Alinka Echeverría Faith and Vision

Transcription

• Alinka Echeverría
Faith and Vision
Alinka Echeverría
Faith and Vision
Gallery Guide
EXHIBITION BROCHURE
“They did not make their journey blindly,
but rather they carried god on their backs…”
Fray Juan de Torquemada, Monarquía Indiana, 1615
The indigenous religion of Mesoamerica and the Spanish Catholicism of the missionaries
to the New World were both visual religions. Mexican Catholicism is the inheritor of these
two traditions. The divine is not invisible; it is materially and visually manifest in an abundance of sacred images and objects. The identity of the faithful person is not so much believer but rather seer, perceiver, and beholder. Alinka Echeverría’s photographs explore the
visual, material, and sensorial dimensions of religious experience in contemporary Mexico.
Nowhere is this religious culture more manifest than in devotion to the Virgin of Guadalupe.
Guadalupe is the Mater Mexicanus, the Mexican Mother of God, the point of origin of Mexican Catholic faith. According to centuries of belief, in 1531 the Virgin Mary, calling herself
Guadalupe, appeared to Juan Diego, an indigenous convert to Christianity. Guadalupe
appeared at Tepeyac Hill, the site of a previous devotion to the Aztec goddess Tonantzin.
She imprinted her likeness—her image—on Juan Diego’s tilma, a piece of native clothing
resembling a cloak. In this way the apparition of the Christian Virgin on the indigenous
garment has come to represent the birth of an authentically Mexican Catholicism.
Today Juan Diego’s tilma hangs in Mexico City’s basilica at Tepeyac and serves as a national shrine in Guadalupe’s honor. Every year great numbers, as many as twenty million
pilgrims, visit Tepeyac to be in the presence of her image. Pilgrims make a rigorous sojourn
of several days traveling by foot as an expression of their devotion, often in gratitude for
Guadalupe’s intercession in their lives. We discover their great multitudes and their infinite
diversity in Echeverría’s series “The Road to Tepeyac.” The pilgrims carry myriad material
manifestations of the Virgin. Large plaster or resin castings, oversized framed portraits,
constructed montage manifesting religious devotion; many of these personal altars are
adorned with photographs, flowers, and streamers. The pilgrim becomes a porter for the
sacred, a “god-bearer,” a mobile human altar. Once they arrive at the shrine these replicas
of the Virgin are presented to priests who bless them with holy water.
Jennifer Scheper Hughes
The ritual action of pilgrimage is an expression of votive culture, “votive” meaning offered
or consecrated in fulfillment of a vow. Votive religions are anchored around constellations
of religious objects engaged within a ritual matrix that binds human beings to one another
and to the sacred. The photographs in Echeverría’s series “Small Miracles” contemplate
the small metal offerings known as milagros or ex votos. These milagros are simultaneously tokens of gratitude and expressions of faith, diminutive and delicate anchors that secure
the relational dimension of religious devotion. Milagros are not so much repayment for a
NOVEMBER 1, 2014 THROUGH JANUARY 24, 2015
California Museum of Photography at UCR ARTSblock
3824 Main Street, Riverside, CA 92501
the braille sign and presenting it as a smooth sculptural object, the artist denies the monument its function. Here the braille becomes silent and illegible. The video To see Her, and
let Her see me documents pilgrims to the basilica in Tepeyac, born by conveyer belt past
the image of Guadalupe, paying their respects. While their devotion is evident, the image
of Guadalupe remains invisible to the viewer. Here we encounter the sacred as absence,
as negative. The Virgin of Guadalupe becomes the hidden one, the one who is unseen
and unperceived. The video conveys not a blind faith, but a faith that is sensory even in
the absence of image. In these three bodies of work, Echeverría’s photographs invite us to
consider the many visual and material forms of the holy in human culture.
hand embroidered standards, and portable altars and shrines called nichos, on which
diminutive replicas of the Virgin ride. These cumbersome objects are tied to their backs
as they make their way to Tepeyac Hill. Echeverría’s photographs reveal these pilgrims
not only as standard bearers, but also as artists themselves. Every pack is a uniquely
RELATED EVENTS
request fulfilled as an expression of spiritual fervor and affection for the sacred personages of the Catholic pantheon: Jesus, Mary, and the saints. Made at a shrine in Juquila in
Opening reception and artist talk • November 1, 6-9pm • ARTSblock
Join us for our fall reception, celebrating all of ARTSblock’s exhibitions.
