Tag Archives: Paris-LA #14

ANDREA BOWERS STUDIO VISIT

The Hammer Museum and the Museum of Contemporary Art Chicago present a virtual studio visit with Andrea Bowers, who will be joined in conversation by Dr. Kaitlin Reed.

The co-curators of Bowers’ forthcoming survey exhibition—Connie Butler (the Hammer) and Michael Darling (MCA)—will introduce the event. See link below to r.s.v.p.

VIRTUAL STUDIO VISIT—ANDREA BOWERS with KAITLIN REED

Hammer Museum and MCA Chicago

Friday, October 16.

Noon on the West Coast; 2 pm Chicago; 3 pm East Coast.

From top: Andrea Bowers, photograph courtesy and © the artist and the Hammer Museum; Hammer Projects: Andrea Bowers (detail), Hammer Museum, March 11–July 16, 2017, image courtesy and © the artist and the Hammer Museum; Andrea Bowers (2021), edited by Connie Butler and Michael Darling, forthcoming exhibition catalog cover image courtesy and © Hammer Museum, MCA Chicago, and Prestel / DelMonico; PARIS LA 14, the Arts Education Issue, Winter 2016, Andrea Bowers, Educate, Agitate, Organize, 2010, low-voltage LED lights, plexiglas, and aluminum, cover image courtesy and © the artist; Kaitlin Reed, photograph courtesy and © Dr. Reed and the Hammer Museum.

L.A. ART BOOK FAIR

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DoPe Press is extremely happy to see the return of the Printed Matter–LA Art Book Fair to the Geffen Contemporary at MOCA. We will be in section H07 on the main level.

Our newest publications—the journal PARIS LA 16: “The Fashion and Writing Issue” and the artist’s book …my life in the sunshine—Liz Craft 2006–2017—will be available, as well as our back catalogue and a selection of out-of-print titles.

For art and fashion lovers: In 2013 the artist Max Hooper Schneider created a silk scarf edition with P.P.M. Studio, Milan. We are offering the edition for purchase, as well as his last available original artwork from this series—dense, hand-drawn graphic lines recalling imaginative worlds and biologies—which will be part of a forthcoming book published by DoPe Press in September 2019.

In addition, we have invited some friends and family from Paris to share their publications and journals: Paraguay Press, MAY, and Profane.

PRINTED MATTER—L.A. ART BOOK FAIR 2019

Opening night, April 11, from 6 pm to 9 pm.

Friday, April 12, from 1 pm to 7 pm.

Saturday, April 13, from 11 am to 7 pm.

Sunday, April 14, from 11 am to 6 pm.

Geffen Contemporary at MOCA

152 North Central Avenue, downtown Los Angeles.

From top: Cassi Namoda, Love and compromise between a clock and hyena, 2018, from “Selected Paintings,” PARIS LA 16; Liz Craft, …my life in the sunshine–Liz Craft 2006-2017 page layout; image from PARIS LA 16, drawing of Lotta Volkova by Cédric Rivrain, 2018; image from PARIS LA 14, photograph of Elizabeth Schmitt Jennerjahn and Robert Rauschenberg at Black Mountain College by Hazel Larsen Archer; image from Alex Hubbard, Eat Your Friends (DoPe Press, 2015); Max Hooper Schneider, silk scarf edition for P.P.M. Studio, 2013, photograph by Nuage Lepage, 2019; image from PARIS LA 14, Juliana Huxtable, Sympathy for the Martyr, 2015; image from Oscar Tuazon, Live (DoPe Press and Buchhandlung Walther König, 2014); cover image, Pentti Monkkonen, Box Truck Paintings (DoPe Press, 2014); PARIS LA 16 inside covers, Michèle Lamy, photograph by Katerina Jebb, 2018.

HELEN MOLESWORTH READS ONE DAY AT A TIME

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“When I sat in Manny’s lecture hall [in the fall/winter quarter of 1988], I had no inkling of what a curator even did…

“And my current understanding of its operations, demanding a constant oscillation between the big picture and the details—the big picture being the institution of the museum and its central role in the creation of value, the formation of canons, and the presentation of private artistic acts for public experience; the details involving the development of intimacies with both objects and their makers, the why and how of choosing specific objects, the why and how of installing them, and what each act of adjacency in an installation might connote—was still a decade away.” — Helen Molesworth*

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This weekend, ONE DAY AT A TIME—MANNY FARBER AND TERMITE ART curator Helen Molesworth reads her titular catalogue essay in the exhibition’s gallery. Centered on Farber, the essay moves through the elusive definitions of termite art, still life, and the everyday.

