1999/2000 EXHIBITIONS

Exhibitions are listed in chronological order, the most recent at the top.

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June 25 – September 3, 2000
Robert Overby: Parallel, 1978 - 1969

This exhibition will examine the work of Los Angeles-based artist Robert Overby (1935-1993), who also worked as a successful graphic designer. After a brief period of public activity in the 1970s, Overby decided not to exhibit his fine art. Considered a classic "California experimenter," Overby’s work ranged from geometric abstract paintings in acrylic and oils to resin casts of everyday objects, as well as monumental latex rubber casts of architectural details and walls. An influential figure and an inspirational teacher, Overby had a passionate following among artists. He challenged notions of originality and had a conceptual commitment to the free exchange of ideas, as evidenced in a self published book titled 336 to 1, August 1973-July 1969, where he reproduced every art work he created in those years. The Hammer exhibition is conceived by curator Terry R. Myers as the beginning of the “public” life of Overby’s 1970s production. It will consist of approximately 30 to 35 objects – including latex casts of walls, doors, staircases and an entire façade of a building. This exhibition is curated by Myers for the UCLA Hammer Museum.


June 25 – September 3, 2000
The Prinzhorn Collection:
Traces upon the "Wunderblock"


The Prinzhorn Collection was assembled by psychiatrist and art historian Hans Prinzhorn and his colleagues at the beginning of this century, with the idea of creating a “museum of pathological art.” Together with the director of the psychiatric clinic at the University of Heidelberg, Prinzhorn sought “productions of pictorial art by mental patients that were…intended as expressions of their personal experience.” The collection gained widespread attention when Prinzhorn published “Expressions of Insanity” in 1921. This book became a source of inspiration for numerous European artists between


Else Blankenhorn, "Untitled,"
oil on canvas. The
Prinzhorn Collection,
University of Heidelberg.
the World Wars, and for American artists after 1945. During this era many artists were attempting to transgress an existing formal visual language by exploring spontaneous acts of creation and the unconscious, seeking what Paul Klee called “the primal beginnings of art.” The first exhibition of the collection to be organized in America, “Traces upon the ‘Wunderblock’” is curated by Catherine de Zegher, executive director of The Drawing Center, New York.


June 25 - Sept. 3, 2000
Siobhan Liddell

Siobhan Liddell, a British-born, New York City-based artist, uses ephemeral materials like paper, string, thread, pins, glass and straws to create sculptures and mixed-media installations that explore the nature of visual perception and illusion. Liddell's Hammer Projects installation in the Museum's Vault Gallery will include folded paper sculptures that cast colored shadows against the floors and walls, papier-mache and plaster molds cast from the artist's body, and delicate glass objects that suggest the fragility of human relationships. Liddell's work was included in the 1995 Whitney Biennial. The exhibition brochure features an essay on Siobhan Liddell's work by Anna Blume, Ph.D., a writer based in New York City.


June 25 - Sept. 3, 2000
James Gobel

James Gobel, an artist based in Santa Barbara, California, will present his series of mixed-media collage portraits of various heavyset gay men who comprise an often ignored subculture of the gay community referred to as "bears." Gobel's meticulous attention to detail and his use of felt, yarn, and fabric - all supple and highly tactile materials usually associated with homemade handicrafts - imbues his gently humorous portraits with a sense of loving familiarity and intense devotion. Referencing Pop art as well as the portraits of Jean-August-Dominique Ingres, Gobel's paintings celebrate the unsung sensuality of chubby men. The exhibition brochure features an essay on the work of James Gobel by New York-based artist Nayland Blake.

April 26 – June 4, 2000

C.O.L.A.

This exhibition will feature new work made by recipients of the City of Los Angeles Cultural Affairs Department’s individual artist grants as part of its 1999-2000 Visual Arts Fellowships. On view will be recent work by C.O.L.A. Fellows Lynn Aldrich, Nancy Buchanan, Ingrid Calame, Carole Caroompas, Barbara Carrasco, John Divola, Robbert Flick, Michael Gonzalez, Daniel Martinez, Susan Mogul, Linda Nishio and Millie Wilson. Curated by Noel Korten, Director of Exhibitions at the Municipal Art Gallery and Mark Johnstone, Director of the Public Art Program, City of Los Angeles, the C.O.L.A. exhibition is co-presented by the City of Los Angeles and the UCLA Hammer Museum.


John Divola, "As far as I
could get(10 seconds)"
(detail), black and white
photograph, 1996.
Courtesy the artist.


Likeness: Recent Portrait Drawings by David Hockney

David Hockney's portrait drawings in this exhibition represent recent work made using reflected images produced by a small glass prism mechanism, the camera lucida. His experiments with this technique illustrate his theory, recently outlined in an article in The New Yorker, that the development of such technology during the early Renaissance could explain the dramatic improvements in the rendering of perspective and proportion by artists of that period. The exhibition will also include laser-copy blow-ups of the drawings to more clearly illustrate the process and quality of the lines produced by the camera lucida technique.