An informal discussion with Alinka Echeverría will start at 6:30pm in the main
gallery of the California Museum of Photography.
Oaxaca—a Mexican state facing deep economic crisis, mass emigration, and a prevailing
drug war—here we see a variety of images: body parts give thanks for the healing of
Conference • “Objects of Devotion” • December 12 and 13 • Culver Center
broken bones, breasts appeal for help in the production of breast milk, and a heart begs
for romantic love.
The photographs comprising “The Road to Tepeyac” and “Small Miracles” reveal the sacred abundance of divine vision, overwhelming us with image, icon, and visual presence.
In contrast “Deep Blindness,” Echeverría’s newest body of work, considers the significance of the image of the Virgin of Guadalupe for those who cannot physically see. Ixiptla
pictures a braille description of the miraculous apparition of Guadalupe; by photographing
Film screening • Walking the Camino (USA/Spain 2013)
December 12, 7pm; December 13, 3pm and 7pm • Culver Screening Room
Adult admission $9.99; matinee admission $8; student admission always $5
All events are free and open to the public unless otherwise noted.
Visit artsblock.ucr.edu for more information.
• Alinka Echeverría
Faith and Vision
Guía Galería
EXHIBITION BROCHURE
como artistas. Cada paquete es un montaje de construcción único manifestando devoción religiosa; muchos de estos altares personales están adornados con fotografías, flores
y serpentinas. El peregrino se convierte en un portero de lo sagrado, un “portador de
Dios”, un altar humano móvil. Una vez que las replicas de la Virgen llegan al santuario
estas son presentadas a los sacerdotes los cuales las bendicen con agua bendita.
La acción ritual de la peregrinación es una expresión de la cultura votiva, “votiva” significando
ofrenda o consagración en cumplimiento de un voto. Las religiones votivas están ancladas
en torno a constelaciones de objetos religiosos que participan dentro de un sistema ritual
que une a los seres humanos unos con otros y con lo sagrado. Las fotografías de la serie
de Echeverría “Small Miracles” (Pequeños Milagros) contemplan las pequeñas ofrendas
de metal conocidas como milagros o exvotos. Estos milagros son simultáneamente
muestras de gratitud y expresiones de fe, son anclas diminutas y delicadas, que aseguran
Alinka Echeverría
Fe y Visión
“No hicieron su jornada a ciegas,
al contrario llevaban a Dios en sus espaldas...”
Fray Juan de Torquemada, Monarquía Indiana, 1615
La religión indígena de Mesoamérica, y el catolicismo español de los misioneros, eran
religiones visuales para el Nuevo Mundo. El catolicismo mexicano es el heredero de estas
dos tradiciones. Lo divino no es invisible; es materialmente y visualmente manifestado en
una gran cantidad de imágenes y objetos sagrados. La identidad de la persona fiel no está
totalmente compuesta por ser creyente sino por ser vidente, perceptor y espectador. Las
fotografías de Alinka Echeverría exploran lo visual, lo material y las dimensiones sensoriales de la experiencia religiosa del México contemporáneo.
La devoción hacia la Virgen de Guadalupe es donde esta cultura religiosa más se manifiesta. Guadalupe es la Mater Mexicanus, la madre mexicana de Dios, el punto de origen
de la fe católica mexicana. De acuerdo con siglos de creencia, en 1531 la Virgen María,
llamándose a sí misma Guadalupe, se le apareció a Juan Diego, un indígena converso
al cristianismo. Guadalupe se le apareció en el cerro del Tepeyac, un sitio previamente
dedicado a la devoción de la diosa azteca Tonantzin. Ella grabó su forma—su imagen—en
la tilma de Juan Diego, una prenda nativa la cual asemeja a una capa. De esta manera la
la dimensión relacional de la devoción religiosa. Los milagros no son un reembolso por
una petición cumplida si no una expresión de fervor espiritual y afecto por los personajes
sagrados del panteón católico: Jesús, María y los santos. Fabricado en el santuario de
Juquila en Oaxaca—un estado mexicano el cual enfrenta una profunda crisis económica,
masiva emigración, y una guerra vigente contra las drogas—aquí vemos una variedad de
imágenes: las partes del cuerpo dan gracias por la curación de huesos rotos, los pechos
piden ayuda en la producción de leche materna, y un corazón suplica por un amor.
