DOCSLIB.ORG

From Minimalism to Performance Art: Chris Burden, 1967–1971

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

From Minimalism to Performance Art: Chris Burden, 1967–1971 Matthew Teti 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 Matthew Teti All rights reserved ABSTRACT From Minimalism to Performance Art: Chris Burden, 1967–1971 Matthew Teti This dissertation was conceived as an addendum to two self-published catalogs that American artist Chris Burden released, covering the years 1971–1977. It looks in-depth at the formative work the artist produced in college and graduate school, including minimalist sculpture, interactive environments, and performance art. Burden’s work is herewith examined in four chapters, each of which treats one or more related works, dividing the artist’s early career into developmental stages. In light of a wealth of new information about Burden and the environment in which he was working in the late 1960s and early 1970s, this dissertation examines the artist’s work in relation to West Coast Minimalism, the Light and Space Movement, Environments, and Institutional Critique, above and beyond his well-known contribution to performance art, which is also covered herein. The dissertation also analyzes the social contexts in which Burden worked as having been informative to his practice, from the beaches of Southern California, to rock festivals and student protest on campus, and eventually out to the countercultural communes. The studies contained in the individual chapters demonstrate that close readings of Burden’s work can open up to formal and art-historical trends, as well as social issues that can deepen our understanding of these and later works. Benefitting from access to the artist’s estate, as well as archives collected at various institutions in Southern California, this dissertation is the first authoritative coverage of Chris Burden’s early career. Table of Contents List of Illustrations ii Acknowledgements v Introduction 1 Chapter 1 Minimalism, Pomona College, 1967 37 Chapter 2 Corridors, Pomona College, 1969 75 Chapter 3 Five Day Locker Piece and Bicycle Piece, 128 University of California Irvine, 1971 Chapter 4 F Space and Shout Piece, Santa Ana, 1971 182 Conclusion 231 Illustrations 246 Bibliography 308 i List of Illustrations Chapter 1 Minimalism, Pomona College, 1967 Fig. 1 Kenneth Price exhibition announcement, Ferus Gallery, 1961 246 Fig. 2 Billy Al Bengston exhibition announcement, Ferus Gallery, 1961 247 Fig. 3 John Mason working in his Silver Lake studio, 1960 248 Fig. 4 John Mason working in his Silver Lake studio, 1960 248 Fig. 5 John Mason, Blue Wall, 1959 249 Fig. 6 Chris Burden, untitled bronze sculpture, 1966 250 Fig. 7 Chris Burden, untitled bronze sculpture, 1966 250 Fig. 8 John Mason, Geometric Form, Dark, 1966 251 Fig. 9 Tony Smith, The Black Box, 1962 252 Fig. 10 Tony Smith, Die, 1962 253 Fig. 11 Rosalind E. Krauss, “Sculpture in the Expanded Field” 254 Fig. 12 David Gray, L.A./5, 1965 255 Fig. 13 Chris Burden, Plan for untitled sculpture, 1967 256 Fig. 14 Architect’s rendering of Chris Burden’s untitled 1967 sculpture 256 Fig. 15 Chris Burden, untitled sculpture, 1967 257 Fig. 16 Chris Burden, untitled sculpture, 1967 257 Fig. 17 Chris Burden, untitled sculpture, 1967 257 Fig. 18 Chris Burden, untitled