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Home , Cairns (sculpture), Kate Sessions, Sculpture garden

GUIDE AND SITE-SPECIFIC WORKS

ARTIST: TITLE MUSEUM OF CONTEMPORARY ART 1 Welcome to the Museum of Contemporary Art San Diego

Enjoy the Edwards Sculpture Garden and discover unique, site- specific and installations throughout the Museum grounds.

To make your visit more enjoyable, please be aware of the rules in the Museum: • Running is not permitted in the Museum galleries, lobby, Sculpture Garden, and theater.. • If you have a child under the age of five, we recommend you hold his or her hand as you walk through the galleries and garden. • The role of our Security Service Representatives is to protect you and the artwork. Please respect their requests. • Food and beverages are only allowed in the Museum Cafe and terrace tables. • Sketching is permitted. To protect the artwork we ask you that you use pencils only. You may ask for a pencil at our front desk.

Visitors are reminded that touching the artwork is not allowed unless otherwise indicated. Looking for an artwork you can interact with? Check out Liquid Ballistics by Roman de Salvo.

This guide is intended for families with children ages 5 and older. Inside you will find questions for self-guided tours, activities, and suggestions for future exploration.

For accessibility, use the elevator to the Coast Room, and then to the ramp outside. Some of these pieces can also be viewed from a distance, from the above terrace.

WELCOME MUSEUM OF CONTEMPORARY ART SAN DIEGO 2 pacific ocean

COAST BLVD.

h edwards sculpture garden g f P e i d j k

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Garden entrance

Edwards Sculpture Garden A. Iran do Espírito Santo, Drops I, 1997 GALLERIES B. Nancy Rubins, Pleasure Point, 2006 c. Gabriel Orozco, Long Yellow Hose, 1996 d. Judith Shea, Eden, 1987 e. Ed Ruscha, Brave Men of La Jolla, 1995–1996 f. Mauro Staccioli, , 1987 museum g. Richard Fleischner, Froebel’s Blocks, 1983 museum entrance cafe N h. Roman de Salvo, Liquid Ballistic, 2001 i. Erika Rothenberg, Monument to a Bear, 2002–2003 j. Marcos Ramírez ERRE, Crossroads (Border Tijuana—San Diego), 2003 . M k. Vito Acconci, Garden Installation (Displaced Person), prospect st 1987 l. Niki de Saint Phalle, Big Ganesh, 1998 o M. Andy Goldsworthy, Three Cairns, 2002 N. Jonathan Borofsky, Hammering Man at 3,110,527, 1988 O. Stephen Antonakos, Incomplete Neon Square for La Jolla, 1984 P. George Trakas, Pacific Union,1986–1988

