Spring 2015 PRESIDENT’S MESSAGE

theGETTY

A WORLD OF ART, RESEARCH, CONSERVATION, AND PHILANTHROPY | Spring 2015 PRESIDENT’S MESSAGE

theGETTY Spring 2014

TABLE OF President’s Message 3 by James Cuno President and CEO, the J. Paul Getty Trust CONTENTS New and Noteworthy 4 Earlier this year I attended the World Economic Forum in Keeping it Modern 6 Davos, Switzerland, during which government officials and corporate, education, and cultural leaders gather to explore Darkroom Alchemists Reinvent Photography 14 the economic and political prospects for the coming year. I gave a presentation about the ways in which digital technol- A Sense of Place in the City of Angels 20 ogy is transforming the museum experience—from initial dis- covery, to visiting, to research and collaboration, to the ways Thousands of Rare Books on your Desktop 24 in which visitors can engage more deeply with the collection through digital resources. This issue of The Getty expands Book Excerpt: J. M. W. Turner: Painting Set Free 27 on our previous coverage of how the Getty is “going digital” through projects like the HistoricPlacesLA initiative from the New from Getty Publications 28 Getty Conservation Institute (GCI) and the many digital fac- ets that are accessible to researchers and patrons around the From The Iris 30 world from the Getty Research Institute Library. Last month, Los Angeles Mayor Eric Garcetti joined GCI New Acquisition 31 Director Tim Whalen, Foundation Director Deborah Marrow, and me to launch HistoricPlacesLA, the city’s groundbreaking Getty Events 32 new system for mapping and inventorying historic resources in Los Angeles. HistoricPlacesLA contains information gath- Exhibitions 34 ered through SurveyLA—a citywide survey of LA’s significant historic resources—a public/private partnership between the From the Vault 35 City of Los Angeles and the Getty, including both the GCI and Foundation. You can see pictures of this event on page 33. In our cover story, you will read about an exciting new James Cuno initiative from the Getty Foundation, Keeping It Modern, which has awarded an initial ten grants to stewards of Modern Movement buildings of outstanding architectural significance The J. Paul Getty Trust is a cultural and philanthropic institution around the globe. These projects promise to advance con- dedicated to critical thinking in the presentation, conservation, servation practices. You will also learn about the seven living and interpretation of the world’s artistic legacy. Through the artists featured in the Museum’s upcoming exhibition Light, collective and individual work of its constituent programs— Paper, Process: Reinventing Photography, and how they are Getty Conservation Institute, Getty Foundation, J. Paul Getty eschewing traditional methods of working with photography Museum, and Getty Research Institute—it pursues its mission in in favor of experimental techniques that shift the understand- Los Angeles and throughout the world, serving both the general ing of the medium from that which accurately records the interested public and a wide range of professional communities world to one that revels in its very materiality and processes. with the conviction that a greater and more profound sensitivity I hope you can visit us in person this spring. You can always to and knowledge of the visual arts and their many histories is visit the Getty online through our website, or connect with us crucial to the promotion of a vital and civil society. on Facebook, Twitter, and YouTube.

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On the cover: Los Angeles, CA 90049 Sydney Opera House. Photo: © nzgmw Email: [email protected]

2 3 NEW AND NOTEWORTHY

J. Paul Getty Trust Report 2014: Digital Humanities at the Getty Now Available The J. Paul Getty Trust annual report was released with a new format for fiscal year 2014, uniting the content in the report under one overarch- ing theme. Essays by the four Getty programs—the Getty Conservation Institute, the Getty Foundation, the Getty Research Institute, and the J. Paul Getty Museum—reported the activities from the past year that have contributed to the digital humanities. Two experts in the field, Johanna Drucker from UCLA and Jeffrey Schnapp from the metaLAB (at) Harvard, contributed scholarly essays that provide a frame for the report, and also raise questions that should be considered as the humanities, especially arts institutions, create a new digital future. The report is free to read and download at getty.edu/about.

Pacific Standard Time: LA/LA Update The Getty Foundation has awarded a major archival grant as part of Pacific Standard Time: LA/LA to the Museum of Fine Arts, Houston for the International Center for the Arts of the Americas’ (ICAA) Documents of 20th-Century Latin American Art and Latino Art. Initiated in 2002 and developed with the support of several Foundation grants, this multiyear project is dedicated to the recovery and digital publication of primary source materials related to artists, critics, and curators from Mexico, Central and South Participants in the 2013 International Stone Course engaged in plant removal and documentation at the historic Non-Catholic Cemetery in Rome. America, the Caribbean, and the United States. ICAA launched its free online archive in 2012 International Course on Stone Conservation out on selected monuments in the Non-Catholic and has published more than 4,700 documents What will bring a group of architects, conservators, Cemetery in Rome. Course participants will also to date from Argentina, Colombia, Mexico, conservation scientists, engineers, geologists, and benefit from Rome’s distinguished architectural Reference Librarian Sarah Sherman of the Getty Research Institute Puerto Rico, and the United States, with many archaeologists from across the world to Rome this heritage, as well as its legacy of stone conservation more awaiting processing. The new grant will spring? Rocks—or, more accurately, stone. They practice. Unforgetting L.A. Wikipedia Edit-a-Thon accelerate processing on over four thousand are coming to participate in the 19th International The stone course has long served a vital edu- On February 21, the Getty Research Institute (GRI) partnered with records that are critical to the research teams Course on Stone Conservation, which runs from cational role by offering an intensive program in online magazine East of Borneo to host a daylong Wikipedia edit-a-thon. involved with Pacific Standard Time: LA/ mid-April to July 2015. The course is co-organized which to learn theoretical and practical method- The GRI invited Getty staff and the interested public to learn how to edit LA. Prioritized materials include documents by the Getty Conservation Institute (GCI) and ologies for stone conservation. Equally important, Wikipedia and to help fill gaps in its coverage of the architecture, design, from Brazil, Chile, Peru, and Venezuela that ICCROM (International Centre for the Study it has provided a constructive forum for profes- people, and places in Los Angeles. The event was part of the magazine’s pertain to exhibitions in development at the of the Preservation and Restoration of Cultural sionals to exchange ideas about the conservation Unforgetting L.A. project, which aims to build a better online history Hammer Museum, the Fowler Museum, the Property), in cooperation with the Non-Catholic practices and challenges in their home countries. of art in Southern California—a history anyone can contribute to and Orange County Museum of Art, and others. Cemetery in Rome. Collectively, the course has a truly international access, entirely for free. The Foundation’s grant support will also serve The International Course on Stone reach. In the three previous courses that the GCI Participants arrived at the Getty, laptops in hand, and used resources the teaching of Latin American and Latino art Conservation was first held in 1976, with the GCI has presented in partnership with ICCROM, par- provided by the GRI, including books and research files, as well as hands- worldwide, as well as collection development joining ICCROM as a partner in 2009. It takes ticipants have come from thirty-four different on help from librarians to navigate the immense collection of digital and bibliographic controls through use of the place at ICCROM’s headquarters in Rome, provid- countries and every continent except Antarctica. resources available on the GRI’s website, and contributed updates to Getty Vocabularies and English- and Spanish- ing participants direct access to its laboratories This year they will add more countries to that important figures, movements, publications, artworks, and other parts of language versions of the Getty’s Art and and library. Practical fieldwork will be carried number. the L.A. story that are missing from Wikipedia. Architecture Thesaurus.