sculpture, 1967 257 Fig. 19 Chris Burden, untitled sculpture, 1967 257 Fig. 20 Tony Smith, Amaryllis, 1965 258 Fig. 21 Archival photograph of Chris Burden, untitled sculpture, 1967 259 Fig. 22 Archival photograph of Chris Burden, untitled sculpture, 1967 259 Fig. 23 John Mason, Yellow Cross, 1966 260 Fig. 24 John Mason, Red X, 1966 260 Fig. 25 John McCracken, Untitled (yellow), 1967 261 Chapter 2 Corridors, Pomona College, 1969 Fig. 26 Chris Burden, untitled corridor, 1969 (white) 262 Fig. 27 Chris Burden, untitled corridor, 1969 (white) 262 Fig. 28 Chris Burden, untitled corridor, 1969 (white) 262 Fig. 29 Chris Burden, untitled corridor, 1969 (black) 263 Fig. 30 Chris Burden, untitled corridor, 1969 (black) 263 Fig. 31 Mowry Baden, Delivery Suite, 1965 264 Fig. 32 Mowry Baden, Auger, 1967 265 Fig. 33 Mowry Baden, Phantom Limb, 1967 266 Fig. 34 Mowry Baden, Phantom Limb, 1967 266 Fig. 35 Bruce Nauman, Performance Corridor, 1969 267 Fig. 36 Bruce Nauman, Walk with Contrapposto, 1968 268 Fig. 37 Experimental corridor apparatus, early–mid 1960s 269 ii Fig. 38 Experimental corridor apparatus, early–mid 1960s 269 Fig. 39 Mowry Baden, I Walk the Line, 1967 270 Fig. 40 Mowry Baden, Instrument, 1969 271 Fig. 41 Archival photograph of the discovery of the Lascaux caves 272 Fig. 42 “The Pit Scene” cave painting from Lascaux, 15,000 BP 272 Fig. 43 Robert Irwin and James Turrell examine a Ganzfeld device, 1969 273 Fig. 44 Lucas Samaras, drawing for Corridor #1, 1966–1967 274 Fig. 45 Tony Smith, Maze, 1967 275 Fig. 46 Tony Smith, Bat Cave, 1970 276 Fig. 47 Jean Toche, Labyrinths and Psychological Stress, 1967 277 Fig. 48 Les Levine, All Star Cast, 1967 278 Chapter 3 Five Day Locker Piece and Bicycle Piece, University of California Irvine, 1971 Fig. 49 Chris Burden, Five Day Locker Piece, 1971 279 Fig. 50 UCI promotional photo showing students in art class, late 1960s 280 Fig. 51 Aerial view of the Fine Arts Building at UCI, late 1960s 281 Fig. 52 Chris Burden, announcement for Five Day Locker Piece, 1971 282 Fig. 53 Archival photograph of Barbara Burden feeding Chris, 1971 283 Fig. 54 Robert Morris, Untitled (Box for Standing), 1961 284 Fig. 55 Paul Thek, untitled “Technological Reliquary,” 1966 285 Fig. 56 Scott Grieger, Ronald Bladen, 1970 286 Fig. 57 Robert Kinmont, 8 Natural Handstands (detail), 1967/1969 287 Fig. 58 Chris Burden, Bicycle Piece, 1971 288 Fig. 59 Chris Burden, Bicycle Piece, 1971 289 Fig. 60 May Day protest on Gateway Plaza at UCI, 1969 290 Chapter 4 F Space and Shout Piece, Santa Ana, 1971 Fig. 61 Archival photo of F Space, 1972 291 Fig. 62 Archival photo of F Space, 1972 291 Fig. 63 Lewis Baltz, Industrial Structure, during Painting, Irvine, 1974 292 Fig. 64 Bruce Dunlap, Bread Piece, 1972 293 Fig. 65 Nancy Buchanan, Hair Piece, 1971 294 Fig. 66 Nancy Buchanan and Robert Walker, At Home, 1971 295 Fig. 67 Drawing for Being Photographed, Looking Out, Looking In, 1971/2006 296 Fig. 68 Photographs from Being Photographed, Looking Out, Looking In, 1971 297 Fig. 69 Archival photograph of Shout Piece, 1971 298 Fig. 70 Barbara T. Smith, Field Piece, 1971 299 Fig. 71 Chris Burden, Shout Piece, 1971 300 Fig. 72 Yippie activists Abbie Hoffman and Jerry Rubin, 1967 301 Fig. 73 Newton Harrison, Fred Londrier, and Allan Sekula, Body Bags, 1970 302 Fig. 74 A commune somewhere in