The Hammer

At first, from the door, I thought that rock was an homage to Levitated Mass (I love Levitated Mass) but, upon approach, no.

That’s me and Jerry, reflect-o.

Here comes Art Speak and photo from their website: “The Los Angeles–born sculptor Patrick Jackson works with both discrete objects and immersive installations. Jackson’s Proposal for a Monument examines the ability of public sculpture to communicate to both present and future populations and to be, as Carl Sagan wrote in a different context, “a symbol invariant of all [the] possible changes.”

“Jackson aggregates objects around the geometric structure: a “rock,” a drinking fountain, original furniture made by his grandfather for the Culver City house where both Jackson and his mother grew up. These additional elements counter the monumental ambition of the sculpture but simultaneously present meaningful objects, ones that we touch, gather around, and remember.”


We had intended to have lunch here because I read On The Internet that the café at the Hammer was open. It is not, but there are plenty of restaurants just across the street.
After lunch we came back to have a wander through the galleries. This is Jill Mulleady, Someone left the cake out in the rain (triptych), 2020, images and a street lamp of present-day MacArthur Park.
Crazy, right?! That’s Jerry reaching out. It’s one of those things that needs to be seen to be believed.

From the website: “While living in Paris in 1960, Nicola L. started developing her Pénétrables, a series of canvases into which viewers could introduce parts of their bodies, getting into the skin of the painting. A magnum opus of this series, La Chambre en Fourrure (1969) was conceived as a playful environment, and yet it conveyed a strong political statement addressing the individual’s social envelope. Viewers were invited to insert their legs, arms, and faces into the outer shell of the freestanding “room” and would find themselves costumed in the work. The version of La Chambre en Fourrure on view here is a reconstruction of the original based on documentation compiled by the estate.”

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