Sentences with phrase «much of the contemporary arts museum»

To be fair, much of the Contemporary Arts Museum of Houston's recent exhibition programming has spoken to critical and feminist concerns, from a phenomenal presentation of ICA Philadelphia's Dance with Camera to the knockout Hand + Made: The Performative Impulse of Art and Craft organized by curator Valerie Cassel - Oliver last summer.

Not exact matches

The new place to stay — and be seen — is the Silo Hotel, on top of the V&A Waterfront's much - anticipated Zeitz Museum of Contemporary African Art.

Rows of multicolored beets, various berries, plump eggplants, and zebra tomatoes inspired us as much as the room full of Calder's mobiles at the Museum of Contemporary Art.

Nevertheless, Madison is much more than a college town — it has plenty of water access through several lakes, the Madison Museum of Contemporary Art, and the famed Dane County Farmer's Market, one of the country's largest.

Matthew Barney: River of Fundament September 13, 2015 — January 18, 2016 Museum of Contemporary Art, Los Angeles 250 South Grand Avenue, Los Angeles, CA 90012 Much has been made of the meaninglessness and conjoining...

2007 Weather Report, Centro Atlantico de Arte Morderno, Las Palmas de Gran Canaria Absent Without Leave, Victoria Miro Gallery, London, UK Unholy Truths, Initial Access, Frank Cohen Collection, Manchester, UK Effigies, Stuart Shave / Modern Art, London, UK Fractured Figure, Curated by Jeffrey Deitch, Deste Foundation, Athens, Greece Beyond the Zero, Peres Projects, Athens, Greece Destroy Athens, The First Athens Biennale, Athens, Greece Get Lost: Artists Map Downtown New York, The New Museum, New York, NY How Much Longer, Belkin Staellite, Vancouver, B.C., Canada Out of Art, Centrepasquart, Kunsthaus Centre D'art, Biel Bienne, Switzerland Sweet Bird of Youth, Curated by Hedi Slimane, Arndt & Partner, Berlin, Germany Chi Peng's Journey to the West, White Space, in association with Alexander Ochs Gallery, Beijing, China New York — States of Mind, Haus der Kulturen der Welt, Berlin, Germany Terence Koh and AA Bronson, Galerie Fredric Giroux, Paris, France Between Two Deaths, Zentrum Für Kunst and Medietechnologie, Karlsruhe, Germany Time Difference, Initial Access, Frank Cohen Collection, Wolverhampton, UK Body Politix, Witte De with Center for Contemporary Art, Rotterdam, Netherlands

2016 KARMA, Amagansett, NY (Sept.) We Like Explosions, The Pit, Los Angeles, CA August, Harper's Books, East Hampton, NY X, Lyles & King, New York, NY So Much, So Little, All at Once, Regina Rex, New York, NY A Short Story, Field Contemporary, Vancouver, BC Sibling Rivalries, Torrance Museum of Art, Torrance, CA

The Museum's mission of employing international contemporary art and ideas as a platform for education and experimentation resonates deeply with so much of the work I have undertaken throughout my career,» said Marc - Olivier Wahler.

I always prefer going to museums that are very classical v contemporary; for example, it's much more in my personality to visit the Norton Simon in Pasadena than to go to the Los Angeles Museum of Contemporarycontemporary; for example, it's much more in my personality to visit the Norton Simon in Pasadena than to go to the Los Angeles Museum of ContemporaryContemporary Art [MOCA].

2011 Ordem e Progresso: vontade construtiva na arte Brasileira, Museu de Arte Moderna de São Paulo, São Paulo, Brazil Paradise Lost, Istanbul Museum of Art, Istanbul, Turkey (catalogue) The Luminous Interval, Guggenheim Museum Bilbao, Bilbao, Spain Measuring the World: Heterotopias and Knowledge Spaces in Art, Kunsthaus Graz, Graz, Austria (catalogue) Pandora's Box: Joseph Cornell Unlocks the MCA Collection, Museum of Contemporary Art, Chicago, USA Mappa Mundi, Berardo Collection, Lisbon, Portugal Mexico: Expected / Unexpected, Museum of Contemporary Art San Diego, USA (catalogue) Vestígios de Brasilidade, Centro Cultural Santander, Recife, Brazil (catalogue) Gigantes por su propia naturaleza, Institut Valencià d'Art Modern, Valencia, Spain Experimental station, CA2M Centro de Arte Dos de Mayo, Madrid, Spain Semana de Arte do Rio de Janeiro, Rio de Janeiro, Brazil Our Magic Hour: How Much of the World Can We Know, Yokohama Triennale 2011, Yokohama Museum of Art, Yokohama, Japan Keeping it Real: An Exhibition in Four Acts.

