Untitled - The Chinati Foundation

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CAITLIN MURRAY KATHERINE KORDARIS A N N U A L A P P L I C AT I O N D E A D L I N E S : April 1 for internships beginning August – January November 1 for internships beginning February – July TIM JOHNSON DYLAN BEMBERG I N T E R N S 2 0 0 6 Matthew Au Lake Elsinore, California Dylan Bemberg Houston, Texas Ross Cashiola Chicago, Illinois Amelia Chan Austin, Texas Tasha Cortimilia Richmond, Virginia Tim Johnson Elgin, Texas Katherine Kordaris Cambridge, Massachusetts Quinn Latimer New York, New York Bella Martinez Austin, Texas Lea Mayer Paris, France Caitlin Murray Austin, Texas Jenny Patchovsky Cologne, Germany Raphael Pennekamp Obernfeld, Germany Ulrike Rehwagen Munich, Germany Alicia Ritson Sydney, Australia Paolo Thorsen Polling, Germany F E C H A S L Í M I T E PA R A S O L I C I TA R : 1 de abril para internados que comienzan entre agosto y enero 1 de noviembre para internados que comienzan entre febrero y julio. 81 Summer Art Class 2006 The first day of Chinati’s free summer art classes for children began with a provocative, surprising and deeply honest critical discussion of John Chamberlain’s sculptures. “That one looks like Darth Vader,” a third grader said while gazing at one of the Chamberlain pieces at the former Wool and Mohair building. “Those look like boats,” a fourth grader chimed in. “John Chamberlain makes junk!” declared another. The classes are an annual tradition at Chinati. Taught by Michael Roch and assisted by Ben Meisner, the summer session began just after the close of the school year in June and continued twice a week through mid-July. An average of 25 children from first through eighth grades participated each day. Each year the classes target one or more aspects of Chinati’s collection. John Chamberlain’s folded, crumpled, rusted, colorful metal sculptures inspired the children this summer, who used ideas in the work as a basis for Curso de Arte en el Verano de 2006 Este verano pasado, el primer día del curso de arte gratuito para niños co- menzó con una discusión crítica provo- cativa, sorprendente y profundamente honesta sobre las esculturas de John Chamberlain. “Ésa se parece a Darth Vader”, dijo un alumno de tercer grado de primaria, al contemplar una de las piezas de Cham- berlain en el edificio antes llamado Wool and Mohair. “Ésas parecen bar- cos”, dijo una estudiante de cuarto año. “¡John Chamberlain hace porquerías!” exclamó otro. Las clases de verano son una tradición en Chinati. El curso, enseñado por Mi- chael Roch asistido por Ben Meisner, comenzó en junio, inmediatamente des- pués de terminar el año escolar, y fina- lizó a mediados de julio, reuniéndose dos veces por semana. Un promedio de 25 jóvenes de los grados escolares 1-8 participaron en cada sesión. Cada año las clases se enfocan en uno o más aspectos de la colección de Chinati. Este verano, las esculturas multicolores de metal doblado, arrugado y oxidado de John Chamberlain inspiraron a los muchachos, quienes partieron de los conceptos de estas obras para hacer STEPHAN GRENADO AND SALVADOR RAMON, CHINATI SUMMER ART CLASS, 2006.
