Edward Ruscha
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Robert Therrien
Robert Therrien Bibliographie / Bibliography Monographien und Ausstellungskataloge / Monographs and exhibition catalogues 2016 Glover, M. ed.: Robert Therrien: Works 1975 – 1995, Parasol unit, London 2015 ‘Robert Therrien: Works on Paper’, Kunstmuseum Basel, Scheidegger & Spiess (German edition), University of Chicago press. 2013 Pesanti, Heather, Robert Therrien, Albright-Knox Art Gallery, Illus. 2012 Decade: Contemporary Collecting 2002-2012, Albright-Knox Art Gallery, illus. October. Enberg, Siri with Michael Lobel, Josiah McElheny, Rochelle Steiner, Lifelike, Walker Art Center, Illus: 146. 2008 Bryson, Norman / Rowell, Margit: Robert Therrien. New York: Rizzoli Int. & Gagosian Gallery. 2006 Grenier, Catherine: Los Angeles 1955-1985. Paris: Centre Pompidou/Panama Musees. 2001 Bryson, Norman: Robert Therrien. New York: Gagosian Gallery. Sammlung Rosenkranz. Wuppertal: Von der Heydt Museum. Zelevansky, Lynn: Jasper Johns to Jeff Koons: Four Decades of Art from the Broad Collection. Los Angeles: Los Angeles County Museum of Art. 2000 Antonelli, Paola / Siegel, Joshua / Varnedoe, Kirk: Modern Contemporary: Art at MoMA since 1980. New York: Museum of Modern Art. Auping, Michael / Benezra, Neal David / Garrels, Gary: Celebrating Modern Art: The Anderson Collection. San Francisco: San Francisco Museum of Modern Art. Baker, Kenneth / Butler, Cornelia H. / Jones, Caroline A.: The Legacy of a Collector: Panza. Los Angeles: Museum of Contemporary Art. Barron, Stephanie / Bernstein, Sheri / Fort, Ilene Susan: Made in California: Art, Image and Identity, 1900-2000. Los Angeles: Los Angeles County Museum of Art. Blazwick, Iwona / Wilson, Simon P.: Tate Modern. The Handbook. University of California Press. Frick, Thomas / Zelevansky, Lynn: Robert Therrien. Los Angeles: Los Angeles County Museum of Art. Myers, Terry R. / Self, Dana: Robert Therrien. Kansas City: Kemper Museum of Contemporary Art. -
Los Angeles Times (PDF) "After the Fire, Joe Goode
Sunday, May 4, 2008 Calendar Section After the fire, Joe Goode finds a new passion The artist was devastated when a fire destroyed his art studio. But then he found a digital camera in the damage and got some ideas. By Anne-Marie O'Connor, Los Angeles Times Staff Writer It was any artist's nightmare. Painter Joe Goode and his wife, Hiromi Katayama, were sleeping in their Mar Vista home when their wolf-sized dog, Pollock, appeared at the foot of the bed, barking loudly. Pollock wouldn't stop until they stumbled out of bed, and followed him, half- asleep, into the small yard leading to Goode's painting studio. What Goode recalls seeing that morning seemed unimaginable, unthinkable, impossible. Smoke poured from his studio. Flames licked through the skylights. Inside were more than 100 valuable artworks, representing 40 years of Goode's painting, as well as works by painters Ed Ruscha, Kenneth Price, Larry Bell and Ed Moses. "At first, I was kind of in shock," said Goode, a gray-haired, soft-spoken man with bright blue eyes and a thoughtful demeanor. "I didn't know what to do." A Los Angeles Fire Department report called the blaze a "spontaneous combustion from oily rags." Goode called it a personal disaster. He stumbled around the charred studio for a couple of days, shaken. On the third day, he found his digital camera, deep in a drawer of a metal cabinet. He figured the camera was ruined. But he idly aimed it at the wreckage, and to his surprise, the shutter clicked, capturing the blackened studio walls, the ravaged paintings that hung like ghosts in their frames. -
Dilexi Gallery: Disparate Ontologies “The 1960S Dilexi Gallery, Raw and Radical, Gets Brought Back to Life” by Leah Ollman 30 July 2019
