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Hammer Museum Fall 2006 HammerMuseum Fall 2006 Non Profit US Postage 10899 Wilshire Boulevard Los Angeles, California 90024 USA PAID For additional program information: Voice: 310-443-7000 ITT: 310-443-7094 Web: www.hammer.ucla.edu Los Angeles Permit 202 A selection of Clementinefavorites - now available in the HammerCourtyard Open Tuesday through Saturday, 11am to 2:30pm. "Better than homemade" -Los Angeles Times ucdD ] COVER, WOLFGANG TILLMANS. I DON 'T WANT TO GET OVER YOU, 2000. CHROMOGENIC DEVELOPMENT PRINT. COURTESY OF ANDREA ROSEN GALLERY, NEW YORK, AND REGEN PROJECTS, LOS ANGELES. >~ -~ - .:,,• ----- \ °"'' r '.:\ \~ '-._ · ' \ _,. i' ' \ ' ·- ? \ ~ ~ 1( ~"" A Message from the Director A thrilling free summer season, packed with popular courtyard concerts and out­ door movie screenings, has come to a close. For the second consecutive year, the Hammer Museum offered free admissionto all summer happenings, which included the critically acclaimed exhibition The Societe Anonyme: Modernismfor America. Hammer attendance has steadily risen during recent years, and in these past months the Museum welcomed more visitorsthan ever before. This calendar outlines a landmark fall season at the Hammer. We host the fourth annual Gala in the Garden, our elegant fundraising dinner, honoring Joan Didion and John Baldessari; launch Hammer Editions; open e xciting e xhibitions by WolfgangTillmans, Aernout Mik, and others; and present a full range of engaging programs. The quality and influence of our program s was recently underscored when James Bewley, Headof Public Programs, was invited to join a small number of international colleagues at a think tank for cultural programmershosted by the Tate Modern, London. I'm very pleased to announce that the Hammer received a generous $700,000 grant from The James Irvine Foundation's Artistic Innovation Fund to further develop an important aspect of its mission as an artist-centered institution. With these funds , the Hammer will create an ambitious artists' re sidency program, bringing contemporary visual artists into contact with the artistic, intellectual, and cultural resources of the Hammer, UCLA, andLos Angeles. The Hammer will also establish an Artist Council to bring the unique perspectives and insights of artists to bear on all aspects of the Hammer'soperations, including the collection of art, the presentation of wide-ranging and provocative public programs, and the Hammer'sinternal organization and governance. We are very grateful to The James Irvine Foundation for its support in helping us explore and realize this vision. I look forward to welcoming you to the Hammer during thi s exciting time, and encourage you to become a member to take full adv antage of our diverse offerings. Ann Philbin CLOCKWISE FROM TOP LEFT, VISITORS IN THE SOCl~T~ ANONYME EXHIBITION (PHOTO, STEFANIE Director KEENAN ). DIRECTOR ANN PHILBIN (PHOTO, LARRY SULTAN). SCREEN ING OF THE SIREN OF THE TROPICS (PHOTO, DON LEIBIG) . STEPHEN KANTER , RAY AZOULAY, & TRANG CHAU PREVIEW MONICA BONVICIN l'S WORK AT THE ANNUA L HAMMER FE LLOWS DINNER (PHOTO , ANDRE VIPPOLIS) . RUN RUN RUN PERFORMING AT ALSO I LI KE TO ROCK (PHOTO, DON LE IBIG). J ENNY SHIMIZU & ERIC NAKAMURA. H AMMER CONVERSATION WITH DANGER MOUSE (PHOTO, DON LEIB IG). 2 3 HAMMER EXHIBITIONS Wolfgang Till mans September 17, 2006 - January 7, 2007 This exhibition marks the first retrospective of the work of German photographer Related Programs Wolfgang Tillmans in the United States. One of the most important and distinctive artists to emerge in the 1990s, Tillmans isinternationally recognized for creating Conversation work that captures evocative, intimate reflections of often overlooked objects Wolfgang Tillmans& and moments in everyday Life.This presentation of approximately 300 works of Mark Wigley art includes a video piece and photographic prints drawn from the entirety of Sunday, September 17 , 4pm Tillmans's career. See page 11 for details. Tillmans's highly distinctive installations, in which prints are affixed in deliberate, yet seemingly casual arrangements on the walls, create a variety of physical and Closing party emotional relationships with the viewer based on placement and scale. The sub­ Hammer Bash! jects of his image s become an ongoing palette that he repeatedly rearranges to Friday, January 5, 7-1 lpm reinterpret his photographic vision. OPPOSITE , CLOCKWISE FROM TOP LEFT, Wolfgang Tillmans is co-curated by Dominic Molon, Pamela Alper Associate Curator, Museum of WOLFGANG TILLMANS. IT'S ONLY LOVE GIVE IT AWAY,2005. UNTITLED (LA Contemporary Art, Chicago, and Russell Ferguson, Deputy Director of Exhibitions and Programs GOMERAJ,1997. GOLD /CJ,2002. and Chief Curator, Hammer Museum. SUZANNE & LUTZ, WHITE DRESS, ARMY SKIRT, 1993. CHROMOGENIC Wolfgang Tillmans is co-organized by the Hammer Museum, Los Angeles, and the Museum of DEVELOPMENT PRINTS. COUR TESY OF Contemporary Art, Chicago. ANDREA ROSEN GALLERY, NEW YORK, AND REGEN PROJECTS, LOS ANGE LES. The Hammer Museum's presentation is made possible, in part, by George Freeman, Stanley and Gail Hollander, Michael Rubel, and Susan Steinhauser and Daniel Greenberg, with additional support from Alan Hergott and Curt Shepard, the Joy and Jerry Monkarsh Family Foundation, and the British Council . 