Las fotografías que componen “The Road to Tepeyac” y “Small Miracles” revelan la sagrada
abundancia de la visión divina, abrumándonos con una imagen, un icono y la presencia
visual. En contraste “Deep Blindness” (Ceguera Profunda), el trabajo más reciente de
Echeverría, considera la importancia de la imagen de la Virgen de Guadalupe para aquellos que no pueden ver físicamente. Imágenes Ixiptla por medio del braille construyen la
aparición milagrosa de Guadalupe; fotografiando el signo braille y presentándolo como un
objeto escultórico liso, el artista le niega al monumento su función. Aquí el braille se convierte en silencio e ilegible. El vídeo To see Her, and let Her see me (Verla, y dejarla verme)
documenta la jornada de peregrinos hacia la basílica del Tepeyac, transportando más allá
de la imagen de Guadalupe, pagando sus respetos. Mientras que su devoción es evidente,
la imagen de Guadalupe se mantiene oculta para el espectador. Aquí nos encontramos
a lo sagrado como algo ausente, algo negativo. La Virgen de Guadalupe se convierte en
algo oculto, algo que es invisible e imperceptible. El vídeo no transmite una fe ciega, sino
una fe que es sensorial, incluso en la ausencia de la imagen. En estos tres cuerpos de
trabajo, las fotografías de Echeverría nos invitan a considerar las muchas formas visuales
y materiales de lo sagrado en la cultura humana.
Alinka Echeverría: Faith and Vision is comprised of three projects. “The Road to Tepeyac” is on view from
November 1, 2014 through January 24, 2015. “Deep Blindness” remains on view through January 3,
2015, and “Small Miracles” is installed on the Culver Jumbotron Screens through December 20, 2014.
All works courtesy of the artist and Gazelli Art House, London.
The exhibtion is organized by the California Museum of Photography at UCR ARTSblock and is curated
by Joanna Szupinska-Myers, CMP Curator of Exhibitions, and Jennifer Scheper Hughes, Associate
Professor of History at UCR. The exhibition was made possible in part by the generous support of
Aeroméxico and the Consulate of Mexico in San Bernardino. Additional funds have been provided by
UCR’s College of Humanities, Arts, and Social Sciences (CHASS) and the City of Riverside. Thanks go to
Jonathan Green, Emily Papavero, Tyler Stallings, Seth Hawkins, Leigh Gleason, Jennifer Frias, Kathryn
Poindexter, Zaid Yousef, and Daniel Gilstrap of ARTSblock; to José M. Medrano; to Laurent Baillon and
Gabriela Rodriguez of LBistro, Riverside; to Jeroen Kummer and Arthur Herrman; and to Gazelli Art
House, London, and Laleh June Galerie, Basel. Special thanks also go to Jennifer Scheper Hughes for
her vision, passion, and generosity.
Jennifer Scheper Hughes
aparición de la Virgen cristiana en la prenda indígena ha llegado a representar el nacimiento
de un catolicismo auténticamente mexicano.
Hoy la tilma de Juan Diego cuelga en la basílica de la ciudad de México en el Tepeyac y
sirve como un santuario nacional en honor a Guadalupe. Cada año un gran número, hasta
veinte millones de peregrinos, visitan el Tepeyac para estar en presencia de su imagen.
Los peregrinos hacen una estancia rigurosa de varios días viajando a pie, como expresión
de su devoción, a menudo en agradecimiento por la intervención de Guadalupe en sus
vidas. Descubrimos sus grandes multitudes y su diversidad infinita en la serie de Echeverría
“The Road to Tepeyac” (El Camino al Tepeyac). Los peregrinos realizan innumerables
manifestaciones materiales de la Virgen. Yesos grandes o resina de fundición, retratos enmarcados de gran tamaño, manualidades bordadas a mano, y altares portátiles y santuarios llamados nichos, en donde las réplicas diminutas del la Virgen pasean. Estos objetos voluminosos van atados en sus espaldas en su jornada hacia el cerro del Tepeyac. Las
fotografías de Echeverría revelan a los peregrinos no sólo como portadores, sino también
Aeroméxico will take you to the most unique and desirable Mexican destinations. Whether you
are traveling for business or leisure, we offer attractive and affordable flights from Los Angeles
to Mexico City, Guadalajara, Hermosillo, and Ontario to Guadalajara.
