Category Archives: EDUCATION/ACTIVISM

DAVID REINFURT AT YALE

David Reinfurt—co-founder of Dexter Sinister and The Serving Library and co-author of the monograph Muriel Cooper—will present a slideshow lecture on A *NEW* PROGRAM FOR GRAPHIC DESIGN (2019), his “do-it-yourself textbook that synthesizes the pragmatic with the experimental and builds on mid- to late-20th-century pedagogical models to convey advanced principles of contemporary design.”

Reinfurt’s new book provides… in-depth access to a historical analysis, exquisite close-focus portraits of multi-talented creative makers past and present, alongside his own research and examples of his class assignments. This intelligent book contains new insights regarding graphic design history, thought, and practice… [and] is a reminder of Walt Whitman’s call for “a force infusion of intellect” to confront the future.Sheila Levrant de Bretteville, director, Yale University Graduate Program in Graphic Design

DAVID REINFURT—A *NEW* PROGRAM FOR GRAPHIC DESIGN

Thursday, October 10, at 7 pm.

Yale School of Art, Graphic Design Atrium

1156 Chapel Street, New Haven.

David Reinfurt, A *New* Program for Graphic Design. Images courtesy and © the author and Inventory Press.

BAUHAUS — BUILDING THE NEW ARTIST

In conjunction with BAUHAUS BEGINNINGS, open for one more week at Getty Center, BAUHAUS—BUILDING THE NEW ARTIST is an online exhibition that “offers an in-depth look into the school’s novel pedagogy.”*

Following the end of World War I, the provisional government of the short-lived Free State of Saxe-Weimar-Eisenach in Germany initiated an effort to reestablish two schools, the Weimar School of Applied Arts (Weimar Kunstgewerbeschule) and the neighboring Academy of Fine Arts (Hochschule für bildende Kunst), as a single, unified institution…

Upon the recommendation of Belgian architect Henry van de Velde, who had previously directed the Weimar School of Applied Arts, the Berlin architect Walter Gropius was invited to head the new school. Gropius’ request to rechristen the institution under a new name, BAUHAUS STATE SCHOOL (Staatliches Bauhaus), was approved in March 1919.*

BAUHAUS—BUILDING THE NEW ARTIST*

Online exhibition in conjunction with

BAUHAUS BEGINNINGS

Through October 13.

Getty Center

1200 Getty Center Drive, Brentwood, Los Angeles.

From top: Postcard sent to Jan Tschichold with aerial photograph of Bauhaus Dessau, Walter Gropius, architect, 1926, photograph by Junkers Luftbild, 1926, gelatin silver print on postcard, Jan and Edith Tschichold Papers, 1899–1979; Vassily Kandinsky, Color Triangle, circa 1925–1933, graphite and gouache on paper, Vassily Kandinsky Papers, 1911–1940; students in a workshop at the Bauhaus Dessau (2), photographer(s) unknown, undated, gelatin silver prints; Erich Mzozek, Still-life drawing with analytical overlay, circa 1930, graphite on paper and vellum, © Estate Erich Mrozek; Geometric study of spiral form, artist unknown, undated, graphite and colored graphite on paper; Friedl Dicker, Light-dark contrast study for Johannes Itten’s Preliminary Course, 1919, charcoal and pastel collage on black paper. ; Pamphlet for Farben Licht-Spiele (Color-light plays), Ludwig Hirschfeld-Mack, 1925, letterpress, Bauhaus Typography Collection, 1919–1937, © Kaj Delugan; Erich Mzozek, Study for Vassily Kandinsky’s Farbenlehre (Course on color), circa 1929–1930, collage with gouache on paper, © Estate Erich Mrozek. All images courtesy and © the Bauhaus-Archiv and the Getty Research Institute.

JUDY CHICAGO — LOS ANGELES

A survey of Judy Chicago’s work from 1965 to 1972—made in Los Angeles and Fresno State College, where, in 1970, she developed the first feminist art program in the United States—is now on view at Jeffrey Deitch.

This [exhibition, JUDY CHICAGO—LOS ANGELES,] has enormous meaning to me because we’re not only doing a comprehensive show of different aspects of my early work—painting, sculpture, fireworks, installations—and all of that has never really been put together before, but you’re also doing it in a Frank Gehry-designed building. Gehry was my first landlord in Santa Monica, and his sister married my first gallerist. Frank was not particularly interested in women artists at that time—I don’t know if he ever was…

And, as you know, I had a really difficult time in the first two decades of my career. Some of the sculptures that are going to be in the show are being reconstructed because I had to destroy them: I just couldn’t afford to store that much work. I stored some early work, fortunately, which the Getty curators unearthed for Pacific Standard Time—that began the process of people looking at my early work…

Even though I had a really difficult time in the L.A. arts scene—which was very inhospitable to women—still, L.A. nurtured me, and I feel like the foundations of my work are in what I did in that first decade and a half of professional practice in California: the development of my formal language, my color systems, my approach to and interest in a wide variety of materials…

Also, doing this show is bringing a lot of memories back, some of which were simply too painful for me to deal with at the time. Had I really acknowledged them or dealt with them, I probably would have given up. I had such a hard time and faced so much rejection and misunderstanding. Still, when I went to auto-body school, I learned for the first time that making art involved making physical objects, and I learned a sense of craft that I never had—about how you do things. I had a teacher at the auto-body school who said to me: “Judy, there’s no such thing as perfection. There’s only the illusion of perfection, and I’m going to teach you how to achieve that.”Judy Chicago, interview with Jeffrey Deitch, Purple 32

JUDY CHICAGO—LOS ANGELES

Through November 2.