MUSEUM OF CONTEMPORARY ART SAN DIEGO 3 Garden history

As part of ’ first home South Moulton Villa, the lush formal garden now known as the Edwards Sculpture Garden was designed by landscape [definition: one’s job is the decorative and functional alteration and planting of grounds, especially at or around a building site] Kate Sessions who created many of San Diego’s most beautiful in the late 1800s. The meandering garden fac- ing Coast Boulevard was well known and well admired. Miss Scripps and her team of ten were constantly moving and trees from one place to another, which changed the view of coast from the windows of the house. By the 1940s, Ms. Scripps’ South Moulton Villa was turned into La Jolla’s Sculpture: a three dimensional piece of art made by shaping or first institution for art. From many names such as La Jolla Art Center combining materials, usually wood, rock, metal, glass, or marble to La Jolla Museum of Contemporary Art and now Museum of Contem- porary Art San Diego, the property and the garden underwent several Site-specific: art that is made with a certain location in mind and renovations. The current design was not constructed until the 1980s. whose location influences the meaning of the art. In 1986, architect Robert Venturi was commissioned to design an ex- pansion for MCASD. Venturi expanded the Edwards Sculpture Garden Which of these pieces do you think is site-specific? Circle space by adding new stairs, ramps, retaining walls, and paths to accom- their names as you walk through the sculpture garden! modate the stylized natural landscape. Venturi wanted to make sure he You can find the name of each piece on the object label preserved the garden’s organic forms, contrasting it with the geometric [definition: sign next to the artwork that says the title, forms of the building itself. The renovation was completed in 1996 and artist and material the art is made of] near it. included the addition of what Venturi refers to as the “art wall,” where Ed Ruscha’s Brave Men of La Jolla is presently displayed. Pleasure Point Eden After Venturi’s renovations were complete, MCASD commissioned lo- Big Ganesh Untitled cal landscape [definition: An expanse of scenery that can be seen Garden Installation Brave Men of La Jolla in a single view] architectural firm Garbini & Garbini to provide a new (Displaced Person) Drops i design for the Edwards Sculpture Garden. The firm’s design focused Long Yellow Hose Hammering Man at 3,110,527 on the Museum’s sculpture garden, coastal planting, and the historic Crossroads Three Cairns preservation of Ms. Scripps’ 1930s vintage garden. The garden displays installation artworks from the Museum’s permanent collection and Liquid Ballistic Crossroads features an array of specimen cactus, palms and succulents, and accent Froebel’s Blocks Monument to a Bear shrubs dating back to the original 1930s coastal garden.

MUSEUM OF CONTEMPORARY ART SAN DIEGO 4 How do you think the boats NANCY RUBINS stay up in the air? Pleasure Point There are wires connecting the boats that 2006 hold them up and attach them to the roof. nautical vessels, stainless The tension [definition: stiffness as a result steel, wire of something being stretched as tight as possible] of the wires keeps the boats together so it’s safe to walk under them.

DRAW THEM IN HERE How many boats can you count? What colors do you see?

WHY BOATS? What activities do we do with boats? Boats are especially important to San Diego because they allow people to fish for food that they can cook or that can be served in restaurants. Boats are also fun for tourists or families to spend a day in the ocean. Nancy Rubins’ boats point right at the Pacific Ocean. Maybe she’s telling us to go for a swim!

NANCY RUBINS: PLEASURE POINT MUSEUM OF CONTEMPORARY ART SAN DIEGO 5 What kind of animal head does Ganesh have? Why might he Niki de have that animal’s head? Saint Phalle Big Ganesh It is said that Parvati, a goddess of Hinduism 1998 [definition: major Indian religion which worships steel, polystyrene foam, a number of gods and believes in reincarnation, polyurthane, automotive or rebirth after death], created Ganesh one day paint, electronic component, to help guard her washroom. When her husband Shiva came home, he was so angry with Ganesh light bulbs, and iron base for restricting his access that he cut off Ganesh’s head! Parvati told Shiva to find the nearest animal, an elephant, and reattached the elephant head to save Ganesh.

Niki de Saint Phalle put a mouse next to Ganesh. There are many possible meanings for this, such as… 1. 2. 3. In mythology, Ganesh Elephants don’t get In Indian culture, mice are is said to ride atop a along well with mice. thought to be untamed mouse, showing humility Elephants have bad creatures. Putting Ganesh in his lack of embarrass- eyesight, so they are next to his “pet” shows a ment at utilizing such a annoyed by mice which balance between the calm small animal. are too small for them elephant and the wild to keep track of. mouse. Can you think of another MEANING? Invent your own!

How do you think Ganesh Niki de Saint Phalle’s sculpture of the Hindu [definition: an feels about the mouse? individual practicing Hinduism] god Ganesh shows her inter- est in mythology and storytelling. Ganesh is the Hindu god How would you feel if of , sciences, success, education, and wisdom. More a mouse was following of Niki De Saint Phalle’s oversized sculptures can be found you around? around San Diego, from to the UCSD campus.

