theGETTY

A WORLD OF ART, RESEARCH, CONSERVATION, AND PHILANTHROPY | Fall 2017 PRESIDENT’S MESSAGE

theGETTY Fall 2017 TABLE OF President’s Message 3 he Getty was founded on the principle that the arts CONTENTS transcend political borders and help us better under- In Memoriam 4 Tstand different cultures, times, and places. In this spirit, we have launched Pacific Standard Time: LA/LA—a New and Noteworthy 6 bold, grand exploration of Latin American and Latino art in dialogue with . Through this initiative we can Pacific Standard Time: LA/LA 8 recognize the cultural connections that unite us and build bridges instead of walls. Grants Support PST: LA/LA K–12 Education Program 14 Inspired by our first widely acclaimed collaboration Pacific Standard Time: Art in L.A., 1945–1980—and spear- Golden Kingdoms 16 headed by the Getty Foundation with more than $16 million in grants—this extraordinary initiative supports more than Concrete Limits 20 eighty visual art exhibitions at more than seventy cultural institutions, more than 500 performances and public pro- The Birth of the Metropolis in Latin America 24 grams, and some sixty publications. This issue’s cover story highlights a range of PST: LA/LA Itineraries 28 exhibitions and programs, giving readers an idea of the topics our partner institutions chose themselves based on what they Book Excerpt: in Argentina 31 believed would be revelatory, exciting, or provocative. Next, we focus on a program that offers K–12 students innovative New from Getty Publications 32 ways to learn from PST: LA/LA’s extraordinary exhibition series. The Getty has worked with the LA Promise Fund and New Acquisitions 34 LAUSD to create activities such as free professional develop- ment summer workshops for teachers to prepare them for From The Iris 35 school visits to the exhibitions. This issue also focuses on PST: LA/LA exhibitions Getty Events 38 presented at the Getty. An article about the rare objects featured in Golden Kingdoms: Luxury and Legacy in the Jim Cuno Exhibitions 42 Ancient Americas offers insight into how value is culturally constructed. Our story about Making Art Concrete: Works From the Vault 43 from Argentina and in the Colección Patricia Phelps sponsor Bank of America and other funding partners, rep- de Cisneros explores the avant-garde artists of the Concrete resentatives of the City and County including Mayor Eric movement and reveals what conservators and researchers Garcetti, and everyone at the Getty who worked tirelessly over have discovered about their materials, methods, and motiva- the past five years. We know that Harold would be proud to tions. We learn how the birth of the metropolis transformed have witnessed this turning point in the history of art. We will Send correspondence and address Editor the architectural landscape in six Latin American capitals, a continue to honor him by working every day to fulfill all that changes to subject explored in The Metropolis in Latin America, 1830– he envisioned for the Getty. Jennifer Roberts Getty Communications 1930. Meanwhile a story about Video Art in Latin America (on I invite you to enjoy the many PST: LA/LA exhibitions 1200 Getty Center Drive, Suite 403 Designer view at LAXART) chronicles how art historians at the GRI and related activities taking place this fall at the Getty and Los Angeles, CA 90049 Jessica Robinson launched the first-ever study of how experimental video art throughout Southern , and to join in the conver- Email: [email protected] emerged in Latin America. sation on Facebook, Twitter, and Instagram. For the latest Contributors We also take this opportunity to remember Harold M. information on Pacific Standard Time: LA/LA, please visit On the cover: Williams, J. Paul Getty Trust founding president and CEO, pacificstandardtime.org. Idurre Alonso Alexandria Sivak Objeto ativo (cubo vermelho/branco), Active Object (red/ who passed away on July 30. Harold envisioned the Getty as white cube), 1962, Willys de Castro. Oil on canvas and plywood. The , New York, promised Sarah Claypoole Annelisa Stephan we know it today—a multifaceted institution that focuses on gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Tomás Orinoco Amy Hood Sarah Waldorf the arts from diverse points of view. PST: LA/LA would not Griffin-Cisneros, 1997.127. Image courtesy Walter de have been possible without Harold’s foresight into the power Maureen McGlynn Chelika Yapa Castro. On view in Making Art Concrete: Works from of collaboration—in this case an ambitious, region-wide col- Argentina and Brazil in the Colección Patricia Phelps de Cisneros. Text and design © 2017 J. Paul Getty Trust Carly Pippin Desiree Zenowich laboration between dozens of institutions, our presenting

2 3 IN MEMORIAM he Getty community mourns the Paul Getty Trust’s Board of Trustees. passing of Harold M. Williams, “He shall be remembered for his enor- Tfounding president and CEO mous contributions to the arts and of the J. Paul Getty Trust from 1981 to humanities.” 1998. Williams died July 30, 2017 at Williams was born in Philadelphia his home in Santa Ynez, California at on January 5, 1928. He moved with his the age of eighty-nine. He created the family to Boyle Heights in East LA as a modern Getty Trust as a multifaceted boy when his older brother was offered institution devoted to scholarship, con- a scholarship to USC. Williams won his servation, education, philanthropy, and own scholarship to UCLA, graduating the presentation of the in Los Phi Beta Kappa when he was eighteen Angeles and all over the world. He envi- with a bachelor of arts in political sci- sioned and brought to fruition the Getty ence. He earned a law degree at Harvard Center, now one of the most visited art University when he was twenty-one, destinations in the United States. supporting himself with accounting Williams was appointed to the jobs—his father, an accountant, had Getty’s helm shortly after he com- trained him during his Roosevelt High pleted four years as chairman of the US School days. Williams began his law Securities and Exchange Commission practice at a small firm in Los Angeles, Nancy Englander and Harold Williams under President Carter. Previously he specializing in criminal tax fraud had served as president of Hunt-Wesson cases, then served in the Korean War. the Getty Center. Following his retire- Foods, chairman of the board of Norton After briefly returning to the firm, he ment, he was of counsel to the law firm Simon Inc., and as dean of UCLA’s accepted a job in 1956 as associate tax of Skadden, Arps, Slate, Meagher & Anderson School of Management. counsel for the company that would Flom and served on nonprofit boards at He joined the Getty when the Board become Hunt-Wesson Foods and then UCLA, the California Endowment, and of Trustees was deciding how best to Norton Simon, Inc. He would serve at elsewhere. A UC regent from 1982 to use the considerable resources left by those companies as president and chair- 1994, he maintained a strong commit- founder J. Paul Getty. He hired Nancy man of the board, respectively. ment to K–12 and higher education and Englander as director of program plan- Norton Simon fostered his interest to the diverse Los Angeles community ning and analysis, and they spent a year in art, seeking his opinion of possible art throughout his life. researching the Getty’s fields in the acquisitions during the time Williams Williams and Nancy Englander, US and abroad, talking and listening to worked for him. While dean of the whom he married in 1987, were hon- experts, and designing the larger mis- Anderson School, Williams pioneered a ored in 2013 by the Getty Trustees sion. As a result, they established sev- program in arts management. In 1994, with the inaugural J. Paul Getty Medal. eral other programs in addition to the President Clinton appointed him to the “It’s deeply gratifying to see the Getty Museum and hired the founding Getty President’s Committee on the Arts and continue to fulfill the promise we envi- program directors. Humanities. And in 1995, he became sioned,” Williams said at the time. “We “Harold envisioned and then built a co-founding chair of the UCLA Arts are honored to have helped conceive of the Getty Center as a museum, library, Board of Visitors. the modern Getty, and to watch it take conservation institute, grant program, When Williams retired as the Getty’s shape.” and public space for the greater appre- president and CEO on his seventieth Harold Williams was a great man, ciation, understanding, and preserva- birthday, a few weeks after the Getty a visionary, and a humanitarian who tion of the world’s artistic legacy,” says Center opened in 1997, he said, “I have left a huge legacy, and we will miss him Jim Cuno, the Trust’s president and accomplished everything I came to do.” dearly. He is survived by his wife Nancy GETTY TRUST FOUNDING PRESIDENT AND CEO CEO since 2011. “We are all deeply in his In gratitude for all that he had done Englander; a son, Ralph Williams; a debt.” during his tenure, the trustees named daughter, Susan Zajdman; a stepson, “The Getty today—its global reach the Getty Center’s main auditorium for Derek Magyar; and four grandchildren, HAROLD M. WILLIAMS and its Southern California presence—is him. He continued to take a keen inter- Drew Williams, Jenna Williams, Elana a legacy of Harold M. Williams,” adds est in the work of the Getty as president Zajdman, and Josh Zajdman. We send Maria Hummer-Tuttle, chair of the J. emeritus and maintained an office at them our condolences.

4 5 NEW AND NOTEWORTHY

2017 Keeping It Modern Grants The GCI and the Salk Institute Complete Major Two-thirds of the existing teak was conserved, and that along As part of its Keeping It Modern initiative, the Conservation Effort with the replacement teak is now expected to last fifty to sev- Getty Foundation has awarded $1.66 million in The Getty Conservation Institute and the Salk Institute for enty years longer. architectural grants to fund the conservation of Biological Studies in La Jolla have completed a four-year A related grant from the Getty Foundation as part of twelve premier examples of twentieth-century partnership to conserve the Salk Institute site’s teak win- its Keeping It Modern initiative, meanwhile, has funded modern architecture. The projects include Walter dow walls, a key element of the 1965 Modernist masterwork a comprehensive conservation management plan for the Gropius’s Building (1925) in Germany, an designed by American architect Louis Kahn and commis- long-term care of the site. Building on that, the Salk Institute icon of the modern movement; the Government sioned by Jonas Salk, developer of the polio vaccine. The 203 has established the Architecture Conservation Program, an Museum and Art Gallery (1968), a pivotal work window walls—each a unique combination of sliding windows, endowment that will allow for additional conservation efforts designed by Le Corbusier in India; and Pritzker- louvers, and shutters that allow staff to control light and air in including concrete repair. Jonas Salk’s son Jonathan, and Prize winning architect Kenzo Tange’s Yoyogi their workspaces—had suffered multiple assaults: surface ero- Jonathan’s wife, Elizabeth Shepherd, made the lead gift for National Gymnasium, a masterpiece of modern sion due to fifty-plus years on a coastal bluff, a fungal biofilm the new program. architecture built for the 1964 Summer Olympics likely spread by nearby eucalyptus trees, changes due to “The recent conservation project undertaken by Salk and in Japan. sealers and finishes, insect infestation, and more. the Getty inspired us to initiate an architectural preservation Since 2014, the Getty Foundation has sup- The $9.8 million project to identify and address these fund to address the future needs of this beloved masterpiece,” Quanta System’s Thunder Compact laser arrives at the Getty Villa. Left to right: Girolamo Lionetti, gen- ported forty-five conservation projects in twenty- eral manager of Quanta System SpA; Alessandro Zanini, director of the Light for Art division of El.En. and issues was initiated through the GCI’s Conserving Modern says Shepherd. “In doing so, we hope we are answering Jonas’s two countries as part of this initiative. Without President of Assorestauro; Paolo Salvadeo, general manager of El.En. SpA and CEO of Quanta System Architecture Initiative. Construction work designed by call to be good ancestors.” SpA; Susanne Gänsicke, senior conservator, Antiquities, J. Paul Getty Museum; Richard Rand, associate this critical funding, many of these modern director for Collections, J. Paul Getty Museum; Valentina Gambelunghe, deputy counsel general, Italian Wiss, Janney, Elstner Associates, Inc. was then performed. architectural treasures could fall into disrepair. Consulate of Los Angeles; and Jeffrey Spier, senior curator, Antiquities, J. Paul Getty Museum. Architects and engineers at the vanguard of the movement often used experimental techniques and untested materials that have not performed Antiquities Conservation Department Receives Masterpiece of the Italian Renaissance Now on View Below: Bauhaus Dessau. Photo: well over time. Thanks to the Foundation’s Powerful Laser The latest acquisition to go on view at the Getty Museum Yvonne Tenschert, 2011. © Bauhaus Dessau Foundation role as a convener of its grantees and experts in Quanta System, an Italian company specializ- is Virgin and Child with St. John the Baptist and Mary research, planning, and preservation of modern ing in scientific, industrial, and medical lasers, Magdalene (about 1535–40) by Parmigianino (Italian, Opposite: Virgin and Child with St. John and Mary Magdalene, architectural heritage, conservation professionals has donated one of its lasers to the Antiquities 1503–1540). Extremely well preserved, the painting rep- about 1535–1540, Parmigianino are sharing their findings and building a body of Conservation Department at the Getty Villa. resents the artist’s mature Mannerist style and sixteenth- (Francesco Mazzola). Oil on paper, laid down on panel. The J. Paul Getty knowledge and best practices for the stewardship With its powerful light, the company’s Thunder century painting at its finest. Museum of modern buildings. Compact will allow Getty conservators to restore This masterpiece is a spectacular addition to the works in the collection damaged by age or by Museum’s galleries in the context of other great sixteenth- unwanted patinas created in previous conservation century paintings by masters such as Pontormo, who trans- efforts. Getty conservators plan to use the laser in formed the classicizing naturalism of the Renaissance into conservation partnerships around the world, and visions of more mannered and theatrical elegance. will—over time—make it available to other Los Parmigianino, also known as Francesco Mazzola, is Angeles museums for their restoration needs. considered one of the greatest Italian painters, draftsman, Quanta previously donated lasers to the and printmakers of the sixteenth century. During a career Metropolitan Museum of Art and the Vatican that lasted only two decades, he completed a wide range of Museums, and the laser has helped restore the works, from small panels for private devotion, to large-scale Leaning Tower of Pisa, the Florence Baptistery and altarpieces and frescoes, to brilliantly executed portraits. Duomo, the catacombs of Saint Domitilla in Rome, Few painters had a greater influence on the art of their cen- and works by Michelangelo, Leonardo da Vinci, tury, and his intellectual and elegant style spread far and Bernini, Brunelleschi, and other masters. wide, despite his brief life. Quanta and its parent company, El.En. Group, The unconventional iconography of this painting made the donation in memory of Dr. Khaled al- typifies Parmigianino’s innovative work: the Christ Child Asaad, a Syrian antiquities scholar killed by Islamic turns from the Virgin Mary to embrace his young cousin, State militants in 2015 after refusing to lead them John the Baptist, whose hands are joined in prayer. Mary to hidden artifacts. The donation was celebrated Magdalene holds the Christ Child while looking back at the in a ceremony of consignment at the Villa on July Virgin. Intended for private devotion, the intimate religious 18 attended by representatives of El.En. Group, subject exhibits Parmigianino’s characteristic polished and Quanta System, the J. Paul Getty Museum, and the enamel-like paint surface and exquisitely rendered details. Italian Consulate of Los Angeles.

