DOCSLIB.ORG

Chinati Foundation Newsletter Vol10 Newsletter Foundation Chinati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chinati Foundation Newsletter Vol10 Newsletter Foundation Chinati ChinatiFoundation newsletter vol10 Chinati Foundation newsletter vol10 MARIANNE STOCKEBRAND we went to their place out of town yo en cuanto a las artes. Tenía muchos in the boonies and stayed there in estudios y leía mucho. Hicimos un par our tents. We had individual tents. It de viajes a Los Angeles y lugares así. Una was fun. On our way back to L.A. we Siempre estaba comprando libros. Creo MARIANNE STOCKEBRAND stayed with Larry Bell. que tenía que mudarse con frecuencia conversación porque se le acababa el espacio para MS: You must have known Dan Flavin. sus libros. Le encantaban. Una de las A Conversation J W: I knew Flavin before Don. I met primeras cosas que adquirió cuando comenzó a comprar terreno en Texas fue con John Wesley him again through Mario Irisari. Fla- with vin was very available; he was al- una biblioteca. Muy apropiado. ways at exhibitions. MS: Mencionaste tu viaje con Don a Los John Wesley MS: ¿Cuándo y cómo se conocieron tú y MS: He was more social than you and Angeles y Baja California. ¿Fueron solos Don Judd? Don? ustedes dos? J W: Durante mucho tiempo en la Calle J W: I guess that’s the word for it. J W: Sí, lo pasamos muy bien. Ir a cual- MS: How and when did you and Don 19 Judd vivía en la puerta al lado. Mario MS: You must have seen his first exhi- quier parte con Don era siempre intere- Judd meet? Irisari, un artista y amigo mutuo, nos bition with the boxes. sante. Visitamos varios lugares. Parecía J W: We were living next door to each presentó, diciendo “ustedes dos se van J W: Yeah, the boxes and then later saber mucho acerca de los Estados Uni- other for quite a while—on 19th a llevar muy bien”. Me hizo un gran the lights. But that transition took a dos. Fue una experiencia educativa. En Street. Mario Irisari, a mutual friend favor. while. First it was just these painted Baja California visitamos a los Espinoza and artist, introduced us by saying MS: Obviamente el favor era para boxes which were quite unusual, but y vivimos con ellos por un tiempo. Tenían “You guys are really going to like hospedaje para gringos. Luego fuimos each other.“ He did me a favor. a un lugar que tenían en el quinto pino MS: Obviously the favor was to both y acampamos con carpas. Cada quien JOHN WESLEY of you since you remained friends tenía su carpa. Estuvo muy bien. De re- for life. greso nos quedamos con Larry Bell. J W: And none of us remained friends with poor Mario. He was an in- MS: Debiste conocer a Dan Flavin. teresting guy, originally from the J W: De hecho conocí a Flavin antes Philipines. que a Don. Lo conocí de nuevo por MS: Where and when did you first medio de Mario Irisari. Flavin estaba meet? muy disponible; siempre estaba en las J W: I invited Don to my studio; we exhibiciones. were neighbors. This was before my MS: ¿Flavin era más sociable que tú y show at Elkon Gallery. Don? MS: How and where did you typically J W: Pues yo creo que ésa es la palabra. get together? MS: ¿Viste su primera exhibición, con J W: I would go by his apartment, it las cajas? was very close, with whoever I was J W: Sí, las cajas y luego las luces. Pero with, and visit. esa transición se tardó un poco. Primero MS: What did you talk about? eran sólo las cajas pintadas, bastante J W: Movies. Obscure historical inusuales, pero todavía no eran obras events. We didn’t talk about girls. maduras de Flavin. MS: Did you find him funny? MS: ¿Lo conociste muy bien? J W: Yeah. I think that he found me J W: Él y [su esposa] Sonia tenían un funny, too. I always knew that he had auto que Don no podía manejar, por- a bit more of a background than I ambos, porque la amistad duró toda they weren’t fully Flavins yet. que era demasiado nervioso para ma- did in the subject of the arts. He was la vida. MS: How well did you know him? nejar. Me prestaron el carro para llevar an educated man already. He read J W: Y ninguno de nosotros mantuvo J W: He and Sonia (Flavin) had a car unas cosas a la galería. Pude ayudarle a lot. We made a couple of trips to amistad con el pobre Mario. Era un tipo that Dan couldn’t drive. He was too a transportar unas cosas. Nuestra rela- L.A. and