The museum calls the BroadThe Broad is a new contemporary art .docx
1. The museum calls the Broad
The Broad is a new contemporary art museum founded by
philanthropists Eli and Edythe Broad on Grand Avenue in
downtown Los Angeles. The museum is designed by Diller
Scofidio + Renfro in collaboration with Gensler and offers free
general admission. The museum is home to the more than 2,000
works of art in the Broad collection, which is among the most
prominent holdings of postwar and contemporary art worldwide.
With its innovative “veil-and-vault” concept, the 120,000-
square-foot, $140-million building features two floors of gallery
space to showcase The Broad’s comprehensive collection and is
the headquarters of The Broad Art Foundation’s worldwide
lending library.
Its located to downtown Los Angeles I live 30 mins away
3. oil on canvas
80 x 68 in. (203.2 x 172.72 cm)
On View
Accession Date:
06/14/1996
Accession Number:
B-LICH-2P96.08
About this artwork
At the same time as he was borrowing images from comic strips
and commercials, Roy Lichtenstein was also borrowing from his
heroes. The process of borrowing, updating, and (hopefully)
outdoing has always been a strong tradition in art. Pablo Picasso
borrowed from everyone, including the theme from Eugène
Delacroix’s 1834 painting Women of Algiers in Their
Apartment, which Lichtenstein appropriates along with a grid of
primary colors à la Piet Mondrian. The women in
Delacroix’s painting represent a male fantasy: a harem of
women lounging around, waiting. Picasso, in his series from
the mid-1950s, further scandalizes the theme. Here,
however, Lichtenstein turns the salaciousness in on itself.
The woman is a series of fragmented parts, jagged and angular;
she is one with the architecture of her space, her birdlike face
repels the gaze rather than returns it.
Read more aboutRoy Lichtenstein
4. 3/
Anselm Kiefer
Deutschlands Geisteshelden
1973
oil and charcoal on burlap mounted on canvas
120 1/2 x 267 3/4 in. (306.1 x 680.1 cm)
On View
Accession Date:
01/11/1988
Accession Number:
F-KIEF-1P88.01
About this artwork
Born at the close of World War II, Anselm Kiefer reflects upon
and critiques the myths and chauvinism that propelled the
German Third Reich to power. With immense scale and
ambition, his paintings depict his generation’s ambivalence
toward the grandiose impulse of German nationalism and its
impact on history. Painted in extreme perspective, Deutschlands
Geisteshelden positions the viewer at the mouth of a great hall,
an amalgam of Kiefer’s former studio and Carinhall, a German
hunting lodge used to store looted art during the Nazi era.
Burning torches line the walls of the space, which is empty
except for the names of inspirational artists and writers
scrawled above the receding floor: Joseph Beuys, Arnold
Böcklin, Adalbert Stifter, Caspar David Friedrich, Theodor
Storm, and many others. This is hardly a triumphal place; the
lodge keeps vigil, housing names that have become embroiled in
a painful history.