4 5 Centennial Hall, interior, contem- porary photograph, 2013. Photo: Miroslaw Lanowiecki (Museum of Architecture in Wrocław)

Oppsite: Sydney Opera House. Photo: © andresr

Today twentieth-century architec- Modern form a roster of striking mod- Conserving Modern Architecture tural heritage is at considerable risk. ern architecture spread across several Initiative (CMAI), which works to The cutting-edge building materials continents (see following pages for full advance the practice of conserving and structural systems that defined descriptions). Following a rigorous peer twentieth-century heritage; two of the the Modern Movement were often review process by experts in the history first ten Keeping It Modern grants are untested and have not always per- and conservation of modern architec- related to CMAI projects (the Eames formed well over time. Even seasoned ture, the initial round of grants was House and the Salk Institute). The Getty professionals do not always have chosen for the buildings’ architectural Research Institute holds extensive and enough information about the nature significance and the promise of the growing special collections about the and behavior of these materials and projects to advance conservation prac- work of twentieth-century architects. systems to develop models and stan- tices for Modern Movement heritage. In 2013 the Foundation supported a dards of practice for conservation Grants focus on the comprehensive smaller initiative, Pacific Standard treatment. planning, testing, and analysis of mod- Time Presents: Modern Architecture In an effort to address these chal- ern materials, as well as the creation of in LA, that included museum exhibi- lenges, the Getty Foundation recently conservation management plans that tions and programs centered on Los KEEPING IT MODERN launched Keeping It Modern—a major guide long-term maintenance and con- Angeles’s modern heritage. With these philanthropic initiative focused on servation policies. and other programs, the Getty is sig- the conservation of twentieth-century “Now that Modern Movement build- nificantly advancing the understanding FOUNDATION AWARDS GRANTS TO CONSERVE architecture around the world. Grants ings are really beginning to show their and preservation of twentieth-century concentrate predominantly on com- age, heritage professionals face increas- architecture. ICONIC MODERN ARCHITECTURE AROUND THE GLOBE prehensive research and planning, with ing challenges to protect the experi- The next round of Keeping It implementation support available for mental materials and techniques that Modern grants will be awarded later exceptional projects. distinguished this era,” says Gustavo this year through an open, juried com- “Keeping It Modern builds on our Araoz, president of the International petition. More information about this long and successful track record of Council of Monuments and Sites initiative and the grant guidelines may support for the conservation of his- (ICOMOS). “From a global perspective, be found on the Foundation's website at owering glass-walled skyscrapers, sculptural profiles, innovative building toric buildings around the world,” said the international conservation com- getty.edu/foundation. materials—modern architecture is one of the defining artistic expressions Deborah Marrow, director of the Getty munity stands to benefit greatly from Tof the twentieth century. Set free from traditional structural requirements, Foundation. “This new initiative con- the results of the Keeping It Modern architects and engineers used new materials and construction techniques to cre- tinues the Foundation’s commitment, projects.” ate inventive forms and advance new philosophical approaches to architecture. The but now brings into sharp focus the Keeping It Modern is part of the crowning achievements of modern architecture, from Walter Gropius’s Bauhaus complex conservation issues that are Getty’s strong overall commitment to buildings to Ludwig Mies van der Rohe’s Seagram Building and Lucio Costa and Oscar specific to modern buildings.” modern architecture. The Foundation Niemeyer’s Brasilia have come to symbolize that “less is more,” as well as broader The first ten projects selected to created the initiative to complement twentieth-century ideals of progress, technology, and openness. receive support under Keeping It the Getty Conservation Institute’s

6 7 KEEPING IT MODERN

PROJECTS Luce Memorial Chapel, Taichung, Centennial Hall, Wrocław, Poland Frederick C. Robie House, Chicago, Taiwan (see image on page 7) Illinois At the center of Tunghai University’s A tour de force of structural engineer- Designed and built between 1908 and campus stands the Luce Memorial ing, Centennial Hall was designed by 1910, the Robie House is a National Chapel. Designed in 1962 by Pritzker German architect Max Berg in 1911 Historic Landmark and a definitive Prize–winner I.M. Pei and completed to celebrate the 100th anniversary example of Frank Lloyd Wright’s Prairie by architect and artist C.K. Chen in of Napoleon’s defeat at the Battle style architecture. Developed as an 1963, the chapel is a powerful example of Leipzig. When the building was alternative to confined Victorian-era of early modernism that retains a nod completed in 1913, it was the biggest homes, this fresh approach emphasized to traditional Chinese temple design re­inforced concrete structure in the low, horizontal lines and open interior with its sweeping roofline. The chapel world and featured the largest free- spaces. With its projecting cantilevered was constructed using innovative in situ standing dome ever built. The hall’s vast roof eaves and continuous bands of art- cast concrete, and the exterior surface circular central space can accommodate glass windows, the Robie House won is covered with yellow-glazed, diamond- up to six thousand people. The build- international acclaim as a turning point shaped tiles that are inserted into the ing was developed as the centerpiece of in modern domestic architecture. concrete, providing a striking contrast a larger complex to host tournaments, Grant funds are supporting the against the blue sky. festivals, public assemblies, and exhibi- development of a long-term conserva- Getty support is creating a com- tions, and it was listed as a UNESCO tion management plan by the Frank prehensive conservation plan for the World Heritage Site in 2006. Lloyd Wright Preservation Trust, which chapel, the first ever for a Modern Grant funds are being used to create is simultaneously overseeing a full Movement building in the region. The a comprehensive conservation manage- conservation of the building. This com- project will include in-depth research ment plan to guide future interventions prehensive plan, the first for a Wright into the history of the building's con- and long-term care, including the use of property, will develop guidelines for struction, materials, and past conser- 3-D laser scanning and computer mod- routine maintenance and conserva- vation efforts, as well as analysis and eling to provide valuable insight into the tion treatment, and has the potential testing to provide weather proofing and building’s structural condition. to serve as a model for numerous other climate control in this typhoon-prone buildings designed by the architect. environment.

Luce Memorial Chapel. Courtesy of Tunghai University

The first round of grants awarded as part of Keeping It Modern focus on research and planning related to emblematic Modern Movement buildings around the world. While the projects are as unique as the architects whose work they address, they do share common concerns. One example is the need for rigorous scientific analysis and testing of experimental materials, especially concrete. Concrete is one of the most widely used building materials of the twentieth century, but it is prone to surface flaking and structural degradation and current repair practices often lead to results that can differ significantly from the original aesthetics of the building. Another shared concern is the absence of comprehensive conser- vation management plans for modern heritage. Conservation management plans are guiding documents that bring together historical records on a building, existing analysis of the his- toric fabric, and knowledge of the building’s performance over time. They are vital and neces- sary tools for creating a long-term strategy for decision makers and contractors to schedule and track routine maintenance, as well as more complex conservation interventions. The projects detailed here address these concerns through an impressive stylistic array of highly significant twentieth-century buildings. Frederick C. Robie House, south eleva- tion. Tim Long, courtesy of the Frank Lloyd Wright Trust

8 9 Living Room of the Eames House. Photo: Timothy Street-Porter, © 2014 Eames Office, LLC (eamesoffice.com)

Above: Le Corbusier et Pierre Jeanneret, Below: Livinghouse Idelson Street Le Corbusier’s Apartment and Studio, Immeuble Molitor, 24 rue Nungesser et 29, Tel Aviv, Max Liebling, Architect Max Liebling House, Tel Aviv, Israel The Eames House, Pacific Palisades, California Paris, France Coli, appartement de Le Corbusier, Paris, Dov Karmi, 1935–36 . Photo: The White City of Tel Aviv is a UNESCO World Built in 1949 by renowned husband and wife 1931–34. Photo: Olivier Martin-Gambier G. Lindlar Famed modernist Le Corbusier designed the 2005. ©FLC/ARS, 2014 Heritage Site comprised of nearly four thousand designers Charles and Ray Eames, the Eames Molitor building at the edge of Paris’s sixteenth Bauhaus-style structures, the largest concen- House epitomizes the couple’s embrace of livable arrondissement in collaboration with his cousin tration of Modern Movement buildings in the modernism with its brightly painted outdoor sur- Pierre Jeanneret, and he occupied the top two world. The Max Liebling House (1936), designed faces and intricate indoor spaces. This National floors as his apartment and studio until his death by Iraeli architect Dov Karmi, sits in the heart of Historic Landmark was conceived as part of Arts in 1965. Constructed between 1931 and 1934, the this historic zone. With this building he updated and Architecture magazine’s Case Study House building reflects the architect’s signature style of Bauhaus principles with technical innovations, Program, a project that introduced Modern carefully planned spaces and proportions, simple such as elongated recessed balconies to prevent Movement ideas for affordable and efficient hous- but elegant materials and forms, ample natural interior overheating, that influenced an entire ing after World War II. The Eameses carefully light, and a white interior scheme balanced with generation of postwar architects in the country. considered every detail of the site while living there wall-sections painted in primary colors. Grant funds are supporting a conservation (1949–88) and modified it over the years, making A Getty grant is allowing the Fondation Le plan for the building, which is in the process of the house a fascinating illustration of their evolving Corbusier to examine the physical fabric and becoming a conservation heritage center oper- aesthetic values and taste. condition of the residence in detail and correlate ated by the city of Tel Aviv. The municipality is The Getty grant is bringing together a team the results with a recently completed archival committed to finding the most appropriate ways of specialists to investigate the house’s exterior study. The result will be a comprehensive plan for to adapt the building for this new purpose while and interior materials, colors, and finishes using the home’s restoration that can be applicable to maintaining its historic integrity. The planning advanced analytical techniques. The results of this other Le Corbusier properties. process includes the identification of character- study will inform future conservation of the build- defining features, as well as research on past ing, as well as a conservation management plan interventions and physical testing of the build- being prepared by the Getty Conservation Institute. ing’s materials and energy efficiency.

