Untitled - The Chinati Foundation

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intensity of the color varies according to the expanse of the areas. And, famously, the color varies according to the colors surrounding it and it also has an identity as a changed color. Each band is three different colors, one repeated. The painting is one single whole and is as complex as a metope. The scheme of squares and the corresponding change of color provide changes in proportion, which is unusual in recent art, and which I am interested in my own work. In this painting the central square is moderate in size and scale while the band or square around it is large, especially at the top, which produces a great disparity between the inner complete square and the outer narrow band or square of ultramarine green, which verges, since it is scraped, on being dyed. Large areas as areas are possible, and without separation, as in a Möbius strip, narrow bands can almost be stripes. The group of paintings titled Homage To The Square began with paintings of the facades of houses in Mexico, in which the windows, doors and corners are outlined by bands of color. Nearby in Mexico, near Ciudad Chihuahua, there is a town named Aldama, in which the facades of the houses along the main street along a canal beneath cottonwoods are painted in bright colors. As I said, color has a long way to go and is very difficult. I admire the large areas of color in Rothko’s and Newman’s paintings, which itself is a very important innovation and which probably comes from Matisse, and perhaps also Leger, and from Matisse by way of Milton Avery, but the most particular innovations in color are those of Pollock and Albers, Pollock because of the diversity, materiality, particularity and immediacy of the color, color as material, and Albers, whose color has all of these characteristics but in a more general way, because of the actual change in a color throughout an area. It hasn’t been done before or since. In my review of November 1964 I was mildly critical of some of Albers’s paintings; I wouldn’t be now. My main regret is that I underestimated the importance of educating beginning artists in art. My own education in art was so bad that it was hard to see that help was possible. Starting from nothing it was hard to imagine it possible to start from three or four. And then, what is to be taught? Almost anything will grandes áreas de color en las pinturas de Rothko y Newman, que constituyen una importante innovación y que pro- bablemente provienen de Matisse, y tal vez Leger, y de Matisse por medio de Milton Avery, pero las innovaciones más especiales con el color son las de Pollock y Albers. De Pollock por su diversidad, materialidad, particularidad y la inme- diatez del color, el color como material. Y de Albers, cuyo color posee todas estas características pero de manera más general, por el cambio en un color a través de un área. No se había logrado antes ni se ha logrado después. En mi reseña fechada noviembre de 1964, critiqué en tonos matizadamente negativos algunas de las pinturas de Albers; no lo haría ahora. Lamento más que nada el haber subestimado la im- portancia de instruir a los artistas principiantes. Mi propia educación artística fue tan mala que me costó trabajo darme cuenta de que la ayuda era posible. Par- tiendo desde la nada me resultó difícil imaginarme que sería posible comenzar desde tres o cuatro. Y luego, ¿qué es lo que se debe enseñar? Casi todo llega a ser irrelevante y se convierte en barrera. 69 be irrelevant and become a barrier. But everyone has to begin and everyone will make barriers anyway. As part of the general underestimation, I underestimated the usefulness for others, not Albers, of his color theory. First, something that might be useful and relevant must be taught, which is certainly the color theory. Second, real thought about recent and past art is always relevant. Third, mainly, since attitudes and generalizations are part of the nature and the level of quality of art, it’s absolutely necessary that beginning artists, who are not really students, be taught by first rate artists, who like what they do and like their activity as a whole and assume that art is meant to be first-rate. The students of Albers were smart to have chosen him and lucky he was there. This is obviously the opposite of the prevailing situation in which tenured amateurs drearily teach further tenured amateurs from reproductions in art magazines. Pero todo el mundo tiene que empezar, y todos harán sus propias barreras. Uno de los aspectos que subestimé fue la utili- dad de la teoría del color de Albers para los demás, no para él mismo. Primero, hay que enseñar algo que pueda ser útil y pertinente, y la teoría del color llena este requisito. Segundo, el pensamiento auténtico sobre el arte reciente y pasado es siempre pertinente. Tercero, puesto que las actitudes y generalizaciones forman parte de la índole y el nivel de la calidad del arte, es absolutamente nece- sario que los artistas principiantes, que en realidad no son estudiantes, sean en- señados por artistas de primer rango a quienes les guste lo que hacen y les guste su actividad en conjunto y que partan de la premisa de que el arte debe ser de primera calidad. Los discípulos de Al- bers tuvieron el gran acierto de haberlo escogido a él y la suerte de que estuviera disponible. Esto es patentemente lo con- trario de la situación actual, en que unos amateurs enseñan a otros amateurs par- tiendo de las reproducciones que apare- cen en las revistas de arte. HOMAGE TO THE SQUARE, VERSO, 1958, COLLECTION JUDD FOUNDATION.
