DOCSLIB.ORG

October 2011

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
October 2011 lacma MEMBERS MAGAZINE September | October 2011 periodicals 5905 WILSHIRE BOULEVARD | LOS ANGELES CALIFORNIA 90036 | LACMA.ORG LOS ANGELES CALIFORNIA 90036 | 5905 WILSHIRE BOULEVARD | ^ Tickets, Hours, & More hours Monday, Tuesday, Thursday: 12–8 pm Friday: 12–9 pm Saturday, Sunday: 11 am–8 pm Closed Wednesday restaurants All restaurants: Closed Wednesday Ray’s: Lunch 12–3 pm; dinner 5–10 pm Reservations: 323 857-6180 Stark Bar: 11 am–11 pm Plaza Café: Monday, Tuesday, Thursday: 12–8 pm Friday: 12–8:30 pm Saturday, Sunday: 11 am–8 pm museum stores Open during regular museum hours lacmashop.org Director’s Note Art Catalogues: 323 857-6587 Gift Shop: 323 857-6146 October 1 marks the first anniversary of the Resnick Pavilion, and it isn’t until now that we are truly seeing the posi- admission tive results of our expansion. After years of erecting new buildings on the west side of campus and refurbishing General: $15, adults; $10, seniors and students permanent gallery space on the east, the focus can now rightly be on the museum’s robust and diverse program. This Free general admission: after 5 pm for L.A. County residents, fall we have no fewer than eight exhibitions opening—in addition to three more already on view. Of course, as you’ve children under 18, and on the second Tuesday of each month seen in the news, we are also prepping the newest addition to lacma’s campus, Michael Heizer’s Levitated Mass, which For tickets, visit lacma.org or the ticket office, or call 323 857-6010 will open to the public in November along with Chris Burden’s Metropolis II and a newly acquired artwork by Bruce tim burton tickets Nauman (see below). Includes general admission Adults: $20 | Free for members and for children under 18 Five of the exhibitions opening this fall are part of the unprecedented Getty initiative, Pacific Standard Time. Visitors Members: reserve your free tickets at lacma.org or 877 522-6225 from around the world are coming to Los Angeles to experience this extraordinary collaboration of more than sixty parking Southern California arts organizations to tell the multifaceted history of art in Los Angeles. I am more than thrilled Parking is available in the Pritzker Parking Garage, located on 6th Street just east of Fairfax Avenue. Additional parking is available that lacma’s contribution includes the first-ever survey of midcentury California Design and a retrospective of the in the lot at Wilshire Boulevard and Spaulding Avenue. influential Chicano performance art collective Asco, as well as an exhibition of Ed Kienholz’s controversialFive Car membership Stud, on view for the first time in forty years after being restored by Nancy Reddin Kienholz. To renew your membership, or to give a lacma membership as a Perhaps the most satisfying result of the first two phases oflacma ’s still ongoing project is seeing more gift, visit lacma.org or call 323 857-6151. Transformation of our permanent collection on view than ever before. After opening in phases over the last year, our European lacma on the web lacma.org facebook.com/lacma galleries are now fully open on the third floor of the Ahmanson Building, showcasing a variety of masterpieces, from lacma.org/unframed twitter.com/lacma silver and micromosaics to utterly extraordinary baroque paintings to our world-class seventeenth-century Dutch twitter.com/enlacma paintings. Permanent gallery reinstallations are continuing to other areas of the collection: next on the agenda is On the Cover: Silhouettes of (foreground) Charles and Ray Eames, Molded Plywood Division, Evans Products South and Southeast Asian art. While those galleries get their makeover, many of the objects are traveling to the Company, DCW (dining chair wood), 1946–49, Decorative Arts and Design Council Fund; and (background) La Gardo Tackett, Architectural Pottery, Garden Sculpture, c. 1955, collection Museo Nacional de las Culturas in Mexico City for a special exhibition organized by lacma. Whether sending