Friday Photos: Robert & Karen Abroad October 16, 2015 by Robert J. Avrech 12 Comments “I have not been that wise. Health I have taken for granted. Love I have demanded, perhaps too much and too often. As for money, I have only realized its true worth when I didn’t have it.”—Hedy Lamarr The other day, Karen and I went to the new Broad Museum in downtown Los Angeles. We ordered tickets in advance, parked, and only had to wait a few minutes to get in. The Museum bureaucracy is a model of organization. The staff—mostly young hipsters—are incredibly friendly and helpful. You can also download the free Broad Museum app to your smartphone and choose from several guided tours, a convenient addition to the museum going experience. Here’s a view from inside the lobby. As you can see, there’s a long line to get in which was a surprise because we were there in the middle of the week. We took an escalator that cuts through the central vault of the compelling building to the galleries on the upper floor. Karen and I both find museum going to be kind of exhausting. Your senses are bombarded with powerful images. Here Karen studies an elegant and disturbing painting by John Currin. On the one hand you get Norman Rockwell faces and pose, but the pregnant bodies seem backward. Patch and Pearl, 2006, oil on canvas, 80 x 50 in. Big Orange by Sam Francis brings to mind French Impressionism, moving clouds, and the dappled surface of a garden pond. 1954-55, oil on canvas, 118 1/4 x 76 in. It’s easy to forget that Roy Lichtenstein’s comic book inspired art was wildly radical when it first appeared in the 1960s. But Lichtenstein brilliantly married pop culture with classical art. This is the biblical Eve as a modern woman, regretting what she has done. I…I’m Sorry! 1965-66, oil and Magna on canvas60 x 48 in. Here’s one panel of an elegant nine-panel work by Mark Grotjahn. The images seem to dance in shifting perspectives. Mark Grotjahn, Untitled (Dancing Black Butterflies), 2007, color pencil on paper in nine parts, variable, 9 parts from 65 3/4 x 47 3/4 inches to 72 x 48 inches. Jeff Koons’ work is a one-note statement about art and commerce. But I have to admit that his dopey work makes for a fun picture. Michael Jackson and Bubbles, 1988, porcelain, 42 x 70 1/2 x 32 1/2 in. This monumental painting by modern master Richard Diebenkorn is a lush field for the eyes. The Ocean Park series, painted in Santa Monica, are abstract, but look carefully and you will glean references to the ocean, street traffic, architecture, and light that washes through windows. Ocean Park #90, 1976, oil on canvas, 100 x 81 in. The eight foot tall lady in pink by Charles Ray is amusing but she’s also somewhat threatening. Fall ’91, 1992, mixed media, 96 x 26 x 36 in. Cy Twombly paintings bring to mind the mad scrawlings of a giant trying to discover language. Nini’s Painting, [Rome], 1971, oil based house paint, wax crayon, and lead pencil on canvas, 102 3/4 x 118 1/4 in. This painting by Ellsworth Kelly is such a powerful optic that I could not stare at it for very long without becoming dizzy. Green Relief with Blue, 2011, oil on canvas, two joined panels 70 x 67 x 2 5/8 in. Robert Therrien, Under the Table, 1994, wood, metal and enamel, 117 x 312 x 216 in. Our favorite work of art was Robert Therrien’s Under the Table. As children we all crawled underneath the dining room table where our imaginations ran free. The museum encourages visitors to stand under the table, but not to climb up the chairs—which is a huge temptation. Cindy Sherman’s Untitled Film Still series is her earliest and most fully resolved work. She conjures old Hollywood as a haunted frame of celluloid. Untitled Film Still #54, 1980, gelatin silver print, 8 x 10 in. “You believe lies so you eventually learn to trust no one but yourself.”― Marilyn Monroe Lielle Meital wishes all our friends and relatives a lovely and inspirational Shabbat.