KENDRA SAENZ AND JACY HOLGUIN, CHINATI SUMMER ART CLASS, 2006. their own art projects. What ensued was an ongoing dialogue about the process of art making, a discussion which involved plenty of questions. What can sculpture be made from? Do sculptures always need to have color? Why is one folded over and another one not? How does Chamberlain know when he’s done? The instructors met those questions directly in the class discussions they led, and over the course of the summer, the students were able to make a complex analysis of Chamberlain’s work and their own. One project involved sculptures made by layering plaster and burlap over balloons the students had blown up and twisted into various shapes. They were then given the opportunity to sand and/or paint their objects. Some children felt the need to sand the plaster smooth and add color, while others were satisfied with a rough surface and the plaster’s white color. One week, the kids were greeted by a table laden with an assortment of odd items that had been purchased at the thrift store: a record, a deflated football, a lampshade, a comb, a busted camera and so on. Every child received one of these items via a lottery and they were asked to change their object in a way of their choosing, with the condition that the new object retain a hint of its original life. The children tackled their projects with papier-mâché, pipe cleaners, tape, sparkles, and pom-poms. The deflated football became a bird sitting on her nest. The comb, on the other hand, was transformed into a nearly non-recognizable abstract form. Other projects included fantastical portraits of John Chamberlain—the children were given no biographical sus propios proyectos. El diálogo resul- tante versaba sobre el proceso de crear una obra de arte e incluía muchas pre- guntas. ¿De qué materiales se puede hacer una escultura? ¿Hace falta el color? ¿Por qué está doblada una y no otra? ¿Cómo sabe Chamberlain cuando una obra está terminada? Los instructores contestaron estas in- terrogantes en forma directa, y a lo largo del verano los estudiantes pudie- ron realizar un análisis profundo de la obras de Chamberlain y de sus propias obras. En un proyecto, las esculturas se hicie- ron cubriendo globos, que los estudiantes habían inflado y torcido para darles diversas formas, con capas alternadas de yeso y arpillera. Luego se les dio la oportunidad de lijar y/o pintar sus objetos. Algunos de los muchachos con- sideraron necesario lijar el yeso hasta dejarlo plano y agregar color, mientras que otros prefirieron dejar la superficie del yeso áspera y blanca. Durante una semana en particular, los niños encontraron una mesa cubierta de objetos extraños comprados en una tienda de segunda mano: un disco fono- gráfico, un fútbol desinflado, una pan- talla de lámpara, un peine, una cámara descompuesta, etc. Se hizo una rifa, y a cada alumno le tocó uno de estos artícu- los, que debía modificar de una mane- ra que les pareciera adecuada, con la condición de que el nuevo objeto con- servara algo de su estado original. Los muchachos pusieron manos a la obra, utilizando papel cartón, limpiadores de pipa, cinta, lentejuelas y borlas. El fút- bol desinflado se metamorfoseó en un ave en su nido. El peine, en cambio, se transformó en una forma abstracta casi irreconocible. Otros proyectos incluían retratos fan- tásticos de John Chamberlain, aunque a los niños no se les dio ninguna infor- 82 information about him—and the making of small, handmade books, some of which were detailed fabrications about John Chamberlain’s life. Monoprints, large-scale group cardboard sculptures, and big paintings on non-traditional surfaces were among other class projects. These children produced work that was wildly imaginative and of great variety. Their energy, enthusiasm, and individual points of view were important and valuable components of the class. The summer session ended with a reception and pizza party where the children experienced the satisfaction of sharing their work and their many successes with their friends, family, and neighbors. mación biográfica sobre el artista, y pequeños libros hechos a mano, algunos de los cuales contenían datos deta- llados pero inventados sobre la vida de Chamberlain. Otros proyectos consistían en monogra- bados, esculturas de cartón grupales a gran escala y grandes pinturas en su- perficies no tradicionales. Los muchachos crearon obras muy va- riadas utilizando su prodigiosa ima- ginación. Su energía, su entusiasmo y sus puntos de vista individuales fueron importantes y contribuyeron al éxito del curso. Al final del curso, se ofreció una recep- ción y fiesta con pizza, donde los alum- nos tuvieron el orgullo de exhibir sus obras y compartir sus éxitos con fami- liares, amigos y vecinos. CHINATI SUMMER ART CLASS, 2006. MARCUS NUNEZ, UNTITLED ARTIST’S BOOK, CHINATI SUMMER ART CLASS, 2006.
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2 4 8 16 18 30 34 Contents Contenid
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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
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K K : As different as that was, at
Page 15 and 16:
K K : And how far did that get you?
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UNTITLED,1991, PANORAMIC PHOTOGRAPH
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RO B E R T C R E E L E Y para john
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REDWING, 1960, PAINTED STEEL. on Do
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MISS LUCY PINK, 1962, PAINTED AND C
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ists who have combined old and new
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UNTITLED, c.1964, CAR PAINT AND CHR
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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 70 and 71: intensity of the color varies accor
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 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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