DOCSLIB.ORG

A Report on the Art and Technology Program of the Los Angeles County Museum of Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Report on the Art and Technology Program of the Los Angeles County Museum of Art Cover A&T Copyright ® 197 I by the Los Angeles County Museum of Art Library of Congress Catalog Card Number: 74-146884 SBN: 87587-044-9 A Report on the Art and Technology Program of the Los Angeles County Museum of Art 1967-1971 Contents: A&T 7 Acknowledgments 9 Introduction: Maurice Tuchman 43 Thoughts on Art and Technology: Jane Livingston 49 Participating Artists 361 Participating Corporations Acknowledgments A&T The Museum's Contemporary Art Council has sponsored In organizing the preview exhibition of eight artists' and supported /4rt amy Technology from its inception in work from the A&T program for the United States late 1966 to the present time. I am grateful to this Pavilion at Expo 70, I worked closely with Jack Masey, devoted group, and particularly to its Chairmen during Deputy Commissioner General, Patricia Ezell, Exhibits the five-year development of the program— Harry Sher- Project Officer, and Designer Ray Komai. In Los wood, Dr. Judd iVlarmor and Mrs. Joann Phillips. Angeles, New York and Osaka, Japan there were con- tinual meetings with the designers of the Expo Exhibi- Mrs. Otis Chandler was the primary figure responsible tion Design Team, Davis, Brody, Chermayeff, Geismar, for corporation involvement. She worked indefatigably de Harak, Associates. Designers David Sutton, Yasuo with me to obtain company support for almost three Uesaka, Gary Jacquemin and Tom Kuboda were also at years. the site and involved in the installation of that exhibition. David Antin, Director of the Art Gallery, University of California, San Diego, was commissioned by Viking Press Eric Saarinen & Associates were commissioned by us and in January, 1968 to write a book about the A&T Container Corporation of America to make a film on the program. He was an important source of information exhibition at Expo 70. The film will be presented during about technical matters as well as artistic concerns. the period of the Museum exhibition. In the sections in this book on the eight Expo artists— Newton Harrison, Dr. Richard Feynman, Tolman Professor of Theoretical Rockne Krebs, Roy Lichtenstein, Boyd Mefferd, Claes Physics, California Institute of Technology, served as Oldenburg, Tony Smith, Andy Warhol, Robert Whit- Consultant to A & T. Dr. Feynman met most of the man—all quotations, unless otherwise noted, are from artists involved in the more esoteric areas of corporation tapes made by Howard Chesley of Eric Saarinen & technology and acted as translator and guide. He was Associates throughout 1970. available to artists who needed him. James Kenion, Art Transportation Coordinator, was at Nina Kaiden Wright, Director of Fine Arts at Ruder and the Osaka site with me for the three month installation Finn, Inc., also served as Consultant to A & T, and, of the "New Arts" exhibition in the U.S. Pavilion. Cecil among other suggestions, helped enlist the Hudson Fergerson, Museum Assistant II, assisted him in Japan in Institute as a Sponsor Corporation. dismantling the show when Expo closed. Kenion, Ferger- son and Head of Technical Services James Allen will be In the course of developing this program many individuals in charge of the Museum installation, along with Elliott made helpful suggestions. I want particularly to thank Hutchinson, Head of Construction and Maintenance, and Clinton Adams, Michael Blankfort, Paul Brach, Sidney F. his Assistant Roy Ingalls. The staffs in these sections will Brody, Eugenia Butler, James Butler, Leo Castelli, be called on in unprecedented ways. Ben Johnson, Elizabeth Coffelt, Dorothe Curtis, Louis Danziger, Conservator, will supervise the operational aspects of the L. Claridge Davis, Henry Dreyfuss, Monte Factor, works. Edward Fry, Ken Glen, Henry Hopkins, Malcolm Levinthal, Dr. Franklin Murphy, Jerald Ordover, Tal- My secretary Florence Hairston worked on A & T from madge Reed, Jasia Reichardt, Pierre Restany, George its inception in 1966. In typing manuscripts throughout