AAR Magazine Spring Summer 2021`
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“L.A. Raw” RADICAL CALIFORNIA by Patricia Cronin
“L.A. Raw” hris Burden Donatello, 1975 RADICAL CALIFORNIA private collection by Patricia Cronin Maverick independent curator Michael Duncan has mounted a visceral, hair-raising survey exhibition of figurative art by more than 40 Los Angeles artists in “L.A. RAW: Abject Expressionism in Los Angeles 1945-1980, from Rico LeBrun to Paul McCarthy,” Jan. 22-May 20, 2012, at the Pasadena Museum of California Art. The show is a revelatory part of the Getty Initia- Nancy Buchanan tive’s 60-exhibition extravaganza “Pacific Standard Time,” whose various Wolfwoman, 1977 events have been reviewed prolifically byArtnet Magazine’s own Hunter courtesy of the artist and Drohojowska-Philp. Cardwell Jimmerson Contemporary Art In Los Angeles, artists responded to post-war existential questions in a dramatically different fashion than their East Coast counterparts. While the New York School turned to Abstract Expressionism (simultaneously shift- ing the epicenter of the art world from Paris and Europe), artists in L.A. fashioned a much more direct and populist response to the realities of the Vietnam war, the horrors of Auschwitz and Hiroshima, and the threat of McCarthyism. The hallmark of this kind of work is the expressively distort- ed human body, constitutig a new, distinctly West Coast kind of human- ism. Of the 41 artists in the show, ten percent had fled Europe and immigrated to the U.S., and nearly half of them, including the occult performance art- Rico Lebrun The Oppressor (after de Sade, 6–8) ist Marjorie Cameron (1922-1995), served in the Armed Forces in WWII. 1962 Ben Sakoguchi was sent to a wartime internment camp when he was only courtesy of Koplin Del Rio Gallery, four years old, and Kim Jones served in Vietnam. -
Shaping New Knowledges
PAPER ABSTRACT BOOK SHAPINGSHAPING NEWNEW KNOWLEDGESKNOWLEDGES ROBERT CORSER SHARON HAAR 2016 ACSA 104TH ANNUAL MEETING Shaping New Knowledges CO-CHAIRS Robert Corser, University of Washington Sharon Haar, University of Michigan HOST SCHOOLS University of Washington Copyright © 2016 Association of Collegiate Schools of Architecture, Inc., except where otherwise restricted. All rights reserved. No material may be reproduced without permission of the Association of Collegiate Schools of Architecture. Association of Collegiate Schools of Architecture 1735 New York Ave., NW Washington, DC 20006 www.acsa-arch.org 2 – 2016 ACSA 104th Annual Meeting Abstract Book CONTENTS THURSDAY, MARCH 17 FRIDAY, MARCH 18 SATURDAY, MARCH 19 2:00PM - 3:30PM 11:00AM - 12:30PM 9:00AM - 10:30AM 05 Acting Out: The Politics and Practices of 15 Divergent Modes of Engagement: 31 Beginnings in the Context of New Interventions: Session 1 Exploring the Spectrum of Collaborative Knowledge Mireille Roddier, U. Michigan and Participatory Practices: Session 1 Catherine Wetzel, IIT Caryn Brause, U. Massachusetts, Amherst James Sullivan, Louisiana State U. 06 Architecture is Philosophy: Beyond the Joseph Krupczynski, U. Massachusetts, Post-Critical: Session 1 Amherst 32 Open: Hoarding, Updating, Drafting: Mark Thorsby, Lone Star College The Production of Knowledge in Thomas Forget, U. N. Carolina @ Charlotte 16 Knowledge Fields: Between Architecture Architectural History and Landscape: Session 1 Sarah Stevens, U. of British Columbia Cathryn Dwyre, Pratt Institute 07 Open: Challenging Materiality: Industry Chris Perry, RPI Collaborations Reshaping Design 33 Water, Water Everywhere…: Session 1 Julie Larsen, Syracuse U. Jori A. Erdman, Louisiana State U. Roger Hubeli, Syracuse U. 17 Knowledge in the Public Interest Nadia M. -
Civic-Center-Final-Web-081621.Pdf
