A WORLD of ART, RESEARCH, CONSERVATION, and PHILANTHROPY | Summer 2017 PRESIDENT’S MESSAGE

theGETTY

A WORLD OF ART, RESEARCH, CONSERVATION, AND PHILANTHROPY | Summer 2017 PRESIDENT’S MESSAGE

theGETTY Summer 2017 TABLE OF President’s Message 3 he Getty Research Institute (GRI) is CONTENTS known as one of the world’s largest and New and Noteworthy 4 Tfinest arts and architecture libraries. Its Special Collections comprises rare and unique LA Architect 6 items, from the fifteenth century to the present, including books, photographs, prints, drawings, Contradiction and Continuity 10 artists’ archives, and video art, as well as archi- tecture and design materials. All have significant A Different Way to See 14 research value to art historians and scholars in related fields. Reflecting on 25 Years of Possibilities 18 The GRI’s architecture and design collection includes a vast array of materials that reveal the Book Excerpt: Golden Kingdoms 21 complex dimensions of the design process from initial sketches and study models to evocative New from Getty Publications 22 final renderings, detailed construction drawings, and published promotional photographs. The New Acquisitions 24 collection’s extensive archival materials include letters, notebooks, audiovisual materials, and From The Iris 26 ephemera that outline the evolving themes and issues of architectural discourse. Getty Events 28 A recent addition to that collection is the archive of world-renowned architect Frank Corporate Partner Spotlight 33 Gehry. In this issue’s cover story, you’ll discover The Frank Gehry Papers, which span the period Exhibitions 34 from the architect’s early graduate studies to the 1988 competition entry for Walt Disney From the Vault 35 Concert Hall. This issue of The Getty also includes an exploration by Getty Conservation Institute scientists of a painting that lies beneath Rembrandt’s famous An Old Man in Military Send correspondence and address The J. Paul Getty Trust is a cultural and The J. Paul Getty Trust is a tax-exempt Costume. The story highlights how technical changes to philanthropic institution dedicated to organization under Section 501(c)(3) imaging is changing the field of art history by Jim Cuno Getty Communications the presentation, conservation, and in- of the Internal Revenue Code (the allowing scholars to examine artists’ works and 1200 Getty Center Drive, Suite 403 terpretation of the world’s artistic legacy. “Code”), and is specifically classified as techniques in unprecedented detail. Los Angeles, CA 90049 Through the collective and individual a private operating foundation under This summer issue also provides us with initiative Pacific Standard Time: LA/LA, which Email: [email protected] work of its constituent programs—Getty Section 4942(j)(3) of the Code. Con- an opportunity to look back at the twenty-five launches in September. Conservation Institute, Getty Founda- tributions to the Getty are deductible years of the Getty Foundation’s Multicultural I hope you can visit the Getty Center or Getty tion, J. Paul Getty Museum, and Getty under Section 170 of the Code and may Undergraduate Internship program, which seeks Villa this summer. You can also connect with us Research Institute—the Getty pursues also be deductible for federal estate and to increase staff diversity at museums and arts online at getty.edu, or through Facebook, Twitter, its mission in Los Angeles and through- gift tax purposes. Prospective donors organizations by offering paid summer intern- Instagram, and YouTube. out the world, serving both the general should consult their own legal and tax ships to students from diverse backgrounds. interested public and a wide range of advisors in connection with gift and Since its inception, more than 3,000 students professional communities in order to planning matters, as the Getty cannot On the cover: have graduated from this program. Frank Gehry (Canadian-born American, b. promote a vital civil society through an provide tax advice. Rounding out this issue is an interview with 1929). Sketch of exterior, The Walt Disney understanding of the visual arts. Concert Hall Portfolio, 2003. Los Angeles, curators working on the exhibition. Photography Getty Research Institute, 2009.PR.3. © Gehry in Argentina, 1850–2010: Contradiction and Partners, LLP. Continuity. This exhibition is one of five being Text and design © 2017 J. Paul Getty Trust presented by the Getty as part of its region-wide

2 3 NEW AND NOTEWORTHY

Bruce W. Dunlevie joins J. Paul Getty Board of Trustees Bruce W. Dunlevie has joined the Getty’s Board of Trustees. Mr. Dunlevie has worked in the early stage technology venture capital industry for thirty years and is a founder and General Partner of Benchmark Capital, based in Silicon Valley. Benchmark is responsible for the early stage funding of numerous successful startups including eBay, Twitter, Uber, Snapchat, WeWork, and Instagram. Mr. Dunlevie is currently the Chairman of the Board of the Stanford Management Company, the entity which oversees Stanford University’s endowment. “We’re delighted to have Bruce Dunlevie join the Board, with his extensive expertise in finance and in- novation,” says Maria Hummer-Tuttle, Board chair. “We very much look for- ward to working with Bruce in the years ahead as the Getty seeks to strengthen its digital leadership,” says James Cuno, president of the J. Paul Getty Trust.

Getty Research Institute Director Thomas’s commitment to the digitiza- Getty Receives Chairman’s Award from Los Lloyd Cotsen, Getty Trustee Emeritus, Dies at 88 Thomas W. Gaehtgens to Retire tion of the GRI’s collection, and his Angeles Conservancy Lloyd Cotsen, who served on the Getty Board of Trustees from In 2018 enthusiasm for open access tools and The Los Angeles Conservancy has awarded the 2002 to 2006, has passed away. During his tenure at the Getty Thomas W. Gaehtgens, director of the research databases, has put the GRI, and Getty and the City of Los Angeles its 2017 Chair- he served as Vice Chair of the Board, on all Board commit- Getty Research Institute (GRI), will by extension the Getty, at the forefront man’s Award for SurveyLA: The Los Angeles His- tees, and as a member of the Villa Council and Getty Research retire in early spring 2018 after more of the digital humanities.” toric Resources Survey, a citywide survey to iden- Library Council. than a decade of leading one of the Since becoming director of the tify significant historic resources that represents In addition to his leadership at the Getty, Cotsen also world’s foremost institutions for art his- GRI in 2007, Gaehtgens has overseen the largest and most ambitious historic resources served on a number of arts, education, philanthropic, and cul- torical research. a dramatic expansion in the Institute’s survey project to date in the United States. tural boards, including the Skirball Cultural Center, Armand “Thomas Gaehtgens’ interna- research projects, scholars department, SurveyLA is a multi-year public/private part- Hammer Museum of Art and Cultural Center, Huntington tional standing as a leading scholar has exhibitions program, and digital initia- nership between the City of Los Angeles and the Library, the American School of Classical Studies at Athens, enabled him to significantly broaden tives in addition to the robust growth Getty, including both the Getty Conservation and the Ahmanson Foundation. He served as advisor to the the vision and reputation of the Getty of the GRI’s Special Collections. One Institute and Getty Foundation. The significant Cotsen Institute of Archaeology at UCLA. He established the Research Institute,” says James Cuno, of his important accomplishments was cultural resources identified through SurveyLA Cotsen Family Foundation to aid in the development of gifted president and CEO of the J. Paul Getty to move the GRI from an institution are accessible and fully searchable online via teachers and was a long-time trustee of Princeton University, Trust. “The GRI has always been known focused primarily on Western art to one HistoricPlacesLA, as are other historic resources where he created the Cotsen Children’s Library. He founded as one of the world’s largest and fin- with a more global approach, supporting that have been previously identified and desig- the Cotsen Foundation for the Art of Teaching and the Cotsen est arts and architecture libraries, but collaborations with Chinese, Japanese, nated. The system continues to be updated and Foundation for Academic Research. under Thomas’s leadership the GRI has Indian, African, and above all, Latin can be accessed at historicplacesla.org. The Getty community extends its deepest condolences to become a robust, international center American institutions. Bruce W. Dunlevie his wife Margit, and to his children and grandchildren. of original scholarship. In addition,

4 5 ARCHI LA TECT The Getty Research he Getty Research Institute (GRI) is one of the premier institutions for the Above: Ron Davis House, South Institute Adds the Elevation, 1968–1972, Malibu, study of architectural history, especially modern architecture from Southern California. Frank Gehry Papers at California. Now, a major new acquisition cements the GRI’s standing in the the Getty Research Institute. Frank Gehry Papers T © Frank O. Gehry field by adding the archive of the foundational years of Los Angeles’s most promi- nent architect. Opposite: Walt Disney Concert Hall Model, 2003, Los Angeles, The newly acquired archive of the world-renowned architect Frank Gehry cov- California. Frank Gehry Papers at ers more than thirty years of his singular career and includes comprehensive mate- the Getty Research Institute. © Frank O. Gehry rial on some of his best-known projects. The Frank Gehry Papers encompasses the period from Gehry’s early graduate studies to the 1988 competition entry for the Walt Disney Concert Hall, the success of which marked Gehry’s entrée into a global architectural elite. (Gehry won the prestigious Pritzker Architecture Prize the fol- lowing year, in 1989.) The archive comprises drawings and sketches, partial and complete models, proj- ect documentation, correspondence, photographs and slides, and ephemera pertain- ing to 283 projects designed between 1954 (the Romm House project) and 1988 (the Walt Disney Concert Hall competition). The collection also includes materials pro- duced after 1988 for projects which were initiated before that date, including con- struction documents and models for the Disney Concert Hall (completed in 2003), early design drawings for the Grand Avenue Project (still in development), and materials relating to later phases of projects which had begun much earlier (Loyola Law School, 1520 Cloverfield, and the Gehry Residence in Santa Monica, to mention a few). In total, these documents offer a comprehensive portrait of the emergence and rise to prominence of Gehry’s architectural practice over a thirty-year period. As Maristella Casciato, senior curator of architectural collections at the Getty Research Institute recently told the Los Angeles Times, “This is the California time—the Los Angeles period—of Frank. And as such, it is extremely relevant to our collection.”

