many other emotional stales. The influence of Man Ray's Exhibition Catalogs soIarizaticns. Andre Kerteszk 'Udistortions," and Raoul Within sight: Visual Territories of ThiP-&y Adists Ubac's brulages are evident, as SiIton pays homage .to Sur- with essay by Chris Bruce and Kathleen Shields, considers realist photography. Amelia Jones has added an essay, enti- the contemporary art of the West through the v7ork of 30 tled "Susan Silton's b1utations of SelWIn-sage: The Portrait" artists, recipients of the 1994 Western States Arts Federa- which analyzes and ehylains the photographic self-portrait, tion/ WEA Regional Fellowships for Visual Artists. and its incisive role in postmodern criticism, A small cata- This beautifully produced catalog includes panel. state- log \rith big ideas. Available from Craig KTull Gallery, ments and works by many artists, including Dennis Angel, Bergamot Station, Maura Bendett, Sandow Birk, Cristina Cardenas, Timothy C. Ely (book artist), Kay French, David Green, Paul Green, Vital Signs documents an exhibition of 33 contemporary Deborah F. Lawrence, Kevin Miller, &go 94, Sarta Rob- California artists who deaf with the human body in their erts, Christopher Terry, Trimpin, and Fan Warren, among art. Curated by Noel Korten and Margaret Lazzari, the ex- others. There are 61 illustrations, of which 30 are in color. hibition took place from 13 September through November There are essays by Shields concerning each artist, with bi- 12 1995. It is documented in a catalog with essay by the ography, chronology, exhibition histories. co-curators. Available from Municipal Art Gallery, Barns- A publication of the Western States Arts Federation, this dall Art Park, 4800 Hollywood Blvd., Los Angeles, CA catalog is distributed by the University of Washington 90027. Press. Bn Pursuit of the Buaedly: Po~rtfifsof James Bernd Eijbackr-Hinweiser: Bilder zur europaischen McMeill Whistler is a rare exhibition dedicated not to a Wegwe~kultarrr(Pictures of the European Thrsw- president or folk hero, not to a political or social leader, but away-culture) is the documentation of an exhbition at to one notable artist whose visage was portrayed by many of the European Academy in Otzenhausen from 15 August - 8 his colleagues. Published by the National Portrait Gallery October 1995 He provokes and documents the society of the Smithsonian Institution and distributed by the Uni- which this Academy represents, i.e. the federation of versity of Washington Press, th~svolume has essays by Eric Europe. He recycles detritus into works of art, confronting Denker, the curator, including 179 illustrations, notes and the viewer with one's own consumer habits, one's own bibliography. thoughtless and senseless waster, one's own participating in What is important in this portrayal of an artist is how the simply throwing away lots of recyclable material. audience for these portraits came to judge what an artist is. Much more powerful than a sermon from on high or a Not only his peers, but the public appreciated this eccentric government edict, this exhibition combines Aesthetics with and sometimes outrageous artist. Caricatures, portrait Ecopolilics and the preservation of the environment. The busts, paintings, prints, photographs and so much more are color plates in this exhibition catalog feature collages, in- illustrated her. It is cited that Whistler "would take a stick stallations, sculpture, etc. made out of Coca Cola bottles, or umbrella, hold it in his left hand like a banjo, twiddle Pepsi Cans, old photographs, advertisements, etc. on it with the finger and thumb of his right hand, and pat- For more information, write to Museum fur Wegwerfkul- ter grotesque rhymes founded on supposed adventures of tur, Bernd Lobach-Hinweiser, 38162 Weddel, Nordstrasse scriptural characters." $24.95 paper from P.O. Box 50096, 3 1, Germany. Seattle, WA 98 145-5096.