6 7 resulted in exhibitions, programs, and film screenings, conversations with Drawing on the publication’s archive publications that showcase the diver- filmmakers, and online content explor- of nearly 25,000 images, now housed at sity and quality of Latin American and ing the shared influences of Latino the Chicano Studies Research Center at Latino art.” and Latin American filmmakers and UCLA, the exhibition LA RAZA is the Since 2013, the Getty Foundation has the work they created in Los Angeles most sustained examination to date of awarded over $16 million in grants as during the past half-century. From both the photography and the alternative part of PST: LA/LA to cultural institu- Latin America to Hollywood: Latino press of the Chicano Rights Movement, tions both large and small in the region. Film Culture in Los Angeles, 1967–2017 positioning photography not only as an A good portion of these funds were covers the period between the social, artistic medium but also as a powerful reserved for participating museums to cultural, and political environment of tool of social activism. develop international advisory teams the 1960s that sparked the Chicano from across the United States, Europe, and New Latin American cinema CSU Northridge Art Galleries and Latin America and to complete in- movements and the present day. The The Great Wall of Los Angeles—a depth research. This created new net- Academy’s programming is grounded 2,754-foot-long mural conceived by artist works and partnerships that enhanced in its extensive series of oral histo- Judith Baca in 1974 on the concrete wall the initiative’s exhibitions and scholar- ries with notable Latino and Latin of the Tujunga Flood Control Channel ship. “We hope these networks will grow American filmmakers. Their films are in the heart of the San Fernando Valley— and thrive,” says Joan Weinstein, deputy presented together with public conver- depicts crucial moments in California up director of the Getty Foundation. The sations about filmmaking, and in some to the 1950s. California State University, legacy of Pacific Standard Time will also cases, are premiering new Academy Northridge’s Art Galleries are presenting continue through the dozens of books Film Archive restorations. The Great Wall of Los Angeles: Judith F. that have been published alongside the Baca’s Experimentations in Collaboration exhibitions. Autry Museum of the American and Concrete, an exhibition examining PST: LA/LA is a true celebration of West the largely unwritten history of this epic art that transcends borders. As such, Published in Los Angeles from artwork and the methodologies Baca it includes many opportunities for the 1967–1977, the influential bilingual developed after her residency in Mexican public to participate and learn. newspaper La Raza provided a voice artist David Alfaro Siqueiros’s muralism for the Chicano Rights Movement. workshop. EXHIBITION HIGHLIGHTS PST: LA/LA is truly a vast undertaking, with partners spanning hundreds of miles, from Santa Barbara to San Diego, and Santa Monica out to Palm Springs. Above: Crash in Phthalo Green, 1984, Carlos Almaraz. Oil on canvas. Los fter five years in the making, Pacific Second World War. No other city or region in the Art lovers and museum newcomers Angeles County Museum of Art, gift Standard Time: LA/LA (PST: LA/LA) has world had undertaken an ambitious and sustained alike can see solo exhibitions and group of the 1992 Collectors Committee. arrived. Over eighty exhibitions across initiative of this kind, and Pacific Standard Time’s shows that feature all media—from On view at LACMA. A California, now open to the public, explore Latin success contributed an estimated $280.5 mil- painting, sculpture, and photography to Opposite: East L.A. High School Walkouts, 1968, La Raza American and Latino art in dialogue with Los lion to the local economy while also changing the film series and video and performance Photographic Staff. La Raza Angeles. In this massive endeavor, more than 1,000 understanding of the history of modern art in the art. While most of these presentations Newspaper & Magazine Records. Coll. 1000. Courtesy of the UCLA artists address a wide array of themes ranging from post-war era. focus on modern and contemporary Chicano Studies Research Center. formalism to conceptualism, identity politics to Now in its newest iteration, PST: LA/LA has art, there are also crucial exhibitions On view at the Autry Museum of the American West. social justice, all through artworks that span every expanded to include more than seventy museums, about the ancient world and the colonial imaginable medium. As the Getty knows from prior over sixty-five art galleries, and programming period. experience, an effort this large takes partners. that goes beyond the visual arts to include music The following is a selection of In 2011, a regional initiative led by the Getty and performance. The goal of this extraordinary Foundation-supported PST: LA/LA Foundation, Pacific Standard Time: Art in L.A. effort is to investigate connections between Latin exhibitions demonstrating the breadth 1945–1980, presented exhibitions from more than American and Latino art. It is also a reflection of this initiative and the exciting discov- sixty institutions from Santa Barbara to San Diego of Los Angeles’s long relationship with Latin eries that await. along with a bevy of programs, performances, America and the city’s majority Latino population. publications, and new scholarship. The Getty’s “PST: LA/LA is a gigantic collaboration of institu- Academy of Motion Picture Arts goal was to present the history of the artists, tions all across Southern California, with curato- and Sciences patrons, and institutions that shaped the art scene rial teams from all over the world,” says Deborah The Academy of Motion Picture Arts in Southern California in the years following the Marrow, director of the Getty Foundation. “It has and Sciences is presenting a series of

8 9 The Huntington Library, Art Collections, and Botanical Gardens Visual Voyages: Images of Latin American Nature from Columbus to Darwin surveys the connections between art, science, and the environment in Latin America, from the voy- ages of Columbus to the publications of Charles Darwin in the mid-nineteenth century. The exhibition introduces audiences to a range of cultural perspectives on Latin American nature, so that it can alternately be viewed as a wondrous earthly para- dise; a new source of profitable commodities such as chocolate, tobacco, and cochineal; a landscape of good and evil; the site for an Enlightenment project of collecting and classifying; in the nineteenth century, as the reflection of a national spirit; and through the filter of religion. Visual Voyages features approxi- mately one hundred objects drawn from the Huntington’s Above from left: Glu, Glu, Glu..., library, art, and botanical holdings, as well as from dozens of 1967, Anna Maria Maiolino. Acrylic The MAK Center for Art and Architecture the utopian promise of modernization after the international collections. ink on wood. Collection Gilberto (with CSULA’s Luckman Gallery) Second World War, most notably in Argentina, Chateaubriand, Museu de Arte Moderna, , Brazil. In 1941, Walt Disney and a group of eighteen art- Brazil, Mexico, and Venezuela. Memories of Institute of , Los Angeles (ICA LA) © Anna Maria Maiolino. On view ists, musicians, and screenwriters traveled to South Underdevelopment is the first significant survey ICA LA is examining the work of acclaimed outsider artist, at MOCA. America looking for inspiration and content for exhibition of these crucial decades and highlights Mexican-born immigrant Martín Ramírez, who was diagnosed Mar invadido / Invaded Sea, 2015, The Three Caballeros and other animated features the work not only of well-known artists such as Tony Capellán. Found objects from with schizophrenia in the 1930s and confined to California state the Caribbean Sea. Installation produced as part of the US government’s “Good Hélio Oiticica and , but also lesser- hospitals for most of his adult life. During the three decades he view: Poetics of Relation, Pérez Art Neighbor” policy during the Second World War. known artists from Colombia, Peru, Chile, and Museum Miami, 2015. Collection spent institutionalized, Ramírez produced a monumental body of the Artist. Photo courtesy of Oriol These films initiated a long and complex history Uruguay. of work consisting of intricate drawings and whose Tarridas Photography. On view at in which Latin Americans frequently criticized linear rhythm and spatial tension have been compared to the MOLAA. Disney as a representative of North American Museum of Latin American Art (MOLAA) techniques of , Frank Stella, and Sol LeWitt. Opposite: (New Granada Expedition), imperialism. Joint exhibitions at the MAK Center Relational Undercurrents: Contemporary Art of “Bromelia”, n.d., Francisco Escobar Martín Ramírez: His Life in Pictures, Another Interpretation Villarroel. Tempera on paper. Archivo and the Luckman Gallery at California State the Caribbean Archipelago calls attention to a brings Ramírez’s work to Southern California for the first time del Real Jardín Botánico (CSIS) University, Los Angeles explore the history of region of the Americas that is difficult to categorize , DIV. III A-296. On view at the and focuses on the artist’s iconography and mark-making, his Huntington. Disney’s engagement with Latin American imag- and often overlooked: the island nations of the formal connections to mainstream modern art, and the signifi- ery and the ways in which Latin American artists Caribbean. The exhibition proposes an “archipe- Fowler Museum at UCLA cance of his cultural identity as a Mexican-American. responded to, played with, reappropriated, and lagic model”—defining the Caribbean from the Axé Bahia: The Power of Art in an Afro-Brazilian Metropolis misappropriated Disney’s iconography. perspective of its archipelago of islands, as distinct at the Fowler Museum at UCLA explores the unique cultural Laguna Art Museum from the continental experience—to study issues role of Salvador, the coastal capital of the Brazilian state of California Mexicana: Missions to Murals, 1820–1930 explores The Museum of Contemporary Art (MOCA) around race, history, the legacy of colonialism, and Bahia and one of the oldest cities in the Americas. The exhibi- how Mexico became California following the US-Mexican War MOCA is presenting the first major US survey of the environment. tion forms the most comprehensive presentation in the US to (1846–1848). Juxtaposing paintings with popular posters, prints, Anna Maria Maiolino, one of the most influential date of art from this internationally renowned center of Afro- and some of the earliest movies made in Los Angeles, the exhibi- Brazilian artists of her generation. Maiolino’s work Palm Springs Art Museum Brazilian culture with more than one hundred works from the tion reveals how this image of California spread worldwide. was profoundly affected by the aftermath of the Kinesthesia: Latin American Kinetic Art, 1954–1969 mid-twentieth century to the present. Second World War, the military dictatorship in examines the influential and visually stunning Los Angeles County Museum of Art (LACMA) Brazil, and her experience as an artist during the work of South American kinetic artists. While Hammer Museum As one of the largest partners in the initiative, LACMA is pre- period when what could be called art changed dra- Southern California was becoming the North Radical Women: Latin American Art, 1960–1985 consti- senting five PST: LA/LA exhibitions ranging from Found in matically. The exhibition covers her entire career, American epicenter for Light and Space art in the tutes the first genealogy of feminist and radical women’s art Translation: Design in California and Mexico, 1915–1985 to from the 1960s to the present, bringing together 1960s, separate yet closely related technical experi- practices in Latin America and those of Latina and Chicana Home—So Different, So Appealing: Art from the Americas since early experimental prints, drawings, films, perfor- ments had been unfolding in a handful of major descent in the United States. The years covered in the exhibi- 1957. The museum is also hosting Playing with Fire: Paintings mances, and recent large-scale, ephemeral installa- cities of South America, as well as in Paris, the tion represent an important time for radical aesthetic experi- by Carlos Almaraz, the first major retrospective of work by tions made with unfired clay. European center for kinetic art. Kinesthesia high- mentation in art and explosive activism in the women’s rights one of the most influential Los Angeles artists of the 1970s lights the broad differences that emerged among movement. Featuring works by more than one hundred artists and 1980s. Almaraz was arguably the first of the many Chicano Museum of Contemporary Art San Diego the two principal South American centers of activ- from fifteen countries, the exhibition includes emblematic artists whose artistic, cultural, and political motivations cata- (MCASD) ity: Argentina, where kinetic art grew out of local figures and Ana Mendieta, as well as lesser-known lyzed the Chicano art movement in the 1970s, and the exhibi- MCASD is presenting an exhibition that examines debates about painting, and Venezuela, where pio- artists such as the Colombian sculptor Feliza Bursztyn and tion features more than sixty works created before the artist’s the ways in which Latin American artists from the neering notions of modern architecture stimulated the New York-born Puerto Rican photographer Sophie Rivera. untimely death at age forty-eight. 1960s to the 1980s responded to the unraveling of a synthesis of art and design.

