>> MY NAME IS PHILIPPE VERGNE.

I AM THE DIRECTOR, AND I AM HAPPY TO TELL YOU ABOUT THESE AMAZING EXHIBITIONS.

THESE ARTISTS ARE AMAZING ARTISTS.

THAT IS ALWAYS WINNING.

STURTEVANT BECAUSE WE'RE THE ONLY MUSEUM WITH WORK AND A PERMANENT COLLECTION.

SHE WAS A RADICAL ARTIST.

THIS WAS HER FIRST RETROSPECTIVE.

IT WAS IMPORTANT FOR US TO HOST THE EXHIBITION.

SHE HAS A LONG RELATIONSHIP WITH LOS ANGELES.

POPE L ALSO HAS A HISTORY.

WE APPROACHED HIM A FEW MONTHS AGO ASKING IF HE WOULD AGREE TO A NEW WORK AT THE GEFFEN.

HE IS AN AMAZING ARTIST.

YES, TO EXHIBITIONS ARE ANNOUNCED.

A VERY IMPORTANT HISTORICAL RETROSPECTIVE.

BOTH ARTISTS WHO UNTIL NOW WERE NOT REALLY LOOKED AT WITH THE LEVEL OF RIGOR THEY NEED TO BE LOOKED AT.

STURTEVANT WAS A TROUBLEMAKER.

IN HER 60'S SHE STARTED TO MAKE OTHER ARTISTS WORK.

SHE WOULD LOOK AT THE PAINTING AND THINK IT WAS AN IMPORTANT PAINTING.

SHE WOULD DECIDE TO DO IT AGAIN.

SHE WAS RUBBING THE WRONG WAY AND ENTIRE HISTORY, WHERE THE ARTIST IS THE CENTER OF THE WORK.

SHE WAS QUESTIONING THE NOTION OF PARTNERSHIP.

SHE WAS ALSO RESHUFFLING THE CARDS OF A BURGEONING ART INDUSTRY.

YOU WOULD SAY, WHAT AM I LOOKING AT HERE?

SHE WOULD CREATE THIS SPACE FOR DOUBT WHEN IT COMES TO ICONS.

WHAT WAS VERY IMPORTANT IS THAT SHE ALMOST ONLY REMADE WORK BY MAIL ARTIST AS A WOMAN.

-- MALE AR AS AT WOMANISTS WRITTEN MOSTLY BY MEN ABOUT MEN.

THERE WAS SOMETHING REVOLUTIONARY.

SHE NEVER CHANGED COURSES.

SHE WAS ALWAYS AT THIS MOMENT OF ABSOLUTE ICONOGRAPHY.

SHE WAS ACTUALLY PUSHING TOWARDS ICONOCLASM.

AS SHE WAS REMAKING THE IMAGE, SHE WAS ALSO DESTROYING THEM.

ONE PETER, THE CURATOR FROM MOMA STARTED TO WORK ON THE EXHIBITION, I WAS VERY PROUD OF HIM TO DO THAT.

I KNEW HOW DIFFICULT THE RECEPTION OF THE WORK HAD BEEN.

>> THE EXHIBITION IS CALLED DOUBLE TROUBLE.

SHE TALKS ABOUT THE DOUBLE TROUBLE OF BEING AHEAD AND ALSO BEING BEHIND.

SHE JOKED SHE HAS NO CURATORS.

THAT POINTS TO ONE OF THE WAY SHE SAW HER PRACTICE FUNCTIONING.

>> THIS RETROSPECTIVE IN LOS ANGELES AND MOCHA.

WE ARE ONE OF THE RARE MUSEUMS TO HAVE A MAJOR WORK IN OUR COLLECTION.

WE MIGHT BE THE ONLY MUSEUM HAVING IMPORTANT WORK IN HER COLLECTION.

WE HAVE ABOUT 40 WORKS THAT COVER THE CAREER OF STURTEVANT.

WHAT THE EXHIBITION SHOWS IS HOW MUCH SHE WAS WORKING IN REAL-TIME.

SHE WAS NOT WAITING TO CAPTURE.

THE NATURE OF HER WORK BRUSHED THE ART WORLD THE WRONG WAY.

UNTIL THE END SHE HAD THIS LEVEL WHERE HER STANDARDS WERE SO HIGH.

>> WHEN POP ART WAS BEING QUESTION, STURTEVAN BEGAN MAKING REPETITIONS OF THE ART OF HER PEERS.

PHILIPPE: I DON'T THINK YOU COULD SAY SHE WAS APPROPRIATING THEM.

I THINK SHE WAS MAKING OTHER ARTIST WORKS.

BACK SHE ASKED FOR TWO OF ANDY WARHOL'S SILK SCREENS.

HE ALLOWED HER TO TAKE THIS, WHICH IS SLIGHTLY DIFFERENT THAN GIVING THEM TO HER.

HE UNDERSTOOD AND APPRECIATED WHAT SHE WAS DOING.