10 11 Miami Marine Stadium, Miami, Florida Designed in 1962 by Cuban American architect Hilario Candela, Miami Marine Stadium is a showcase for the innova- tive use of poured concrete with its dramatically cantilevered sculptural roofline. It was the nation’s premier venue for boat racing, as well as for concerts, religious services, and politi- cal rallies until its closure in 1992 after the devastation of Hurricane Andrew. After years of disuse, the building faces two interrelated conservation challenges: surface and struc- tural damage of the concrete, as well as extensive graffiti. Interestingly, some of the paintings have been created by well- known graffiti artists and are now much appreciated, particu- larly by younger audiences. Experts are using Getty support to complete scientific research and testing in order to develop a comprehensive con- servation strategy that is sensitive to both the concrete and the graffiti. This includes testing the most effective and least invasive graffiti-removal techniques and protective coatings for graffiti that might be preserved for its artistic value.

Salk Institute for Biological Studies courtyard. Image courtesy of Joe Salk Institute for Biological Studies, Sydney Opera House, Sydney, Belcovson for the Salk Institute of La Jolla, California Australia (see image on page 6) Biological Studies The Salk Institute for Biological Studies Designed by Danish architect Jørn Opposite (top image): Miami Marine was established in the 1960s by Dr. Utzon and built from 1959–73, the Stadium. Photo: Ken Hayden Jonas Salk, the famed developer of Sydney Opera House is a UNESCO Opposite (bottom image): Paimio the Polio vaccine. Renowned architect World Heritage Site and a transcendent Sanatorium, Finland, Alvar Aalto Paimio Sanatorium, Paimio, Finland 1928-32, Patient's wing and solarium Louis Kahn worked with Salk to build an cultural symbol of Australia’s most Located in an idyllic pine forest, the terraces. Photo: Maija Holma, Alvar institute that would bring a community populous city. Over eight million tourists Paimio Sanatorium (1930–33) is a clas- Aalto Museum of scientists together, while also offering and patrons visit this jewel in the city’s sic example of Alvar Aalto’s early mod- a place for individual contemplation, on harbor each year. With its iconic, nested ern functionalist style. Aalto designed a serene and isolated coastal bluff. One sculptural forms, the building is remark- the sleek, concrete building with its of the architecture’s most unique char- able for its innovative use of exposed large windows and open balconies to acteristics is its texturally rich palette of steel reinforced concrete. Despite suc- function as a ‘medical instrument’ for modern materials: pozzolanic concrete, cessful conservation efforts over the the treatment of tuberculosis. The unfinished teak, lead, glass, Cor-Ten years, there is still insufficient knowl- building was repurposed as a general steel left to weather and rust, and stain- edge about the condition of the concrete hospital in 1971 but has since closed as less steel/nickel alloy framing the labo- in several critical locations, including the a health care facility. Finding a suitable ratory window walls. building’s characteristic roof shells. new use for the sanatorium is a neces- The Salk Institute is using Getty The Getty’s support is allowing the sity, but difficult given its scale, remote funds to create a comprehensive conser- building’s custodians to complete a location, and protected heritage status. vation management plan to preserve the comprehensive study of the concrete A Getty grant will support the devel- buildings’ defining features. The grant elements and develop effective, long- opment of a conservation management complements a current project of the term conservation protocols. The plan to address these challenges and Getty Conservation Institute in part- results will be integrated into Sydney prepare long-term conservation policies nership with the Salk that addresses the Opera House’s conservation manage- for the sanatorium to ensure that its his- aging and long-term care of the build- ment plan and will be easily accessible toric features remain preserved in any ings’ teak wall assemblies. to building managers and maintenance adaptive reuse. staff, setting a new standard that will be shared with the field.

12 13 he digital age has changed daily life in fundamental ways—from the way we work, to the way we shop, to our leisure activities. Digital technologies have Talso affected the arts in numerous ways, especially the medium of photogra- phy, offering increasingly sophisticated options for producing, storing, and dissemi- nating images. However, many artists are reinvigorating an interest in the essential elements of the medium—light-sensitive emulsions and chemical development of photographic papers. Light, Paper, Process: Reinventing Photography, on view at the Getty Center from April 14–September 6, 2015, presents the work of seven living artists who utilize an extensive array of practices—often achieved through trial and error, accident, or chance—that shift the understanding of photography from a medium that accurately records the world to one that revels in its very materiality and processes. Whether the artists use customized cameras or none at all, the experimental images they pro- duce are unique and reveal the specific characteristics of the papers on which they were made or the chemicals used to develop, fix, and tone them. Each of the artists in this exhibition is fascinated with the materials of photographic practice and is moti- vated, in part, by the fact that many of these materials are becoming obsolete. “It is important that the works in this exhibition not be perceived as nostalgic, even if they may look back to the beginnings of photography,” explained Virginia Heckert, head of the Getty Museum’s Department of Photographs and curator of the exhibition. “Each of the artists in this exhibition is interested in the history of pho- tography and incorporating in his or her work an understanding of what the origins of the medium are. Through personal experience with painting, drawing, or film, as well as with analog photography, each artist has been able to expand the medium, shifting the way that we understand and appreciate the limits and possibilities of photography.”

Opposite page: Gevaert Gevarto 47, exact expiration date unknown, about 1960s, processed 2013 (#37), 2013, Alison Rossiter. Four gelatin silver prints. Each 10.8 x 8.3 cm (4 1/4 x 3 1/4 in.). Courtesy of the artist and Yossi Milo Gallery, New York. © Alison Rossiter 15 ALISON ROSSITER MARCO BREUER JAMES WELLING LISA OPPENHEIM