10 11 Moratorium as well as the gay liberation and femi- nist movements, and on the other by the AIDS crisis. The show marks the first historical consideration of these artists in the context of broader artistic and cultural movements: , the rise of alternative print media, fashion culture, punk music, and art- ists’ responses to the AIDS epidemic. The exhibition is presented at the ONE Archives’ gallery in West Hollywood and the nearby MOCA Pacific Design Center gallery.

PROGRAMS AND PERFORMANCES In addition to exhibitions, PST: LA/LA is venturing beyond the walls of museums to feature perfor- mances, educational programs, and a performance art festival—all made possible through grants from the Getty Foundation. This expanded programming kicked off with a free celebration at Grand Park in downtown Los Angeles and continues throughout Still from Romance Tropical. Photo courtesy of UCLA Film & Television Archive the fall with performances at the Hollywood Bowl, the Dorothy Chandler Pavilion, Walt Disney Concert Lost and Found: The Importance of Research Hall, and a variety of indoor and outdoor spaces A critical facet of PST: LA/LA is the significant long-term throughout the region. research that went into each exhibition. This research, funded Highlights include a genre-bending lineup of Los by the Foundation, is both critical to developing exhibition Angeles Latina/o vocalists and musicians reimag- materials and important to the general advancement of art ining the songs of legendary Peruvian-American history. “Knowledge is precarious,” says Heather MacDonald, singer Yma Sumac; a screening of Alejandro senior program officer at the Getty Foundation. “Without Bulca, 2015, Hector Hernandez. Courtesy of the artist. On view at A second exhibition at the museum’s Architecture UCR ARTSblock González Iñárritu’s Birdman (2014) with live PST: LA/LA research, many of the artworks, archives, and UCR ARTSblock. and Design Center, Albert Frey and : A Mundos Alternos is a wide-ranging survey exhibi- improvisation by drummer Antonio Sánchez; and documents included in the exhibitions could have been lost to Search for Living Architecture, explores two vision- tion at the University of California, Riverside’s performances by the Cuba-based Malpaso Dance history. Instead, they have entered the art historical record for ary architects who critically expanded the meaning ARTSblock, bringing together contemporary art- Company, including the premiere of a newly com- the first time.” and practice of modern architecture. Bo Bardi (1914– ists from across the Americas who have tapped into missioned work. Additionally, the Roy and Edna One example of a discovered artwork is the only known 1992) emigrated from Italy to Brazil in 1946 and Frey science fiction’s capacity to imagine new realities, Disney/CalArts Theater (REDCAT) is presenting copy of Romance Tropical (1934), the first Puerto Rican nar- (1903–1998) from Switzerland to the United States both utopian and dystopian. Science fiction offers Pacific Standard Time: Live Arts LA/LA Festival, an rative movie with sound. The film went missing more than in 1930. Though the two did not meet, Bo Bardi a unique artistic landscape in which to explore the eleven-day performance-art festival taking place in eighty years ago, and the sole material evidence of its existence translated Frey’s treatise “Living Architecture” for colonial enterprise that shaped the Americas, and January, 2018. PST: LA/LA also includes a K–12 edu- was a single still poster image. Just this year, while research- Domus, and their personal and professional odysseys to present alternative perspectives speculating cation program developed for students, families, and ing Recuerdos de un cine en español: Latin American Cinema represent the emergence of São Paulo and Southern on the past and the future. In the works featured teachers across Los Angeles County, with a special in Los Angeles, 1930–1960 (a PST: LA/LA project of the UCLA California as architectural and cultural laboratories in the exhibition, mostly created in the last two focus on reaching the most underserved schools. Film & Television Archive), the Archive’s director, Jan- in the middle of the twentieth century. decades, artists employ the imagery of science (See related article on page 14 for more about the Christopher Horak, found an uncatalogued film labeled with fiction to suggest diverse modes of existence and education program.) the same name in the UCLA vaults. The title could have been Santa Barbara Museum of Art to represent “alienating” ways of being in other There is much to do and see in the coming one of hundreds of travelogues in the Archive and had escaped Valeska Soares: Any Moment Now is a major mid- worlds. months as exhibitions open and programs and notice. But thanks to their research, Horak and several Puerto career survey of Brazilian-born, New York-based performances begin. PST: LA/LA is transforming Rican colleagues quickly (and ecstatically) confirmed that the artist Valeska Soares. Trained as both an artist and USC Libraries, ONE National Gay & Lesbian Southern California, and visitors and locals alike film was in fact ’s long-lost “national treasure.” architect, Soares creates unique environmental Archives will witness its boundless possibility all through the Discoveries like these confirm the importance of dedicat- installations based on sensorial effects of reflection, Organized by ONE National Gay & Lesbian fall and for many years to come. ing staff time and resources to scholarship. All of the Getty- light, entropy, and even scent. The exhibition covers Archives at the USC Libraries, Axis Mundo: Queer supported PST: LA/LA exhibitions are grounded in original more than twenty-five years of the artist’s career, Networks in Chicano L.A. maps the intersections For more information about PST: LA/LA, including research, including oral histories, collection and studio visits, combining sculptures, photography, installations, and collaborations among a network of queer how to plan your visits to institutions across the and numerous hours of work in local, national, and interna- and performances that integrate notions of time Chicano artists and their artistic collabora- region, visit: www.pacificstandardtime.org. tional archives. By bringing this information to light, scholars and memory and conjure associations ranging from tors from the late 1960s to the early 1990s. This have provided major contributions to Latin American and desire to excess. period was bookended on one side by the Chicano Latino art history.

12 13 art challenge. “The teachers and leaders bringing the arts to These sessions reinforced the themes of PST: LA/LA in our students every day are fundamental in building the next the classroom and were based on Teacher Resource Guides generation of artists and creative thinkers,” added Melvin. developed by LAUSD teacher and former museum educator “Having the arts in our schools is only getting more important, Jennifer Reid to connect the students’ museum visits to class Grants Support and we need to ensure that our students have the opportunity curricula. and the skills to express themselves.” Each of the five resource guides starts with a theme that PST: LA/LA “The PST: LA/LA Education Program adds an impor- is explored through several artworks from a number of dif- tant dimension to the Getty’s initiative,” says Rory Pullens, ferent PST: LA/LA exhibitions, providing a model for how to senior executive director of the Arts Education Branch of teach from works of art and how these lessons can then be K–12 Education LAUSD. “The support for teachers and students to gain this incorporated into the curriculum. Each guide also includes a vital outside the classroom is critical, especially the description of the featured work of art, discussion prompts, a Program commitment to reach the most underserved schools in our classroom activity and vocabulary list, and information about district. With the support of the Getty Foundation, thousands the arts institution at which the exhibition can be seen. of students across the county are being transported into a cul- The guides follow Common Core State Standards for tural and artistic experience that is certain to make a lasting English Language Arts and Literacy in History/Social Studies, impression.” as well as California Content Standards for Visual Arts and The themes of PST: LA/LA—art, activism, borders, dias- History/Social Science. Educators can also adapt the guides to pora, displacement, identity, globalism, and —have meet the unique needs of a wide range of students. To further particular resonance for Los Angeles and its students. When encourage their use in the classroom, the LA Promise Fund is the city was founded in 1781 as part of New Spain, officials providing teacher grants to educators to support artmaking recruited forty-four farmers and artisans from Sinaloa and activities. Sonora, Mexico as its first settlers. Today, nearly half of the Now that PST: LA/LA has opened, the LAUSD and the LA region’s population has roots in Latin America, contributing Above: Students from Los Angeles Academy of Arts and Enterprise during a PST: LA/LA field trip to the Pasadena Museum Promise Fund are spending the fall organizing hundreds of of California Art. Installation view of LA Redux: Reduction Linocuts by Dave Lefner. Photo courtesy LAUSD to Southern California’s status as a lively center of artistic free field trips to dozens of museum exhibitions across the Opposite: Teachers attend a PST: LA/LA professional development workshop held at the Skirball Cultural Center. Photo production and a nexus of cultural creativity. Almost three- courtesy LA Promise Fund greater LA area. These teacher-led visits allow students, espe- fourths of the students in the area’s public schools are Latino, cially those from the most underserved schools in the county, with percentages even higher at many of the most underserved to engage firsthand with works of art that connect to their schools. And although planning for PST: LA/LA began five to expand and enhance these individual efforts. The Getty classroom curricula. years ago, now is a particularly important moment to show the Foundation led an overall approach to the educational pro- To supplement the field trips, the LA Promise Fund is diversity and quality of Latin American and Latino art, as well gramming development, working with a committee that coordinating family days at participating museums, with as the importance of collaborations across borders. included representatives from the leading museums partici- busses departing from schools. Transportation, refresh- “We are all keenly aware of the political climate we find pating in PST: LA/LA, the LAUSD, the LA Promise Fund, and ments, translation services, and special programming—such ourselves in today,” says Joan Weinstein, deputy director the Los Angeles Public Library. as guided tours or other engagement activities—are free of of the Getty Foundation. “And while planning for PST: LA/ Since the April launch event, the LA Promise Fund and charge. LA has been underway for years, at this moment in history it the LAUSD’s Arts Education Branch have held professional To actively engage students in PST: LA/LA, the LA becomes vitally important to nurture and strengthen our cul- development workshops for hundreds of teachers from LA Promise Fund is offering an Arts Challenge program for tural connections, now more than ever.” Unified and other county districts. The sessions focus on fine middle and high school students to create their own unique The PST: LA/LA exhibitions present an opportunity to arts and related disciplines, including language arts and social artworks. The program is open to all students across the n a warm, spring day this past April, hundreds of connect students with their heritage and identity; to enhance sciences. county, regardless of whether or not they attend a PST: LA/LA teachers and administrators from schools across Los arts education in underserved schools; to link to visual arts, “The lesson-plan ideas presented at our professional field trip. In response to a prompt—“Am I LA?”— students will OAngeles County, along with artists, museum profes- history/social studies, and English language arts curricula; and development meeting allow my students to tap into differ- produce their own original artistic creations and submit them sionals, and civic leaders, gathered at LA Plaza de Cultura y to strengthen the relationship between schools and museums. ent modalities and talents,” says Mila Lopez, language arts to a county-wide contest. The Arts Challenge concludes after Artes in downtown Los Angeles. Organized by the LA Promise Exhibitions span the gamut from pre-Columbian luxury and theater productions teacher at Griffith STEAM Magnet the close of PST: LA/LA with an exhibition of student artwork Fund and the Los Angeles Unified School District (LAUSD), arts to Los Angeles murals, and from the ways Latin American Middle School. “Students can deeply explore their self- and a juried review with college scholarship prizes for the with major grant support from the Getty Foundation, the and Latino artists reappropriated and misappropriated Disney identity and express who they are by creating self-portraits winning entries. event was an introduction to the Getty’s Pacific Standard imagery to cutting-edge contemporary art that engages and writing narratives, explorative essays, and scripts that When the program is finished, the combined efforts of the Time: LA/LA Education Program, a robust suite of activities directly with communities. The art is often unexpected and they will perform. They can also research the influence of the LA Promise Fund and LAUSD could result in an estimated for K–12 teachers, students, and their families. As Veronica unknown, since it hasn’t been seen widely in the United States Latin American and the Latino movement in Los Angeles. The 10,000 to 20,000 students receiving instruction related to Melvin, executive director of the LA Promise Fund, shared or elsewhere. PST: LA/LA Education Program offers students an amazing Pacific Standard Time: LA/LA. with the crowd, central to the educational offerings are four While many of the museums participating in PST: LA/LA combination of cross-curriculum instruction driven by state For more information on the program components, visit elements: professional development for teachers; free student already have strong education programs for K–12 students— standards, information about Latin American art and Latino www.lapromisefund.org/artsmatter. field trips to exhibitions, primarily for grades 6–12; free fam- and will continue these offerings related to their own exhi- art, and the opportunity to explore their own heritage and ily museum field trips for students of all grades; and a student bitions—the goal of the PST: LA/LA education program is cultural identity.”