Rickey, Barbara Rose, Dr. Daniel Rosenthal, Richard this time she was assisted by Barbara McQuaide and Sherwood, Fred Usher, Jan van der Marck, and Robert Diane Turner. In preparing this Report, the manuscript Weinstein. was read by William Osmun, Senior Curator, Jeanne Doyle, Coordinator of Exhibitions and Publications, and Malcolm Lubliner was commissioned to record photo- Joanne Jaffe, Publications Associate. The writer Frederic graphically the encounters between artists and Tuten also read the manuscript and made helpful com- corporations. ments. William Crutchfield was commissioned to interpret In planning the exhibition for the Museum, I benefited graphically the more significant interactions—his draw- from the expertise of Lawrence Morton, Curator of ings appear throughout the introduction to this Report. Music, and Robert Raitch, Audio-Visual Coordinator, Educational Services. Vincent Robbins, Head Graphic James Lowery wrote the descriptions of participating Artist, rendered diagrams of artists Rockne Krebs and corporations in the final section of this book. Manny Newton Harrison. A volunteer worker, Mrs. Grace Silverman and Jerry Solomon of Art Services, Inc., Spencer, helped in research and in maintaining the rendered many gratuities to visiting artists in the course voluminous records on the project. of the program. At our request, hospitality was generously offered to visiting artists in Los Angeles by Dr. and Mrs. Leonard Asher, Mr. and Mrs. James Butler, Mr. and Mrs. Monte Factor, Mr. and Mrs. Stanley Grinstein, Mr. and Mrs. Melville Kolliner and Mr. and Mrs. Kenneth Tyler. In New York, London and Paris several individuals gra- ciously allowed us the use of their homes for receptions and meetings with artists: Mme. Celine Chalem, Mr. and Mrs. Ivan Chermayeff, Mr. and Mrs. William Copley, Henry Hecht, Mr. and Mrs. Frank Lloyd and Nina Kaiden Wright. In Paris, Jean-Franqois Jaeger, Director of the Galerie Jeanne Bucher, and Denise Rene' were also helpful in arranging meetings. James Monte and Hal Glicksman, both former Assistant Curators of Modern Art, each worked on A & T for approximately a year. Irena Shapira served as Coordina- tor of A & T in its early stages and until January, 1969. The planning and execution of A & T, and the extensive documentation of the program in this book, is the result of close and continual interaction over the past three years between myself and Associate Curator Jane Livingston, Assistant Curator Gail Scott and Special Assistant Betty Asher. It has been a pleasure for me to work with them. Each of us is responsible for the accounts of artists' involvement in part 3 of this book, which was finished in November, 1970, but the primary drafting of narratives on James Byars, John Chamberlain, Jean Dupuy, Oyvind Fahlstrom, Irwin- Turrell, Rockne Krebs, Jackson MacLow, Tony Smith, Andy Warhol and Jesse Reichek is by Jane Livingston; the accounts of Newton Harrison, R. B. Kitaj, Roy Lichtenstein, Boyd Mefferd, Robert Morris, Robert Rauschenberg, Richard Serra and Robert Whitman are by Gail Scott; and Betty Asher selected and collated most of the photographs and other materials on artists. Maurice Tuchman Senior Curator, Modern Art Director, Art & Technology Introduction A&T Maurice Tucliman In 1966, wlien Art and Technology was first conceived, I scheme before it was made public, avoiding any embar- had been living in Southern California for two years. A rassment or significant financial loss to the institution. newcomer to this region is particularly sensitive to the Other than on a practical level, I maintained that this futuristic character of Los Angeles, especially as it is project was a proper undertaking for a Museum, and manifested in advanced technology. I thought of the represented an opportunity to play an innovative role. It typical Coastal industries as chiefly aerospace oriented would draw attention to the acknowledged need in the (Jet Propulsion Laboratory, Lockheed Aircraft); or U. S. for institutions responsive to the interests of geared toward scientific research (The Rand Corpora- society— in this case, the interests of artists, and perhaps