NIKI DE SAINT PHALLE: BIG GANESH MUSEUM OF CONTEMPORARY ART SAN DIEGO 6 Who do you think Acconci traced Vito Acconci is interested in forms and the environment, and how those to make the form [definition: the things can work together. He used to be involved in performance art visible shape of something, also [definition: a type of art that combines visual art, things you can see, known as the positive space] of with theatrical art, things you can do]. His work almost always needs this piece? you, as the audience, to confront the piece actively!

Trace your hand at home and cut it out to make a piece that uses form (positive space) and negative space!

Do you think you could fit into the negative space here?

What does “displaced” mean? VITO ACCONCI Garden Installation It means something has been taken out of its (Displaced Person) original place and put into a new, unfamiliar 1987 one. How would the meaning of this piece concrete, stones, dirt change if Acconci used a different word in and grass the title?

VITO ACCONCI: DISPLACED PERSON MUSEUM OF CONTEMPORARY ART SAN DIEGO 7 Long Yellow Hose is a piece of art made from found objects [definition: something the artist found that was not designed to be art and already had another purpose]. Gabriel Orozco likes to use found objects for art in order to say something about the purpose they already have. Notice how the hose is laid on top of plants that rely on water to live.

Why is water so important to the garden? San Diego is a desert so without water, plants couldn’t grow here! What else needs water to survive?

Do you have a hose in your home? Think about the plants you have in your garden at home or the plants at a local park. What design would you make? Design it here.

Gabriel Orozco Long Yellow Hose 1996 plastic watering hose FUN FACT This hose is 1,200 feet long. That’s longer than three football fields!

Gabriel orozco: long yellow hose MUSEUM OF CONTEMPORARY ART SAN DIEGO 8 What do you think this cannon does now?

The cannon doesn’t work as a weapon! What do Roman de Salvo you think the cannon does now? Look—there are Doesn’t this cannon look handles to play on the cannon like a seesaw, and says himself that like it’s defending against pumps so that water can flow through it like a the cannon is a a sea invasion? fountain! “testament to bygone hostilities” This area of California was invaded by Spain looking back to the in the 1500s. This artwork reminds us of early settlements in the San Diego area. Spanish invasion. Roman de Salvo likes to turn common items or found objects into works of art. He changes an object’s usual purpose into something that either looks ROMAN DE SALVO pretty or means something important. Liquid Ballistic What do you have at your home that you 2001 could turn into a piece of art? How can mahogany, diaphragm you turn these objects into art? pump, water, storage tank, brass, plumbing hardware, fasteners

DID yOU KNOW? A twin version of this cannon exists in Brooklyn, NY as part of the Fund.

ROMAN DE SALVO: Liquid Ballistic MUSEUM OF CONTEMPORARY ART SAN DIEGO 9 Richard Flesichner is a minimalist artist, which means he uses simple shapes and These are supposed to look like Toy blocks! colors in order to say something more They teach kids like you and your friends about shapes and building, and complicated. Blocks like the ones here about how those shapes can fit in to nature. What shapes do you recognize allow kids to connect learning with fun. in Richard Fleischner’s art? What would you build with your blocks? Try What do you have fun learning? it at home!

What ARE SOME differences between art and nature? Are the blocks art? Could you do this with rocks found in the forest or beach?

FUN FACT Friedrich Froebel is the name of the man who invented kin- dergarten! He created songs, games, and toys like the toy blocks to help kids learn. Even the famous architect Richard Frank Lloyd Wright is known Fleischner to have used them when he Froebel’s Blocks was little. 1983 limestone

richard fleischner: froebel’s blocks MUSEUM OF CONTEMPORARY ART SAN DIEGO 10 What might this man and woman Draw in the be saying to each other? missing heads and bodies for Consider how close they are standing to each other, these people! what they are wearing, and where they might be.

PHOTO OPPORTUNITY Photo Opportunity! Try using a camera phone to take a picture with your heads positioned where the man and woman’s heads are on the sculpture. Be careful and touch the work. Take your picture and upload it to Flickr. Don’t forget to tag Museum of Contemporary Art San Diego.

