Great New Contemporary art gallery and museum spaces in Los Angeles

Stephanie Diani for The New York Times

Two founders of Guess are turning a former Masonic temple in Los Angeles into a private contemporary art museum in Los Angeles.

The building is 90,000 sq. ft.

After decades of not having premier exhibition spaces in Los Angeles, a new world of spectacular museum and gallery spaces is coming. These spaces will be in direct competition with the existing LA artworld institutions. There is actually a new tier of exhibition space in LA that only recently was uncorked in New York and London – the 10, 15, 20,000 sq. ft. commercial gallery space. For those who remember LA in the 1990’s, there were small spaces with 500-100 sq. ft. Now there are galleries in LA that are essentially kunsthalle’s with massive operating budgets, with all of the works being for sale. There are pop-up artist warehouse shows, but none of these is a dedicated permanent space with funding. This is happening concurrently with the rise of upscale performing arts venues, bringing to us more variety and greater quality of performing arts than at any time in the city’s history. These are interesting times indeed.

Vincent Johnson is an artist and writer in Los Angeles

Other notable forthcoming spaces:
Michael Kohn gallery opens its 10,000 sq. ft. space next door to Perry Rubenstein gallery on Highland avenue.
Hauser & Wirth and Schimmel gallery.
David Kordansky gallery – 15,000 sq. ft, fall 2014. Will be close to Kayne Griffin Corcoran gallery on South La Brea. This will be a new gallery district for LA.
Recently opened spaces:
Francois Ghebaldy, 5,000 sq. ft, located next to the year old Night gallery, at 6,000 sq. ft. Both are located east of downtown LA.
The Broad Contemporary opens in LA in 2014. It will have 50,000 sq. ft. of exhibition space. It across the street from MoCA on Grand avenue.

Kayne Griffin Corcoran Gallery


Kayne Griffin Corcoran Gallery – Adaptive reuse: A 10,000 sq ft building converted to art gallery.

The architectural design of the gallery transforms a typical bow-string truss warehouse into a museum-like gallery space, and the project incorporates the permanent site-specific work of James Turrell.


kayne griffin corcoran gallery - courtyard

kayne griffin corcoran gallery – courtyard
kayne griffin corcoran gallery - main gallery

kayne griffin corcoran gallery – main gallery

BLUM & POE at 2727 S. La Cienega Blvd.

LAURA OWENS 12,000 sq. ft. space named 356 Mission is with Gavin Brown Enterprises, just east of downtown LA.

Hot on the Scene L.A. Gallerist Maggie Kayne on Contemporary Art

Maggie Kanye Portrait - P 2013
Courtesy of Annabel Mehran
Maggie Kayne

The art dealer of Kayne Griffin Corcoran opens an exhibit featuring the work of French abstractionist Francois Morellet and will debut an exhibit by David Lynch in November.

Maggie Kayne greets a visitor at her L.A. gallery, Kayne Griffin Corcoran, with a conspiratorial gleam in her eye. “I want to show you the conference room,” she says, beckoning down a side corridor to a nondescript white door. Inside is a room, awash in an arctic blue glow, that induces a soothing effect both potent and instantaneous- like snorting a Xanax. “It’s a James Turell Sky Space,” explains Kayne, pointing up to one of the artist’s signature ceiling apertures — a rectangular dome illuminated by a framework of LED lights that are programmed to shift color gradually. As she settles into a chair, the walls blush a pale pink.  “I’m always mellow and this brings people down to my level,” says Kayne.

A little bit hippie (she mentions her zodiac sign, Gemini, and owns an infrared sauna), a little bit rock n’roll (she zips around town on a Ducati in a Rick Owens men’s leather jacket) Kayne gives off serious cool girl vibes. Yet the 29 year old insists that wasn’t always the case. “[In high school] my mom used to make my sister, Jenni, take me out and include me,” she laughs. Jenni, of course, is Jenni Kayne, the West Coast fashion mainstay whose eponymous collection of breezy sportswear is a favorite among L.A.’s young social set. Although close, the siblings differ noticeably — evidenced by their wardrobes. “Jenni is more of a lady. … I’m a chic bum,” says Maggie, who today is sporting battered Alden desert boots with Proenza Schouler black jeans and a denim vest.

Moreover, unlike Jenni, who launched her line in 2003, Maggie’s career success is freshly minted. The gallerist first caught the art world’s attention in 2011 when she orchestrated a gallery partnership with notable industry veterans Bill Griffin and James Corcoran. The dynamic plays to their individual strong suits with Kayne spearheading programming and scouting fresh talent while her two cohorts broker behind the-scenes deals. “I’m not really a born sales person,” says Kayne. “So they kind of make up for that.”