Spin (C-824), 2008, Marco Breuer. Chromogenic paper, embossed and While the previous artists’ works focus on the investigation scratched. 34.6 x 27 cm (13 5/8 x 10 of basic photographic elements, Lisa Oppenheim (born 1975) 5/8 in.). The J. Paul Getty Museum, Purchased with funds provided by creates works that directly relate to her subject matter by using the Photographs Council. © Marco the very entities depicted in the photographs to expose them. Breuer Oppenheim uses existing images she finds in historical archives or on the Internet, scans them to create enlarged copy nega- tives, then contact-prints the negatives using the light from the sun, the moon, or a flame. “The world enters into a photograph in a different way than it enters into a painting, for example, because photographs serve multiple functions,” Oppenheim said. “That is how I let the world come into my work.” For her Heliograms series, Oppenheim began with an image of the sun from July 8, 1876 found in the Physical Sciences Collection at the National Museum of American History. She Alison Rossiter (born 1953) takes systematically exposed individual sheets of gelatin silver paper a minimalist approach to the materi- placed in a light-tight box over the course of a day to sunlight als she uses to create her photographic by lifting the lid and varying the exposure length according works. She does not use a camera, film, Opposite page (L–R): to the time of day and year. Although all of the photos in the or light, but instead uses only unpro- series were made from a single negative, the resulting images Water, 2009, James Welling. cessed sheets of expired gelatin silver Chromogenic print. 60.3 x 50.2 cm are distinct; together they seem to document shifts in the paper and photographic chemicals in (23 3/4 x 19 3/4 in.). Courtesy of intensity and quality of sunlight. After developing the images, the artist and Regen Projects, Los the darkroom. Collecting commercially Angeles. © James Welling Oppenheim uses toner to create a luminescent glow, invoking manufactured photographic papers has the alchemical association of sunlight with gold. • Heliograms July 8, 1876 / October become something of an obsession for 16, 2011, 2011, Lisa Oppenheim. the artist, after a chance acquisition Gelatin silver print, exposed by sun- light, toned. 30 x 27.9 cm (11 13/16 of a box of expired paper in 2007. Her x 11 in.) The J. Paul Getty Museum. current collection contains examples © Lisa Oppenheim from every decade of the twentieth century. She works primarily in two categories: latent images and processing Another artist who eschews the use stove, or by placing the embers directly experiments. Latent images are those of camera or film, Marco Breuer (born on the paper. After his thesis was com- created through light leaks, oxidation, 1966) incorporates an array of tools pleted, Breuer continued his investiga- and physical damage to the expired and exterior forces to interact with tions through various acts that abrade, James Welling (born 1951) spent the first ten years of his papers. Rossiter brings these hidden light-sensitive paper. Breuer’s interest burn, or scrape away the emulsion lay- career exploring painting, sculpture, performance art, video images to life by developing and fixing in manipulation of photographic paper ers of black-and-white and color photo- art, conceptual art, and installation before he committed the paper, and the found photograms began with his thesis project in 1999, graphic papers. to thinking of himself as a photographer. For the past four can be remarkably subtle or dramatic. 100 Days. The artist rented a room and “Stripping photography down to decades, he has explored photography—from documentary In her processing experiments, the art- worked for one hundred days without its bare essentials and eliminating the to experimental, with and without a camera, using black-and- ist’s techniques include immersing or visual stimuli from television, movies, intermediate steps of standard photo- white, color, and Polaroid films and papers, as well as digital dipping the paper in developer or pour- billboards, or magazines. His goal was graphic practice allows me to work in files and printing. Since 1995 he has worked increasingly with ing and pooling developer directly onto to create a photographic record of each the present tense,” said Breuer. ¹ color, filters, and camera-less photography. Three bodies of the sheet. With these simple acts, she day, but as time passed he realized that Completely nonrepresentational, his recent work presented in the exhibition include variations achieves a multitude of results—some the work and his daily routine began to “photographs” look like no others; they on the photogram, chemigram, and printing-out process. For suggest faint impressions of primitive merge. Tasks like heating his room and elicit the hues and textures of rare met- his Water series, Welling plunges individual sheets of photo- mark-making, others resemble land- making meals inspired unconventional als, mineral deposits, or oil spills, and graphic paper into a tray of water underneath a color enlarger. scapes, and still others call to mind methods for making images. For exam- display marks ranging from fine inci- Capturing the movement of the water as the paper is removed abstract painting of the mid-twentieth ple, prints could be exposed with the sions and abrasions to scar-like burns from the tray, the resulting images are made more dramatic century. • light from embers in his wood-burning and gashes. • by the color filtration in rich blue, green, or orange hues. •

¹From an interview with the artist by N. Elizabeth Schlatter, http://www.flowjustflow.com/2013/01/29/marco-breuer 16 17 CHRIS MCCAW JOHN CHIARA MATTHEW BRANDT

The youngest artist in the exhibition, Matthew Brandt (born 1982) was a student of James Welling at the University of California, Los Angeles. For Brandt, the origin of an image is not as important as the way he thinks it through as an object. To that effect, Brandt culls images from many sources: photographs he has shot himself or sourced from library archives or the Internet. He then unites the physical with the representational through his photographic experiments. For example, for the series Lakes and Reservoirs begun in 2008, Brandt photographed bodies of water in the western United States in the tradition of nineteenth-cen- It is hard to miss John Chiara (born tury landscape photography. After developing the 1971) when he comes through town to prints, he submerged them in water collected at capture a photograph. Like McCaw, the location. The sediments and bacteria begin to Chiara works with custom-built cam- erode the chemical structure of the paper, allowing eras loaded directly with photographic the physical elements to change and interact with paper, however Chiara works in color. the static, idyllic image. • His largest camera measures 7 x 10 x 12 feet and accommodates paper that is 50 x 80 inches. Chiara transports this Above: Rainbow Lake, WY A4, negative 2012; print 2013, Matthew Brandt. Chromogenic print, soaked mega-camera on a flatbed truck hitched in Rainbow Lake water. 76.2 x 101.6 cm (30 x 40 in.). The J. Paul Getty Museum, Purchased with to his SUV. Working primarily in his funds provided by the Photographs Council. © Matthew Brandt hometown of San Francisco, Chiara Left: Holyoke at Pacific Coast (Variation B), 2012, John Chiara. Dye destruction print photograph on has also photographed in Los Angeles. Ilfochrome paper. 83.8 x 68.6 cm (33 x 27 in.). The J. Paul Getty Museum, Purchased with funds Each work is titled with the name of provided by the Photographs Council. © John Chiara the street or intersection where it was Opposite page: Sunburned GSP #555 (San Francisco Bay), 2012, Chris McCaw. Gelatin silver negative. taken. His landscapes are not meant to 25.4 x 20.3 cm (10 x 8 in.). Courtesy Stephen Wirtz Gallery San Francisco. © Chris McCaw present the most picturesque view of a place, but to invoke the memory of it, which he achieves by experimenting with focus, filtration, exposure, and “Each of the artists in this exhibition engages development time. in some way with the process by which the pho- “I hope they touch on memory—not tographic medium captures and transmutes a longing type of memory . . . a visual light into a two-dimensional image on paper,” On a camping trip in 2005, Chris paper and outfitted with vintage mili- memory, a personal narrative, a mem- said Timothy Potts, director of the J. Paul Getty McCaw (born 1971) turned an acciden- tary lenses pointed directly at the sun ory of place,” explained Chiara. Museum. “But rather than seeing this process as tal exposure into a career obsession. that function like a magnifying glass, And how does one develop such something to be ‘perfected,’ or even neutralized, Intending to shoot an all-night expo- burning through the emulsion layer large paper? Chiara starts by pouring they exploit its ability to be manipulated and sure of the stars, McCaw left the shutter and paper base, leaving behind singe chemicals into a sealed six-foot-long deconstructed, thus collapsing process and prod- open after sunrise and discovered that marks and solarized passages. The pho- section of PVC sewer pipe, which uct into a single creative activity. I am particularly the sun had recorded itself as a scorched tographs in his Sunburn series record he rolls back and forth on the floor. pleased that the Getty Museum Photographs gash in the sky. From that point on, the sun’s movement, which literally Irregular streaks and drips characterize Council has provided funds to acquire works by McCaw sought the “immediacy of the sears its path into the paper in the form his prints, as do areas of overexposure Matthew Brandt, Marco Breuer, John Chiara, and burn” and soon left film behind all of dots, lines, or arcs, depending on its and underexposure, flare from light Allison Rossiter for our permanent collection.” • together. He uses customized cameras position, the weather conditions, and leaks, and unevenly saturated colors, loaded with black-and-white enlarging the length of the exposure. • conveying his hands-on approach. •