14 15 GOLDEN KINGDOMS Luxury and Legacy in the Ancient Americas

he term “luxury arts” is used by archaeologists to refer to objects that are made of rare or imported materials, that showcase masterful workman- Tship, or that are in limited circulation. The Pacific Standard Time: LA/LA exhibition Golden Kingdoms: Luxury and Legacy in the Ancient Americas brings together many of the finest objects of this kind from a range of South American and Mesoamerican cultures. Through their physical and ideological qualities, these objects conveyed the majesty and transformative powers of pre-Columbian kingship and ritual. The exhibition also reveals that ancient American artists and their patrons often considered jade, shell, feathers, and woven garments even more valuable than gold, which along with other rare metals, was primarily used for ritual and regalia. Recent excavations of ancient American luxury objects have cast new light on the variety of reasons indigenous Americans valued these materials. Often, the materials selected for luxury arts in the ancient Americas were rare, difficult to access, or a challenge to work with, and their possession demonstrated a patron’s status in being able to obtain and commission such exceptional and pre- cious objects. Mesoamerican jade, for example, came from limited sources in the Motagua Valley in Guatemala—distant from many major centers—and was one of the hardest stones to carve. Spondylus shells had to be acquired through deep diving, and often at a considerable distance from where they were ultimately used. , too,

had particular meanings or associations and contributed to the perceived value of an Serpent Labret with Articulated object. The rich green-blue of most jade symbolized fresh growth and fertility. Tongue (detail), 1300–1521, Aztec culture. Gold. The Metropolitan Since many items would have been worn on the body or held closely, the sense Museum of Art, purchase, 2015 of touch was vital to luxury arts, as were the sounds they made. The sound of jade Benefit Fund and Lila Acheson Wallace Gift, 2016 (2016.64). axes knocking against each other, or of the delicate bells attached to garments, made Image © The Metropolitan them more attractive. Luxury arts appealed to all the senses. The smell of metals, Museum of Art

16 17 for example, was part of their allure; and it is likely that taste, such as the flavor that a metal vessel would impart to a bever- age, mattered too. In the ancient Americas, artists and patrons selected materials that would provoke a strong response— perceptually, sensually, and conceptually—and that would transport the wearer and the beholder beyond the realm of the mundane. Unlike Europeans, who were obsessed with gold as cur- rency, the ancient Americans valued gold for its close associa- tion with the supernatural realm. Rulers and ritual specialists wore delicate gold ornaments featuring extraordinary beings and fantastical beasts to underscore their association with mystical forces. First developed in the Andes, perhaps as early as 2000 BC, gold-working gradually spread northward into Central America and Mexico over several thousand years. The brilliance and inventiveness of Mixtec and Mexica gold- working remains second to none. In the region that is now Costa Rica, on the other hand, jade was the more esteemed material. And the Classic Maya—whose city-states flourished in what are now Honduras, Guatemala, Belize, and southern Mexico—displayed little interest in the metal, despite exten- sive use by their neighbors to the south. The use of metals in ancient Mesoamerica would never surpass that of green jade, with its hard, smooth, lustrous surface. From the Preclassic to the Postclassic period, pieces of green jade were masterfully carved to serve as adornments or insignia that distinguished those who wore them as the elite of the community. Jades were among the luxurious gifts Gallery view with Feathered Panels, offered in the most sacred spaces of ceremonial centers and appears whole, fragmented, or transformed into sacrifice. Cloth was closely associated with social 600–900, Wari culture, from The in the burials of kings and queens. The scarcity of this raw sumptuous apparel that accompanied individuals identity, be it age, gender, status, or regional ori- Metropolitan Museum of Art and Sipán objects in foreground cases material, coming from only one geologic source, undoubtedly of high social rank into the afterlife. In the Andes, gin. The Inca royal crown itself was a red wool from the Museo Tumbas Reales de affected its value. Not all varieties of the green stone enjoyed these shells were called the “daughters of the sea, fringe. Textiles were so important that they were Sipán, Ministerio de Cultura del Perú

the same prestige, though. Mesoamerican artists and patrons mother of all waters,” and works made from them emulated or adapted in other Andean media, from Opposite from top: differentiated the stones based on luster, chromatic intensity were, by extension, thought to encourage fertility architectural sculpture to metalwork. Tropical bird Octopus Frontlet, 300–600, Moche and homogeneity, transparency, purity, and alleged magical, and abundance. Spondylus objects were also often feathers, for example, were painstakingly fash- culture. Gold, chrysocolla, shells. therapeutic, or water-retentive properties—and assigned the focus of particularly potent, culturally signifi- ioned into elaborate garments and large hangings Museo de la Nación, Ministerio de them different functions and meanings. cant imagery. that may have once graced the interior of grand Cultura del Perú One of the most esteemed shells among the ancient The Tiwanaku and Wari states of the Inca buildings. Mask, 900–400 BC, Olmec culture. Jadeite. The Metropolitan Museum Americans from the Andes to Mesoamerica was the brightly Empire constructed impressive stone cities and All of these spectacular objects are not only of Art, Bequest of Alice K. Bache, colored Spondylus, especially the reddish princeps species excelled in the fiber arts, creating finely woven examples of artistic production at the highest levels; 1977. Image © The Metropolitan and the calcifer species, which has a purple-red band along garments of rich, saturated colors that were they are also rare and fragile survivors of history. Museum of Art the inner margin. Obtaining these shells was a complex task extraordinarily labor-intensive to produce. At the time of the Spanish Conquest, untold num- Royal Tunic, 1450–1540, Inca. Camelid fiber, cotton. Pre-Columbian that required diving into the sea, locating specimens that Deeply influential to later Inca traditions, the bers of gold and silver items were melted down and Collection, Dumbarton Oaks, Wash- were sometimes camouflaged by marine animals, and detach- uncu—a type of garment worn by Wari men—was native manuscripts were deliberately burned. And ington, DC. Image © Dumbarton Oaks, Pre-Columbian Collection, ing them from hard substrates such as rocks and corals. In a focus of great creative attention. The finest time has taken a heavy toll on the more perishable Washington, DC addition, characteristics such as a dull color or imperfections examples display an inventive exploration of feather works and textiles. Exceedingly rare testa- and perforations in the valves deemed the shell undesirable. geometric, anthropomorphic, and zoomorphic ments to the brilliance of ancient American courts Divers would have had to gather large quantities in order to forms, including staff-bearing figures, pumas, and their artists, these exquisite works remind obtain enough pristine material. and condors that are often abstracted into nearly us of the fragility of once-great and sophisticated Spondylus was also held in high regard because of its asso- unidentifiable shapes. cultures. It is in these deeply resonant works, these ciation with fertility, water, blood, and other life-giving forces. Textiles also held profound symbolic mean- tangible connections to worlds now almost entirely From the earliest times, it was one of the most valued offer- ing, and in the Inca period were deployed as lost to us, that the great imagination and the artistry ings and favorite foods of the gods, and in ritual deposits it diplomatic gifts and formed part of nearly every of ancient Americans live on.

18 19 he deep-red lozenges of Hermelindo Fiaminghi’s Alternado 2 (1957) were painted in several steps. First, the artist established Teach corner of the shapes with pinpoint holes and connected the points with incised lines. Next, he drew the outlines with an opaque, brownish red paint and a ruling pen. Finally, he painted the full shapes with a semi-transparent red house paint and self-adhesive tape. Researchers at the Getty Conservation Institute (GCI) and the Getty Research Institute (GRI) examined Alternado 2 using scientific imag- ing and other techniques as part of a project centered on a set of works from the Colección Patricia Phelps de Cisneros (CPPC). Forty-seven works have been lent to the Getty for the duration of the project, after which many of them will be donated to the Museum of Modern Art in New York. The Getty’s partners—TAREA, at the Instituto Left: Alternado 2, 1957, Hermelindo Fiaminghi. Alkyd on hardboard. Colección Patricia Phelps de Cisneros. de Investigaciones sobre el Patrimonio Cultural at the Universidad Promised gift to the Museum of Modern Art, New York, Nacional de San Martin in Buenos Aires, and the Laboratório de Ciência through the Latin American and Caribbean Fund in honor of Catalina Cisneros-Santiago da Conservação (LACICOR) of the Universidade Federal de Minas Gerais in Belo Horizonte—have simultaneously examined Concrete art in public Above: Detail of Alternado 2: Photomicrographic detail of the glossy, sharp-ridged tip of a red lozenge, next and private collections, and the Museum of Fine Arts in has car- to incised lines and paint bleed related to the use of ried out scientific analysis on its own Latin American art collection from self-adhesive tape. Selective polishing of the surface left minute scratches in the white background and grey the period. lozenges. The Pacific Standard Time: LA/LA exhibition Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros showcases what researchers have discovered about the nature of artists’ materials, methods, and motivations. Their multifaceted approach included unprecedented scientific analysis of paints and pigments present in the representative works from the CPPC. “The exhibition draws on the GCI’s technical know-how—the analytical methods used to identify differ- ent types of modern paint, knowledge of how to recognize various paint application techniques, and how to insert this novel information into broader technical art historical research,” says GCI Head of Science Tom Learner. Making Art Concrete provides a close-up look at the multitude of decisions—from paint choices to techniques—made by Argentine and Brazilian artists. The works on display date from 1946 to 1962. Preceeding this research and resulting exhibition was work conducted by the GCI in collaboration with the J. Paul Getty Museum and the GRI between 2012 and 2014 on Jackson Pollock’s large painting Mural (1943), owned by the University of Iowa. That work culminated in the exhibi- tion Jackson Pollock’s Mural at the Museum in the spring of 2014 and an accompanying book. The famous painting was a transitional moment in the evolution of Pollock’s art and his painting technique, in that he had not yet begun splashing paints on a horizontal canvas. In Mural, he was mostly still painting in a relatively conventional way, brushing on quality oil CONCRETE LIMITS paints and adding splatters of modified oil paint onto the upright canvas. Unconventionally, though, Pollock also used an inexpensive, water-based ABSTRACTION IN ARGENTINA AND BRAZIL off-white house paint for a particular compositional purpose. Researchers discovered Pollock’s paint and process in the making of Mural through a wide variety of analytical techniques.