tion, TRW Systems); or connected with the vast cinema even businessmen. The Board gave me tacit consent to and TV industry in Southern California (Universal Film go ahead and study the possibilities, with the program Studios). At a certain point— it is difficult to reconstruct still subject to their approval. the precise way in which this notion finally emerged consciously— I became intrigued by the thought of I prepared a case with which to solicit corporation in- having artists brought into these industries to make volvement, centered on three main lines of approach works of art, moving about in them as they might in which I calculated to be of interest to the business com- their own studios. In the beginning, as I was considering munity. I argued that corporate donations to the arts, this idea as just an abstract concept, I had few concrete which were infinitesimal compared to support of medi- visions of what might actually result from such ex- cal and educational facilities, should be enlarged. This changes. Indeed I was not certain whether artists of would benefit them, as much as the recipient museums, calibre would desire such involvement with industry. operas, theatres, etc., since businesses benefit from prox- And if they did, and an organized program could be imity to thriving cultural resources in attracting talented instituted to give them such opportunities, I had no idea personnel. I also pointed out that the companies' collab- how to go about persuading corporations to receive orations with artists might well result in major works of artists their facilities— into nor for that matter, why they art, and I decided that one work of art made with any should want to. significantly cooperative corporation should be offered to that corporation. (It became clear very early that a In reviewing modern art history, one is easily convinced high proportion of the companies would view this pos- of the gathering esthetic urge to realize such an enter- sibility as a salient motive for collaboration.) Most im- prise as I was envisioning.
Load more

Recommended publications
  • Sabbatical Leave Report 2019 – 2020
    Sabbatical Leave Report 2019 – 2020 James MacDevitt, M.A. Associate Professor of Art History and Visual & Cultural Studies Director, Cerritos College Art Gallery Department of Art and Design Fine Arts and Communications Division Cerritos College January 2021 Table of Contents Title Page i Table of Contents ii Sabbatical Leave Application iii Statement of Purpose 35 Objectives and Outcomes 36 OER Textbook: Disciplinary Entanglements 36 Getty PST Art x Science x LA Research Grant Application 37 Conference Presentation: Just Futures 38 Academic Publication: Algorithmic Culture 38 Service and Practical Application 39 Concluding Statement 40 Appendix List (A-E) 41 A. Disciplinary Entanglements | Table of Contents 42 B. Disciplinary Entanglements | Screenshots 70 C. Getty PST Art x Science x LA | Research Grant Application 78 D. Algorithmic Culture | Book and Chapter Details 101 E. Just Futures | Conference and Presentation Details 103 2 SABBATICAL LEAVE APPLICATION TO: Dr. Rick Miranda, Jr., Vice President of Academic Affairs FROM: James MacDevitt, Associate Professor of Visual & Cultural Studies DATE: October 30, 2018 SUBJECT: Request for Sabbatical Leave for the 2019-20 School Year I. REQUEST FOR SABBATICAL LEAVE. I am requesting a 100% sabbatical leave for the 2019-2020 academic year. Employed as a fulltime faculty member at Cerritos College since August 2005, I have never requested sabbatical leave during the past thirteen years of service. II. PURPOSE OF LEAVE Scientific advancements and technological capabilities, most notably within the last few decades, have evolved at ever-accelerating rates. Artists, like everyone else, now live in a contemporary world completely restructured by recent phenomena such as satellite imagery, augmented reality, digital surveillance, mass extinctions, artificial intelligence, prosthetic limbs, climate change, big data, genetic modification, drone warfare, biometrics, computer viruses, and social media (and that’s by no means meant to be an all-inclusive list).
