Untitled - The Chinati Foundation

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2 4 8 16 18 30 34 Contents Contenido Letter from the Director Un mensaje de la directora MARIANNE STOCKEBRAND Endowment Report / Artists for Chinati Informe Fondo de Apoyo / Artistas por Chinati John Chamberlain in conversation with Klaus Kertess John Chamberlain conversa con Klaus Kertess For John Chamberlain Para John Chamberlain ROBERT CREELEY DONALD JUDD on John Chamberlain Donals Judd sobre John Chamberlain “In the Galleries,” Arts Magazine, February 1960 “En las Galerías,” Arts Magazine, febrero de 1960 “In the Galleries,” Arts Magazine, March 1962 “En las Galerías,” Arts Magazine, marzo de 1962 “Chamberlain: Another View,” Art International, December 1963 “Chamberlain: otro punto de vista,” Art International, 1963-64 “Young Artists at the Fair,” Art in America, August 1964 “Artistas jóvenes en la feria,” Art in America, agosto de 1964 “In the Galleries,” Arts Magazine, September 1964 “En las Galerías,” Arts Magazine, septiembre de 1964 Statement for exhibition catalogue, 7 Sculptors, ICA, Philadelphia, November 1965 Del catálogo de exhibición, 7 Escultores, ICA, Filadefia, Noviembre de 1965 Statement for Pace Gallery exhibition catalogue, November 1988 Del catálogo de exhibición Galería Pace, Noviembre de 1988 It’s All in the Fit A report on the John Chamberlain Symposium Todo está en el acomodo Un informe sobre el Simposia John Chamberlain DAVID TOMPKINS JOHN CHAMBERLAIN on John Chamberlain John Chamberlain sobre John Chamberlain 36 44 57 70 76 77 80 81 83 84 90 92 Disregarded, Ordinary, and Suspect Tony Feher at the Chinati Foundation Inadvertido, ordinario y sospechoso Tony Feher a la Fundación Chinati RUSSELL FERGUSON Josef Albers: To Open Eyes Josef Albers: Para abrir ojos BRENDA DANILOWITZ DONALD JUDD on Josef Albers Donals Judd sobre Josef Albers “In the Galleries,” Arts Magazine, December 1959 “En las Galerías,” Arts Magazine, diciembre de 1959 “In the Galleries,” Arts Magazine, April 1963 “En las Galerías,” Arts Magazine, abril de 1963 “Books,” Arts Magazine, November 1963 “Libros,” Arts Magazine, noviembre de 1963 “In the Galleries,” Arts Magazine, November 1964 “En las Galerías,” Arts Magazine, noviembre de 1964 Josef Albers, 1991, Chinati Foundation exhibition catalogue Josef Albers, 1991, Catálogo de exhibición de la Fundación Chinati Artists in Residence: July 2005 – June 2006 Artistas en residencia: Julio de 2005 a junio de 2006 DAVID TOMPKINS Artists in Residence Program Programa de artistas en residencia Open House 2005 Open House 2005 Internships Internados Children’s Art Classes 2006 Clases de arte en el verano 2006 Community Day Día de la Comunidad Membership and Funding Membresía y financiamiento Chinati Editions Ediciones Chinati Visitor Information Información para visitantes Acknowledgements Reconocimientos Credits Crédito Colophon Colofón Board of Directors Consejo Directivo Staff Personal
Message from the Director This October marks a significant date for Chinati: our fundraising campaign has been successfully completed, adding $10 million to Chinati’s endowment. The Lannan Foundation and the Riggio Family jointly issued a $5 million challenge grant, and Chinati’s task was to match this by raising another $5 million within one year, ending this October. This remarkable achievement was possible only through the generous contributions of so many friends and supporters. We are thankful to everyone who helped Chinati reach this greater level of financial stability—a crucial goal for a museum of this scale. The support recognizes Chinati’s outstanding collection and its very special situation, both artistically and geographically. Chinati’s uniqueness is the reason why we’re all deeply committed to the museum and why it is a challenge to give it the broad foundation necessary for the future. It is with great pleasure and gratitude that I acknowledge the contributions of so many funders, friends, and members who supported Chi- Un mensaje de la directora Este octubre marca una fecha signifi- cativa para Chinati: nuestra campa- ña de recaudación de fondos ha sido exitosa, aumentando en 10 millones de dólares las reservas de capital que apoyan el museo. La Fundación Lannan y la familia Riggio anunciaron