20 21 their artworks would play in society. As a result of Gottschaller says. “It was probably their ambitions, many artists broke from creating custom-mixed for him by Kazmer Féjer, traditionally framed paintings and began making an artist who had studied industrial three-dimensional, irregularly shaped paintings chemistry and experimented with plastic and objects. substances. De Barros applied the white The shaped painting, or “marco recortado,” paint with a brush, the black paint with a was a momentous invention by a group of young spray gun, and at the end he also polished Argentine and Uruguayan artists in the mid-1940s. the black areas.” This contradicts the commonly held belief that Another strategy to avoid overly shaped paintings were invented in the 1960s in the subjective elements such as brushwork United States. Rhod Rothfuss’s essay “The Frame: in their paintings was the artists’ use A Problem in Contemporary Art,” published in the of ruling pens and tape. Mastering the sole issue of Arturo magazine in 1944, critiques the intricacies of a ruling pen required both concept of the traditional frame, explaining that it patience and expertise. Traditionally “leads to a sense of continuity of the object beyond used by architects and graphic design- the margins of the painting. This situation only ers in technical drawings, ruling pens disappears when the frame is structured rigorously are easiest to use with free-flowing ink. has been understood more broadly by at the Getty, and a second volume will according to the composition of the painting.” The Oil paint must be thinned to exactly scholars and historians, this is the first follow. A third, bilingual publication resulting works eschewed any sense of illusion- the right consistency to flow from the study that underlines more precisely will include interviews with Argentine ism: the works have irregularly shaped outlines in pen, which holds only a small amount the specific materials and techniques Concrete artists conducted by Pino which the interior geometric composition defines between its metal tips due to capillary used by these artists. The study also Monkes, painting conservator at the the outer edges of the support. action. Painting long lines is painstak- underscores the differences between Museum of Modern Art in Buenos Aires. While artists in Argentina experimented with ing, since only a few centimeters can be the approaches of the Concrete artists The project has attracted significant shaped paintings, research shows that they were painted at once. Alfredo Hlito’s experi- in Argentina and Brazil.” interest from Latin America and around less inclined to experiment with house paints ence as a draftsman and designer likely At the GRI, Gilbert spent time look- the world, indicating the willingness than their Brazilian peers. Artists in Buenos Aires, contributed to his extraordinary facility ing into the printed ephemera in the and perceived need to reassess the cur- whose work in the collection dates from the mid- with ruling pens. library’s Special Collections. Magazines, rent placement of these artists in the 1940s and 1950s, typically used tube oil paints in The ruling pen was not the only exhibition invitations, and flyers, some canon of twentieth-century modern art. their work, with the exceptions of Rhod Rothfuss tool of choice for the versatile artists of them found in the archive of the As collaborators study collections in and Raúl Lozza. In Relieve no. 30, Lozza layered in the study. Self-adhesive tape allows influential Uruguayan artist Joaquín Argentina and Brazil, the Getty project house paints and oil paints so as to extensively pol- the creation of extremely sharp, almost Torres-García, shed further light on contributes to the improved under- ish the paint surfaces, something that the softer oil mechanical edges of geometric forms, the period. “Through this archival standing of Concrete art and how it paint by itself would not have made possible. Aside a quality particularly sought after by research, we were able to learn more might be conserved in decades to come. from questions of availability of different kinds of several artists in Brazil. Gottschaller about the interdisciplinary aspira- “The Colección Patricia Phelps paints in the period following World War II, the notes, “While the Latin American artists tions of these artists,” says Gilbert. “If de Cisneros found a perfect partner Argentine group might also have preferred tradi- in our study preferred transparent tape the artists’ painting practice intended in the Getty,” says Patricia Phelps de tional oil paints in part because of their schooling— made from cellophane like Scotch tape, to bridge the divide between art and Cisneros. “With up-to-the-minute many of them were educated at fine art academies, evidenced by the perfectly crisp edges everyday life by creating objects focused scientific technology and conservation Above: Marco recortado N° 2 / The Getty’s study of Latin American Concrete where they would have been trained in the tradi- of elements, the majority of contem- on physical materiality, this concern techniques, researchers from the Getty Cutout Frame No. 2, 1946, Juan Nicolás Melé. Oil on hardboard. art, like its study of Mural, bridges art history tion of painting in oil. porary European and North American extended into building a broader move- Conservation Institute and the Getty Colección Patricia Phelps de Cisneros. Promised gift to the and scientific study; and it focuses on a pivotal The Brazilian artists, on the other hand, artists used masking tape, which leaves a ment in Concretism. In their maga- Research Institute joined forces to Museum of Modern Art, New York, moment of the “Southern Cone” avant-garde. embraced a wide variety of novel industrial paints. slightly ribbed edge.” zines and leaflets, the artists addressed reveal the secrets of the materials and through the Latin American and Caribbean Fund “The Concrete artists, divided into a number of These inexpensive paints have the benefit of dry- Both cellophane tape and house poetry, theater, and music, as well as methods of Concrete artists from Latin groups across Argentina and Brazil, created paint- ing quickly. They also allow the formation of a paints are industrial products, demon- architecture, furniture, and industrial America, and to re-contextualize their Opposite: Patricia Phelps de Cisneros (seated) and Pia Gottschaller ings, sculptures, and works in hybrid categories smoother surface devoid of brushstrokes when strating the connection between the design.” One of the rooms in Making groundbreaking work from the mid-’40s discussing Hermelindo Fiaminghi’s such as ‘non-objects,’” says Pia Gottschaller, they are combined with certain application tech- materiality of the work and the historical Art Concrete is dedicated to this printed to the early ’60s. These artists’ aims Seccionado no. 1, 1958, with (from left to right) Gabriel Pérez-Barreiro, senior research specialist at the GCI. “Collectively, niques, such as the use of spray guns. In the course moment in which it was created. “The material, with a particular focus on were social as well as aesthetic; they Jim Cuno, and Gustavo Cisneros their works might be characterized by a severely of studying the works with a high-powered micro- study details the connection between poetry and design. wanted to change the world with their reduced, geometric vocabulary, the simplic- scope, it became clear that some of the artists went artists and the industrialization occur- A catalogue featuring two essays by art. They would have been astonished ity of which often belies the artists’ painstaking to great lengths to manipulate their paint surfaces. ring in both countries in the postwar project researchers Pia Gottschaller and at the ways in which new scholarship approach to materials and technique.” The study “Geraldo de Barros’ Função diagonal has an incred- years,” says GRI Deputy Director Andrew Aleca Le Blanc accompanies the exhibi- about their contributions to culture has, explores these artists’ formal experimentations ibly smooth finish, produced using an innovative Perchuk. GRI Research Specialist Zanna tion. In November, scholars are invited with the evidences uncovered by the as well as the transformative role they hoped type of paint—a polyurethane-modified alkyd,” Gilbert adds, “While this connection to present their findings at a conference Getty, changed the art world.”

22 23 uring three centuries of colonial rule, THE BIRTH OF THE Spain and Portugal used urban planning Dand architecture as tools for dominating their subjects in Latin America. Plazas and grids of blocks were more than architectural features METROPOLIS and geometric patterns—they spatially rein- forced the social and political power of the local ruling elites, the church, and the monarchy. IN LATIN AMERICA Independence movements that began in the eighteenth century were the result of simmering tensions with the Iberian powers. These tensions were in part propelled by Enlightenment ideals such as constitutional government, liberty, and inalienable rights and the profound effect of external events such as the Haitian Revolution, the American Revolution, and the French Revolution. Between 1808 and 1826, most of Latin America gained independence from the imperial powers and formed new countries and republican governments. Latin Americans began to reshape their cities, removing or diminishing the power of colonial symbols through the construction of new civic buildings and other modifications to the urban landscape. The Pacific Standard Time: LA/LA exhibition The Metropolis in Latin America, 1830–1930 explores how six capital cit- ies—Buenos Aires, Havana, Lima, Mexico City, Rio de Janeiro, and Santiago de Chile—grew into metropolises during this time of intense change and wove together various sociopolitical developments, cultural influences, and aesthetic trends over the course of a century to create new national architectures and identities. To design this exhibition, co-curators Maristella Casciato, senior curator of architecture, and Idurre Alonso, associate curator of Latin American collections, drew on the extensive and outstanding collection of , prints, plans, and maps available at the Getty Research Institute.

The Colonial City During the colonial period, roughly 1496–1832, architectural regulations and urban planning guidelines were imposed on the cities by the Iberian powers. The countries under Spanish rule, for example, had to comply with the 1573 Law of the Indies, which dictated the layout of the cities and use of an orthogonal grid. This urban grid had existed before the arrival of the Spaniards and the Portuguese and had served as Street view of the Floriano Promenade in Rio de Janeiro, 1928, Augusto Cesar de Malta Campos. Gelatin silver print. Los Angeles, Getty Research Institute, 92.R.14 a planning matrix.

25 The Republican City up of old, narrow districts in terms of dramatically over a century, particularly styles related to British architecture Despite the newly emancipated countries’ desire to break embellissement stratégique (strategic in Buenos Aires and Rio de Janeiro. predominated. At the beginning of the with the colonial past, plazas endured: as a key urban form, embellishment), a way of keeping the Buenos Aires was unique in that it expe- twentieth century, many of the middle- they were sites for citizens to congregate and share in activi- populace under control,” says Casciato. rienced a large wave of immigration and upper-class houses in Los Angeles ties such as going to the market and attending festivals The desire to break from the colonial from Europe in the late nineteenth and were built in Spanish revival and Mission and celebrations. “Since antiquity, the notion of urbs (city) past and embrace progressive European beginning of the twentieth centuries, styles. As these new buildings appeared is intertwined with the existence of the forum, the public models needs to be viewed in histori- becoming known as the Paris of the in magazines and films, the upper class square,” says Casciato. cal context, Casciato points out. As the Americas. in Latin America sought to imitate the The construction of new civic buildings from the 1860s old order was challenged, the political American way of life, and these styles onward, including parliaments, ministries, supreme courts, turmoil that followed can be interpreted National Architecture in Context became widespread there. theaters, and universities, reinvigorated the self-view of in light of the industrial revolution, In the 1910s, as Latin Americans cel- “The pre-Hispanic influence on the the six capitals. In addition, the new nations created public which had a profound impact on Latin ebrated the centennial of their indepen- work of US architects such as Frank monuments devoted to leaders such as Cuauhtémoc, the last America in the mid-eighteenth cen- dence, they began to reconsider their Lloyd Wright and Stacy-Judd working Aztec emperor; Bernardo O’Higgins, the Chilean indepen- tury. Its effects transformed the social national identities and prior architec- in Los Angeles, and the advertisements dence leader; and Simón Bolívar, who led the movements to order and became pivotal in fostering tural models. Several architects and in the Peruvian magazine Campo y liberate the northern part of South America from Spanish the birth of the bourgeoisie in Latin theorists sought to define a national Ciudad urging people to build ‘California rule. The exhibition features a taken in Lima America. architecture and found a solution by houses,’ prove the cultural proximity of a monument to Bolívar that depicts him dramatically The exhibition features a colored looking to the pre-Hispanic and colonial of Los Angeles to Latin America,” says mounted on a rearing horse. “The new public monuments lithograph of the new Chilean bourgeoi- past. Mexico, Peru, and Argentina led Alonso. “We need to remember that of the independence leaders often had congratulatory and sie—men dressed formally in top hats the movement to forge a new national when Los Angeles was founded in 1542, it grandiose iconography that showed their achievements,” and women in gowns taking an after- architecture that fused neo-colonial was part of Mexico. It remained so until explains Alonso. “In some cases, public sculptures were cre- noon walk on La Cañada promenade. and pre-Hispanic elements, with it was purchased by the US through the ated to connect the identity of the new countries with their While such beautiful Parisian-style bou- architects Manuel Amabilis (Mexican, Treaty of Guadalupe Hidalgo in 1848. pre-Hispanic past or the mestizaje (blending of races).” levards were places for the elite to see 1886–1966), Manuel Piqueras Cotolí These historical facts are behind the and be seen, they also attracted all strata (Peruvian, 1885–1937), and Martín different identities of our own city and The Search for Grandeur of society and sometimes led to class- Noel (Argentine, 1888–1963). This sty- allowed for the development of Latin The new nations looked in large part to France, Great based frictions. listic movement is exemplified by the American trends in the region.” Britain, Germany, and the United States as models for exhib- highly regarded pavilions built by each Casciato and Alonso hope that visi- iting the most advanced ideas about culture, philosophy, and Modern Infrastructure of these architects for the 1929 Ibero- tors to the exhibition will learn that cit- Above: La Habana: Panorama general de la ciudad y su bahía (Havana: Panorama of the City and Bay), ca. mid-1850s, Eduardo Laplante. Color lithograph. Getty Research Institute, P840001 science, while regarding Spain and Portugal as outmoded In the last quarter of the nineteenth American Exposition in Seville. The ies are complex phenomena. “The word models. Drawing inspiration from France, some of the Latin century, Latin American capitals had Mexican Pavilion designed by Amabilis, metropolis is etymologically the ‘mother Below: Lima, Estatua de Bolívar (Lima, Statue of Bolívar), ca. 1863–1873, Courret Brothers. . Getty Research Institute, 2002.R.25 American capitals emulated the urban design of Georges- to respond to the effects of foreign for example, features sculptures in the city,’ and therefore it is the city that best Eugène Haussmann, the man responsible for transforming immigration and rural-urban migration. Maya-Toltec style, with two plumed represents the identity of a nation,” says Paris into the modern capital. “The Haussmannian policies They began to industrialize and develop serpents decorating the columns at Casciato. “We want to make visitors In an urban arrangement known as the cuadrícula española, of urban transformation under Napoleon III, who spent large infrastructural projects such as the main entrance. The great interest aware of how the complexities produced the plaza or town square was anchored by a cathedral built to many years in England before he became emperor, are the aqueducts, sewage systems, bridges, and in pre-Hispanic cultures in the study by sociopolitical factors and develop- inspire awe among the indigenous people and settlers. It also symbol of the new, modern times, never entangled with the railways. The growth of trade and travel of archaeology would later lead to the ments affect the urban landscape. The included a town hall and key institutional buildings that domi- colonial past,” explains Casciato. led to the expansion of existing port cit- emergence of a Mayan revival architec- built artifacts of the cities are the bearer nated the surroundings to project an image of power. Over Features of Second-Empire Paris (1852–1870) that ies and the development of new ones. ture style represented by the work of of those complexities.” the next two centuries, the design of numerous towns and cit- informed renewal of Latin American cities include Beaux- In the exhibition, a color lithograph architects such as Frank Lloyd Wright ______ies in Latin America followed this colonial urban model. Arts neoclassical architecture; large boulevards, often lined from 1850 of Havana, its bay, and harbor (1867–1959), his son Lloyd Wright Throughout the struggle for independence, people felt with trees and lamps; and the creation of diagonal avenues shows a panoramic view of this bustling (1890–1978), and Robert Stacy-Judd Following its presentation at the it mandatory to eliminate the memory of the colonial past, that in some cases broke with the colonial city’s orthogonal port city. (1884–1975). Getty, The Metropolis in Latin America, which included both political and cultural symbols. As part of grid. Latin American capitals featured streetlights for safety, The economies of the capitals ben- The dialogue between Los Angeles 1830–1930 will travel to the Americas this iconoclastic process, they removed sculptures represent- public parks for recreation and amusement, sanitation efited greatly from these improvements and Latin America is evident in the two Society in New York and then to the ing colonial power. One of the photographs in the exhibition for public health, and cultural spaces such as theaters and in infrastructure, which facilitated regions’ architectural influence on each Amparo Museum in Puebla, Mexico. The shows the equestrian sculpture of King Carlos V of Spain on cinemas. trade and led to the emergence of new other. Mission style, which was born in curators are also producing a publication Bucareli Avenue in Mexico City. “The monument had been By the 1880s, the Haussmannian style of urban renewal export-oriented economies based on Southern California in the second half available in 2018 that will feature essays originally created for the zócalo, the main plaza in the city,” could be seen in Paseo de la Reforma in Mexico City, Avenida industrialized and capitalist models. All of the nineteenth century, romanticized by international experts and many of the explains Alonso. “After independence, there were strong de Mayo in Buenos Aires, and Avenida Rio Branco in Rio de of these factors converged to give birth the colonial past and generated a new objects from the exhibition. sentiments against the piece. When it became clear that Janeiro. The exhibition features photographs of these sites to the modern city and create a rela- type of architecture that contrasted it could be vandalized, it was moved to its new location on and other metropolitan city views. “Political theoreticians tively comfortable life for city dwellers. with types native to other parts of the Bucareli Avenue.” interpreted the rational use of urban spaces and the opening The population of the six capitals grew country, such as the East Coast, where