objects of the Lawrence family, lent in honor of Max and Rita Lawrence, © La Gardo Tackett Estate, from our collection to an international institution, installing a major earthwork on campus, or being a part of a Architectural Pottery, Vessell® USA Inc. All rights reserved. regionwide exhibition initiative, one thing is clear: the world’s eyes are on lacma. Vol. 50, no. 4, Connect (issn 1551-0654) is published bimonthly by the Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles, CA 90036. Ten dollars of membership dues goes toward one year’s subscription to Connect. Periodicals postage paid at Los Angeles, CA. lacma is accredited by the American Association of Museums. © 2011 Museum Associates dba Los Angeles County Museum of Art. All rights reserved. Public programs photography, courtesy of Brant Brogan and Jennifer Huxta. Unless otherwise noted, all works lacma; all photographs © 2011 Museum Associates/lacma. postmaster: Send address changes to Connect, Membership Department, Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles, CA 90036. Michael Govan senior editor: Scott Tennent | graphic designer: Katie Hanburger ceo and Wallis Annenberg Director Printed by on 60lb Smooth Opaque Offset on a Hantscho press For questions or comments about Connect, e-mail [email protected]. news & highlights Monumental Artworks by Kruger and Nauman York and London and slated to travel to Houston, Acquired Pittsburgh, and Washington, D.C. in 2012. Barbara Kruger’s Untitled (Shafted), commissioned for the Indian Art Collection Travels to Mexico opening of the Broad Contemporary Art Museum in 2008 India’s Universe: Masterworks of the Los Angeles County Museum and originally a long-term loan from the artist, has of Art will go on view October 15–January 29 at the been acquired for the museum by lacma trustee Carole Museo Nacional de las Culturas in Mexico City. The Bayer Sager. The large-scale work stretches up bcam’s exhibition features 115 objects from lacma’s permanent massive three-story elevator shaft and features a litany collection—one of the most comprehensive collections of words and phrases in a powerful critique of consum- of South Asian art in the Western hemisphere—and erism. Also just acquired, Bruce Nauman’s 2011 video, explores the elaborate cosmologies of ancient India’s For Beginners (all the combinations of the thumb and fingers), is three main indigenous religions: Hinduism, Buddhism, a large-scale two-channel video depicting the artist’s and Jainism. hands opening and closing in different combinations, Brody Condon Video Commissioned for Stark Bar following verbal instructions. The artwork, acquired through the generosity of French entrepreneur François Three American Art Acquisitions Commissioned exclusively for lacma and made possible Pinault, will go on view in November alongside Chris by Samantha Spitzer Lucas and the Spitzer Family The newly formed American Art Acquisitions Commit- Burden’s Metropolis II. Foundation, artist Brody Condon has created an tee has generously acquired two artworks for lacma’s eight-hour video performance inspired by choreogra- collection: The Piper, a marble sculpture modeled in 1854 pher Trisha Brown’s “Lineup” pieces from the 1970s. by Chauncey Bradley Ives, and Sharecropper, a linocut by Featuring costumes designed by Rodarte, the perform- the artist Elizabeth Catlett from 1952. American art ers were encouraged to improvise but were required to curators made an additional appeal to the American Art follow three strict rules—their twelve-foot poles must Council, which made possible the acquisition of Edward stay connected at all times, they should move slowly Biberman’s powerful portrait of Martin Luther King Jr., I and constantly, and any viewers encountered could not Had a Dream, painted shortly after Dr. King’s assassina- be touched or spoken to. The result, Line-Up (After Trisha), tion in 1968. I Had a Dream and Sharecropper are on view is on view daily in the Stark Bar. now in the American art galleries. Urban Light Ad Receives Telly Award lacma Displays First