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ISSUE 10 - Proving the Power of Art and Artists Pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU Pg.20 09 14 22 28
OTIS COLLEGE OF ART AND DESIGN MAGAZINE 310.665.6800 / OTIS.EDU in this issue: Non-Profit Org U.S. Postage Otis College of Art and Design PAID Spring 2011 No Finish Line 9045 Lincoln Boulevard, Los Angeles, California 90045 Los Angeles, CA Permit No. 427 pg.10 ISSUE 10 - Proving the Power of Art and Artists pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU pg.20 09 14 22 28 A Foundation for the Future This issue of OMAG highlights the Foundation connected. Through the Foundation Integrated Otis prepares diverse students of Program, a beloved first-year educational Learning course, freshmen work with an art and design to enrich our world VOL.10 IN THIS ISSUE: SPRING 2011 experience that generations of Otis alumni have external, real world “site partner.” The site- through their creativity, their skill, credited for much of their success and penchant partner project focuses on sustainability and and their vision. for lifelong learning. Otis is the only college of the environment, and embodies another Foundation Development art and design on the West Coast that offers a tenet of Foundation: Knowledge carries with Founded in 1918, Otis is L.A.’s first 02 24 full Foundation Year curriculum. The program is it a responsibility to use it mindfully within independent professional school of Makers + Thinkers Mei-Lee and the Art of Legacy also unique in its approach to preparing students the community. visual arts. Otis’ 1200 students pursue for the competitive, fast-paced 21st century while Students share their first-year engagement BFA degrees in advertising design, continuing to honor time-tested fundamentals. -
In 1981, the Artist David Hammons and the Photographer Dawoud Bey Found Themselves at Richard Serra's T.W.U., a Hulking Corten
Lakin, Chadd. “When Dawoud Bey Met David Hammons.” The New York Times. May 2, 2019. Bliz-aard Ball Sale I” (1983), a street action or performance by David Hammons that was captured on camera by Dawoud Bey, shows the artist with his neatly arranged rows of snowballs for sale in the East Village. Credit Dawoud Bey, Stephen Daiter Gallery In 1981, the artist David Hammons and the photographer Dawoud Bey found themselves at Richard Serra’s T.W.U., a hulking Corten steel monolith installed just the year before in a pregentrified and sparsely populated TriBeCa. No one really knows the details of what happened next, or if there were even details to know aside from what Mr. Bey’s images show: Mr. Hammons, wearing Pumas and a dashiki, standing near the interior of the sculpture, its walls graffitied and pasted over with fliers, urinating on it. Another image shows Mr. Hammons presenting identification to a mostly bemused police officer. Mr. Bey’s images are funny and mysterious and offer proof of something that came to be known as “Pissed Off” and spoken about like a fable — not exactly photojournalism, but documentation of a certain Hammons mystique. It wasn’t Mr. Hammons’ only act at the site, either. Another Bey image shows a dozen pairs of sneakers Mr. Hammons lobbed over the Serra sculpture’s steel lip, turning it into something resolutely his own. Soon after he arrived in New York, from Los Angeles, in 1974, Mr. Hammons began his practice of creating work whose simplicity belied its conceptual weight: sculptures rendered from the flotsam of the black experience — barbershop clippings and chicken wing bones and bottle caps bent to resemble cowrie shells — dense with symbolism and the freight of history. -
Related Acquisitions
