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Collaboration and Its (Dis)Contents Art, Architecture, and Photography Since 1950

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Collaboration and Its (Dis)Contents Art, Architecture, and Photography Since 1950 COLLABORATION AND ITS (DIS)CONTENTS ART, ARCHITECTURE, AND PHOTOGRAPHY SINCE 1950 EDITED BY MEREDITH A. BROWN MICHELLE MILLAR FISHER Collaboration and its (Dis)Contents: Art, Architecture, and Photography since 1950 Edited by Meredith A. Brown and Michelle Millar Fisher With contributions by: Fiona Anderson Claire Bishop Meredith A. Brown Andrianna Campbell Sara Catenacci Marci Muhlestein Clark David Kennedy Cutler Michelle Millar Fisher Oriana Fox Jacopo Galimberti Andrea Geyer Sofia Gotti Sharon Hayes Marko Ili´c Frances Jacobus-Parker Liz Magic Laser Simone Leigh Richard Meyer Alexander Nemerov Sara Greenberger Rafferty Ileana L. Selejan Amy Tobin Series Editor: Alixe Bovey Managing Editor: Maria Mileeva Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN © 2017, The Courtauld Institute of Art, London. ISBN: 978-1-907485-07-7. Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld Institute of Art which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download at courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. All rights reserved. Designed by Matthew Cheale Cover Image: Detail of Untitled, 2013 (from Work) Courtesy of Klaus von Nichtssagend Gallery. CONTENTS List of Illustrations 5 Notes on Contributors 7 Acknowledgements 10 Foreword: The Social Turn Ten Years On 11 Claire Bishop Introduction: Collaboration and its (Dis)Contents 12 Meredith A. Brown and Michelle Millar Fisher Exploring Collaboration in Architecture, Planning, and 20 Renewal in California, 1935–1965 Marci Muhlestein Clark and Michelle Millar Fisher Margin of Life: Post-war Concerned Photography in Mexico 39 and Guatemala, 1947–1960 Andrianna Campbell and Ileana L. Selejan Artists’ Project: Work 60 A Conversation about Work David Kennedy Cutler and Sara Greenberger Rafferty Points of Origin: From a History of Alternative Art to a 71 History of Alternative Institutions Sofia Gotti and Marko Ilić Artists’ Project: In Times Like These, Only Criminals 93 Remain Silent Andrea Geyer and Sharon Hayes Deschooling, Manual Labour, and Emancipation: The 99 Architecture and Design of Global Tools, 1973-1975 Sara Catenacci and Jacopo Galimberti Artists’ Project: BREAKDOWN 122 Collaboration ‘Breakdown’: A Conversation with Liz Magic Laser and Simone Leigh Andrianna Campbell Making Art with Your Kids: Generation, Cooperation, and 134 Desire in Parent–Child Artwork of the 1970s Meredith A. Brown, Oriana Fox, and Frances Jacobus-Parker Collaboration is Not An Alternative: Artists Working 158 Together in London and New York, 1974–1981 Fiona Anderson and Amy Tobin Afterword: Beginning ‘The Ends’ 179 Alexander Nemerov and Richard Meyer Photograph Credits 183 CHAPTER 1 EXPLORING COLLABORATION IN ARCHITECTURE, PLANNING, AND RENEWAL IN CALIFORNIA, 1935–1965 MARCI MUHLESTEIN CLARK and MICHELLE MILLAR FISHER ‘The design of a community is seldom the work of an individual’.1 So wrote the curator 1.1 Dorothea Lange, View Elizabeth Mock in Built in USA, the catalogue for her 1945 exhibition on contemporary of Kern Migrant Camp American architecture at the Museum of Modern Art, New York. Yet, the architectural Showing One of Three Sanitary Units, 1936. canon—like many histories of visual art and design—has traditionally privileged mono- graphic narratives, following individual career trajectories rather than acknowledging the more complex reality of shared authorship and collaboration. This is particularly ironic in architecture, a practice reliant on teamwork. Over the ensuing decades, certain histo- rians of the built environment have increasingly shared Mock’s sentiment, with newer generations of scholars seeking to understand how complex team dynamics and close CLARK and FISHER | EXPLORING COLLABORATION 21 partnerships with builders, developers, and communities determine the processes and fi- nal products of architecture.2 This paper, a collaborative endeavour itself, embraces such methodology in tracing the career of architect Vernon DeMars (1908–2005), whose work for the United States Farm Security Administration (FSA) Mock praises. DeMars was an important hub for architectural practice in California in the mid-twentieth century, not least in his role as co-founder of the School of Environmental Design