«Maybe it [painting] appears that way [dead] if you spend much time in New York City's major museums, where large group shows of contemporary painting are breathtakingly rare, given how many curators are besotted with Conceptual Art and its many often - vibrant derivatives.

This October, the Walker Art Museum will investigate the politically engaged viewpoint that lies at the bottom of much of Gillick's work in «9 Artists,» a show considering «the changing role of the artist in contemporary culture.»

Much of the art you'll see in the Hammer Museum is contemporary art.

However, he is much better - known in Europe and so it is with great pleasure that the University Museum of Contemporary Art presents Jaume Plensa: Silent Noise, the first major traveling exhibition of the artist's work in the United States that was organized by the General Directorate for Cultural and Scientific Affairs of the Spanish Ministry of Foreign Affairs and Cooperation in collaboration with the State Corporation for Spanish Cultural Action Abroad (SEACEX) and curated by The Arts Club of Chicago.

Richter's practice is certainly more multidimensional than the this - equals - that framework of much contemporary neo-conceptualism (two recent examples being most of the art in the New Museum's Generational show and Jonathan Horowitz: And / Or at P.S. 1)-- allowing us, up to a point, to see what we wish to see.

Certainly much more space has been made in the contemporary art world for women in the past fifty years: We can point to more monographs, museum retrospectives, gallery representation, press attention, and women in positions of power in all of these platforms.

No question, much of Mr. Dial's paintings, sculpture, drawings and prints carry you into a darker place — «from reflections on race and class struggle in America to haunting meditations on events of contemporary global concern» was the rather sanitized view of the High Museum, when it mounted «Hard Truths,» the traveling Dial retrospective, organized by the Indianapolis Museum of Art in 2011.

Recent group exhibitions include «Magic Mountain,» Museum of Contemporary Art Santa Barbara, CA; «Spectra,» San Diego State University Downtown Gallery, San Diego, CA; «Lost line,» Los Angeles County Museum of Art, Los Angeles, CA; «ABCyz,» Launch Exhibition, Silvershed, New York, NY; «The Trans - Aestheticization of Daily Life,» University of California, Riverside Sweeney Gallery, Riverside, CA; «Too much love,» Angles Gallery, Curated by Amy Adler, Los Angeles, CA; «Around About Abstraction,» Weatherspoon Art Museum, Greensboro, NC; «Wall Painting,» University of Texas at San Antonio, San Antonio, TX; «Snap Shot,» UCLA Hammer Museum, Los Angeles, CA (Traveled to Museum of Contemporary Art, North Miami, FL); «Fresh,» Altoids Curiously Strong Collection, New Museum, NY; «KOREAMERICAKOREA,» Sonje Museum of Contemporary Art, Seoul, Korea; «Rundgang,» Kunstakademie Düsseldorf, Düsseldorf, Germany.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screart museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screArt Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

A Performa Commission with HAU and SFMOMA, the performance continues SFMOMA's Now Playing live art series, which has transformed the nature of the museum's public programming by embracing the event - driven, performance - based aspect of much contemporary art.

at Rob Tufnell, London; Maid in Heaven / En Plein Air in Hell (My Beautiful Dark and Twisted Cheeto Problem) at White Cube Masons Yard, London; Eustachy Kossakowski and Goshka Macuga: Report from the Exhibition at Kate McGarry, London; GENERATION: 25 Years of Contemporary Art in Scotland at Scottish National Gallery of Modern Art, Edinburgh; Hayley Tompkins: Digital Light Pools at the Common Guild, Glasgow; Douglas Gordon: Pretty much every film and video work from about 1992 until now, at Glasgow Museum of Modern Art; Mood Is Made / Temperature Is Taken at Glasgow Sculpture Studios.