Jeffrey Deitch

925 North Orange Drive, Los Angeles.

Judy Chicago, from top: Immolation, 1972, from Women and Smoke, photograph by Donald WoodmanARS, New York, printed 2019, ChromaLuxe metal print on aluminum; Birth Hood, 1965-2011, spray paint on hood of Corvair, courtesy of Salon 94 Gallery, New York, ADAGP 2018; Trinity, 1965/2019, Matthews polyurethane paint on stainless steel; Orange Atmosphere, 1968, courtesy of Through the Flower Archives; Pale Green Domes with Solid Core, 1968, sprayed acrylic lacquer on successive formed clear acrylic domes, courtesy of Salon 94 Gallery and the Jessica Silverman Gallery, San Francisco, photograph by Woodman, ARS, New York; Sky Flesh, 1971, sprayed acrylic lacquer on acrylic; Pink Atmosphere, 1971, Cal State Fullerton, photograph by Woodman, ARS, New York, printed 2019, ChromaLuxe metal print on aluminum; Pasadena Lifesavers Red Series #2, 1969–1970, sprayed acrylic lacquer on acrylic, photograph by Woodman, ARS, New York; Flight Hood, 1965/2011, spray paint on hood of Corvair, courtesy of Salon 94 Gallery, ADAGP 2018. Images courtesy and © the artist, the photographers, the publishers, and Jeffrey Deitch, Los Angeles.

BARBARA T. SMITH AT MARCIANO

This weekend, join Barbara T. Smith at the Marciano Art Foundation for a discussion about her performance practice.

Through various performances such as Ritual Meal (1969), Feed Me (1973), Intimations of Immortality (1974), and Birthdaze (1981), Smith contemplated ideas of spirituality, feminism, collective consciousness, the body, sexuality, and institutional power structures. She looked deep into human consciousness and found ways to embody these constructs through performance.*

PERFORMANCE, EMBODIMENT, SPIRITUALITY AND SEXUALITY WITH BARBARA T. SMITH

Saturday, October 5, at 2 pm.

Marciano Art Foundation

4357 Wilshire Boulevard, Los Angeles.

Barbara T. Smith, from top: Nude Frieze, 1972, documentation of performance; The Way To Be, 1972, performance, Henry Art Gallery, Seattle, courtesy of The Box, Los Angeles; Field Piece, 1968–1972, Hammer Museum; Feed Me, 1972, courtesy of Andrew Kreps Gallery; Fleeing, 1964, pen on paper, courtesy of The Box, Los Angeles; Birthdaze performance, 1981, courtesy of Andrew Kreps Gallery. Images courtesy and © Barbara T. Smith.

ON LYOTARD’S IMMATÉRIAUX

This weekend, join Daniel Birnbaum, Sven-Olov Wallenstein, Hans-Ulrich Obrist, and Koo Jeong A in conversation at Frieze London for the launch of Birnbaum and Wallenstein’s new Sternberg Press book SPACING PHILOSOPHY: LYOTARD AND THE IDEA OF THE EXHIBITION.

Birnbaum and Koo will also be in Berlin a week later.

“In 1985, the philosopher Jean-François Lyotard curated Les Immatériaux at Centre Georges Pompidou in Paris. Though widely misunderstood at the time, the exhibition marked a ‘curatorial turn’ in critical theory. Through its experimental layout and hybrid presentation of objects, technologies, and ideas, this pioneering exploration of virtuality reflected on the exhibition as a medium of communication, and anticipated a deeper engagement with immersive and digital space in both art and theory. SPACING PHILOSOPHY analyzes the significance and logic of Lyotard’s exhibition while contextualizing it in the history of exhibition practices, the philosophical tradition, and Lyotard’s own work on aesthetics and phenomenology. Les Immatériaux can thus be seen as a culmination and materialization of a life’s work as well as a primer for the many thought-exhibitions produced in the following decades.”*

DANIEL BIRNBAUM SVEN-OLOV WALLENSTEIN, HANS-ULRICH OBRIST, and KOO JEONG A IN CONVERSATION*

Friday, October 4, at 4 pm.

König Galerie Booth (B2), Frieze London

Regent’s Park, London.

DANIEL BIRNBAUM and KOO JEONG A IN CONVERSATION

Sunday, October 13, at 3 pm.

Julia Stoschek Collection

Leipziger Strasse 60, Berlin.

See “Ontologies of the Virtual,” an interview with Birnbaum and Wallenstein.

From top: Jean-François Lyotard; 1985 exhibition poster, designed by Grafibus, image courtesy and © Grafibus and Centre Pompidou; book cover image courtesy and © Sternberg Press.