MAI BRAUN, CARDBOARD WALL, 2005. DAVID TOMPKINS Artists in Residence July 2005 – June 2006 Participants in Chinati’s Artist in Residence program are invited to show work, often at the Locker Plant or the Ice Plant in downtown Marfa. The following pages describe these exhibitions from the past year. Mai Braun July-August 2005 The artist Mai Braun concluded her Chinati residency with an exhibition entitled “More Prototypes” in August 2005. Braun’s work draws on everyday D AV I D T O M P K I N S Artistas en Residencia Julio de 2005 a junio de 2006 A los participantes en el programa Ar- tistas en Residencia de Chinati se les in- vita a exhibir su obra, con frecuencia en el Locker Plant o el Ice Plant, en el centro de Marfa. A continuación se describen estas exhibiciones correspondientes al año pasado. Mai Braun Julio-agosto de 2005 La artista Mai Braun terminó su residencia en Chinati con una exhibición 70 materials—house paint, lumber, papier-mâché, thin tubes of fluorescent plastic—in order to create witty and delicate mobiles, stabiles, and sculptures. Braun uses these humble tools to make objects which are diverse in form and color but always characterized by a sense of the hand-built and homemade. She retrieves items from the hardware, grocery, and art-supply store and puts them to work in a new context, while never eliminating all trace of their original function. For her Locker Plant exhibition Braun showed work made in Marfa, including sculptures constructed from cardboard boxes donated by Pueblo Market and the Dollar General. Braun altered and reconstituted the boxes in a variety of ways. For Cardboard Structure No. 1 she crushed the boxes flat, fitted them together with tabs and slots, then hung the big tottering structure from the ceiling of the Locker Plant’s back room. Rock Pile was just that: a heap of rubble made from boxes painted a uniform gray and spilled in the corner of the Locker Plant’s back courtyard. Making more frugal use of cardboard, Rock Pillar stood one tall, rectangular box upright as a solo piece, humble and unadorned except for its painted and faceted peak. These works neatly harmonized between opposites, being at once as- intitulada “Más Prototipos” en agosto de 2005. La obra de Braun utiliza materiales co- tidianos – pintura para casas, madera, papel cartón, tubos delgados de plásti- co fluorescente – para crear ingeniosos y delicados móviles, estables y esculturas. Braun emplea estas sencillas herra- mientas para crear objetos diversos por su forma y color pero que siempre dan la impresión de estar hechos a mano, hechos en casa. La artista consigue sus materiales en ferreterías, supermerca- dos y tiendas de artículos de arte y los coloca en un nuevo contexto sin elimi- nar todo indicio de su función original. En su exhibición en el Locker Plant, Braun presentó obras hechas en Marfa, incluyendo esculturas construidas de cajas de cartón donadas por el Pueblo Market y Dollar General. Luego modifi- có y reconstituyó las cajas de varias ma- MAI BRAUN.
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2 4 8 16 18 30 34 Contents Contenid
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gathered for an exhibition at China
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Laurel Gonsalves Elvira González D
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Josef Albers Carl Andre Ingólfur A
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CONVERSATION WITH JOHN CHAMBERLAIN
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K K : As different as that was, at
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K K : And how far did that get you?
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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
Page 56 and 57: 14 Josef and Anni Albers, interview
Page 58 and 59: JOSEF ALBERS, HOMAGE TO THE SQUARE
Page 60 and 61: that price it is an institutional p
Page 62 and 63: general view are absent. They were
Page 64 and 65: WINDOW OF ADOBE HOUSE, UNDATED, 194
Page 66 and 67: Before the conclusion Larson wrote
Page 68 and 69: absent, say that what is present is
Page 72 and 73: sertive and retiring, stolid and pr
Page 74 and 75: BRIAN KIRK NELMS, UNTITLED, 2006. L
Page 76 and 77: OLIVER CROY, ALL FANTASIES, GENTLEM
Page 78 and 79: Open House 2006 The Chinati Foundat
Page 80 and 81: THE DANDY WARHOLS AND FRIENDS VISIT
Page 82 and 83: CAITLIN MURRAY KATHERINE KORDARIS A
Page 84 and 85: MAYOR DAVID LANMAN AND CHINATI ADMI
Page 86 and 87: 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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