HE UNDERSTOOD ABOUT HOW GREAT IT WOULD BE IF EVERYONE TOOK UP A SILKSCREEN.

>> OUR COLLECTION HAS DEEP HOLDINGS IN JASMIN SHOKRIAN.

ALL THE ARTISTS WHO AT THE BEGINNING OF HER CAREER SHE IDENTIFIED AS TARGETS.

CRACK SHE MADE HER OWN VERSION OF WORK THAT CHANGED SIGNIFICANTLY.

-- >> SHE MADE HER OWN VERSION OF WORK THAT CHANGED SIGNIFICANTLY.

AN EARLY WORK OF HER LICK INSTEAD OF A CRYING GIRL -- LIECHTENSTEIN.

SHE USED IT AS AN OBJECT IN SPACE.

WE DON'T REALLY SEE A SHOW OF WORKS WE WOULD CONFUSE WITH THE ORIGINALS.

WE SEE ARRANGEMENTS, REALLY AS A FORM OF INSTALLATION ART.

PHILIPPE VERGNE FOR ME IT IS INTERESTING TO SEE.

YOU COULD HAVE THIS MOMENT OF ILLUSION.

YOU GO TO STURTEVANT'S SHOW.

WITH A MOMENT OF CONFUSION THAT SHE DELIBERATELY CREATED WITH HER WORK.

STURTEVANT WAS EXTREMELY PLAYFUL AND ALWAYS IN A WAY THAT WAS RUNNING AGAINST STATUS QUO CONVENTION.

SINCE I HAVE BEEN IN THE UNITED STATES, I WAS ALWAYS SURPRISED, SHOCKED SHE WAS NOT REPRESENTED IN AN INSTITUTION, THAT SHE DIDN'T REALLY HAVE A PRESENCE IN THE ART COMMUNITY.

THE NATURE OF HER WORK BRUSHED THE ART WORLD THE WRONG WAY.

KNOWING THAT AN INSTITUTION LIKE MOMA WOULD ACTUALLY EMBRACE STURTEVANT, LET HER DO IT IN THE MOTHERSHIP, I FOUND THAT WAS VERY IMPORTANT AND VERY COURAGEOUS.

COLLECTION SHE WAS AN ARTIST WHO RESPONDED TO THE CONDITIONS OF HER TIME THROUGHOUT THE 50 YEARS SHE WAS WORKING.

SHE WAS ALSO WORKING THROUGH QUESTIONS ABOUT THE LARGER POLITICAL CONTEXT.

THIS IS THE EARLY DAYS OF THE U.S.

INVOLVEMENT IN VIETNAM.

SHE USED THAT AS A SUBSTRATE OF A WORK.

WHEN WE LOOK AT THE ARTICLE, IT IS CLEAR THE REPORTING CONNECTED THE RECORD TO THE BUILDUP IN VIETNAM.

>> SHE NEVER STUCK.

SEEING WHAT WAS GROUNDBREAKING.

WHEN SHE MOVES AWAY FROM WORKING WITH WORKS OF ART AND FROM WORKS OF ART, WHEN SHE STARTS TO EXPLORE THE WAY IMAGES ENTER OUR MEMORY.

FROM AN IMAGE OF ADVERTISING, FROM IMAGES THAT DON'T BELONG TO THE ART WORLD.

AT THE END OF THE DAY, I THINK HER WORK WAS ONE OF THE MOST RADICAL, ICONOCLASTIC WORK AT THIS TIME.

BENNETT: I AM SENIOR CURATOR.

I HAVE BEEN HERE FOR EIGHT YEARS NOW.

IT HAS BEEN A RISK TAKING PLACE.

MAYBE IT HAS NOT HAD THE POLISH OF OTHER MUSEUMS, BUT WE HAVE CONSISTENTLY DONE THINGS WITH ARTISTS THAT ARE UNIQUE, EXPERIMENTAL, CHALLENGING.

A FIRST TIME FOR A LOT OF THINGS.

I WAS IN CHICAGO AT A PANEL, AND SOMEONE CAME UP TO ME AFTERWARDS AND SAID, I HAVE A PROJECT I THINK WOULD BE GREAT AT THE GEFFEN.

AT THE TIME WE WERE IN TRANSITION.

WE DIDN'T HAVE A DIRECTOR.

THERE WAS A LOT ON HOLD IN SOME SENSE.

I SAID, LET'S TALK AGAIN IN A FEW MONTHS.

I KNEW THINGS WERE GOING TO CLEAR OUT.

HE PROPOSED THIS WORK CALLED TRINKET.

IT CONSISTS OF AN AMERICAN FLAG THAT HANGS ON A POLE IN THE MIDDLE OF THE GEFFEN.

IT IS BEING BLOWN BY REALLY BIG SPECIAL-EFFECTS FANS.

IF YOU NEED A BIG WIND, YOU USE THESE FANS.