The History of Transportation Helen Lundeberg, Artist 1940, Petromosaic mural 230 S. Grevillea Ave., Inglewood, CA 90301 The History of Transportation by Helen Lundeberg shows the history of human transportation in the Centinela Valley, including Inglewood. The mural, comprised of 60 panels with crushed rock set in mortar, showcases technological changes in transportation from walking to horses and carts, to railroads and propeller-driven airplanes. A playful small white dog appears throughout the artwork’s 240’ length. The History of Transportation was a commission from the Federal Works Progress Administration, and is the largest mural in that program. The mural was originally built along one of Inglewood’s most traveled commuter arteries. After auto incidents destroyed two of the sixty panels, a multifaceted, four-year conservation effort began. The mural was re-installed in 2009 on city property specially landscaped as Grevillea Art Park. It faces Inglewood High School and is perpendicular to the bustling Manchester Boulevard. The relocation was led by Landscape Architect Randall Meyer and Associates with restoration and interpretive kiosks by Sculpture Conservation Studios in partnership with the Feitelson/Lundeberg Art Foundation. Inglewood War Memorial Designer unknown 1970, Monument City Hall, 1 W. Manchester Blvd., Inglewood, CA 90301 The Inglewood War Memorial is sited on the green expanses fronting City Hall’s Manchester Boulevard entrance. The memorial is comprised of a marble obelisk on a granite base before a flag court. The center panel on the granite base holds the words: “To keep forever living the freedom for which they died. We dedicate this memorial to our dead in World War II, Korea and Vietnam.” Service veteran’s names are on the plinth. -
A Complete Catalogue of the Works of Athena Tacha
A COMPLETE CATALOGUE OF THE WORKS OF ATHENA TACHA Compiled by Richard Spear, © 2012-13, in consultation with the artist and periodically revised Photographs of nearly every work are to be found in eleven albums of slides and nine albums of black and white photographs donated to the Archives of American, Washington, D.C., in 2019; and in digital images (starting in 2005) on the artist’s computer, backed up on external drives. Drawings, models, and photographs of Tacha’s proposed and executed public sculpture (139 proposals as a finalist in public competitions) are illustrated in VISUALIZING, which complements the earlier, also richly illustrated DANCING (see below for full references). Original slides and films for many works in this catalogue in the categories concept, film and photo (see below) are also at the Archives of American Art. Documentary movies and videos of a number of public sculptures are listed in INVk. INVi and this catalogue include a number of drawings for public commissions that she did not win; some other, generally secondary or duplicate drawings for commissions that she did win, have not been cited in this catalogue, which includes all of the principal drawings and models for those works. While every effort has been made to provide accurate data, because some works of art were inaccessible for inspection, unsure dates, dimensions and/or media are indicated by a ? sign. For additional documentation about the artist’s work, see her website: www.oberlin.edu/faculty/atacha/index.html, as well as extensive information in files in her computer’s HD, within ATachaFolders titled: ATachaPUBARTtxts; ATbusiness; ATJournals; ATtextsSpecial; and within Users→atacha→Athena→ ATbusinCurrent (biography, exhibitions, literature, museum collections, etc.). -
1 Press Release Athena Tacha
ΙΔΡΥΜΑ ΙΩΑΝΝΟΥ Φ. ΚΩΣΤΟΠΟΥΛΟΥ THE J.F. COSTOPOULOS FOUNDATION ATHENS SCHOOL OF FINE ARTS Thessaloniki, 19.10.2010 Press Release Athena Tacha: from the Public to the Private “Nikos Kessanlis” exhibition venue Athens School of Fine Arts 256, Piraeus str., Athens October 22 - November 28, 2010 Opening: Friday October 22, at 20:00 After a successful presentation in Thessaloniki and in the artist’s hometown of Larissa, the retrospective exhibition of Athena Tacha – a distinguished Greek-American artist and professor - entitled “Athena Tacha: from the Public to the Private” opened on October 22, at the Athens School of Fine Arts, “Nikos Kessanlis” exhibition venue and lasted until November 28th 2010. It was a 40-year retrospective representing all aspects of Tacha’s work, curated by Katerina Koskina (art historian, museologist and President of the Board