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"[V]isual fireworks and a concomitant intellectual wonderment . . . Smart, sassy and sumptuous, it is one of the most rewarding shows in recent memory at LACMA, and will not travel."
Hunter Drohojowska-Philp, artnet Magazine
"The show is a gas, entertaining and insightful, partly thanks to a savvy, subversive installation design by Conceptual artist John Baldessari."
Christopher Knight, Los Angeles Times
"[A]n amusing, intriguing afternoon ramble . . . [T]he exhibit . . . is a surreal environment in itself."
Fred Shuster, Los Angeles Daily News
"Jazzy . . . an amusing and instructive show, partly because so many first-rate Magrittes are brought together. The contemporary works, and the connections they suggest, are a bonus."
Stephen West, Bloomberg.com
"First and foremost is the strong survey of Magritte's oeuvre—familiar to most from endless glossy reproductions but considerably more substantial and unslick in person. Particularly compelling are the series of dark—both psychologically and in the hard-to-photograph sense—works from 1928. These include the hysterical Subjugated Reader, the nude-assaulted-from-within Titanic Days and the facially enshrouded Lovers, said to refer to the artist's mother, whose similarly draped corpse was recovered from the Sambre river more than two weeks after her suicide when Magritte was just 13. It's no wonder his work was so deliberate."
Doug Harvey, LA Weekly
"It seems uncanny that a painter who painted in a corner of his living room and maintained an orderly, bourgeois life would become one of the biggest influences on such a broad spectrum of innovative artists."
Robert L. Pincus, San Diego Union-Tribune
"He told us that it wasn't a pipe and sure enough it wasn't a pipe, it was a revolution . . . [P]layful and humorous, yet provides a deep visual understanding of Magritte's work."
Tony Pierce, laist.com
"Sprawling, joyful . . . Given the atypical mirth surrounding Magritte and Contemporary Art it wouldn't have been surprising if on the front door of the gallery there were a sign that read, 'This is not an important exhibition.' It would be a false statement, of course, but it probably would have pleased Magritte."
Jeff Favre, Ventura County Star
"And what about Magritte? Would he like the feel of this exhibition? 'I have been asking myself that,' Mr. Baldessari said. 'If I ever meet Magritte in that big art gallery in the sky, is he going to smack me?' He paused, perhaps for effect. 'I don't think so. I think he would like this.'"
Jori Finkel, New York Times
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November 19, 2006 – March 4, 2007
Antenna Audio Tour Highlight
[requires Flash 6 plugin]
Current Exhibitions
Museum Hours and Directions
Meeting Magritte: A Talk with Ed Ruscha
Robert Gober and René Magritte
Exhibition images from Collections Online
LA Times, "Step into his world: The making of a show"
Gallery photographs, from the top:
René Magritte (The Treachery of Images:This is not a pipe), Eleanor Antin (This is not 100 BOOTS), Robert Gober (Cigar), Mike Kelley (Wood Grain #2), Ed Ruscha (Lion in Oil).
Charles Ray (Fall '91) and Barbara Kruger (Untitled
(It's a small world but not if you have to clean it)).
Andy Warhol (Kellogg's Corn Flakes Boxes), Richard Artschwager
(RA-26), and four Magrittes (Perspective: Manet's Balcony; Perspective: David's Madame Récamier; One Fine Late Afternoon; and Sheherazade.
Ed Ruscha (Man, Wife), Jeff Koons (Lifeboat).
René Magritte (Personal Values), Vija Celmins (Untitled (Comb)), Jeff Koons (Rabbit).
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