7 façade so much that it made news in representations of the future building, contemporary cultural values. Its local papers. One neighbor even wrote these models convey the extensive pro- intimate, womb-like interior should a letter to the Los Angeles Times com- cess by which abstract ideas evolve into instantly be included among the great plaining that the house had been aban- three-dimensional objects. public rooms in America.” doned and left undone. The archive includes plans, digital Ouroussoff was not the only critic Through the years the “unfinished” born drawings, study and complete to heap praise on the building, and it exterior, with its exposed studs and models, project documentation, and quickly became a beloved feature of the unpainted metal walls, has remained, photographs related to the long and Los Angeles cityscape and one of the with slight tweaks here and there by complicated design process. During the most iconic structures in the country. the architect-owner. The landscaping extensive planning of the Walt Disney The blooming silver structure rises out has matured and the neighbors have Concert Hall, the design changed quite of downtown Los Angeles in countless stopped criticizing. And architecture a bit, which is evidenced in competition pictures, commercials, films, and televi- students and aficionados look up the models and later models. sion shows, an artful indicator of place. house in guide books and make their As Nicolai Ouroussoff noted for his In the fourteen years since it opened, way to the quiet residential block in review of the newly opened building the Walt Disney Concert Hall has Santa Monica to photograph it from in the Los Angeles Times in 2003, “few become an iconic and highly recogniz- the outside and try to discern its inte- buildings in the history of Los Angeles able LA landmark. rior surprises. have come burdened with greater pub- Gehry himself has noted the special In 2012, after the house was lic expectations than the Walt Disney importance of his two signature build- awarded the American Institute of Concert Hall. None has lived up to such ings in Los Angeles, his hometown. Architects’ prestigious Twenty-five expectations so gracefully.” He added, In 2013, on the tenth anniversary of Year Award, Robert Campbell wrote “the hall is the most significant work the Walt Disney Concert Hall’s opening, about the house for The Boston Globe. ever created by a Los Angeles architect Gehry told the Los Angeles Times, “This “You get different explanations of in his native city. The hall’s flamboyant has become my home and family, and what he was up to,” noted Campbell. undulating exterior—whose stainless changed my life, and it’s the one build- “Gehry just said he took a close look steel forms unfold along downtown’s ing other than my house that I get to at Los Angeles and realized much of it Grand Avenue with exquisite light- use—a building that I’ve designed that I was built of junk, so why not do some- ness—is a sublime expression of get to use.” thing creative with that reality? In any case, the house made Gehry famous. It came years before such major works Above: Gehry residence. Frank Gehry, who has major buildings all over In 1978, Gehry converted a conventional pink of his as the Guggenheim Museum in Opposite: Walt Disney Concert the world, is at heart an LA architect. Born in bungalow in a quiet residential neighborhood into Bilbao, Spain; Walt Disney Concert Hall, Los Angeles, n.d. Photograph by Carol Highsmith. Washington, Canada and raised in Los Angeles, Gehry stud- a unique new dwelling. Around the older house he Hall in Los Angeles; or the Ray and DC, Library of Congress, Prints & ied architecture at the University of Southern built new spaces out of raw plywood, chain-link Maria Stata Center at MIT.” Photographs Division, Photographs in the Carol M. Highsmith Archive California. He began his career working for the fencing, asphalt, and corrugated metal. The new Viennese ex-pat Victor Gruen before starting his dining room extended over the driveway, and visi- Walt Disney Concert Hall own Los Angeles practice in 1962. tors have noted their shock at realizing that the In 1988, Frank Gehry won the high- Among Gehry’s long history of major, highly- floor they were standing on was the asphalt on profile competition to create the acclaimed buildings, there are two buildings that, which cars once parked. Architects and designers new building for the Los Angeles while very different, are often top-of-mind when who have visited the house have raved about the Philharmonic, the Walt Disney mentioning “Gehry” and “LA” in the same sen- play of interior and exterior spaces, the uncon- Concert Hall, which was completed tence: Gehry’s own home in Santa Monica, and the ventional materials, the quality of light bouncing in 2003. Walt Disney Concert Hall. One marks the begin- through windows and chain link, and the play of old The Frank Gehry archive at the ning of Gehry’s reputation for invention and sur- and new, structured and organic. The house became GRI contains more than 120 models prise and the other has become a glamorous icon of a symbol for Frank Gehry himself, in essence an old- from all phases of the Walt Disney the Los Angeles landscape, recognized around the fashioned, practical architect who pays extra care Concert Hall project. A model of the world as a cultural landmark. to the client’s needs (and budget) but who also takes building and an early study model of fantasy, creativity, and invention seriously. the interior concert hall are currently The Gehry Residence Many of Gehry’s Santa Monica neighbors were on view in the Getty Research Institute As Joseph Morgenstern noted in The New York less than enamored with the new exterior of the exhibition Berlin/Los Angeles: Space Times in 1982, “when architects talk about Gehry, little bungalow in which Gehry raised his family. for Music. From fragile constructions they inevitably discuss his house.” Neighbors protested about the metal and plywood pieced together with tape and paper to

8 9 CONTRADICTION AND CONTINUITY Creating an Exhibition of Photographs

ne of the most important roles of a curator Photography in Argentina will be senior cura- Above: Mothers of the Plaza de When did you start thinking about this exhibi- What interested you about constructed Mayo during their Customary is to create an imaginative exhibition space, tor Judith Keller’s final Getty exhibition. It is one March, 1981, Eduardo Longoni. tion and conceptualizing it? photography? where visitors can enter into a dialogue with of five exhibitions being presented by the Getty as Gelatin silver print. Courtesy of and O © Eduardo Longoni works of art and gain a deeper understanding of the part of Pacific Standard Time: LA/LA, an initiative JK: When the Pacific Standard Time: LA/LA ini- JK: It’s the kind of photography that requires the historical context in which they were created. In a exploring Latin American and Latino art at more Opposite: Queen of Wheat. Gálvez, tiative was announced, the Museum was eager to artist to create, fabricate, or build a scene to be Santa Fe Province, 1997, print discussion with co-curators Judith Keller and Idurre than seventy cultural institutions throughout 2016, Marcos López. Hand-colored participate and began discussing possible related photographed. Alonso, we learn about the genesis of the upcoming Southern California. inkjet print. Courtesy of Rolf Art & exhibitions. I proposed that the Department of Macos López. © Marcos López Getty Museum exhibition Photography in Argentina, Her collaborator on this project is Idurre Photographs organize a show around the subject of What did you find intriguing about Argentina? 1850–2010: Contradiction and Continuity (open- Alonso, associate curator of Latin American col- constructed photography in Latin America. I had ing September 16, 2017) and how they approached lections at the Getty Research Institute. Prior to seen Idurre’s 2010 MOLAA exhibition, Changing IA: We decided to focus on Argentina because little organizing what will be the largest exhibition of joining the Getty in 2014, Alonso was a curator at the Focus, a survey of Latin American photography is known about Argentine photography in the US Argentine photographs in the United States, featur- the Museum of Latin American Art (MOLAA) in of the 1990s, and thought she would be the best Argentina has a very different history in contrast ing the work of sixty artists. Long Beach. person with whom to collaborate. to other Latin American countries; its colonial and