places like that. He was interesante, originario de Filipinas. nervous to drive a car. I borrowed ción parecía estar ligada a ese carro. Él always buying books. I think that MS: ¿Dónde se encontraron por primera the car to take things to the gallery. a mí me caía muy bien; era una persona he had to keep moving because he vez? I was able to help him move some muy especial. Se llevaba bien con Don, ran out of space for books. He was J W: Yo invité a Don a mi estudio; éramos things. Our relationship seemed to y eso me dio gusto. No sé por qué. Yo a book person. One of the first things vecinos. Esto fue antes de mi exhibición have to do with this car. I thought he no patrocinaba a ninguno de los dos, he acquired when he started buying en la Galería Elkon. was great. He was somebody very pero me pareció muy apropiado. Por property in Texas was a library. Very MS: ¿Dónde y cómo acostumbraban special. He and Don hit it off and I un tiempo eran Flavin y Judd, los dos appropriate. reunirse? was pleased by that. I don’t know nombres iban juntos, y eso parecía muy MS: You mentioned your trip with Don J W: Yo iba a su apartamento, que estaba why. I wasn’t sponsoring either of apropiado en vista de lo que estaban to Los Angeles and Baja California. muy cerca, con quienquiera que yo estu- them, but it seemed like the proper haciendo. También, los dos eran inte- Was it just the two of you? viera, y lo visitaba. thing. They became Flavin and Judd lectuales en otro sentido. Ambos po- J W: Yeah, that was nice. Going MS: ¿De qué hablaban? for a while. The two names were dían hablar del arte, y yo no. Nunca lo anywhere with Don was always J W: De películas. Acontecomientos his- together. It seemed very appropri- intenté. Ellos tenían los conocimientos y interesting. We made side trips. He tóricos poco conocidos. No hablábamos ate for what they were doing. Also, el vocabulario necesarios. seemed to already know a lot about de muchachas. they were both intellectuals in another America. It was educational. In Baja MS: ¿Te parecía una persona divertida? sense. They could both talk about art, MS: ¿A qué otros artistas conocías en we went to the Espinozas’ place. We J W: Sí. Creo que él me encontraba di- which I couldn’t. I never tried. They este tiempo? ¿Claes Oldenburg? lived with them for a while. They had vertido también. Yo siempre sabía que had the knowledge and the vocabu- J W: Nunca lo conocí en ese sentido. Nos rooms for gringos to stay there. Then Judd tenía un poco más de cultura que larly. conocimos porque exhibimos juntos 1 MS: Which other artists did you know cuando yo apenas comenzaba. Nos MS: When did you make the decision hacer. No tenía otras aspiraciones. No at the time? Claes Oldenburg? metieron en las mismas exhibiciones to become an artist? tomé una decisión en cuanto a ganarme J W: I never knew him in that way. He de Arte Pop. Fue un poquito rebuscado, J W: Oh, I think that that was always the la vida. No había otra forma. De todos was also somebody I met very early porque la misma gente estaba en todas only thing that I could do. I had no oth- modos, no tenía otra manera de ganar- because we had shows together las exhibiciones de Arte Pop. er ambitions. I didn’t make a decision me la vida. when I was first starting out. We MS: ¿Qué te pareció eso? about making a living. I had no other MS: ¿Cuándo te diste cuenta de que tu were thrown into Pop art shows to- J W: Bueno, estuvo bien. Me dio gusto way to make a living anyway. obra era arte? gether. Sort of contrived; all of the figurar en exhibiciones en la cuales de MS: When did you realize that your J W: No estoy seguro. En un momento Pop art shows had the same people otra manera no habría sido incluido. work was art? dado se me ocurrió que éste era mi in them. Aproveché la oportunidad. J W: I’m not sure. Something occured camino. Miré a mi alrededor y dije: “la MS: How did you feel about that? MS: ¿Cómo te sentías cuando te compa- to me that this was the way to go. I gente hace esto para ganarse la vida”, J W: Oh, it was all right with me. I was raban con Lichtenstein? looked around and said, “people are como quien dice. happy to be in shows that I wouldn’t J W: Pienso en él como mi destino, mi doing this for a living,“ so to speak. MS: ¿Estás diciendo que no pensabas have been in otherwise.