Virginia, 1969 303 Fig. 75 The cover of Jerry Rubin’s book Do It!, 1970 304 iii Fig. 76 Detail from an archival photograph of Shout Piece, 1971 305 Fig. 77 Archival photograph of Shout Piece, 1971 306 Fig. 78 Archival photograph of Shout Piece, 1971 306 Fig. 79 Installation shot of Shout Piece, published 1974 307 iv Acknowledgements Thank you, first and foremost, to Nancy Rubins, Joshua Feigenbaum, and the Chris Burden Studio and Estate for making my work possible, as well as to Liza McLaughlin for facilitating my research. Thank you to my dissertation advisor, Branden Joseph, and the faculty of the Department of Art History & Archaeology of Columbia University, whose support and funding for my project has sustained me for several years. Funding for my work has also been generously provided by the Pierre and Tana Matisse Foundation. I also owe a debt of gratitude to the exceptional staff of the Avery Architectural & Fine Arts Library, especially Kitty Chibnik, Zak Rouse, and Richie Walters, and to the entire Columbia University Library system. Research for this dissertation was carried out in museums, universities, libraries, and archives across the country. For their help with this project, I extend my thanks to the Museum of Contemporary Art Chicago Library and Archives, the Whitney Museum of American Art Library and Archives, the Museum of Modern Art Library and Archives (Jenny Tobias), the Metropolitan Museum of Art Library and Archives, the New York Public Library, The New Museum (Margot Norton), Electronic Arts Intermix (EAI), the Archives of American Art, the Orange County Museum of Art (Alyssa Cordova), the University of California, Los Angeles Library, the Getty Research Institute (Lois White), The Claremont Colleges Library, and the University of California, Irvine (Miles Coolidge, Allyson Unzicker, and Krystal Tribbett). Special thanks go to the Pomona College Museum of Art’s Rebecca McGrew, whose work on the exhibition and catalog It Happened at Pomona: Art at the Edge of Los Angeles 1969–1973 was instrumental for this project. And to Grace Kook-Anderson, whose oral history project and exhibition Best Kept Secret: UCI and the Development of Contemporary Art in Southern v California 1964–1971 was an invaluable resource, as well as Dawn Minegar at the Laguna Art Museum who facilitated my research, many thanks. Early versions of two of these chapters were presented at the Graduate Student Colloquium in the Department of Art History & Archaeology of Columbia University, the 2017 Universities Art Association of Canada (UAAC-AAUC) conference, and the 2018 Rutgers Art History Graduate Student Symposium. I wish to thank all those involved with arranging these talks, especially Gwen Unger and Charlotte Gorant at Columbia University and Kristen Carter at the University of British Columbia. Many of the artists and administrators who play a role in this story were kind enough to provide interviews, which were critical to reconstructing Chris Burden’s early career. I would like to thank Tony DeLap, Phyllis Lutjeans, Barbara T. Smith, Thomas Garver, Bruce Richards, Mowry Baden, Glenn Phillips, Nancy Buchanan, Robert Walker, Charles Christopher Hill, and Paula Sweet for sharing their time and recollections with me.
Recommended publications
  • Oral History Interview with Billy Al Bengston