THEY ARE SEVEN FEET IN DIAMETER.

THEY ARE HUGE MACHINES.

WE SEE FLAGS ALL THE TIME.

YOU DON'T SEE ONE INDOORS, AND YOU DON'T SEE ONE UP CLOSE.

YOU COULD STAND FIVE FEET AWAY FROM THIS FLAG.

THE FLAG IS REBELLING AND SNAPPING IN THE SPACE OF THE MUSEUM.

THERE IS A LOT OF WIND.

IF YOU STAND IN CERTAIN PLACES IN THE WIND, YOU CAN AFFECT THE WAY THE WIND BLOWS.

YOU CAN AFFECT THE WAY THE FLAG FLIES.

THE ENDS WILL BECOME FRAYED.

POPE L HELP THEM BY LOOSENING THE SEAMS.

THEY ARE LIKE TENTACLES.

JUST LIKE OVERTIME AMERICA CHANGES.

WHO WE ARE IN RELATION TO THE NATION CHANGES.

PEOPLE ASK WHAT IS THE 51ST STAR.

WHY DID HE ADD A STAR?

THERE ARE A LOT OF WAYS YOU CAN ANSWER THAT.

THEY ARE ALL INTERESTING.

POTENTIAL FOR CHANGE.

THERE IS ALWAYS A POTENTIAL FOR MORE.

THERE IS ALWAYS A LITTLE SOMETHING EXTRA FOR YOU.

THE METAPHOR FOR POTENTIAL IS RICH.

THIS IS NOT ONLY THAT WOULD HAVE AT THE GETTY OR THE HAMMER.

I THINK YOU FIND THINGS YOU DON'T FIND AT OTHER PLACES.

POPE L. IS ONE OF THEM.

HE IS AN ARTIST I ALWAYS WANTED TO WORK WITH.

I WAS THRILLED WHEN PHILIPPE ARRIVED.

HE GOT BEHIND THE PROJECT.

HE PUSHED THE ENVELOPE OF WHAT INSTALLATION ART IS.

HE ASKED BIG QUESTIONS THAT HAVE LOTS OF DIFFERENT ANSWERS, DEPENDING ON WHERE YOU COME FROM.

THE WORK IS BOTH UTTERLY MYSTERIOUS AND VERY FAMILIAR AND ACCEPTABLE -- ACCESSIBLE.

>> I LIKE THAT OBJECTS IN OUR CULTURE, AND MAYBE BECAUSE WE HAVE SO MANY OF THEM, THEY START TO TAKE ON QUALITIES.

THE FLY WE BESTOW, SO I AM TRYING TO TAKE THAT SERIOUSLY.

THIS PARTICULAR FLAG, THAT ONE I MADE IT.

THAT'S MY FLAG.

IT'S NOT YOURS.

IT'S MINE.

TRINKET IS THE LARGEST WORK IN THIS EXHIBITION.

THE SHOW HAS BEEN BUILT IN A WAY WITH A FLEXIBLE CENTER.

THERE IS DURATION.

PEOPLE TALK ABOUT AN ONGOING MYTH.

THE FLAG IS FALLING APART.

OVER TIME THE FLY WILL OPEN UP LIKE A FLOWER.

I THINK THE FLAG FOR ME IS THE SPACE.

IT'S A SPACE OF AGREEMENT.

THAT IS INTERESTING.

YOU HAVE TO HONOR IT.

IT HAS POWER, WHICH IS WHAT IT IS SUPPOSED TO BE WITH THE FLAG.

THERE ARE AMERICANS QUESTIONING THEIR RELATIONSHIP WITH THIS EMBLEM.

A NATION THAT DECIDES IT IS LARGER THAN JUSTICE OR LARGER THAN KNOWLEDGE OR A NATION THAT DECIDES IT'S LARGER THAN CITIZENRY.

IT IS LIKE THE MOUSE THAT BELIEVES IT CAN BLOT OUT THE MOON WITH ITS PAW THAT IT IS MIGHTIER THAN THE MOON.

I THINK NATIONS MAKE THAT ERROR.

IN CERTAIN WAYS FLAGS ARE PROSTHESES.

WE USE THEM TO PROP UP CERTAIN DESIRES THAT WE HAVE.

PERHAPS THAT'S WHY THE FLAG CAN BE SO CONTENTIOUS.

MANY PEOPLE HAVE TO VERGING ATTITUDES THAT CAUSE THEM TO COME TO FISTICUFFS.

WHAT WORD WOULD BEST SUIT THIS?

I THOUGHT, WHY NOT A WORD THAT HAS VERY LITTLE SPACE IN IT?

WHEN YOU ARE SPEAKING OF BIG THING IS USE SMALL WORDS.

>> JEFFREY IS A TROUBLEMAKER.

HE DOESN'T LIKE PRETTY ART.

I DON'T LIKE POLITE ART.