In May, the trio moved from their Santa Monica location into a stunning, new 15,000 square foot space befitting a blue chip gallery. Turell, whom Kayne befriended through Griffin and Corcoran, was brought on board to design the Sky Space along with the building’s lighting scheme and various outdoor elements like the trellises and landscaping. “I wanted something that felt warm and casual and very L.A.,” says Kayne, gesturing to the bougainvillea-festooned courtyard that can double as an al fresco exhibition space.

Kayne’s management style is similarly laid back. Rather than amass a permanent stable (she bristles at the mention of “representation”), she prefers to maintain close relationships with established talent like Turrell, David Lynch (who has a show of artworks opening there Nov. 23), and Deanna Thompson while arranging one-off exhibits with artists she discovers along her travels. In July, she tapped Berlin-based conceptual artist, Daniel Knorr, for a solo show that found an unlikely muse in Los Angeles’ urban sprawl with resin sculptures taken from casts of street potholes. This week, an exhibit featuring the work of French abstractionist Francois Morellet opens. Entitled No End Neon (through Nov. 15), the show includes paintings and adhesive wall installations along with the Morellet’s famous large-scale neon works. “The more I learned about him the more excited I became to bring his work to Los Angeles where he hasn’t had any previous exposure,” says Kayne who commissioned a major site-specific piece comprised of 29 argon neon tubes for the exhibit.

Despite her obvious enjoyment of the job, Kayne says gallery ownership was never the plan. Not that she really had one. After graduating high school in 2002, she drifted in and out of college — from Berkley to NYU to USC – unmotivated, unsure of what she wanted to do. It wasn’t until a friend began picking up artworks like Basquiat drawings and Warhol polaroids –that the light bulb went off. “I realized that I could participate in contemporary art,” explains Kayne. “[It] was not just the A.P. class that I had to memorize paintings in.” With the support of her father, wealthy financer, Richard Kayne, she began collecting herself — a Ken Price here, a Craig Kauffman there — while taking on internships at LACMA and local gallery, Overduin and Kite. “I needed exposure and work experience in order to figure out my path,” says Kayne. “And I wasn’t going to get it in school.”

Today, Kayne’s lack of a formal art history education — or rather the iconoclastic streak which prompted her to reject one — is proving an asset. “The L.A. art world has for a long time itself been missing,” says Turrell. “But that has changed and that change is represented by people like Maggie coming into it. It’s sort of reinvigorated what’s always been possible in L.A., but at a much higher level.”

Kayne puts it more bluntly: “James Turrell says that taste and convention are kinds of restrictions and that L.A. is a revenge of the tasteless. So there really is no limit to what I can do here. I’m not really bound by any sort of definition of a gallery.”


Museum | WENDE MUSEUM Culver City

THE WENDE MUSEUM is a research and educational based institute with a collection of 70,000 Cold War artifacts. The artifacts are preserved as resources and made available for historical and scholarly research, with the intentions of applying the lessons of the past to the present. The Wende Museum contains the largest collection of cold war artifacts in the world, including the largest collection of Berlin Wall outside of Berlin.

Kommentare sind geschlossen.

Prism gallery is on Sunset boulevard in West Hollywood.

renzo piano + zoltan pali: academy museum of motion pictures update

renzo piano + zoltan pali: academy museum of motion pictures update

renzo piano + zoltan pali: academy museum of motion pictures update
‘academy museum of motion pictures’ by renzo piano, california, USA
all images © renzo piano
upon realizing the initial goal to collect 100 million dollars, the academy of motion picture arts and sciences has announced its
plans for the new, and first, ‘academy museum of motion pictures’ in beverly hills, designed by italian architect renzo piano and
local architect zoltan pali. the 300,000 square-foot structure will be the result of a revitalization of the historic may company
wilshire building in los angeles, restoring the facades which face wilshire and fairfax streets amidst the los angeles county museum of art campus.
originally constructed in 1938 and left vacant for the past 20 years, the addition of exhibitions, gallery spaces, screening rooms,
an interactive education center and demonstration laboratories will weave the building back into LA’s urban and cultural fabric.the collection will feature over 140,000 films, 10 million photos, 42,000 original film posters, 10,000 production drawings, props, costumes,
equipment and behind-the-scenes personal accounts from artist and technical innovators to illustrate the rich history of cinema
and its constant development.update:

we have updated the original article published on october 19th, 2012 with additional images and drawings below to
further illustrate the structure.


site plan
floor plan / level 0



‘the design for the museum will finally enable this wonderful building to be animated and contribute to the city after sitting empty for so long,
I am very inspired by the academy’s name and mission, the idea of the arts and sciences working together to create films. our design will preserve
the may company building’s historic public profile while simultaneously signaling that the building is taking on a new life that celebrates
both the industry and art form that this city created and gave to the world.’
– renzo piano

large iconic dome on the backside of the structure

the scale and character of the original building is restored, paying homage to the history of film


apr 14, 2013
Jun 24, 2013

Sep 13, 2013
The Academy Film museum will be located on LACMA’s campus.
LACMA’s new museum plan