18 19 os Angeles is a city of landmarks—from the Hollywood sign and Walk of Fame to the towering palm trees lining L the city’s streets. But to many of its residents, Los Angeles is much more than tourist haunts—it’s a city with a rich cultural history waiting to be explored. Much of this his- tory is now accessible, free, and online with HistoricPlacesLA. org, the most advanced cultural resource inventory man- agement system in the United States, recently launched by the City of Los Angeles in partnership with the Getty Conservation Institute (GCI). HistoricPlacesLA is the first online information and man- agement system specifically developed for the City of Los Angeles to map, inventory, and describe its significant cultural resources, including places of social importance, architectur- ally significant buildings, historic districts, bridges, parks, gardens, streetscapes, and more. As Los Angeles grows and A changes, the system will be an important tool for protecting and preserving the character of the city’s distinctive neighbor- hoods, from the Victorian-era homes of Angelino Heights to SENSE 1950s ranch-style houses in the San Fernando Valley. “The system unlocks Los Angeles’s rich cultural history and puts it in the palm of anyone’s hand,” said Los Angeles OF Mayor Eric Garcetti. “HistoricPlacesLA will enrich and enlighten visitors and Angelenos alike and will encourage people to truly explore our streets and be conscious of the PLACE history around us.” HistoricPlacesLA contains information gathered through SurveyLA, the citywide survey of significant historic IN THE resources that represents the largest and most ambitious historic resources survey project to date in the United States. SurveyLA is a multi-year public/private partnership between CITY OF the City of Los Angeles and the Getty, including both the GCI and Getty Foundation. Prior to 2010, only 15 percent of the city had been surveyed ANGELS for historic resources. Over the last five years, SurveyLA has been surveying the remaining 85 percent of the city. SurveyLA is now approximately 75 percent complete—and as new information comes to light, it is also entered into the HistoricPlacesLA system. HistoricPlacesLA can be accessed online by anyone inter- ested in these resources, including policymakers, property owners, developers, architects, and other stakeholders. Want to know where the Brady Bunch house is located? Just search the system and you’ll get your retro fix at 11222 Dilling Street. Curious about the steel sculpture garden on 62nd Street? With HistoricPlacesLA, it’s easy to find the “10th Wonder of the World,” otherwise known as the Lew and Dianne Harris Sculpture Yard. North Broadway-Buena Vista Street Bridge. Photo: Stephen Schafer Schafphoto.com. 21 Following are places of historical and Griffith Observatory. Photo: Stephen Schafer Schafphoto.com cultural significance inventoried through “HistoricPlacesLA will enable émigrés that settled in Los Angeles dur- considering for development,” explained SurveyLA and now on HistoricPlacesLA.org visitors to search and discover our ing World War II. Wayne Ratkovich, president and CEO interesting finds from SurveyLA and In creating HistoricPlacesLA, the of the Ratkovich Company, a company long-cherished landmarks across the GCI has customized the Arches sys- focused on sustainable urban develop- city,” said Ken Bernstein, manager of the tem, an open source, geospatial, and ment projects in Los Angeles. City of Los Angeles Office of Historic web-based information platform built The system will also make a differ- Resources. “This information will not to inventory and ultimately protect ence for the city’s conservation advo- Originally constructed as the The Boathouse Thematic Group only bring to life our city’s fascinating cultural heritage places. Arches was cacy groups. It could potentially aid Mexican Methodist Episcopal are twelve identical single-family history, but it will help enable more jointly developed by the GCI and World community members as they seek to church, St. John’s United Meth- The Ebell Club South on Menlo “boathouse” residences con- informed decisions by property owners, Monuments Fund. protect key architectural sites or other odist church was built in 1936 for Avenue is an intact women’s structed in 1959 and located in the developers, community activists, urban “The GCI has worked with Los critical parts of neighborhood history. a Mexican American congrega- club building significant for its hills along the south side of the planners, and policymakers.” Angeles for many years to complete a “HistoricPlacesLA will help us con- tion. It is one of the oldest and contribution to the social history Cahuenga Pass. A team of Norwe- One such discovery is the Sugar Hill survey of the city’s historic resources, serve our important cultural heritage, largest churches remaining in of South Los Angeles and women gian shipbuilders assisted in the Historic District, a small neighbor- and that investment has come to frui- and can help us protect Los Angeles’s Watts and represents a significant in Los Angeles. It’s also noted for construction, using hand-axes hood known for its association with tion with HistoricPlacesLA,” said Tim important past as the city grows association with the Mexican its Zig-Zag Moderne and Egyptian rather than saws for cutting wood the African American community and Whalen, director of the GCI. “We wel- dynamically into the future,” said Linda American community. Revival design. to achieve a handcrafted look. the movements to abolish deed restric- comed the opportunity to customize the Dishman, director of the Los Angeles tions that promoted racial segregation. Arches software for Los Angeles, and to Conservancy. “Los Angeles has always In 1945 African American homeown- demonstrate the benefits of its applica- been a city of radical architectural ers hired Loren Miller, a prominent tion for other cities and countries.” experimentation, but HistoricPlacesLA civil rights attorney, and sued for their As Los Angeles continues to be a also sheds light on sites of rich social right to own homes in Sugar Hill. This city of rapid change, HistoricPlacesLA and cultural significance.” led to a Supreme Court decision that also gives developers, property owners, To explore places recently identified such restrictions were unenforceable policymakers, and the general public through SurveyLA, as well as long-cher- Canyon School Schoolhouse, nationwide. information about significant historic ished landmarks across Los Angeles, built in 1894, is an extremely rare The system also sheds additional resources in their community. visit www.HistoricPlacesLA.org. example of a nineteenth-century Edgar Rice Burroughs Office is a The former homes of Nat King light on the city’s well-known commu- “Developers have never had such schoolhouse in Los Angeles. It revival building significant for its Cole, Amelia Earhart, Marilyn nities—including its Japanese, Chinese, a powerful tool to direct us to poten- may also be one of only three association with Edgar Rice Bur- Monroe, Bill “Bojangles” Robin- and Armenian neighborhoods—while tial opportunities for adaptive reuse remaining schoolhouse buildings roughs, noted author of the Tarzan son, Shirley Temple, and other revealing lesser known enclaves, such projects, or to help us make sure we in the Los Angeles Unified School novels and developer of Tarzana in famous names are searchable as San Pedro’s Norwegian and Croatian don’t inadvertently affect significant District. the San Fernando Valley. online. inhabitants and the German Jewish historic resources in areas that we’re

Boathouse Thematic Group

22 23 primary and secondary collections on request, eliminating the need to and for the various ways in which it send out the physical item. More than encourages and facilitates art-histor- five hundred scans are made monthly ical research for a vast community from the library’s book and periodi- Thousands of of users. As the research needs of the cal holdings and uploaded to the Getty field change, colleagues in art libraries Research Portal (see below), creating an around the world look to the GRI for ever-expanding body of work on “per- best practices and scholars from all over manent loan” to libraries and library Rare Books on the world use the GRI’s online catalogue users everywhere. These scans are as a reliable reference in their daily aca- also uploaded to the Internet Archive, demic work. a large nonprofit internet library that On-site, the Getty Research Library offers permanent access to historical is visited by 23,000 users per year. collections that exist online. For the your Desktop But the number of users accessing the past eight years, nearly every book the Scanning books. library resources off-site are even more Getty Research Library has digitized has impressive. Reference librarians at the become part of the Internet Archive. nationwide portal. Very few libraries GRI field 19,000 reference inquiries a To date, skilled operators at the GRI have large enough digitization pro- year, more than 3,000 of which come have used five state-of-the-art scan- grams to qualify for participation: these from researchers around the world who ning stations to put more than 20,000 include the GRI, the Smithsonian, the magine a research library are able to use the library’s staff, collec- books online (along with hundreds of New York Public Library, and Harvard checking out more than tions, and services from afar. thousands of images from the special University. I8.5 million books—rare Virtual patrons—students, advanced collections). books, ancient books, first researchers, and the interested general The above partnerships go a long editions, irreplaceable pri- public from all parts of the globe—num- Digital Public Library of America way toward making the Research mary sources—to anybody ber in the hundreds of thousands. This The GRI is a content hub of the Digital Library’s offerings widely and easily who wants them and never virtual access is powered by the GRI Public Library of America (DPLA), a available to anyone. However, at one of asking for them back. That’s website and the Primo Search system national platform for the discovery, the world’s most prominent and larg- the nearly limitless possibil- which allows users to view books and exhibition, dating, and geo-mapping of est art libraries, the goal to facilitate ity of a research library in the digital collections online, request a information and knowledge resources specific research—designed to support twenty-first century. Through book to be sent to their own library via including books, maps, photographs, and advance the field of art history—is a robust, nonstop digitization interlibrary loan, learn about the GRI’s works of art, and other cultural heritage paramount. To that end, the Research effort and international part- special collections, plan a visit to the objects. The project aggregates meta- Library collaborates with other art nerships, the Getty Research library, correspond with a reference data from libraries, archives, museums, research libraries and spearheads Institute (GRI) is setting the librarian, obtain images for publication, and heritage organizations across the new art-historical research resources. standard for the future of art- or get help with provenance research United States. The Research Institute Known conceptually as the Future of historical research practices. questions and data on artists and contributes all digitized books from its Art Bibliography, this international ini- And in the last eight years, artworks. own collections as well as a wide range tiative brings together peer institutions users from all over the world of digitized special collections includ- to examine ways to make art-historical have downloaded millions of Interlibrary Loan ing thousands of photographs. DPLA research materials in their many for- books from the Getty Research Many items in the Getty Research currently provides access to millions of mats accessible to scholars, facilitat- Library holdings and used GRI Library collection are available to objects and is growing daily. Through ing research but also democratizing tools to find and aggregate art- off-campus researchers through inter- a beautifully designed, easy-to-use the discipline and encouraging new historical resources in other library loan arrangements made via search, the DPLA makes available approaches to scholarly engagement. libraries internationally. their home institutions. The GRI is the digital resources that would otherwise Envisioned from its begin- leading lender of art library materials be findable only through individual The Getty Research Portal nings as a major research worldwide and sends out hundreds of institutions’ catalogues and specialized In response to these discussions about library in support of advanced items to other libraries each month to search portals. Results link to the digital art-historical access and research, the scholarship in the history of support art-historical research around items directly through partner institu- GRI, in collaboration with the Avery art, today the GRI’s Research the world. In addition, many inter­ tions’ online catalogues as well as to Architectural & Fine Arts Library at Library is one of the largest library loan requests are now handled shared repositories such as the Internet Columbia University, the Frick Art and most comprehensive art as digital-on-demand requests—mean- Archive. Reference Library, the Heidelberg libraries in the world, known ing that books, including rare books The GRI is the largest contribu- University Library, and the Institut both for its broad and deep and primary sources, can be scanned tor of art-historical resources to this National d’Histoire de l’Art, led a project