10 11 postcolonial processes were different. issue of the indigenous communities Which indigenous groups are fea- is much more than what goes on in IA: In the show, we present images of protesters and photographers made the Its early history after independence is being forgotten by the government is tured in this exhibition? Buenos Aires, and that is the subject Eva Perón that appeared in the press, press aware of the fact that so much vio- similar to that of the United States. another point in common. Argentina is explored by a number of the artists in which was controlled by the Peronist lence and suppression was happening, a very large country with a very vibrant IA: We will be including various photo- our exhibition. government. We also show photo- that so many people were disappearing. How is Argentina’s early history capital, but the rest of the country is graphs of Patagonian indigenous people graphs of Evita by Gisèle Freund, which The military government was kidnap- similar to US history? sparsely populated. The late nineteenth and some of the Gran Chaco region. We What did you learn and accomplish were published in a Life magazine issue ping, detaining, torturing, and often kill- century Conquest of the Desert in will display nineteenth-century photo- from the collecting trips? that the Argentine government banned ing people in a very clandestine way. IA: As in the US, Argentina has a large Patagonia is very similar to the conquest graphs that emphasize the “otherness” because the magazine had portrayed an European immigrant community. The of the West in the US. The gauchos of the indigenous people. We also will JK: We were lucky to meet a circle of image of the first lady that did not cor- One group that was especially effec- could be compared to cowboys, who also feature the work of artists such as Grete collectors who, ultimately, were quite respond with the official image. tive in calling attention to this was the became a type of national myth in the Stern, who was not interested in “oth- generous in making loans of nine- Mothers of Plaza de Mayo (Las Madres US. During the nineteenth century, it erness,” but showed them as people in teenth-century material. How is Argentina perceived in the de Plaza de Mayo), who started gather- was also a very progressive country with their environment. international and national imagina- ing in the ’70s soon after this activity quite advanced political ideas. After IA: We visited numerous artists in tion and what is the reality? began. They made their gesture, their independence, Argentina became the Why were the indigenous people their studios. There’s only one major effort, by using photography and family fifth-largest economy in the world. initially disregarded as a national gallery in Argentina exclusively dedi- IA: There are many realities. We photographs of their sons, daughters, symbol? cated to photography, and many of the wanted to question how Argentina is husbands, and brothers who had disap- During your research, did you artists in the show do not have gallery perceived as, for example, ethnically peared. They would congregate every uncover anything that surprised IA: For the government, they were not a representation homogeneous and progressive, and Thursday at the Plaza de Mayo. As their you? representation of progress, but regarded how photography supported that at protests grew larger, more and more as “barbaric” people, so it became evi- JK: On each of our trips, we met daily some point. Later, in the 1970s, 1980s, photographers would be there to pho- JK: One of the reasons that I became dent that they didn’t want to use them with collectors, historians, and artists. and 1990s, photographers questioned tograph them, and those images would deeply interested in Argentina—as as an important image of the country. In We also compiled a library of material. all those preconceived ideas and appear in the international press. The we visited and did more art historical contrast, other Latin American coun- People gave us books that you can’t find images. Rather than supporting offi- mothers held signs with the photograph, research—was the sense of discovery. tries, such as Mexico at the beginning of here and we also purchased books that cial agendas, they started to point out name, and age of the disappeared fam- We were discovering a lot of artists that the twentieth century, used significant we learned about in Argentina. the failures and issues with those past ily member. In a way they were trying we hadn’t known. In Argentina, his- indigenous populations to generate constructions. to bring these individuals back to life. torical photographs, and particularly a specific national identity in what is ••••• Some people did reappear alive, and the nineteenth-century materials, are still known as the indigenista movement. How does a photograph intended A key moment for reconsidering the signs often called for them to return very much in the hands of collectors and for propaganda purposes become a Argentine identity was during the 1910 alive. But as many as 30,000 people Above: Co-curators Judith Keller and Idurre Alonso and curatorial assistant book dealers. JK: There were huge indigenous popu- work of art? centennial of independence, when never returned. Fabian Leyva-Barragan view photographs by Graciela Sacco in the Department of Photographs Study Room. Photographs © Graciela Sacco. lations in Argentina that were eradi- Argentinians asked themselves: What We found that photographs from the cated in the late nineteenth century in a JK: I think that it’s too narrow to talk really is the Argentine identity? A con- What do you hope the legacy of the Below: Chief Pincén, 1878, Antonio Pozzo and Samuel Rimathé. Albumen print. Courtesy of Diran Sirinian. Photo: Javier Agustin Rojas nineteenth century hadn’t been col- very aggressive effort. about it as becoming a work of art. scious decision was made to select the exhibition will be? lected by museums in Argentina. That’s I think it becomes something that’s gaucho as the symbol of Argentina. The one of the reasons why we include so ••••• important to the culture and is an political and intellectual elite embraced IA: We have made an effort to compile much nineteenth-century material in Can you share an interesting high- important cultural artifact or cultural the countryside, and gauchos presented a comprehensive exhibition catalogue the exhibition. light from your trips to Argentina? reflection. We’re looking at photo- an alternative to the foreign immigra- that includes contributions by the most graphs made for propaganda more as a tion narrative. It’s interesting to see all important photography scholars from The show has four broad themes—civi- IA: We made five trips to Argentina. form of construction. For the purposes these shifts and contradictions. That’s Argentina. It is the first time that the lization and barbarism, national myths, Each time, we used public transporta- of our show, we are looking at the the reason the exhibition title is “con- writings of these specialists appear the gesture, and fissures. We’re trying to tion instead of renting a car or having a accumulation of images as an archive. tradiction and continuity.” Identity is together in a publication. give viewers an idea of the depth of the driver. We sometimes traveled by train. For example, the strategy of making continuously evolving, sometimes in history of photography in Argentina, as All this allowed us to see other parts of numerous photographs of Eva Perón in contradictory ways. JK: I hope it will motivate more well as the breadth of the history of how the city and the country. her role as first lady at official events, research. There’s still a huge amount the country has evolved. where she’s almost always the only How did photography have a role to do, especially to get more of the his- JK: The rail system was created by woman in the midst of a group of men in questioning and dismantling the tory into English-language publications lA: For me, the biggest discovery was the British in the nineteenth century, who have just made a decision about official history of Argentina? so that it’s available to a wider audi- the abundance of material represent- and they never really modernized it. something. It was a very carefully con- ence. With globalization, there’s more ing indigenous communities in the This led to our discovery that there’s structed propaganda machine. Our JK: Photography had a strong role interest in what is happening in Latin nineteenth century. I wasn’t aware of no real infrastructure in the interior interest in these photographs has to during the last dictatorship from 1976 America. We’re trying to contribute to photographers’ and collectors’ interest of the country. That has always been do with accumulation of thousands of to 1983, known as the period of the that through our show. in this subject. a lament of farmers there. Argentina them, rather than one or two. “dirty war.” The collaboration between

12 13 ince the late 1960s, art historians have across a large area, creating an elements map—was known that another painting lay underneath able to answer some of those questions about the SRembrandt’s famous An Old Man in Military pigments. Costume (painted about 1630–1631), a compelling “Just a few years ago,” notes Karen Trentelman, character study (tronie) of age and one of the J. senior scientist at the Getty Conservation Institute Paul Getty Museum’s most beloved Dutch paint- (GCI), “a study like this would have required trans- ings. Until recently, however, seeing that hidden porting the Old Man to the nearest synchrotron—in A Different Way to image in detail has eluded researchers. But thanks the Getty’s case, the one at Stanford University—for to science, we now have a clearer image of what lies a period of time. As analytical tools become more concealed beneath this Rembrandt painting. portable and more affordable, we can now bring the The existence of an underlying painting—an instrument to the painting, rather than the other image of a man—was first discovered in 1968 way around. What’s also exciting about the macro- through X-radiographic (X-ray) imaging. In the XRF scanner is that it produces scientific data as early 1990s, the painting was studied with neutron images, which are a universal language.” activation autoradiography. This imaging tech- An Old Man in Military Costume was scanned in nique more clearly revealed certain components of collaboration with Joris Dik of the Delft University the hidden figure, such as the robe he was wearing; of Technology, and Koen Janssens and Geert Van significantly, it also provided information about der Snickt of the University of Antwerp. The result- SEE the distribution of chemical elements in both the ing element maps provided the clearest information underlying and the surface painting, allowing some yet about the distribution of chemical elements of the pigments to be inferred. across the two paintings and enabled the creation of Still, questions remained. Some twenty years a digital color reconstruction of the underlying fig- later, new technology—in this instance, a prepro- ure. This also helps conservators and scholars such duction model of the Bruker M6 macro-X-ray as Yvonne Szafran, senior paintings conservator, fluorescence (XRF) scanner, an instrument that and Anne Woollett, curator of paintings at the J. detects the chemical composition of an artwork Paul Getty Museum, understand how the pigments in the surface painting may have changed over time. The Rembrandt project is an example of a major shift now occurring in art history, as technical imag- ing allows scholars to look at an artist’s work and technique in unprecedented detail. It’s also a leap forward for conservation science. At the GCI, recent imaging advances allow for the exploration of new avenues of research, the development of holistic conservation strategies, and more effective com- munication about the work of the Institute. Newly developed imaging methods furnish a wide range of information critical to the understanding and conservation of cultural heritage—from surface properties such as color and texture, to the location and shapes of underlying features, to the chemical composition or physical properties of individual components. Imaging not only helps distinguish

Right: Color digital reconstruction original from restoration materials, it can also docu- of hidden figure underlyingAn Old ment their precise location across an object. It aids Man in Military Costume. in the visualization of relationships and correlations Opposite: An Old Man in Military among different components of an object, revealing, Costume, about 1630–1631, Rembrandt Harmensz. van Rijn. Oil for example, where a pigment might be aging differ- on panel. The J. Paul Getty Museum ently in different binding media.

