James Turrell
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Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd. -
Alvar Aalto. Ken Adam. Ai Weiwei. Doug Aitken. Lawrence Alma-Tadema. Robert Altman
ALVAR AALTO. KEN ADAM. AI WEIWEI. DOUG AITKEN. LAWRENCE ALMA-TADEMA. ROBERT ALTMAN. MARTIN AMIS. MICHELANGELO ANTONIONI.DIANE ARBUS . AUNTIE MAME. ADAM BARTOS.SAUL BASS. FRANCIS BACON. BILLY BALDWIN. MATTHEW BARNEY. BAUHAUS. AUBREY BEARDSLEY. CECIL BEATON. NORMAN BEL GEDDES.WILLIAM BLAKE.RICARDO BOFILL. HIERONYMOUS BOSCH.ETIENNE LOUIS BOULLEE. GUY BOURDIN. DAVID BOWIE. ROBERT.F. BOYLE. JOHN BOX . ISAMBARD KINGDOM BRUNEL.HENRY BUMSTEAD.ANTHONY BURGESS. EDWARD BURTYNSKY . JOHN LE CARRE.FRANCOIS CATROUX.NICK CAVE.DAVID CHIPPERFIELD. LYNNE COHEN. JOHN CONSTABLE.BENJAMIN CONSTANT.GREGORY CREWDSON. JACQUES LOUIS-DAVID.EUGENE DELACROIX .THOMAS DEMAND .GUSTAVE DORE .EDMUND DULAC.TONY DUQUETTE. WILLIAM EGGLESTON.OLAFUR ELIASSON. DANTE FERRETTI. IAN FLEMING . FLUX.LUCIEN FREUD.FUTURE SYSTEMS. THEODORE GERICAULT .ALEXANDER GIRARD .NAN GOLDIN.ERNO GOLDFINGER . ANDY GOLDSWORTHY . PETER GREENAWAY. NICHOLAS GRIMSHAW.WALTER GROPIUS .ANDREAS GURSKY. FRANS HALS.ROBERT PARKER HARRISON.HAROLD AND MAUDE.THOMAS HEATHERWICK.DAVID HICKS.TODD HIDO.ALFRED HITCHCOCK . CANDIDA HOFER. WILLIAM HOGARTH. HUNDERTWASSER . AXEL HUTTE. IRATA ISOZAKI. TOYO ITO. ALEJANDRO JADOROWSKY. JEAN –PIERRE JEUNET and MARC CARO. A.QUINCY JONES. LOUIS KHAN.REM KOOLHAAS . STANLEY KUBRICK.KENGO KUMA. HENRI LABROUSTE. MORRIS LAPIDUS .DENYS LASDUN. CLAUDE NICOLAS LEDOUX. MING CHO LEE.SERGIO LEONE. IVAN LEONIDOV .RICHARD LESTER .JEAN –JACQUES LEQUEU .EDWIN LONGSDON LONG.BERTHOLD LUBETKIN..EDWIN LUTYENS.DAVID LYNCH. KAZIMIR MALEVICH .ROB MALLET-STEVENS. THE MAN WHO FELL TO EARTH.ANTHONY MASTERS.SYD MEAD.WILLIAM CAMERON MENZIES.RICHARD MISRACH. DON McCULLIN . MORPHOSIS. VLADEMIR NABAKOV.ODD NERDRUM.PIER LUIGI NERVI.OSCAR NIEMEYER.ANDRE LE NOTRE. MIKE NICHOLS. IRWIN OLAF. ONE FROM THE HEART.GABRIEL OROZCO.BILL OWENS. MARTIN PARR.JOHN PAWSON.CHRISTOPHER PAYNE .PIRANESI.ROBERT POLIDORI.GIO PONTI . -
Download New Glass Review 15
eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird. -
The Long Overlooked Female Artists Suddenly Getting Market Attention
The Long Overlooked Female Artists Suddenly Getting Market Attention observer.com/2018/03/art-market-report-armory-fair-sales-include-mary-corse-sheila-hicks/ Margaret Carrigan March 13, 2018 Work by Norwegian artist Vanessa Baird on view at the Armory Show. Timothy A. Clary/AFP/Getty Images Bad weather didn’t keep collectors away from the 2018 Armory Show, which closed March 11 after strong attendance over its five-day run. The fair’s overall sales gave no indication that the event opened just as the second nor’easter hit New England in under a week, canceling and delaying flights from inbound visitors across the world. One buyer, Thomas Yamamoto, even hopped a flight from Shanghai to New York early to peep a painting in person that he’d bought after seeing just a photo of it. The work in question is a fetching white monochrome from 2011 by Mary Corse, a foundational figure in the male-dominated Light and Space movement started in 1960s Los Angeles. And Corse wasn’t the only overlooked lady from the mid 20th century getting snapped up at the show. “Interest in female artists from the ’60s, ’70s and even the ’80s is high right now,” London-based gallerist Alison Jacques told Observer. Indeed, her Armory Show booth boasted a number of powerhouse women, including works by Ana Mendieta, Dorothea Tanning, Betty Parsons, Michelle Stuart and Sheila Hicks. Hicks studied at Yale, where she worked with legendary modernist Josef Albers and was a pioneer of textile art in the 1960s; now 83, the Nebraska-born, Paris-based artist is finally the subject of a major solo exhibition, at Paris’s Centre Pompidou. -
Art 381 Repeat Perform Record