26 27 built on Getty screenings that Phillips and Shtromberg collaborated on in 2004 and 2005: Pioneers of Brazilian Video Art: 1973–1983 and Surveying the Border: Three Decades of Video Art about the United States and Mexico. “Very few museum and research collections in the United States con- tain video work from Latin America,” says Phillips. “Through this research and the exhibition, we seek not only to expose audiences to an impor- tant medium of artistic expression from Latin America, but also to pro- vide resources and access for future research and scholarship.” The curators began their search in 2012 by identifying countries such as Brazil that had an established video practice and institutional resources to consult. From there, they built rough While video art emerged in Brazil in All of these research trips, combined travel itineraries, allowing time for the mid-1970s, in Mexico the movement with years of study, resulted in a huge the unexpected. As Shtromberg notes, began toward the end of that decade. database of material that references “Once we got on the ground, we could One of Mexico’s earliest pioneers in the hundreds of artists, more than seventy always expect to hear about other art- medium, Pola Weiss, worked in inde- of whom are represented in Video Art in ists, curators, or critics we needed to pendent television before acquiring Latin America. meet with. Our research found a lot of a portable . She combined her Many of the works in the exhibi- microhistories with their own pioneers. experience in film and television with tion have never been seen in the United These stories inevitably intersected, her interest in dance to create her widely States, and the art ranges from the 1970s but there was no central archive or his- influential experimental video art. to today. While the newer artists repre- tory in existence.” By tapping into the In San José, Costa Rica, Phillips and sented often use different technology work done by avant-garde arts organi- Shtromberg visited TEOR/éTica, a pri- than their predecessors, many explore zations, universities, and independent vate, nonprofit exhibition and research ideas about gender, ethnic and racial scholars and artists, Shtromberg and space created by artist and curator identity, the consequences of social TWO CURATORS TRAVEL TO A ince the 1970s, artists all over the world have taken up the video camera to make Phillips were able to connect the dots. Virginia Pérez-Ratton. TEOR/éTica sup- inequality, ecological disasters, and DOZEN COUNTRIES IN CENTRAL art. In Central and South America, video art developed in distinctive artistic In Brazil they visited Solange ports artistic collaborations between global violence. Scenters where pioneers of the medium built communities that explored video Farkas, curator at Videobrazil, who in artists and researchers from Central At LAXART, visitors encounter sev- AND SOUTH AMERICA TO TRACE art on a local scale and utilized the medium’s immediacy and portability to connect 1983 almost single-handedly created a America and the Caribbean. eral immersive video art installations THE MANY POINTS OF EMERGENCE globally. central space for the preservation and Shtromberg notes that reaction to in the center of the exhibition space as FOR EXPERIMENTAL VIDEO ART Until now, there has never been a broad study of the many video artists and cre- exhibition of video art from Brazil and their efforts was overwhelmingly posi- well as three galleries featuring single- ative communities that emerged in Latin America over the last four decades. Through surrounding countries. She coordinates tive and that many people, especially channel videos arranged in six thematic years of research, art historians Glenn Phillips and Elena Shtromberg have sought to the Associação Cultural Videobrasil, a artists, were eager to help, often tracking programs: The Organic Line; Defiant address the need to connect the many histories of video art in Latin America. biannual festival that brings video art down contacts and primary resources Bodies; States of Crisis; Economies of Above: Retransmisión, 2011, Pável Aguilar Undertaking this project for the Getty Research Institute, Phillips, head of modern from all over the world to São Paulo. for other artists in their constellations. Labor; Borders and Migrations; and and contemporary collections at the Getty Research Institute and Shtromberg, asso- Among the video art pioneers to In Argentina, for example, artist Carlos Memory and Forgetting. An important Opposite: Palomo, 2012, Berna Reale ciate professor of art and art history at the University of Utah, have traveled to more come out of Brazil are Sonia Andrade, Trilnick, a practicing video artist who feature of the exhibition is a specially than a dozen countries in Central and South America, meeting more than 250 art- Leticia Parente, and Anna Bella Geiger, has built an extensive library of books curated, publicly accessible library adja- ists, historians, and others to create a massive record that will serve as a foundational artists who borrowed a Portapak on art and video art in Latin America, cent to the gallery spaces. This library resource for the study of video art for decades to come. To date they have collected camera in 1974 to incorporate video contributed books that helped with functions as a Video in Latin American reference videos or other material on more than 800 artists. into their practices. One year earlier, research. Some of the books are part of Art study room featuring dozens of Their research has led to the exhibition Video Art in Latin America at LAXART Analivia Cordeiro pioneered the use of a library and reading room presented in books on the subject, many of which are in Hollywood as part of Pacific Standard Time: LA/LA, and will also culminate in a computers to make the earliest exam- conjunction with the Video Art in Latin out-of-print or otherwise hard to find in book that promises to be a fundamental text for scholars in the field. The exhibition ple of video art in Brazil. America exhibition. the US.

28 29 BOOK EXCERPT

October 8, 1898, marked the first issue of the weekly maga- artistic communities where indepen- zine Caras y Caretas (Faces and Masks). It was the first popular ENTER THE PORTAPAK dent curators and artists are passionate graphic publication devoted to contemporary news illustrated with about preserving the history of video photographs printed using the halftone process, which had been introduced into the Argentine graphic industry around 1895. The How a conservator’s passions illustrate history art—Furmanski’s experience rescuing magazine had three full-time photographers and employed the “shipwrecked” works of art figured in services of additional correspondents who submitted pictures from the exhibition in a different way. the country’s interior—a network not very extensive but as much Jonathan Furmanski has one of of its original context. Understanding Video art everywhere can be traced a novelty as the magazine itself. Caras y Caretas also subscribed to the more unique jobs at the Getty, and that technology for viewing analog to a distinct moment in history that foreign agencies, from whom it received photographs that it then indeed, in the arts. Educated as an art artwork—releasing this analog signal made it possible: the development of used to accompany news from other countries, which was naturally historian, trained as a conservator, and and creating a digital surrogate that is the portable video camera. Weighing of interest to the abundant immigrant population then flocking to self-taught as an audiovisual expert, respectful of it—is a major part of my about eighteen pounds and costing the country. To illustrate articles devoted to local and regional news, the Furmanski has the distinct role of con- work.” about $1,500 at its release in 1967, the photographers of Caras y Caretas took up subjects that had been serving and archiving video collections Working with video from different Sony Portapak certainly seems heavy ignored by the earlier costumbrista masters but proved extremely for the Getty Research Institute. eras and regions, Furmanski is often and expensive to modern filmmakers popular with readers, among them police incidents (what we would When a work of art on video or called upon to use older technology who can make a film with a phone. But today call crime scenes and reports) and mass public demonstra- other archival video comes into the to clean up, restore, and digitally re- in the 1960s, the Portapak’s portability tions involving social agitation, such as strikes. Disregarding class Getty Research Institute’s collection, record older video works. His studio and affordability were groundbreaking distinctions, they plunged into the everyday social life, a territory Furmanski is usually the first, or one of resembles more of a television studio advancements. that nineteenth-century costumbrismo picturesqueness had not the first, people to actually watch it. than a typical art conservation studio, In the story of contemporary art, frequented, capturing the cosmopolitan vitality of a Buenos Aires “Where my work gets interesting is packed as it is with recording and play- the introduction of the Sony Portapak in dynamic expansion. The formal procedures they employed like- wise contrasted with the composed and placid compositions of the when a work of art is ‘shipwrecked’ on back equipment from all over the world was a major plot point, allowing art- nineteenth century: close-ups of ordinary people making sponta- older tape, ” says Furmanski. “That’s and from five decades. Since the video ists to step out of the television studio neous gestures, blurred people walking past the camera without where my job gets rewarding. You have art from Latin America that Getty cura- to make moving-image art. In Latin paying attention to it, interior shots using ad hoc light sources. creative works that are trapped on these tors borrowed and collected for Video America, the Portapak was often bor- They recorded a reality in transformation with a reinvigorated older formats and it’s my job to make Art in Latin America was for the most rowed or bought from American artists photography. it possible for an obsolete tape to be part not technologically stranded or or filmmakers, or shared among artistic Photography in Argentina: During Carnival in March 1905, a photographer and a reporter played back in a way that is conscious in need of conservation—coming from communities. In places with state- from Caras y Caretas attended a dance at the Salón Victoria in down- controlled media, the video camera Contradiction and Continuity town Buenos Aires. The resulting story was headlined “Fashionable represented a decentralized media out- Dance,” and the dance in question was the tango, a dance of the suburbs and brothels that was permitted in the city center only let ideal for voicing opposition. And for Edited by Idurre Alonso and Judith Keller during Carnival, as the news story explained in its opening: “When many Latin American video artists, as in Carnival arrives, the tango becomes the master and lord of all the other places, the Portapak represented The earliest information we have about the beginnings of photo- dance programs, since, being the most libertine of dances, it can only freedom, turning the homes, streets, graphic activity in Argentina comes from advertisements published be tolerated in these days of insanity.” The photographer, assisted and architecture of Latin America into by the US-American daguerreotypist John Elliot in the Buenos by a modern magnesium , took various shots of couples danc- film sets. Aires newspapers Gaceta Mercantil, Diario de la Tarde, and British ing; they are the oldest known of this “lascivious dance,” as stated Furmanski, being a passionate and Packet in August 1843. There he offers to make portraits, whether of in another part of the article. Only one has survived. Time—the knowledgeable collector of the technol- one person or of various people in groups, in the most perfect man- great builder, as Marguerite Yourcenar famously remarked—has ner and according to the latest improvements made in this art. In transformed it into an iconic, symbolic image now lodged in our col- ogy that birthed video art, has included Argentina, were made from this date until approxi- lective memory. Symbolic, moreover, in more than one sense: Caras a Sony Portapak in his own camera col- mately 1860. Production was low, consisted principally of studio y Caretas, that pioneer of photographic modernity, was offering a lection. He has enjoyed experimenting portraits, and was centered in Buenos Aires, which circa 1850 was golden insight into the dance and music that best represented the with the camera and becoming keenly home to ten daguerreotypists, all foreigners. In Paris one hundred new cosmopolitan culture being forged in Buenos Aires, when it aware of its idiosyncrasies and the thousand daguerreotypes were taken in 1849, and more than three was still a risqué and shameful expression of the underworld. These unique way that films made with the million had been taken in the United States by 1853, whereas around precious works, exceedingly rare testaments to the brilliance of camera look and sound. Furmanski has this same time Thomas Helsby boasted of having taken six hundred ancient American courts and their artists, remind us of the fragil- lent his Portapak to the Video Art in in Buenos Aires over a few years. These numbers put into perspec- ity of cultures. It is in these deeply resonant works, these tangible Latin America exhibition at LAXART tive the production of daguerreotypes in Argentina. The few known connections to worlds now almost entirely lost to us, that the great daguerreotypes taken outdoors are either group portraits or views imagination and the artistry of ancient Americans live on. so that visitors can get a sense of what of Buenos Aires. Of the latter, only nine are known, five signed by it was like for an artist to use the tool another US-American daguerreotypist, Charles DeForest Fredricks, This excerpt is taken from Photography in Argentina: when a new art form was burgeoning. and the remaining four made by unidentified photographers. No Contradiction and Continuity, published by the J. Paul Getty views of any other Argentine city are extant. Museum. © 2017 by The J. Paul Getty Trust. All rights reserved. The book accompanies the PST: LA/LA exhibition Photography in Jonathan Furmanski *** Argentina, 1850–2010: Contradiction and Continuity.