Dilexi Gallery: Disparate Ontologies “The 1960s Dilexi Gallery, raw and radical, gets brought back to life” by Leah Ollman 30 July 2019 The Landing Gallery in L.A., which is part of a retrospective on the midcentury Dilexi Gallery.(Joshua White / The Landing) Retrospective exhibitions typically trace the career of an individual artist, but the format applies equally well to the lifespan of a gallery, as evidenced by “Dilexi Gallery: Disparate Ontologies” at the L.A. gallery the Landing. Organized by independent curator Laura Whitcomb, the show is part of a six-venue pro- gram examining the evolution and character of Dilexi, which operated in San Francisco from 1958 to 1969 as well as in Los Angeles briefly in the early ‘60s. The Landing’s show, like the project as a whole (a comprehensive catalog is forthcoming), is a vibrant lesson in art history-cum-astronomy, a tale of radiant bodies, constellations and orbits. 5118 w Jefferson Boulevard, Los Angeles, CA 90016, 323 272 3194 The first revelatory big bang came in 1950, when music student Jim Newman met fellow Stanford freshman Walter Hopps. Friendship and collaboration ensued. Hopps launched the legendary Ferus Gallery in L.A. in 1957, and the next year Newman (with poet, artist and activist Bob Alexander) opened Dilexi above a jazz club. Newman later described the venture as “performing more of a missionary or even maybe a political function” than a commercial one. He was drawn to artists — largely Californians — whom he perceived as radical in intent and bold with materials. A New York Times critic called the gallery “a springboard for the hairy avant-garde.” Professional nonconformism seems to have been the gallery’s ethos. -
Joe Goode Bibliography Articles, Interviews, Audio and Video 2017 Haefele, Marc, “Joe Goode: the Milk Bottle and the Infinite
Joe Goode Bibliography Articles, Interviews, Audio and Video 2017 Haefele, Marc, “Joe Goode: The Milk Bottle and The Infinite”, www.scpr.org, April 13, 2017 Schwartzman, Allan, “20 postwar artists who deserve greater recognition”, www.artagencypartners.com, February 14, 2017 2016 Olivar, Amanda Quinn, “A Few Questions for Ed”, www.curator.site, August 9th, 2016 Goldner, Liz, “Joe Goode”, Art Scene California, July 2016 Haefele, Marc, “How a Nasty Winter Brought Revolutionary Art to So Cal”, www.scpr.org, April 27, 2016 Gleeson, Bridget, “A Tribute to Kiyo Higashi: a Formidable Art Dealer with Minimalist Tastes and a Curatorial Mind”, www.artsy.net, April 25, 2016 Michalarou, Efi, "Art-Presentation: Made in California", www.dreamideamachine.com, February 27, 2016 Stromberg, Matt, "ArtRx LA", www.hyperallergic.com, March 1, 2016 Riefe, Jordan, “Ed Ruscha on Marcel Duchamp: He Was a Guiding Light”, The Guardian, March 16, 2016 Mills, Michelle, “‘Duchamp to Pop’ Explores Artists’ Influences”, The San Gabriel Valley Tribune, March 3, 2016 Cheng, Scarlet, “Pop’s Pop”, Pasadena Weekly, February 25, 2016 Vankin, Deborah, "Exploring Marcel Duchamp's influence on Pop art at the Norton Simon", Los Angeles Times, February 6, 2016 "Made in California / Mana Contemporary", Art Matter Magazine, February 18, 2016 "Peter's Auction Pick of the Day: The Art of Collaboration", www.lamodern.com, February 18, 2016 2015 Newlove Schroeder, Amy, "Everything You Need to Know About L.A.'s New and Future Museums", Los Angeles Magazine, May 20, 2015 Bowen, Jared, -
Artist Resources – Jonas Wood (American, B. 1977)
