You must have heard that MOCA’s exhibition schedule is “practically blank.” Yes and no: MOCA Pacific Design Center will be presenting an anticipated survey of Marjorie Cameron, goddess-mother of the L.A. school. L.A. museums’ fall season is notable for several shows on cult favorites, but there are more universally acknowledged names too. “Marsden Hartley: The German Paintings 1913-1915″ has recently opened at LACMA (through November 30), and a Rubens show will be coming to the Getty, There will be single great paintings or series by Delacroix, Thomas Cole, Manet, and Warhol. Big-picture surveys will treat Samurai armor and the cosmic phase of African art.
The latter exhibition, “African Cosmos: Stellar Arts” arrives at LACMA from the Smithsonian’s African Art Museum. Shown at left is a moon mask from the Baule people. (Aug. 24-Nov. 30).
Also coming to LACMA is “Playthings: The Uncanny Art of Morton Bartlett.” Slotted as an outsider, Bartlett was a commercial artist like Warhol and Rosenquist. In 1936 he embarked on a personal project of creating incredibly lifelike dolls of children, designing clothing for them, and photographing them in that clothing, or else nude. Bartlett has been compared to Lewis Carroll and Henry Darger, implying erotic interest in his effigies. Unlike Darger, Bartlett was no recluse. Friends say he dated women and never had children in his studio. Some believe he intended to market his creations as anatomically correct Barbies and Kens; others, that he was a serious artist who knew exactly what he was doing—creating disturbingly eroto-self-referential photographs in the mode of Paul Outerbridge. The LACMA show will include new prints of recently discovered color slides—such as the one at top right. (Aug. 30 to Jan. 31, 2015).
Another artist’s artist—like Cameron, working the Left Coast, single-name Freaknik territory—was Jess. “An Opening of the Field: Jess, Robert Duncan, and Their Circle” comes to the Pasadena Museum of California Art (Sept. 14 to Jan. 11. 2015).
“Jim Hodges: Give More Than You Take” runs Oct. 2 to Jan 17, 2015, at the Hammer Museum. Above is “As Close As I Can Get” (1998), a digital simulacrum created with analog Pantone color chips.
MOCA’s Cameron survey is subtitled “Songs for the Witch Woman.” Witch woman is not the nicest thing to call a proto-feminist artist. But Cameron had no problem with the term. She drove a hearse and gave Elvira-style Halloween interviews to L.A. media. She was also a draftsperson, a poet, and a Kenneth Anger superstar; a mystic muse to Wallace Berman and Philip K. Dick and a perp to the LAPD vice squad. At right is a self-portrait, The Black Egg. (Oct. 11 to Jan. 11, 2015).
The Getty Center has organized an exhibition around Rubens’ most ambitious tapestry commission, the Triumph of the Eucharist. Americans want Rubens to be a painter, not too obscurely religious and autograph—please! The reality is that Rubens was an art entrepreneur, as Catholic as he could be in both senses of the word. The Getty exhibition will present small oil sketches from Rubens’ hand alongside magisterial tapestries. Below is an oil sketch of The Meeting of Abraham and Melchizedek. (Oct. 14 to Jan. 11, 2015).
“Samurai: Japanese Armor from the Ann and Gabriel Babier-Mueller Collection” stops at LACMA’s Resnick Pavilion Oct. 19 to Feb. 1, 2015. It includes the stunning Tengu (crow demon) armor at top of post, from 1854.
Nineteenth-century American paintings from the New-York Historical Society will winter at LACMA in “Nature and the American Vision: The Hudson River School.” The loan will include Thomas Cole’s The Course of Empire, model for Ruscha’s post-industrial series of the same title. Below, Cole’s The Course of Empire: Desolation. (Dec. 7 to June 7, 2015).
Finally, this fall MOCA will present Andy Warhol’s Shadows (from the Dia Art Foundation), LACMA will be showing Delacroix’s Greece Expiring on the Ruins of Missolonghi (from Bordeaux), and the Norton Simon will entice Rose Bowl visitors with Manet’s The Railway (from the National Gallery of Art).