This unique evening at the Old Vic Tunnels will raise much needed funds that will enable the Contemporary Art Society to continue its mission of donating work to museums and galleries across the UK in the coming year where they will be enjoyed by millions».

We very much look forward to having him as a colleague in Cleveland, and to experiencing the ways that he will encourage our audiences to engage with historic and contemporary African art,» said William M. Griswold, director of the Cleveland Museum of Aart,» said William M. Griswold, director of the Cleveland Museum of ArtArt.

On the heels of «Doug Aitken: Electric Earth,» a major retrospective at the Museum of Contemporary Art in Los Angeles, this newest project, called Mirage, has been much anticipated, so AD sat down with the artist in the shade cast by the structure to discuss how he arrived at this particular form.

The eight curator / co-authors will be on hand at the Museum of Modern Art's Bartos Theater this Friday, May 4th for «DEFINING CONTEMPORARY ART: Writing Art History as it Happens,» a lively roundtable discussion that will see these contemporary art experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much going stroArt's Bartos Theater this Friday, May 4th for «DEFINING CONTEMPORARY ART: Writing Art History as it Happens,» a lively roundtable discussion that will see these contemporary art experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much going stroArt's Bartos Theater this Friday, May 4th for «DEFINING CONTEMPORARY ART: Writing Art History as it Happens,» a lively roundtable discussion that will see these contemporary art experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much gCONTEMPORARY ART: Writing Art History as it Happens,» a lively roundtable discussion that will see these contemporary art experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much going stroART: Writing Art History as it Happens,» a lively roundtable discussion that will see these contemporary art experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much going stroART: Writing Art History as it Happens,» a lively roundtable discussion that will see these contemporary art experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much going stroArt History as it Happens,» a lively roundtable discussion that will see these contemporary art experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much going stroArt History as it Happens,» a lively roundtable discussion that will see these contemporary art experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much gcontemporary art experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much going stroart experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much going stroart experts speak on their choices for the book and examine how one begins to analyze the historical significance of a movement that is still very much going strong.

That's why I have so much respect for Helen Molesworth, chief curator at the Museum of Contemporary Art, Los Angeles — she creates opportunities for women.

The great paradox of Hong Kong is that it has no history of contemporary art museums, so much so that some gallerists at Art Basel Hong Kong credit their need for «Please Do Not Touch» signs and stanchions inside their... Read Mart museums, so much so that some gallerists at Art Basel Hong Kong credit their need for «Please Do Not Touch» signs and stanchions inside their... Read MArt Basel Hong Kong credit their need for «Please Do Not Touch» signs and stanchions inside their... Read More

One of the largest private collections of contemporary art and valued in the billions of dollars, it is the focal point of «Calder to Warhol: Introducing the Fisher Collection» a much - anticipated exhibition opening Friday at the San Francisco Museum of Modern Aart and valued in the billions of dollars, it is the focal point of «Calder to Warhol: Introducing the Fisher Collection» a much - anticipated exhibition opening Friday at the San Francisco Museum of Modern ArtArt.

Those works — along with many others, like the 1969 photographs Minter took of her alcoholic and pill - addicted mother, or I'm Not Much But I'm All I Think About, a 2011 video in which the letters M and E, along with a pair of silver M&M's, are repeatedly dropped into an oozing mixture of vodka and silver food coloring — are currently on view at the Brooklyn Museum, in «Marilyn Minter: Pretty / Dirty,» a retrospective that originated at the Contemporary Arts Museum Houston.

At the core of the project are works by nine contemporary artists, who gained world recognition as much for their participation in prestigious exhibitions, as for the unyielding demand for their art and its presence in the collections of major museums and esteemed private collections.

Over recent years several exhibitions have thrown a spotlight on Eastern European work, for instance Ostalgia (2011) at the New Museum in New York; Les Promesses du Passé (2010) at Centres Georges Pompidou in Paris which focussed on the utopian dimension of much Eastern European art during the socialist period; and Modernikon (2011) organised by the Fondazione Sandretto in Turin and Venice, presenting a survey of contemporary Russian work.

