So is the Getty Center in Brentwood and the Fowler Museum at UCLA. The Broad museum, across the street from MOCA, is free. Having more visitors requires additional security and other infrastructural changes, and MOCA said it may take months to execute the transition. In November, as part of the Grand Avenue Arts All Access program, admission to MOCA’s main site on Grand Avenue was free all day and visitorship reached 2,315 people - one of the year’s highest counts. Museums that make the change generally experience a surge in attendance. MOCA didn’t say when free admission will kick in. A museum representative said MOCA has “every intention that this is a permanent change.” The gift buys MOCA time to raise money or find new revenue streams to fill the gap. For the 2018 fiscal year, box-office revenue totaled $1.3 million at MOCA, less than 7% of the museum’s annual budget. Revenue from general admission is typically low at museums. Powers’ gift will cover the cost of a free admission policy for the next five years, the museum said. And with this gift I challenge the museum to open its doors to free general admission for all.” “So it gives me great joy to announce my birthday gift to MOCA with a gift of $10 million. “I’m committed to MOCA’s continued success being at the forefront of diversity, inclusiveness and openness of spirit,” Powers said in her speech. Powers’ announcement came on the heels of Rufus Wainwright’s performance of “Hallelujah.” The call for free admission has been sounded for years by various people, including Times art critic Christopher Knight. But this is also a place that artists have chosen to live and make meaning - and to affirm and to resist.” It’s more expensive, more difficult to live here, gentrification. “There are problems in the city, obviously. Kruger added that the night served as a reminder of what the museum and the city means to artists. Passing through the multicolored corridor that is Mike Kelley’s 1988 “Pay for Your Pleasure,” Barbara Kruger remarked, “I remember when this was installed.” The energy feels really solid now,” she added. “And looking around, it’s all the same faces but different energy. Lita Albuquerque said seeing the Burden was “like seeing it as if it were yesterday.” Not very direct but exposing the building. “I’ve always loved this piece,” Larner said of “Exposing the Foundation.” “It’s so Chris Burden. Liz Larner descended into Chris Burden’s earthy, site-specific excavation from 1986, “Exposing the Foundation of the Museum.” Her 1991 green and fuchsia sculptural corridor hung beside it, providing a stark contrast. Many artists featured in the show streamed through it, taking in the re-staged, re-contextualized works. ![]() The evening marked the opening of “The Foundation of the Museum: MOCA’s Collection,” an exhibition of more than 100 works in the permanent collection. Then he added, in reference to the shrinking size of the future Los Angeles County Museum of Art: “The best damn gift we’ve gotten at MOCA is they just may not have quite enough space for contemporary art over at LACMA.” ![]() “Thirty was a tough year, and I just love that 40 years is down here at the Geffen, with such a celebration of the future,” former MOCA chief curator Paul Schimmel said. Guests were a mix of Hollywood figures such as Keanu Reeves, Katy Perry and Sharon Stone along with notable artists such as Ed Ruscha, Betye Saar, Paul McCarthy, Mark Bradford and Mary Weatherford. ![]() MOCA said it raised more than $3 million that will go toward operations. “My goal is that this is a humble, joyful celebration celebrating the artists, because without the artists, we wouldn’t have a museum,” Biesenbach said. ![]() MOCA trustee Marina Kellen French underwrote the evening, and dinner was served not in a lavish party tent but inside the museum, where everyone sat at “Table 1.” Biesenbach aimed to turn the museum’s annual “gala” into a decidedly more democratic, inclusive “benefit” where artists attended for free.
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