15 Thus, imaging provides a better understand- noninvasive examination methods; imaging there- to view the painting again with the new ing of how objects were made and how they fore played a significant role in the investigation of insight provided by the imaging results. may have changed (or be changing) over time— the tomb. At Kasbah Taourirt in Ouarzazate, essential information for conservation planning “Technical imaging of the burial chamber wall Morocco, site of a GCI Earthen and for improving conservation interventions. paintings provided key information for under- Architecture Initiative project under- Additionally, because images are a universal lan- standing Egyptian painting technique, current taken in collaboration with the Centre guage, imaging can convey complex information to condition, and ancient and contemporary inter- de Conservation et de Réhabilitation a wide audience, enabling interdisciplinary work ventions undertaken in the tomb,” says Wong. du Patrimoine Architectural des Zones and effective communication with a broad range “False-color imaging—combining visible- and Atlasiques et Subatlasiques, the interior of stakeholders, including scientists, conservators, infrared-reflected images—clearly visualized and painted decoration was at risk of loss site managers, architects, engineers, art historians, mapped areas of modern repainting. These areas because of the poor condition of the scholars, and the general public. had not been recorded previously, and mapping earthen structure. Imaging methods Until recently, most scientific imaging equip- the distribution of this intervention would have were critical to the development and ment could not effectively or safely be transported been impossible to obtain with point analyses.” implementation of integrated solutions to more challenging environments, such as remote In multi- and hyperspectral imaging, the capa- that both stabilized the architecture archaeological sites. Today, however, many imaging bility of the portable imaging system is extended and preserved the interior painting. In Below: False-color image (on the technologies once available only in a museum labo- by increasing the number of bands across the elec- conjunction with Carleton Immersive right) clearly shows the large area of restoration on the headdress of ratory have been adapted with increasing portabil- tromagnetic spectrum over which images are col- Media Studio, orthographic photo- Tutankhamen’s ka. ity for use in the field. lected. Besides providing images, these powerful elevations of the painted surfaces were “A system that fits comfortably into a backpack, systems facilitate the characterization or identifi- generated from a photogrammetric Opposite, top: Mural, 1943, Jackson Pollock. Oil and casein on utilizing relatively simple and affordable camera cation of pigments and dyes. Combined with large- model using MeshLab, an open source canvas. Gift of Peggy Guggenheim, 1959.6. University of Iowa Museum equipment and filters, and enabling imaging across scale XRF mapping, which offers complementary software, and were used as base images of Art. Reproduced with permission the visible, infrared, and ultraviolet regions of the information in the form of elemental analysis, for condition mapping. from The University of Iowa. Below, in descending order: electromagnetic spectrum, has become a regular these imaging techniques have revolutionized “Tying these two-dimensional con- respective hyperspectral images part of the investigation phase of GCI’s projects in the examination of painted surfaces, providing dition maps to the overall coordinate obtained from absorption bands associated with: cerulean blue remote areas of Egypt, China, and Italy,” says Lori unprecedented insight into the original construc- system of the surveyed site enabled us (cobalt stannate); cobalt blue Wong, a wall paintings conservator and project tion and subsequent deterioration of works of art. to create a three-dimensional model (cobalt aluminate); and silicate (clay-type mineral). The silicate specialist at the GCI. An early example of the combined use of these in which structural conditions, such as material occurred in a water-based Such portability proved especially valuable in two imaging technologies at the Getty was the cracks and other architectural features, economy house paint that Pollock used alongside traditional artist’s work in the Tomb of Tutankhamen, in the Valley study of Jackson Pollock’s Mural (1943, University could be correlated directly with the oil paints. Analysis and images: of the Kings at Luxor in Egypt. Restrictions on of Iowa Museum of Art). Imaging helped answer painted decoration,” says Wong. “These John Delaney, Senior Imaging Scientist, National Gallery of Art, sampling necessitated greater emphasis by the questions about how this large and complex models were an important tool in the Washington, DC. GCI–Ministry of Antiquities project team on painting was created. In collaboration with John assessment, treatment development, Delaney of the National Gallery of Art, the eight- and planning phases of the project and by-twenty-foot painting was imaged using a scan- helped communicate to the structural ning hyperspectral camera, originally designed team how to design and implement sta- for terrestrial remote sensing but modified for bilization measures that avoided fragile examining works of art. Macro-XRF maps of select areas of painting.” areas were collected, which, together with the These advances in three-dimen- hyperspectral images, allowed the research team sional imaging and computational mod- to virtually “unpack” the paint layers, determining eling, utilizing photogrammetry—and, the order in which Pollock laid down the numerous increasingly, laser scanning—allow for overlapping colors and shapes. Without the use better correlation of conditions between of both modes of imaging, this information would the interior and exterior, improve con- have been possible only through the removal of servation treatment design and imple- says Trentelman. “Our current suite can look forward to increasingly por- samples for cross-sectional analysis. mentation, and enhance our ability to of imaging technologies has helped us table and versatile technologies. It will The inclusion of the hyperspectral images and monitor change, such as the widening of carry out our work more efficiently, with be exciting to see those developments XRF element maps in the subsequent GCI–Getty a crack or the increase of delamination increased specificity and accuracy—and, that lie ahead and the new tools they’ll Museum exhibition of Mural proved to be an of an area of painted plaster. crucially, less invasively. It’s the nature provide as the GCI continues to develop extremely engaging means of communicating the “Imaging technologies have proven of technology to advance, with each suc- a range of resources for the conserva- results to the public. Many visitors viewed the to be a great asset in the GCI’s work as cessive development adding new capa- tion field.” painting, moved on to study the imaging results we document, study, investigate, plan, bilities and functions. For the imaging displayed in an adjacent gallery, and then returned treat, and monitor our artistic legacy,” of cultural heritage, this means that we

16 17 REFLECTING ON

YEARS OF POSSIBILITIES

Left: Getty internship alumna technical study of archaeological objects, and the are short-term or project-driven. What is really Sanchita Balachandran. Image history and ethics of art conservation. This change extraordinary about the Getty’s intern program courtesy Marlin Lum, Cultural Heritage Imaging, and the Johns in Balachandran’s career path came down to one is that it has been an ongoing commitment for a Hopkins Archaeological Museum ince 1993, the Getty Foundation has fostered and every year we learn of more who are working professor’s recommendation. quarter century.” 25 Right: Getty internship alumnus careers in museums through its Multicultural in the arts,” says Deborah Marrow, director of “I was an undergrad at Pomona College at the Josh Yiu was an intern at LACMA’s Asian art Josh Yiu. Image courtesy Art Undergraduate Internship program based in the Getty Foundation. “The Getty internships time and pretending to be pre-med and a biology department in 1999 and is now director of the Art Museum at the Chinese University S of Hong Kong Los Angeles. Launched in the wake of civil unrest have opened doors to career possibilities in the major, but secretly wanting to learn more about art Museum at the Chinese University of Hong Kong. in 1992, the program seeks to increase diversity visual arts and museums by providing students history,” says Balachandran. “One of my art history “When I started the Getty internship, my supervi- within the staffs of museums and visual arts orga- with engaged mentors and new professional professors, Mary McNaughton, said to me, ‘you sor emphasized that I wasn’t just another pair of nizations by offering paid internships to outstand- experiences.” should apply for this internship at Scripps College hands. The staff was really invested in me learning ing students of diverse backgrounds who either live As the Multicultural Undergraduate Internship supported by the Getty.’” about objects in the collection and about museum or attend college in Los Angeles County. program celebrates its twenty-fifth year, the Getty Balachandran used her existing studies in work,” says Yiu. “That approach has really stuck Each summer interns gains exposure to career Foundation looks back on how the program has science to pursue a career that focuses on the with me and has informed my own supervi­sion of possibilities at museums and arts organizations affected the lives of participants and where they research and conservation of art objects from the interns over the years.” large and small across greater Los Angeles, from are today. ancient world. Her work as an intern with profes- Yiu also appreciates that his internship gave MOCA, the Hammer Museum, and the Huntington sionals such as Brian Considine, former senior him early insight into the nature of curatorial and the various Getty programs to university art A Path Toward Museum Leadership curator of decorative arts and sculpture at the J. work, providing valuable learning that isn’t usually museums and community-based arts nonprofits. Sanchita Balachandran is associate director of Paul Getty Museum, convinced her that she could a part of college curricula. “People assume that art Graduates of the program now number well over the Johns Hopkins Archaeological Museum and use science as a tool to better understand the history majors are trained to do object research, 3,000 and can be found all over the world and in senior lecturer in the Department of Near Eastern world through art. but only when you start working in a museum do a variety of fields that support art and cultural Studies at Johns Hopkins and was in one of the “The vision of the Getty Foundation in creating you realize it is so much more than stylistic analy- heritage. earliest years of the Getty internship program. this program and having the courage to maintain sis,” observes Yiu. “Now after twenty-five years we are really see- In 1994, Balachandran was on her way to a career long-term focus is very inspiring to me,” contin- Yiu and Balachandran are among a grow- ing the effects of our sustained commitment to in medicine, but had an enduring interest in art ues Balachandran. “I think there are plenty of ing number of former interns pursuing museum the Multicultural Undergraduate Internship pro- and often took art history courses as electives. people who want to address the lack of diversity in careers. Alumni currently hold curatorial, educa- gram—we now have thousands of former interns Today she teaches courses in the examination and many different fields, but often the interventions tion, and programming positions at a number of

