Getty Foundation Grants

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CHANGING A DEEP CULTURAL STEREOTYPE IS ABOUT AS EASY. AS LANDING A ROBOT ROVER ON MARS NOT IMPOSSIBLE BUT. SOMETHING OF A MIRACLE WHEN IT FINALLY HAPPENS PACIFIC. STANDARD TIME DID THAT AND THE ACHIEVEMENT DESERVES. RECOGNITION,CHRISTOPHER KNIGHT,LOS ANGELES TIMES SEPTEMBER 21 2012. Introduction, FOR THE VISUAL ARTS PACIFIC STANDARD TIME is more than a time. zone It is the name of a region wide collaboration of arts institutions across. Southern California led by the Getty and specifically made possible through. Getty Foundation grants This collaboration has produced hundreds of linked. art exhibitions scholarly publications and public programs all of which. would not have been possible without research and planning behind the. scenes activities necessary for the success of public projects and a pillar of. the Foundation s grantmaking since we opened our doors nearly thirty five. Pacific Standard Time was born in 2002 when arts advocate Lyn Kienholz. and the late museum director Henry Hopkins called me and drew my at. tention to the fact that we were losing the history of post World War II. art in Los Angeles Many of the main characters artists dealers critics. and curators were aging and passing away and their papers were lost or. about to be destroyed Foundation senior staff members were intrigued by. the problem so we decided to take up the challenge Little did we realize. that what we thought would be a few grants to rescue local records would. become a huge initiative, At the same time our colleagues at the Getty Research Institute GRI were. deeply interested in the art of the postwar period They were undertaking. research projects building collections documenting the period through oral. histories and offering public programs about this area of art history The. Foundation and the GRI joined forces to create what became Pacific Standard. Time Art in L A 1945 1980,PREVIOUS PAGE LEFT, Carlos Cruz Diez Chromosaturation Helen Pashgian untitled 1968 69 Cast. 1965 2017 Installation view from Kinesthesia polyester resin 8 in diameter Collection. Latin American Kinetic Art 1954 1969 Palm Museum of Contemporary Art San Diego. Springs Art Museum Photograph by Lance Museum purchase International and. Gerber Contemporary Collectors Funds Photo Philipp. Scholz Rittermann Helen Pashgian, The Foundation began with a series of survey grants to locate the most im.
portant documents in public and private hands and then funded projects to. make those archives in nonprofit institutions accessible to scholars As the. archival projects progressed there were many interesting stories to tell about. art of the postwar decades with the stories seemingly having the potential. to change the understanding of modern art We decided therefore to fund. a few exhibitions in order to share these findings with a wider audience. We were surprised when the initiative ultimately grew to include sixty eight. exhibitions with more than half of them funded by the Foundation and. an eleven day performance art festival, Although the Getty and our planning partners the Los Angeles County. Museum of Art LACMA the Hammer Museum and the Museum of. Contemporary Art MOCA created the framework Pacific Standard Time. was not a top down enterprise Each grantee chose a topic to address within. the general framework as did the Getty programs The collaborative spirit. of our colleagues across Southern California was remarkable considering. that exhibitions stretched from Santa Barbara to San Diego and from Los. Angeles to Palm Springs Despite these great geographical distances and the. famous Southern California traffic partners shared information participated. fully in planning and outreach meetings developed regional activities and. demonstrated the extraordinary and rather unique collegiality of our local. arts community, Pacific Standard Time Art in L A 1945 1980 launched in fall 2011 The. exhibitions were a critical success leaving a legacy in the form of more. than forty catalogues previously just one book had been published on the. period Although we initially did not conceive of Pacific Standard Time as. an ongoing enterprise we followed the first occurrence with a much smaller. collaboration in 2013 focusing on modern architecture in Los Angeles Next. the Getty consulted with our planning partners this time also including the. UCLA Chicano Studies Research Center to create the next large initiative. We chose as the topic Los Angeles and Latin America due to L A s origins it. was established in 1781 as part of New Spain and current demographics. approximately fifty percent Latino, Pacific Standard Time LA LA Los Angeles Latin America launched in fall. 2017 An even more immense undertaking than the first initiative this ver. sion featured ambitious education and performing arts programs added. to the mix of exhibitions programs and a performance art festival The. Foundation also facilitated many more collaborative meetings both intel. lectual and practical involving grantees, It took hundreds of people across California and around the world to produce. the first two iterations of Pacific Standard Time I must thank the curatorial. teams and other colleagues collectively because there are too many to list. individually but I want to single out a few individuals who played an abso. lutely crucial role Most of all I would like to acknowledge Joan Weinstein. Getty Foundation Andrew Perchuk GRI Ron Hartwig formerly Getty. Trust Communications and Gloria Gerace Pacific Standard Time Managing. Director and more recently Heather MacDonald and Selene Preciado both. Getty Foundation In addition Pacific Standard Time would not have hap. pened without the support of former Getty board chairs Louise Bryson and. Mark Siegel and current board chair Maria Hummer Tuttle We are also. grateful to Bank of America and the group of foundation and individual. funders who supported both incarnations of Pacific Standard Time. The Foundation s philanthropy has been guided by the desire to create new. knowledge through supporting research and to present the results to the. public through exhibitions programs educational offerings and publications. The report that follows focuses on the impact of the Getty Foundation s. grantmaking within the Pacific Standard Time initiatives. Deborah Marrow,Director The Getty Foundation,August 2018.