Major Public Sculpture by Ai Weiwei A 3-D commercial for lacma created last year by director Brian Daly, produced by Mob Scene, and On view in lacma’s North Piazza through February 12, executive produced by lacma trustee Carole Bayer 2012, Circle of Animals/Zodiac Heads is the first major Sager, recently won a Telly Award for best use of 3-D. public sculpture by artist Ai Weiwei, recently freed after Now in their thirty-third year, the Telly Awards are a widely publicized three-month detention by Chinese devoted to honoring television commercials, video and authorities. The twelve oversized animal heads are film productions, and work created for the web from based on sculptures that were originally cast around around the world. 1750 and located at the Zodiac fountain in Yuan Ming left: Barbara Kruger, Untitled (Shafted), 2008, gift of Carole Bayer Sager, Yuan in Beijing, then looted by British and French commissioned by the Los Angeles County Museum of Art for the opening of the Broad Contemporary Art Museum troops in 1860. lacma is the only West Coast venue for middle: Edward Biberman, I Had a Dream, 1968, purchased with funds this traveling installation, previously on view in New provided by the American Art Council lacma.org/exhibitions Glenn Ligon: AMERICA October 23, 2011–january 22, 2012 |BCAM Glenn Ligon: AMERICA is the first midcareer retrospective of Ligon’s work in the United States. The exhibition includes unknown early material and the reconstruction of seminal bodies of work such as his Door paintings, the coal dust Stranger canvases, and the Coloring series. Over the course of his career, Ligon has worked in a variety of media, including painting, neon, installation, video, and print. In the late 1980s and early 1990s, Ligon became known for work that explores race, sexuality, representation, and language, including his iconic black-and-white text-based paintings that reference the writings of noted African American authors James Baldwin, Ralph Ellison, and Zora Neale Hurston.
Load more

Recommended publications
  • Modernism 1 Modernism
    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
    [Show full text]
  • “Rewriting History: Artistic Collaboration Since 1960.” in Cynthia Jafee Mccabe
    “Rewriting History: Artistic Collaboration Since 1960.” In Cynthia Jafee McCabe. Artistic Collaboration in the Twentieth Century. Washington, D.C.: Smithsonian Institution Press, 1984; pp. 64-87. Text © Smithsonian Institution. Used with permission. accords with a desire to see human beings change world history as attrition rather than as a whim, and we are more order. When we see a subscriber to the great person theory and more attuned to how large numbers of people in the present, such as Barbara Tuchman, we are all participate in world events rather than how the few are intrigued, I think, because we so desperately want to believe motivated and affected. Napoleon is beginning to appear that individuals do control the world and that history is not more the creation of the people, the nexus of their desires, mindless attrition, some effect caused by innumerable than a willful individual: he may act but he is also very people unsuspectingly reacting to a sequence of events. We definitely acted upon. like logic and the force of human emotions, and we want to Even though historians have generally accepted social be convinced that Napoleon was important, because, history as a legitimate approach and are finding it a fruitful lurking under that conviction, is the assumption that if he means for sifting through past events, art historians have can initiate world events, then, perhaps, we too can have an been reticent to give up their beliefs in individual genius. effect, t1owever small, on the world around us. For all intents and purposes, art history is still locked into The great person theory has enjoyed a wide following, the great person theory, whict1 is more appropriate to the but this approach is historically rooted in the Romantic Romantic era and the nineteenth century than the Post­ period.