Academy film museum to include 3 theaters, Oscar ‘experience’

April 11, 2013|By Julie Makinen and Nicole Sperling
  • The current architectural rendering for The Academy Museum of Motion Pictures.
The current architectural rendering for The Academy Museum of Motion Pictures. (?Renzo Piano Building Workshop/?Studio…)

A spaceship-like, 1,000-seat theater may be the most striking feature of the Motion Picture Academy’s planned film museum at LACMA, but the organization has also revealed a bevy of other details about what the six-story, 290,000-square-foot facility opening in 2017, will include. Some highlights:

Ground Floor: This will consist of a public piazza, the museum lobby, a cafe and a gift store. The piazza will connect the film museum to the rest of the LACMA campus. The academy says “a majestic red carpet and Cannes-style grand staircase” will take visitors into the soaring 1,000-seat, domed “premiere theater,” to be named for David Geffen, who has pledged $25 million to the $300-million museum.

From the piazza, visitors will enter the ground floor of the exhibit space where they will find a two-story 12,000-square-foot “making of…” experience. The academy says this permanent and interactive exhibition “will recreate the experience of real-life theatrical moviemaking” and will “allow visitors to make lasting memories while learning how to shoot and edit a film, light a set, oversee a voiceover session, score a film, overlay visual effects, color correct, become a Foley artist, utilize a green screen and more.”


Connected to the “making of” exhibition will be a “demonstration stage” with room for 150 people to watch as “academy members and other moviemaking professionals who will conduct clinics and master classes tied to the arts and sciences of moviemaking.”

Also planned for that section of the museum is a two-story, 6,200-square-foot gallery to present traveling shows and special exhibitions, some of which may be developed in collaboration with other cultural institutions.

Second floor: This story will include more than 10,000 square feet devoted to this history of the movies. Topics to be covered in this section include:

— Lumière and the Cinématographe

— Edison and the Kinetoscope and Vitascope

— the Silent Age of Cinema

— the rise and influence of the studio system

— the defining of classic film genres — musicals, westerns, gangster films, horror films

— the impact of World War II on movie making

— film noir and the blacklist

— the impact of TV on the movie industry

— epics and 3-D

— the business of moviemaking, including exhibitors, studios, guilds, agencies

— foreign films

— teen culture

— independent cinema

— animation throughout the decades

— digital versus film; the impact of new technologies; and more.

A 144-seat theater will be part of the film history gallery and will host screenings tied to the exhibits. The academy says this theater will also showcase film series and retrospectives, independent and experimental movies, and foreign films. Also planned for the second floor is a Founders Room, to be used as a “luxurious dining and special events space.”

Third Floor: This level will be largely devoted to chronicling the academy itself, with a permanent exhibit on the organization and the Oscars. A planned 8,700-square-foot multi-media and interactive exhibition will let visitors “walk the red carpet, learn about the history of the academy and the Academy Awards, explore the work of recent nominees, and even have the ability accept their own Oscar.” The academy bills this section of the museum as “thrilling.”

This section will allow visitors to learn about “every Oscar winner in every category throughout the history of the Academy Awards.” Attendees will also be able to view still shots and film footage of Academy Award shows and watch videos of acceptance speeches of past Oscar winners. (It remains to be seen whether this section will allow visitors to revisit Seth MacFarlane’s “We Saw Your Boobs” song from the 2013 show or Rob Lowe’s notorious musical number with Snow White from the 1989 telecast.) Another 144-seat theater will be embedded within the third floor, screening films related to the Oscars.

Fourth Floor: This will house a 8,700-square-foot gallery space for touring exhibits and a 1,500-square-foot education center, targeted at K–12 students.

Roof: Billed as “one of the most spectacular special event and scenic view spaces” in Los Angeles, the rooftop terrace is slated to host cocktail receptions, post-premiere parties, and other special events. A dining room and garden will accommodate 1,000 guests and the academy believes it will become “Los Angeles’ leading location for galas, awards ceremonies, and academy special events.”

Lower Level: The basement level will allow visitors a peek into the museum’s storage areas, giving them a glimpse of artifacts in the museum’s permanent collection not currently on display — including props, scripts, posters and photographs.

LACMA Tar Patch
Govan, Zumthor shed light on designs for Los Angeles’ new museum.