This piece is influenced by the story of Eden found in Christianity [definition: the religion founded from the life and the teachings of Jesus Christ, professed by Eastern, Roman Catholic, and Protestant bodies]. A in the Bible [definition: the sacred scripture or book of Christianity], tells the story of how Adam judith shea and Eve lived together in the of Eden until Eve was tempted by a snake to eat the apple of Eden knowledge, which God told her not to eat. Because the 1987 rules were broken, God made them leave the garden bronze and live in the desert. How do you think Judith Shea’s sculpture represents the story?

judith shea: Eden MUSEUM OF CONTEMPORARY ART SAN DIEGO 11 MAURO STACCIOLI Untitled Do you recognize 1987 this shape? Where plywood, cement, else might we see red pigment, and metal this shape in daily life?

The straight lines that make the triangle are supposed to remind the viewer of the straight lines on the Museum’s building. The triangle also points towards the horizon, which is another straight line. This piece shows that the artist likes how shapes respond to the environment; this piece is known as environmental art.

Try contrasting In this piece, Red ______blue triangles of different the artist plays colors with the colors with the red Black ______triangle’s contrast of the landscape Yellow ______[definition: opposite colors around you! that stand out more when Green ______put next to each other] with the blue of the ocean and the Silver ______sky. Which colors do you think would contrast with the colors listed here?

Mauro STACCIOLI: untitled MUSEUM OF CONTEMPORARY ART SAN DIEGO 12 This work includes the following Did you know that ships, like the one text: “Brave Men Run in My Ruscha uses on the wall, can also run? Family.” What are the different That happens when the wind blows from behind the ship. The sails meanings of the word “run?” catch the wind and it helps the boat to move faster on the water.

To move very fast

To carry a characteris- tic from one generation to the next

To work or operate And More!

What “runs” in your family? Ed Ruscha Blue eyes? A dog? Your Brave Men of La Jolla sister’s nose? 1995–1996 acrylic on PVC coated Make your own play on words inspired by Ed Ruscha. fabric

______

______Ed Ruscha used to work in advertising [definition: a public notice about a product, like a TV commercial] runs in my family! so he likes to use words in his art!

ed ruscha: brave men of la jolla MUSEUM OF CONTEMPORARY ART SAN DIEGO 13 The 12-foot sign points away from the U.S.–Mexico border to ten West Coast and international cities. On the back of each city sign, there is a quotation from an important artist who lived there. For example, on the back of the street sign for Paris, France is a quotation from Marcel Duchamp (1887-1968).

Where have you been? Have you ever traveled to any of the cities on the sign? Where do you want to travel? Circle the cities and countries you want to travel to.

This work uses the style of official street signs and tourism markers. Marcos Ramírez ERRE, like several at the Museum, is inspired by objects found in everyday MARCOS life. What is the difference between your street RAMíREZ ERRE sign at home with this piece of art? Would you Crossroads (Border Ti- consider a stop sign art? juana – San Diego) FUN FACT 2003 Each of the signs shows us the distance to the aluminum, automotive city from the U.S.–Mexico border. It is even aligned paint, wood, vinyl according to the points of a real life compass.

Marcos Ramírez erre: crossroads (border Tijuana - San Diego) MUSEUM OF CONTEMPORARY ART SAN DIEGO 14 FUN FACT Imagine the size of the Iran do Espírito Santo made twenty hands it would take to What did sets of dice that can be found along roll dice that are 16 inches the artist the U.S.–Mexico border, including tall by 16 inches wide, and roll in this one! made of concrete! this work? Where do you find dice normally? What sorts of games involve dice? List the games here! ______What determines if you win or lose in these games? Is it skill or luck?

