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How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system.
Reports for 1980-19 also include the Annual report of the National Council on the Arts.
The beautiful catalogue that accompanies the critically-acclaimed exhibition currently on view at the Metropolitan Museum Best known for her striking drawings of ocean surfaces, begun in 1968 and revisited over many years both in drawings and paintings, Vija Celmins (b. 1938) has been creating exquisitely detailed renderings of natural imagery for more than five decades. The oceans were followed by desert floors and night skies--all subjects in which vast, expansive distances are distilled into luminous, meticulous, and mesmerizing small-scale artworks. For Celmins, this obsessive "redescribing" of the world is a way to understand human consciousness in relation to lived experience. The first major publication on the artist in twenty years, this comprehensive and lavishly illustrated volume explores the full range of Celmins's work produced since the 1960s--drawings and paintings as well as sculpture and prints. Scholarly essays, a narrative chronology, and a selection of excerpts from interviews with the artist illuminate her methods and techniques; survey her early years in Los Angeles, where she was part of a circle that included James Turrell and Ken Price; and trace the development of her work after she moved to New York City and befriended figures such as Robert Gober and Richard Serra.
A fully illustrated history of modern and contemporary art in California from the early twentieth century to the present day. This introduction to the art of California focuses on the distinctive role the state played in the history of American art, from early twentieth-century photography and Chicanx mural painting to the fiber art movement and beyond. Shaped by a compelling network of geopolitical influences—including waves of migration and exchange from the Pacific Rim and Mexico, the influx of African Americans immediately after World War II, and global immigration after quotas were lifted in the 1960s—California is a center of artistic activity whose influence extends far beyond its physical boundaries. Including work by artists Yun Gee, Helen Lundeberg, Henry Taylor, Richard Diebenkorn, Albert Bierstadt, Chiura Obata, and Judith Baca, among many others, art historian Jenni Sorkin tells California’s story as a place at the forefront of radical developments in artistic culture. Organized chronologically and thematically with full-color illustrations throughout, this attractive study stands as an important chronicle of California’s contribution to modern and contemporary art in the United States and globally. In one stunning volume, Art in California addresses the vast appetite for knowledge on contemporary art in California.
Los Angeles has nourished a dazzling array of independent cinemas: avant-garde and art cinema, ethnic and industrial films, pornography, documentaries, and many other far-flung corners of film culture. This glorious panoramic history of film production outside the commercial studio system reconfigures Los Angeles, rather than New York, as the true center of avant-garde cinema in the United States. As he brilliantly delineates the cultural perimeter of the film business from the earliest days of cinema to the contemporary scene, David James argues that avant-garde and minority filmmaking in Los Angeles has in fact been the prototypical attempt to create emancipatory and progressive culture. Drawing from urban history and geography, local news reporting, and a wide range of film criticism, James gives astute analyzes of scores of films—many of which are to found only in archives. He also looks at some of the most innovative moments in Hollywood, revealing the full extent of the cross-fertilization the occurred between the studio system and films created outside it. Throughout, he demonstrates that Los Angeles has been in the aesthetic and social vanguard in all cinematic periods—from the Socialist cinemas of the early teens and 1930s; to the personal cinemas of psychic self-investigation in the 1940s; to attempts in the 1960s to revitalize the industry with the counterculture’s utopian visions; and to the 1970s, when African Americans, Asian Americans, Latinos, women, gays, and lesbians worked to create cinemas of their own. James takes us up to the 1990s and beyond to explore new forms of art cinema that are now transforming the representation of Southern California’s geography.
An immense contribution to scholarship on Ed Ruscha and his pioneering artistic practice, offering thorough documentation of his works on paper This highly anticipated book—the first in a series of three—comprehensively chronicles the first two decades of Ed Ruscha’s (b. 1937) work on paper, which comprises the largest component of his production of original works. Over 1,000 works on paper are documented, all created between 1956 and 1976, and they encompass a wide range of formats, materials, themes, and styles. Included are collages, ephemeral sketches, preparatory studies for paintings, oil on paper works, and drawings executed in a variety of inventive materials, including gunpowder and organic substances. Ruscha came to prominence in the early 1960s as part of the Pop art movement, although his work equally engages the legacies of Dada, Surrealism, and Abstract Expressionism as well as the Conceptual art that emerged later in the decade. He has long enjoyed international standing and admiration, and his work is widely known. Despite this recognition, this volume contains hundreds of works that have infrequently, or never, been exhibited or published. Each work is catalogued with a color reproduction, collection details, full chronological provenance, exhibition history, and bibliographic references. Essays by Lisa Turvey and Harry Cooper complete this extraordinary survey, which expands and enriches our understanding of Ruscha’s pioneering exploration of the written word as a subject for visual art and his witty assessment of the iconography of Los Angeles, both real and imagined.
Author David Saunders, former keeper of conservation and scientific research at the British Museum, explores how to balance the conflicting goals of visibility and preservation under a variety of conditions. Beginning with the science of how light, color, and vision function and interact, he proceeds to offer detailed studies of the impact of light on a wide range of objects, including paintings, manuscripts, textiles, bone, leather, and plastics. With analyses of the effects of light on visibility and deterioration, Museum Lighting provides practical information to assist curators, conservators, and other museum professionals in making critical decisions about the display and preservation of objects in their collections.
A social and cultural history of Los Angeles and its emerging art scene in the 1950s, 60s, and 70s The history of modern art typically begins in Paris and ends in New York. Los Angeles was out of sight and out of mind, viewed as the apotheosis of popular culture, not a center for serious art. Out of Sight chronicles the rapid-fire rise, fall, and rebirth of L.A.’s art scene, from the emergence of a small bohemian community in the 1950s to the founding of the Museum of Contemporary Art in 1980. Included are some of the most influential artists of our time: painters Edward Ruscha and Vija Celmins, sculptors Ed Kienholz and Ken Price, and many others. A book about the city as much as it is about the art, Out of Sight is a social and cultural history that illuminates the ways mid-century Los Angeles shaped its emerging art scene—and how that art scene helped remake the city.