Fiabe al Vento (Fairy-Tales to the Winds) by Mar- Pacific Dreams: Currents of Surrealism and Fan- cello Diotallevi documents an exhibition at L'ldioma in As- tasy in California Art, 1934-1957 by Susan Ehrlich coli Piceno in Italy from 1- 13 April 1995. The plates are (UCLA Armand Hammer Museum of &, &st. by Univ. of gorgeous representations of kites, the tex? is both in Italian Washington Press, 1995, $35.00 paper) records an amazing and in English, and there is a biographylchronology of the period of California art, largely unresearched until now artist at the end. For more information, write to the artist with new information about the influence of surrealism on at Via Veneto 59, 61032 Fano (PS), Italy. artists working on the West Coast, as well as essays on par- allel trends in California photography by Terence Pitts and Susan Silton: Self-Portraits (Cycle One, January - experimental film by Lucy Fischer, respectively. Its con- June 1995) documents a series of scanned images which tents appears to readers with diverse academic interests, as are mutated selves, physical and psychologJca1. After scan- well as aesthetic foundations. ning the images in a flatbed scanner, the artist produced A separate essay for each of the 36 artists in the exhibi- Iris prints with a haunting degree of depth, bearing some tion as well as portrait photographs, photographs of some resemblance to the painterly aspect. of photogravure. Sil- of theix work, as well as a catalog of the exhibition, selected ton's features appear to be stretched, compressed or bibliography and index complete this handsome volume. wrapped around one another in anguish, confusion, or This will serve as a reference tool for this period and will accompany UCLA's 1989 publication Forty Years of Cali- catalog is available for $18.00 plus $1.50 postage and han- fornia Assemblage. dling from Jane Hart, 7959 Norton Ave., West Hollywood, CA 90048. Agnes Pelton: Poet of Nature by Michael Azkian brings to fight a very neglected artist, who deserves recog- Points of Entry: A Nation of Strangers is the first of mition as an American abstract painter poet. Pelton's view a three-part exhibition which is being seen across the coun- of abstraction as a poetic alternative to realism that try. This one at the Museum of Photographic Arts in San heightens our undersaanding of the world. In contrast to Diego laid out the previously untold story of photographs the dominant trends of American modenrlsm. her paintings that record 140 years of imigraaion to America from position her as an artist whose own life gives her art new nearly every continent in the world. The exhibition is a perspective. Living in isolation for most of her life, apart kind of affirmation of immigration to the U.S. Vicki Gold- from other artists and principal art centers, she relied upon berg in 189 prints lays out the argument for "The Camera dreams, meditation and waking visions. and the Immigrant" and the ehbition is organized roughly Born in Stuttgart, Germany of American parents, she chronologically, beginning with two daguerreotypes from grew to adulthood in Brooklyn, New York. Living near the 1830s and includes work of Muybridge, Genthe, Hine, Southampton, Long Island, she first studied nature, and Riis, Augustus Sherman (10 photos), Dorothea Lange, Ar- then began her first abstractions from an interest in organic thur Rothstein, Alexander Alland, Russell Lee, Ansel Ad- energy. Then she moved to Palm Springs, California at the ams, and Chester Higgins, Jr., among others. Parallels of age of fifty and for the next thirty years, she painted desert immigration and the history of photography are evident. landscapes and abstractions inspired by local scenery. Bib- A short chronology of immigration, selective bibliography liography, Chronology and catalog of the exhibition com- and checklist of the exhibition complete this beautiful vol- plete this beautiful volume with 32 color plates and many ume. (Albuquerque, Univ. of New Mexico Press, 1995, black and white illustrations. Distributed by University of $24.95) Washington Press. $29.95. Reframing America is the second part of this exhibi- tion, organized at the Center for Creative Photography in A Poetic Vision: The Photographs sf Anne Brig- Tucson, Arizona, which examines the careers of seven no- man accompanies an exhibition organized by the Santa table photographers who were trained in Europe before Barbara Museum of Art, traveling to the George Eastman emigrating to the United States, including Alexander Al- House, the Heckscher Museum of Art and the Oakland Mu- land, Otto Hagel & Hansel Mieth, John Gutmann, Lisette seum. With 80 images offering an expanded view of Brig- Model, Marion Palfi, and Robert Frank. There are essays man's contribution to the photographic medium, there are by Andrei Codrescu and Terence Pitts, accompanying the rarely seen images from the 1920s and 1930s that correct portfolios of the seven photographers. ($19.95) the long-held assumption that she had only a few decades Tracing Cultures at the Friends of Photography in San of productivity and worked within a limited subject matter. Francisco surveys recent work by living artists who exam- This elegant catalog documents this California pictorial- ine their own cultural heritage. Personal and political nnin- ist whose affinity for nature is evident in many of her pho- gle in this discussion of cross-cultural adjustment, tographs. 