resources to construct the ridiculous thing.

The Bloomberg article quoted LACMA’s associate vice president for communications and marketing, Barbara Pflaumer;

“We wouldn’t do it unless someone funds it; someone has to write us a check. This is a very tough economy. (….) The train is something on our to-do list. There’s no question we’d like it to happen. It’s a question of whether we can make it happen.”

Some things should just not be made to happen. On more than a few occasions I have inveighed against Koons and the Director of LACMA, Michael Govan, so I will not bore you stiff by reiterating critiques already made – though a reading of past fulminations would provide some necessary background to this story. Mr. Govan has persistently worked at making the Koons project a reality, but one really has to ask – why? Is it that Govan, LACMA’s Board of Directors and wealthy contributors, actually believe Koons to be the preeminent artist of our time? I shudder to think that is so, but no other conclusion seems possible.

Considering LACMA’s shaky finances during this exceedingly difficult economic period, not to mention the hard luck millions of Americans have fallen upon – who can sympathize with squandering so much money on something so frightfully banal and stupefyingly crass? That LACMA intends to commission and install Koons’ Train to the tune of $25 million, is analogous to proposing that our great libraries be emptied of the classics and filled up with romance novels, pulp fiction, and comic books.

There is another aspect to this tale. On a surface level the Koons Train sculpture bears a close resemblance to two other train artworks; these were created in Scotland and Brazil respectively, well before Koons drew up his Train proposal for LACMA. The Scottish and Brazilian train projects are little known in the United States, so a close examination is in order. Comparing the three train projects, one is not so much left with the suspicion that Koons simply lifted his idea from others, as one is given insight into just how much Koons’ Train is totally uninspired and lifeless.

Straw Locomotive - George Wyllie, 1987. A more evocative and far less expensive faux Choo Choo Train. Photo: Glasgow City Archives.

"Straw Locomotive" - George Wyllie, 1987. A more evocative and far less expensive faux Choo Choo Train. Photo: Glasgow City Archives.

Scottish artist George Wyllie produced a public art installation and performance piece in 1987 titled, Straw Train. Wyllie paid tribute to the history of the Scottish Railway industry by building a full-sized steam engine locomotive out of straw. The work of building an accurate replica train from straw took place at the abandoned Hyde Park Works in Springburn, Scotland, where the nation’s first private locomotive company built steam engine trains for export and domestic use. At its peak the massive train factory covered 60 acres, employed 8,000 workers, and constructed 600 trains a year.

Upon completion, Wyllie’s Straw Train was paraded through the streets in a public procession that followed the route real engines would have taken as they were transported to the shipping docks at the Finnieston port. Once at the port, Wyllie’s Straw Train was suspended from the famous Finnieston Crane, a prominent landmark in Glasgow, Scotland, celebrating the city’s industrial heritage. The Finnieston Crane once loaded untold numbers of the massive locomotives produced at the Hyde Park Works onto transport ships for export. Wyllie’s whimsical sculpture remained suspended from the massive crane for several months as part of the Glasgow Garden Festival of 1988 – attended by some 3 million people.

Following the Glasgow Garden Festival, Straw Train was transported back to the Hyde Park Works in Springburn, where it was set ablaze in a public performance. As flames consumed the dry straw, the sculpture’s metal armature was exposed. When the straw was reduced to ashes and only the metal framework remained, one could plainly see that the artist had incorporated a giant metal question mark into the structure – the artist’s emblematic signature but also a query as to the fate of Scotland’s industrial past.

Straw Train had great resonance for the people of Scotland, making direct reference to their proud history and accomplishments even as the artist posed relevant questions about capitalist economic restructuring and the resultant deindustrialization of society. Conversely, Koons’ work is altogether bereft of social import. It fails to challenge or advocate and does not lead to any meaningful introspection, it has no connection to history; in fact it makes absolutely no claims about anything whatsoever, it simply exists, like the faux Matterhorn Mountain at the Disneyland theme park in Anaheim, California. Koons said of his project; “It’s very visceral. It gives us a sense of this kind of power and energy and the preciousness of this moment of life.” Just what exactly does that mean? Such a statement could be used to describe a pile of junked automobiles – if one’s intent was obfuscation. And what can be said of those at LACMA who find profundity in Koons’ gobbledygook explication?

Train at the entrance to Mundo A Vapor (Steam World) theme park in Canela, Brazil. Photo by Arqueos Weiss/Wiki Commons.

The train at the entrance of Mundo A Vapor (Steam World) theme park in Canela, Brazil. Photo by Arqueos Weiss/Wiki Commons.

The popular theme park Mundo A Vapor (Steam World) in Canela, Brazil, incorporates a life-sized steam engine train into its entry way in much the same manner that LACMA looks forward to doing – although only L.A.’s museum has pretensions of presenting “high art.”

Canela is a small picturesque city situated in the mountainous region of the state of Rio Grande do Sul, Brazil. Mundo A Vapor is a charming theme park that presents the history of the steam engine, from toys and crafts to productive technology and train transport – it offers informative displays and fun for the whole family, including a miniature train kiddy ride. The theme park is internationally famous for its unconventional entrance façade which makes use of a full-scale replicated steam engine locomotive; a life-size reconstruction of the 1895 train crash in Montparnasse, Paris. The train’s steam powered whistle actually screams on the hour as the train’s chimney discharges billowing clouds of steam to the great delight of tourists, who crowd around the locomotive to take still photos and shoot videos (one such amateur video can be viewed on YouTube).

Chances are only a handful of people know, or care about, the name of the architectural engineer commissioned to design the entrance façade at Mundo A Vapor, and it is my educated guess that the professional was not awarded $25 million. It never occurs to the jovial tourists flocking around the steam engine behemoth – marooned at the theme park doorway like a beached whale – that the tableau was designed by a specialist; that detail is simply irrelevant. To the cheerful multitudes the train façade offers only a fantastic setting for photographs, nothing more, and that is how it should be seen. If those gathered around the train were told that the locomotive was in fact a majestic sculpture of paramount importance, created by a modern master of unsurpassed vision, and that the objet d’art was worth ten of millions of dollars, they would most likely laugh out loud at the preposterous tall tale.

Photograph of the 1895 train wreck at the Gare Montparnasse train station in Paris. Photo by Studio Lévy & fils.

Photograph of the 1895 train wreck at the Gare Montparnasse train station in Paris. Photo by Studio Lévy & fils.

So then what precisely is the difference between the locomotive at Mundo A Vapor and Koons’ Train? Aside from the fact that the Brazilian train does not spin its mighty iron wheels as the LACMA train is being designed to do, the one and only distinction is that LACMA’s Train is linked to brand Koons; declared by inordinately powerful individuals with exceedingly bad taste to be the finest high-end commodity available on the “art market” today. Museum culture is undergoing a transformation where a sham populism guided by market forces is quickly becoming the norm. Some museums are developing into zones for the appreciation of the kitsch, shallow, and gaudy; there is no better example of this than the relationship LACMA has cultivated with the likes of Koons.

The train at Mundo A Vapor is a real crowd pleaser to be sure, and undoubtedly millions have stood beside it to have their pictures taken, but does anyone think of it as a magnificent artwork? Would anyone in their right mind say of the train; “It gives us a sense of this kind of power and energy and the preciousness of this moment of life”? Well… perhaps some would, just as they might say the same thing about that thrilling roller coaster ride at Disneyland’s Matterhorn Mountain – but that does not add up to momentous art or a thoughtful art experience.