    [Show full text]
  • Constellation & Correspondences
    LIBRARY CONSTELLATION & CORRESPONDENCES AND NETWORKING BETWEEN ARTISTS ARCHIVES 1970 –1980 KATHY ACKER (RIPOFF RED & THE BLACK TARANTULA) MAC ADAMS ART & LANGUAGE DANA ATCHLEY (THE EXHIBITION COLORADO SPACEMAN) ANNA BANANA ROBERT BARRY JOHN JACK BAYLIN ALLAN BEALY PETER BENCHLEY KATHRYN BIGELOW BILL BISSETT MEL BOCHNER PAUL-ÉMILE BORDUAS GEORGE BOWERING AA BRONSON STU BROOMER DAVID BUCHAN HANK BULL IAN BURN WILLIAM BURROUGHS JAMES LEE BYARS SARAH CHARLESWORTH VICTOR COLEMAN (VIC D'OR) MARGARET COLEMAN MICHAEL CORRIS BRUNO CORMIER JUDITH COPITHORNE COUM KATE CRAIG (LADY BRUTE) MICHAEL CRANE ROBERT CUMMING GREG CURNOE LOWELL DARLING SHARON DAVIS GRAHAM DUBÉ JEAN-MARIE DELAVALLE JAN DIBBETS IRENE DOGMATIC JOHN DOWD LORIS ESSARY ANDRÉ FARKAS GERALD FERGUSON ROBERT FILLIOU HERVÉ FISCHER MAXINE GADD WILLIAM (BILL) GAGLIONE PEGGY GALE CLAUDE GAUVREAU GENERAL IDEA DAN GRAHAM PRESTON HELLER DOUGLAS HUEBLER JOHN HEWARD DICK NO. HIGGINS MILJENKO HORVAT IMAGE BANK CAROLE ITTER RICHARDS JARDEN RAY JOHNSON MARCEL JUST PATRICK KELLY GARRY NEILL KENNEDY ROY KIYOOKA RICHARD KOSTELANETZ JOSEPH KOSUTH GARY LEE-NOVA (ART RAT) NIGEL LENDON LES LEVINE GLENN LEWIS (FLAKEY ROSE HIPS) SOL LEWITT LUCY LIPPARD STEVE 36 LOCKARD CHIP LORD MARSHALORE TIM MANCUSI DAVID MCFADDEN MARSHALL MCLUHAN ALBERT MCNAMARA A.C. MCWHORTLES ANDREW MENARD ERIC METCALFE (DR. BRUTE) MICHAEL MORRIS (MARCEL DOT & MARCEL IDEA) NANCY MOSON SCARLET MUDWYLER IAN MURRAY STUART MURRAY MAURIZIO NANNUCCI OPAL L. NATIONS ROSS NEHER AL NEIL N.E. THING CO. ALEX NEUMANN NEW YORK CORRES SPONGE DANCE SCHOOL OF VANCOUVER HONEY NOVICK (MISS HONEY) FOOTSY NUTZLE (FUTZIE) ROBIN PAGE MIMI PAIGE POEM COMPANY MEL RAMSDEN MARCIA RESNICK RESIDENTS JEAN-PAUL RIOPELLE EDWARD ROBBINS CLIVE ROBERTSON ELLISON ROBERTSON MARTHA ROSLER EVELYN ROTH DAVID RUSHTON JIMMY DE SANA WILLOUGHBY SHARP TOM SHERMAN ROBERT 460 SAINTE-CATHERINE WEST, ROOM 508, SMITHSON ROBERT STEFANOTTY FRANÇOISE SULLIVAN MAYO THOMSON FERN TIGER TESS TINKLE JASNA MONTREAL, QUEBEC H3B 1A7 TIJARDOVIC SERGE TOUSIGNANT VINCENT TRASOV (VINCENT TARASOFF & MR.
