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VIEW August / September / October / November / 2011 VIEW august / september / october / november / 2011 < above: CRAIg KAUFFman, UNTITLED (DetaIl), MCASD OPENS MOST AMBItIOUS eXHIbItION TO tWo tnt’s on tHe HorIZon, p. 6 tHe Queen oF BURLESQue, DITA VON TEESE, 1968, sYntHetIc polYmer VACUUM-FormeD DATE. see PHENOMENAL: CALIFORNIA LIGHT, SPACE, HeaDlINES monte CARLO, p. 8 pleXIGLASS WItH ACRYlIc LACQuer. COLLECTIon SURFACE, p. 3 ALT.pICTURESHoWs returns TO MCASD, p. 7 MUSEUM oF CONTEMPORARY ART SAN DIEGO, gIFt see WHAT’s poppIng up AT 1001 Kettner, p. 11 oF ARTHUR AND CAROL GOLDBERG In HONOR oF PHENOMENAL pre-openINGS, p. 4 neW PERSPECTIVES serIES STARTS tHIs Fall, p. 7 MARGO LEAVIn. © estate oF craIg KauFFman. pHOTO: pHIlIpp SCHolZ rIttermann. eXHIbItIons la jolla 2 has been made possible thanks to a major grant from the 1989. He has exhibited widely since the mid-1990s, in- getty Foundation. the project has also received gener- cluding one-person shows at MASS moCA and the ous grants from the Henry luce Foundation for american corcoran gallery of art. art and the Farrell Family Foundation. additional support Rome (Pantheon, noon, June 14, 2011) is organized by for the project comes from Faye Hunter russell, brent the museum of contemporary art san Diego and is spon- Woods and laurie mitchell, and the national endowment sored by MCASD’s International collectors. related pro- for the arts. Institutional support for MCASD is provided, grams are supported by grants from the james Irvine in part, by the city of san Diego commission for arts and Foundation arts Innovation Fund, and the county of san culture, and the james Irvine Foundation. Diego community enhancement Fund. Institutional sup- Phenomenal is a feature of Pacific Standard Time: port for MCASD is provided, in part, by the city of san Art in L.A. 1945-1980. this unprecedented collabora- Diego commission for arts and culture. tion, initiated by the getty Foundation, brings together more than 60 cultural institutions from across southern EMPEROR’S RIVER: PHILIPP SCHOLZ RITTERMANN > california for six months beginning in october 2011 to on vIeW tHROUGH 9/5/11 > LA JOLLA > In 2009, philipp tell the story of the birth of the los angeles art scene scholz rittermann set out to capture china’s rapidly evolv- and how it became a major new force in the art world. ing economy with a study of life along its historic grand pacific standard time is an initiative of the getty. canal. the man-made waterway has been a major force in PHENOMENAL: CALIFORNIA LIGHT, SPACE, SURFACE > the presenting sponsor is bank of america. china’s cultural and economic development for more than 9/25/11 tHROUGH 1/22/12 > LA JOLLA > Phenomenal is two millennia. the most ambitious exhibition in both size and scope yet Emperor’s River features dramatic landscapes of undertaken by MCASD. It will occupy the majority of the this ancient waterway captured through the lens of cel- museum’s galleries in la jolla and downtown. ebrated san Diego-based photographer philipp scholz Phenomenal: California Light, Space, Surface takes rittermann. an in-depth look at work by 13 artists whose perceptual Emperor’s River: Philipp Scholz Rittermann is orga- investigations and innovative use of industrial materials nized by the museum of contemporary art san Diego and helped define an era of art making ins outhern california is made possible thanks to funds raised from MCASD’s during the 1960s and 1970s. monte carlo gala. additional support is generously pro- Whether by directing the flow of natural light, embed- vided by pacific sotheby’s International realty. ding artificial light within objects or architecture, or play- related programs are supported by grants from the ing with light through the use of reflective or translucent james Irvine Foundation arts Innovation Fund and the materials, these artists each created situations capable county of san Diego community enhancement Fund. of stimulating heightened awareness in the viewer. Institutional support for MCASD is provided, in part, by the artists featured in Phenomenal are peter the city of san Diego commission for arts and culture. alexander, larry bell, ron cooper, mary corse, robert Irwin, craig Kauffman, john mccracken, bruce nauman, HIGH FIDELITY: SELECTIONS FROM THE 1960S AND eric orr, Helen pashgian, james turrell, De Wain 1970S > on vIeW tHROUGH 9/5/11 > LA JOLLA > In 1960, valentine, and Doug Wheeler. what was then the la jolla museum of art dedicated its the la jolla installation of Phenomenal will include focus to contemporary art. Fifty years later, the museum of important early and transitional works by larry bell contemporary art san Diego (as it is known today) boasts and Doug Wheeler, as well as immersive environments powerful examples of work by visual artists that helped by bruce nauman and eric orr. the properties of resin define the second half of the 20th century. as a material that can capture, reflect, and refract both High Fidelity features selections from