Her 10 works on view at the Museum of Contemporary Art of Georgia as part of the 2012/2013 Working Artist Project fellowship feel very much like visual puzzle pieces one needs time and patience to assemble into a whole.

Much of the fanfare will center on the museum's big anniversary present, which came early: an agreement in September with the family of Gap Inc. co-founders Doris and Donald Fisher that lets SFMOMA preside over their contemporary art collection, one of the world's most important in private hands.

Lovell?s major installations and exhibitions include: Visitation: The Richmond Project, which traveled to the University of Wyoming in Laramie, the Columbus Museum in Georgia, and the Museum of Contemporary Art in Sydney, Australia; Deep River, which was first exhibited at Hunter Museum of American Art in Tennessee then travelled to the Jepson Center for the Arts in Georgia and the Cummer Museum in Florida; and Whispers From the Walls, which received much critical acclaim and toured nationally, appearing at venues including the Seattle Art Museum and New York?s Studio Museum in Harlem.

Sharon Hayes» selected solo exhibitions include Public Appearances, Tanya Leighton Gallery, Berlin, Germany (2013); There's so much I want to say to you, The Whitney Museum of American Art, New York, NY (2012); Habla, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain (2012); Elevator Music 20: Sharon Hayes, The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, NY (2012); 9 Scripts from a Nation at War (collaboration), Museum of Modern Art, New York, NY (2012); focus: Sharon Hayes, The Art Institute of Chicago, Chicago, IL (2011); In the near future, Vancouver Contemporary Art Gallery, Vancouver, British Columbia, Canada (2011), and others.

22.08.2006 In late summer, the Kristjan Raud House Museum offers its exhibition halls to lesser - known contemporary artists, regardless of where and how much art they have studied.

The final two sections of Video Works are its most uneven, underscoring that, as Contemporary Art Museum Houston senior curator Toby Kamps writes in an essay accompanying the box set, «The Art Guys are inspired as much by dumb, half - baked ideas as they are by revelatory, perspective - changing ones.

The museum is not spilling much detail about this year's edition of the once - every - five - year showcase of contemporary art — but here are two hints that it could be good.

Photographic portraiture — of the self as much as subjects choreographed for the camera — is a central offering at the newly launched Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), a one - hundred - gallery, nine - floor private museum that opened at a harborside address in Cape Town, South Africa's leisure capital, and focuses exclusively on twenty - first - century art from Africa and its diaMuseum of Contemporary Art Africa (Zeitz MOCAA), a one - hundred - gallery, nine - floor private museum that opened at a harborside address in Cape Town, South Africa's leisure capital, and focuses exclusively on twenty - first - century art from Africa and its diaspoArt Africa (Zeitz MOCAA), a one - hundred - gallery, nine - floor private museum that opened at a harborside address in Cape Town, South Africa's leisure capital, and focuses exclusively on twenty - first - century art from Africa and its diamuseum that opened at a harborside address in Cape Town, South Africa's leisure capital, and focuses exclusively on twenty - first - century art from Africa and its diaspoart from Africa and its diaspora.

But following its official public opening on September 20, 2015, artlovers are able to see the reason why the museum was built in the first place: to house a treasure trove of contemporary art, much of which has already permeated the minds of the masses, and still more that hasn't been appreciated as much as it should.

He has exhibited profusely throughout much of the world at such places as Museum of Contemporary Art, Los Angeles; the Jewish Museum, New York; Art Institute of Chicago, IL; Gallery Saito, Japan; Lulu, Mexico; among others.

Following stunning presentations at FIAC's (OFF) ICIELLE and NADA Miami Beach, Kilcollin will kick off 2015 with a much hyped solo exhibition at American Contemporary in New York in January, followed by her first solo museum exhibition at the Santa Monica Museum omuseum exhibition at the Santa Monica Museum oMuseum of Art.

Sims, who went on to hold executive positions at the Studio Museum in Harlem and New York's Museum of Arts and Design, is quick to point out, however, that while the field for contemporary African - American artists has developed steadily, and works by more historical figures have become increasingly sought - after by museums and collectors, there is still much work to be done.