• Around the World in Forty Pictures
Photography Exhibition
EXHIBITION CARD & INTRO WALL VINYL
Around the
World
Around the
World
FORTY
FORTY
CALIFORNIA MUSEUM OF
PHOTOGRAPHY
2013
featuring photographs from the Keystone-Mast Collection
California Museum of Photography’s fortieth anniversary with this presentation of 40 pictures from the Keystone-Mast Collection, a fundamental
steps ofVerne’s colorful characters as they circumnavigate
component of the CMP’s permanent collection. Comprising over 350,000
the
globe. Verne describes the fictitious eastbound travels
images made by numerous photographers, the Keystone-Mast Collection
of a British gentleman Phileas Fogg, his French valet Jean Passepartout, and
forms an important primary record of worldwide cultural and industrial his-
one determined Detective Fix; their journey takes us from London to southern
tories between the years 1860 and 1950. As Verne’s novel dates to the earliest
Italy, then via ship to Port Said at the Egyptian city of Suez. Next we follow
decades of the collection’s holdings, it is not surprising that many of the scenes
them to Bombay where they intend to cross the South Asian peninsula by
described—from bathers in the Ganges River, and the vibrant outdoor markets
rail, but encounter a break in the tracks, spurring them to continue instead
of Singapore, to opium dens in Hong Kong, and the practice of docking at
by elephant and encountering unforeseen adventures along the way. From
Nagasaki to take mail and replenish the stores of coal for the ship—correlate
India they continue to Singapore, Hong Kong, and several stops in Japan be-
exactly to photographs in the collection. Verne, who himself had never traveled
fore they make it to the west coast of North America. From San Francisco
to many of these places, may well have been relying on written accounts and
they cross the vastly undeveloped continent to Salt Lake City, then on to
similar photographs. Selected according to Verne’s narrative, the photographs
New York. They return to England via Liverpool, and finally make their way
presented here illuminate a nineteenth century understanding of a rapidly in-
back to London. ¶
Around the World in Forty Pictures celebrates the
dustrializing world at the height of European empire. e e e e
Joanna Szupinska-Myers CMP Curator of Exhibitions
R
S T
R
1973
nspired by Jules Verne’s classic 1873 adventure novel
Around the World in 80 Days, this exhibition retraces
the
• Free Enterprise
Museum-wide Exhibition
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100 JAPANESE CAMERAS : EXHIBITION C
1954
1950
1951
1951
1952
1953
1954
1955
1955
1957
1957
1957
1958
1959
Modern Cameras 1950-1959
Riken Optical
Steky Model III
Canon
IIC
Nikon
S
Mamiya
Mamiyaflex II
Chiyoda Kogaku
Minolta-35 Model II
Nikon
S2
Canon
IVSB2 with Rapid Winder
Sanei Sangyo
Samocaflex 35
Konica
Konica IIIMXL
Mamiya
Magazine 35
Nikon
SP
Sears, Roebuck & Co.
Tower 45
Panon
Widelux F8
1925
1936
1937
1937
1938
1940
1947
1947
1947
1947
1948
1948
1948
1949
1949
Origins 1925-1949
Konica
Asahi Optical
Canon
Minolta
Canon
Migagawa Seisakusho
Canon
Mamiya
Sakura Seiki
Toyo Kogaku
Konica
Nippon
Nikon
Canon
Nikon
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Pearlette
Super Olympic D
Hansa
Auto Press
S
Boltax III
S-II
Mamiya-6 IV
Petal Camera
Mighty Camera
Konica I
Nicca (Original)
I
IIB
M
1990
1992
1992
1994
1996
1996
1996
Advanced Electronic Film Cameras 1990-1998
Yashica
Contax T2
Nikon
Nikonos RS AF
Yashica
Contax S2, 60th Anniversary
Kyocera
Contax G1
Canon
Elph 490Z
Canon
EOS IX
Nikon
28Ti
73
74
75
76
77
78
79
1971
1972
1973
1979
1979
1981
1981
1981
1982
1982
1983
1984
1985
1986
1988
1989
The First Electronic Cameras 1971-1989
Riken Optical
Ricoh 500 G
Nikon
Nikkormat EL
Canon
EF
Nikon
EM Cutaway
Leitz
Leica R3 Electronic
Canon
AE-1 Program
Minolta
Auto CLE
Yashica
Contax RTS Gold
Minolta
X-700
Nikon
FG
Nikon
FE-2
Olympus
OM-2S Program
Minolta
Maxxum 9000 AF
Nikon
N2020 AF
Nikon
F4
Canon
EOS-1
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
Mamiya
Fuji
Nikon
Horseman
Bronica
Voigtlander
51
52
53
54
55
56
Mamiya 7
GX617 Professional
F3H with Motor Drive
SW-612
RF645
Cosina Bessa R
1995
1997
1998
1999
2000
2001
about any public performance these days, before and after the show and at intermission,
see many patrons using smartphones as cameras. I recently attended a performance at the
antages Theater in Los Angeles. Many audience members stood up and took a selfie against
ling Art Deco stage. A few people used compact digital cameras. Others took video. The
s low and the backlight intense and uneven, yet no photographic calculations were made,
p, shutter speed, or focal distance were set: all the complex photographic calculations were
ed by microchips and computers. The user framed the subject and pressed the button. Here,
s after George Eastman famously announced the first Kodak with “You Press the Button, We
est,” making a photograph has become an instant, almost cybernetic act. It now resides at
er of a world of instant communication and social interaction. By the time the patrons had
their seats, their photos had been transmitted around the world.
