Untitled - The Chinati Foundation

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gathered for an exhibition at Chinati that was on view from October 2005 to May 2006, the first comprehensive show of this group since 1966. Simultaneously, another largely unknown group of work was shown: Chamberlain’s photographs. Forty of his pictures were on view, all taken with a panoramic camera over the last two decades. You’ll find more on Chamberlain and his work on page 8, including a conversation that took place between Klaus Kertess and Chamberlain during Chinati’s Open House last October. Kertess, deeply knowledgeable of the artist’s oeuvre, encouraged Chamberlain to talk about the wide array of aspects of his career. In order to expand and galvanize research, Chinati held a symposium on John Chamberlain’s work, entitled It’s All in the Fit. Eight lectures were presented during a weekend last April, discussing the oeuvre from different points of view and connecting it to deadas y eróticas cortando y amarran- do el hule espuma con cordones. Hizo más de cien obras de esta naturaleza en diferentes formas y tamaños, a ve- ces provistas de color. Se recopilaron 32 de estas obras para una exhibición en Chinati de octubre de 2005 a mayo de 2006, el primer muestreo comprehensi- vo desde 1966. Simultáneamente, se exhibió otro gru- po prácticamente desconocido de sus obras, a saber, sus fotografías. Se pu- dieron apreciar 40 de sus fotos, todas tomadas durante las últimas dos déca- das con una cámara panorámica. Para ver más sobre Chamberlain y su obra vaya a la página 8, particularmente la conversación entre Klaus Kertess y Chamberlain durante nuestra Open House del año pasado. Kertess, que co- noce a fondo la obra del artista, animó a Chamberlain a conversar sobre los variados aspectos de su carrera. Para ensanchar y galvanizar las inves- tigaciones, Chinati celebró un simposio sobre la obra de Chamberlain intitulado 3 the historical context. Individual talks focused on his drawings, his lacquer paintings from the 1960s, and his photographs, as well as on the relationship between Judd and Chamberlain. A concluding panel discussion emphasized again that this great body of work has many areas still open for further research. Two publications on Chamberlain are in preparation. The first is a catalogue of the foam sculptures that will document the Chinati exhibition and also list all the locatable work that exists from this group. The second publication will concentrate on the symposium, and will include all eight lectures as well as the concluding panel discussion. It will be the fourth volume in our series of symposia publications. With best regards from Marfa, Marianne Stockebrand Todo está en el acomodo. Durante un fin de semana de abril se presentaron ocho conferencias, que abarcaron esta obra desde diferentes puntos de vista y la vincularon con su contexto histórico. Las charlas examinaron sus dibujos, sus pinturas de laca de los sesentas, y sus fotografías, así como la relación entre Judd y Chamberlain. La última mesa redonda enfatizó nuevamente que la vas- ta obra de Chamberlain ofrece todavía áreas que investigar. Dos publicaciones sobre Chamberlain están en preparación: un catálogo de las esculturas de hule espuma que in- cluirá todas las obras disponibles de este tipo, y una segunda publicación de- dicada al simposio, que reunirá las ocho conferencias y la última sesión de mesa redonda. Éste será nuestro cuarto volu- men de la serie de actas de simposios. Con mis mejores deseos desde Marfa, Marianne Stockebrand JOHN CHAMBERLAIN: FOAM SCULPTURES (1966-1979), INSTALLATION VIEW, CHINATI FOUNDATION.
Endowment Report In 1997, the Chinati Foundation established an Endowment Fund to provide revenue necessary to support the museum’s annual operations and programs and to establish a conservation program. The Endowment is vital to Chinati’s future as the fund addresses the unique financial challenges the museum faces due to its location and Donald Judd’s allencompassing mission of art, architecture, and the landscape. Last fall Chinati was honored to receive a $5 million challenge grant from the Lannan Foundation and the Riggio family to help increase the Endowment. With tremendous support from artists, our board of directors, members and friends, Chinati has successfully met the challenge. We would like to express our deep appreciation to Patrick Lannan and Len Riggio, and to the following people and organizations that have generously contributed to the campaign. Informe Fondo de Apoyo En 1997, la Fundación Chinati estable- ció un Fondo de Apoyo al museo para proveer los ingresos necesarios para nuestros programas y operaciones anuales y para crear un programa de conservación. Este Fondo es vital para el futuro de Chinati, ya que aborda los retos económicos únicos que el museo enfrenta, dada su ubicación y la misión global de Donald Judd, que abarca arte, arquitectura y paisaje. El otoño pasado Chinati tuvo el honor de recibir un sub- sidio de cinco millones de dólares de la Fundación Lannan y la familia Riggio para incrementar este Fondo. Para te- ner derecho a este donativo debíamos reunir una suma igual proveniente de otras fuentes. Con el extraordinario apoyo de artistas, nuestra mesa di- rectiva, miembros y amigos, Chinati ha logrado recaudar dicha cantidad. Queremos expresar nuestro profundo agradecimiento a Patrick Lannan y Len Riggio y a las siguientes personas y or- ganizaciones que han contribuido tan espléndidamente a esta campaña. 4 William C. & Elita T. Agee Josef and Anni Albers Foundation Brooke Alexander Claire & Douglas Ankenman Charles & Christine Aubrey Milton & Sally Avery Arts Foundation Diane Barnes & Jon Otis Jamie & Elizabeth Baskin Douglas Baxter Daphne Beal & Sean Wilsey Toni & Jeff Beauchamp Deborah Berke Jill Bernstein Dagmar & Christopher Binsted Mona Blocker Garcia Kristin Bonkemeyer & Douglas Humble Udo Brandhorst Jake & Cookie Brisbin Isabel Brown Wilson Elizabeth & Joshua Burns William Butler Paula & Frank Kell Cahoon Kay & Elliott Catarulla Jennifer Chaiken & Sam Hamilton Carla Charlton & Thilo Weissflog Andrew B. Cogan & Lori Finkel Mrs. Quarrier B. Cook Roberta M. & Thomas Corbett Mary Crowley Tim & Lynn Crowley Rob Crowley & Francesca Esmay Margaret Curlet John W. & Arlene J. Dayton Janie & Dick DeGuerin Claire Dewar Dennis Dickinson Fred & Char Durham David Egeland & Andrew Friedman Harold Eisenman Trine Ellitsgaard Gail English Erika Erich Vernon & Amy Faulconer Rae & Robert Field Phyllis & George Finley Hamilton Fish & Sandra Harper Stephen Flavin J.F. Fort & Marion Barthelme Fort Mack & Cece Fowler Maxine & Stuart Frankel Rebecca & J.K. Frenkel R. H. Fuchs Jennifer Gibbs Robert Gober & Donald Moffett Jim & Nan Gomez-Heitzberg
Page 2 and 3: 2 4 8 16 18 30 34 Contents Contenid
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
Page 52 and 53: students identified themselves with
Page 54 and 55:
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
Page 66 and 67:
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
Page 76 and 77:
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
Page 88 and 89:
Emerson Head Josef Helfenstein Mart
Page 90 and 91:
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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