NONE OF THEM --STURTEVANT, POPE L., THEY ARE NOT POLITE.

THEY ENTER A ROOM, AND THEY MAKE US SLIGHTLY UNCOMFORTABLE.

THAT IS WHAT JEFFREY VALLANCE HAS BEEN DOING WITH A PRACTICE THAT PUTS IN QUESTION FETISHISM, A BELIEF SYSTEM ON THE PRESENTATION.

THERE IS IN HIS WORK SOMETHING THAT COMES OUT OF THE LEGACY OF ARTISTS FROM THE 70'S.

THE WORK OF OUR DID NOT EXIST IN A COLLECTIVE WAY BUT HER PRINT -- THROUGH PRINT AND MAKING ACTION.

EVERYTHING ONE COULD IMAGINE TO QUESTION THE STATUS QUO.

JEFFREY VALLANCE IN MANY WAYS IS DOING THAT.

>> JEFFREY MASTERMINDED AN ENTIRE PERFORMANCE AROUND THE CHARACTER.

HE STARTED TO THINK ABOUT THE PROJECT AFTER VISITING THE PET CEMETERY AND REALIZED HOW MUCH EMOTIONAL ATTACHMENT WE HAVE TO ANIMALS AND WHAT WE WROTE AND WHAT WAS WRITTEN ON THE TOMBSTONE AND THIS VIGIL OF LOVE.

HE CREATED THIS CHARACTER.

THERE IS THIS MOMENT WHERE YOU HAVE THE OPEN CASKET RITUAL WHERE YOU CAN PAY RESPECTS TO THE LOVED ONES, AND THEY RAN INTO TROUBLE.

IT WAS DIFFICULT TO PLACE.

WE CREATED EXACTLY WHAT YOU WOULD DO FOR A LOVED ONE.

>> READY?

OK.

>> WHEN I WAS A KID I USED TO VISIT PET CEMETERIES.

WHEN I WAS AT THE TOMBSTONES I NEVER KNEW IF I WANTED TO LAUGH OR CRY.

THEY'LL IS HAD THESE LINES -- THEY ALWAYS HAD THESE LINES WITH SOME FUNNY SAYING SO YOU WANTED TO LAUGH AND CRY AT THE SAME TIME.

IT GOT ME THINKING ABOUT ANIMALS.

WE HAVE ANIMALS THAT ARE PETS OR SOME ANIMALS WE EAT.

I WAS WONDERING WHAT IS A PET.

WOULD A PIECE OF MEAT BE A PET?

ONE DAY I WENT TO THE MEAT DEPARTMENT AT RALPH'S SUPERMARKET AND LOOKED AT FROZEN CHICKEN.

THE FIRST THING I DID, FARMERS SAY YOU SHOULD NEVER NAME THE ANIMALS, BECAUSE ONCE YOU NAME THE ANIMALS, IT IS NO LONGER A PIECE OF MEAT BUT A LIVING BEING.

PEOPLE ASK WHERE DOES THE NAME COME FROM.

WHEN I WOULD GO TO THE CEMETERY AND READ THE HEADSTONES, THERE ARE A LOT OF NAMES THAT SEMI-BLINKING.

THERE WAS WINKY AND FLUFFY.

I WANTED TO PICK A NAME THAT SOUNDED LIKE THAT, BUT I ALSO WANTED TO PICK A NAME THAT HAD SOMETHING TO DO WITH CHICKENS.

CHICKENS DON'T SEE THE WAY WE DO.

THEY HAVE TO TURN THEIR HEAD AND BLINK.

IT IS A STAND-IN FOR US.

I COULDN'T BURY A HUMAN, BUT I COULD GO THROUGH THE SAME EXACT PROCESS WITH A PET OR A PIECE OF MEAT.

I WENT IN FOR THE FUNERAL SERVICE.

YOU HAVE GOT A COFFIN AND A HEADSTONE.

I KNEW IT WAS GOING TO BE A PROBLEM.

IT IS HALF FROZEN.

HERE IS A PHOTOGRAPH.

I ORDERED THE COMPLETE SERVICE.

INCLUDING A FLOWER VASE AND GRAVE MARKER.

THE ONLY QUESTION THEY CAME OUT AND ASKED ME, THEY ASKED HOW DID YOUR PET DIED.

I LOOKED UP AND SAID, I DON'T KNOW.

ONE DAY IT JUST DIED.

THEY HAD BLINK HE IN AN OPEN CASKET.

THEY HAD THIS PINK SATIN HE WAS LAYING ON.

OBVIOUSLY BLINK HE DIDN'T HAVE AHEAD.

-- BLINKY DIDN'T HAVE AHEAD.

THEY PUT THE PILLOW WHERE IT WOULD HAVE BEEN.

I WAS TOTALLY AMAZED.

THEY DUG THE HOLE.

THEY HAD ARTIFICIAL GRASS AROUND THE GRAVE.