Load more

Recommended publications
  • Fall 2000 the Wallace Stevens Journal
    The Wallace Stevens Journal Special Issue: Stevens in Late 20th-Century Culture A Publication of The Wallace Stevens Society, Inc. Volume 24 Number 2 Fall 2000 The Wallace Stevens Journal Volume 24 Number 2 Fall 2000 Special Issue: Stevens in Late 20th-Century Culture Edited by Angus Cleghorn Contents Charles Baxter, August Kleinzahler, Adrienne Rich: Contemporary Stevensians and the Problem of “Other Lives” —Stephen Burt 115 Mark Strand’s Inventions of Farewell —Christopher R. Miller 135 Wallace Stevens, Armand Schwerner, and “The The” —Norman Finkelstein 151 Wallace Stevens and A. R. Ammons as Men on the Dump —Gyorgyi Voros 161 Wallace Stevens’ “Second Selves”and the Nostalgia of Discursiveness —Willard Spiegelman 176 Wallace Stevens’ Influence on the Construction of Gay Masculinity by the Cuban Orígenes Group —Eric Keenaghan 187 The Theoretical Afterlife of Wallace Stevens —Anca Rosu 208 Poems 221 Reviews 225 News and Comments 228 Cover Art from “The Man on the Dump” Charcoal drawing by Alexis W. Serio The Wallace Stevens Journal EDITOR John N. Serio POETRY EDITOR ART EDITOR BOOK REVIEW EDITOR H. L. Hix Kathryn Jacobi George S. Lensing EDITORIAL ASSISTANTS EDITORIAL BOARD Thomas O. Hodgson Milton J. Bates A. Walton Litz Maureen Kravec Jacqueline V. Brogan James Longenbach Hope Steele Robert Buttel Glen MacLeod Eleanor Cook Marjorie Perloff TECHNICAL ASSISTANTS Alan Filreis Joan Richardson Richard Austin B. J. Leggett Melita Schaum Claudette J. VanEss George S. Lensing Lisa M. Steinman The Wallace Stevens Society, Inc. PRESIDENT ADVISORY BOARD John N. Serio Milton J. Bates Joseph Duemer Owen E. Brady Kathryn Jacobi Robert Buttel George S.
