The detailed history of that process was told by former director and art critic John Coplans (who later became an artist) in Artforum. Simon also became responsible for the collection and building projects in return the museum was renamed the Norton Simon Museum and renovated at a reported cost of more than $3 million. A new 10-member board of trustees was formed, consisting of four members from Simon's group, three from the Pasadena museum board and three public members nominated by Simon. The remainder was used to display the Pasadena museum's contemporary collection. According to the agreed five-year plan, Simon took over an $850,000 loan on the building and other financial obligations, including a $1 million accumulated operating deficit, in return for using 75% of the gallery space for his collection. In 1974, the museum and Simon came to an agreement. He was first approached for financial assistance in 1971 by trustees of the museum. By that time industrialist Norton Simon, who had risen to become one of the pre-eminent art collectors in the world during the 1960s, was searching for a permanent location for his growing collection of over 4,000 objects. In the early 1970s, due to an ambitious schedule of exhibits and the new building project, the museum began to experience serious financial hardships. The distinctive and modern curvilinear exterior facade is faced in 115,000 glazed tiles, in varying rich brown tones with an undulating surface, made by renowned ceramic artisan Edith Heath. General contractor selected to build the museum was Del E. A new Pasadena Art Museum building was completed in 1969, designed by Pasadena architects Thornton Ladd and John Kelsey of the firm Ladd & Kelsey. Hopps insisted on a local architect because he expected a high level of interaction throughout the design process. Hopps later drew up a short list of California architects for a new museum building, including Richard Neutra, Charles Eames, John Lautner, Craig Ellwood, and Thornton Ladd. In 1962, curator Walter Hopps arrived from the Ferus gallery, organizing an early Pop art show in 1962 and a Marcel Duchamp retrospective in 1963, as well as solo shows of the work of Kurt Schwitters and Joseph Cornell. It was renowned for progressive art exhibits and supported the work of local contemporary artists such as Helen Lundeberg, John McLaughlin, and Sam Francis. The museum filled a void, being the only modern art museum between San Francisco and La Jolla in California at the time. The museum is located on Colorado Boulevard along the route of the Tournament of Roses's Rose Parade, where its distinctive, brown tile exterior can be seen in the background of television broadcasts.Īfter receiving approximately 400 German Expressionist pieces from collector Galka Scheyer in 1953, the Pasadena Art Institute changed its name to the Pasadena Art Museum in 1954 and occupied the Chinoiserie-style "The Grace Nicholson Treasure House of Oriental Art" building (now the Pacific Asia Museum) on North Los Robles Avenue until 1970. The museum contains the Norton Simon Theater which shows film programs daily, and hosts lectures, symposia, and dance and musical performances year-round. Outside sculptures surround the museum, with notable Rodin sculptures near its entrance and other sculptures along Colorado Boulevard and in a landscape setting around a large pond. The Norton Simon collections include: European paintings, sculptures, and tapestries Asian sculptures, paintings, and woodblock prints. It was previously known as the Pasadena Art Institute and the Pasadena Art Museum and displays numerous sculptures on its grounds. The Norton Simon Museum is an art museum located in Pasadena, California.
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