of Trustees of the SMCA) and Syrago Tsiara (art-historian, director of the Thessaloniki Contemporary Art Center). The exhibition was co-produced by the State Museum of Contemporary Art, the J.F. Costopoulos Foundation and the Municipal Art Gallery of Larissa - G.I. Katsigras Museum. More than 100 works of Athena Tacha were presented in the exhibition, documenting for the first time in Greece her incredibly important work in environmental, site-specific sculpture and conceptual art. Her public work consists of more than 45 large executed commissions in public places (squares, open recreation areas, fountains, universities, river banks), in many US states – Florida, Ohio, Arizona, Alaska, Pennsylvania, New York – from the early 1970s until now. 1 In parallel, Athena Tacha has been making numerous conceptual art pieces on the relation of the human body, nature and time (aging, heredity studies, movement studies, etc.), as well as a series of digital art works for the Web on environmental and social issues. -
Prohibition's Proving Ground: Automobile Culture and Dry
PROHIBITION’S PROVING GROUND: AUTOMOBILE CULTURE AND DRY ENFORCEMENT ON THE TOLEDO-DETROIT-WINDSOR CORRIDOR, 1913-1933 Joseph Boggs A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 Committee: Michael Brooks, Advisor Rebecca Mancuso © 2019 Joseph Boggs All Rights Reserved iii ABSTRACT Michael Brooks, Advisor The rapid rise of an automobile culture in the 1910s and 20s provided ordinary North Americans greater mobility, freedom, privacy, and economic opportunity. Simultaneously, the United States and Canada witnessed a surge in “dry” sentiments and laws, culminating in the passage of the 18th Amendment and various provincial acts that precluded the outright sale of alcohol to the public. In turn, enforcement of prohibition legislation became more problematic due to society’s quick embracing of the automobile and bootleggers’ willingness to utilize cars for their illegal endeavors. By closely examining the Toledo-Detroit-Windsor corridor—a region known both for its motorcar culture and rum-running reputation—during the time period of 1913-1933, it is evident why prohibition failed in this area. Dry enforcers and government officials, frequently engaging in controversial policing tactics when confronting suspected motorists, could not overcome the distinct advantages that automobiles afforded to entrepreneurial bootleggers and the organized networks of criminals who exploited the transnational nature of the region. vi TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 CHAPTER I. AUTOMOBILITY ON THE TDW CORRIDOR ............................................... 8 CHAPTER II. MOTORING TOWARDS PROHIBITION ......................................................... 29 CHAPTER III. TEST DRIVE: DRY ENFORCEMENT IN THE EARLY YEARS .................. 48 The Beginnings of Prohibition in Windsor, 1916-1919 ............................................... -
Annual Report 2018
2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach. -
The Things They've Done : a Book About the Careers of Selected Graduates
The Things They've Done A book about the careers of selected graduates ot the Rice University School of Architecture Wm. T. Cannady, FAIA Architecture at Rice For over four decades, Architecture at Rice has been the official publication series of the Rice University School of Architecture. Each publication in the series documents the work and research of the school or derives from its events and activities. Christopher Hight, Series Editor RECENT PUBLICATIONS 42 Live Work: The Collaboration Between the Rice Building Workshop and Project Row Houses in Houston, Texas Nonya Grenader and Danny Samuels 41 SOFTSPACE: From a Representation of Form to a Simulation of Space Sean tally and Jessica Young, editors 40 Row: Trajectories through the Shotgun House David Brown and William Williams, editors 39 Excluded Middle: Toward a Reflective Architecture and Urbanism Edward Dimendberg 38 Wrapper: 40 Possible City Surfaces for the Museum of Jurassic Technology Robert Mangurian and Mary-Ann Ray 37 Pandemonium: The Rise of Predatory Locales in the Postwar World Branden Hookway, edited and presented by Sanford Kwinter and Bruce Mau 36 Buildings Carios Jimenez 35 Citta Apperta - Open City Luciano Rigolin 34 Ladders Albert Pope 33 Stanley Saitowitz i'licnaei Bell, editor 26 Rem Koolhaas: Conversations with Students Second Editior Sanford Kwinter, editor 22 Louis Kahn: Conversations with Students Second Edition Peter Papademitriou, editor 11 I I I I I IIII I I fo fD[\jO(iE^ uibn/^:j I I I I li I I I I I II I I III e ? I I I The Things They've DoVie Wm. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