    [Show full text]
  • Gail Roberts
    Gail Roberts EDUCATION 1974 M.A., University of New Mexico, Albuquerque, NM 1973 Fellowship, Yale University Summer School of Music and Art, Norfolk, CT 1973 B.F.A., University of New Mexico, Albuquerque, NM SELECTED SOLO EXHIBITIONS 2013 Spiral, New Paintings by Gail Roberts, Scott White Contemporary Art, La Jolla, CA 2011 Entanglement, Carnegie Museum, Oxnard, CA Entanglement, Luis De Jesus Los Angeles, Santa Monica, CA 2010 Appellations, Gail Roberts & Sondra Sherman, Athenaeum Music & Arts Library, La Jolla, CA Gail Roberts & David Adey, Art San Diego Contemporary Art Fair, sponsored by San Diego Visual Arts Network, San Diego, CA 2009 Cell Series', Galeria Nacional, San Jose, Costa Rica 2008 Accumulation, Luis De Jesus Seminal Projects, San Diego, CA 2007 Natural Connection, Canon Art Gallery, Carlsbad, CA 2005 Nothing is the Same, David Zapf Gallery, San Diego, CA Squints, Keller Gallery, Pt. Loma Nazarene University, CA 2004 Focus Series, Museum of Contemporary Art, San Diego, La Jolla, CA 2003 Arrangement, David Zapf Gallery, San Diego, CA 2001 Reservoirs, David Zapf Gallery, San Diego, CA 2000 Tree Lines - Paintings and Objects, David Zapf Gallery, San Diego, CA 1997 High Yield - Paintings and Constructions, Hyde Gallery, Grossmont College, San Diego, CA 1993 Pond Series, Kay Garvey Gallery, Chicago, IL 1991 New Paintings, Kay Garvey Gallery, Chicago, IL 1990 Game Series, Conlon Gallery, Santa Fe, NM 1988 Cultivation Series, Shidoni Contemporary Gallery, Santa Fe, NM 1987 L.A. Artcore, Los Angeles, CA 1986 Tower Guards, Conlon
    [Show full text]
  • ERIK D'azevedo 1649-10Th Street Berkeley, CA
    ERIK d’AZEVEDO 1649-10th Street Berkeley, CA 94710 Telephone: 510/527-3877 E-mail; [email protected] Born in Oakland, California, attended schools and grew up in many parts of the United States. Included in early life experiences was exposure to many culturally diverse peoples. Among these, were the Washoe Indians of Western Nevada and Eastern California, many of whom were members of the Native American Peyotist Church. Traveling with parents, doing fieldwork as anthropologists, the family traveled and lived among Washoe and other Indian tribes of the Great Basin, providing a rich and intimate glimpse of these people’s lives. Following this period, were several years living in Liberia, West Africa, among the Gola and Kpelle peoples, in the interior of this country. This stay afforded a deep integration of cultural differences and an intimate appreciation of the artistry of these tribal peoples. These experiences helped in-still profound impressions and images that shaped, in part, an evolving understanding of the arts that became a major focus later in life. EDUCATION Undergraduate studies, University of Nevada, Reno. BFA, 1974, CCAC, Oakland, CA. MFA, 1976, CCAC, Oakland, CA. SOLO EXHIBITIONS 2014 Local 123 Cafe-Gallery, Berkeley, California. Solo installation show. 1988 Walnut Creek Civic Arts Center, Walnut Creek, CA 1987 Copyrose Gallery, San Francisco, CA. Solo installation show, Club DV8, San Francisco, CA. Installation for Oasis Nightclub, San Jose, CA. 1984 Southern Exposure Gallery, Project Artaud, San Francisco, CA. 1973 The Center Gallery, Reno, Nevada 1972 Sheppard Gallery, University of Nevada, Reno, Nevada. GROUP EXHIBITIONS 2012 University of Nevada, Reno; “Far Out” Group alumni show, the art scene in Northern Nevada 1960-1975.
    [Show full text]
  • Ciel Bergman in the Tank Garage
    FOR IMMEDIATE RELEASE Media contact: Clare Hertel [email protected] Shastyn Blomquist (505) 982-1338 x 103 / [email protected] ​ Poetry Plagued by Comprehension, 1974 The Center for Contemporary Arts is pleased to present The Linens, ​ ​ an exhibition including never-before-seen paintings by the late celebrated artist Ciel Bergman in the Tank Garage. ​ February 9 - April 29, 2018 Public Opening Reception Friday, February 9, 2018, 5-7 PM Santa Fe, New Mexico: November 2017 — The Center for Contemporary Arts (CCA) ​ presents and exhibition of The Linens, paintings by the late Ciel Bergman never ​ ​ ​ ​ previously exhibited as a series, as well as a celebration of her life as an artist and beloved figure in the Santa Fe community. February 9 - April 29, 2018 in the Tank Garage. 1 ABOUT THE LINENS ​ The Linens is a series of 48 acrylic paintings on unstretched Belgian linen made ​ between the years of 1970 - 77 by Ciel Bergman. The series ranges from a starkly minimal aesthetic that defines the Spiritual Guide Maps portion, to bold, graphic colors ​ ​ and vague abstractions to representations that explore ideas of philosophy, sexuality, and physicality. This exhibition features a selection of the series - more than have ever been shown together at one time - and the foundations of a prolific and inspired artist. Debriefing with Rrose, 1974 Bergman created the paintings in her studio in Berkeley, and in Eugene, OR where she was an assistant professor. The Linens mark a clear departure from the surreal and ​ ​ representational compositions that define her earlier works. In the midst of exploring the evolving mediums of the time - airbrush and acrylic paints - she began a process to ‘empty’.
