Me, too. As did the tourists that day. One couldn't get much of a look in, and I found it kind of unseemly, jostling like bloody carnivores over a fly-ridden carcass. Haha. Not that I am any better.
I was particularly drawn to the fourth painting from the top, 'Composition,' 1948, by Maria Helena Veira da Silva. And I really liked the Arte Povera pieces, which surprised me.
I hadn't seen an Agnes Martin work in person, although it isn't a favourite, I got quite emotional. I didn't expect to see her work. I am not sure how well it can be seen, but the bands are made up of graphite lines and the work was almost identical to my T-shirt that day.
When the big Van Gogh show came to LACMA many years ago, you had to buy tickets way in advance, if you were able to, and had to make an appointment on a specific day to come so it wasn't so crowded you couldn't see each painting. I don't know how far in advance I got mine, but I got to go. Same for the Picasso show, but they didn't do it in the same way--you could hardly make your way through the crowd and it was a madhouse shit-show (not the work), but the way it was planned.
The Van Gogh show was a huge deal because so much of his work was there. It seemed like it was all of it. People from all over the world came. It was in the 1990s. There was an audio tour where all the correspondence, or Vincent's letters to Theo, were read in front of the paintings during the times he made them, or as close to those times as possible. Each gallery was in chronological order throughout his life and the last room only had The Crows painting, which brought everyone to tears. The show changed my life.
Re: Agnes Martin, I have seen a lot of her work in person and it can't truly be appreciated unless you do see it in person because how she made them with the pencil lines and whatnot. All those subtleties can't be captured in photographs, plus you know she did all that slowly. It's pretty cool to see.
Do you like Diebenkorn? Seeing his work in person was really something too. I realized (or think) he did not use a ruler. His pencil lines are not perfect, but they are close to perfect (no tremor or anything). It inspired me never to use rulers whether he used them or not. I have a tremendous tremor and decided that I wanted that to show in my work--kind of like how Shultz drew Snoopy during his Parkinson's.
Thanks joe. It was I would like to visit the van Gogh museum in Amsterdam. I visited the Picasso museum in Paris in the Nineties. Apparently, it closed for refurbished and didn't open again for nine years.
I am not familiar with Diebenkorn's work, but I will look him up. I remember you mentioning the tremor in a filmed interview, the one showing the painting with the pale blue spiral, The Adequacy of And and Not. I thought you handled the interview well.