THE WORKERS CAME AND LOWERED HIM INTO THE GRAVE.

THIS IS ANOTHER SHOCKING THING.

ON THE COFFIN THEY HAD MY NAME.

IT WAS LIKE WATCHING MYSELF BEING BURIED.

I WASN'T READY FOR THAT.

HE PUT THE GRASS BACK ON AND BROUGHT OUT THE HEADSTONE AND PUT IT IN PLACE.

YOU ARE WELCOME TO VISIT THE PEACEFUL CEMETERY GROUND SEVEN DAYS A WEEK DURING DAYLIGHT HOURS.

I HAVE SEEN PEOPLE HAVE A PICNIC ON THE GRAVE.

USUALLY IT IS A CHICKEN DINNER.

THEY WILL LEAVE LITTLE OBJECTS.

ANYTHING CAN HAPPEN AT BLINKING'S GRAVE.

-- BLINKY'S GRAVE.

A MAP OF THE LOS ANGELES PET CEMETERY AND THE GRAVE SITE.

I PUBLISHED A BOOK.

AT SOME POINT HE BECAME PART OF POPULAR COULTER.

>> TWO OF HIS MOST POPULAR WORKS ARE ENTITLED BLINKY THE HEN AND THE CULTURAL TIES.

HE WILL EXPIRE IN BOTH OF THESE.

JEFFREY VALLANCE.

JEFFREY: THE THING THAT IS INTERESTING IS YOU DON'T SEE A LOT OF ARTISTS ON TALK SHOWS.

I'M WONDERING WHY THAT'S THE CASE.

>> THAT'S A TERRIBLE THING TO HAVE HAPPEN.

>> THE NEXT DAY PEOPLE ARE GOING, THAT'S THE CHICKEN GUY.

I WAS FAMOUS FOR ONE DAY ONLY.

THE NEXT DAY THAT STOPPED.

IT ADDED TO THE MYTH.

LATER I MADE A VIDEOTAPE.

HOW CAN I BRING HIM BACK?

I THOUGHT, I WILL RESURRECT HIM?

WAXY NEW TO EXHUME THE BODY AND TO CONDUCT LAB TESTS -- >> HE KNEW TO EXHUME THE BODY AND TO CONDUCT LAB TESTS.

>> I GOT A LAWYER AND A DOCTOR AND A SCIENTIST.

I WAS GOING TO HAVE BLINKY EXHUMED.

I WANTED HIS BONES TESTED.

THERE WAS AN AUTOPSY.

THEN I WANTED TO TAKE TISSUE SAMPLES TO ANSWER THE QUESTION I WAS TALKING ABOUT.

HOW DID BLINKY DIE?

I WAS GOING TO THE QUESTION BACKWARDS TO TRY TO FIND THE ORIGIN OF THE DEBT.

>> THE CAUSE OF DEATH CANNOT BE DETERMINED.

>> I PUT THEM IN GOLDEN RELIQUARIES.

I SAVED EVERYTHING FROM THE PROCESS.

YOU HAVE THE ORIGINAL FLOWERS.

BLINKY HAS A SHROUD.

THIS IS A REAL THING.

IT WASN'T SOMETHING I MADE LATER.

I WAS TAKING A PHOTOGRAPH OF THE CARCASS.

I PUT HIM ON A PIECE OF BUTCHER PAPER TO TAKE THE PHOTOGRAPH.

I WAS TAKING THE PHOTOGRAPH FOR ABOUT AN HOUR.

WHEN I LIFTED HIM UP, HE WAS STARTING TO THAW.

HE WAS DRIPPING BLOOD.

THERE WAS A PRINT THAT LOOKED LIKE THE SHROUD OF TURIN.

IT BRINGS IT BACK TO THE STORY OF CHRIST.

THEY ALMOST HAVE THE SAME TYPE OF RELIC.

I DIDN'T HAVE THE SAME MEANING WITH BLINKY, BUT OVER THE AHEAD LOTS OF TIME TO THINK ABOUT IT.

I STARTED READING IN THE BIBLE.

OF ALL THE ANIMALS IN THE WORLD THAT CHRIST COMPARES HIMSELF TO, HE COMPARES HIMSELF TO A CHICKEN IN THE BIBLE.

HE SAYS SOMETHING LIKE, I WOULD LIKE TO GATHER ALL MY PEOPLE LIKE A HEN GATHERS HER CHICKS.

I REALIZE, NO ONE HAS PICKED UP ON THAT.

NOBODY DARES MAKE CHRIST AS A CHICKEN.

I STARTED THINKING OF THAT BEING LIKE A SACRIFICE.

YOU CAN HAVE THESE LAYERS FROM HUMOR TOO SERIOUS -- TO SERIOUS, AND IT GOES BACK-AND-FORTH AND FOURTH.

I WAS SUPPOSED TO DO A SPEECH IN 2008, BUT THIS IS FATE AREA DID IT WAS ALL SET UP.

