Lauretta Vinciarelli

, c. 1979 , c. 1979 , c. 1979 ] ] ]

, 1986 , 1986 , 1986 ] ] ] 41 1/2 inches 41 1/2 inches 41 1/2 inches

× × × 75.9 cm) 75.9 cm) 75.9 cm) 1/4 1/4 1/4 × × × , 1980 , 1980 , 1980 , 1980 ] ] ] ]

81.3 cm) 81.3 cm) 81.3 cm) 81.3 cm) × × × × 7/8 inches(57.2 7/8 inches(57.2 7/8 inches(57.2 105.4 cm) 105.4 cm) 105.4 cm) 29 29 29

× × ×

× × × 32 inches32 (50.8 inches32 (50.8 inches32 (50.8 inches32 (50.8

× × × × Project a Productive for Garden in an Project a Productive for Garden in an Project a Productive for Garden in an Water enclosureWater in landscape enclosureWater in landscape enclosureWater in landscape Drawings of the hangar and open and Drawings of the hangar and open and Drawings of the hangar and open and Drawings of the hangar and open and enclosed court house enclosed court house enclosed court house enclosed court house (59.1 (59.1 (59.1 Colored pencil on tracing paper Colored pencil on tracing paper Colored pencil on vellum Colored pencil on vellum Colored pencil on vellum Colored pencil on vellum Colored pencil on tracing paper LongWall (left to right): IV II III Urban Center in South Texas West Urban Center in South Texas West Urban Center in South Texas West [ [ [ [ [ [ [ [ [ [ 22 1/2 22 1/2 22 1/2 20 20 20 20 1 of 3 drawings, each 23 1 of 3 drawings, each 23 1 of 3 drawings, each 23 Watercolor on paperWatercolor on paperWatercolor on paperWatercolor 43.8 cm) × 108 cm) 44 cm) 58 cm) 58 cm) 58 cm) 58 cm) 44 cm) 44 cm) 44 cm) 44 cm) 44 cm) 44 cm) × × × × × × × × × × × × inches (44.2 16 ⁄ 3/4 inches (44 3/4 inches (44 3/4 inches (44 3/4 inches (44 3 1/4 inches (44 1/4 inches (44 1/4 inches (44 1/4 inches (44 1/4 inches (44 1/4 inches (44

17 1/417 inches (44 42 1/2 inches (44

17 17 17 17 17 22 22 22 22 17 17

× × × × × × × × × × × × × Short Wall: Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Lauretta Vinciarelli and Leonardo Fodera, Puglia project, 1975–1977 Ink and colored pencil on mylar Ink and colored pencil on mylar Ink and colored pencil on mylar Ink and colored pencil on mylar Ink and colored pencil on mylar Ink and colored pencil on mylar Ink and colored pencil on mylar I Ink and coloredpencil on mylar Ink and colored pencil on mylar Ink and colored pencil on mylar Ink and colored pencil on mylar Ink and colored pencil on mylar Ink and colored pencil on mylar 1/4 17 1/4 17 3/8 17 1/4 17 1/4 17 1/4 17 1/4 17 1/4 17 1/4 17 1/4 17 1/4 17 1/4 17 1/4 17 Exhibition Checklist

is made possible possible made is Ronnie Heyman and Loren Pack Lauretta Vinciarelli Public hours: March 30–July 20, 2019 Lauretta Vinciarelli & Robert Beyer with support from Thursdays, Fridays & Saturdays Saturdays & Fridays Thursdays, 1:00–5:30pm 1:00–5:30pm 101 Spring Street March 30 – July 20, 2019 - - - -

In the three watercolors, perhaps de start over again.” attentiveness to light can be seen through color with water in mind and water as a means,” Lauretta stated in 2009, “So it relli’s friend, Ida Panicelli, described the no allowance error; for if any were made, medium, art critic, historian, and Vincia tion, and a very steady hand made – it the sheet was lost and she would have to the shadows onthe water created by the surrounding roofless structures or the process as one requiring “total concentra picting the mountainous vistas of the West perimeter of trees. “I started doing water became also water literally.”

Texas desertTexas or Central Vinciarelli’s Italy,

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- 81.3 cm) × , 1986 ] 29 7/8 inches

,1980 × 32 in.32 (50.8 ]

× 1/2 ” These spaces were not intended 75.9 cm) ×

Water enclosureWater in landscape Drawings of the hangar and open and stated in a 1997 interview, “Architecture enclosed court house courtyards, noting that these typologies could be combined to suit the existing and Northern Mexico. re-purposing Judd’s forming fields of light and color into featured throughout Vinciarelli’s practice. materials and climate of Southwest Texas tecture, the traces of that it are in my to be built, instead but explored concepts that he conceived of in relation to court places where she lived. As Vinciarelli paintings, is only the support trans for portant facet of his architectural work of light, memory, color, and perspective. of existing hangar structures was an im is not the main focus work. of my Archi in Marfa, where he restored three hangars (57.2 Of Vinciarelli’s use of watercolor as a Colored pencil on vellum Lauretta Vinciarelli Lauretta Vinciarelli IV II In these drawings, Vinciarelli explored [ [ various configurations of hangars and yard environments. 3 drawings, each 22 1986, often depicting spaces that resemble Vinciarelli began to in work watercolor in 4 drawings, each 20 Variations of the courtyard as a type are Watercolor ‘places.’ - - in