Sculpture 381 Fall 2013 T/Th 1-4 Repeat, Perform, Record Billy Culiver E.A.T. 9 Evening in Art and Technology A Class Exploring the Intersection Between Theater, Dance and Visual Art The studio art course, Repeat, Perform, Record we will consider the dynamic of live bodies in physical spaces and read critical text and philosophical ideas about performance art. You will have 3 assignment: 1. Work Ethic-Duration/Record, 2. Work Ethic Labor and a collaborative work done with dancers, 3. Spaces Created by Action/Action Created by Spaces. Each assignment is directly aligned to a set of readings and visiting artists who will join the class. In this class, I attempt to honor the radical roots of Performance Art, with its history of expanding notions of how we make art, how we witness art, and what we understand the function of art to be. Performance art in the studio art context emerged from the visual and plastic arts rather than the traditional categories of dance and theater. From the beginning “Performance” was part of the modernist movements such as Futurism, Dada. With the emergence of Fluxus, Situationalism, Happenings, and Conceptualist practices the correspondence with the conscious use of space, time and process became central to Performance Art. With in the last decade, the concept of space, time and process have blended to expand Performance Art, making it a contemporary tool for expression with diverse directions of visual art, theater, dance, music and social practices. Contemporary live art now employs many different forms of experimentation diminishing the known or rehearsed dynamics of performance by opening it to improvisation and chance operations. -
Some Limitations and Possibilities of Image and Form
Rochester Institute of Technology RIT Scholar Works Theses 7-30-2003 Some limitations and possibilities of image and form Susan Forster Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Forster, Susan, "Some limitations and possibilities of image and form" (2003). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ROCHESTER INSTITUTE OF TECHNOLOGY A Thesis Submitted to the Faculty of The College of Imaging Arts and Sciences In Candidacy for the degree of MASTER OF FINE ARTS SOME LIMITATIONS AND POSSIBILITIES OF IMAGE AND FORM By Susan Elizabeth Forster July 30, 2003 Approvals ChiefAdvisor - Bruce Sodervick Date: ¥3&3. 7 7 Associate Advisor- Keith Howard Date: mil!] .IE- 0 S Associate Advisor- Judy Levy Date: Department Chairperson- Tom Lightfoot Date: ~b , ;Ie.l I herby grant permission to the Wallace Memorial Library of RIT to reproduce my thesis in whole or in part. Any reproductions will not be for commercial use or profit. Datd\ ~()3 CONTENTS I. TITLE PAGE II. SIGNATURE PAGE III. CONTENTS V. CONCEPT VI. MEDIA -TECHNICAL SEARCH VII. ILLUSTRATIONS OF BODYOF WORK VIII. CONCLUSION IX. BIBLIOGRAPHY CONCEPT The primary goal for this thesis experience is to examine the connections and correlations between two-dimensional imagery and three- dimensional form. The concept for this exploration came from genuine personal interest and sensitivity for multiple materials, techniques, and the dynamics and energy they create in relation to each other and their environment. -
James Turrell, Architect (Of Light)
James Turrell, Architect (of Light) When we encounter artists like James Turrell working outside the traditional mediums and institutional entities, we struggle to define them in words. We try to resort to the proven labels, but none really apply in Turrell’s case. It is surprising how critics and scholars usually refer to him simply as a light and space artist. But does that give justice to the person and his accomplishments? Yes, his work is about light and seeing, relating to perception and space, but how about architecture, science, psychology, astronomy, sculpture, expanded filmmaking, mythology? Aristotle described the educated person as being knowledgeable in the arts, languages, philosophy, mathematics, history and science. In more recent times, Leonardo da Vinci fits that Aristotelian ideal and is often considered the archetype of the Renaissance Man. Can we, for lack of a better word, ascribe this label to James Turrell, a person that is unknown outside the art world? The more we discover about his art and his search for answers, the more complex it becomes to define this remarkable artist. As it would be impossible within the scope of this paper to explore all the different attributes of Turrell’s work, I will try to shed some light on the architectural side of his art. “I like to say that my work is architecture of light into space. But on the other hand, I had to move a lot of material. Even Roden Crater, just to get this celestial vaulting to happen above you, we moved 1.2 million cubic yards of earth. -