HELEN MOLESWORTH READS ONE DAY AT A TIME

Sunday, January 13, at 3 pm.

MOCA Grand Avenue

250 South Grand Avenue, downtown Los Angeles.

See “Under the Volcano: Helen Molesworth in conversation with Dorothée Perret,” PARIS LA 14 (Winter 2016): 29–37.

*Helen Molesworth, “One Day at a Time,” in One Day at a Time: Manny Farber and Termite Art (Los Angeles: Museum of Contemporary Art/Munich: DelMonico Books-Prestel, 2018

HELEN MOLESWORTH AND JONATHAN LETHEM IN CONVERSATION

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“I try to take the long view. I think that every epoch has had its fantastical producers. I’m really interested in Manny Farber right now. He had two classifications for art: white elephant art—this huge thing, Stella, Koons, Canova, Cabanel—and termite art: Manet, Moyra Davey.

“I try to be sanguine about that quality of what’s possible with art. I do think art used to have a fantasy that it was separate from life, and we know now that it’s not.” — Helen Molesworth, PARIS LA 14 (2016)

“[White Elephant] was a term for work that made large claims of importance and was therefore burdened with all kinds of ungraceful exposition and prescriptive social thinking, as opposed to something like film noir—which is Termite Art—stuff that just burrowed into experience and ended up saying quite a lot more about American life and which Farber believed was more mysterious and lively and compressed and radiated more meaning because it didn’t bother trying to be important…

“I loved the termite position before I was old enough to have any self-conscious thoughts about what it meant.” — Jonathan Lethem, LARB, 2016

Molesworth—curator of ONE DAY AT A TIME—MANNY FARBER AND TERMITE ART, now at MOCA—will join Lethem this week to talk about Farber and his “notion of termite art—an exploration of the problems and pleasures of the everyday—as it appears within fine art, cinema, writing, and life.”*

HELEN MOLESWORTH IN CONVERSATION WITH JONATHAN LETHEM*

Thursday, October 18, at 7 pm.

ONE DAY AT A TIME—MANNY FARBER AND TERMITE ART

Through March 11.

MOCA Grand Avenue, 250 Grand Avenue, downtown Los Angeles.

See Farber on Film: The Complete Film Writings of Manny Farber, ed. Robert Polito (New York: Library of America, 2009).

Lethem is a contributor to Termite Deluxe: Manny Farber Writings and Paintings, a forthcoming volume exploring Farber’s life and work.

Top: Manny Farber, undated photograph, courtesy Patricia Patterson.

Above: Manny Farber, Story of the Eye (detail), 1985; oil, graphite and masking tape on board. Museum of Contemporary Art, San Diego.

Below: Manny Farber, Domestic Movies, 1985; oil on board. ResMed collection, San Diego.

Image credit: Museum of Contemporary Art, Los Angeles.

ANNI ALBERS

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The Anni Albers exhibition at the Tate Modern opening this week—the first comprehensive show devoted to her textile work in the United Kingdom—is complemented by ANNI ALBERS—CONNECTIONS: PRINTS, 1963–1984 at the Alan Cristea Gallery.

ANNI ALBERS—CONNECTIONS: PRINTS, 1963–1984

Through November 10.

Alan Cristea Gallery, 43 Pall Mall, London.

ANNI ALBERS

October 10 through January 27.

Tate Modern, Bankside, London.

NICHOLAS FOX WEBER ON ANNI ALBERS

Thursday, October 11, at 6:30 pm.

Starr Cinema, Tate Modern, Bankside, London.

See Helen Molesworth, Leap Before You Look: Black Mountain College, 1933–1957 (New Haven, CT.: Yale University Press/Boston: ICA, 2015); and “Under the Volcano—Helen Molesworth in conversation with Dorothée Perret,” PARIS LA 14 (Winter 2016), 29–37.

From top:

Anni Albers Card Weaving at Black Mountain College. Image credit: State Archives of North Carolina.

Anni Albers, Second Movement III, 1978.

Anni Albers, Study for Unexecuted Wallhanging, 1926. Image credit: Josef and Anni Albers Foundation; ARS, New York; DARS, London.

Anni Albers, Ancient Writing, 1936. Smithsonian. Image credit: Josef and Anni Albers Foundation; ARS, New York; DARS, London.

Anni Albers.