    [Show full text]
  • Analyzing the Interconnectedness Between Space, Place, and Human
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2009 Analyzing the Interconnectedness Between Space, Place, and Human Interaction with the Natural Environment: "Ecological Reawakening: Organic DNA and Evolution" Sarah Moos Scripps College Recommended Citation Moos, Sarah, "Analyzing the Interconnectedness Between Space, Place, and Human Interaction with the Natural Environment: "Ecological Reawakening: Organic DNA and Evolution"" (2009). Scripps Senior Theses. Paper 9. http://scholarship.claremont.edu/scripps_theses/9 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. ANALYZING THE INTERCONNECTEDNESS BETWEEN SPACE, PLACE, AND HUMAN INTERACTION WITH THE NATURAL ENVIRONMENT: ECOLOGICAL REAWAKENING: ORGANIC DNA AND EVOLUTION By SARAH RUTH MILLER MOOS SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR RANKAITIS PROFESSOR HAZLETT PROFESSOR DAVIS April 24, 2009 CONTENTS INTRODUCTION 1 CHAPTER 1: The Environmental Situation 5 CHAPTER 2: Space and Place 15 Understanding How Humans Interact With and Experience Environments CHAPTER 3: Art and the Natural Environment 21 Land Artists Addressing Space, Place, and Human Interaction with the Natural World CHAPTER 4: Creating Work of My Own 35 Ecological Reawakening: organic DNA CHAPTER 5: Spring Honors Extension 44 Living Nature as Co-Designer CONCLUSION 49 ACKNOWLEDGEMENTS 51 LIST OF IMAGES 52 IMAGES 56 ENDNOTES 97 BIBLIOGRAPHY 104 INTRODUCTION What is our place as human beings within this world? How do our needs as a species fit into the spaces that this planet has available for us? While human beings—Homo sapiens sapiens—are the dominant species on Earth, in terms of our control over many other species, we are still members of Earth’s global ecosystem.
    [Show full text]
  • View the Sense and Sensation Catalog
    SENSE AND SENSATION 1 SENSE AND SENSATION LAURIE FENDRICH PAINTINGS AND DRAWINGS 1990-2010 RUTH CHANDLER WILLIAMSON GALLERY SCRIPPS COLLEGE 2 3 LENDERS CONTENTS Laurie Fendrich, New York Preface Jennifer and Jim Lee, New York Acknowledgments Danielle and Doug Hilson, New York Lenders Phoebe Plagens, New York Comedy, Scale, and the Big Bow-wow Private Collection, New York by Mark Stevens Gary Snyder Project Space, New York In Conversation with Laurie Fendrich by Julie Karabenick Checklist Artist’s Profile 4 5 PREFACE ACKNOWLEDGMENTS ENSE AND SENSATION: LAURIE FENDRICH, PAINTINGS AND DRAWINGS T HAS BEEN A great PLEASURE TO collaborate WITH LAURIE FENDRICH, 1990-2010, is the fourth exhibition in the Contemporary Women who generously opened her studio and records to plan this exhibition. Artists series, which began in 2000. The first exhibition wasA lison For facilitating loans and locating photographs, thanks are due to Gary and Lezley Saar, which presented works by sisters who explore their Snyder, owner of Gary Snyder Fine Arts, in New York. We are also grateful Ito the lenders to this exhibition. SAfrican American heritage in mixed-media painting and sculpture. In 2004, the second exhibition, Reading Meaning: Word and Symbol in the Art of The artist extends thanks to the Brown Foundation and the Museum of Fine Squeak Carnwath, Lesley Dill, Leslie Enders Lee and Anne Sims, looked at the Arts, Houston, for a Brown Foundation Fellowship in 2009, which funded convergence of image and text in recent paintings, prints, and sculpture. a residency at the Dora Maar House in Ménerbes, France, where she In 2008, the third exhibition, Place in Time: Contemporary Landscape, produced many of the drawings in the exhibition.