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Domus in April 1981. in June 1977; in A & U The Puglia project was featured in sites. For example, the pool thefor Walker surrounding is work my crucial to it: elements that incorporated Judd other at de Chinati/The Block. Additionally, the doors on the north and south side of the dation that Judd established in Marfa a built roof, or perhaps a combination of as modules, could be combined and as the creation of architectural objects, architecture. Judd also echoed this senti as much thought has gone into the installa all elements that Judd integrated into his de Chinati/The Block in the 1970s and 80s. north and south side ofthe Arena at the fabrics. Instead of conceiving of her work ment in his 1977 statement “Judd Founda the two? The micro gardens, designed that considered the space around the intion,” which he wrote: “The space tion as into a piece Key itself.” elements the water feature, and the courtyard, plan the for Walker House garden was proposal can be seen in realized structural property resemble the doors on the buildings, which is often treated as left over space or a void, as integral to the of the Puglia project include the pergola, unrealized, the influence of Vinciarelli’s in the mid-1980s. interlocked to form a variety of spatial later realized in concrete at La Mansana home and studio in Marfa, La Manasana Chinati Foundation, the public art foun House closely resembles the pool Judd

July 1978; andJuly 1978; in Vinciarelli worked to create spatial fabrics Architecture DesignArchitecture

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, ] 41 1/4 inches

× 1/4 104.8 cm) ×

Project a Productive for Garden in an study of gardens. The first drawing out structures, and roofs. Additionally, c. 1979 a home he owned in Marfa. Similar to drawings the for Walker House introduce employed in the construction of the contemplation, play and The second rest.” drawing proposes additional elements for children’s play equipment, and furniture. combinations of these elements. For ex ample, will the garden have tree cover or fences, hedges, walls, floors, passages, passages, walls, floors, hedges, fences, the drawings the for Puglia project, the the garden: stairs, canals, water basins, pergolas, trees, and water features to be or park should be a place of shade with unrealized Puglia project is a typological ings a garden for at the Walker House, ings, Vinciarelli and Fodera posit various (59.1 lines the elements of the garden project: Colored pencil on tracing paper Commissioned by the Puglia Regional Lauretta Vinciarelli Lauretta Vinciarelli and Leonardo Fodera Puglia project, 1975–1977 III In 1979 Judd purchased Vinciarelli’s draw I Ink and colored pencil on mylar Urban Center in South Texas West [ various elements of the garden, such as water and plants, a placeencounter, “of Throughout the remainder of the draw 3 drawings, each 23 Administration in Southern the Italy, 13 drawings,13 various sizes Vinciarelli and Fodera note that the garden “garden as a spatial fabric.” Though the

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Light Un Light Puglia Project Puglia (2012), a retrospective a (2012), secolo; the Carnegie the secolo; XXI Clear Light: The Architecture of The Architecture Clear Light: (2016) at Totah Gallery, New York. Gallery, York. New Totah at (2016) Represented inRepresented this exhibition are The works included in included this works The exhibition Vinciarelli’s works have beenVinciarelli’s have works guished Service Professor. shortly aftershortly their realization. remain The structures in West Texas and Puglia,structures Texas in West of Modernof Art; Museo nazionale the drawings, including the installed the der of drawings and water gifted generously Judd to were colors collected museums includ numerous by delle arti del Notably, Biennale the of chive Venice. of drawings acquired Department the by of in 1976. Modernof Art in York New Bernard the at exhibition held and Anne are from the collectionare the Foundation. from Judd of tectural sensibility and in interest typological thinking, shared which she band, Peter Rowe, the Raymond the Garbe Rowe, band, Peter veiled Exhibition text: Director of Marfa Programs and Archivist RebeccaDr. Siefert ing National the Gallery Art, of Wash San the Francisco Museum ington, D.C.; include Spitzer School of Architecture of School Spitzer the at Caitlin Murray City College of New York, and City College York, New of Recent exhibitionsRecent Vinciarelli’s of work Foundation in 2012 by Vinciarelli’s by Foundation in 2012 hus Museum Art, of and Ar the Pittsburgh; Professor of Architecture of Professor and Urban Italy, projects which illustrate projects archi her Italy, Design and Harvard Distin University Judd purchasedJudd a number Vinciarelli’s of Visiting Lecturer, Governors State University with Judd. Lauretta Vinciarelli Architecture and Design Museum the at Vinciarelli wasfirst the woman to have Vinciarelli’s drawings gardens and for