The Written Word (1972)
THE WRITTEN WORD (1972) The Written Word is Tom Van Sant’s public art treatment for three distinct con- Artist: crete areas of the Inglewood Public Library. The work is cast into the concrete Tom Van Sant surfaces of the exterior stairwell column on Manchester; the lower level of an interior lobby, and an exterior wall of the Lecture Hall. Collection: City of Inglewood Van Sant explores the development of written thought in numbers, letters, Medium: theories and histories from diverse cultures in diverse times. Egyptian hiero- Bas-Relief glyphics, Polynesian counting systems, European cave painting and Einstein’s mathematical equations are some of the many images to inspire Library’s Material: patrons with the wealth of words found inside. Poured-in-place concrete Van Sant was commissioned through the NEA Art in Architecture program to work with Civic Center architects Charles Luckman and Associates, This artwork required special molds built in reverse so the texts and drawings would be cor- rectly read, a technique requiring a high degree of craft. The Written Word is one of the few examples of a poured-in-place concrete bas-relief in the Los Angeles basin and one of the largest to employ this technique in the world. Inglewood Public Library 101 West Manchester Boulevard Inglewood, CA INGLEWOOD PUBLIC ART EDUCATION PROJECT 1 Tom Van Sant Tom Van Sant is a sculptor, painter, and conceptual artist with major sculpture and mural commissions for public spaces around the world. His art is collected globally. His professional skills and interests include archi- tecture, planning, education, an advanced technical invention. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
Theodore B. Wells and the Firm of Wells-Denbrook Architects in North Dakota; 1923-1978
Theodore B. Wells and the firm of Wells-Denbrook Architects in North Dakota; 1923-1978 historic context study prepared by Steve C. Martens; Architect Architectural Historian (August 29, 2015 Revised Final version with GF HPC comments and State Review Board comments addressed) for the Grand Forks Historic Preservation Commission and the State Historic Preservation Office, State Historical Society of North Dakota Executive summary/Abstract: Theodore B. (Burfield) Wells had established his architectural practice in Grand Forks by 1923. He was joined in practice soon after World War II by Myron Denbrook. In approximately 1949, Denbrook was offered a full partnership. The firm completed extensive work throughout the Upper Red River Valley and in northeastern North Dakota. To a lesser extent, their work is found throughout North Dakota and in the northwestern corner of Minnesota. Wells retired from active practice in about 1964 and Denbrook associated briefly with Edward Adams at about that time. This context focuses on North Dakota work designed by the firm of Theodore B. Wells and later as Wells-Denbrook, from the firm’s inception until Wells, Denbrook, Adams, Wagner Architects merged to form EAPC (engineers and architects) in 1978. Required components of the context study: 1. Context narrative 2. Research methodology for review of archival resources 3. Research methodology for evaluating extant buildings on-site 4. Criteria for evaluating a property’s merit for future inclusion in the National Register 5. Defined scope of work for a future intensive level survey of extant Wells-Denbrook buildings in the state of North Dakota Part 1: 1. Archival research and review of archival collections of work by Theodore B.