Nasher donated $ 10 million to fund construction of the $ 23 million museum, but also loaned it much of his art collection, described by museum director Kimerly Rorschach as the «world's greatest private collection of modern and contemporary sculpture.»

The scope of the project grew, and there was talk of a much larger and more complex building, to be designed by Girault, which would encircle the Hôtel Biron and incorporate the Musée Rodin into a «National Museum of Contemporary Arts».

This exhibition bears no connection to the much - publicized 2005 exhibition titled «Ecstasy: In and About Altered States» at the Museum of Contemporary Art in Los Angeles, which focused on the drug «ecstasy» or its chemical name MDMA.

Kenny Schachter ROVE, London Props & Propositions, Cleveland Institute of Art, Cleveland, Ohio 2004 Five Ways to Say the Same Sadness, University Art Museum, University at Albany, New York eRacism: electronica, Contemporary Art Museum St Louis, St. Louis, Missouri reFunkt: prints & dvds, The Project, New York eRacism, Rutgers University, New Brunswick, NJ; traveled to Artists Space, New York 2003 Foddah, Drew University, Madison, New Jersey Some: Of Place and Desire, ArtHouse, Austin eRacism, DiverseWorks, Houston, TX; traveled to Portland Institute of Contemporary Art, Portland 2002 What's Inside a Boy, The Project, Los Angeles eRacism, ICA at Maine College of Art, Portland Incontinent, Wood Street Gallery, Three Rivers Arts Festival, Pittsburgh, Pennsylvania 2001 Hole Theory, The Project, New York 2000 Eracism: White Room, ThreadWaxing Space, New York The Hole Inside The Space Inside Yves Klein's Asshole, Concordia University, Montreal Eating The Wall Street Journal And Other Current Consumptions, Mobius, Boston 1998 Recent Work, The Project, New York 1996 Buddy Performance Objects, with Jim Calder, Touchstone Theater, Bethlehem, Pennsylvania 1993 William Pope.L, Horodner Romley Gallery, New York 1992 William Pope.L, Drew University, Madison, New Jersey 1991 How Much is that Nigger in the Window, 30 performances, writings and installations, Franklin Furnace, New Yoof Art, Cleveland, Ohio 2004 Five Ways to Say the Same Sadness, University Art Museum, University at Albany, New York eRacism: electronica, Contemporary Art Museum St Louis, St. Louis, Missouri reFunkt: prints & dvds, The Project, New York eRacism, Rutgers University, New Brunswick, NJ; traveled to Artists Space, New York 2003 Foddah, Drew University, Madison, New Jersey Some: Of Place and Desire, ArtHouse, Austin eRacism, DiverseWorks, Houston, TX; traveled to Portland Institute of Contemporary Art, Portland 2002 What's Inside a Boy, The Project, Los Angeles eRacism, ICA at Maine College of Art, Portland Incontinent, Wood Street Gallery, Three Rivers Arts Festival, Pittsburgh, Pennsylvania 2001 Hole Theory, The Project, New York 2000 Eracism: White Room, ThreadWaxing Space, New York The Hole Inside The Space Inside Yves Klein's Asshole, Concordia University, Montreal Eating The Wall Street Journal And Other Current Consumptions, Mobius, Boston 1998 Recent Work, The Project, New York 1996 Buddy Performance Objects, with Jim Calder, Touchstone Theater, Bethlehem, Pennsylvania 1993 William Pope.L, Horodner Romley Gallery, New York 1992 William Pope.L, Drew University, Madison, New Jersey 1991 How Much is that Nigger in the Window, 30 performances, writings and installations, Franklin Furnace, New YoOf Place and Desire, ArtHouse, Austin eRacism, DiverseWorks, Houston, TX; traveled to Portland Institute of Contemporary Art, Portland 2002 What's Inside a Boy, The Project, Los Angeles eRacism, ICA at Maine College of Art, Portland Incontinent, Wood Street Gallery, Three Rivers Arts Festival, Pittsburgh, Pennsylvania 2001 Hole Theory, The Project, New York 2000 Eracism: White Room, ThreadWaxing Space, New York The Hole Inside The Space Inside Yves Klein's Asshole, Concordia University, Montreal Eating The Wall Street Journal And Other Current Consumptions, Mobius, Boston 1998 Recent Work, The Project, New York 1996 Buddy Performance Objects, with Jim Calder, Touchstone Theater, Bethlehem, Pennsylvania 1993 William Pope.L, Horodner Romley Gallery, New York 1992 William Pope.L, Drew University, Madison, New Jersey 1991 How Much is that Nigger in the Window, 30 performances, writings and installations, Franklin Furnace, New Yoof Contemporary Art, Portland 2002 What's Inside a Boy, The Project, Los Angeles eRacism, ICA at Maine College of Art, Portland Incontinent, Wood Street Gallery, Three Rivers Arts Festival, Pittsburgh, Pennsylvania 2001 Hole Theory, The Project, New York 2000 Eracism: White Room, ThreadWaxing Space, New York The Hole Inside The Space Inside Yves Klein's Asshole, Concordia University, Montreal Eating The Wall Street Journal And Other Current Consumptions, Mobius, Boston 1998 Recent Work, The Project, New York 1996 Buddy Performance Objects, with Jim Calder, Touchstone Theater, Bethlehem, Pennsylvania 1993 William Pope.L, Horodner Romley Gallery, New York 1992 William Pope.L, Drew University, Madison, New Jersey 1991 How Much is that Nigger in the Window, 30 performances, writings and installations, Franklin Furnace, New Yoof Art, Portland Incontinent, Wood Street Gallery, Three Rivers Arts Festival, Pittsburgh, Pennsylvania 2001 Hole Theory, The Project, New York 2000 Eracism: White Room, ThreadWaxing Space, New York The Hole Inside The Space Inside Yves Klein's Asshole, Concordia University, Montreal Eating The Wall Street Journal And Other Current Consumptions, Mobius, Boston 1998 Recent Work, The Project, New York 1996 Buddy Performance Objects, with Jim Calder, Touchstone Theater, Bethlehem, Pennsylvania 1993 William Pope.L, Horodner Romley Gallery, New York 1992 William Pope.L, Drew University, Madison, New Jersey 1991 How Much is that Nigger in the Window, 30 performances, writings and installations, Franklin Furnace, New York