6HOHFWHG:RUNVE\$IULFDQ$PHULFDQ$UWLVWVLQ/$&0$¶V3HUPDQHQW Collection *Artists included in Two Centuries of Black American Art Edgar Arceneaux (United States, b. 1972) Mask, 1997 Gouache, graphite, charcoal and ink 11 1/8 x 17 in. (28.26 x 43.18 cm) Gift of Jeff Vaughn AC1997.256.1.16 * Richmond Barthé (United States, 1901 - 1989) Inner Music, 1956 Bronze Height: 24 1/2 in. (62.2 cm) Gift of the 1989 Collectors Committee M.89.25 * Romare Bearden (United States, 1911-1988) In Black America, 1971 Screenprint Sheet: 35 1/2 x 25 1/16 in. (90.17 x 63.66 cm) Gift of Henri Ghent in memory of Henry J. Seldis M.78.57 * Romare Bearden (United States, 1911-1988) Pilate (Misty Island), 1979 Lithograph Image: 22 x 15 in. (55.88 x 38.1 cm) Gift of Joan Palevsky M.2001.76 * Romare Bearden (United States, 1911-1988) Falling Star, 1979 Color lithograph Sheet: 28 1/4 x 28 1/2 in. (71.76 x 72.39 cm) Purchased with funds provided by Joan Palevsky AC1997.100.1 Dawoud Bey (United States, b. 1953) Amishi, 1993 Internal dye-diffusion (Polarcolor ER) print Sheet: 29 1/4 x 21 3/4 in. (74.3 x 55.25 cm) each Ralph M. Parsons Fund M.2000.33.1-.4 * John Biggers (United States, 1924 - 2001) Cotton Pickers, 1947 Conté crayon and gouache on paperboard Image and sheet: 9 5/8 x 29 3/4 in. (100.65 x 75.57 cm); Framed: 47 x 37 x 2 in. (119.38 x 93.98 x 5.08 cm) Purchased with funds provided by Mr. -
Artists Respond: American Art and the Vietnam War, 1965–1975 March 15–August 18, 2019
Smithsonian American Art Museum February 11, 2019 Artists Respond: American Art and the Vietnam War, 1965–1975 March 15–August 18, 2019 Artists Respond: A Symposium: March 15, 9am–5:30pm Smithsonian American Art Museum Eighth and F Streets N.W. Washington, D.C. 20004 USA Hours: Monday–Sunday 11:30am– 7pm T +1 202 633 1000 Americanart.si.edu Martha Rosler, Red Stripe Kitchen, from the series "House Beautiful: Bringing the War Home," ca. 1967-72. Photomontage, Art Institute of Chicago, through prior gift of Adeline Yates. © Martha Rosler. Courtesy of the artist and Mitchell-Innes & Nash, New By the late 1960s, the United States was in pitched conflict both in Vietnam, against a foreign power, and at home—between Americans for and against the war, for and against the status quo. Artists Respond: American Art and the Vietnam War, 1965–1975 presents art created amid this turmoil, spanning the period from President Lyndon B. Johnson’s fateful https://www.e-flux.com/announcements/244630/artists-respond-american-art-and-the-vietnam-war-1965-1975/ decision to deploy U.S. ground troops to South Vietnam in 1965 to the fall of Saigon ten years later. The first national museum exhibition to examine the contemporary impact of the Vietnam War on American art, Artists Respond brings together nearly 100 works by 58 of the most visionary and provocative artists of the period. Galvanized by the moral urgency of the Vietnam War, these artists reimagined the goals and uses of art, affecting developments in multiple movements and media: painting, sculpture, printmaking, performance, installation, documentary art, and conceptualism. -
Whitney David Hammons Day's
WHITNEY DAVID HAMMONS DAY’S END by David Hammons. Courtesy Guy Nordenson and Associates Guy Nordenson Hammons. Courtesy David by Day’s End Day’s Rendering of of Rendering The Whitney Museum of American Art will soon unveil a permanent century to its role as a gathering place for the gay community in public art project by the New York-based David Hammons—a the 1970s. The project embodies the Whitney’s mission to support leading contemporary artist since the 1970s—that will be located living artists in realizing their visions, to serve the community, and in Hudson River Park along the southern edge of Gansevoort to connect to the public through art. Peninsula, directly across from the Museum. The Whitney is producing a rich array of interpretive materials Central to Hammons’s Day’s End is the innovative project of about Day’s End for use both on-site and online, including its first the same name undertaken by Gordon Matta-Clark (1943-1978) in podcast series. In September 2020, the Whitney presented the 1975. Matta-Clark cut massive openings into the exterior walls exhibition Around Day’s End: Downtown New York, 1970–1986, and floor of the dilapidated Pier 52 shed that formerly occupied exploring downtown New York as site, history, and memory and the site, transforming it into what he described as a “temple to featuring works from the Museum’s collection by approximately sun and water.” With exquisite simplicity, Hammons’s artwork fifteen artists, including Gordon Matta-Clark, Alvin Baltrop, Joan traces the outlines, dimensions, and location of the original shed Jonas, Martin Wong, and Dawoud Bey. -