Also. . . .
New installations of art from the Armand Hammer Honore Daumier Collection and the Grunwald Center for the Graphic Arts.


February 6 – April 2, 2000:

Examining Pictures: Exhibiting Paintings

Organized by The Museum of Contemporary Art (MCA), Chicago, “Examining Pictures” is a provocative analysis of international contemporary painting. “Examining Pictures: Exhibiting Paintings” presents the work of 55 artists—including John Baldessari, Toba Khedoori, Vija Celmins, Laura Owens, Gary Hume, Ed Ruscha, and Elizabeth Peyton—within an historical context, establishing links with works by artists of earlier generations, such as Andy Warhol, Sigmar Polke, Anselm Kiefer and Francis Bacon.


Luc Tuymans, "Diagnostic
View IV," o/c, 1992.
De Pont Tilburg, NL;
courtesy Galerie Zeno X.
Each artist is represented by one work in the exhibition. Establishing points of convergence and disruption between works separated by time, “Examining Pictures: Exhibiting Paintings” presents the viewer with a maze of memories, concepts, stories, and flashbacks on the subject of painting. This exhibition was organized by the Museum of Contemporary Art (MCA) Chicago and the Whitechapel Art Gallery in London, and was curated by the MCA’s Manilow Senior Curator Francesco Bonami and the Whitechapel’s Head of Programming Judith Nesbitt.



Sister Corita Kent, "Come
Alive", serigraph, 1967.
Power Up: Sister Corita and Donald Moffett, Interlocking

Concerned with social and political issues ranging from conflicts between radical and conservative positions in the Catholic church to gay and AIDS-activist movements, artists Sister Corita Kent (1918-1986) and Donald Moffett (b.1955) create art with a distinct message. Both artists use cut-and-paste techniques to form compositions that visually communicate their political and life-affirming message to the viewer.
The serigraphs of Sister Corita and the mixed media works of New York-based Moffett are juxtaposed to show both artists and their works in a new context. Organized by artist Julie Ault, “Power Up” is an expanded version of an exhibition she organized for the Wadsworth Atheneum in Hartford, Connecticut. Ault has drawn from the Grunwald Center’s comprehensive collection of Sister Corita Kent’s work for this exhibition.

Barry McGee: Wall Painting

Barry McGee, a San Francisco-based artist also known by his street tagger alias “Twist,” will create an installation for the lobby of the UCLA Hammer Museum. Using graffiti tags, empty word balloons, cartoonish emblems and his signature “sad sack” stubble-faced figure, McGee links contemporary street art to Depression-era iconography. He explores the often humorous ills of postmodern city life, combining graffiti, drawings, paintings and found objects in installations that attempt to capture both the melancholia and the sensory overload we experience while walking down the street of any contemporary American city.

Margaret Kilgallen

Margaret Kilgallen, a San Francisco-based artist, will exhibit works in the Vault Gallery at the UCLA Hammer Museum. Employing hand-lettering and iconography reminiscent of hobo train markings and early American signage, Kilgallen paints images onto various materials, including discarded paper endsheets from books, metal galley trays once used to store letterpress type, and primed wood. She combines these objects with images, shapes and letters painted directly on the wall, along with found objects such as used soap cakes and matchboxes filled with insects, seeds and other organic materials.


Barry McGee, installation
detail, mixed media, 1997.




Margaret Kilgallen,
installationdetail,
mixed media, 1997.



September 22 - January 2, 2000:

Oscar Wilde

The Grunwald Center for the Graphic Arts presents a lively exhibition about Oscar Wilde (1854-1900), selected from the vast holdings of The Oscar Wilde Collection at the William Andrews Clark Memorial Library, UCLA. The Clark Library’s collection is the finest of its kind in the world. In addition to holding virtually every book by or about Wilde, the collection also includes manuscripts, proofs, letters, and photographs, as well as art, illustrations, and material by Wilde’s contemporaries. Since the Clark Library does not loan to institutions outside of UCLA, the exhibition at the Hammer provides the general public with the rare opportunity to view selections from its remarkable collection.


Photograph of Oscar Wilde
by Napoleon Sarony,
New York, 1882.
Collection of the
William Andrews Clark
Memorial Library, UCLA.



Oscar Wilde – Irish wit, poet, critic, and dramatist – was a proponent of the aesthetic movement, based on the principle of art for art’s sake. He has continued to have a lasting influence in many spheres of contemporary life. A true celebrity, noted for his style, fashion, and witticisms, Wilde provoked public acclaim and criticism for his flamboyance and critique of Victorian pomposity. He embarked on a lecture tour of America and Canada in 1882, announcing on his arrival at U.S. Customs in New York City, “I have nothing to declare but my genius.” Joseph Bristow of UCLA’s Department of English writes of Wilde in the Clark Library newsletter: “Brilliant raconteur, eminent playwright, sexual outlaw, society wit, victimized genius: these components of the Wilde myth, which made him a legend in his own time, certainly endure in cultural memory.” Wilde’s famous civil and criminal trials regarding his homosexuality prefigure and inform contemporary civil-rights and identity-politics issues. As Bristow writes further: “Current scholarship is producing many different Oscar Wildes, whose aesthetics, nationality, politics and sexuality appear more complex than ever before.”