4 5 HammerProjects is a series of exhibitionsfocusing primarilyon the workof emergingartists. HammerProjects are madepossible with support from The HoraceW. Goldsmith Foundation,the AnnenbergFoundation, Fox Entertainment Group'sArts DevelopmentFee, the Los AngelesCounty Arts Commission,members of the HammerCircle, and the DavidTeiger CuratorialTravel Fund. ,,. Angela Dufresne'sLarge canvases depict fantastical Land­ Romaniantwin brothers Gert and UweTobias create Large­ scapes populatedby strange moderniststructures. Dufresne's scalewoodcuts and sculpturalconstructions. They use t e dark brushstrokes,painted with a Loose,frenetic energy, add to the mythologiesand historyof their native Transylvaniaa! ' their sense of alienation and anxiety her compositionsproduce, subject, bringingage-old folktales and imageryinto th realm yet they also translate the forward-Lookingidealism espoused of the present. The prints and sculpturesmake referen ·e not by modernist architects LikeLe Corbusierand Frank Lloyd only to skulls and monsters, but also to modern g aphic Wright.She presentsutopias gone awryin colorschemes that design, ancient ceramicforms , camp Hollywoodhorro ~films, range from vividacidic hues to morenatural earthy tones. and abstract imagery.The artists' multi-mediainstall tions explorethe wayin whichLegends are formedand howo 1ects GalleryTalk stimulate cultural memory. Angela Dufresne Thursday,September 14, 7pm KendellCarter is a recent graduate" from CaliforniaState flimlllri!D~•-m-mmgg University, Long Beach. His installations bring tooether Christine Nguyen'sworks on paper are influenced by the elementsof urbanstreet culture,modernist architectu e, and artist's memories,Landscape imagery, and imaginedvisions. textile and furnituredesign, funnelingthese disparate refer­ She combinesa varietyof mediaand photographicprocesses ences into the domain of the museumgallery. Camo fl.age, to create multilayeredforms that move freely from repre­ brand-nameclothing, and three-dimensional,chrome- )lated sentation to abstraction. Her compositionsinclude natural graffitishare spacewith century-oldtoile designsand molded elementsLike trees, rivers, and whimsicalanimals along with wainscoting.Carter blends and reshufflesthe culturali enti­ fanciful boats and villages, all of which seem to exist in a ties of objects and materials, seeking to create a diaLogue universewith its own secret Logicand energy. aroundtheir use and significancein contemporaryso o' ety. GalleryTalk GalleryTalk Christine Nguyen Kendell Carter Thursday,November 16, 6pm CLOCKWISE, FROM TOP LEFT, ANGELA DUFRESNE . THE DOUBLE DECKER RANDOM PLAY Thursday,November 30, 6pm RESIDENCE T3000 BARKLEY BY ROLAND MUTANTES SOMEWHERE IN WOULD BE BAVARIA JUNE 2006, 2006 (DETAIL). OIL ON CANVAS. COURTESY OF MONYA ROWE GALLERY, NEW YORK. GERT & UWE TOBIAS . HOUSE OF DARK SHADOWS, 2004 . COLORED WOODCUT ON PAPER. COURTESY GALERIE MICHAEL JANSSEN , COLOGNE. KEN DELL CARTER. HOMMIE, 2006. MIXED MEDIA. INSTALLATION AT THE WERBY GALLERY, CALIFORN IA STATE UN IVERSITY, LONG BEACH. COURTESY OF THE ARTIST. CHR ISTINE NGUYEN . MIGRATION OVER THE WOODS AND ITS STRANGE POWERS, 2006 (DETAIL). C-PRINTS ON WOOD. INSTALLATION AT THE HAMMER MUSEUM, LOS ANGELES . COURTESY OF THE ARTIST. 6 7 HAMMER EXHIBITIONS HAMMER PRESENTS Mourning BecomesElectric: Bruce Wagner'sMemorial and James Ellroy's The Black DahUa An evening of readings by the authors and Dana Delany Saturday, September 30, 7pm Dana Delany has starred in the Broadwayproduction A Life, has won two EmmyAwards for her best-actress role in the popular television series China Beach, and has received acclaim for many off-Broadway productions, Aernout Mik: Refraction television shows, and films, including Thirtysomething, September 12 - December31, 2006 Pasadena, Light Sleeper, Tombstone, and The L Word. Delanyappears on the NBCtelevision drama Kidnapped. Aernout Mikis known for video installations that not only stage narratives On Catastrophe James Ellroy'sLA quartet novels-The Black Dahlia, The based on imagined catastrophes, but also present ambiguous causes and Steven Johnson & Big Nowhere,LA Confidential,and WhiteJazz-were inter­ effects. His surreal, semi-apocalyptic scenarios comment on the frequent national bestsellers. His other acclaimed
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