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In 1976, VinciarelliIn 1976, began a ten-year In addition pedagogical her to legacy, Developed in Italian of anDeveloped atmosphere gies taught there. Similargies there. taught layout the to seen realized in numerous and unrealized of twenty-seven etchings twenty-seven of (1983–1985). ance company in Cleveland (1986). In ance in company (1986). Cleveland created drawing axonometric the for drawings plates used create to a set for oped a method of “drawing of oped a method as research” and 80s in included this exhibition. courtyards in high-density low-rise, apartment designs a textile that resemble carpetor viewed above. from when architectureof visionary her include drawings, during produced which were a period increased of in interest “paper architecture” of and presentation the architectural drawings in an art context. sharedon fundamental building types one of the four primary four the of one housing typolo ancientof Mediterranean villages, in questioning principles entrenched of of cific social physical Whileand contexts. at relationship, both as both relationship, collaborator and romantic partner, with Donald Judd more generally. Additionally, the two the Additionally, generally. more modern architecture, rethinking these to beto installed Providence the of in front Vinciarelli Providence, proposalthe for later installed which Judd project, the in that persist over time,that persist over Vinciarelli devel typologies and their relationships spe to type” and courses led “carpet on housing,” to Judd’s printmaking Judd’s to making endeavors, proposals and drawings 1970s the from political beginning protests in early the pedagogical practice encouraged the pencil in architectural the and watercolor Texas, Marfa, and West for projects Texas his Architecture Studio. Additionally, housing” often deploys private and shared often deploys housing” (1929–1994). Their collaboration can be (1929–1994). large complex for the Progressive Insur Progressive the for large complex City Hall (1984) and a proposal for a and a proposal for City Hall (1984) Columbia, Vinciarelli introduced “the Usingtypological a that centers approach worked on a commission on a largeworked work for values through the study of building of values study the through was a balancewhich there between indi vidual and community spaces, “carpet world-wide protests of 1968, Vinciarelli’s 1968, of protests world-wide which is vividly demonstrated in colored 1960s, fomented by the impact the 1960s, by the of fomented Vinciarelli’s field the contributions to Vinciarelli drafting her contributed skills - -

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IAUS . She was. She a vital colleagues Bernard IAUS IAUS in 1975, continuing her in 1975, (IAUS)

Vinciarelli taught at various architec Vinciarelli moved to New York City Vinciarelli York New to moved

groups that focused texts promi on groups by show through the the through show

such as Manfredosuch Tafuri, Galvano Della served as a publishing think house, tank,

some of the critiques the of some market of capitalism of the first women to teachto studio first the women of courses Columbiaat along with colleagues her

and later taught at Cityand College at later taught New exhibition space, and alternative school.

and 1970s. and and materialism that permeated Italian architectural discourse in late 1960s the

design Quaroni Ludovico of and Mario encountered the typological the encountered and vernacu di Roma La Sapienza, earning doctor her inate architecture and urban planning attended graduate school at the Università Università the at attended graduateschool nent Italiannent architects and thinkers,

formed in 1981 and continuing in untilformed 1981 member of the ReVisions study group, group, study ReVisions member the of

tionship art, of architecture, and ture during schools began She career. her

the Institutethe Architecture of and Urban professor at the University of Illinois of University the at professor at

public programs rela public the that explored ultimately, the only woman given a solo only woman the a solo given ultimately,

ideology, while alsoideology, organizing reading involvement until its closure in 1984. until in closure 1984. its involvement

in 1969, where she became in she in 1969, where involved in 1971. Duringin1971. studies, her Vinciarelli

in Arbe, Italy and raised She in Rome. lar housing to and urban approaches

Stewart Polshek, in 1978, becoming inStewart 1978, Polshek, one School at Columbia University, James Columbia at University, School

Studies Chicago (1981) and Rice University, and Rice University, Chicago (1981)

Ridolfi, which provided a foundation for Ridolfi,for foundation which a provided Houston (1982). Significantly,Vinciarelli (1982). Houston

Founded by Peter Eisenman, Peter Founded by the McLeod, among others. ReVisions hosted McLeod, among ReVisions others.

Lauretta Vinciarelli (1943–2011) was born Lauretta Vinciarelli (1943–2011) In 1978, VinciarelliIn 1978, was first the and,

was hired Dean the by Architecture the of with a position at Pratt Insitute in 1975, with Pratt a position at Insitute in 1975,

Tschumi, Joan Ockman,Tschumi, and Mary Ada Karmi and Mary McLeod, hired in

1977 and 1978, respectively. respectively. and1977 1978, 1986, with her 1986,

Volpe, and Antonio Gramsci.Volpe, York (1985–1992), and worked as a visiting and worked (1985–1992), York