    Oral History Interview with Billy Al Bengston

    Oral history interview with Billy Al Bengston Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Billy Al Bengston AAA.bengst80 Collection Overview Repository: Archives of American Art Title: Oral history interview with Billy Al Bengston Identifier:
  • Smithsonian Institution Archives (SIA)

    Smithsonian Institution Archives (SIA)

    SMITHSONIAN OPPORTUNITIES FOR RESEARCH AND STUDY 2020 Office of Fellowships and Internships Smithsonian Institution Washington, DC The Smithsonian Opportunities for Research and Study Guide Can be Found Online at http://www.smithsonianofi.com/sors-introduction/ Version 2.0 (Updated January 2020) Copyright © 2020 by Smithsonian Institution Table of Contents Table of Contents .................................................................................................................................................................................................. 1 How to Use This Book .......................................................................................................................................................................................... 1 Anacostia Community Museum (ACM) ........................................................................................................................................................ 2 Archives of American Art (AAA) ....................................................................................................................................................................... 4 Asian Pacific American Center (APAC) .......................................................................................................................................................... 6 Center for Folklife and Cultural Heritage (CFCH) ...................................................................................................................................... 7 Cooper-Hewitt,
  • California History Volume 90 Number 2 2013 the Journal of the California Historical Society Volume 90 / Number

    California History Volume 90 Number 2 2013 the Journal of the California Historical Society Volume 90 / Number

    californi a history california history volume 90 number 2 2013 The Journal of the California Historical Society volume 90 / number 2 / 2013 90_2_cover.indd 1 6/18/13 11:21 AM reviews Edited by James J. Rawls STATE OF MIND: NEW CALIFORNIA ART CIRCA 1970 By Constance M. Lewallen and Karen Moss, with essays by Julia Bryan-Wilson and Anne Rorimer (Berkeley: University of California Press, 2012, 296 pp., $39.95 cloth) tury. The success and significance of Conceptual Art and demonstrate that PHENOMENAL: the books is the degree to which they it foreshadowed much of the work CALIFORNIA LIGHT, enlighten readers about the collective being created by young artists today.” SPACE, AND SURFACE work and, even more important, the Contemporary art of the early years of Edited by Robin Clark with essays ways in which it can be seen as result- the twentieth century is unimaginable by Michael Auping, Robin Clark, ing from and contributing to not just without the rich history that goes back Stephanie Hanor, Adrian Kohn, California history but an expanded way to Marcel Duchamp (1887–1968) and and Dawna Schuld (Berkeley: of looking at art itself. his best-known historic beneficiary, Andy Warhol (1928–1987). The single University of California Press The books are considered here together basis for the Conceptual “movement,” with the assistance of the Getty for several reasons. First, they come if one agrees to that unified descrip- Foundation, 2012, 240 pp., from the same publisher at the same tion, is Duchamp’s oft-quoted dictum $39.95 cloth) time, the occasion of the hugely ambi- that the idea and process involved in REVIEWED BY PAUL J.
  • Discovering the Contemporary

    Discovering the Contemporary

    of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
  • Press Release

    Press Release

    Contact: Mark Linga 617.452.3586 [email protected] N E W S R E L E A S E The Media Test Wall Presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection featuring works by Bruce Nauman, Dara Birnbaum, Bill Viola, Nam June Paik and Gary Hill Viewing Hours: Daily 24 Hours Cambridge, MA – September 2008. The MIT List Visual Arts Center’s Media Test Wall presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection. This five-part exhibition series features selections from the List Center’s exhibition Video Trajectories (October 12-December 30, 2007) which was originally organized by MIT Professor Caroline A. Jones. The five selections in Video Trajectories (Redux), considered masterworks from video art history were acquired to become part of the MIT List Center’s New Media Collection. This exhibition re-introduces these works to a broader public: September 12-October 10 Bruce Nauman Slow Angle Walk (Beckett Walk), 1968 Video, black-and-white, sound, 60 minutes © 2008 Bruce Nauman/Artists Rights Society (ARS), New York, NY For Bruce Nauman, the video camera is an indispensable studio tool and witness. Barely edited, a characteristic Nauman tape from the late '60s shows the artist laconically following some absurd set of directions for an extended amount of time within the vague purview of a video camera mounted at a seemingly random angle in relation to the action. Slow Angle Walk is a classic of the genre, reflecting the artist's interest in Irish playwright Samuel Beckett, whose characters announce, "Let's go!" while the stage directions read, "No one moves." October 13-November 14 Dara Birnbaum Technology/Transformation: Wonder Woman, 1978-79 Video, color, sound, 5 minutes 50 seconds Courtesy of Electronic Arts Intermix Trained in architecture and painting, Birnbaum early on understood the estranging power of repetition.
  • Bruce Nauman