at the University of California, Berkeley. Here, we will focus on three key case studies in which DeMars played a major role—FSA agricultural camps built by the Region 9 San Francisco office between 1936 and 1941; the formation of the architectural collective Telesis in 1939; and the urban renewal site of Capitol Towers, Sacramento, built between 1959 and 1962—in order to delineate a network of relatively anonymous local architects, developers, planners, and landscape architects who relied on one another in pursuit of ‘progress intelligently planned’ in California.3 DeMars and his cohort actively shared projects, partnerships, and experimental forms of professional and public dialogue. This commitment came first through circumstance in the FSA office where all the project stakeholders worked side by side, viewing collaboration as a necessary practice for the progression of modern architec- ture and society.4 We see here collaboration as the interwoven concerns and actions of individual archi- tects, local councils, private developers, and public administrators who were conjoined in pursuit of goals that ranged from economic recovery to social engineering. We also suggest a more expansive and poetic interpretation of collaboration as the push and pull between architects, the environment, and adaptation of ideas from one context to another. Using DeMars as interlocutor, our goal is to establish specific actors—the developer James Scheuer, the architect Donald Reay, and DeMars’s FSA colleagues—whose work is often side-lined in dialogues on modernism as important additions to the discourses around ru- ral and urban renewal that occurred in Europe and North America in the mid-twentieth century. We intend to highlight through those west coast case studies the complex inten- tions and experiences that surround the design and realisation of architecture. Analysing these overlapping dialogues enables us to understand DeMars’s individual practice within a framework that acknowledges the types of interrelated, collective labour that occupy the greater part of the architectural profession and its history. ENVIRONMENT AND COLLABORATION The United States government’s response to the Great Depression in rural areas was coordinated by the Farm Security Administration or FSA, born in 1933 and initially named the Division of Subsistence Homesteads.5 This office was tasked with improving the lived experienced of very poor rural farming families across the nation who, in the 1930s, constituted thirty percent of America’s workforce. The agency was responsible, via various forms of financial aid, for consolidating agricultural production in order to allow CLARK and FISHER | EXPLORING COLLABORATION 22 for more direct governmental oversight.6 The FSA also employed documentary photogra- phers including Dorothea Lange and Walker Evans. Precipitated by the conditions of the Dust Bowl states, the Region 9 FSA office also began building camps to house displaced agricultural populations, both in the form of permanent farmsteads and temporary homes for a labouring population that fluctuated in number depending on the season (fig. 1.1). The San Francisco Region 9 FSA was a tight-knit community of young, idealistic archi- tects who were dedicated to engaging with architecture on humanitarian grounds. Unlike other centralised FSA offices across the country, theirs was allowed uncharacteristic free rein and rebelled against too close an oversight by the federal headquarters in Washing- ton, DC.7 For DeMars, along with his fellow FSA colleagues, who included among others the architect Burton Cairns, the landscape architects Fran Violich and Garrett Eckbo, and, later, the planner T. J. Kent, taking a path that promised anonymity rather than individual accolades was in large part dictated by the dismal economic environment in the immedi- ate aftermath of the Great Depression.8 They all graduated into their respective fields of architecture and design from the University of California, Berkeley, in the early 1930s at a time when the curriculum still ploughed a fairly traditional path. The consensus of the stu- dents—and some of the faculty and local Bay Area architecture firms, too—was that the prevailing pedagogical focus on Beaux Arts language offered neither a formal nor concep- tual framework with which to tackle the tough issues—rampant inflation, homelessness, unemployment—faced by their country.9 Like many of
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