Wood at Gagosian Gallery Wood at David Kordansky Gallery, Los Angeles Artist Resources – Jonas Wood (American, b. 1977) Over the course of 2009, Wood participated in a project organized By the Hammer Museum in LA, his first solo museum exhibition in the states, for which he painted a new series of abstracted still lifes that Built on previous images of potted plants and domestic scenes. Wood saw increasing recognition Between 2013 and 2015, with solo exhibitions at Anton Kern Gallery and the Lever House Collection, the first collaBorative shows with his wife in New York and Hong Kong, and interviews about his practice and the life that inspires his work. An extensive monumental still life adorned the exterior façade of LA’s Museum of Contemporary Art for a year in 2017, Bringing Wood’s dynamic, vivid representations of plants and ceramics in a series of mural panels that wrapped around the iconic Building. New landscapes and still lifes by Wood also filled all three galleries at David Kordansky’s Los Angeles space in 2017. Museum Voorlinden debuted Europe’s first dual exhiBition of Wood and his wife, ceramicist Shio Kusaka, in 2017. Though the couple maintains their own independent practices, they share a studio, and their work influences each other as Wood frequently incorporates Kusaka’s handmade vessels – which Build on traditional Japanese and American modernist motifs – into his paintings. Wood, 2017 Photography: Steven Perilloux Gagosian debuted Wood’s first solo print exhiBition in 2018 with 50 prints produced since 2004. Wood spoke with Art in Print about the exhibition, how printmaking informs his painting practice, and his own print house – WKS Editions. -
The Los Angeles
Otis College of Art and Design Ben Maltz Gallery 9045 Lincoln Boulevard, Los Angeles, CA 90045 www.otis.edu/benmaltzgallery; [email protected]; (310) 665-6905 ©2014, Binding Desire: Unfolding Artists Books Otis College of Art and Design, Ben Maltz Gallery ISBN: 0-930209-34-6 This book is published in conjunction with the exhibition Binding Desire: Unfolding Artists Books, January 25-March 30, 2014, organized by the Ben Maltz Gallery at Otis College of Art and Design. The project is funded in part by The Gladys Krieble Delmas Foundation. All rights reserved. No part of this book may be reproduced in any form by any electronic or me- chanical means (including photography, recording, or information stor- age and retrieval) without permission in writing from publisher. Publisher: Otis College of Art and Design, Ben Maltz Gallery Editors: Cathy Chambers, Meg Linton, Sue Maberry Designer: Sheldon Forbes Publication Format: iBook Images: Unless noted otherwise, photography and videography by Kathleen Forrest, Derek McMullen, Sarah Morton, and Chris Warner i Contents • Introduction – Meg Linton • L.A. Bound – Kathleen Walkup • Plates of Works in the Exhibition • Curricular Connections • Public Programming • Biographies • Acknowledgements ii Introduction by Meg Linton Binding Desire: Unfolding Artists Books presents a sampling of works from the Otis Millard Sheets Library’s Spe- cial Collection of artists’ books dating from the 1960s to the present. This teaching collection is one of the larg- est in Southern California with over 2,100 objects and it includes work by such luminaries as Vito Acconci, Joseph Beuys, and Ed Ruscha as well as significant work from major pro- duction centers like Beau Geste Press, Paradise Press, Printed Matter, Red Fox Press, and Women’s Studio Workshop. -
Oral History Interview with Patricia Faure, 2004 Nov. 17-24