    Bruce Nauman

    BRUCE NAUMAN “The true artist helps the world by revealing mystic truths.” -Bruce Nauman Biography BRUCE NAUMAN Video > Make Me Think Me Nauman studied mathematics and physics at the University of Wisconsin-Madison, and art with William T. Wiley and Robert Arneson at the University of California in Davis. He worked as an assistant to Wayne Thiebaud and in 1966 he became a teacher at the San Francisco Art Institute. In 1968 he met the singer and performance artist Meredith Monk and signed with the dealer Leo Castelli. In the 1980s he moved to New Mexico. Much of his work is characterised by an interest in language which often manifests itself in a playful, mischievous manner. For example, the neon Run From Fear- Fun From Rear, or the photograph Bound To Fail which literalises the title phrase and shows the artist's arms tied behind his back. There are however, very serious concerns at the heart of the work. Nauman seems to be interested in the nature of communication and the inherent problems of language, as well as the role of the artist as supposed communicator and manipulator of visual language. In 1999 he received the Golden Lion of the Venice Biennale. In 2004 he created his work Raw Materials at Tate Modern. Nauman cites Samuel Beckett, Ludwig Wittgenstein, John Cage, Philip Glass, La Monte Young and Meredith Monk as major influences on his work. Biography Born Fort Wayne, Indiana, 1941 EDUCATION 1964 B.S. University of Wisconsin, Madison (mathmatics & physics) 1966 M.F.A. University of California, Davis 1966-68 Taught at San Francisco Art Institute, San Francisco 1970 Taught at University of California, Irvine HONORS/AWARDS 1968 NEA Grant, Artistic Fellowship Award, Washington, D.
  • Llyn Foulkes Between a Rock and a Hard Place

    Llyn Foulkes Between a Rock and a Hard Place

    LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M.
  • FOR IMMEDIATE RELEASE Barbara T. Smith the 21St Century Odyssey April 13

    FOR IMMEDIATE RELEASE Barbara T. Smith the 21St Century Odyssey April 13

    805 Traction Avenue Los Angeles CA 90013 213.625.1747 www.theboxla.com FOR IMMEDIATE RELEASE Barbara T. Smith The 21st Century Odyssey April 13 – May 25, 2019 Opening Reception: Saturday April 13, 6PM – 8PM Screenings: Saturday, April 20 & Saturday, May 18 Panel with the artist: Saturday, May 11 For The Box’s fifth solo exhibition of Barbara T. Smith’s work, the focus will be on The 21st Century Odyssey, a two year-long durational performance that took place from September 26, 1991 to September 26, 1993. These dates correlate with the opening and the closing of Biosphere 2, located near Tucson, Arizona, where her partner at the time, Dr. Roy Walford, was the interred physician. Smith took on the role of Homer’s Odysseus and traveled the world while Walford, confined inside the Biosphere 2 facility along with 7 other “Biospherians” for 2 years, was Penelope. For Smith, this work was an endeavor to attain a global consciousness while maintaining the connection between Biosphere 1 (the earth) and Biosphere 2. “I was holding Bio 2 in my heart and connecting, of course, with Roy as a vehicle of that connection.” As part of this work, Smith traveled extensively internationally and domestically and considered every aspect of her life in this two year period, from the exotic to the banal, as part of the performance. In Homer’s The Odyssey, Odysseus struggles for ten years to get home to Ithaca after his battles in the Trojan War. Between 1992 and 1993, Smith traveled to India, Nepal, Thailand, Australia, United Kingdom, Germany, and Norway; within the U.S., she went to Northern California, Hawaii and Seattle.
  • Crossing Into Eighties Overview 2012