    [Show full text]
  • Mind Over Matter: Conceptual Art from the Collection
    MIND OVER MATTER: CONCEPTUAL ART FROM THE COLLECTION Yoko Ono: Everson Catalog Box, 1971; wooden box (designed by George Maciunas) containing artist’s book, glass key, offset printing on paper, acrylic on canvas, and plastic boxes; 6 × 6 ¼ × 7 ¼ in.; BAMPFA, museum purchase: Bequest of Thérèse Bonney, Class of 1916, by exchange. Photo: Sibila Savage. COVER Stephen Kaltenbach: Art Works, 1968–2005; bronze; 4 ⅞ × 7 ⅞ × ⅝ in.; BAMPFA, museum purchase: Bequest of Thérèse Bonney, Class of 1916, by exchange. Photo: Benjamin Blackwell. Mind Over Matter: Conceptual Art from the Collection University of California, Berkeley Art Museum and Pacific Film Archive October 19–December 23, 2016 Mind Over Matter: Conceptual Art from the Collection is organized by BAMPFA Adjunct Curator Constance M. Lewallen. The exhibition is supported in part by Alexandra Bowes and Stephen Williamson, Rena Bransten, and Robin Wright and Ian Reeves. Contents 5 Director’s Foreword LAWRENCE RINDER 7 Mind Over Matter: The Collaboration JULIA BRYAN-WILSON 8 Introduction CONSTANCE M. LEWALLEN 14 Robert Morris: Sensationalizing Masculinity in the Labyrinths-Voice-Blind Time Poster CARLOS MENDEZ 16 Stretching the Truth: Understanding Jenny Holzer’s Truisms ELLEN PONG 18 Richard Long’s A Hundred Mile Walk EMILY SZASZ 20 Conceiving Space, Creating Place DANIELLE BELANGER 22 Can Ice Make Fire? Prove or Disprove TOBIAS ROSEN 24 Re-enchantment Through Irony: Language-games, Conceptual Humors, and John Baldessari’s Blasted Allegories HAILI WANG 26 Fragments and Ruptures: Theresa Hak Kyung Cha’s Mouth to Mouth BYUNG KWON (B. K.) KIM 28 The Same Smile: Negotiating Masculinity in Stephen Laub’s Relations GABRIEL J.
    [Show full text]
  • The Social and Environmental Turn in Late 20Th Century Art
    THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.
    [Show full text]
  • NEA-Annual-Report-1980.Pdf
    National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1980. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. February 1981 Contents Chairman’s Statement 2 The Agency and Its Functions 4 National Council on the Arts 5 Programs 6 Deputy Chairman’s Statement 8 Dance 10 Design Arts 32 Expansion Arts 52 Folk Arts 88 Inter-Arts 104 Literature 118 Media Arts: Film/Radio/Television 140 Museum 168 Music 200 Opera-Musical Theater 238 Program Coordination 252 Theater 256 Visual Arts 276 Policy and Planning 316 Deputy Chairman’s Statement 318 Challenge Grants 320 Endowment Fellows 331 Research 334 Special Constituencies 338 Office for Partnership 344 Artists in Education 346 Partnership Coordination 352 State Programs 358 Financial Summary 365 History of Authorizations and Appropriations 366 Chairman’s Statement The Dream... The Reality "The arts have a central, fundamental impor­ In the 15 years since 1965, the arts have begun tance to our daily lives." When those phrases to flourish all across our country, as the were presented to the Congress in 1963--the illustrations on the accompanying pages make year I came to Washington to work for Senator clear. In all of this the National Endowment Claiborne Pell and began preparing legislation serves as a vital catalyst, with states and to establish a federal arts program--they were communities, with great numbers of philanthro­ far more rhetorical than expressive of a national pic sources.
    [Show full text]
  • James Lee Byars: Sphere Is a Sphere Is a Sphere Is a Sphere 19 March – 11 June 2016
    James Lee Byars: Sphere Is a Sphere Is a Sphere Is a Sphere 19 March – 11 June 2016 Peder Lund is pleased to announce an exhibition with the American artist James Lee Byars (1932-1997). Originally a student of art and philosophy at Wayne State University, Byars stated that his main influences were "Stein, Einstein, and Wittgenstein." After complet- ing his studies in the United States, Byars spent nearly a decade living in Japan where he, influenced by Zen Buddhism, Noh theatre and Shinto rituals, executed his first performances. In 1958 Byars returned to the United States and forged a relationsip with Dorothy Miller, the first curator of painting and sculpture at the Museum of Modern Art in New York. After meeting Byars, Miller allowed him to hold a temporary exhibition in the stairwell of the MoMA which was the artist's New York debut. Since then, the performative events, sculptures, drawings, installations, and wearable art of James Lee Byars has been widely exhibited internationally. Up until his death at the age of 65 Byars had remained in constant pursuit of the concept of perfection and truth. Byars shaped his persona and career into a continuous performance, when his life and art merged with each other. Ken Johnson of the New York Times described him as a "dandified hierophant." At the age of 37 Byars wrote a book titled ½ an autobiography while he sat in a gallery space noting down thoughts and questions as visitors passed through. The book was published afterwards with the additonal title The Big Sample of Byars.