The “Oscar Wilde” exhibition will include a selection of Wilde’s books and other related material, including works by Charles Ricketts, Aubrey Beardsley and other illustrators. Highlights will include drawings by Ricketts, and a copy of the first edition of Wilde’s only novel, The Picture of Dorian Gray (1890-1891), inscribed to Lord Alfred Douglas (“Bosie”), whose relationship with Wilde prompted the accusation of, and subsequent trials for, sodomy. Also included will be Aubrey Beardsley’s celebrated illustrations for the 1894 publication of Salome; programs, announcements and posters for Wilde’s plays; caricatures by Max Beerbohm; and photographs of Wilde.

This exhibition is co-organized by the Grunwald Center for the Graphic Arts, UCLA and the William Andrews Clark Memorial Library, UCLA and is curated by Cynthia Burlingham and Karen Mayers of the Grunwald Center.

Secret Victorians: Contemporary Artists and a 19th-Century Vision

Organized by independent American curators Melissa E. Feldman and Ingrid Schaffner, Secret Victorians seeks to illuminate a Victorian sensibility flourishing within contemporary British and North American art. The works in this exhibition challenge notions of modernity by suggesting continuities, rather than breaks, with nineteenth-century social and cultural precepts.

Lewis Carroll, Charles Darwin, Sir Arthur Conan Doyle, and George Eliot were just some of the Victorians who embodied the intellectual curiosity and ingeniousness of the period, combined with more than a hint of eccentricity. As the Victorian era itself undergoes a reexamination and revisionism in criticism, films and biographies, this exhibition examines ways that twenty contemporary artists from the United States and the United Kingdom delve into some of the interests, pastimes and obsessions of the period.


Simon Periton, "Doily for
Christopher Dresser," pink
paper, 1996.
© Simon Periton;
courtesy Sadie
Coles HG, London.




The curators note in the exhibition catalogue’s introduction: “Secret Victorians features work that evokes, not mimics, the Victorian through its imagery, materials, or processes.” British photographer Mat Collishaw has taken up the Victorian enthusiasm for capturing fairies on film. American artist Kara Walker puts a provocative twist on Victorian silhouette portraiture. There is a reflection of the Victorian era’s science-minded approach to the female domain in the work of Laura Stein, who creates her living sculptures through horticulture experiments, and in Suzanne Bocanegra’s assembling and labeling of domestic objects.

The exhibition is organized around a series of interdependent themes, under which the works have been grouped: “Ornament & Sexuality;” “Photography & Death;” “Collecting & Colonialism;” and “Science & Crime.” It presents the work of the following artists from the United States: Suzanne Bocanegra, Saint Clair Cemin, Jane Hammond, Bill Jacobson, Sally Mann, Joan Nelson, Lari Pittman, Elliott Puckette, Laura Stein, Hiroshi Sugimoto, and Kara Walker; and work by these artists from the United Kingdom: Glenn Brown, Helen Chadwick, Mat Collishaw, Jeffrey Dennis, Douglas Gordon, Louise Hopkins, Simon Periton, Steven Pippin, and Yinka Shonibare.
Secret Victorians is a National Touring Exhibition curated by Melissa E. Feldman and Ingrid Schaffner and organized by the Hayward Gallery, London, on behalf of the Arts Council of England. An 80-page illustrated catalogue with an essay by the curators accompanies the exhibition.

Kara Walker:
No mere words can Adequately reflect the Remorse this Negress feels at having been Cast into such a lowly state by her former Masters and so it is with a Humble heart that she brings about their physical Ruin and earthly Demise


Using paper cut-out silhouettes, Walker creates provocative narrative tableaux that explore the legacies of slavery, plantation life, African-American character stereotypes, and other related subjects. Walker’s life-sized figures are imbued with a fictive life of their own, their epic scale inviting comparison both to history painting and to the cyclorama, a nineteenth-century circular panoramic device that surrounded viewers with painted scenes of significant historical events. Originally commissioned by Capp Street Projects of the CCAC Institute at the California College of Arts and Crafts, the Los Angeles presentation of this installation is made possible through the generous support of The Horace W. Goldsmith Foundation and The Peter Norton Family Foundation.

Tania Mouraud: Wall Painting

Playing on highly charged words or isolated catchphrases, Paris-based artist Tania Mouraud deploys large black and white block letters that span the height and length of the entire wall. These elongated, minimalist-inspired forms slowly take shape in the viewer’s mind, as each word is deciphered, letter by letter. The time it takes to “read” the words makes viewers highly aware of the perceptual strategies they bring to the work of art. Mouraud’s word paintings construct a dynamic space between viewer and artwork that is at once fluid and unstable, where ordinary language is de-familiarized and made unexpectedly disorienting. Mouraud’s installation marks the Museum’s participation in Côte Ouest: A Season of French Contemporary Art, which is taking place at over thirty West Coast venues this fall.


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