For years, the MOCA (Museum of Contemporary Art) Gala has been a highlight of the L.A. social calendar. Bringing together visual artists, actors, musicians and more (for instance this year’s event brought out Shepherd Fairey, Keanu Reeves), the annual event is a perfect example of how different arts inspire each other.
This year’s gala, under the creative direction of sculptor Max Hooper Schneider and featuring a stunning performance by St. Vincent, was a brilliant night. It showcased sublimely the vision of MOCA Executive Director Johanna Burton, who says her goal is to give a vehicle for artists to express themselves. While some say things like that, Schneider confirms that is indeed the case.
“At this point Johanna is a dear comrade. She has been very supportive and throughout the entire process has tried to make sure it’s nutritious and nourishing for my practice. That’s exactly what it is,” Schneider tells me.
Given the freedom to articulate his vision, Schneider created a futuristic world that was dystopian and utopian, in Burton’s words, as well as mesmerizing, unforgettable and compelling.
“My sculptures are events. I see them as non-static in certain situations. I’ve always said that I see them as incentive conditions with no clock. But there will be certain visual lures or things that titillate your body that bring you into this thing,” he says. “Then you start completing the story, which activates thinking. So, for the gala you’re basically going to see different iterations and mutations of expressions that I practice. These are environmental anomalies that, if I’m successful, will enrapture people and take them to a place they didn’t anticipate going.”
That included a visually stunning stage Schneider created for St. Vincent’s performance. To Burton, that collaboration between music and art is something she hopes to continue at MOCA. I spoke with her about the melding of the two worlds, and why that combo can be important for museums and supporting artists.
This year’s gala, under the creative direction of sculptor Max Hooper Schneider and featuring a stunning performance by St. Vincent, was a brilliant night. It showcased sublimely the vision of MOCA Executive Director Johanna Burton, who says her goal is to give a vehicle for artists to express themselves. While some say things like that, Schneider confirms that is indeed the case.
“At this point Johanna is a dear comrade. She has been very supportive and throughout the entire process has tried to make sure it’s nutritious and nourishing for my practice. That’s exactly what it is,” Schneider tells me.
Given the freedom to articulate his vision, Schneider created a futuristic world that was dystopian and utopian, in Burton’s words, as well as mesmerizing, unforgettable and compelling.
“My sculptures are events. I see them as non-static in certain situations. I’ve always said that I see them as incentive conditions with no clock. But there will be certain visual lures or things that titillate your body that bring you into this thing,” he says. “Then you start completing the story, which activates thinking. So, for the gala you’re basically going to see different iterations and mutations of expressions that I practice. These are environmental anomalies that, if I’m successful, will enrapture people and take them to a place they didn’t anticipate going.”
That included a visually stunning stage Schneider created for St. Vincent’s performance. To Burton, that collaboration between music and art is something she hopes to continue at MOCA. I spoke with her about the melding of the two worlds, and why that combo can be important for museums and supporting artists.