    Crossing Into Eighties Overview 2012

    Crown Point Press Newsletter June 2012 The waterfall on Ponape, clockwise from front: Dorothy Wiley, Marina Abramovic, Joan Jonas, Daniel Buren, Chris Burden, and Mary Corse, 1980. Tom Marioni had named the conference “Word of Mouth” VISION #4. Twelve artists each gave a twelve-minute talk. Since LP records lasted twenty-four minutes, he had specified twelve-minute talks so we could put two on a side. Later we presented three records in a box. The records are white—“because it felt like we were landing from a flying saucer when we got off the plane in Ponape,” Tom remembers. The plane circled over what looked like a green dot in a blue sea, and we landed abruptly on a short white runway made of crushed coral with a great green rocky cliff at one end and the sea at the other. Against the cliff was a new low building. Shirtless workers in jeans hustled our bags from the plane into a big square hole in the building’s side, visibly pushing them onto a moving carousel. A man in a grass skirt and an inspector’s cap hustled us inside to claim them. The airport building was full of people, many in grass skirts, some (men and women) topless. CrOSSINg INTO THE EIgHTIES They clapped and whistled as we filed past. We learned later Escape Now and Again that word had circulated that we were an American rock group. In front of the airport was a flatbed truck with fourteen An excerpt from a memoir in progress by Kathan Brown white wicker chairs from the hotel dining room strapped On January 15, 1980, thirty-five artists and other art people, on the bed in two facing rows.
  • Immersion Into Noise

    Immersion Into Noise

    Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colebrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license.
  • Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel

    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.
  • Diana Thater Born 1962 in San Francisco

    Diana Thater Born 1962 in San Francisco

    David Zwirner This document was updated September 28, 2019. For reference only and not for purposes of publication. For more information, please contact the gallery. Diana Thater Born 1962 in San Francisco. Lives and works in Los Angeles. EDUCATION 1990 M.F.A., Art Center College of Design, Pasadena, California 1984 B.A., Art History, New York University SOLO EXHIBITIONS 2018 Diana Thater, The Watershed, Institute of Contemporary Art, Boston 2017-2019 Diana Thater: A Runaway World, The Mistake Room, Los Angeles [itinerary: Borusan Contemporary, Istanbul; Guggenheim Bilbao, Bilbao, Spain] 2017 Diana Thater: The Starry Messenger, Moody Center for the Arts at Rice University, Houston, Texas 2016 Diana Thater, 1301PE, Los Angeles 2015 Beta Space: Diana Thater, San Jose Museum of Art, California Diana Thater: gorillagorillagorilla, Aspen Art Museum, Colorado Diana Thater: Life is a Timed-Based Medium, Hauser & Wirth, London Diana Thater: Science, Fiction, David Zwirner, New York Diana Thater: The Starry Messenger, Galerie Éric Hussenot, Paris Diana Thater: The Sympathetic Imagination, Los Angeles County Museum of Art [itinerary: Museum of Contemporary Art Chicago] [catalogue] 2014 Diana Thater: Delphine, Saint-Philibert, Dijon [organized by Fonds régional d’art contemporain Bourgogne, Dijon] 2012 Diana Thater: Chernobyl, David Zwirner, New York Diana Thater: Oo Fifi - Part I and Part II, 1310PE, Los Angeles 2011 Diana Thater: Chernobyl, Hauser & Wirth, London Diana Thater: Chernobyl, Institute of Modern Art, Brisbane, Australia Diana Thater: Nature Morte, Galerie Hussenot, Paris Diana Thater: Peonies, Wexner Center for the Arts, Columbus, Ohio 2010 Diana Thater: Between Science and Magic, David Zwirner, New York Diana Thater: Between Science and Magic, Santa Monica Museum of Art, California [catalogue] Diana Thater: Delphine, Kunstmuseum Stuttgart 2009 Diana Thater: Butterflies and Other People, Santa Barbara Museum of Art, California Diana Thater: Delphine, Kulturkirche St.