30 31 NEW FROM GETTY PUBLICATIONS

Getty Publications produces award-winning titles that result from or complement the work of the J. Paul David Lamelas the typical narrative invoked about artists Getty Museum, the Getty Conservation Institute, the Getty Research Institute, the Getty Foundation, and A Life of Their Own like Lamelas is one of internationalism, his Getty-led initiatives. These books cover a wide range of fields including art, photography, archaeology, nomadic movement from one place or con- Edited by María José Herrera and Kristina Newhouse architecture, conservation, and the humanities for both the general public and specialists. ceptual framework to the next has always With contributions by Alexander Alberro, Adolfo Bioy been more post-national than international. Casares, Valeria González, German Gullón, María José This volume accompanies exhibitions on Order online at shop.getty.edu Herrera, Inés Katzenstein, Bartomeu Marí, Kristina view at University Art Museum, California Newhouse, Catha Paquette, Daniel R. Quiles, Joy State University, Long Beach, through Sleeman, and Ian White December 10, 2017, and at Fundación Costantini-Museo de Arte Latinoamericano Revolution and Ritual: The Photographs of her body with cosmological maps and Aztec The renowned Argentine conceptual artist de Buenos Aires (MALBA), Buenos Aires, Sara Castrejón, Graciela Iturbide, and Tatiana codices, echoing Mexico’s layered and con- David Lamelas (born 1946) has an expansive March to June, 2018. David Lamelas is sup- Parcero tested history. By bringing their work into oeuvre of sensory, restive, and evocative ported by grants from the Getty Foundation conversation, Revolution and Ritual invites work. This book, published to coincide with as part of Pacific Standard Time: LA/LA. Edited by Mary Davis MacNaughton readers to consider how Mexican photog- the first monographic exhibition of the art- With essays by Marta Dahó, Esther Gabara, raphy has been transformed over the past ist’s work in the United States, offers an University Art Museum, California State and John Mraz century. incisive look into Lamelas’s art. The guiding University, Long Beach Revolution and Ritual accompanies an analytic theme is the artist’s adaptability to In association with Getty Publications This richly illustrated exhibition catalogue exhibition on view at the Ruth Chandler place and circumstance, which invariably 272 pages, 8 1/2 x 13 inches features photographs by three Mexican Williamson Gallery, Scripps College, influences his creative production. Lamelas 150 color and 50 b/w illustrations women, each representing a different gen- Claremont through January 7, 2018. left Argentina in the mid-1960s to study at ISBN 978-1-60606-543-3, hardcover eration, who have explored and stretched Revolution and Ritual is supported by grants Saint Martin’s in London. Since then, he has US $55.00 notions of Mexican identity in works that from the Getty Foundation as part of Pacific divided his time among various cities. While range from the documentary to the poetic. Standard Time: LA/LA. Revolution and Ritual looks first at the images of Sara Castrejón (1888–1962), the Ruth Chandler Williamson Gallery, woman photographer who most thoroughly Scripps College captured the Mexican Revolution. The work In association with Getty Publications of photographic luminary Graciela Iturbide 176 pages, 8 1/2 x 11 inches (born 1942) sheds light on Mexico’s indig- 82 color and 35 b/w illustrations enous cultures. Finally, the self-portraits of ISBN 978-1-60606-545-7, paper Tatiana Parcero (born 1967) splice images of US $29.95 Prometheus 2017: Four Artists from Mexico between Los Angeles and Mexico. The con- Revisit Orozco tributors take on a broad range of topics, from murals as public art to how Orozco’s Edited by Rebecca McGrew and Terri Geis work fits into contemporary frameworks With contributions by Mary K. Coffey, Daniel Garza of aesthetic theory. The book also includes Usabiaga, Terry Geis, and Rebecca McGrew a chronology, vibrant reproductions, and Reyner Banham and the Paradoxes late-career assessments of High Tech prac- critical essays focused on the contemporary of High Tech titioners such as Norman Foster, Richard José Clemente Orozco’s 1930 mural artists. Rogers, and Renzo Piano. Prometheus, created for the Pomona College This gorgeous volume accompanies an Todd Gannon Gannon devotes significant attention to campus, is a dramatic and gripping exami- exhibition on view at the Pomona College Banham’s late work, including fresh archival nation of heroism. This thoughtful exhibi- Museum of Art through December 16, 2017. Reyner Banham and the Paradoxes of High materials related to Making Architecture: tion catalogue examines the multiple ways Prometheus 2017 is supported by grants Tech reassesses one of the most influential The Paradoxes of High Tech, the manuscript Orozco’s vision resonates with four artists from the Getty Foundation as part of Pacific voices in twentieth-century architectural he left unfinished at his death in 1988. For working in Mexico today. Isa Carrillo, Adela Standard Time: LA/LA. history through a detailed examination of the first time, readers will have access to Goldbard, Rita Ponce de León, and Naomi Banham’s writing on High Tech architecture Banham’s previously unpublished draft Rincón-Gallardo share Orozco’s interest in Pomona College Museum of Art and its immediate antecedents. introduction to that book. history, justice, social protest, storytelling, In association with Getty Publications Taking as a guide Banham’s habit of and power yet approach these topics from 244 pages, 10 1/4 x 13 inches structuring his writings around dialectical The Getty Research Institute their own twenty-first-century sensibilities. 150 color and 50 b/w illustrations tensions, Todd Gannon sheds new light on 256 pages, 10 × 11 inches These artists activate Orozco’s mural by rein- ISBN 978-1-60606-544-0, hardcover Banham’s early engagement with the New 21 color and 101 b/w illustrations, 2 tables vigorating Prometheus for a contemporary US $45.00 Brutalism of Alison and Peter Smithson, ISBN 978-1-60606-530-3, hardcover audience. his measured enthusiasm for the “clip-on” US $49.95 Prometheus 2017 presents substantial approach developed by Cedric Price and the new scholarship connecting Mexican mural- Archigram group, his advocacy of “well-tem- ism with contemporary art practices. Three pered environments” fostered by integrated new essays address different aspects of mechanical and electrical systems, and his Orozco, Prometheus, and the connections

32 33 NEW ACQUISITIONS FROM THE IRIS

The Iris, a J. Paul Getty Trust blog written by members of the entire Getty community, offers Landmark Acquisition an engaging behind-the-scenes look at art in all its aspects.

Transforms Museum’s expressing one’s own identity. Students found out how challenging and complex Drawings Collection the exhibition designer’s job is, and how many moving parts (and opinions) are involved. The J. Paul Getty Museum has made the most important purchase The students’ final presentations in the history of its Department of Drawings: sixteen drawings by many included display boards with key con- of the greatest artists of western art history, including Michelangelo, cepts, color schemes, floor plans and Lorenzo di Credi, Andrea del Sarto, Parmigianino, Rubens, Barocci, elevations, and graphics; scale mockups Goya, Degas, and others. The drawings were acquired as a group from a of artwork cases; and ideas for market- British private collection. ing, social media, and retail. Here is each “This acquisition is truly a transformative event in the history of the team’s big idea, and a sample of the feed- Getty Museum,” says Timothy Potts, the Museum’s director. “It brings back—what worked best, what didn’t hit into our collection many of the finest drawings of the Renaissance the mark, and what emerging designers through the nineteenth century that have come to market over the past should keep in mind for next time. thirty years, including a number of masterpieces: Michelangelo’s Study of a Mourning Woman, Parmigianino’s Head of a Young Man, and Andrea CONCEPT 1: “CELEBRATION OF del Sarto’s Study for the Head of St. Joseph.” DETAILS” No less exciting for the Department of Paintings, Potts says, is the acquisition from the same private collection of one of Watteau’s most Students’ concept: Artwork details famous works, La Surprise. “It was indeed a very welcome surprise when are the guiding principle for this design. this lost masterpiece reappeared ten years ago in Britain. …It will be The gallery interior is painted a rich very much at home at the Getty, where it crowns our other exceptional eggplant that offers a visual contrast eighteenth-century French paintings by Lancret, Chardin, Greuze, with the luxurious materials of jade, Fragonard, and Boucher.” A feature article exploring these extraordinary Above: La Surprise, 1718–1719, Jean-Antoine Watteau. Oil on panel. The J. Paul Getty Museum Mana Koike (product design) gold, and feathers used in the artwork works will appear in the winter issue of The Getty magazine. Below: Model Wearing a Fur Coat and Gloves, Blurred Man Holding a Bicycle in the Background, August on display. Graphics of key details from 1955, Guy Bourdin. Gelatin silver print. The J. Paul Getty Museum, Partial purchase with funds provided by the Photographs Council; partial gift of Ayse and Frederic Arnal. © The Guy Bourdin Estate specific artworks appear on the walls and as metal cutouts on freestanding ArtCenter Students cases, which have wraparound wood moulding to emphasize the objects’ con- Experiment with PST: LA/LA nection with the earth. Exhibition Design Pros’ take: The use of objects’ iconog- raphy as metal cutouts next to object Iconic Fashion labels is extremely visually effective, Twelve undergrads at ArtCenter their designs in collaboration with exhi- serving as beautiful graphic elements Photographs College of Design in Pasadena spent bition curator Kim Richter and research and potential retail inspiration. They their winter quarter developing experi- assistants Marissa Del Toro and Emma would have been more effective, how- mental designs for the Getty Museum Turner-Trujillo; Getty designers Robert ever, if given a stronger interpretive or The Getty Museum has acquired ten rare vin- exhibition Golden Kingdoms: Luxury and Checchi, Francois Aubret, and Merritt educational purpose. Some of the pro- tage prints by Guy Bourdin (French, 1928–1991), Legacy in the Ancient Americas, which Price; and ArtCenter course instructors posed elements—street banners made of one of the most important and influential fashion explores luxury arts in pre-Columbian Robert (Rob) Ball and Chiara Ferrari. cutout metal, for example—are beauti- photographers of the twentieth century. The pho- cultures over a span of 2,500 years. Completing this real-world, cross- ful, but impractical. tographs depict models in the studio and on loca- The project grouped students from disciplinary project enabled students tion, and chronicle two decades of Bourdin’s career various design majors into small teams to “make a huge leap in understanding Students’ biggest challenges: The at French Vogue. The prints will be included in so they could act as exhibition designers experience design, and gaining skills product designer on the team was used the exhibition Icons of Style: A Century of Fashion for fourteen weeks, considering every- outside their comfort zone,” Rob says. to problem-solving for very specific Photography, opening June 2018 at the Getty thing from space planning to casework It also offered real-life experience in target users, so designing an experience Center and curated by Paul Martineau. to digital engagement. They developed how to design for a client as opposed to that would work for all visitors was a

34 35 challenge. The illustrator, meanwhile, had to learn to relinquish her personal style to design graphics that would be faithful to the artwork in the show.

Students’ tips for designers-in-training: • Understand your client’s brand before beginning a project. Early designs featured bright colors, for example, that didn’t har- monize with the sophisticated approach the many small artworks (nearly 300 items). Team modular cases are beautiful, adaptable, and practi- Above from left:

preferred by the Getty. (“Sophisticated” was members had to find ways to work together despite cal, and “will look as good in ten years as they do Su sun Kwak (environmental design), a word the students used a lot to describe the their differences. The environmental designers today.” The graphics, however, sometimes fore- Hanbi Ko (product design), Scarlett Lee (product design), Concept 3. Museum.) favored emotion and big-picture thinking, while ground the design over the artwork they are meant • Learn Rhino, a software program for design- the product designers gravitated toward details to showcase, and more variation in color would Detail from Concept 3. ing 3D environments. and research. have increased visual interest as well as helped lead Opposite from top: Concept 1