Oral history interview with Patricia Faure, 2004 Nov. 17-24 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Patricia Faure on November 17, 22, 24, 2004. The interview took place in Beverly Hills, California, and was conducted by Susan Ehrlich for the Archives of American Art, Smithsonian Institution. Patricia Faure and Susan Ehrlich have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview MS. SUSAN EHRLICH: This is Susan Ehrlich interviewing Patricia Faure in her home in Beverly Hills, California, on November 17, 2004, for the Archives of American Art of the Smithsonian Institution. This is Disc Number One, Side One. Well, let’s begin with your childhood, where were you born, when were you born, and tell me about your early life and experience? MS. PATRICIA FAURE: I was born in Milwaukee, Wisconsin on April 8, 1928. I grew up there as well, went to school there, until I was 15, when we moved to Los Angeles, because after I was born, immediately after I was born, I got pneumonia. And I had pneumonia at least twice before I was six months old, and at one time the hospital called my parents and said to come and see me, for the last time. -
Stacked Plates, Butter)” 2007 by Robert Therrien
Spotlight Paper by Joe Garcia, 2017 “No Title (Stacked Plates, Butter)” 2007 by Robert Therrien Robert Therrien: American, Born in 1947 Chicago, Illinois and currently resides in Los Angeles, Ca. Artists Background: Mr. Therrien was born into a middle-class household in Chicago. The family then moved to the San Francisco Bay Area when he was 5, partly to seek treatment for his asthma. Education: Because he was always sick and holed up in his house, he honed a talent for drawing. After high school, he did a stint in Oakland at the California College of Arts and Crafts (now the California College of the Arts) but a missed date in traffic court and a pile of neglected warrants led him to flee to Southern California. (“It just became a nightmare,” he said). In 1970, he enrolled in photography studies at the Brooks Institute in Santa Barbara while also studying painting at the affiliated Santa Barbara Art Institute. “I think things really changed,” he said, “when I met this one teacher” — the painter James Jarvaise, whose work had been shown at the Museum of Modern Art. Mr. Jarvaise his teacher in Santa Barbara remembers Mr. Therrien as “a very quiet fellow, and his paintings followed the same suit.” Mr. Jarvaise describes them as elegant abstractions in the lyrical style then known as Abstract Impressionism. In 1971, Therrien received a Bachelors of Fine Arts Degree at Brooks College. His then teacher encouraged Mr. Therrien to pursue a MFA degree at the University of Southern California where he got one in 1974. -
JEAN-MICHEL BASQUIAT New York, NY 10014
82 Gansevoort Street JEAN-MICHEL BASQUIAT New York, NY 10014 p (212) 966-6675 allouchegallery.com Born 1960, Brooklyn, NY Died 1988, Manhattan, NY SELECTED SOLO EXHIBITIONS 2018 Boom for Real, Shirn exhibition hall, Frankfurt, Germany 2015 Basquiat: The Unknown Notebooks, Brooklyn Museum, Brooklyn, NY 2015 Jean-Michel Basquiat: Now’s the Time, Art Gallery of Ontario, Ontario, Canada. Travelled to: Guggenheim Bilbao, Bilbao, Spain 2013 Jean-Michel Basquiat: Paintings and Drawings, Galerie Bruno Bischofberger, Zurich, Switzerland 2012 Warhol and Basquiat, Arken Museum of Modern Art, Ishøj, Denmark 2010 Jean-Michel Basquiat, The Fondation Beyeler, Basel, Switzerland. Traveled to: City Museum of Modern Art, Paris, France 2006 The Jean-Michel Basquiat show, Fondazione La Triennale di Milano, Milan, Italy 2006 Jean-Michel Basquiat 1981: The Studio of the Street, Deitch Projects, New York, NY 2005 Basquiat, Curated by Fred Hoffman, Kellie Jones, Marc Mayer, and Franklin Sirmans Brooklyn Museum, New York, NY Traveled to: Museum of Contemporary Art, Los Angeles, CA, The Museum of Fine Arts, Houston, TX 2002 Andy Warhol & Jean-Michel Basquiat: Collaboration Paintings, Gagosian Gallery, Beverly Hills, CA 1998 Jean-Michel Basquiat: Drawings & Paintings 1980-1988, Gagosian Gallery, Beverly Hills, CA 1997 Jean-Michel Basquiat: Oeuvres Sur Papier, Fondation Dina-Vierny-Musée Maillol, Paris, France 1996 Jean-Michel Basquiat, Serpentine Gallery, London, England; Palacio Episcopal de Mágala, Málaga, Spain 1994 Jean-Michel Basquiat: Works in Black and White, -