As a minimalist [definition: when an artist likes to reduce art to a minimal number of colors, shapes, and lines] artist, Iran do Espírito Santo likes to play with everyday objects in IRAN DO his work. In Drops I, he uses the ESPÍRITO SANTO dice often found in board games to convey the idea of luck. He Drops I is looking at the “luck of the 1997 draw” and how fate determines concrete which side of the U.S.–Mexico border you are born on.

IRan do espîrito santo: Drops I MUSEUM OF CONTEMPORARY ART SAN DIEGO 15 Where do you usually find hammers? What kind of work do you do with hammers? What do you consider work?

What do you think the Hammering Man is working on? What story would you tell about this piece? Can you imagine hammering for 24 hours a day?

Jonathan Borofsky has hammering men all over the world in Japan and Switzerland and in the U.S. There are men hammering in the cities of New York, Minneapolis, Los Angeles, and Washington, D.C. He wanted all these hammering men to be hammering all together at the same time. The artist is showing us how everyone is connected no matter what time it is or how far away we are from each other.

Have you ever thought about where your sneakers come from? Jonathan Borofsky Hammering Man at 3,110,527 Most likely your sneakers were made in a foreign country like China or Chile by someone you’ve never met. That 1988 3 makes you connected to this person. Think about the 1 /4” thick COR-TEN steel with things you have in your room–where did they come from? motorized aluminum arm Who made them?

Jonathan borofsky: HAMMERING MAN AT 3,110,527 MUSEUM OF CONTEMPORARY ART SAN DIEGO 16 DID yOU KNOW? Andy Goldsworthy Andy Goldsworthy is from Scotland and the word cairn Three Cairns [definition: A mound of rough stones built as a landmark 2002 or in memory of someone] comes from the Scottish Gaelic limestone word càrn. An old Scottish Gaelic blessing is “Cuiridh mi clach air do chàrn”or, “I’ll put a stone on your cairn.”

The pieces aren’t being held together Andy Goldsworthy brought six by anything except stonemasons all the way from their own weight! Scotland to help him make this. He made a total of three Next time you are at the beach or cairns—two more sculptures playing at home, try to build a mound just like this are in Iowa and like Andy Goldsworthy’s. How large the other one is in New York. can you build it? What shape would you make it? Draw it here! Try making your own cairn with blocks at home. Cairns are traditionally journey markers. Each of the three cairns in Iowa, New York, and LA JOLLA mark the artist’s journeys across America. Where would you build your cairns?

andy goldsworthy: three cairns MUSEUM OF CONTEMPORARY ART SAN DIEGO 17 Given the title of the work, do you see what you would expect? ERIKA ROTHENBERG Monument to a Bear Does the word monument [definition: a type of 2002–2003 structure created to commemorate a person or glass reinforced concrete important event] in the title of this artwork make you assume the work is supposed to be larger? over steel, bronze plaque, edition 1 of 2 Why might the artist want us to honor nature? How are the memorials by Erika Rothenberg and Maya Lin different? How are they similar?

This work is a memorial to a black bear cub that had its paws burned. A memorial can be a monument or holiday intended to celebrate or honor the memory of a person or an event. In the United States, we honor the memory of important leaders like Martin Luther King, Jr. or war heroes as in Maya Lin’s Vietnam War Memorial (at right). In Monument to a Bear Erika Rothenberg asks us to consider nature, like this black bear cub, as a victim that should to be remembered. She wants us to honor nature like we do our Photographic view of the apex of the Vietnam War Memorial, West Potomac Park, Washington, D.C., looking war heroes. from the apex towards the Washington Monument. Cour- tesy of the Historic American Buildings Survey, Library of Congress, Washington, D. C.

ERIKA ROTHENBERG: Monument to a Bear MUSEUM OF CONTEMPORARY ART SAN DIEGO 18 Thank you for visiting the Museum of Contemporary Art San Diego!