18 19 BOOK EXCERPT

flourished, green and blue stones such as jade and turquoise were arguably the most sacred and precious materials, even while gold sources in western and southern Mexico were being exploited by Tarascan and Mixtec metalsmiths, respectively. Everywhere, finely woven tapestry garments and feather works were among the most labor-intensive and highly prized luxury objects of all. This volume, which accompanies the exhibition Golden Kingdoms: Luxury and Legacy in the Ancient Americas, investigates the development of luxury arts from delicate works of shell to bril- liant displays of gold, from approximately 1000 BC to the arrival of Europeans in the early sixteenth century. It follows the progress of gold working across the Americas as it crosses paths with other precious materials, thus offering comparisons between Western notions of luxury, including the primacy of gold, with ancient American beliefs that were at times strikingly different. The authors draw on various markers, from linguistic evidence to archaeologi- cal data, not only to pursue new understandings of valued materials but also to cast light on both the people who transformed them into extraordinary works of art and the patrons who infused them with religious, social, and political significance. At its heart, this book is about how individuals, collectively or independently, made certain aesthetic and material choices about how to express their deepest Left: Getty internship alumnus Edgar beliefs. prominent local and national museums, including “As an alumnus of the Getty Foundation’s Garcia pictured at City Hall LACMA, MOCA, the Detroit Institute of Arts, intern program and a product of this investment in Right: Getty internship alumna Hanna *** the Hirshhorn, and the Guggenheim Museum in diversity, I always feel a personal link to all things Girma at the Mistake Room. New York. Getty in Los Angeles,” says Garcia. “The Getty is so Luxury arts—especially fragile tapestry and feather work, and much part of the DNA of the city’s cultural life, and mutable metals—were particularly vulnerable to the depredations A Path Toward Civic Engagement its resources and programs have allowed me to give of the Spaniards in the colonial period. Luxurious Mesoamerican When Edgar Garcia took on an internship with back in ways that I hope will enrich future genera- books were burned as instruments of the Devil; sumptuous Andean the Los Angeles Conservancy in 1999, he didn’t tions of Angelenos.” textiles were likewise destroyed, either through intentional cam- know that it would shape his career for years to paigns or neglect. Metals, so easily transformed, would be trans- Golden Kingdoms: formed again, to suit new purposes. Pre-Columbian metal objects come. After considering a number of professional A Path Toward That First Break were melted down and cast into ingots for ease of transport and paths afterwards, he always returned to his initial For many interns, their experience is a foot in Luxury Arts in the Ancient trade. The destruction was colossal in scale. Chan Chan, the great passion—protecting and promoting Los Angeles’ the door that can lead to full-time employment. capital of the Chimú culture (AD 1000–ca. 1470) on Peru’s North architectural and historical legacy. Hanna Girma participated in the Getty intern Americas Coast, once famed for its brilliant metalsmiths, was subjected to “The Getty internship was the single defin- program several times, with her last internship Edited by Joanne Pillsbury, Timothy Potts, systematic looting in the sixteenth century: colonial authorities ing experience that shifted my career trajectory in 2016 at The Mistake Room nonprofit gallery granted what amounted to mining rights, which allowed the pillage toward arts management and cultural policy,” says near downtown Los Angeles. The gallery hired and Kim N. Richter of pre-Hispanic tombs, as long as the Royal Fifth—the 20 percent Garcia. “Prior to the program, it had never seemed her as assistant curator after her internship, one of booty owed to the Spanish king—was paid. Most works of Pre- viable only because in my very Mexican upbring- of many examples of how developing connections Columbian art in metal were melted down, yet, extraordinarily, rare In October 1502, Christopher Columbus’s fourth voyage brought survivals have come to light, such as a set of gold and silver goblets ing, a profession was very much only doctor/ through the program can create new opportunities. him to the coast of Central America, specifically to a region he from Chan Chan that somehow escaped the notice of the Spaniards lawyer/engineer. But that summer I met teams of Additionally, many former interns go on to become would later name Costa Rica, or “rich coast.” He bestowed this name in the sixteenth century. These elegant vessels were excavated in the dedicated, smart, savvy, thoughtful professionals supervisors within the intern program, offering because of the exquisite gold ornaments he saw worn by the locals twentieth century, by which time their interest as a connection to who worked toward their culturally oriented goals their experiences and expertise to a new group of who greeted him, works probably similar to the eagle pendants that ancient civilizations outweighed their value as raw material. as much, if not more, than professionals from enthusiastic undergrads. have survived to the present day. The encounter sparked a European These precious works, exceedingly rare testaments to the bril- other sectors. I was hooked.” Girma’s advice for future interns? passion for gold, setting in motion a cascading series of events that liance of ancient American courts and their artists, remind us of the Garcia began working for the City of Los “Take advantage of all the amazing resources resulted in a devastating loss of native traditions and lives. This fragility of cultures. It is in these deeply resonant works, these tan- Angeles, first as the city’s first ever preservation your Getty internship has to offer. Talk to other European obsession for gold and other rare metals perplexed many gible connections to worlds now almost entirely lost to us, that the planner in the Office of Historic Resources, and people in your arts organization and find out what indigenous people, for to them other materials were often of far great imagination and the artistry of ancient Americans live on. greater value. Writing in 1572, the Spanish colonial administrator now as arts and culture deputy for the Office of they do, because there are so many wonderful arts- Pedro Sarmiento de Gamboa, for example, noted that in the Andean This excerpt is taken from the book Golden Kingdoms: Luxury Los Angeles Mayor Eric Garcetti. He works closely related jobs out there that you may not know exist. region of South America, home to the Inca Empire, natives esteemed Arts in the Ancient Americas, published by the J. Paul Getty Museum with arts and culture-aligned city departments, Attend public programs at different institutions, a red shell—almost certainly Spondylus, a spiky bivalve—more than and the Getty Research Institute. © 2017 by The J. Paul Getty Trust. specifically the Los Angeles Public Library, the foster relationships with other Getty interns, and silver or gold. In Mesoamerica, the cultural region that encompasses All rights reserved. Department of Cultural Affairs, and the El Pueblo use your badge to go to museums for free!” the area from what is now Honduras to Mexico, where the great de Los Angeles Historical Monument. Maya city-states and ultimately the powerful Aztec Empire once