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
Edward Ruscha
Edward Ruscha Born December 16, 1937, Omaha, Nebraska. Moved to Oklahoma City, Oklahoma, 1941. Moved to California in 1956. Currently lives in Culver City, CA. Education Chouinard Art Institute, Los Angeles, 1956 - 1960 Awards & Grants 1967 National Council on the Arts Grant 1969 National Endowment for the Arts Grant Tamarind Lithography Workshop Fellowship 1971 Guggenheim Foundation Fellowship 1974 Skowhegan School of Painting and Sculpture Award in Graphics 1988 Graphic Arts Council of the Los Angeles County Museum of Art, Achievement in Printmaking Award 1995 California Arts Council, Governor’s Awards for the Arts, Achievement in Visual Arts Award 2009 Artistic Excellence Award, Americans for the Arts Selected Exhibitions 1969 La Jolla Museum of Art, California 1972 University of California, Santa Cruz (Jan.17-Feb.11) Catalogue Minneapolis Institute of Arts, Minneapolis, Minnesota (April-May) 1973 Books by Edward Ruscha. University of California, San Diego (January 9- 26) WORKS BY EDWARD RUSCHA FROM THE COLLECTION OF PAUL J. SCHUPF, Picker Gallery, Colgate University, Hamilton, New York (November 2 - December 2) WORKS BY EDWARD RUSCHA. Francoise Lambert, Milan, Italy. EDWARD RUSCHA PRINTS / BOOKS, Root Art Center, Hamilton College, Clinton, New York (Jan. 3 - 23) 1974 FILM PREMIUM AND BOOKS, Contemporary Graphics Center, Santa Barbara Museum of Art, Santa Barbara, California (Oct. 29 - Dec. 5) Golden West College, Huntington Beach, California EDWARD RUSCHA, PRINTS / PUBLICATIONS 1962-74. The Arts Council of Great Britain, traveling exhibition to twelve Arts Council member galleries; Northern Kentucky State University, Highland Heights, Kentucky; Los Angeles. Catalog. ED RUSCHA: PRINTS, Northern Kentucky State University, Highland Height, Kentucky AUSTIN ART PROJECTS RING. -
Marianne Boesky Gallery Frank Stella
MARIANNE BOESKY GALLERY NEW YORK | ASPEN FRANK STELLA BIOGRAPHY 1936 Born in Malden, MA Lives and works in New York, NY EDUCATION 1950 – 1954 Phillips Academy (studied painting under Patrick Morgan), Andover, MA 1954 – 1958 Princeton University (studied History and Art History under Stephen Greene and William Seitz), Princeton, NJ SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2021 Brussels, Belgium, Charles Riva Collection, Frank Stella & Josh Sperling, curated by Matt Black September 8 – November 20, 2021 [two-person exhibition] 2020 Ridgefield, CT, Aldrich Contemporary Art Museum, Frank Stella’s Stars, A Survey, September 21, 2020 – September 6, 2021 Tampa, FL, Tampa Museum of Art, Frank Stella: What You See, April 2 – September 27, 2020 Tampa, FL, Tampa Museum of Art, Frank Stella: Illustrations After El Lissitzky’s Had Gadya, April 2 – September 27, 2020 Stockholm, Sweeden, Wetterling Gallery, Frank Stella, March 19 – August 22, 2020 2019 Los Angeles, CA, Los Angeles County Museum of Art, Frank Stella: Selection from the Permanent Collection, May 5 – September 15, 2019 New York, NY, Marianne Boesky Gallery, Frank Stella: Recent Work, April 25 – June 22, 2019 Eindhoven, The Netherlands, Van Abbemuseum, Tracking Frank Stella: Registering viewing profiles with eye-tracking, February 9 – April 7, 2019 2018 Tuttlingen, Germany, Galerie der Stadt Tuttlingen, FRANK STELLA – Abstract Narration, October 6 – November 25, 2018 Los Angeles, CA, Sprüth Magers, Frank Stella: Recent Work, September 14 – October 26, 2018 Princeton, NJ, Princeton University