    [Show full text]
  • Marcia Tucker Papers, 1918-2007, Bulk 1957-2004
    http://oac.cdlib.org/findaid/ark:/13030/kt3f59r804 Online items available Finding aid for the Marcia Tucker papers, 1918-2007, bulk 1957-2004 Annette Leddy Finding aid for the Marcia Tucker 2004.M.13 1 papers, 1918-2007, bulk 1957-2004 Descriptive Summary Title: Marcia Tucker papers Date (inclusive): 1918-2007, bulk 1957-2005 Number: 2004.M.13 Creator/Collector: Tucker, Marcia Physical Description: 93.51 Linear Feet(205 boxes, 3 flat file folders) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Museum files, correspondence, writings and other materials pertinent to Marcia Tucker's career as curator at the Whitney Museum of American Art and founding director of the New Museum (New York, N.Y.). Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Marcia Tucker (1940-2006), American curator, art critic and museum director, studied art and art history at Connecticut College (B.A.) and New York University (M.A.) where she worked with Robert Goldwater. Starting out as an artist, she wrote reviews for art magazines, and cataloged and curated the private collections of Alfred and Margo Barr, and of William and Noma Copley. Finding she preferred the role of art interpreter and presenter, she accepted a position as curator at the Whitney Museum of American Art, where she soon distinguished herself as an innovator and advocate for the underrepresented American artists residing outside New York City, as well as for women artists, African American artists, folk artists, and other sorts of "outsiders." Insisting that the criteria for exhibiting contemporary art should never be those of the connoisseur, Tucker selected work that challenged, disturbed, and resisted interpretation.
    [Show full text]
  • Parrasch Heijnen Gallery
    parrasch heijnen Tony DeLap b. 1927 Oakland, CA d. 2019 Corona Del Mar, CA Education 1949-50 Claremont Graduate School, Claremont, CA 1947-49 Academy of Art, San Francisco, CA 1945-47 Menlo Jr. College Menlo Park, CA 1944 California College of Arts and Crafts, Oakland Teaching Experience 1965-91 UC Irvine, Member of founding faculty 1967 San Francisco Art Institute, Guest Sculptor 1964-65 UC Davis, Professor, Studio Art 1964 Claremont Colleges, Scripps College, Guest Instructor, Painting and Design 1963 University of Wisconsin, Madison, Guest Instructor, Painting and Design 1961-64 California College of Arts and Crafts, Instructor, Fine Art and Design 1957-59 Academy of Art, San Francisco CA,: Instructor, Fine Art and Design Selected Solo Exhibitions 2019 Tony DeLap: Works on Paper, Edel Assanti, London, UK 2018 Tony Delap, Edel Assanti, London, UK Tony DeLap: A Retrospective, Laguna Art Museum, Laguna Beach, CA 2017 Tony DeLap: A Career Survey, 1963-2017, Parrasch Heijnen Gallery, Los Angeles, CA Tony DeLap: A Career Survey, 1963-2017, Franklin Parrasch Gallery, New York, NY 2016 Franklin Parrasch Gallery, New York, NY 2015 Rena Bransten Projects, San Francisco, CA 2014 Charlotte Jackson Gallery, Santa Fe, NM 2013 Tony DeLap: Selections from 50 Years, Oceanside Museum of Art, Oceanside, CA Charlotte Jackson Gallery, Santa Fe, NM 2010 Charlotte Jackson Gallery, Santa Fe, NM 2009 Royale Projects, Indian Wells, CA 2008 Guggenheim Gallery, Chapman University, Orange, CA 2007 Patricia Faure Gallery, Santa Monica, CA 2005 Charlotte Jackson Gallery, Santa Fe, NM Patricia Faure Gallery, Santa Monica, CA 2004 Patricia Faure Gallery, Santa Monica, CA 2003 Peter Blake Gallery, Laguna Beach, CA 2002 Charlotte Jackson Gallery, Santa Fe, NM Peter Blake Gallery, Laguna Beach, CA 2001 San Jose Museum of Art, “Tony DeLap” (retrospective), San Jose, CA 1326 S.