    [Show full text]
  • Art and Technology
    LEON4102_pp169-174.ps - 3/11/2008 12:37 PM From Technophilia to Technophobia: The Impact of the Vietnam War on the Reception ABSTRACT Using the Los Angeles County Museum of Art’s 1971 exhibition REFRESH! CONFERENCE PAPERS of “Art and Technology” “Art and Technology” as a case study, this essay examines a shift in attitude on the part of influential American artists and critics toward collaborations Anne Collins Goodyear between art and technology from one of optimism in the mid- 1960s to one of suspicion in the early 1970s. The Vietnam War dramatically undermined public confidence in the promise of new technology, linking it with corporate support of the war. Technology is not art—not invention. It is a simultaneous hope and technology. In response to the Ultimately, the discrediting of and hoax. Technology is what we do to the Black Panthers perceived Soviet threat, American industry-sponsored technology and the Vietnamese under the guise of advancement in a mate- education emphasized science and not only undermined the prem- ises of the LACMA exhibition rialistic theology. technology, while influential theo- but also may have contributed rists such as C.P. Snow, Reyner —Richard Serra [1] to the demise of the larger “art Banham and Marshall McLuhan and technology” movement in stressed the need for interconnec- the United States. In September 1970 artist James Turrell made a prophetic re- tion between art, science and tech- mark about Maurice Tuchman’s “Art and Technology” exhi- nology [5]. In 1967, engineer Billy bition at the Los Angeles County Museum of Art: Klüver, co-founder of Experiments in Art and Technology (E.A.T.), argued that “the new inter- You could make this thing [“Art and Technology”] historically face between artists and engineers .
    [Show full text]
  • The Early Works of Maria Nordman by Laura Margaret
    In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Associate Professor Julia Bryan-Wilson, Chair Professor Whitney Davis Professor Shannon Jackson Associate Professor Jeffrey Skoller Summer 2015 Abstract In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies University of California, Berkeley Associate Professor Julia Bryan-Wilson, Chair This dissertation begins with Maria Nordman’s early forays into capturing time and space through photography, film, and performance and it arrives at the dozen important room works she constructed between 1969 and 1979. For these spaces in Southern California, the San Francisco Bay Area, Italy, and Germany, the artist manipulated architecture to train sunshine into specific spatial effects. Hard to describe and even harder to illustrate, Nordman’s works elude definition and definitiveness, yet they remain very specific in their conception and depend on precision for their execution. Many of these rooms were constructed within museums, but just as many took place in her studio and in other storefronts in the working-class neighborhoods of Los Angeles, San Francisco, Milan, Genoa, Kassel, and Düsseldorf. If not truly outside of the art system then at least on its fringes, these works were premised physically and conceptually on their location in the city.