un subsi- dio conjunto de 5 millones de dólares, que requería que Chinati recabara una cantidad igual por su cuenta dentro del año que finaliza este octubre. Este extraordinario logro fue posible por las generosas contribuciones de tantos amigos y personas que nos apoyan. Agradecemos sinceramente a todos los que ayudaron a convertir en realidad este sueño de alcanzar un mayor nivel de estabilidad económica, un objetivo clave para un museo como el nuestro. El apoyo brindado revalida la excelen- cia de la colección y su situación única, tanto artística como geográfica. Esta 2 nati over the past years and who also constitute a core group of donors to this campaign. Due to its remote setting, the museum requires a particular measure of funding continuity. We are therefore especially grateful to all who have previously supported special programs and operating expenses and are now helping with contributions to the endowment. A very fond thank you is extended to all those artists who have been immensely generous and have given us art works to support the endowment. The benefit auction, Artists for Chinati, held at Phillips de Pury on March 13, resulted in $1.8 million—far exceeding our expectations. Many of the contributing artists were motivated by their personal relationship to Donald Judd and remembered the support he had once given them. Regardless of such a personal connection, they all responded to Judd’s masterwork—the Chinati Foundation, which was created from an artist’s point of view, making the artists’ concerns its top priority. It was touching to sense this kind of solidarity across the generations. Without the Lannan Foundation’s and Riggio family’s challenge, Chinati could not have achieved this goal. We would like to express our particular gratitude to Patrick Lannan and Len Riggio, who jointly pledged $5 million, and to Michael Govan for laying the groundwork. Chinati’s board of directors responded very generously to the challenge by making leadership gifts to the campaign. Providing Chinati with a solid financial basis, one equipped to operate on a level suited to the achievements of the artists in its collection, was the common denominator for all participants and our motivation to reach the goal. Our second focus over the last twelve months was John Chamberlain. Chamberlain’s work is at the core of the Chinati Foundation, and while his sculptures in metal are known to a large audience, works in other materials are not. When he decided, in 1966, to put his work with colored metal to rest (only to take it up again in 1972), he began to work in other materials—urethane foam being one. 1966–67 and 1970 were the most productive years with this new material, which he formed into efflorescent, rounded, erotic shapes by cutting and tying it with cord. More than one hundred of these pieces were made at the time in different sizes and forms, sometimes sprinkled with color. Thirty-two of these works were unicidad es la razón por la cual todos sentimos un profundo compromiso con el museo y la necesidad de dotarlo de una amplia base económica para el fu- turo. Con muchísimo gusto y gratitud reco- nozco los aportes de tantas personas, amigos y miembros que han propor- cionado financiamiento a través de los últimos años y que constituyen un grupo solidario de donantes a esta campaña. Dada su ubicación remota, el museo depende de la continuidad de su financiamiento, y por lo tanto estamos par- ticularmente agradecidos a aquellas personas que habían apoyado nuestros programas previamente y que ahora nos ayudan con sus contribuciones adi- cionales al fondo de apoyo. Un agradecimiento muy especial a todos aquellos artistas que por su generosidad nos han obsequiado obras de arte en apoyo de este fondo. La subasta Artistas por Chinati, celebrada en Phi- llips de Pury el 13 de marzo, generó más de $1.8 millones, superando con mucho nuestra expectativa. Muchos de los artistas que colaboraron fueron motivados por su relación personal con Donald Judd, recordando el apoyo que él les había brindado a ellos. Sea como sea, todos respondieron ante la obra maestra de Judd, la Fundación Chinati, creada desde el punto de vista del artis- ta fundador, y concediendo la primera prioridad a las preocupaciones de los artistas. Esta