• Go to museums and look at how the public viewers through the sections of the exhibition. Phylicia Leinweber (environmental interacts with art. Find out what they like Students’ tips for designers-in-training: design), Concept 2

and don’t like. Don’t imagine that visitors • Learn how to work in a team. Understand Students’ biggest challenges: It’s hard to see an Dwayne Jeon (product design) and are just like you: Interview! Ask! your teammates’ styles and motivations. exhibition as a whole when it has so many aspects, Mario Rosado (product design), Concept 2 Balance the workload fairly, then hold one students said—research, marketing, graphics, CONCEPT 2: “EARTH AND SKY” another responsible and accountable. Learn mount making, lighting, traffic flow. On this proj- trust: Figure out what you’re good at and do ect, it was a challenge to create a design that was Students’ concept: This design plays with inter- that, instead of trying to do everything. informative yet creative, high-concept yet practi- secting horizontal and vertical planes that evoke • Make mistakes fast and early. cal, and that matched the Getty brand: sophisti- earth and sky. Inspired by the idea that past and • Get all the specs up front: What anchoring cated, modern, classic, and “not too crazy creative.” present are one, tall cases with gradient mirrors system will be used? Is this ADA compliant? offer viewers an opportunity to glimpse them- What is the height of the light-tracking panel? Students’ tips for designers-in-training: selves with the objects, while also the • When designing for a space, spend time there • Have a strong concept you believe in, and let space and suggesting “travel through the clouds.” to understand how people interact with it. all your decisions come from there. Materials including limestone, basalt, and glass • When working with teams and clients, find a take inspiration from the artwork while lending a CONCEPT 3: “THE BORDERLESS JOURNEY” balance between compromising and pushing contemporary feel. your idea forward. Students’ concept: Playing with the concept of • For each and every object, ask: Is this object Pros’ take: The play with horizontal and vertical “connection and fragmentation,” this proposal what we think it is? Are we as designers inter- formats, and the use of mirrored glass and lime- uses the visual metaphor of the single to form preting it in the right way? stone that evoke the materials of the artwork, design multiples in signage and furniture that • Be willing to try crazy things. are brilliant conceptually. But will mirrors dis- lead the viewer through the exhibition journey. tract from the experience of the art (or are they The center of the journey features an immersive The final part of the students’ journey with a clever experience that marketing could experience evoking a cenote, while the final gallery Golden Kingdoms will be a visit to the completed harness for promotion)? As a practical matter, invites visitors to use large stamps (in square form, exhibition (through January 28, 2018) with a tour the cantilevered high-back cases pose real-world again like a pixel) to share their favorite artwork by Senior Getty Designer Robert Checchi. He’ll challenges for lighting objects and navigating the from the show. discuss how he approached the challenges of the space, especially for visitors using wheelchairs. exhibition’s design and describe the many details Pros’ take: Standout details are a golden involved in creating the final product. Students’ biggest challenges: The project had vinyl map running up the stairs to the Getty’s so many constraints, students said, set by the Exhibitions Pavilion and a nose-ornament-shaped space, the Getty, the exhibition narrative, and lollipop (yes really) for the exhibition shop. The

36 37 GETTY EVENTS

Hockney Opening More than 600 guests came out on a warm summer evening to wish the art- ist a happy eightieth birthday and to celebrate the opening of an exhibition highlighting David Hockney’s self- portraits and photographs. Featuring rarely seen works, the exhibition, titled 1 Happy Birthday, Mr. Hockney, was gen- erously supported by Arlene Schnitzer and Jordan Schnitzer, directors of the Harold & Arlene Schnitzer CARE

Foundation. 8 9

1. Mark and Elizabeth Siegel and Pacific Standard Time: LA/LA Opening Celebration Getty Museum Senior Curator Julian Brooks The Getty celebrated the launch of Pacific Standard Time: LA/LA the evening of September 15 with a spectacular open-air party at 2 3 2. J. Paul Getty Museum Director the Center themed on Latin America. Guests explored the Getty’s Timothy Potts and David Hockney PST: LA/LA-related exhibitions, took in renowned dance group 3. Artist Jo Ann Callis Viver Brasil and musical artists the Cecilia y Edgar Latin Experience and DJ Rani de Leon, and enjoyed the cuisines of Puerto Rico, Brazil, 4. Jordan Schnitzer, Arlene Schnitzer, Peru, El Salvador, Argentina, and Colombia. Among the more than Arielle Schnitzer, and J. Paul Getty 1,100 attendees were collector Cheech Marin, artists with works in Trust President and CEO Jim Cuno PST: LA/LA exhibitions, and representatives of PST: LA/LA present- 5. Michael Ovitz and Tamara Mellon ing sponsor Bank of America. 6. Sidney B. Felsen, David Hockney, and 8. Guests gather in the Museum Courtyard. Joni M. Weyl of Gemini G.E.L. 10 9. Bank of America’s Garrett Gin, Raul Anaya, and Janet Lamkin; 7. Getty Board Chair Maria Hummer- J. Paul Getty Museum Director Tim Potts Tuttle, Russell Goldsmith, CEO of City National Bank, and Karen Mack 10. Kulapat Yantrasast, Carolina Miranda, and Cheech Marin Goldsmith 4 5 11. Dancer Katie Hernandez and the Cecilia y Edgar Latin Experience. 12. Rebecca Zapanta and Richard Zapanta 13. Getty Board Chair Maria Hummer-Tuttle and Patricia Phelps de Cisneros

14. Pamela Joyner and Joy Simmons 11

6 7 12 13 14

38 39 GETTY EVENTS

Hopps Talk and Dinner Frank Gehry in Conversation with The new autobiography The Dream Colony: A Life in Art is a vivid Kurt W. Forster account of the innovative, iconoclastic curator Walter Hopps (1932– Iconic architect Frank Gehry and 2005). Hopps started writing the book with Deborah Treisman, fiction renowned architectural historian Kurt W. editor of The New Yorker, a few years before his death. On June 28, Forster explored architectural differences J. Paul Getty Trust President and CEO Jim Cuno was joined in a dis- and similarities between sister-cities cussion of Hopps’s remarkable life by co-editors Treisman and Anne Berlin and Los Angeles on the occasion of Doran as well as artist Ed Ruscha, who wrote the book’s introduction. the exhibition Berlin/Los Angeles: Space for Music, recently on view at the Getty 15. Ed Ruscha Research Institute. A cocktail recep- 16. Deborah Treisman and Anne Doran tion immediately following the talk was attended by Frank Gehry, Joan Weinstein, 17. Artist and J. Paul Getty Trust President and CEO Jim Douglas Chrismas, Wim De Wit, Maristella Cuno Casciato, and Christina Hsiao, among 18. Getty Trustee Emerita Joanne Kozberg others. Getty Research Institute Director 19. Anne Stringfield and Steve Martin Thomas Gaehtgens gave opening remarks. 20. Ed Moses 15 21. Frank Gehry and Kurt W. Forster 21

The Getty thanks the following partners for their generosity and support of Pacific Standard Time: LA/LA

Presenting Sponsor Bank of America

Lead Sponsors and PST: LA/LA Leadership Council Members

The Broad Art Foundation Rob Lovelace and Alicia Miñana John and Louise Bryson Montage Beverly Hills 16 17 California Community Foundation Ron and Jane Olson Megan and Peter Chernin The Ralph M. Parsons Foundation Robert Day Anne and Jim Rothenberg Cástulo de la Rocha and Zoila D. Escobar Elizabeth Segerstrom Design Miami Sony Pictures Entertainment Inc. Stephen English and Molly Munger South Coast Plaza David and Marianna Fisher Terra Foundation for American Art Daniel Greenberg and Susan Steinhauser Maria Hummer-Tuttle and Robert Holmes Tuttle The James Irvine Foundation Walter F. Ulloa and Alexandra Seros Los Angeles Tourism & Convention Board Dr. Richard and Rebecca Zapanta

18 19 20

40 41 EXHIBITIONS FROM THE VAULT

combined conceptual approaches with a distribution system that worked outside of commercial circuits and utilized net- Right: Natalia Ariñez, 23 años, works of artists and friends. AT THE estudiante de arquitectura de la serie Los hijos. Tucumán, “I consider The Getty Research Institute’s Special Collections GETTY veinte años despues / that life is a hold more than forty of Beau Geste’s books, including sev- CENTER Natalia Ariñez, 23 Years Old, Architecture Student from kind of work eral publications by Ehrenberg himself: Sunday/Cantata the series The Sons and Dominical (1972), A Testimonial of Hostage Objects: One Daughters. Tucumán, Twenty Years Later, 1999, Julio of art, an Day Retrospection (1972), and Pussywillow: A Journal of Pantoja. Gelatin silver print. The J. Paul Getty Museum, unfinished Conditions (1974). Also in the Collections are seven issues of Purchased with funds Schmuck magazine, a collective artists’ themed anthology for provided by the Photographs work of art” Council. © Julio Pantoja. which Ehrenberg was one of the editors and often created the On view in Photography cover art. Like publications from Beau Geste Press, the maga- in Argentina, 1850–2010: zine used innovative graphic presentations with inserts, rub- Contradiction and Continuity ber stamps, folded pages, and recycled materials. Far right: Christ Blessing, about 1500, Giovanni Bellini. In 1974, Ehrenberg returned to Mexico and settled in Tempera and oil on wood Xico, a small town in Veracruz where he continued to pur- panel. Kimbell Art Museum, sue new forms of art. He also cofounded the artist collective Fort Worth, . On view in Giovanni Bellini: Landscapes The Metropolis in Latin America, Proceso Pentágono with Victor Muñoz, Carlos Finck, and of Faith in Renaissance 1830–1930 José Antonio Hernández Amezcua and focused on producing Venice Through January 7, 2018 Giovanni Bellini: Landscapes of Faith in political art through collaborative processes. Ehrenberg deep- Renaissance Venice ened his involvement with the community during the 1980s Photography in Argentina, October 10, 2017–January 14, 2018 Felipe Ehrenberg and 1990s; in addition to his own artistic practice, he estab- 1850–2010: Contradiction lished independent presses, organized printing workshops for and Continuity Sacred Landscapes: Nature in (1943–2017) artists, students, and teachers, and led mural-making activi- Through January 28, 2018 Renaissance Manuscripts ties. After the devastating earthquake in Mexico City in 1985, October 10, 2017–January 14, 2018 Ehrenberg joined relief efforts in that city’s underprivileged Golden Kingdoms: Luxury and Seminal conceptual artist Felipe Ehrenberg was a multi- Tepito neighborhood, established his art studio in the area, Legacy in the Ancient Americas Finding Form faceted creator who defined himself as a neologist—someone and generated artistic and political actions that included the Through January 28, 2018 December 12, 2017–February 11, 2018 who invents new words or doctrines. Adopted by the artist community. in the 1970s, the term embodies his highly experimental Ehrenberg developed several projects in the US: the Making Art Concrete: Works from Robert Polidori: 20 Photographs of the approach to art and his desire to avoid traditional conven- international action Ten-Day Communication Breakdown Argentina and Brazil in the Colección Getty Museum tions. Over the course of his career, Ehrenberg ventured into (1971) in San Bernardino; the installation Mi casa en Istelei Patricia Phelps de Cisneros December 12, 2017–May 6, 2018 performance art, mail art, painting, art actions, drawing, (1998–1999), created during his stay at Self Help Graphics Through February 11, 2018 Xerox art, writing, printing, teaching, book making, and other in Los Angeles; and the artist’s book Codex Aeroscriptus Happy Birthday, Mr. Hockney forms of expression. Ehrenbergensis (A Visual Score of Iconotropisms) (1990), Through November 26, 2017 The presence of Felipe Ehrenberg’s materials in several realized during an artist residency at Nexus Press in Atlanta. important Getty Research Institute Special Collections Combining popular culture with experimental art, the book The Birth of Pastel archives—including the Jean Brown papers and Dick Higgins uses a pictorial language that references ancient pre-Hispanic Through December 17, 2017 papers—attests to the artist’s international influence and his codices and colorful stencils connected to Mexican imagery, importance in the realm of conceptual art. including calaveras (human skulls) and papel picado (elabo- Ehrenberg was born and raised in Mexico City and began rately stenciled paper). his career as an editor and artist. To escape the political and After spending thirteen years in São Paulo, five of those cultural repression that followed the massacre of Tlatelolco as Mexico’s cultural attaché, Ehrenberg returned to his in 1968—when more than 300 students were killed by gov- home country in 2014 and established himself in Ahuatepec, ernment forces—Ehrenberg moved to Devon, England. Morelos. He passed away May 15, Mexico’s Teachers’ Day. His Together with artist Martha Hellion and historian David last project was a mural at the hospital where he was being AT THE Roman Mosaics across the Empire Mayor, he founded Beau Geste Press, one of the most impor- treated. GETTY Through January 1, 2018 tant independent presses of the era. Between 1969 and 1974, VILLA Beau Geste produced more than 150 books by artists such as The Getty Villa is undergoing exciting changes, including a reinstallation of the Ulises Carrión, Carolee Schneemann, Michael Nyman, Helen The Getty Research Institute’s special collections (“The Vault”) comprise rare and collection, special loan objects from other ancient cultures, and the expansion of Chadwick, Takako Saito, and Cecilia Vicuña. Working with unique materials: more than 68,000 rare books, almost 27,000 single prints and exhibition and family spaces. The second-floor galleries have reopened, and the full artists across Great Britain, Latin America, Eastern Europe, drawings in albums and collections, 1,100 collections of rare photographs, more installation will be complete in spring 2018. Visit getty.edu./villa2018 for updates. and Japan, the press created handmade publications that than 23,000 linear feet of manuscripts and archives, and much more.

42 43 NON-PROFIT ORGANIZATION US POSTAGE PAID LOS ANGELES, CA PERMIT NO. 32365

Share your love of art with GIVE THE friends and family through a gift GIFT OF of the Patron Program. Getty Patrons enjoy special access to: THE GETTY • exclusive events and receptions PATRON • exhibition openings • behind-the-scenes experiences, and more! PROGRAM Learn more at getty.edu/patrons