Holiday Sale Members Only! Hammer Members Receive 20% Off in the Hammer Store December 8–15
Hammer Museum Winter 2011/12 Non Profit Org. 10899 Wilshire Boulevard Los Angeles, California 90024 USA US Postage PAID Winter 2011/12 Calendar For additional program information: 310-443-7000 Los Angeles, CA www.hammer.ucla.edu Permit no. 202 100% recycled paper HOLIDAY SALE MEMBERS ONLY! HAMMER MEMBERS RECEIVE 20% OFF IN THE HAMMER STORE DECEMBER 8–15. (DETAIL), 1964. INK AND CHARCOAL ON PAPER. 71 7/16 X 1964. INK AND CHARCOAL ON PAPER. (DETAIL), BIRMINGHAM TOTEM CHARLES WHITE. GEORGIA; PURCHASE WITH FUNDS ATLANTA, 40 1/16 IN. (181.5 X 101.8 CM). HIGH MUSEUM OF ART, ENDOWMENT FOR THE ARTS. FROM EDITH G. AND PHILIP A. RHODES THE NATIONAL 2 3 news director the 1 A MESSAGE FROM THE DIRECTOR from If you have been to the museum recently I am sure you Amiri Baraka. Other highlights of the season include two noticed the construction taking place in the courtyard. We additional Conversations—one with the legendary Angela Davis are very excited to see some important and long overdue and author Robin Levi, and another with writer Hilton Als message improvements to our space finally realized. Although it and artist extrordinaire Kara Walker. a will not interrupt any of our programs and activities, the construction will continue through the spring of 2012 and Additionally, as part of the Pacific Standard Time Performance will improve the overall look and function of the courtyard Festival, in January the Hammer will present two important spaces. We will be adding a new space—The Lab—which performances—one by the legendary Eleanor Antin, and 1 FREE SUNDAYS! will provide a much needed area for student workshops, one by Now Dig This! artists Maren Hassinger, Senga Nengudi Through January 8, 2012 seminars, and other educational and community activities. -
How Art Is Made
How Art is Made Sculpture What is Sculpture? • Three dimensional media and their relation to the space we ourselves occupy. • One of the oldest of the arts. Types of Sculpture Carving Modeling Casting Assemblage Installation Earthworks Performance Art Sculptural Processes • Subtractive - Begins with a mass and the artist removes material to create the finished piece of art. • Additive - The artist builds the work by adding material. Carving • Cut from a larger piece. • A large piece of marble, or other material is cut and chipped away with tools. Types of Carving – Low relief: shallow depth of a carving – High relief: deep relief of a carving Title: Senwosret I led by Atum to Amun-Re Artist: n/a Date: c. 1930 BCE Title: Maidens and Stewards Artist: n/a Date: 447 – 438 BCE Title: Atlas Bringing Herakles the Golden Apples Artist: n/a Date: c. 470 – 456 BCE Sculpture in the Round • Meant to be seen from all sides • The viewer must move all the way around the piece Title: The Rape of the Sabine Women Artist: Giovanni da Bologna Date: Completed 1583 Title: Blackburn: Song of an Irish Blacksmith (frontal view) Artist: David Smith Date: 1949 – 1950 Title: Blackburn: Song of an Irish Blacksmith (profile view) Artist: David Smith Date: 1949 – 1950 Title: “Atlas” Slave Artist: Michelangelo Date: c. 1513 – 1520 Title: Nativity Artist: Patrocinio Barela Date: c. 1966 Title: Pair Statue of Menkaure and his Queen, Khamerernebty II Artist: n/a Date: Old Kingdon, Dynasty IV, c. 2548 – 2530 BCE Title: Kouros (also known as the Kritios Boy) Artist: n/a Date: c. -
The Watts Towers from Eyesore to Icon: Race and the Spaces of Outsider Art
