A Morning Spent Wandering the Hammer Museum
While on spring break, visiting family in the LA area, in early March, I took a trip to the Hammer Museum at the request of my younger brother and his interest in contemporary art. The museum is in the city’s Westwood neighborhood and is owned and managed by the University of California, Los Angeles, with exhibits of modern art, cultural exhibits, and historic collections.
The museum has committed to maintaining its free admission and free public programs, which is appreciated, especially in concert with their mission of creating a space where everyone can experience the power of art and its cultural, political, and social impact. By creating a space that is free, it becomes accessible to more groups of people, allowing individuals to see themselves represented through the diverse collections they exhibit.
The Hammer is known both for its permanent collections, including the Armand Hammer Collection, of European and American art curated and inspired by the museum founder, Armand Hammer, as well as its temporary exhibits, focusing on topical themes and highlighting different artists.
One of these features was the current installation of the Hammer Projects series, which focuses on showcasing the work of emerging artists. One of the largest ones we saw was in the entryway, ARENA V (2024) by Thenjiwe Niki Nkosi, depicting the experiences of Black gymnasts in a multimedia installation. The piece was striking, with geometric abstraction, a soft yet bold color palette, and dominating presence in the room.
Another standout exhibition we saw, and my personal favorite, was Only the Young: Experimental Art in Korea, 1960s–1970s. It displayed the art of the artists emerging following the Korean War, as these artists took a stance against limitations they saw in their local art world, embracing innovative and provocative practices. With photography, sculpture, paintings, videos of live exhibits, and more, the collection conveyed the sense of creative energy in South Korea’s art as the country’s culture shifted. The works in the exhibition highlighted the radicality, irreverence, and sense of play that underscored artistic production in this time, and its lasting impact on the country’s art community. Overall, the collection focused on the unwavering commitment to creating and curating art as a living historical document.
Beyond the exhibits themselves, the museum's layout was a nice addition to our visit. Centered around an outside courtyard, the natural flow of exhibits guides visitors through its galleries without overwhelming them, making it a perfect venue for those who grow weary in larger art institutions, like my brother who appreciates nice breaks from galleries. The open courtyard area provided a calmer spot, especially in the city, to relax and reflect on the artwork, surrounded by sculptures complementing the museum’s indoor galleries.
While we were there, the museum was also functioning as a polling place for the local elections and primaries being held at the time. Seeing the space used for community needs such as voting, in contrast to its function as a place of learning and cultural enrichment was an interesting experience, as it showcases yet another way the museum can be used to both enrich the community and be an aid to the state.
In conclusion, the Hammer Museum provided a memorable trip that was both intellectually and creatively enriching. Its location and connection to UCLA make it a central and worthwhile location to visit while in LA, especially for those interested in art and the statements it can make. Whether you’re interested in the contemporary art scene, like my brother, or someone with a more traditional palette, the Hammer offers a perspective on the role of art in public life and its potential to influence and inspire across generations.