From Sign on San Diego.com… It is an awfully nice bear.
From Sign on San Diego.com… It is an awfully nice bear.
The UCSD libraries hold the Seuss archives in our special collections. Once a year a selection of items are displayed for the public to view. Come on over to see! Main floor of the Geisel library for a limited time.
Check out Jenny Holzer’s new massive scrolling text display across the Aria Parking lot in CityCenter in Las Vegas… loaded up with 200 Truisms like “It’s not good to operate on credit.” See the video!
The Pritzer Architecture Prize, the profession’s most prestigious award, has been given to Kazuyo Sejima and Ryue Nishizawa, partners in the Tokyo–based architecture firm SANAA. In a citation that lauded the pair for their ability to create buildings where the “physical presence retreats and forms a sensuous background for people, objects, activities, and landscapes,” the jury noted that their architecture stands “in direct contrast with the bombastic and rhetorical.”
An Exhibition created, composed of and installed by women*
As Women, we are often defined by our role as mother regardless of our decision, preference or ability to become one. This exhibition seeks to explore the topic of motherhood from the perspective of women. For some, “motherhood” is a trigger for pain and anxiety while for others it is a positive experience or goal. In order to free ourselves from societal stigmas and pressure we must initiate a dialogue in our community. This project is a catalyst for thought, open to go in many directions.
Request for Submissions, Spring Exhibition at UCSD
Including but not limited to:
Performance: dance, music, spoken word…
*The term “women” includes bio-women, trans-women and all women who are woman-identified as well as our transgender brothers who have experiences as women or with motherhood.
**Please contact Aimee Harlib: firstname.lastname@example.org for further details. All submissions are required by March 1st, 2010. The Event date is May 4th, 2010 and the location: TBA
***please be aware that this is a one evening event which may limit installation/de-installation times.
LACMA recently announced the launch of its Reading Room , an online space devoted to the presentation of the museum’s publications. In an effort to make books available that are otherwise difficult to access, the initial group focuses on out-of-print offerings and features ten catalogs highlighting the development of the Los Angeles art scene including:
Six More. Lawrence Alloway. Los Angeles: Los Angeles County Museum of Art, 1963.
Six Painters and the Object. New York: Solomon R. Guggenheim Museum, 1963.
New York School: The First Generation, Paintings of the 1940s and 1950s. Maurice Tuchman. Los Angeles: Los Angeles County Museum of Art, 1965.
Edward Kienholz. Maurice Tuchman. Los Angeles: Los Angeles County Museum of Art, 1966.
Robert Irwin Kenneth Price. Maurice Tuchman. Los Angeles: Los Angeles County Museum of Art, 1966.
Late Fifties at the Ferus. James Monte. Los Angeles: Los Angeles County Museum of Art, 1968.
Billy Al Bengston. James Monte. Los Angeles: Los Angeles County Museum of Art, 1968.
A Report on the Art and Technology Program of the Los Angeles County Museum of Art, 1967–1971. Maurice Tuchman. Los Angeles: Los Angeles County Museum of Art, 1971.
Art in Los Angeles: Seventeen Artists in the Sixties. Maurice Tuchman. Los Angeles: Los Angeles County Museum of Art, 1981.
The Museum as Site: Sixteen Projects. Stephanie Barron. Los Angeles: Los Angeles County Museum of Art, 1981.
The museum intends to launch another group of catalogs this spring.
This week in the magazine, John Seabrook profiles the architect Zaha Hadid, and writes about her latest building, the National Museum of the XXI Century Arts, or MAXXI, in Rome, which opened last month. In this audio slide show, Seabrook discusses Hadid’s concept for the building, the features of its grand atrium, and the significance of MAXXI for Hadid, who visited Rome as a 10-year-old girl.
A rendering shows Do-Ho Suh’s “Fallen Star,” a house to be built and perched over the edge of the Irwin and Joan Jacobs School of Engineering Building at UCSD.
Mary Beebe, who has been director of the internationally acclaimed Stuart Collection at UCSD almost since its inception, recalls why she decided to take the position back in 1981:
“I thought: this is a job where there is no excuse to fail. It was a job where anything was possible.”
Even a house built on top of a building.
Looking toward the 30th anniversary of the collection next year, Beebe is raising money and awareness to install Korean-American Do-Ho Suh’s “Fallen Star” as the collection’s 18th work. It would consist of a modest suburban-style home with landscaping on the rooftop of a parapet that is part of a building in the campus’s engineering school. Suh is on campus this week to work on details of the proposal and speak to an invited audience at UCSD’s faculty club.
When Beebe began her tenure nearly 30 years ago, the prevailing idea for a predominantly outdoor university collection, much like elsewhere, was the sculpture garden. Lots of museums have them; UCLA has a major one. But the concept at UCSD was to commission original works of art, not acquire existing ones. And that meant Beebe, with the help of an accomplished advisory board, could do something new: invite artists and let them imagine what they would do, in response to chosen locales on campus.
Of course, none of this would have transpired without James Stuart DeSilva, an art collector who shared his idea of a public collection with the assistant chancellor, the late Patrick Ledden, in 1979. He helped DeSilva bring the idea to Chancellor Richard Atkinson, with the help of artist and faculty member Newton Harrison, and the rest is fortunate history. The collection was officially established in 1981. (DeSilva passed away in 2002.)
Beebe and the advisory board had a relatively straightforward criteria for choosing artists.
“We wanted artists who are the best and the brightest, just as in every other field at the university — though, of course, not all of the best and brightest necessarily were a fit with working in this way.”
Still, the university has proved to be accepting and fertile ground for an impressive range of artists who fit this billing, from William Wegman, best known for his witty videos and photographs starring a succession of Weimaraners, to Tim Hawkinson, whose sculptures often involve mechanically ingenious components.
Of course, creativity exercised in public has its limits. When Bruce Nauman conceived what is arguably one of the great works in the collection, “Vices and Virtues” (1988), he thought of its 7-foot-high letters in neon sitting atop the La Jolla Playhouse. But when residents of nearby homes objected to the site, the piece was relocated to a different building on the interior of the campus.
A change of structure, thankfully, didn’t diminish the sheer audacity of the piece. And audaciousness is a quality one can associate with other works in the Stuart Collection, such as Alexis Smith’s “Snake Path” (1992), with its 560-foot-long tile path to and from the Geisel Library, and Hawkinson’s “Bear” (2005), standing nearly 24 feet high and consisting of boulders weighing 360,000 pounds.