20 21 NEW FROM GETTY PUBLICATIONS

Getty Publications produces award-winning titles that result from or complement the work of Making Art Concrete: Making Art Concrete presents works the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute. Works from Argentina and Brazil in the by Lygia Clark, Willys de Castro, Judith These books cover a wide range of fields including art, photography, archaeology, architecture, Colección Patricia Phelps de Cisneros Lauand, Raúl Lozza, Hélio Oiticica, and Rhod conservation, and the humanities for both the general public and specialists. Rothfuss, among others, with spectacular Pia Gottschaller and Aleca Le Blanc new photography. The photographs, along Edited by Pia Gottschaller, Aleca Le Blanc, Zanna with information about the now-invisible Order online at shop.getty.edu Gilbert, Tom Learner, and Andrew Perchuk processes that determine the appearance of these works, are key to interpreting the art- In the years after World War II, artists ists’ technical choices as well as the objects in Argentina and Brazil experimented with themselves. Indeed, this volume sheds fur- Photography in Argentina: Photography in Argentina examines geometric abstraction and engaged in lively ther light on the social, political, and cultural Contradiction and Continuity the complexities of this country’s history, debates about the role of the artwork in underpinnings of the artists’ propositions, stressing the heterogeneity of its realities, society. Some of these artists used novel syn- making a compelling addition to the field of Edited by Idurre Alonso and Judith Keller and especially the power of constructed thetic materials, creating objects that offered postwar Latin American art. photographic images—that is, the practice an alternative to established traditions From its independence in 1810 until of altering reality for artistic expression, an in painting—proposing that these objects Getty Conservation Institute the economic crisis of 2001, Argentina has important vein in Argentine photography. become part of everyday, concrete reality. Getty Research Institute been seen, in the national and international Influential specialists from Argentina have Combining art historical and scientific anal- 152 pages, 9 1/2 × 10 1/4 inches collective imaginary, as a modern country contributed essays on various topics, such ysis, experts from the Getty Conservation 146 color and 1 b/w illustrations with a powerful economic system, a massive as the shaping of national myths, the adap- Institute and Getty Research Institute are ISBN 978-1-60606-529-7, hardcover European immigrant population, an espe- tation of gesture as related to the “disap- collaborating with the Colección Patricia US $39.95 cially strong middle class, and an almost peared” during the dictatorship period, the Phelps de Cisneros, a world-renowned nonexistent indigenous culture. In some role of contemporary photography in the collection of Latin American art, to research ways, the early history of Argentina strongly context of recent sociopolitical events, and the formal strategies and material decisions resembles that of the United States, with its the reinterpreting of traditional notions of of these artists working in the concrete and march to the prairies and frontier ideology, documentary photography in Argentina and neo-concrete vein. the image of the cowboy as a national sym- the rest of Latin America. bol (equivalent to the Argentine gaucho), the importance of the immigrant popula- J. Paul Getty Museum tion, and the advanced and liberal ideas 344 pages, 9 1/2 × 11 inches of the founding fathers. But did Argentine 130 color and 125 b/w illustrations history truly follow a linear path toward ISBN 978-1-60606-532-7, hardcover modernization? How did photography help US $55.00 shape or deconstruct notions associated First Exposures: of material includes not only all the chemi- with Argentina? Writings from the Beginning of Photography cal and technological details of the various processes but also contracts, speeches, Edited by Steffen Siegel correspondence of every kind, arguments, parodies, satires, eulogies, denunciations, An exact date for the invention of pho- journals, and even some poems. Illuminating Women in the Medieval World demonstrates the ways in which female art- tography is evasive. Scientists and amateurs Revealing through firsthand accounts the ists, authors, and patrons were instrumental alike were working on a variety of photo- competition, the rivalries, and the parallels Christine Sciacca in the creation of illuminated manuscripts. graphic processes for much of the early nine- among the various practitioners and theo- Featuring over one hundred illumina- teenth century. Thus most historians refer rists, this book provides an unprecedented When one thinks of women in the Middle tions depicting medieval women from to the year 1839 as the “first” year of pho- way to understand how the early discourse Ages, the images that often come to mind England to Ethiopia, this book provides a tography, not because the sensational new around photographic techniques and pro- are those of damsels in distress, mystics in lively and accessible introduction to the lives medium was invented then, but because that cesses transcended national boundaries convents, female laborers in the field, and of women in the medieval world. is the year it was introduced to the world. and interconnected across Europe and the even women of ill repute. In reality, how- After more than 175 years, and for United States. ever, medieval conceptions of womanhood J. Paul Getty Museum the first time in English, First Exposures: were multifaceted, and women’s roles were 120 pages, 7 x 9 inches Writings from the Beginning of Photography J. Paul Getty Museum varied and nuanced. Female stereotypes 120 color illustrations brings together more than 130 primary 448 pages, 6 1/4 x 9 1/4 inches existed in the medieval world, but so too did ISBN 978-1-60606-526-6, hardcover sources from that very year—1839—subdi- 57 b/w illustrations women of power and influence. The pages US $24.95 vided into ten chapters and accompanied by ISBN 978-1-60606-524-2, paper of illuminated manuscripts reveal to us the fifty-three images of significant visual and US $65.00 many facets of medieval womanhood and historical importance. slices of medieval life—from preoccupations This is an astonishing work of dis- with biblical heroines and saints to court- covery, selection, and—thanks to Steffen ship, childbirth, and motherhood. While men Siegel’s introductory texts, notes, and after- dominated artistic production, this volume word—elucidation. The impressive range

22 23 NEW ACQUISITIONS

Research Institute. “We are delighted to continue to add to these collections Renaissance Important Concrete Poems with the acquisition of important works by Ian Hamilton Finlay and Masterpiece by Add to the Getty’s Rich Augusto de Campos. Additionally, we were thrilled to give our audiences the Parmigianino Collections of Avant-Garde opportunity to experience these poems in person, and in context, in the recent concrete poetry exhibition.” The J. Paul Getty Museum has acquired Poetry and Graphic Design Virgin with Child, St. John the Baptist, and Mary Ian Hamilton Finlay Magdalene (about 1530–1540) by Parmigianino The Getty Research Institute has “The Getty Research Institute has Ian Hamilton Finlay (Scottish, 1925– (Italian, 1503–1540), one of the most celebrated acquired a suite of prints, a folded exceptionally strong holdings in visual 2006) was an experimental poet and painters of the Italian Renaissance. Astonishingly paper poem, and an artist’s book by the and sound poetry; it is a fertile area artist who is best known for his cel- well-preserved, the painting is a supreme example Scottish artist and poet Ian Hamilton of research that intersects with our ebrated Little Sparta, a garden outside of the artist’s mature Mannerist style and repre- Finlay, as well as a 3D “cubepoem” by collections of artists’ books, prints, of Edinburgh comprising a landscape sents sixteenth-century painting at its finest. the Brazilian artist and poet Augusto and postwar archives,” says Thomas of poetry inscribed on wood and The painting is documented in the famed de Campos. W. Gaehtgens, director of the Getty stone. This self-described “AVANTE- Barberini collection in Rome in the mid-seven- GARDEner” was one of the world’s teenth century and has in recent decades hung at leading proponents of concrete poetry. Sudeley Castle in Gloucestershire, England; for In the 1960s, Finlay developed an several years it was on loan to the National Gallery, approach to poetry that, while unique, London, and last Spring it was briefly on display at shared affinities with the minimalist the Getty Museum. verbal language and spatial structures Francesco Mazzola, better known as of the Swiss poet Eugen Gomringer Parmigianino—a nickname derived from his native and the Brazilian poets Haroldo and town of Parma—is one of the greatest Italian paint- Augusto de Campos. ers, draughtsman, and printmakers of the sixteenth From the 1960s until his death, century. During a career that lasted only two Finlay collaborated with graphic decades, he executed a wide range of work, from designers and visual artists to make small panels for private devotion, to large-scale distinctive printed poems that cre- altarpieces and frescoes, to brilliantly executed atively employ color, scale, and typog- portraits. Few painters had a greater influence on raphy. He also published his own works the art of their century, and his intellectual and and the works of other concrete poets. elegant style spread far and wide, despite his very devotion, the intimate religious subject exhibits Above: Virgin with Child, St. John the Baptist, and Mary Magdalene, brief life. Parmigianino’s characteristic polished and enamel- about 1530–1540, Parmigianino Augusto de Campos Typically for the artist, the iconography is like paint surface and exquisitely rendered details; (Francesco Mazzola). Oil on paper, Along with his brother Haroldo de mounted on panel. The J. Paul unconventional: the Virgin and Child are separated the lush landscape, elaborate hairstyles of the two Getty Museum Campos (Brazilian, 1925–2003) and from one another; she reaches across to clutch women, interplay of hands, and still life with the his friend Décio Pignatari (Brazilian, Opposite: Broken/Heartbroken, him by the wrist, but he turns away to converse jewels of Mary Magdalene enhance the transcen- Lithograph from The Blue and 1927–2012), Augusto de Campos with and embrace his young cousin, St. John the dent beauty of the composition. Parmigianino exe- the Brown Poems (New York: (Brazilian, b. 1931) founded the liter- Atlantic Richfield Company & Baptist, whose hands are joined in prayer. Between cuted the painting on paper laid down on panel, a Jargon Press, 1968), Ian Hamilton ary magazine Noigandres and was, like them is a young woman with beautifully coiffed unique feature in his surviving work, and one which Finlay. Getty Research Institute, Finlay, central to the international Los Angeles (2016.PR.36). By but partially unbound flowing locks, who is sup- reflects his accomplishment as a draughtsman. courtesy of the Estate of Ian community of concrete poets. Working porting the Christ Child under her arms; she is The painting complements a number of Hamilton Finlay independently, Finlay and Augusto Mary Magdalene, although in the older literature the Getty’s existing Italian Renaissance paint- became aware of one another’s poetry on the painting she was often misinterpreted as St. ings, including Head of Christ (about 1530) by in the early 1960s and were known to Catherine of Alexandria. Her true identity is estab- Correggio (about 1489–1534), The Rest on the share a mutual admiration. In later lished by the foreground still life, which includes a Flight into Egypt with St. John the Baptist (about years, Finlay focused on his garden, string of pearls and a stiletto of the sort used in the 1509) by Fra Bartolomeo (1472–1517) and works while Augusto produced digital anima- preparation of one’s toilette, and also by the repre- by Giulio Romano (before 1499–1546), Sebastiano tions of his poetry by projecting verbal, sentation of her ecstatic bodily assumption in the del Piombo (1485–1547) and Jacopo Pontormo visual, and sonic components on walls upper left of the composition. Intended for private (1494–1557). and screens.