Don’t forget that your admission is valid for seven days and includes admission to our downtown location at 1100 & 1001 Kettner Boulevard. Incomplete Neon Square for La Jolla sits just above the Museum’s If you’re in the La Jolla area for longer, please take a look at two of our box office at an angle of the roofline. Stephen Antonakos plays with additional works: light and color. The piece changes with the location of the viewer and the time of day. The neon lights only come on at night, so be sure to stop by and see it after dark!

George Trakas Pacific Union 1986–1988 mixed media outdoor site installation

Stephen Antonakos Pacific Union was designed for visitors to sit, meet, and meditate. Incomplete Neon Square for George Trakas made sure to use steps, wooden walkways, and La Jolla benches to engage the viewer. He invites you to enjoy the foliage, to 1984 perch atop the slabs of natural granite or huddle underneath them neon tubes and painted metal in private den-like hutches. It’s a great place to enjoy the view of the Pacific.

GEORGE TRAKAS: Pacific union and STEPHEN ANTONAKOS: Incomplete neon square for la jolla MUSEUM OF CONTEMPORARY ART SAN DIEGO 19 GLOSSARY OF TERMS advertising: a public notice about a product, like a TV commercial. monument: a type of structure created to commemorate a person or important event. Bible: the sacred scripture or book of Christianity. negative space: the areas in an artwork that are empty. cairn: a mound of rough stones built as a landmark or in memory of someone. object label: a sign next to the artwork that says the title, artist, and material Christianity: the religion founded from the life and the teachings of Jesus with which the art is made. Christ, professed by Eastern, Roman Catholic, and Protestant bodies. performance art: a type of art that combines visual art “things you can see” contrast: opposite colors that stand out more when put next to each other. with theatrical art “things you can do.” displaced: when something has been taken out of its original place and put sculpture: a three dimensional piece of art made by shaping or combining into a new, unfamiliar one. materials, usually wood, rock, metal, glass, or marble. environmental art: artworks that artists created in response to the site-specific: art that is made with a certain location in mind and whose location environment, or when artists use the enviroment as a medium for their influences the meaning of the art. Site-specific pieces are installed permanently artwork. in a particular place. form: the visible shape of something, also known as the positive space. tension: stiffness as a result of something being stretched as tight as possible. found objects (also known as common objects): something the artist found that was not designed to be art and already had another purpose.

Hindu: an individual practicing Hinduism.

Hinduism: major Indian religion which worships a number of gods and believes in reincarnation, or rebirth after death. landscape: an expanse of scenery that can be seen in a single view. landscape artist: an artist whose job is the decorative and functional alteration and planting of grounds, especially at or around a building site. memorial: a monument or holiday intended to celebrate or honor the memory of a person or an event. minimalist: an artist who chooses to reduce art to a minimal number of colors, shapes, and lines.

GLOSSARY OF TERMS MUSEUM OF CONTEMPORARY ART SAN DIEGO 20 CREDITS

Vito Acconci, Garden Installation (Displaced Person), 1987, concrete, stones, Andy Goldsworthy, Three Cairns, 2002, limestone. Collection Museum of dirt and grass. Extended loan of the artist. © 2012 Vito Acconci / Artists Contemporary Art San Diego, Museum purchase with funds from Sue K. and Rights Society (ARS), New York. Photo by Philipp Scholz Rittermann. Dr. Charles C. Edwards. © Andy Goldsworthy 2002. Photo by Philipp Scholz Rittermann. Stephen Antonakos, Incomplete Neon Square for La Jolla, 1984, neon tubes and painted metal. Collection Museum of Contemporary Art San Diego, Gabriel Orozco, Long Yellow Hose, 1996, plastic watering hoses. Collection Museum purchase with contributions from the Museum Art Council Fund. Museum of Contemporary Art San Diego, Museum purchase. © Gabriel Orozco © Stephen Antonakos 1984. Photo by Philipp Scholz Rittermann. 1996. Photo by Philipp Scholz Rittermann.