Festival Artists
Festival Artists Cellist OLE AKAHOSHI (Norfolk competitions. Berman has authored two books published by the ’92) performs in North and South Yale University Press: Prokofiev’s Piano Sonatas: A Guide for the Listener America, Asia, and Europe in recitals, and the Performer (2008) and Notes from the Pianist’s Bench (2000; chamber concerts and as a soloist electronically enhanced edition 2017). These books were translated with orchestras such as the Orchestra into several languages. He is also the editor of the critical edition of of St. Luke’s, Symphonisches Orchester Prokofiev’s piano sonatas (Shanghai Music Publishing House, 2011). Berlin and Czech Radio Orchestra. | 27th Season at Norfolk | borisberman.com His performances have been featured on CNN, NPR, BBC, major German ROBERT BLOCKER is radio stations, Korean Broadcasting internationally regarded as a pianist, Station, and WQXR. He has made for his leadership as an advocate for numerous recordings for labels such the arts, and for his extraordinary as Naxos. Akahoshi has collaborated with the Tokyo, Michelangelo, contributions to music education. A and Keller string quartets, Syoko Aki, Sarah Chang, Elmar Oliveira, native of Charleston, South Carolina, Gil Shaham, Lawrence Dutton, Edgar Meyer, Leon Fleisher, he debuted at historic Dock Street Garrick Ohlsson, and André-Michel Schub among many others. Theater (now home to the Spoleto He has performed and taught at festivals in Banff, Norfolk, Aspen, Chamber Music Series). He studied and Korea, and has given master classes most recently at Central under the tutelage of the eminent Conservatory Beijing, Sichuan Conservatory, and Korean National American pianist, Richard Cass, University of Arts. -
Women Light Artists in Postwar California Elizabeth M. Gollnick
Diffusion: Women Light Artists in Postwar California Elizabeth M. Gollnick Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Elizabeth M. Gollnick All Rights Reserved Diffusion: Women Light Artists in Postwar California Elizabeth M. Gollnick Abstract This dissertation redefines Los Angeles “light and space” art, tracing the multiple strains of abstract light art that developed in California during the postwar technology boom. These artists used new technical materials and industrial processes to expand modernist definitions of medium and create perceptual experiences based on their shared understanding of light as artistic material. The diversity and experimental nature of early Light and Space practice has been suppressed within the discourse of “minimal abstraction,” a term I use to signal the expansion of my analysis beyond the boundaries of work that is traditionally associated with “minimalism” as a movement. My project focuses on three women: Mary Corse, Helen Pashgian and Maria Nordman, each of whom represents a different trajectory of postwar light-based practice in California. While all of these artists express ambivalence about attempts to align their practice with the Light and Space movement, their work provides fundamental insight into the development of light art and minimal abstract practice in California during this era. In chapter one, I map the evolution of Mary Corse’s experimental “light painting” between 1964 and 1971, in which the artist experimented with new technology—including fluorescent bulbs and the reflective glass microspheres used in freeway lane dividers—to expand the perceptual boundaries of monochrome painting by manifesting an experience of pure white light. -
The Art Economist December 2011 the Rise of Mary Corse and The