24 25 FROM THE IRIS

your eye follows them across or down. image, we can just pick out the wings of crucial contributions to the books.” The same poem can also reappear in an airplane, and possibly the wheels and Natalia Goncharova and Olga Rozanova different books, taking on a different the tracks of a train—but where is the were the two leading female artists of character with a new page layout, script, man? What is the meaning of his death? the Futurist book form. and images and inviting the reader to And how does this image function in the interpret it anew. context of Vzorval’, a book that refer- The Still-Forgotten Avant-Garde? One of the major works of Russian ences guns, bombs, and suicide? Despite the radical innovations of Futurist book art, Mirskontsa Futurist book art, it was marginalized (Worldbackwards), embodies this zaum Penniless and Provocative in the West until the early twenty-first concept. “The book is all about the world Russian Futurist books were the prod- century, when the Museum of Modern upside down; the world going backwards, uct of intense collaboration among a Art in New York organized a large exhi- the world in reverse, the world that is no small group of artists who referred to bition of Russian avant-garde books. longer linear or legible,” Perloff says. themselves as “speechists” and “hand- Historical and personal factors are A collaboration among paint- writing artists,” rather than “poets” partly to blame for the neglect: World ers Natalia Goncharova and Mikhail and “painters.” War I, followed by decades-long Soviet Larionov and poets Alexei Kruchenykh Most of the artists were in their repression beginning in the late 1920s, and Velimir Khlebnikov, Mirskontsa was 20s, itinerant, and frequently pen- ensured that these books were little published in an edition of 220 copies. niless. Velimir Khlebnikov lived as a known outside the USSR. Personal fac- Every cover is different, and sometimes vagabond, carrying his manuscripts tors contributed, too: Khlebnikov died a poem is in a different place from book in pillowcases. Unlike the modernist of typhus at 36, Kruchenykh quit writ- to book, or not included at all. On the heroes of the West, many of the Russian ing, and others in their circle emigrated Getty’s copy, Goncharova pasted a green Futurists came from working-class or took up new careers. Yet, through paper cutout in the shape of a flower families or from the countryside, not pathways that are still not entirely clear, that she deliberately extended beyond from the urban bourgeoisie. The artists the Russian Futurist books survived to Different sizes, colors, styles: Russian Futurist books Te li le and Vzorval' (first edition) the book’s edge. Copies at the Museum had a public profile nonetheless, espe- influence later generations of poets and of Modern Art, by contrast, have black cially when they arrived in the cities artists. And their spirit lives on today in and marbleized papers evoking a flower of Moscow and St. Petersburg, where radical zine collectives. and an abstracted human figure. “She they attended exhibitions and public Art historian Nancy Perloff, curator of modern and con- was playing with what happens when the debates, performed poetry, advertised The Collaborative, temporary collections at the Getty Research Institute, has shape differs, when the material differs,” and sold their books, and met up at St. Cover of Mirskontsa (Worldbackwards) by Natalia Goncharova, 1912. The Getty spent the last fifteen years studying the Russian avant-garde, Perloff explains. Petersburg’s famed Stray Dog Cabaret. Research Institute, 88-B27486 and her recent book, Explodity: Sound, Image, and Word in Collage was a favorite technique of They were known to provoke—throw- Interactive Book Russian Futurist Book Art, is the first work of scholarship several of the Futurists because “it is ing hot tea from the stage, for example. to offer a close reading of these books as “verbivocovisual” about juxtaposition, and the books are They also specialized in drawing sym- Art of the Russian objects, whose meaning derives from the interplay of image, similarly about a juxtaposition of imag- bols and abstract designs on their faces text, and sound. She bases her study on the remarkable col- ery, sounds, and calligraphy from page to and walking the street. “It must have lection of Russian modernist books held in the library of the page,” Perloff points out. “Collage repre- been shocking,” Perloff comments. Futurists Getty Research Institute. sents the idea of splicing our normal way “They were bringing art to the streets— of reading and viewing texts and images.” which is interesting because their For a few short years in the second decade of the twentieth The World Upside Down Throughout their pages, Russian poetry and books are not for the streets.” century, a group of artists in Russia created a new art form: The small scale, rough design, and coarse materials of Russian Futurist books juxtapose words, shapes, At the center of the circle was Alexei books meant to be read, looked at, and listened to. Artists had Futurist books mocked the luxurious journals produced by colors, and images in unexpected and Kruchenykh, whom Perloff describes long made books as art, but these were different—handmade, the Russian Symbolists, which were large, opulent, and some- often puzzling ways. On the cover of the as “the impresario of Russian Futurist hand-sized, serial, interactive. Combining sound poetry with times adorned with gold leaf. The Futurist design, as well as book Te li le, for example, Olga Rozanova book art.” Kruchenykh was respon- lithography and rubber stamping, the books were collabora- the mix of hand-drawn forms and sound poems, embodies the pairs an apocalyptic scene of chimneys, sible for the books’ design, scale, and tive in their making and in their relationship with the reader. concept of zaum (beyond the mind)—nonsensicality and non- smoke, and collapsing skyscrapers with materials. “My sense from studying Russian Futurist books are small, some no larger than linearity, sometimes heightened with foreboding, lyricism, a lyrical, flowing title in redemptive these books as carefully as I have is that postcards. Their paper and design are deliberately coarse; or eroticism. The most famous zaum poem, “Dyr bul shchyl,” purple and blue. And what should we Kruchenykh oversaw the collaboration each page of the book differs slightly in size and is bound with says Perloff, sounds “like it is emerging from the depths of a make of a full-page lithograph in the and produced the books. He played a ordinary staples. The books incorporate found papers, such primitive world.” book Vzorval’ (Explodity) by Kazimir very important, and — in the West at as wallpaper and imitation gold leaf, and feature collages and Reading zaum books is a participatory experience: some Malevich, labeled “Death of a man least — a still underrecognized role.” childlike stamping. Titles exist in small editions of fifty to over pages require you to rotate the book to read the text; others simultaneously in an airplane and on Women played a role equal to that 200, and often involve subtle variations from book to book. invite multiple readings of the letters depending on whether the railroad”? In this highly abstracted of men in Russian Futurism and “made

26 27 GETTY EVENTS

President’s Dinner On May 1, Getty President Jim Cuno and members of the board of trustees hosted a special dinner to honor donors and celebrate their generous support. Guests included Getty Patrons, corporate sponsors, individual donors, as well as council members from the Getty’s support groups: President’s International Council, J. Paul Getty Museum Director’s Council, Getty Conservation Institute Council, Getty Research Institute Council, and Museum Councils for Drawings, Paintings, Photographs, and the Getty Villa.

1. Deborah McLeod; Andrew Perchuk, deputy director of

the Getty Research Institute; and Joanne Heyler 1 5 6 2. J. Paul Getty Museum Director Timothy Potts, Jeffrey Cunard, and Getty Trustee David Lee 3. Eva Zhao, Li Lu, Elizabeth Siegel, Getty Trustee Mark Siegel, Brandy Shea Sweeney, Getty Board of Trustees Chair Maria Hummer-Tuttle, Molly Munger, and Stephen English 4. Susan Steinhauser and Daniel Greenberg 5. Janice Pober, Louise Bryson, and Keith Weaver 6. Michael Hawley, Elizabeth Poncher, and Jan de Bont 7. Luis Li, Georgia Spogli, and Stephen Clark, Getty vice president and general counsel 8. Catherine Glynn Benkaim and Barbara Timmer 9. Getty President Jim Cuno 10. Otto Santa Ana, Getty Trustee Thelma Meléndez de Santa Ana, and Ambassador and Getty Trustee Ronald P. Spogli 2 7 8

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28 29 GETTY EVENTS

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Jane and Louise Wilson Reception A reception held on April 20 honored artists and twin sisters Jane and Louise 17 18 Wilson after they presented a lecture on their work. The event was generously Inaugural Patron Program Receptions underwritten by Sir Mark Fehrs Haukohl and Gregory Keever, who also supported The Getty launched its Patron Program with two receptions this the Wilsons’ Sealander exhibition at the spring. On April 19, J. Paul Getty Museum Director Timothy Potts J. Paul Getty Museum. hosted a sunset reception featuring a performance by the Four Larks at the Getty Villa. On May 16, Getty Board of Trustees Chair 11. David Bohnett, Sir Mark Fehrs Haukohl, Maria Hummer-Tuttle and Potts hosted a reception and tour of and J. Paul Getty Museum Associate the exhibition Eyewitness Views: Making History in Eighteenth- Director of Collections Richard Rand Century Europe. 12. Jane Wilson, J. Paul Getty Museum 17. Weston Naef, Charlotte M. Frieze, and Peter C. Jones Director Timothy Potts, and Louise Wilson 18. J. Paul Getty Museum Director Timothy Potts and Getty Patrons 13. Sir Mark Fehrs Haukohl and 13 14 19 Manfred Heiting 19. Dr. Eugene Epstein, Carol Epstein, Dr. Edwin Cooper, and Helene Cooper 14. Annette Blum and Gregory Keever 20. Coralyn Taylor and Getty Trustee Peter Taylor 15. William Orbit and Jane Wilson 21. Dr. Lidia Rubinstein and Dr. Eduardo Rubinstein 16. Anneke de Bont, Trish de Bont, and Kathy Suder

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30 31 GETTY EVENTS CORPORATE PARTNER SPOTLIGHT

PHG Consulting PHG Consulting believes that PHG Consulting, a premier firm in the being a good corporate citizen means travel and hospitality industries, is a promoting a global environment of valued member of the Getty’s Corporate tolerance, generosity, and awareness. Partner Program. “Curating a partner- The company is proud to participate in ship with the Getty is an exciting oppor- GIFTTS, a program founded by its sister tunity for PHG Consulting,” says Ken company Preferred Hotels & Resorts Mastrandrea, the firm’s COO. that encourages its global network to This past spring, PHG Consulting take the meaning of genuine hospitality hosted a travel trade luncheon and beyond its front doors by giving back private tour at the Getty Center. As a to local communities. “We believe the Corporate Partner, the firm was able work the Getty does in research, educa- to offer this customized experience to tion, and conservation of the arts brings travel industry professionals as they together the four corners of the world,” introduced them to the destination of says Mastrandrea. “We look forward to a Suzhou, China. The company felt that long, successful partnership.” the aesthetics of the Getty, especially its “exceptional gardens,” provided a rel- To learn more about the Getty’s 22 23 evant point of comparison for the classi- Corporate Partner Program, visit getty.edu/about/development Francis Ford Coppola: The Godfather Notebook cal gardens of Suzhou.