Zumthor’s plans for rebuilding LACMA.
Courtesy Museum Associates / LACMA

Finally, plans for LA’s most anticipated new piece of architecture in more than a generation are starting to move beyond the realm of speculation. This week, Swiss architect Peter Zumthor and Los Angeles County Museum of Art (LACMA) director Michael Govan sat down in front of an audience to discuss new designs for the museum, while at the same time the exhibition The Presence of the Past: Peter Zumthor Reconsiders LACMA opened for previews.

The plans are far from complete, but at this point Govan and Zumthor are hoping to replace most of the museum’s 1960s and 1980s structures with a two-story, amoeba-like building that curves its way around the east side of the LACMA campus. A six-ton (yes, six-ton) model of the design is now the centerpiece of The Presence of the Past.


After more than three years of relatively fruitless investigations with Govan, Zumthor admitted that he came up with the sinuous shape “out of pure desperation,” jotting the sketch down in haste. “The only way to relate to everything was to be its own thing,” noted Govan of Zumthor’s inspiration, which despite its shapelessness is still very much informed by the site, curving around existing buildings (including Bruce Goff’s Japanese Pavilion, which will be preserved) and landscape features. And from this point the two went about remaking what a museum can be.

In a White Room
Top architects design five new galleries in Los Angeles.

Regen Projects.
Joshua White

“Today, Los Angeles is to New York what New York was to Paris in the 1950s,” said Perry Rubenstein, the latest Manhattan art dealer to recognize LA’s concentration of creativity and open a satellite there.

Like Matthew Marks Gallery and L&M Arts when they opened LA outposts, Rubenstein invited a local architect, Kulapat Yantrasast, principal of wHY Architecture, to fashion inventive variations on the white cube, giving it a strong sense of place within a gritty location. Los Angeles-only galleries like Blum & Poe, Regen Projects, and Samuel Freeman Gallery have taken a similar design approach.

Meanwhile, in recent years the LA art scene has branched out from affluent Santa Monica and West Hollywood, with clusters of galleries filtering into Chinatown, Culver City, and now the studio district of Hollywood. Their migration in search of affordable space has mimicked the march of galleries in New York City, from Madison Avenue to Soho and then to Chelsea and the Lower East Side.

Samuel Freeman Gallery.
Amy Stoner

What makes this urban experimentation so exciting for architects as well as the art world is clients’ passion for collaboration and excellence—rare qualities in a city where much new construction opts for expediency. Regen Projects owner Shaun Regen spent years searching for the ideal space in which to consolidate her activities. “When I first met Michael Maltzan about this project, the criteria were very simple: great proportions, beautiful light, and flexible space,” Regan recalled. She settled on Hollywood for its urbanity, history, and the opportunity to have a roof terrace overlooking the hills and city. Maltzan shared her enthusiasm. He designed an irregularly massed, white stucco block that plays off the form of a soaring Bekins storage facility a block away. The layered interior features a sweeping top-lit gallery flanked by a narrow street in front, with intimate rooms to the rear.

Matthew Marks Gallery.
Joshua White

Yantrasast pursued a similar course in remodeling a film storage facility for Perry Rubenstein a few blocks away. Rubenstein wanted something different from the generic big boxes of New York’s Chelsea district—a space that was “grand, but gracious and human in scale; visually dynamic and quietly poetic.”

Matthew Marks found a former upholstery shop on a residential street a mile to the west of Perry Rubenstein’s gallery and hired Venice architect Peter Zellner to design the freestanding building. He then invited Ellsworth Kelly to add a wall sculpture. The artist superimposed a black bar atop the blank white facade. This powerful artwork complements Zellner’s gallery, a serene white volume lit from a grid of six deep-set skylights.

Gagosian Gallery.
Joshua White

Young LA gallerist Samuel Freeman recently relocated from Santa Monica’s Bergamot Station Arts Center to Culver City, two blocks from Blum & Poe. (After first moving to the neighborhood in 2003, Blum & Poe assumed new quarters in 2009, designed by California-based Escher GuneWardena Architecture.) Warren Wagner of W3 Architects exploited the trapezoidal corner site to create exhibition spaces of varied sizes, each with glass sliders that open to an inner courtyard. He clad the exterior in white stucco and cold-rolled steel. Each gallery is ideally proportioned, and clerestories and skylights pull in natural light from different directions, giving the rooms a residential quality.

Meanwhile, the world’s most successful gallerist has returned to his roots. Larry Gagosian, who went from selling posters in Los Angeles’ Westwood neighborhood to running a global empire, recently commissioned Michael Palladino, a Los Angeles design partner of Richard Meier + Partners, to extend the Beverly Hills gallery his firm designed in 1995. With the addition seamlessly joined on the street facade, the building bears a new interior incorporating a bow-truss ceiling vault flanked by skylights. These forms, in turn, play off the upturned curve of the original structure, complementing its ethereal precision with simpler, earthier forms.

Michael Webb
Perry Rubenstein Gallery.
Christopher Norman

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