I COULDN'T DO IT BECAUSE I GOT SICK.

I GOT CHICKENPOX.

I MADE A CHAPEL WHERE I GATHERED UP ALL THE RELICS AND ALL THE PIECES AND MADE A REAL CHAPEL AND HAD AN ALTARPIECE.

IT WAS A FULL-SIZED BUILDING.

WHAT IS HE GOING TO BE IN THE FUTURE?

I DON'T KNOW.

HOW DO YOU TOP THAT FOR THE 40TH ANNIVERSARY?

I DON'T KNOW.

>> MY NAME IS MARTINE SYMS.

I'M AN ARTIST IN LOS ANGELES.

I WAS COMMISSIONED BY MOCHA TV TO MAKE A SHORT VIDEO IN RESPONSE.

HE AND I HAVE BEEN TALKING ABOUT COLLABORATING.

ONE OF THE IDEAS WE TALKED ABOUT WAS THE STORY OF MY AUNT, WHO LIVED IN ARLINGTON HEIGHTS IN A BIG CRAFTSMAN.

SHE WAS SINGLE FOR MOST OF HER LIFE.

MY AUNT HAD DIED MAYBE 15 YEARS AGO.

MY DAD INHERITED THE HOUSE.

WE WERE MOVING THINGS OUT OF IT.

IT IS LIKE A MNEMONIC DEVICE.

YOU SPECIALIZE YOUR MEMORIES.

YOU THINK ABOUT A ROOM.

SAY YOU ARE TRYING TO MEMORIZE THE STATE CAPITALS.

IN EACH ROOM YOU ARE GIVING A CAPITAL TO.

YOU'RE BASICALLY WALKING THROUGH.

WE WERE TALKING ABOUT HOW WE CAN TURN THAT INTO A FILM.

HE HAS AN ACTRESS HE WAS INTERESTED IN.

ALICE SMITH AND BRADFORD YOUNG WAS IN TOWN.

WE GOT TOGETHER TO DO A SHOOT LOOSELY.

USING THAT AND ME TELLING THE STORY OF MEETING MY AUNT AND THE RELATIONSHIP WITH THINGS IN THE HOUSE ARE WHAT COMPRISE THIS PIECE.

I AM INTERESTED IN THE STORYTELLING.

>> IT'S THE SAME WEEK.

IN THE MORNING WE PACK BOXES.

YOU TAKE HOME A PHOTO ALBUM.

HE KNOWS TO YOU ARE.

-- WHO YOU RE.

-- ARE.

YOU DON'T WANT TO SEE HER LIKE THAT.

YOU WANT TO REMEMBER HER.

SHE USED TO BE BAD.

WE KNOW HER AS A JOKE.

IN THE 70'S HE FIRST CAME TO LOS ANGELES.

THE COUSIN GREW UP IN THAT HOUSE.

OPPORTUNITY KNOCKS.

THIS HOUSE FEATURES TURN-OF-THE-CENTURY ORIGINAL DETAILS.

A LIVING ROOM AND BUILT-IN CABINETS THROUGHOUT THE HOUSE.

SIX BEDROOMS AND 2.75 THAT ROOMS.

THIS HOUSE IS LOCATED IN AN IDEAL CENTRAL L.A.

LOCATION.

IT IS ONE OF THE HOTTEST UP AND COMING NEIGHBORHOODS IN LOS ANGELES.

HE IS SITTING IN THE KITCHEN.

YOU SMILE.

YOU ARRIVE A BIT FRAZZLED.

YOU TELL HIM ABOUT THE HOUSE.

THIS SHOULD BE A MOVIE.

>> IT IS AN INTELLECTUAL CONSTRUCT.

IT IS LIKE WRITING A NOVEL.

IT TAKES TIME.

IT TAKES A LOT OF CONVERSATION.

IT TAKES A LOT OF STUDY.

THERE ARE MANY WAYS TO ORGANIZE THE COLLECTION.

YOU CAN ORGANIZE THE EXHIBITION, AND YOU ACQUIRE WORK.

YOU START TO FOLLOW AND ARTISTS WORK BECAUSE YOU THINK IT IS IMPORTANT.

YOU BRING WORKS, SO YOU CAN START MAKING A COMMITMENT TO THOSE ARTISTS.

WHEN YOU HAVE THIS ABILITY TO COLLECT, YOU BUILD.

VERY OFTEN YOU NEED HELP.

PATRONS WILL COME AND HELP ACQUIRE WORK FOR THE COLLECTION.

MOCHA AT 11 MAJOR PAINTINGS BY ROTHKO.

-- MOCA ADDS 11 MAJOR PAINTINGS BY ROTHKO.

WE ARE TALKING ABOUT THE COLLECTION.

MOCHA STARTED THE RELATIONSHIP, WITH AN INCREDIBLE ITALIAN COLLECTOR.