The Watts Towers from Eyesore to Icon: Race and the Spaces of Outsider Art By Emma R. Silverman A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art and the Designated Emphasis in Women, Gender, and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Julia Bryan-Wilson, Chair Professor Margaretta M. Lovell Professor Darcy Grimaldo Grigsby Professor Charles L. Briggs Summer 2018 Abstract The Watts Towers from Eyesore to Icon: Race and the Spaces of Outsider Art by Emma R. Silverman Doctor of Philosophy in History of Art and the Designated Emphasis in Women, Gender and Sexuality University of California, Berkeley Professor Julia Bryan-Wilson, Chair Starting around 1921, Sabato (Sam) Rodia (1879–1965) began to build an unusual environment in his backyard in the Watts neighborhood of Los Angeles. Although he had no formal training in art or architecture, Rodia used concrete-covered steel embellished with intricate mosaics of tile, shell, and glass to create a series of elaborate sculptures, including three central towers that rise nearly one hundred feet in height. For over three decades Rodia’s creation received scant public recognition, and in 1954 Rodia left Los Angeles, never to return. The story of how a single individual worked alone to create such a monumental structure is awe-inspiring; however, the life the site took on after Rodia’s departure is equally remarkable. In the postwar period California’s perceived provinciality relegated it to the fringes of the New York-centered art world. -
The Artists Everyone Talked About During Art Basel in Miami Beach 2019 - Artsy 12/17/19, 12(16 PM
The Artists Everyone Talked about during Art Basel in Miami Beach 2019 - Artsy 12/17/19, 12(16 PM Search by artist, gallery, style, theme, tag, etc. Advertisement Art !e Artists Everyone Talked about during Art Basel in Miami Beach Alina Cohen Dec 9, 2019 5:23pm Related Stories !e 10 Most Important Artists of the 2010s Who’s Buying the Enormous Artworks at Art Basel !e Decade in Art https://www.artsy.net/article/artsy-editorial-artists-talked-art-basel-miami-beach-12-09-19 Page 1 of 19 The Artists Everyone Talked about during Art Basel in Miami Beach 2019 - Artsy 12/17/19, 12(16 PM Installation view of works by Amoako Boafo, in Mariane Ibrahim's booth, at Art Basel in Miami Beach, 2019. Courtesy of the artist and Mariane Ibrahim. Advertisement If every edition of Art Basel in Miami Beach was titled like a Friends episode, the 2019 edition was indisputably “!e One with the Banana.” Maurizio Cattelan taped the fruit to Perrotin’s booth, creating a truly bonkers frenzy. !e work, titled Comedian (2019), landed a front-page New York Post story and spurred so many selQes that the gallery eventually had to put up stanchions to control the queue of people who wanted a picture with the banana. Perrotin started a meme account on Instagram. !ree editions, priced between $120,000 and $150,000 sold. On Saturday, performance artist David Datuna tore the banana off the wall and ate it. Perrotin replaced the banana, then announced on Sunday morning that it was removing the artwork from its booth because it was disrupting the fair environment. -
1 Chicano Studies Research Center Annual Report 2011-12 Submitted
Chicano Studies Research Center Annual Report 2011-12 Submitted by Director Chon A. Noriega 1 TABLE OF CONTENTS ______________________________________________________________ Director’s Message .......................................................................................... 3 Administration, Staff, Faculty and Associates ……….................................... 6 Academic and Community Relations………………………………………. 11 Library and Archive........................................................................................ 19 Press.................................................................................................................28 Research ..........................................................................................................38 Facilities………...