The newly unveiled David Geffen Galleries at the Los Angeles County Museum of Art (LACMA) have generated significant buzz among art enthusiasts and critics alike. Designed by renowned Swiss architect Peter Zumthor, the two-story concrete structure stands out with its bold organic form that spans across Wilshire Boulevard. The Brutalist style of the building has sparked varied reactions, with some likening it to a parking garage or airport terminal, while others see it as a modern architectural masterpiece.
One of the standout features of the new galleries is the installation of Tony Smith’s “Smoke” sculpture outside one of the museum’s main entrances. The seven-ton aluminum artwork, resembling an abstract spider, serves as a nod to the old LACMA, albeit in a new context. Its placement has sparked discussions about the relationship between past and present in the museum’s evolution.
The renovation of LACMA has not been without controversy, with critics questioning the design, budget, and curatorial strategy of the project. The new building offers 110,000 square feet of gallery space on the second floor, providing a non-hierarchical, non-chronological tour of the museum’s vast collection spanning 6,000 years and 150,000 objects from around the world.
“Smoke,” with its intricate geometric design inspired by patterns found in nature, showcases Smith’s artistic evolution from earlier works. The sculpture was first exhibited in 1967 and later recreated in aluminum for installation at LACMA in 2008. Its recent move to an exterior site near its original location has allowed for new lighting effects, highlighting its architectural complexity.
During the deinstallation of “Smoke” in 2019, a note written by Adam Swisher, a member of the installation team, was discovered inside the sculpture. Swisher’s message, filled with hope for the future, has since become a symbol of continuity and optimism amidst the museum’s ongoing transformations.
Inspired by Swisher’s note, the current installation team at LACMA placed their own letter inside “Smoke,” expressing their hopes for visitors and the impact of the new building. The gesture reflects a sense of community and shared purpose among those involved in the museum’s evolution.
Despite the significance of his note, Swisher himself remains humble about its impact, emphasizing the power of small gestures and the unpredictable ways in which they can resonate with others. His words serve as a reminder of the enduring optimism and belief in a better future that art and creativity can inspire.
In conclusion, the unveiling of the David Geffen Galleries at LACMA marks a new chapter in the museum’s history, blending the old and the new in a seamless fusion of architecture, art, and community. The installation of “Smoke” and the stories behind it serve as a testament to the power of art to connect us across time and space.