3 Jonathan Borofsky, Hammering Man at 3,110,527, 1988, 1 /4” thick COR-TEN Erika Rothenberg, Monument to a Bear, 2002-2003, glass reinforced concrete steel with motorized aluminum arm. Collection Museum of Contemporary over steel, bronze plaque, edition 1 of 2. Collection Museum of Contemporary Art Art San Diego, Gift of Matthew and Iris Strauss. © Jonathan Borofsky 1988. San Diego, Gift of Sheridan Brown. © Erika Rothenberg. Photo by Pablo Mason. Photo by Jimmy Fluker. Nancy Rubins, Pleasure Point, 2006, nautical vessels, stainless steel, steel Niki de Saint Phalle, Big Ganesh, 1998, steel, polystyrene foam, polyurethane, wire. Collection Museum of Contemporary Art San Diego, Museum purchase, automotive paint, electronic component, light bulbs, and iron base. Collection International and Contemporary Collectors Funds. © Nancy Rubins. Courtesy of Museum of Contemporary Art San Diego, Gift of Ron and Mary Taylor to the artist and Gagosian Gallery. Photo by Erich Koyama. honor Martha Longnecker, Founder, Mingei International Museum of Folk Art. Ed Ruscha, Brave Men of La Jolla, 1995-1996, acrylic on PVC coated fabric. © 2012 Niki Charitable Art Foundation. All rights reserved / ARS, NY / ADAGP, Collection Museum of Contemporary Art San Diego, Museum purchase with Paris. Photo by Pablo Mason. proceeds from Museum of Contemporary Art San Diego 2006, and Roman de Salvo, Liquid Ballistic, 2001, mahogany, diaphragm pump, water, from prior donations by Susan and Frank Kockritz and Mr. and Mrs. Norton S. storage tank, brass, plumbing hardware, fasteners. Courtesy of the artist and Walbridge. © Ed Ruscha. Photo by Philipp Scholz Rittermann. Quint Contemporary Art. © Roman de Salvo 2001. Photo by Pablo Mason. Judith Shea, Eden, 1987, bronze. Extended loan of Collette Carson and Dr. Ivor Iran do Espírito Santo, Drops I, 1997, concrete. Collection Museum of Royston. © Judith Shea 1987. Photo by Philipp Scholz Rittermann. Contemporary Art San Diego, Anonymous gift. © Iran do Espírito Santo 1997. Mauro Staccioli, Untitled, 1987, plywood, cement, red pigment, and metal. Photo by Philipp Scholz Rittermann. Extended loan of the artist. © Mauro Staccioli. Photo by Pablo Mason. Marcos Ramírez ERRE, Crossroads (Border Tijuana - San Diego), 2003, George Trakas, Pacific Union, 1986-1988, mixed media outdoor site installation. aluminum, automotive paint, wood, vinyl. Collection Museum of Contemporary Collection Museum of Contemporary Art San Diego, Museum purchase with Art San Diego, Museum purchase. © Marcos Ramírez ERRE 2003. matching funds from the National Endowment for the Arts, Art in Public Places Richard Fleischner, Froebel’s Blocks, 1983, limestone. Collection Museum of program. © George Trakas 1986-1988. Photo by Philipp Scholz Rittermann. Contemporary Art San Diego, Museum purchase, Contemporary Collectors Fund in honor of Ronald J. Onorato. © Richard Fleischner 1983. Photo by Pablo Mason.

CREDITS MUSEUM OF CONTEMPORARY ART SAN DIEGO 21 Guide written by Jessica Jacobs and Jennifer Winter Snow, Education Interns, in collaboration with the Museum of Contemporary Art San Diego Education Department.

At the time of publication, Education Programs at MCASD are supported by The James Irvine Foundation, Qualcomm Foundation, the County of San Diego Community Enhancement Fund, the Samuel I. & John Henry Fox Foundation, and contributions to MCASD’s Museum Fund. Institutional support for MCASD is provided, in part, by the City of San Diego for Arts and Culture.

MUSEUM OF CONTEMPORARY ART SAN DIEGO 22