25 BOOK EXCERPT

steamships. Just as striking, however, is how brave at a time when their relevance and little he had forgotten his sense of tradition familiarity were evaporating or being super- or his own life history, and his reluctance—or seded by other narratives, but a series of perhaps latterly, his inability—to look much pictures illustrating Ovid’s Metamorphoses further afield than he had previously done. seem most revealing for representing trans- In 1835 he set out on one of his most ambi- formation. If Turner’s classicism looked Scanned page spread from the Japanese tious European tours. But the adventure was retardataire, at the same time the surface writer, moralist, and politician Matsudaira Sadanobu’s Shuˉko jisshu, vol. 5 (1800), rather put into perspective that summer by appearance of his pictures was unlike any- a rare book from the GRI’s collections, as his old rival John Glover, who sent back to thing seen before. It made for a troubling viewed in the Getty Research Portal. London a whole exhibition of pictures from paradox. Yet it would surely be a mistake to Van Diemen’s Land (Tasmania) where he disconnect conception from process. The had settled in 1830 at the age of sixty-three. art historian Jeremy Lewison has ques- Glover had unlearned the academic style tioned whether Turner’s diffuse treatment that had earned his nickname “the English of ancient myth was a “last hurrah, or . . . to create an online search platform that 2012 and now includes assets from fif- from a multitude of online journals and Claude” and found a new style to paint the recognition of the difficulty of employing it.” unifies and provides global access to teen contributing libraries and provides databases. Created in collaboration J. M. W. Turner landscapes and people of his adopted home. Perhaps instead Turner shows the old melt- digitized art history books and journals, links to more than 50,000 digitized texts with artlibraries.net, an international Turner’s art was reborn from more famil- ing into light and air to make way for some- including fundamental texts, rare books, from collections of those libraries. The working community of more than one Painting Set Free iar materials, and sometimes from itself. thing new; change rather than decay, and not exhibition catalogues, auction sales cat- portal is becoming a trusted destina- hundred art libraries from sixteen Rather than exploring new places, he revis- dissolution but the rebirth of these ancient Edited by David Blayney-Brown, ited or remembered old favorites—Norham stories, materializing from the natural world alogues, and related literature. Known tion for researchers worldwide. Indeed, countries, and OCLC in Europe, this is Sam Smiles, and Amy Concannon Castle, Venice, the Swiss lakes—refreshed they had been imagined to explain. as the Getty Research Portal, this in just under three years it has become the first art-focused catalogue in the themes, traditions, even pictures from for- For Turner, antiquity did not lie lost remarkable project launched in May such a valued resource that librarians WorldCat (a global catalogue of library mer years, and took on time and change as in time, associated only with downfall and at major universities and colleges are collections) environment. Currently, Editor’s Note: J. M. W. Turner’s later subjects in themselves. In views of ancient decline. As a student of architecture he now directing students to the portal the Art Discovery Group Catalogue works departed significantly from his earlier and modern Rome, he spanned millennia, recognized its continuing inspiration, and for research queries and instructors includes the holdings of art libraries ones—and many of his contemporaries found while in The Fighting Temeraire he portrayed while in Berlin in 1835 he took special inter- are including portal resources in their from Europe, North America, Australia, them to be indulgent, eccentric, and even the recent transition from sail to steam. est in recent classical buildings designed by Front cover and pages from the Spanish explorer Hernán Cortés’s art history syllabi. Since the portal is a and Japan. These sixty libraries include repulsive. This lavishly illustrated book recon- Elsewhere, from Regulus to The Wreck Buoy, Karl Friedrich Schinkel. Dignified, practical account of his expedition to Mexico, Praeclara Ferdinãdi, published in siders these paintings within the context of he revised earlier subjects, superimposing and set in beautiful public spaces, these had Nuremberg in 1524, as viewed in the Getty Research Portal. centralized place to find links to fully the GRI; the Rijksmuseum Research Turner’s career and artistic philosophy. layers of paint that invite excavation, like an been planned to rebuild the once makeshift, digitized copies of art-historical books, Library; the IRIS Consortium in Italy; archaeological site, but convey as much the barrack-like Prussian capital on the model but doesn’t store the complete data, the the Institut National d’Histoire de In 1844 William Beckford died at his impression of continuity as the shock of a of Periclean Athens. Like Leo von Klenze’s possibilities for expansion are bound- l’Art; the Metropolitan Museum of Art; house in Bath. Fifteen years older than sudden break. Old and new always fascinated additions to Bavaria, they proclaimed less. The number of books accessible via the National Gallery of Canada; the Turner, he had been the last of the artist’s Turner, fitting the Romantic habit of think- the revival of the German states after the this global art history library is expected National Art Library of the Victoria & important early patrons to survive into ing across time, but seemed to attract him Napoleonic Wars. Turner may have seen to increase steadily every year. Albert Museum; the kubikat union cata- his last decade—long enough to become more as he aged. It came as naturally to paint Schinkel’s symbolic pictures of Greek cities Recently, online versions of museum logue of the German research institutes thoroughly disillusioned with his erstwhile the River Tyne as a modern version of an approaching their zenith, and architectural catalogues and other contemporary in Florence, Munich, Paris, and Rome; protégé. The journalist Cyrus Redding ancient seaport by Claude as it did to revive reconstructions like that of Sestos in The remembered Beckford complaining that an old subject in a new style; or to compare Parting of Hero and Leander evoke the sense publications from contributers have and the National Gallery of Australia. Turner “paints now as if his brains and imag- antiquity in its original state and returning as of “common cause” with the ancient world also been added, including Getty A grant from the Samuel H. Kress ination were mixed upon his palette with it were to nature. What distressed Beckford that admirers observed in Schinkel’s work. Publications’ Virtual Library, those Foundation (facilitated by the GRI) soapsuds and lather; one must be born again was as strikingly deployed, and presumably However, Turner did not replicate meticu- from the Metropolitan and Philadelphia is helping to add more key libraries. to understand his pictures.” more shockingly so, in historical subjects. lous German finishing but spun modern Museums, and the Getty Foundation– Additional art libraries in Central and Despite his way with words, Beckford John Ruskin’s elevation of Turner as the buildings, like ancient myths, from thin air. sponsored Online Scholarly Catalogue South America and Asia are expected to made no claim to such a rebirth. Like many foremost “Modern Painter” was always prob- The Opening of the Wallhalla, 1842, depicting Initiative publications. join the initiative over time. longstanding observers, he felt abandoned lematic in its selective emphasis on truth to von Klenze’s Doric temple to German culture Through these partnerships, tech- by an artist who himself seemed born again, nature. Ruskin refused to engage with works by the Danube at Regensburg, proved too his very paint energized by the accelerat- Art Discovery Group Catalogue nical advances, and forward-thinking like Rain, Steam, and Speed, which celebrated insubstantial for visitors to the Munich exhi- ing tempo of change—political, industrial, the man-made modernity that he personally bition to which Turner sent it in 1845. • Another important resource specific research initiatives, the Getty Research social, scientific—that made 1830s Britain deplored, and was put out by other pictures to the study of art history is the Art Institute and Library are constantly a window into the future. Unquestionably, whose subjects seemed very old-fashioned This excerpt is taken from the book Discovery Group Catalogue, which working to bring the world of art Turner was exceptional for his adventurous by the mid-1830s—or “nonsense” later on. J. M. W. Turner: Painting Set Free, published makes multiple art library catalogues books to the desktop of any student or color, unbridled self-expression and embrace Certainly Turner’s renewed enthusiasm for by the J. Paul Getty Museum. ©2014 J. Paul searchable alongside additional content researcher, anywhere. of newfangled subjects like railways and classical history, literature and myth was Getty Trust. All rights reserved.