    [Show full text]
  • Calder and Abstraction April 8, 2014
    Calder and Abstraction April 8, 2014 4:00–5:00 Registration Ahmanson Building, Level 2 Sign-In LAUSD Salary Point & University Credit • Ahmanson Building, Level 2 ________________________________________________________________________________________________________________________________ 5:00–5:50 Lecture Calder and Abstraction • Lauren Bergman • Bing Theater ________________________________________________________________________________________________________________________________ 6:00–6:50 Exhibition in Focus Calder and Abstraction: From Avant-Garde to Iconic • Resnick Pavilion Art Workshops Shaping Space • Grades K–2 • Peggy Hasegawa • Plaza Studio** Contour Constructs • Grades K–5 • Brooke Sauer • Pavilion for Japanese Art Lobby* Paper Sculptures • Grades SPED K–5 • Judy Blake • Bing Theater Lobby* Motion Machines • Grades 6–12 • Jia Gu • Art + Technology Lab, Bing Center, Level 1* Gallery Activity Monumental Artworks • Grades 6–12 • Brandy Vause • Resnick Pavilion* Dance Workshop Balance and Motion • Shana Habel • Bing Theater ________________________________________________________________________________________________________________________________ 7:00–7:25 Reception Dinner catered by The Patina Group • BP Grand Entrance ________________________________________________________________________________________________________________________________ 7:30–8:20 Exhibition in Focus Calder and Abstraction: From Avant-Garde to Iconic • Resnick Pavilion Art Workshops Shaping Space • Grades K–2 • Peggy Hasegawa • Plaza Studio**
    [Show full text]
  • Edward & Nancy Kienholz Solo
    EDWARD & NANCY KIENHOLZ Edward Kienholz Born in 1927, Fairfield (Washington), USA Dead in 1994, Sandpoint, Idaho, USA Nancy Reddin Kienholz Born in 1943, Los Angeles, USA Dead in 2019, Houston, USA Artworks and exhibitions prior to 1972 are by Edward Kienholz. From 1972 onward, all artworks are coauthored by and exhibitions are collaborations of Edward Kienholz and Nancy Reddin Kienholz. SOLO EXHIBITIONS (SELECTION) 2020 Edward Kienholz, Galerie Templon, Paris, France 2019-2020 Edward and Nancy Kienholz: The Merry-Go-World or Begat by Chance and the Wonder Horse Trigger, L.A. Louver, Venice, CA, USA 2018 Edward Kienholz: America My Hometown, Blain | Southern, London, UK 2017-2018 Edward and Nancy Kienholz: A selection of works from 1982-1992, ICA Miami, Miami, FL, USA 2016 Kienholz: Five Car Stud, curated by Germano Celant, Fondazione Prada, Milan, Italy Kienholz Televisions, L.A. Louver, Venice, CA, USA Edward & Nancy Kienholz: A Selection of Works from the Betty and Monte Factor Family Collection, Sprüth Magers, London, UK 2014 Ed and Nancy Kienholz: BERLIN/HOPE, L.A. Louver, Venice, USA Septet - Un Kienholz d’exception, Galerie de France, Paris, France 2013 The Jesus Corner, Missoula Art Museum, Missoula, MT, USA 2012 Kienholz: The Ozymandias Parade / Concept Tableaux, Pace Gallery, New York, NY, USA Kienholz before LACMA, L.A. Louver, Venice, CA, USA 2011 Kienholz Die Zeichen Der Zeit, Schirn Kunsthalle, Frankfurt, Germany; traveled to Museum Tinguely, Basel Switzerland Edward Kienholz: Five Car Stud 1969-1972, Revisited, Los Angeles
    [Show full text]
  • Rise of Modernism
    AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet.
    [Show full text]
  • July 1, 2012–June 30, 2013 FY13: a LOOK BACK
    Georgia Museum of Art Annual Report July 1, 2012–June 30, 2013 FY13: A LOOK BACK One of the brightest spots of FY13 was the On October 22, the museum celebrated inaugural UGA Spotlight on the Arts, a nine-day its official reaccreditation by the American festival held November 3–11, highlighting visual, Alliance of Museums (formerly the American performing, and literary arts all over campus, Association of Museums). Although the in which the museum participated eagerly. The museum is usually closed on Mondays, it was vision of vice-provost Libby Morris, the festival open to the public for the day. AAM director was planned by the UGA Arts Council, of which Ford Bell attended the event and spoke about museum director William U. Eiland is a member, the museum, followed by an ice cream social. and its subsidiary public relations arm (at Less than 5 percent of American museums are which Michael Lachowski and Hillary Brown accredited, and the process is not a simple one. represented the museum). The festival attracted Reaccreditation is a lengthy process, involving great attendance, especially from students, and a self-study that the museum worked on for demonstrated the administration’s commitment several years and a site visit lasting several days, to making the arts an essential part of the during which AAM representatives toured the university experience. Later in the fiscal year, the facility from top to bottom, met with university Arts Council began working on a strategic plan, upper administration, and interviewed staff with brainstorming meetings held by both the members, volunteers, students, and patrons of executive and PR committees in the museum’s the museum.