Pacific Standard Time LA LA publications the,majority of which were supported by the Getty. Foundation,Pacific Standard Time,Art in L A 1945 1980. PACIFIC STANDARD TIME ART IN L A 1945 1980 served as a decisive. moment for the visual arts community of Southern California The initiative. put an era of overlooked artistic production on the map through a partnership. of unprecedented scale For six months beginning in October 2011 museums. large and small presented a wide range of exhibitions that mirrored the. diversity of the period s art and of the communities that make up the region. From African American assemblage art to the feminist art of the Women s. Building and from Mexican American artists of the 1950s to the Light and. Space artists who incorporated the latest technologies into their work the. diverse and innovative practices of many underrecognized artists were made. accessible to audiences across the region and from elsewhere in the world. The Foundation had three specific goals for Pacific Standard Time Art in L A. 1945 1980 The first was to rescue an endangered history of L A art making. it accessible to future generations In the early 2000s the archival record. of L A s art history was languishing in cartons and files all over Southern. California difficult to access and in some cases at risk of being lost or. destroyed Through Foundation grants to thirteen institutions significant. archives of artists gallerists curators and critics all of whom played a vital. role in the history of postwar art across the region were successfully identified. catalogued and made available to scholars These collections ranged from the. institutional archives at LACMA MOCA and the California Institute of the. Arts CalArts to artists papers at the UCLA Chicano Studies Research Center. and the Smithsonian s Archives of American Art In addition to collecting. significant archives of artists dealers curators and other art world figures the. GRI conducted nearly 100 oral histories Institutions participating in Pacific. Standard Time used Getty Foundation support to generate 250 more oral. histories all now permanently part of the GRI Special Collections. Robert Irwin Untitled 1968 69 Acrylic,lacquer on formed acrylic plaster 54 in. diameter The Museum of Contemporary Art,Los Angeles Gift of Lannan Foundation 97 56. 2018 Robert Irwin Artists Rights Society,ARS New York.
The second goal was to create broad recognition of the international. significance of art in Los Angeles Before Pacific Standard Time the general. belief was that Los Angeles had no art scene worth mentioning prior to the. 1980s The myth of the provincialism of art made in Los Angeles existed for. several reasons the art world s New York bias the fact that Los Angeles. was never particularly interested in its own history and the lack of primary. documents available to scholars, With Pacific Standard Time Los Angeles embraced its artistic heritage. and demonstrated the ways in which the freewheeling creative climate of. Southern California less tethered to tradition than Europe or New York led. to significant achievements from Hard Edge painting the Light and Space. movement and the feminist art movement to Chicano art assemblage and. sculptural ceramics As art critic Roberta Smith wrote in her review of the. initiative in The New York Times It sharply divides our knowledge of postwar. art not just Californian but American into two periods before and after. Pacific Standard Time Before we knew a lot and that lot tended to greatly. favor New York After we know a whole lot more and the balance is much. more even One of the many messages delivered by this profusion of what. will eventually be nearly seventy museum exhibitions is that New York did. not act alone in the postwar era,Ed Ruscha The Back of Hollywood 1977 Oil on. canvas 22 x 80 in Collection of Musee d Art,Contemporain de Lyon France Edward. Ruscha Studio Photo Paul Ruscha,ASCO Instant Mural 1974 Color photograph. of performance From left Gronk and Patssi,Valdez 1974 Harry Gamboa Jr.
What distinguished the exhibitions and made critics stand up and take. note was not just their breadth but also their depth they were based on. innovative research made possible by access to the newly recovered and. organized archives Getty Foundation grants supported research and planning. for more than thirty seven of the exhibitions bringing scholars from all over. the world to Los Angeles and providing the time and resources necessary for. original scholarship The Foundation also provided publication support for. the majority of the resulting exhibition catalogues leaving a legacy of new. research on which to build After the first Pacific Standard Time initiative. college and university professors had the body of literature necessary to. teach the history of art in Los Angeles which has also formed the basis for. continued scholarship on the period,ABOVE RIGHT, Cliff May Homes Inc Presentation drawing David Hockney A Bigger Splash 1967 Acrylic. for Model Home 1956 Rendering by Arthur on canvas 96 x 96 in David Hockney. Lonergan Courtesy University Art Museum Collection Tate Gallery London 2011. UC Santa Barbara, The initiative also generated serious attention for previously underrecognized. Southern California artists As Los Angeles Times art critic Christopher Knight. summed up Major museums outside of Los Angeles featured more of. their art and acquired key works by artists included in Pacific Standard Time. exhibitions Moreover shows that were not originally scheduled to travel. were picked up by other museums after they opened to critical acclaim. The third goal was to create a new model for large scale collaboration Before. Pacific Standard Time there was no model for such an extended and intensive. cooperation among cultural institutions Nevertheless it was clear that. working together closely would be necessary to connect the contributions of. dozens of partners From the beginning the aim was to balance the individual. needs of the museums and the needs of the group From sharing curatorial. checklists to investing considerable time and effort on an innovative shared. marketing campaign that tied all the exhibitions together the collegiality of. the cohort became a hallmark of the initiative,LEFT ABOVE. Betye Saar Black Girl s Window 1969 Edward Kienholz Back Seat Dodge 38 1964. Assemblage in window 35 3 4 x 18 x 1 1 2 Paint fiberglass and flock 1938 Dodge. in Collection of Museum of Modern Art New recorded music and player chicken wire beer. York NY Gift of Candace King Weir through bottles artificial grass and cast polyester. The Modern Women s Fund and Committee figures 66 x 120 x 156 in LACMA Purchased. on Painting and Sculpture Funds Courtesy of with funds provided by the Art Museum. the artist and Roberts Projects Los Angeles Council Fund Courtesy of LACMA. CHRISTOPHER KNIGHT LOS ANGELES TIMES SEPTEMBER 21 2012 FOR THE VISUAL ARTS PACIFIC STANDARD TIME is more than a time zone It is the name of a region wide collaboration of arts institutions across Southern California led by the Getty and specifically made possible through Getty Foundation grants This collaboration has produced hundreds of linked art exhibitions scholarly publications

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