26 27 NEW FROM GETTY PUBLICATIONS

Getty Publications produces award-winning titles that result from or complement the work of The Museum of Augustus: The Temple of The Museum of Augustus first provides the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute. Apollo in Pompeii, the Portico of Philippus in a comprehensive reconstruction of paint- These books cover a wide range of fields including art, photography, archaeology, architecture, Rome, and Latin Poetry ings from the remaining fragments of the conservation, and the humanities for both the general public and specialists. cycle of Trojan frescoes that once decorated Peter Heslin the Temple of Apollo in Pompeii. It then Order online at shop.getty.edu finds the echoes of these paintings in the In the Odes, Horace writes of his own Augustan-dated Portico of Philippus, now work, “I have built a monument more endur- destroyed, which was itself a renovation of ing than bronze,”—a striking metaphor that Rome’s de facto temple of the Muses—in hints at how the poetry and built environ- other words, a museum, both in displaying Historical Perspectives in the Conservation of of Frendship and Warme Goodwill,” and ment of ancient Rome are inextricably art and offering a meeting place for poets. It Works of Art on Paper Robert Bell’s 1773 piece “Observations linked. This fascinating work of original next examines the responses of the Augustan Relative to the Manufacture of Paper scholarship makes the precise and detailed poets to the decorative program of this Edited by Margaret Holben Ellis and Printed Books in the Province of argument that painted illustrations of the monument that was intimately connected Pennsylvania.” These are complemented Trojan War, both public and private, were a with their own literary aspirations. The book This book is the seventh in the Readings by influential writings by such figures as A. collective visual resource for selected works concludes by looking at the way Horace in in Conservation series, which gathers and H. Munsell, Walter Benjamin, and Jacques of Virgil, Horace, and Propertius. Carefully the Odes and Virgil in the Georgics both con- publishes texts that have been influential in Derrida, along with a generous representa- researched and skillfully reasoned, the ceptualized their poetic projects as temples the development of thinking about the con- tion of recent scholarship. Each reading is author’s claims are bold and innovative, to rival the museum of Augustus. servation of cultural heritage. The present introduced by short remarks explaining the offering a strong interpretation of the rela- volume provides a selection of more than rationale for its selection and the principal tionship between Roman visual culture and J. Paul Getty Museum ninety-five texts tracing the development of matters covered, and the book is supple- literature that will deepen modern readings 352 pages, 7 x 10 inches the conservation of works of art on paper. mented with a helpful bibliography. This of Augustan poets. 32 color and 52 b/w illustrations Comprehensive and thorough, the volume is an indispensable tool for museum ISBN 978-1-60606-421-4, hardcover book relates how paper conservation has curators, conservators, and students and US $65.00 responded to the changing place of prints teachers of the conservation of works of art and drawings in society. The readings on paper. include a remarkable range of historical selections from texts such as Renaissance Getty Conservation Institute printmaker Ugo da Carpi’s sixteenth- 608 pages, 7 x 10 inches century petition to the Venetian senate 30 color and 35 b/w illustrations on his invention of chiaroscuro, Thomas ISBN 978-1-60606-432-0, paper Churchyard’s 1588 essay in verse “A Sparke US $70.00

Environmental Management for Collections: strategies that offer effective and reliable Alternative Conservation Strategies for Hot alternatives to conventional air-conditioning and Humid Climates systems and that require minimal interven- tion to the historic fabric of buildings that Shin Maekawa, Vincent L. Beltran, and Michael Henry house collections. The book concludes with Manuscript Cultures of Colonial Mexico and authorship, identifying technical innova- seven case studies of successful climate Peru: New Questions and Approaches tions, and contextualizing illustrated his- In recent years more cultural institu- improvement projects undertaken by the tories. This information, in turn, allows for tions in hot and humid climates have been Getty Conservation Institute in collabora- Edited by Thomas B. F. Cummins, Emily Engel, more nuanced arguments that transcend installing air-conditioning systems to pro- tion with cultural institutions around the Barbara Anderson, and Juan Ossio the information that the written texts and tect their collections and provide comfort for world. Appendixes include a unit conversion painted images themselves provide. The both employees and visitors. This practice, table, a glossary, and a full bibliography. This volume showcases dynamic book encourages scholars to think broadly however, can pose complications, including This book is an essential tool for cultural developments in the field of manuscript about the manuscripts of colonial Mexico problems of installation and maintenance as heritage conservators and museum curators, research that go beyond traditional textual, and Peru in the sixteenth and seventeenth well as structural damage to buildings, while as well as other professionals involved in the iconographic, or codicological studies. Using centuries and employ new techniques and failing to provide collections with a viable design, construction, and maintenance of state-of-the-art conservation technolo- methods of research. conservation environment. museums and other buildings housing cul- gies, scholars investigate how four manu- This volume offers hands-on guidance tural heritage collections in hot and humid scripts—the Galvin Murúa, the Getty Murúa, Getty Research Institute to the specific challenges involved in con- climates. the Florentine Codex, and the Relación 224 pages, 7 x 10 inches serving cultural heritage in hot and humid de Michoacán—were created and demon- 35 color, 27 b/w illustrations, and 6 line climates. Initial chapters present scientific Getty Conservation Institute strate why these objects must be studied in drawings and geographic overviews of these climates, 344 pages, 8 1/2 x 11 inches a comparative context. The forensic study ISBN 978-1-60606-435-1, paper outline risk-based classifications for envi- 247 color and 33 b/w illustrations of manuscripts provides art historians, US $49.00 ronmental control, and discuss related ISBN 978-1-60606-434-4, paper anthropologists, curators, and conserva- issues of human health and comfort. The US $65.00 tors with effective methods for determining authors then describe climate management

28 29 FROM THE IRIS NEW ACQUISITION

expert in Chinese art and identity of this period based at Heidelberg University in Germany. With Foundation grant sup- Studying port, Fraser has formed an institutional collaboration with her counterparts Art History at the Central Academy of Fine Arts in Beijing and the Arts College of Sichuan University in Chengdu that also includes with an other senior scholars from the United States and China in a series of intensive Ethnographic research seminars. Fraser notes that field work during these research meetings and longer peri- Eye ods of joint study have made all the dif- ference with the project. Jiang Yuehong, China is a vast country, and bring- a PhD student at the Central Academy ing together scholars from its different of Fine Arts in Beijing, remarked on the regions who share common interests importance of visiting collections as a is no small feat. But this is exactly what group: “By discussing objects together, is happening in a research project cur- we were able to expand our own views, rently underway as part of the Getty think about new approaches and about Foundation’s Connecting Art Histories others’ ways of seeing, [an approach initiative. Through a series of mobile that] can challenge us and provide us seminars, a young generation of Chinese with new perspectives.” scholars is taking a fresh look at shifts This past December the Ethnographic in modern art practice in China during Eye team assembled in Chengdu to the Sino-Japanese war (1937–1945) in examine pertinent art and archival a rare cross-country dialogue that also collections. They also convened for an includes art historians from Europe and initial meeting in Beijing, where they the United States. received mentoring from senior schol- The title of the project, The ars, shared their research with one Ethnographic Eye, describes a historical another, and engaged in dialogue and The Getty Research Institute (GRI) extensive collections of materials moment when Chinese artists who had debate while viewing important works has acquired the last and most ambi- regarding the Islamic world during the been trained in European modernism of art. Looking ahead, the team will have Albrecht tious of Albrecht Dürer’s (1471–1528) early modern period. Significant for re-engaged with their own traditions. one more mobile seminar in Southern six etchings with the support of the both its mode of production and the These artistic changes were spurred China later this year and continue to Dürer’s GRI Council. Produced at a moment meticulously constructed landscape, the by geographic change, as the Chinese share information with one another in when the Ottoman Empire posed a print exemplifies the use of iron plate capital was relocated from Nanjing to the meantime through a comprehensive Landscape threat to the West, Landscape with etching—the predecessor to copperplate Chongqing/Chengdu during the war. project website. Cannon depicts a group of men dressed etching—which rusted quickly. Prints Celebrated figures such as Situ Qiao and “What we have started by using the in Turkish costumes standing beside a such as this—made during Dürer’s Sun Zongwei came together in this new Foundation’s support to bring together with Cannon large cannon, against the background of lifetime, before rust marks ruined the locale and found inspiration by look- this team of art historians early on in a seaside village. They are escorted by pictorial effect—are extremely rare. ing to the past: centuries-old Buddhist their careers has the potential to impact an infantryman armed with a halberd The representation of non-Western fig- monuments like the Dunhuang caves the field greatly in the future,” said who leans informally on the artillery’s ures at the moment the West was being Top: Project participants discuss features of a Chinese Republican period along the ancient Silk Road or the Fraser. “And that is exciting for all of us.” muzzle. To his left, a companion with threatened by the expanding Ottoman painting at the National Palace Museum in Beijing. Painting: Viewing Paintings, 1918, Chen Hengque (Chen Hengke, 1876–1923). Hanging rituals of Tibetan, Miao, Qiang, and Yi Learn more about Connecting Art a horsewhip seems to direct the action Empire is highly significant. While most scroll, ink and color on paper, 87.7 x 46.6 cm. Collection: Palace Museum, Beijing. Photo: Wu Fang groups whose realities were a far cry Histories and the full set of research outside the image; a second foot soldier scholars consider the context of this from the cosmopolitanism of China’s projects supported so far by visiting stands watch to the right of the cannon print within the Holy Roman Emperor’s coastal centers. getty.edu/foundation. • just beyond the foreground ridge. call for a Crusade in 1518, the full range