    [Show full text]
  • Exhibition Advisory
    ^ Exhibition advisory Exhibition: Los Angeles to New York: Dwan Gallery, 1959–1971 On View: March 19–September 10, 2017 Location: Resnick Pavilion (Image credits on page 6) (Los Angeles—March 6, 2017) The Los Angeles County Museum of Art (LACMA) presents Los Angeles to New York: Dwan Gallery, 1959–1971, an examination of the storied history of Dwan Gallery, one of the most important galleries of the postwar period in the United States. Virginia Dwan (b. 1931), gallery owner, art patron, and collector, was one of the greatest champions of avant-garde art and artists of the mid-20th century. During her more than 11 years as a gallerist, Dwan’s Los Angeles and New York galleries were among the first bicoastal spaces dedicated to showcasing contemporary art in America. As an arts patron, Dwan was a pivotal figure in the Los Angeles art scene, often providing artists with stipends, studio space, and housing, in addition to giving many artists their first solo shows. At the time, the exhibitions presented at Dwan Gallery were at the forefront of postwar avant-garde art. Dwan organized one of the first Pop art exhibitions in the United States, My Country ’Tis of Thee (1962), and she was one of the earliest and most ardent supporters of Minimal Art and Earthworks. Founded in 1959, Dwan Gallery first opened in a storefront in Westwood, Los Angeles. The gallery presented groundbreaking exhibitions of New York artists such as Philip Guston, Franz Kline, Claes Oldenburg, Robert Rauschenberg, Ad Reinhardt, and Larry Rivers as well as the Los Angeles-based artist Edward Kienholz.
    [Show full text]
  • Palm Canyon (Lyric Landscape), 1968 Artist
    Title - Palm Canyon (Lyric Landscape), 1968 Artist - Edward Biberman American, 1904-1986 Oil on Masonite Gift of the Estate of Genevieve U. Gilmore; Courtesy of Mrs. Martha Parfet, Mrs. Carol Boudeman and Mrs. Jane Vojnovich Spotlight Paper - Josie Gomez, 2019 Artist’s Background Information; Edward Biberman was born in Philadelphia on October 23, 1904. He died in 1986 at the age of 81 in the Hollywood Hills home he shared with his wife Sonja. Biberman was born to Jewish immigrant parents from Russia. His father, Joseph, left his homeland at the age of 18 to come to the United States seeking the “American Dream”. By the time he was 30 years old Edward’s father was a very successful businessman. Edward was the youngest of three children. He was 16 years old when he graduated from high school. He received a scholarship to the University of Pennsylvania and graduated at the age of 19 with a degree of Bachelor of Science in Economics. In 1924 at the age of 20 he enrolled as a full-time student at the Academy of Fine Arts in Pennsylvania. Edward was now fully committed to a life in art. Edward’s father resigned himself to the fact that his youngest son would not take over the family business. In June of 1926 after graduating from the Fine Arts Academy he sailed to Europe, living in Paris from 1926-29 where he met many artists and writers. While he enjoyed his time in Europe he realized he wanted to return to America. His career as an artist was launched with an exhibition in Paris in 1927.