    [Show full text]
  • Tony Delap | Cv
    TONY DELAP | CV Born 1927, Oakland, CA, US Died 2019, Orange County, CA, US Education 1949-50 Claremont Graduate School, Claremont, CA, US 1947-49 Academy of Art, San Francisco, CA, US 1945-47 Menlo Jr. College, Menlo Park, CA, US 1944 California College of Arts and Crafts, Oakland, CA, US Selected Solo Exhibitions 2019 Tony Delap: Works on Paper, Edel Assanti, London, UK 2018 Edel Assanti, London, UK Tony DeLap: A Retrospective, Laguna Art Museum, Laguna Beach, CA, US 2017 Tony DeLap: A Career Survey, 1963-2017, Parrasch Heijnen Gallery, Los Angeles, CA, US Tony DeLap: A Career Survey, 1963-2017, Franklin Parrasch Gallery, New York, NY, US Solo presentation with Franklin Parrach Gallery, Art Basel, Switzerland 2016 Franklin Parrasch Gallery, New York, NY, US 2015 Rena Bransten Projects, San Francisco, CA, US 2014 Charlotte Jackson Gallery, Santa Fe, NM, US 2013 Tony DeLap: Selections from 50 Years, Oceanside Museum of Art, Oceanside, CA, US Charlotte Jackson Gallery, Santa Fe, NM, US 2010 Charlotte Jackson Gallery, Santa Fe, NM, US 2009 Royale Projects, Indian Wells, CA, US 2008 Peter Blake Gallery, Laguna Beach, CA, US Guggenheim Gallery, Chapman University, Orange, CA, US 2007 Peter Blake Gallery, Laguna Beach, CA, US Patricia Faure Gallery, Santa Monica, CA, US 2006 Peter Blake Gallery, Laguna Beach, CA, US 2005 Charlotte Jackson Gallery, Santa Fe, NM, US Patricia Faure Gallery, Santa Monica, CA, US 2004 Peter Blake Gallery, Laguna Beach, CA, US Patricia Faure Gallery, Santa Monica, CA, US 2003 Peter Blake Gallery, Laguna Beach, CA,
    [Show full text]
  • Chinati Foundation Newsletter Vol9 CF Newsl V9 2004 Corr5 08-09-2004 17:31 Pagina 2
    CF_newsl_v9_2004_corr5 08-09-2004 17:31 Pagina 1 Chinati Foundation newsletter vol9 CF_newsl_v9_2004_corr5 08-09-2004 17:31 Pagina 2 Un mensaje de whole, with architecture as the frame. sas—ni la decoración ni los muebles— tional exhibition in the fall of 1993 dre, las cuales están en exhibición per- more than 25 years of collaboration las de los principales museos. Pero por Judd was stubbornly individual parece ser la continuación de nada ya at Paula Cooper’s gallery; the exhi- manente en una instalación diseñada on large-scale projects and revealed esto mismo podemos montar exhibicio- enough to create his own style; none conocido, y su sensibilidad ante el co- bition subsequently traveled to the por el artista. Este año convertiremos the thinking and work methods of nes que en otros museos podrían resul- la directora of his houses—including the decor lor y la forma, y las combinaciones de Kunstverein Köln and the Stedelijk en realidad otro de los sueños de Judd this inspired team. And there were tar imprácticos. El enfoque de nuestro A Message and furnishings—looks like the con- ambos, fue incomparable e incompara- Museum in Amsterdam. Thanks to con la apertura de una galería para las other exhibitions before that: Dan programa de exhibiciones alternantes tinuation of something already famil- blemente certera y en Marfa nos en- Carl Andre’s generosity, 460 sheets pinturas de John Wesley. Wesley y Flavin’s drawings of realized works está en grupos de tamaño mediano de from the En febrero del presente año se inaugu- iar. His sensitivity to color and form contramos de frente con la auténtica of poems have been added to Judd entablaron amistad a principios and sketches for sited installations; un solo artista a la vez.
