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["Art21 Extended Play"]

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["Liz Larner: Distorting Form with Color"]

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This leg seems lower,

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but I think it's also the twisting
of the tetrahedron

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that gives it that appearance.

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This is my favorite sculptural intervention
in Los Angeles--

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or maybe anywhere.

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This is Tony Smith's "Smoke,"
and it was brought here in 2008.

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You can see the hexagon
from all these different angles.

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It's not on a grid.

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It's a great example of flow,

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and it takes it so far beyond the math,

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although it's kind of all about math.
[LAUGHS]

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The Ahmanson atrium,

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this was almost kind of like a dead space
at LACMA.

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It was just a space that you would pass through,

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from here to there.

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And so bringing this incredible sculpture
into the space

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really changed it.

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[SOUND OF FOOTSTEPS]

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Even if you have to hurry through the space,

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it's still a great experience every time
and from every angle.

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Just to see what sculpture can do,

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this I think is probably one of the greatest
examples of that ever.

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And now that LACMA is going to be moving,

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I'll come back many times before the building
comes down.

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I read something else about Tony Smith,

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that "You can have it in any color
as long as it's black."

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[LAUGHS]

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You know, he really limited himself to

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not going crazy with the color

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because form is just so important.

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We're not really used to seeing
colors distort form by not following it.

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Color, it's such a huge part of our perception,

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so to be able to use it as a material,

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and make it work volumetrically--
and not use it just graphically--

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is something that's very interesting to me.

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There's a lot of pleasure to be had,
looking at minimalism.

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There doesn't have to be an equivalency
between volume, mass, and density,

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and that seemed to be something
really exciting to try to work with.

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Did I say hexagram or hexagon?

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[INTERVIEWER, OFF SCREEN]
Hexagon.

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[LARNER]
Okay!

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[LAUGHS]