    [Show full text]
  • Love Sees Artists Through Wartime and Political Turmoil Page 16
    Love is in the Air Valentine’s Day section traces romances of three couples ➤ page 11 Vol. II, Number 41 • February 9, 2007 www.DanvilleWeekly.com Super Bowl Danville ad boosts OKs zoning career change Monte Vista grad Apartment project ‘beauty queen’ stars in south Danville in best commercial is now a go ➤ page 5 ➤ page 5 Mailed free to homes in Danville, Blackhawk, Diablo and Alamo SONJA EDWARD& Love sees artists through wartime and political turmoil page 16 Serving with integrity dedicated to your overall satisfaction Complimentary Design Consultation 4175 First Street 2172 San Ramon Blvd., Ste. D Livermore San Ramon www.quarrylane.org 925.454.8583 925.831.8685 svhuzGjhuGilGsprlGhGivGvmG Concierge Medicine A New Level of Medical Care, The Way It’s Meant to Be jovjvsh{lz…G zvtl{ptlzGv|Gkvu˅{Gruv~G~oh{G v|˅ylGnvuuhGnl{G ~GGG GGHG G Donald S. Parsons, M.D. G Internal Medicine G Announces the Opening of His Concierge Medical G Practice, Beginning March 1st, 2007 G ANGELA ALOISE DARLENE CRANE LYNN ESKEW DARLENE ESPINOZA MONICA JONES G `Y\U[]XU]`\\G `Y\U[]XUY_W`G GG`Y\UY[`UZ[ZYG `Y\UY[`UZ[GGZGG]GGGGGGGGGGGGG`Y\UY[`UZ[Z^G G Information Meeting* G How does concierge medicine benefit you, the patient? G Q & A With Dr. Parsons G Tuesday, February 13, 2007 7-8 P.M. G CHERI KEEFE R JILL MOSSER NORMA PERKINS LORI SMITH LINDA ZAISS Danville Library in the Mount Diablo Room G G`Y\UY[`UZ[ZZG `Y\UY[`UZ[Z[G `Y\U[]XU]`\]G `Y\U[]XU]`\`G `Y\U\\YUXX_\G G G ~lz{GulhsGiyhujoG 400 El Cerro Boulevard, Suite 102 G Danville, California 94526 G ZWG~UGulhsGz{yll{SGz|p{lGXW\GQGwslhzhu{vuG G *Reservations required.
    [Show full text]
  • FOR IMMEDIATE RELEASE Ed Moses: Diamond Jim Albertz Benda
    FOR IMMEDIATE RELEASE Ed Moses: Diamond Jim albertz benda, New York April 30 – June 16, 2018 “Actually I love to paint. I’m the Hungry Ghost. There’s a glow as if the painting is imbued with some energy field, something primordial that is responsive to my obsession – the obsession of the Hungry Ghost.” - Ed Moses, Venice Beach, CA. (2013) March 26, 2018, New York, NY - albertz benda is honored to present Ed Moses: Diamond Jim focusing on the artist’s work on canvas of the past three decades. This exhibit follows Moses’s first ever East Coast survey, Painting as Process 1951-1999, at albertz benda, New York (2016) and California Dreaming: Ed Moses, Billy Al Bengston, & Ed Ruscha curated by Thomas Krens for the New Britain Museum of American Art, CT (2017). Diamond Jim comprises key series from this period including Whiplines, Crackle, Scrapers, and Magma. Moses continually expressed the importance of process over the finished object. His efforts to embody physical motion and his emphasis on mark making lead him to experiment with a wide range of techniques and nontraditional tools - such as mops and squeegees. Moses was simultaneously open- ended in his style and highly focused in his attention to material, gesture, and pictorial space; shifting between techniques and processes enabled the artist to generate a large and diverse oeuvre. An intuitive and inquiring approach has guided Moses since the beginning of his artistic career. A longtime student of Buddhism, which since the 1970’s increasingly influenced his practice, he stated the goal is not the thing; the path is the thing...the process, this meandering.” For Moses, painting’s identity was multiple and changing – working with canvases stretched on the floor, the dynamic abstract compositions in Diamond Jim (2008), Ignon (2006), and Bronco (2002) are the result of of the artist’s rejection of conventional brushes in favor of mixing paints on the surface of the canvas itself.