    [Show full text]
  • Ciel Bergman: Sea of Clouds What Can I Do Collection CAE1208
    Ciel Bergman: Sea of Clouds What Can I Do Collection CAE1208 Introduction / Abstract Ciel Bergman used waste plastic collected from the beach to create an installation exhibition titled "Sea of Clouds What Can I Do", at the Santa Barbara Contemporary Art Forum in 1987. Concerned about the tons of discarded plastic and its consequences on marine mammals, she conceived the idea for recycling (all grades of) waste plastic to create a sustainable road paving material. Gary Fishback, inventor and contractor and Ciel’s partner; Hal Stelmar, civil engineer; and Dennis Egan, chemist, then applied for and received a patent for "Plasphalt", a combination of recycled, granulated plastic and asphalt which creates a stronger paving material. Materials donated include exhibition records, slides and other photographic documentation, press materials, samples of Plasphalt and source plastics, patent paperwork, field testing kit, correspondence, and grant applications. Ciel Bergman Ciel Bergman, formerly Cheryl Bowers, trained as a psychiatric nurse in the late 1950's, and then lived in Europe before returning to California to complete her MFA at the San Francisco Art Institute in 1973. She now lives in Santa Fe, New Mexico, where she continues to paint, having resigned her tenure as a full professor of art at UCSB Santa Barbara in 1994. Her work is included in the collections of the National Gallery, Washington, D.C.; the Metropolitan Museum of Art, New York; the Oakland Museum; the San Francisco Museum of Modern Art; the Orange County Museum of Art; the San Diego Museum of Fine Art; and the New Mexico Museum of Fine Art.
    [Show full text]
  • Sam Erenberg Papers, 1965-2012
    http://oac.cdlib.org/findaid/ark:/13030/c8sq94tq Online items available Finding Aid for the Sam Erenberg papers, 1965-2012 Sheila Prospero Finding Aid for the Sam Erenberg 2012.M.52 1 papers, 1965-2012 Descriptive Summary Title: Sam Erenberg papers Date (inclusive): 1965-2012 Number: 2012.M.52 Creator/Collector: Erenberg, Sam Physical Description: 17 Linear Feet(24 boxes, 2 flatfile folders) and computer media (676 GB [109 files]) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: The papers highlight Erenberg's career as a painter, bookmaker, filmmaker, and installation and performance artist. The archive includes correspondence, photographs, and project files documenting Erenberg's exhibition history; relations with artists, curators, and gallerists; and the development of various projects including experimental films, installations, and artists' books. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English. Biographical / Historical Note American artist Sam Erenberg is a painter, bookmaker, filmmaker, and installation and performance artist. Born in 1943, he grew up in the Baldwin Hills neighborhood of Los Angeles, California. His interest in art began after being inspired by exhibitions of Salvador Dali and hard-edge painting during the early 1960s. He enrolled in the Chouinard Art Institute (now known as the California Institute of the Arts) to study painting in 1965, and it was there that he met his wife, Elena Mary Siff.
    [Show full text]