the 1960s and light and color is demonstrated with exceptional pieces SPENCER FINCH: ROME (Pantheon, NOON, JUNE 14, 1970s, formative decades in the museum’s own matura- by peter alexander, ron cooper, john mccracken, Helen 2011) > 9/25/11 tHrougH 1/22/12 > la jolla > at once grand tion, as well as a period of artistic ferment in the united pashgian, and De Wain valentine. and subtle, spencer Finch’s light-based installations bridge states. High Fidelity showcases more than 50 works by a key feature of the la jolla presentation of an actual locale with a recalled memory. rather than depict notable artists such as ellsworth Kelly and agnes martin, Phenomenal is a selection of drawings by the participat- a scene’s physical contours, Finch evokes the moment and and others who call california their home including ed ing artists. these works range from quick preparatory mood of a place by controlling the quality of light, color, or ruscha and alexis smith. together, these “greatest hits” sketches to finished presentation drawings, from work- other sensory information. In this way, he translates one announce the museum’s own history even as they chart manlike plans to poetic meditations on the properties physical experience into an analogous aesthetic incident. contemporary art trends. of materials. Highlights of this installation will include Finch links locales and actions which are in fact separated High Fidelity honors the late murray a. gribin (1923- pigmented wax drawings by peter alexander, studies by time and space. this fall, Finch will evoke ancient rome 2011), an inspired trustee and patron of MCASD since the for light pieces from ron cooper’s 1973 solo show in la in seaside la jolla with a reference to architecture of the 1970s. gribin donated more than 75 works to MCASD. jolla, lyrical watercolors by craig Kauffman and james Italian pantheon. Within MCA’s axline court, Finch will recall High Fidelity features selections of these gifts with an turrell, pages torn from john mccracken’s sketchbook, the circular oculus of the pantheon’s expansive dome. emphasis on his early acquisitions, including works by and extremely detailed renderings by Doug Wheeler, Finch intends to fashion a massive scrim-covered lens to sam Francis, joe goode, and ed ruscha. who worked both sides of his drawing sheets to achieve filter the light of ther obert venturi-designed lantern. this High Fidelity: Selections from the 1960s and 1970s is ghostly images. many of these works on paper are being translucent disc will counter not only venturi’s exuberant organized by the museum of contemporary art san Diego exhibited for the first time. architecture, but will translate the california sunshine into and is made possible thanks to a generous lead gift from Phenomenal is accompanied by a lavishly illustrated, the quality of light found at the roman landmark. Faye Hunter russell. additional support for the exhibi- 240-page scholarly catalogue, co-published by MCASD Finch, whose work reflects the legacy of light and tion is provided by barbara bloom and by the cochrane and university of california press. the first critical reader space, will present this site-specific installation concur- exhibition Fund, the san Diego county neighborhood on this topic, the Phenomenal book is edited by curator rent with the historical exhibition Phenomenal: California reinvestment program Fund and District 3 supervisor robin clark. It is a key addition to literature on art made Light, Space, Surface. In addition to this architecturally- pam slater-price, the mandell Weiss charitable trust, in los angeles during the intensely vibrant decades of scaled work, Finch is planning a second project which and llWW Foundation. the 1960s and 1970s. will address the museum’s two contrasting locations in related programs are supported by grants from the Phenomenal is curated by the David c. copley la jolla and san Diego. james Irvine Foundation arts Innovation Fund and the Director and CEO Hugh Davies and curator robin clark. born in 1962, Finch earned a b.a. from Hamilton county of san Diego community enhancement Fund. Phenomenal: California Light, Space, Surface is orga- college in comparative literature and an m.F.a. in Institutional support for MCASD is provided, in part, by nized by the museum of contemporary art san Diego and sculpture from the rhode Island school of Design in the city of san Diego commission for arts and culture. < opposIte: JAMES turrell, MUSIC FOR THE MENDOTA, 1969. WATER- COLOR, GOUACHe, anD pencIl on GRAPH PAPER. PURCHASE. tHe mu- SEUM oF MODERN ART, NEW YORK, nY, USA. © 1969 JAMES TURRELL. DIgITAL IMAGE © tHe museum oF moDern ART/lIcenseD bY SCALA/ ART RESOURCE, nY. > tHIs page: Doug WHeeler, untItleD, 1965, ACRYlIc on CANVAS WItH NEON tubIng. COLLECTIon museum oF CONTEMPORARY ART SAN DIEGO, gIFt oF tHe ARTIST anD PARTIal museum PURCHASE WItH Interna- tIonal anD CONTEMPORARY COLLECTORS FunDs anD PROCEEDs FROM museum oF CONTEMPORARY ART SAN DIEGO ART AUCTIon 2010.
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