    [Show full text]
  • BOOKS ABOUT ARTISTS Catalogue 72 – January 2013
    BOOKS ABOUT ARTISTS Catalogue 72 – January 2013 1. (Aaltonen, Waino). WAINO AALTONEN by Onni Okkonen. Finland, 1945. 4to., boards, DJ, 31pp. text, 96 illustrations of sculpture in photogravure. Text in Swedish and Finnish. VG/VG $12.50 2. (Adam, Robert). ROBERT ADAM & HIS BROTHERS - Their Lives, Work & Influence by John Swarbrick. Scribners, NY, 1915. 4to., 316pp., t.e.g., illustrated. An important reference on one the leading British architect/designers of the 18th Century. A near fine copy. $125.00 3. (Albers, Josef). THE PRINTS OF JOSEF ALBERS - A CATALOGUE RAISONNE1915-1976 by Brenda Danilowitz. Hudson Hills Press, NY, 2001. 4to., cloth, DJ, 215pp. illustrated. Fine in Fine DJ. $75.00 4. (Albright, Ivan). IVAN ALBRIGHT by Michael Croydon. Abbeville, NY, 1978. Folio, cloth, DJ, 308pp., 170 illustrations, 83 in color. F/F $100.00 5. Ali. BEYOND THE BIG TOP. Godine/Pucker Safrai, Boston, 1988. Obl. 4to., cloth, DJ, text and 97 works illustrated, mostly in color. Fine/Fine. $10.00 6. (Allemand, Louis-Hector). LOUIS-HECTOR ALLEMAND - PEINTRE GRAVEUR LYONNAIS 1809-1886 by Paul Proute et al. Paris, 1977. 4to., wraps, 82 prints pictured and described. Fine. $25.00 7. (Allori et al, Allessandro). FROM STUDIO TO STUDIOLO - FLORENTINE DRAFTSMANSHIP UNDER THE FIRST MEDICI GRAND DUKES by Larry J. Feinberg. Oberlin, 1991. 4to., wraps, 211pp, 60 items catalogued and illustrated. Fine. $17.50 8. (Allston, Washington). "A MAN OF GENIUS" - THE ART OF WASHINGTON ALLSTON by Gerdts and Stebbins. MFA< boston, 1979. 4to., cloth, DJ, 256pp., 24 color plates, 162 b/w illustrations. Fine, DJ has white spots on back panel.
    [Show full text]
  • The Exhibition Features Works from a Circle of Friends Herms Found In
    The exhibition features works from a circle of friends Herms found in Florence, as well as artists introduced to him by the exhibition curator, Neville Wakefield, including Rita Ackermann, Kathryn Andrews, Lizzi Bougatsos, Robert Branaman, Dan Colen, Leo Fitzpatrick, Elliott Hundley, Hanna Liden, Nate Lowman, Ari Marcopoulos, Ryan McGinley, Melodie Mousset, Jack Pierson, Amanda Ross- Ho, Sterling Ruby, Agathe Snow, Ryan Trecartin, Kaari Upson, and Aaron Young. Ever since he first started exhibiting in Los Angeles in the late 1950s, George Herms has been a central figure in the development of so-called West Coast aesthetic. Influenced by a beat generation more attuned to the musical nuance of the everyday than the modernist requiem to order, Herms's commitment to counterculture is expressed through his use of impoverished materials and his rejection of compositional devices in favor of loose associations of materials and ideas. The resulting assemblages blur the boundaries between art and life to make of each the other. Herms salvages elements from the trash heap of popular culture, combining them with words and phrases to create final entities that are neither pure thought, nor pure object—they are both prop and proposition. At times, Herms has been associated with landmarks of the developing L.A. art scene—Wallace Berman and Semina, Walter Hopps and the Ferus Gallery, Dennis Hopper and the film culture of Easy Rider—but his art has refused any singular identification. An advocate of all things free—spirit, material, and love— Herms is the spiritual godfather to an art of the unknown, forging something out of nothing, which continues to be a driving compulsion of artists today.
    [Show full text]