THE VIEW FROM HERE-A society without art will degenerate and fade away. Its downfall will be inevitable. One thing that every civilization has done over the centuries is make every attempt to preserve its history-- through libraries, artifacts, paintings and sculpture, architecture. We must continue to honor that tradition. It is the creation of museums that has made these collections accessible to the public—items to be maintained for present and future generations in perpetuity.
As Angelinos, we should be so proud that we have the Los Angeles County Museum of Art (LACMA)—located on Museum Row in the Miracle Mile--doing this preservation and documentation on our behalf. Recently a report was produced covering the effects of the latest LACMA Transformation Project now two-thirds completed.
“Over the past seven years,” says County Supervisor Zev Yaroslavsky, “LACMA has evolved into a thriving center of cultural activity.” And, LACMA Director Michael Govan, reminds us “Los Angeles is globally recognized as a creative capital, and its art museum deserves to be one of the best in the nation.”
LACMA’s collections reflect the history and geography and ethnic populations of our City and County. A visit there will also reveal the art of Asia, Latin America, pre-Columbian works, Islamic art—among an abundance of other contributions. Though most of its million annual visitors are local, increasing numbers of patrons come from other parts of the United States and from other countries.
Govan envisions the ability of “contemporary artists [to] interact with the museum’s historic collections.” These compendiums currently include Robert Irwin’s EvolvingPalm Garden, art of the Pacific Islanders, fashionable dress and accessories from Europe, 19th and 20th century photography.
Our investment in updating and modernizing and adding to displays at the museum has been paying for itself. The return-on-investment is clear. The project has created in excess of 3,600 jobs (a third of which are permanent). State and local taxes have garnered about $22 million in added tax revenue while the Federal coffers have acquired another $42 million in taxes.
Other jobs have been created and revenue accrued through the tangential effects of the museum’s additions and patronage. Visitors are responsible for growing our economy through costs for lodging, meals, transportation, souvenir purchases, and entertainment—three times what it was only a few years ago. Ultimately, the funding has been well-worth our public investment.
The way Yaroslavsky sees it, “LACMA has evolved into a thriving center of cultural activity.”
It is located on the same grounds as the famous LaBrea Tar Pits (which I remember being thrilled to visit as a school child) and the Page Museum. Recent additions see visitors flocking to the 30 acres that have been set aside for these attractions.
At the LACMA entrance Chris Burden’sdramatic … and becoming iconic … Urban Light Exhibit is comprised of 202 restored street lamps created during the 1920s and 1930s. They represent 17 styles of forest-like solar-powered lights, once lining the streets of Southern California. This exhibit is a tremendous draw to the museum. Photos of it show up everywhere—in magazines, newspapers, art books, and videos and have become a visual symbol for Los Angeles.
Similarly, Michael Heizer’s intriguing Levitated Mass has become a sensational attraction. The 340 ton “boulder” was brought to its final site after a 105-mile journey from Riverside County. Heizer had been looking for such a piece of nature for years. People lined up along the highways to see its slow progression to its ultimate exhibit area. It now rests atop a 456 foot long “slot” under which visitors walk. Though it is safe to do so, for me it would be a little scary to meander beneath the archway (it reminds me of my fear after the 1994 earthquake to drive under freeway overpasses).
Mr. Heizer says the project “speaks to the expanse of art history, from ancient traditions of creating artworks from megalithic stone, to modern forms of abstract geometrics and cutting-edge feats of engineering.” It is simply breathtaking!
I must take a moment here to add a personal opinion about museums in general. I believe museums should be underwritten so that the poorer among the populace can be afforded the opportunity to visit as often as they wish. After all, the wealthier among us can take their families to the Coliseum in Rome and the Parthenon in Greece and the Terra Cotta Soldiers in China, but the poor can only visit these places vicariously. We need greater funding from the National Endowment of the Arts and additional efforts from a public-private partnership to make visits to these astonishing, magnificent collections of art accessible for all.
Yaroslavsky sees “LACMA’s success as an example of [such partnerships] that will offer economic and educational benefits for years to come.”
When we are considering what to do with the family on a Saturday or Sunday afternoon, put a visit to the LACMA on the calendar. It is a rich environment to inspire and awe all who visit (especially our children). Guests just might be motivated to be the next artist or archeologist. It may also encourage and provide insight for another philanthropist to make selfless donations to help foster insight and kindle creativity in present and future generations—what a great way to spend hard-earned money!
(Rosemary Jenkins is a Democratic activist and chair of the Northeast Valley Green Coalition. Jenkins has written Leticia in Her Wedding Dress and Other Poems, A Quick-and-Easy Reference to Correct Grammar and Composition and Vignettes for Understanding Literary and Related Concepts. She also writes for CityWatch.)
-cw
CityWatch
Vol 12 Issue 9
Pub: Jan 31, 2014