The Audio Visual Department reel to reel audio recordings collection consist of at least 825 1/4-inch open real audio tapes
as well as audio cassettes dated as early as 1963 and as late as 1991. The processing of the collection is ongoing and total
item counts for all series are expected to increase and date ranges are expected to expand. The collection is primarily composed
of recorded lectures, presentations, panel discussions, interviews, question and answer sessions, exhibition audio tours,
musical performances, and recordings of music and sound effects to accompany exhibitions, dance performances or films. Lectures,
presentations, panels, and question and answer sessions are primarily on art historical topics directly related to the permanent
art collections of the Los Angeles County Museum of Art or to its current exhibitions at the time of the recording. Programing
on topics of general interest to the museum's constituency are also included such as panel discussions sponsored by ASIFA,
the International Animated Film Society, presentations relating to architecture from ancient to modern, including presentations
by architectural historians David Gebhard and Esther McCoy and a talk given by novelist and former California gubernatorial
candidate Upton Sinclair in 1964. Artists, critics, art historians, and LACMA curators are the most frequent participants.
Artists represented include Edward Kienholz, Robert Irwin, Newton Harrison, Lee Mullican, Joe Young, Robert Motherwell, Gifford
Phillips, Tony Berlant, Charles White, Loren Madsen, Mary Gorse, Ed Moses, Chris Burden, Alexis Smith, Larry Bell, and Max
Bill. Contemporary artists are often in conversation with LACMA modern art curator Maurice Tuchman or prominent critics such
as Max Kozloff, David Antin, and Melinda Wortz. The collection also includes press conferences, public service announcements
and radio interviews with museum curators, art collectors, donors, and administrators on issues important to the museum, including
several recordings of the KPFK program The Sour Apple Tree hosted by Clare Spark Loeb. The most notable recorded musical performances
in the collection are of the Monday Evening Concerts series that debuted many contemporary classical compositions. Other musical
performances included international music related to current exhibitions of, for example, Indonesian or African art. Recorded
tours are primarily Acoustigiuide tours of LACMA exhibitions narrated by docents or actors such as Vincent Price who appears
on the tour for
The Masterworks of Mexican Art in 1963 and Stirling Holloway who speaks on the tour of
Billy Al Bengston in 1968 along with the artist himself and architect Frank Gehry who designed the exhibition.
The Los Angeles County Museum of Art was originally the Art Division of the Los Angeles County Museum of Science, History,
and Art which opened at Exposition Park near downtown Los Angeles in 1913. The Los Angeles County Museum of Art or LACMA officially
became an independent entity in 1961, and opened its own campus on Wilshire Blvd., about 7 miles northeast of the original
museum, in 1965. The earliest recordings in this collection, dated in 1963 and 1964 were recorded at the museum's Exposition
Park campus. LACMA has for many years recorded or filmed performances, interviews and other programming, even producing original
educational films. The earliest recordings in this collection may have been created by an entity of the County of Los Angeles
with most recordings being created by earlier permutations of the museum's current (2017) Program Audiovisual Department.
Audio tours were produced by museum education staff, often with the support of LACMA docents and the museum's Docent Council.
Contact the Balch Research Library at 323-856-6118 or firstname.lastname@example.org for information on publishing or reproducing materials
included in these records. Permission will be granted by the Los Angeles County Museum of Art as the owner of the physical
materials, and does not imply permission from the copyright holder. It is the responsibility of the researcher to obtain all
necessary permissions from the copyright holder.