Appropriately situated in the heart of the city's Art District, the Dallas Museum of Art is worth a visit as much for its extensive collection (including must - see contemporary art by the likes of Jasper Johns, Donald Judd, and Robert Mapplethorpe, along with a few beauties from Monet's Water Lilies series), as it is for the striking Edward Larrabee Barnes box - like building that houses Art District, the Dallas Museum of Art is worth a visit as much for its extensive collection (including must - see contemporary art by the likes of Jasper Johns, Donald Judd, and Robert Mapplethorpe, along with a few beauties from Monet's Water Lilies series), as it is for the striking Edward Larrabee Barnes box - like building that houses Art is worth a visit as much for its extensive collection (including must - see contemporary art by the likes of Jasper Johns, Donald Judd, and Robert Mapplethorpe, along with a few beauties from Monet's Water Lilies series), as it is for the striking Edward Larrabee Barnes box - like building that houses art by the likes of Jasper Johns, Donald Judd, and Robert Mapplethorpe, along with a few beauties from Monet's Water Lilies series), as it is for the striking Edward Larrabee Barnes box - like building that houses it.

The much - respected, high - energy Pasadena Art Museum had a prescient exhibition record and the nucleus of a major collection of contemporary aArt Museum had a prescient exhibition record and the nucleus of a major collection of contemporary artart.

With 58,000 square feet of new exhibition space, a total roughly twice the size of the Whitney Museum of American Art, the Broad Contemporary Art Museum is the centerpiece of an extensive overhaul of the Los Angeles museum's campus and collections that is expected to continue for much of the next dMuseum of American Art, the Broad Contemporary Art Museum is the centerpiece of an extensive overhaul of the Los Angeles museum's campus and collections that is expected to continue for much of the next dMuseum is the centerpiece of an extensive overhaul of the Los Angeles museum's campus and collections that is expected to continue for much of the next dmuseum's campus and collections that is expected to continue for much of the next decade.