Bottom: Prof. Dr. Sarah Fraser giving a talk on the relation between Now, some eighty years later, six- Landscape with Cannon. Albrecht This historically significant print of encounters between the West and the ethnographic research and art production at the frontier during the teen graduate students are retracing Dürer. Iron etching. The Getty not only supplements the collection Islamic world, including trade as well as wartime period. In the background: Han Leran (1898-1947), Dance before these artists’ steps under the leader- Visit The Getty Iris, the online maga- Research Institute. Acquired of Dürer prints at the GRI, but also intellectual and artistic exchange, must Labrang Monastery, 1945. Oil on canvas. 137 x 228 cm. Collection: with partial support of the Getty National Art Museum of China, Beijing. Photo: Wu Fang ship of art historian Sarah Fraser, an zine of the Getty, at blogs.getty.edu/iris. Research Institute Council fills a significant gap in the Institute’s also be considered.

30 31 GETTY EVENTS

HistoricPlacesLA Launch Event in Downtown Los Angeles

7: Mayor of Los Angeles Eric Garcetti 10: Director of the Los Angeles speaks during the event Conservancy Linda Dishman and Ken Bernstein 8: Getty Conservation Institute Director Tim Whalen and Mayor of Los Angeles 11: Michael LoGrande, chief zoning Eric Garcetti administrator for the Los Angeles Department of City Planning, and 9: President of the Los Angeles Board of Danielle Brazell, general manager Public Works Kevin James, Manager of the Los Angeles Department of of the Office of Historic Resources Ken Cultural Affairs Bernstein, GCI Director Tim Whalen, and President and CEO of the J. Paul 12: Wayne Ratkovich, president and Getty Trust James Cuno CEO of The Ratkovich Company, speaks during the event

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J. M. W. Turner: Painting Set Free Opening Reception 1: President and CEO of the J. Paul Getty 8 9 Trust James Cuno, Getty trustee Maria Hummer-Tuttle, and Mandy and Clifford Einstein 2: Getty Council members Eva and Brian A. Sweeney 3: Getty Museum Photographs Council members Jan de Bont, William Huyck, and Gloria Katz Huyck 4: The crowd takes in the exhibition 5: Getty Museum Villa Council members Anissa and Paul Balson 6: Getty Museum Disegno Group Council members Grace and Raj Dhawan

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32 33 EXHIBITIONS FROM THE VAULT

Far right: Modern Rome – Campo AT THE Vaccino, 1839, Joseph Mallord William Turner. Oil on canvas. The GETTY J. Paul Getty Museum. CENTER Right: Untitled (Swimming Pool), 1973 or before, Bill Owens. Gelatin silver print. The J. Paul Getty Museum, Gift of Robert Harshorn Shimshak and Marion Brenner. © Bill Owens

On view in In Focus: Play On view in J. M. W. Turner: Painting Set Free

World War I: War of Images, Renaissance Splendors of the Northern Images of War Italian Courts Through April 19, 2015 Through June 21, 2015

In Focus: Play Light, Paper, Process: Reinventing Left: War Diary of Umberto Boccioni, 1915, 22 manuscript Through May 10, 2015 Photography pages. The Getty Research Institute. Right: Pages 9 verso and 10 recto of the War Diary of Umberto Boccioni, 1915. April 14–September 6, 2015 The Getty Research Institute

Zeitgeist: Art in the Germanic World, A Kingdom of Images: French Prints in 1800–1900 the Age of Louis XIV, 1660–1715 Through May 17, 2015 June 16–September 6, 2015 volunteered to fight. Both works on characteristic of Italian Futurist poetics display—the war diary of Umberto to indicate a spray of bullets (“zuiii zuiiii J. M. W. Turner: Painting Set Free Andrea del Sarto: The Renaissance Italian Boccioni, and a sardonic drawing by tan tan”). Through May 24, 2015 Workshop in Action Marinetti of the harsh realities of mili- Marinetti’s drawing, The Carso = June 23–September 13, 2015 Futurists tary life—provide powerful, firsthand A Rat’s Nest: A Night in a Sinkhole + accounts of wartime experiences. Mice in Love, a dynamic visual poem In Focus: Animalia and World Curators discovered these objects describing the miseries of the Carso, the May 26–October 18, 2015 while conducting research for the exhi- cavernous, rocky region in which Italian bition, and neither has been previously soldiers camped, fought, and died, War I published or displayed. offers a multisensory vision of life at the The small diary with twenty-two front. This parole in libertà (words-in- Two little-known works from the handwritten pages, recently digitized freedom) of circa 1917 features many significant holdings of Italian Futurist by the GRI, belongs to the Umberto onomatopoeic elements, including a materials in the special collections of Boccioni papers, a collection compris- long trail of the letters s and r, evoking the Getty Research Institute (GRI) ing correspondence, photographs, the hissing of cannon balls. Marinetti’s are currently on view in the exhibi- and clippings. The first entry dates to textual depiction of the Austrian bom- tion World War I: War of Images, August 7, 1915, and the last, to October bardment culminates in multiple explo- Images of War (through April 19, Funerary Vessel with Eros; Dangerous Perfection: Funerary Vases 27, 1915. Here Boccioni recounts his sions: “TUUM TUUM; Tum-tum-tum AT THE Antigone before Kreon; and 2015). The Italian Futurist poets and the Judgment of Paris (recto), from Southern Italy service as a member of the Volunteer tum; TUUUM.” Seemingly undeterred artists, among them the charismatic GETTY 350–325 B.C., Attributed to Through May 11, 2015 Cyclists’ Battalion, fighting bravely by the artillery fire, more than a dozen the Darius Painter (the Hecuba Filippo Tommaso Marinetti, viewed VILLA sub-group). Terracotta. on Mount Altissimo in Northern Italy rodents, large and small, make them- war as “the world’s only hygiene,” and Photo: Johannes Laurentius. alongside his fellow Futurists. In an selves at home in the wretched camp © Staatliche Museen zu Berlin, adamantly opposed Italy’s policy of Antikensammlung entry dated October 19, on the artist’s presided over by a southern Italian cap- Ancient Luxury and the Roman Silver neutrality at the onset of World War thirty-third and final birthday (he tain, whose long pipe emits smoke like On view in Dangerous Treasure from Berthouville I. The country joined the conflict on Perfection: Funerary Vases would die the next summer after fall- Mount Vesuvius. Through August 17, 2015 the side of the Allies in 1915 by declar- from Southern Italy ing from a horse), Boccioni describes Both works are featured in the GRI’s ing war against Austria-Hungary, and a dramatic battle against Austrian innovative World War I mobile tour at many of the Futurists enthusiastically forces, employing the onomatopoeia getty.edu/wwi.

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Watts Tower. Photo: Stephen Schafer Schafphoto.com. See page 6 for more.