MOCA inspires new ways of thinking through the cultivation, interpretation and exhibition of cutting-edge art of our time.
MOCA inspira formas nuevas del pensamiento por medio de la cultivación, interpretación, y exhibición del arte innovador de nuestro tiempo.
Blueprint unites artists and architects with wide-ranging and disparate practices under a single, uniting theme: using the “blueprint” module to explore the origin of their practice. First conceived in 1999, the exhibition was a low-budget, DIY effort by and about a group of emerging artists (“ambitious and broke” artists, in the words of curator/artist Sebastiaan Bremer). A decade and a half later, the artists’ practices have matured, and Blueprint remains a fascinating recent historical document and a record of the artists’ creative trajectory and evolution.
New York-based Lizzi Bougatsos, Sadie Laska and Spencer Sweeney individually operate as visual artists and musicians, and collectively as I.U.D. At MOCA Tucson I.U.D. presents BAKERMAN in the East Galleries, an art show that began with a performance by the audio component of I.U.D. on opening night in the museums’ Great Hall. Incorporating tropes of southern Arizona life, their sculptural paintings utilize yoga mats, windshield sunscreens, pool noodles, and rocks, as well as the more traditional materials of paint, tape, and glue. Also on view are collectively executed petroglyph drawings on black-painted chalkboard-like walls, as well as the video “Larry Clark Nose: Grand Canyon,” made for specifically the exhibition, Partially filmed at a Honky-tonk in Jerome, it also features the trio hiking up Bell Rock in Sedona, drawing on rocks, mixed with absurd close-ups of noses in conversation, with a nod to Dada. Combined, all these elements make BAKERMAN a distinctly passionate pooling of resources and a simultaneously disorderly and tightly wound tripartite artistic outburst.
For MOCA Bas-Relief (Mike-Papa-Bravo) Sebastiaan Bremer will present “Frankenstenian” replications of early to mid twentieth century sculpture, often by Picasso or Brancusi, which are then built out with paint and plaster. Existing in both the past and the present, these wall pieces act as an investigation of sculpture’s inherent three-dimensionality, as well as addressing the way in which it is flattened out when represented in two-dimensional photographs.
MOCA is generously supported by the National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, The Arizona Commission on the Arts, and its members and patrons.