40 full-page reproductions are included in displacement and loss within the context of current debates duotone, as well as an essay by Susan Ehren. There is a about immigration and its impact on life in the U.S. chronology, catalog of the e'xhibition and an extensive Among these are Albert Chong, Lewis deSoto, I.T.O., bibliography. Young Kim, Komar & Melamid, Dinh Q. Le, Gavin Lee, Maria Martinez-Canas, Ruben Ortiz Torres, Carrie Mae A Vital Matrix, curated by Jane Hart, was an exhibition at Weems and Kim Yasuda. Essays by Rebecca Solnit and two sites in Los AngeXes including 44 Los Angeles artists Ronald Takai are included. Biographies and bibliography who showed work that involved earth, air, fire, and water, complete the volume. Distributed by the University of New animal, vegetable and mineral. All these works were mul- Mexico Press, 1995, $19.95 tiples made for a box which was sold to pay for this spiral- The three e-xhibitionswill rotate among the consortium of bound catalog. With an essay by Tobey Crockett, called organizing venues between now and March, before begin- "Field Notes on being A Human Being", a checklist of the ning a national tour. The three volumes can be purchased 44 works of art, including work by Vija Celmins, Don together for $59.95 paper. Suggs, Jacki Apple, Laura Whipple, Wallace Berman, Eve AndrCe LaramCe, Laura Stein, Mark Dion, Jim Hodges, Moscow: The Group is the second in a series of exhibi- Christof Kohlhofer, Alexis Rockman, Germaine Brooks, tions organized by the Neuhoff Gallery in New York City to and many more, the 44 plates, mostly in color, reflect "a explore Russian art of the last three decades. The 11 artists desire lo address and bridge the chasm which exists be- included are part of the "heroic generation", the generation tween society and the realm of nature." The exhibition was of the 1960s and 1970s which challenged the official and held at domestic setting in Los Angeles. The exhibition state-supported styles and themes of Socialist Realism. The range is from the technologically inclined sculpture and painting of Gany Faif and Lew Nussberg, to the Sots-Art of for inclusion on the MOBA Virtual Museum CD-ROM, Erik Bulatov, and on to the personal espressio~lismof Os- please contact us. Details from 3erReillyG~aol.com OR car Rabine. Still lifes and compositions by VIadimir Yak- (617)325-8224 (Fax), or Museum of Bad Art, 10 Vogel St.. olev, the moving figures and faces of Anatoli Zverev, and Boston, MA 02 132. more cosmic concerns for harmony by Vladimir Yankilevsky, the exploration of fate by Vladimir Ne- The Third Biennale of Contemporary Art in Lyon wiIl muchin, the intricate non-objective reliefs of Igor Chel- take place in the new museum building designed by Renzo covski, Edik Steinberg's brilliant symbols and colorism, Piano, occupying the whole new museum, with a theme of and the magical imagery of Grisha Bruskin. A~ailable video, information, cinema and virtual reality. from Neuhoff Gallery, 41 E. 57th St., New York, NY 10022. Portraits of the artists, biographies and btbliogra- Electronic Super Highway: Nam June Paik in the '90s, phies are also included. featuring the cutting edge of video art, will open at the Mu- seum of American Art of the Pennsylvania Academy of the Fine Arts in Philadelphia, from 28 October 1995 - 14 Janu- FUTURE DATES ary 1996. Then the show will travel to San Jose Museum of Art, the Museum of Contemporary Art in San Diego, the Soundcdture 96, Call for Proposals. In April 1996, San Chrysler Museum in Norfolk, the AIbight-box Art Gd- Francisco will host SoundCulture 96, the third transpacific lery, and finally the Nelson-Atkins Museum of Art in Kan- festival of contemporary sound practice. It follows two sas City, MO in the summer of 1997. highly successful SoundCulture events presented in Sydney in 1991 and Tokyo in 1993. Participants will includes art- docurnenta 10 will be held in Kassel, Germany from 21 ists, researchers, cultural theorists, presenting organiza- June - 28 September 1997. tions, academic institutions, and others working with College Art Association will hold its annual conference in sound. Events will include performances, exhibitions, sym- Boston from 21 - 24 February 1996. One of the sessions posia, radio transmissions, experimental and indigenous will be moderated by Buzz Spector, entitled Does Anybody musics, site-specific public artwork and new media arts. Still Read? The Death of the Artists' Book. Another ses- Listening rooms will provide an opportunity to hear a wide sions is on Intennedia: Soapbox or Closet? moderated by variety of recorded sound works in an informal setting. Geoff Hendricks of Rutgers and Harmony Hammond of SoundCulture 96 will bring together local and international University of Arizona, Tucson. sound practitioners who reside in the Pacific Region to es- Women's Caucus for Art, Boston, MA, 19 - 24 plore the diversity of culture that is perceived through our February. ears. Details from [email protected] or http://www.lns.eom/sc96.htrnl

Your Art in Space. Call for Artists, for details about how some of your art can spend some time on the MIR Space Station, contact http://w.ovw-mitpress.mit.ed~eonardo/san.html

Museum of Bad Art Vinctual Museum CD-ROM. Call for Entries. Really Bad! art sought for this project. "Art too Contributions to Umbrella Museum bad to be ignored", Bad Art is all around us and ail too of- ten neglected, ignored or hidden away. All of the pieces in Claudia Chapline, Josephine EcHevarria-Myerss, the MOBA collection were rescued/discovered/unearthed Susan Jokelson, Anna Banana, Helmut Lohr & from various states of ignoble neglect. Many were pulled Harriet Bart, Bnnie Silveman, Nancy Webber, from the trash, some were purchased for sgke change at Sarah Elzas, Merle Sthipper, Judy & Chuck yard sales, others were pulled from closets and attics and Goodstein, Joan Rabascall, Elise Watanabe, donated to the museum by generous donors who were grate- Bnnie Silveman, lglngela Lorenz, Michael ful that there was a place of honor to hang them. The pieces Kasper, Janet Nolan in the collection range from the work of talented artists that have gone awry, to crude works by exuberant artists barely in control of their brush. What they all have in common is a special quality that sets them apart in one way or another from the merely incompetent. If you own a work of original art that is uniquely and spectacularly bad and would con- sider donating it to MOBA for future public exhibition or