……………………………………………………………51 Appendices ......................................................................................................53 2 I. DIRECTOR’S MESSAGE_________________________________________ The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multi-disciplinary research as part of the overall mission of the university. Given the CSRC’s broad campus- and community-wide mandate to foster multi-disciplinary research, it reports to the UCLA Office of the Chancellor. The CSRC is also a co-founder of the Inter- University Program for Latino Research (IUPLR), a consortium of Latino research centers located at twenty-five institutions in the United States. The CSRC houses a library and special collections -
Art & Architecture Design Cultural Studies
ART & ARCHITECTURE DESIGN CULTURAL STUDIES NEW AND RECENT TITLES THE MIT PRESS Muriel Cooper David Reinfurt and Robert Wiesenberger Foreword by Lisa Strausfeld Afterword by Nicholas Negroponte Muriel Cooper (1925–1994) was the pioneering designer who created the iconic MIT Press colophon (or logo)— seven bars that represent the lowercase letters “mitp” as abstracted books on a shelf. She designed a modernist monument, the encyclopedic volume The Bauhaus (1969), and the graphically dazzling and controversial first edition of Learning from Las Vegas (1972). She used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. Cooper was the first design director of the MIT Press, the cofounder of the Vis- ible Language Workshop at MIT, and the first woman to be granted tenure at MIT’s Media Lab, where she developed software interfaces and taught a new generation of design- ers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. This lavishly illustrated volume documents Cooper’s career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT. A humanist among scientists, Cooper embraced dynamism, simultaneity, transparency, and expressiveness across all the media she worked in. More than two decades after her career came to a premature end, Muriel Cooper’s legacy is still unfolding. This beautiful slip-cased volume, designed by Yasuyo Iguchi, looks back at a body of work that is as contemporary now as it was when Cooper was experimenting with IBM Selectric typewriters. -
Press Release for Immediate Release 06/19/2015
ART + PRACTICE PRESS RELEASE FOR IMMEDIATE RELEASE 06/19/2015 Art + Practice Presents A+P 2014-2015 Artists in Residence: Aalia Brown, Dale Brockman Davis, Sandy Rodriguez A+P 2014-2015 Artists in Residence: Aalia Brown, Dale Brockman Davis, Sandy Rodriguez Art + Practice July 11 - August 29, 2015 Opening: July 11, 2015 3 - 6 pm (Los Angeles, CA) - Art + Practice is pleased to announce 2014-15 Artists in Residence: Aalia Brown, Dale Brockman Davis, Sandy Rodriguez, showcasing work produced in the last year by Aalia Brown and Sandy Rodriguez, and ephemeral selections from an ongoing archiving project focused on the historic Leimert Park gallery Brockman Gallery (later Brockman Gallery Productions), co-founded by Dale Brockman Davis and his brother Alonzo Davis. The exhibition will be on view July 11 through August 29, 2015 at Art + Practice’s Leimert Park space at 4339 S. Leimert Blvd. Founded in 2014 by the artist Mark Bradford, the philanthropist Eileen Harris Norton, and the social activist Allan DiCastro, Art + Practice launched its residency program by inviting three Los Angeles–based artists to participate in fourteen-month residencies. The artists were offered access to on-site studios and the opportunity to interact with the community through public programs such as artist talks and open studios. For its first year, the residency program hosted two artists with traditional studio practices [Brown and Rodriguez] and provided facilities and materials to support the Brockman Archive project. Although they work in different mediums and with varying materials, the three residents share a commitment to investigating questions of history, presence, and absence.