AT SOME POINT HE DECIDED THE WORKS COULD BE SOLD BECAUSE OF THE RELATIONSHIP WITH MOCHA.

BECAUSE OF THE RELATIONSHIP.

WE WERE THE CHOSEN ONE.

WE WERE LOOKING TO NOT ONLY BRING THIS AMAZING WORK TO OUR COLLECTION, BUT OUR ROLE AT THE MUSEUM IS TO MAKE SURE THE INTEGRITY OF THE ARTISTS VISION IS PROTECTED.

WE WANT TO MAKE SURE IT IS RESPECTED, THAT THE WORK IS SHOWN THE RIGHT WAY.

IF WE WANT THIS MOMENT OF ARTISTRY TO STAY WITH US, WE NEED TO MAKE SURE THE INTEGRITY OF THE WORK IS RESPECTED AND PROTECTED.

YOU CAN PHOTOGRAPH THE WORK.

YOU CAN WRITE ABOUT THE WORK, BUT THERE IS SOMETHING THAT WILL NEVER CHANGE.

IT IS WHAT HAPPENS BETWEEN YOUR EYES AND THE WORK.

IF THE WORK IS COMPROMISED, IT'S NOT GOING TO HAPPEN ANYMORE.

IT IS SO SENSITIVE.

IT IS SO PRECISE.

IT IS SO VENERABLE THAT OUR ROLE IS TO MAKE SURE ALL THE DECISIONS ROTHKO HAD ARE PROTECTED.

>> I AM A PAINTINGS CONSERVATOR.

THE MUSEUM OF CONTEMPORARY ART IS UNFORTUNATE TO HAVE -- IS VERY FORTUNATE TO HAVE A LARGE COLLECTION OF ROTHKOS.

BECAUSE IT IS SO IMPORTANT WE WANT TO DO WHAT WE CAN TO PRESERVE THE PAINTINGS FOR FUTURE GENERATIONS.

THEY NEED TO BE CONSTANTLY MONITORED AND OBSERVED.

WHAT WE WANT TO DO IS TAKE A LOOK AT THE EXHIBITION SO WE CAN COME UP WITH A BASELINE SO HE CAN KNOW IN THE FUTURE IF CHANGES HAVE OCCURRED.

THIS IS GOING TO INVOLVE THOROUGH DOCUMENTATION INCLUDING PHOTOGRAPHY.

AT THIS POINT I DON'T EXPECT ANYTHING OUT OF THE ORDINARY.

THEY HAVE THIS EXHIBITION ENVIRONMENT.

WE WILL BE CHECKING THE BACKS OF THE PAINTINGS AND MAKING SURE IT IS PROPER AND THE BACKING BOARDS ARE ARCHIVAL.

WE HAVE A NUMBER THAT ARE NOT, SO WE WILL BE REPLACING THEM.

THEY WILL BE TAKEN TO THE HISTORIC AREA OF THE MUSEUM, AND WE WILL BEGIN TO EXAMINE THEM FOR THEIR CONDITION.

WHILE WE ARE DOCUMENTING ANYTHING, HE WILL ALSO BE DOING THOROUGH PHOTOGRAPHY.

THIS INCLUDES FRONT AND BACK.

MANY DETAILS.

WE HAVE STARTED TO USE THE IPAD WITH OUR DOCUMENTATION, WHICH HAS TURNED OUT TO BE HANDY BECAUSE WE CAN TAKE A PHOTOGRAPH WITH THE IPAD AND VARIOUS APPS ZOOM IN ON SPECIFIC ISSUES OR AREAS OF INTEREST, AND NOTATE THAT WITH TEXT THAT IS VERY HANDY AND WILL BE USEFUL FOR PEOPLE TO BE ABLE TO SEE WHERE THE ISSUES ARE.

BECAUSE THEY ARE IN SUCH EXCELLENT CONDITION, WE WANT TO MAKE SURE THEY ARE PRESERVED FOR THE FUTURE AND BASIC TREATMENTS THAT WILL ENSURE THIS.

WE KNOW THAT ROTHKO'S PAINTINGS ARE FRAGILE AND SUBJECT TO PROBLEMS WITH EXPOSURE WITH LIGHT.

THERE HAVE BEEN EXAMPLES OF FADING IN OTHER SITUATIONS IN THE PAST.

WE WANT TO BE CAREFUL THAT WON'T HAPPEN TO OUR PAINTINGS, AND THAT IS MOSTLY BEING SURE THEY ARE NOT EXPOSED TO EXCESSIVE AMOUNTS OF LIGHT FOR A LONG TIME.

IN THAT SPIRIT, WE ARE TAKING THEM OFF EXHIBITION FOR NINE TO 12 MONTHS.

ALSO TO DO THESE CONSERVATION TREATMENTS.

>> I AM,.

>> IT IS PART OF THE DNA.

IT STARTED EARLY ON.

SHE HAS THE MOST VIEWS ON MOCHA TV.