solidaridad multigenera- cional ha sido verdaderamente conmo- vedora. Sin el reto de la Fundación Lannan y la familia Riggio, Chinati no podría haber llegado a esta meta. Quisiéramos expresar nuestro agradecimiento muy especial a Patrick Lannan y Len Riggio, que se comprometieron a aportar $5 millones, y a Michael Govan por haber preparado el terreno. La Mesa Directiva de Chinati respondió con generosidad, tomando la iniciativa con sus donativos. Asegurar una base financiera sólida para Chinati, a la par con la calidad de los artistas de su colección, fue el común denominador para todos los que parti- ciparon y la motivación para alcanzar la meta. Nuestro segundo enfoque durante los últimos doce meses ha sido John Cham- berlain, cuya obra es central a la Fun- dación. Aunque su trabajo en metal son bien conocidas por un amplio público, otras obras suyas no lo son. Cuando decidió, en 1966, abandonar sus obras en metal de color (sólo para reanudarlo en 1972), comenzó a trabajar con otros materiales, entre ellos el hule espuma de poliuretano. Los años más produc- tivos con este material fueron 1966-67 y 1970, cuando produjo formas redon-
Page 4 and 5: gathered for an exhibition at China
Page 6 and 7: Laurel Gonsalves Elvira González D
Page 8 and 9: Josef Albers Carl Andre Ingólfur A
Page 11 and 12: CONVERSATION WITH JOHN CHAMBERLAIN
Page 13 and 14: K K : As different as that was, at
Page 15 and 16: K K : And how far did that get you?
Page 17 and 18: UNTITLED,1991, PANORAMIC PHOTOGRAPH
Page 19 and 20: RO B E R T C R E E L E Y para john
Page 21 and 22: REDWING, 1960, PAINTED STEEL. on Do
Page 23 and 24: MISS LUCY PINK, 1962, PAINTED AND C
Page 25 and 26: ists who have combined old and new
Page 27 and 28: UNTITLED, c.1964, CAR PAINT AND CHR
Page 29 and 30: JOHN CHAMBERLAIN BUILDINIG, CHINATI
Page 31 and 32: DAVID TOMPKINS It’s All in the Fi
Page 33 and 34: fore us. An intuitive response, on
Page 35 and 36: UNTITLED, 1966, URETHANE FOAM AND C
Page 37 and 38: RUSSELL FERGUSON Disregarded, Ordin
Page 39: N.A.L.P. WITH THREE GUYS FROM DELAN
Page 42 and 43: specting the pre-existing context s
Page 44 and 45: N.A.L.P. WITH THREE GUYS FROM DELAN
Page 46 and 47: VIEW ACROSS THE SWANNANOA VALLEY TO
Page 48 and 49: education, Rice and his co-defector
Page 50 and 51: LEAFLET SHOWING ALBERS’S LOGO DES
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students identified themselves with
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instead of second hand analysis and
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14 Josef and Anni Albers, interview
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JOSEF ALBERS, HOMAGE TO THE SQUARE
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that price it is an institutional p
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general view are absent. They were
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WINDOW OF ADOBE HOUSE, UNDATED, 194
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Before the conclusion Larson wrote
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absent, say that what is present is
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intensity of the color varies accor
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sertive and retiring, stolid and pr
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BRIAN KIRK NELMS, UNTITLED, 2006. L
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OLIVER CROY, ALL FANTASIES, GENTLEM
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Open House 2006 The Chinati Foundat
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THE DANDY WARHOLS AND FRIENDS VISIT
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CAITLIN MURRAY KATHERINE KORDARIS A
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MAYOR DAVID LANMAN AND CHINATI ADMI
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Anna Friebe-Reininghaus Yoko Fukuda
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Emerson Head Josef Helfenstein Mart
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David B. Walek Jeanne & John (Ned)
Page 92 and 93:
John Wesley B’s Stair, 2001 Five
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Untitled - The Chinati Foundation

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