PHG Consulting recently hosted a meeting at the Getty to promote tourism in Prior to attending Francis Ford Coppola’s discus- Suzhou, China, pictured above. sion of The Godfather Notebook with film critic Elvis Mitchell, many friends and supporters of the Getty gathered together on December 1 for a special reception.

22. Elvis Mitchell and Francis Ford Coppola 23. Paul Balson and Anissa Balson JOIN THE GETTY PATRON 24 PROGRAM Aspen Institute Rodel Fellows Reception On April 21, Los Angeles Mayor Eric Garcetti hosted a reunion reception for Aspen Institute Rodel Fellows. Forty guests, including mayors When we combine our efforts with your and other local officials who had participated in support, the result is extraordinary. As the fellowship, previewed the Getty Research a Patron, you’ll receive special benefits Institute exhibition Berlin/Los Angeles: Space that will bring you closer than ever to for Music. the Getty.

24. Rob McKenna, Bob Ferguson, Rod Dem- Your gift will help us to take our exhibi- bowski, Leirion Gaylor Baird, Eric Garcetti, tions and special initiatives to new Sally Clark, and Reagan Dunn heights, while engaging and educating 25. Mayor Eric Garcetti, Curator of Architecture audiences of all ages. Maristella Casciato, and Digital Humanities Specialist Emily Pugh Learn more at getty.edu/supportus

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32 33 EXHIBITIONS FROM THE VAULT

purchases of paintings were made by MOMA and the Guggenheim with Right: Octopus Frontlet, important shows at the Jeu de Paume in AT THE Moche culture, Peru, AD 300–600. Gold, chrysocolla, 1955 in Paris and the Phillips collection GETTY shells. Courtesy of the Museo de la Nación, Ministerio de in Washington, DC in 1958. The archive CENTER Cultura del Perú. On view in documents the impressive numbers of Golden Kingdoms: Luxury curators, writers, and critics who have and Legacy in the Ancient Americas written on Francis or curated exhibi- tions, among them Peter Selz, Pontus Far right: Objeto ativo (cubo vermelho/branco), Active Hultén, Betty Freeman (whose book Object (red/white cube), 1962, Willys de Castro was never published), and Ruth Fine, (Brazilian, 1926–1988), oil The Metropolis in Latin America, who wrote on Francis’ graphics. The on canvas and plywood. The Museum of Modern Art, 1830–1930 critic Clement Greenberg included New York, promised gift of September 16, 2017–January 7, 2018 Francis in his group show, Post-Painterly Patricia Phelps de Cisneros through the Latin American Eyewitness Views: Making History in Abstraction, at LACMA in 1964; fur- and Caribbean Fund in honor Photography in Argentina, Eighteenth-Century Europe ther details can be found in the GRI’s of Tomás Orinoco Griffin- Through July 30, 2017 Cisneros, 1997.127. Image 1850– 2010: Contradiction Greenberg archive. courtesy Walter de Castro. On and Continuity Returning to Los Angeles, living on view in Making Art Concrete: September 16, 2017–January 28, 2018 Thomas Annan: Photographer of West Channel Road in Santa Monica, Works from Argentina and Brazil in the Colección Glasgow Francis came back, like so many artists, Patricia Phelps de Cisneros Golden Kingdoms: Luxury and Through August 13, 2017 Sam Francis working in his studio, November, 1989. Photo: Jerry Sohn. Gift of the Estate of Samuel L. Francis. Research Library, The Getty Research Institute. because of the perfect light. The archive Legacy in the Ancient Americas follows Francis’ contributions to the September 16, 2017–January 28, 2018 Now Then: Chris Killip and the Making local art scene. He published Pasadena of In Flagrante Box as a fundraiser for the Art Alliance of Making Art Concrete: Works from Through August 13, 2017 The Sam Francis Archive the Pasadena Art Museum when Walter Argentina and Brazil in the Colección Hopps was its director. In the sixties, Patricia Phelps de Cisneros Illuminating Women in the Medieval The GRI’s special collections on for our collections of works on paper, Francis connected with the next genera- September 16, 2017–February 11, 2018 World southern California art and architec- the archive includes a few of Francis’ tion of LA artists: Ed Ruscha, Ed Moses, Through September 17, 2017 ture were prominently featured in the oversize brushes which could be taken Billy Al Bengston, Ken Price, and Larry first (2011–2012) Pacific Standard Time for mops. Bell. Turning to artists’ books, in 1964 Happy Birthday, Mr. Hockney exhibitions on mid-century art in Los In the fifties Francis went to Francis published 1 Cent Life collabo- Through November 26, 2017 Angeles. One of the first SoCal artists’ live in France. He became friendly rating with Walasse Ting in Japan. In archives to enter the collections was with Matisse’s son-in-law, the critic 1970 Francis established the Litho Shop, The Birth of Pastel Sam Francis’ in 2003. At this time the Georges Duthuit; he later exhibited focusing on printmaking in addition Concrete Poetry: Words and Sounds in Through December 17, 2017 only other local artist whose archives at the French artist’s son’s Pierre to painting. Based in Santa Monica, he Graphic Space were at the GRI was Robert Irwin, who Matisse Gallery in New York. Francis’ traveled frequently to Europe as well as Through July 30, 2017 Greek and Roman Sculpture from the designed the Getty Garden. Following circle included fellow artists Alberto to Japan and China where he exchanged Santa Barbara Museum of Art the donation of Francis’ archive by his Giacometti, Michel Tapié, Max Ernst, ideas with contemporary artists abroad. Berlin and Los Angeles: Ongoing estate, we launched into collecting the and his wife Dorothea Tanning. By In 1984 Francis became an art Space for Music art of southern California. the mid-fifties Time magazine called publisher, founding the Lapis Press Through July 30, 2017 J. Paul Getty Life and Legacy Born and educated in northern Francis the “hottest American painter with the writer Jan Butterfield and Ongoing California, Francis took up water- in Paris;” in New York he showed renowned printer and typographer Jack colors during his recuperation from very large canvases at the fashionable Stauffacher. Lapis published critical a plane accident in 1944. He studied Martha Jackson Gallery. editions on art and literature by art- in San Francisco with David Park, Correspondence in the archive con- ists and critics such as Robert Irwin, and returned to his alma mater at cerning Francis’ exhibition schedules Jean-François Lyotard, Pontus Hultén, AT THE The Getty Villa is undergoing exciting changes, including a reinstallation of the University of California, Berkeley to reveals that his work was increasingly including Brian Doherty’s classic Inside collection, special loan objects from other ancient cultures, and the expansion of study painting. His interests veered popular, shown in American, European, the White Cube (1986), as well as deluxe GETTY exhibition and family spaces. During this time, various galleries and outdoor spaces toward surrealism and abstract expres- and Japanese galleries and museums. artists’ books by Ed Ruscha, Richard VILLA will be closed. Visit getty.edu/villa2018 for updates. sionism, but his characteristically The GRI’s collections of European Long, Joe Goode, and William Wegman. energetic painting in saturated primary gallery and dealer archives, such as The generous donation of the Sam Roman Mosaics across the Empire colors, especially blue, was in evidence the Galleria dell’Ariete in Milan, chart Francis archive was accompanied by a Through January 8, 2018 by the end of the forties. Unusually his presence on the continent. Major complete set of Lapis Press publications.

34 35 NON-PROFIT ORGANIZATION US POSTAGE PAID LOS ANGELES, CA PERMIT NO. 32365

INSIDE Frank Gehry Acquisition THIS ISSUE The Making of an Argentine Photography Exhibition

The Power of Technical Imaging

25 Years of the Multicultural Undergraduate Internship

Gauchito Gil. Buenos Aires, 2009, print 2015, Marcos López. Hand- colored inkjet print. Courtesy of Rolf Art & Macos López. © Marcos López. See page 10 to learn more.

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