SHE HAS A BJORK VIDEO.

>> THERE ARE MORE PEOPLE ASKING, PEOPLE ARE MOVING INTO PERFORMING IN THE MUSICAL CONTEXT OR CREATING A TAKE ON MUSIC VIDEOS.

MAYBE IT IS A GENERATIONAL THING.

THERE IS A TRAJECTORY.

I THINK IT IS INTERESTING TO SEE HOW PEOPLE ARE EXPRESSING THEMSELVES.

HE HAS HAD QUITE A FEW EXHIBITIONS.

HIS NEWS AND IS REALLY STRANGE.

YOU THINK YOU MIGHT BE LOOKING AT CORPORATE APPLE ADS.

I LIKE THE AESTHETIC.

IT IS RESPONDING TO THAT.

YOU REALIZE THERE IS SOMETHING STRANGE GOING ON.

THEY ARE TALKING ABOUT SOCIAL MEDIA, AND IT'S A LITTLE INTIMIDATING.

THEY ARE NOT SURE WHAT IS HAPPENING.

HE IS LURING YOU IN WITH THE PROMISE OF A MUSIC VIDEO.

IT IS A STRANGE WORLD HE HAS CREATED.

>> WHY TRY?

WI-FI.

YEAH.

I CAN'T CONTROL.

I STILL TRY THOUGH.

I STILL WRAP.

-- RAP.

IF IT'S FREE, BEST BELIEVE YOU ARE THE PRODUCT.

>> MY NAME IS JASMIN SHOKRIAN.

I AM A DESIGNER.

I HAVE A FASHION BRAND.

I WAS INVITED TO CREATE A SPACE IN THE MOCHA STORE THAT WE GOT TO DESIGN.

I WAS ABLE TO WORK WITH PEOPLE I REALLY LOVE, RELATIONSHIP I HAVE WITH ARTISTS WHO ALSO MAKE THINGS.

IT WAS EXCITING.

THE SHORT VIDEO WAS CREATED AS A MEANS TO SHOW MY COLLECTION.

IT IS A SHORT FILM MADE WITH MY FRIENDS, WHO ARE EXCELLENT PHOTOGRAPHERS.

I ACTUALLY WAS ABLE TO COLLABORATE WITH THEM IN AN INTERESTING WAY.

WE JUST TAKE PARTS OF THE COLLECTION AND CREATE SOMETHING MORE ABSTRACT, WHICH IS TYPICALLY WHAT I LIKE TO MAKE.

>> SILENCE I DISCOVER IS SOMETHING YOU CAN ACTUALLY HEAR.

I HAVE ALWAYS WANTED TO HAVE A PHONE CALL WITH SOMEONE WHO DOESN'T TALK.

YOU AND I ARE GOING TO BE HERE WITHOUT KNOWING ANYTHING THAT GOES ON INSIDE HERE.

I AM OPENING THE DOOR.

YOU FOLLOW.

I WILL SHOW YOU THE WAY.

I LIKE TO HIDE.

I WOULD LIKE TO LIVE IN ANOTHER CITY.

IT'S BEAUTIFUL WITHOUT KNOWING ANYTHING.

PEOPLE'S MEMORIES ARE THE FUEL TO STAY ALIVE.

YOU ALWAYS HAVE TO REMAIN BY ITS SIDE.

I WAS TOLD IT WAS AN ESPECIALLY GOOD NIGHT TO BE BORN.

YOU AND I ARE GOING TO MEET HERE WITHOUT KNOWING ANYTHING.

I NEVER HAVE THEM.

WE MUST FIND WAYS TO LEAVE PEOPLE.

DOES A MACHINE BECOME TIRED?

I'M PUTTING MYSELF TO THE FULLEST POSSIBLE USE.

I FELT SAFE.

I ALWAYS WANTED TO HAVE A PHONE CALL WITH SOMEONE WHO DOESN'T TALK.

>> TEEN GIRL FANTASY IS A COLLABORATION.

THEY ARE BASED IN NEW YORK.

THEY CREATE THE MUSIC VIDEO AROUND THE SONG.

THEY WANTED TO WORK WITH A RAP STAR FROM SOUTH KOREA CALLED HOODIE.

THEY WERE ABLE TO BRING HOODIE IN.

THEY WORK IN A VISUAL WORLD.

THEY WORK TO CREATE EXPERIENCES AROUND SOMETIMES REALLY AMAZING DJ EXPERIENCES.

BEING IN LOS ANGELES IT IS AMUSING.

SHE IS IN A CAR WASH.

FOR ME IT IS SLIGHTLY RIVAL BECAUSE EVERYONE IS OBSESSED WITH THEIR CARS.

THE IDEA IT WOULD BE BASED ON A CAR AND THE CAR WASH.

THE LIGHTING IS VERY BEAUTIFUL.

NOTHING REALLY HAPPENS.

IT IS VERY SLOW AND MEDITATIVE.

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