    [Show full text]
  • Real Academia De Bellas Artes De San Telmo De Málaga
    ANUARIO 2015 REAL ACADEMIA DE BELLAS ARTES DE SAN TELMO DE MÁLAGA ANUARIO REAL ACADEMIA DE BELLAS ARTES DE SAN TELMO DE MÁLAGA 2015 NÚmero Quince. Segunda ÉPoca REAL ACADEMIA DE BELLAS ARTES DE SAN TELMO ASOCIADA AL INSTITUTO DE ESPAÑA INTEGRADA EN EL INSTITUTO DE ACADEMIAS DE ANDALUCÍA Esta Academia está constituida por treinta y ocho Académicos de Número, cinco Académicos de Honor y un número ilimitado de Académicos Correspondientes. Los Académicos de Número de esta Real Academia pertenecen a las siete secciones que la constituyen: Pintura, Arquitectura, Escultura, Música, Poesía y Literatura, Artes Visuales y Amantes de las Bellas Artes. SECCIÓN 1ª: PINTURA JUNTA DE GOBIERNO Ilmo. Sr. D. Rodrigo Vivar Aguirre La Junta de Gobierno de esta Real Academia está constituida Ilmo. Sr. D. Francisco Peinado Rodríguez por los Académicos de Número, que son elegidos de entre sus Ilmo. Sr. D. José Manuel Cabra de Luna miembros mediante las correspondientes elecciones convocadas de forma periódica. Actualmente está conformada por los académicos Ilmo. Sr. D. José Manuel Cuenca Mendoza (Pepe Bornoy) siguientes: Ilmo. Sr. D. Jorge Lindell Díaz Ilmo. Sr. D. José Guevara Castro Presidente: Excmo. Sr. D. José Manuel Cabra de Luna Ilmo. Sr. D. Manuel Pérez Ramos Vicepresidente 1°: Ilma. Sra. Dña. Rosario Camacho Martínez Ilmo. Sr. D. Fernando de la Rosa Ceballos Vicepresidente 2°: Ilmo. Sr. D. Ángel Asenjo Díaz Vicepresidente 3°: Ilmo. Sr. D. Francisco Javier Carrillo Montesinos SECCIÓN 2ª: ARQUITECTURA Secretaria: Ilma. Sra. Dña. Marion Reder Gadow Ilmo. Sr. D. Álvaro Mendiola Fernández Bibliotecaria: Ilma. Sra. Dña. María Pepa Lara García Ilmo. Sr.
    [Show full text]
  • Fergus Mccaffrey Presents an Exhibition Surveying the Artistic Networks and Avant- Garde Work by American and Japanese Artists Between 1952 – 1985
    Fergus McCaffrey presents an exhibition surveying the artistic networks and avant- garde work by American and Japanese artists between 1952 – 1985 Japan Is America Fergus McCaffrey New York October 30 – December 14, 2019 Fergus McCaffrey is pleased to present Japan Is America, an exhibition exploring the complex artistic networks that informed avant-garde art in Japan and America between 1952 and 1985. Starting with the well-documented emergence of “American-Style Painting” that ran parallel to the Americanization of Japan in the 1950s, Japan Is America endeavors to illustrate the path and conditions from Japanese surrender in 1945 to that country's putative cultural take-over of the United States some forty years later. The exhibition traces the international exchanges that supported and propelled Japanese art forward in unimaginable ways, and shifted the course of American art and culture. The exhibition will be accompanied by an ambitious film program including rarely-seen films by John Cage, Shigeko Kubota, and Fujiko Nakaya, among others. In the aftermath of World War II, both countries sought recognition beyond the cultural periphery, carving out a space for the redefinition of aesthetics in the post-war era. After 1945, Japan focused on rebuilding, countering the devastation of their defeat in World War II. The nation was occupied by American forces between 1945 and 1952. Sentiments of democracy and peace resonated throughout Japan, but art from the region reflected upon and responded to the death and suffering experienced. Japan Is America begins with Tatsuo Ikeda’s kinukosuri portrait of an American soldier’s wife from 1952.
    [Show full text]
  • Documenta 5 Working Checklist
    HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha.
    [Show full text]
  • Imaging the Void: Making the Invisible Visible an Exploration Into the Function of Presence in Performance, Performative Photography and Drawing
    Imaging the Void: Making the Invisible Visible An Exploration into the Function of Presence in Performance, Performative Photography and Drawing. By John Lethbridge A thesis submitted as fulfilment of the requirement for the degree of Doctor of Philosophy The University of New South Wales Faculty of Art and Design June 2016 ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed ………… Date …………01 – 06 - 2016………………………………… COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation.
    [Show full text]