The Art Economist December 2011 The Rise of Mary Corse and the Ecstasy of Silence By Drew Hammond At the age of eighty-five the great Basque sculptor, Nestor Basterretxea, gloriously remarked that, "Some call me a dinosaur, but I would rather be a dinosaur than a mosquito!" The art world has seen many mosquitoes whose buzz distracts our hearing, and who, for a moment during their brief lives, seem to absorb all our attention when they alight on us to suck our blood, leaving an unsightly and irritating reminder that time quickly effaces until another season and another generation of the short-lived. At Art Cologne, a famous Berlin dealer whom I shall not name confided that, "There were many times we knew that an artist or an artist group could only last three or four years. We built them up and they became pure phenomena of the market. We all made money, and then they disappeared in the market as we knew they would. Did we do something wrong? Perhaps the collectors eventually lost their investments, but for a while, they got what they wanted, which was to be seen as having the latest thing. At least the artists could get enough money to establish themselves in some other activity without starving first." Changes in art history and art market evaluations, while ever present, can assume many guises. And the pace of such changes can idle, coast, or accelerate at whiplash speed. Market evolutions can decisively affect even the prices of artists who have been producing work of consistent quality in a consistent price range for decades. -
Mary Corse at LACMA: Painting Light and Space,” Ocula
Paik, Sherry. “Mary Corse at LACMA: Painting Light and Space,” Ocula. 16 August 2019. Web. Mary Corse at LACMA: Painting Light and Space Exhibition view: Mary Corse: A Survey in Light, Los Angeles County Museum of Art (28 July–11 November 2019). Art © Mary Corse. Photo: © Museum Associates/LACMA. Mary Corse: A Survey in Light is an ideal title for Corse's major retrospective exhibition, now at the Los Angeles County Museum of Art (LACMA) (28 July–11 November 2019), that succinctly summarises her decades-long and ongoing experimentation with light. A Survey in Light debuted last year at the Whitney Museum of American Art, New York (8 June–25 November 2018), and offers a comprehensive examination of the artist's key works from the early years of her career in the mid-1960s to 2011, organised at LACMA by Carol S. Eliel, the museum's senior curator of modern art. Corse, who was born in Berkley, California, in 1945, embarked on her formal training as a painter at Chouinard Art Institute (now California Institute of the Arts) in Los Angeles in 1964. There, she made her shaped canvases, which not only convey a desire to break off with the rectilinear format of traditional painting but also a nascent interest in the perceptual experience of light. In Untitled (Octagonal Blue) (1964), for example, Corse painted the octagonal canvas with a mixture of silver flakes and light-blue pigment to create a surface that reflects ambient light. Soon, the artist moved away from colours because they undermined the presence of light and painted, for the following decades, predominantly with white or black. -
Light and Space” and “Finish Fetish” Artists
RARE OPPORTUNITY ON THE EAST COAST TO VIEW COMPREHENSIVE EXHIBIT OF WORK FROM SOUTHERN CALIFORNIA-BASED “LIGHT AND SPACE” AND “FINISH FETISH” ARTISTS Light, Space, Surface Opens at the Addison Gallery of American Art on November 23, 2021 Features Artists Including Mary Corse, Bruce Nauman, Helen Pashgian, and James Turrell Andover, MA (August 12, 2021) – Light, Space, Surface: Works from the Los Angeles County Museum of Art will offer museumgoers the opportunity to experience a distinctly West Coast style of art on the East Coast, presenting the art of Light and Space and related “finish fetish” works with highly polished surfaces. The exhibition, which opens at the Addison Gallery of American Art on November 23, 2021, is one of the most comprehensive ever assembled of these artists and highlights works that explore perceptual phenomena via interactions with light and space. Drawn from the collection of the Los Angeles County Museum of Art (LACMA), Light, Space, Surface features a wide range of media, from painting and sculpture to immersive environments. “It’s a privilege to be able to present this important period of American artistic innovation—often thought of as Minimalism with a uniquely Californian twist—here on the East Coast,” said Allison Kemmerer, the interim director of the Addison Gallery of American Art, Mead Curator of Photography, and senior curator of contemporary art. “Transforming the viewer from passive observer to active participant, the reflective surfaces, glossy finishes, and shimmering colors of these works demand