The instant, invisible technology that made such photography possible is in large part the
research, innovation, and successful marketing by the Japanese photographic industry.
e Canon Hansa of 1937, , Japanese camera manufacturers began to add to the basic
amera that had been developed in Europe, a growing array of new optical, mechanical,
mately electronic technologies that simplified the act of taking, viewing, and distributing
aphs. Both to garner greater market share and to reach consumers at all price levels and
s of experience, the Japanese led the world in the development of easy-to-use, automatic
. To this end they utilized refinements and inventions from around the world and merged
chnologies with their own radical innovations.
The New Era: The SLR 1954-1971
Sears, Roebuck & Co.
Tower 24
PANESE CAMERAS
IONS FROM THE DAVID WHITMIRE HEARST JR. FOUNDATION COLLECTION
16
17
18
19
20
21
22
23
24
25
26
27
28
EXHIBITION BROCHURE. WALL TEXT, COLOR SCHEME
29
• 100 Japanese Cameras 1925-2014
100JAPANESE
JAPANESE CAMERAS
1925 –2014
SELECTIONS FROM THE
DAVID WHITMIRE HEARST JR. FOUNDATION COLLECTION
CALIFORNIA MUSEUM OF PHOTOGRAPHY
ARTSBLOCK, UNIVERSITY OF CALIFORNIA, RIVERSIDE
JULY 19 – OCTOBER 11, 2014
contains several exquisite Japanese camera designs including the Canon IVSB2 with Rapid Winder
Winder,
1955, , the Samocaflex 35
35, 1955, , and the Panon Widelux F8
F8, 1958, .
THE NEW ERA: SLR 1954-1971 The disjuncture of viewing the world with one lens and
capturing the image through another was resolved with the introduction of the Single Lens Reflex.
The Asahiflex IIB, 1954, the world’s first commercially available SLR with instant return mirror, was
also one of the first Japanese cameras to be marketed by Sears in the United States as the Tower
24, 1954, . Orion Camera Company introduced the first Japanese pentaprism SLR, the Miranda
Orion, 1955, . It was followed by SLRs from Minolta and Yashica, and then Nikon and Canon. The
Nikon F,
F 1959, , was undoubtedly the most revolutionary camera of its era. By 1974 it had sold
862,000 units. The Nikon F was a modular system camera with a wide range of lenses and accessories. It demonstrated the superiority of the SLR and of the Japanese camera and provided a camera
form upon which further development could take place. The Canonflex R2000,
R2000 1961, , had the
world’s fastest shutter speed of 1/2000. Once the SLR had been developed the next critical need was
easily setting the correct exposure. The Kuribayashi Petri Flex 77, 1964, , had an externally mounted coupled CdS meter sensor. A more advanced system was Through-The-Lens exposure metering.
TTL was first successfully realized in the Topcon RE Super
Super, 1963, , and the Pentax Spotmatic,
1964, . The RE Super and the Spotmatic TTL exposure meter relied on stopping down the lens to
measure the light. Canon’s Pellix,
Pellix 1966, , on the other hand, used a semitransparent stationary
reflex mirror. The pellicle mirror continues today as an essential component of small digital cameras.
ADVANCED MECHANICAL CAMERAS 1960-2001 Over the next 40 years the Japanese
refined the precision, form factors, and ergonomics of their cameras. Canon, Olympus, and Pentax
were the most radical in experimenting with camera design. Canon’s Dial 35
35, 1963, , Olympus’
O-Product 1989, , and much later Pentax’s digital Optio X
O-Product,
X, 2003, , broke the mold of small
100 JAPANESE CAMERAS 1925 –2014
• 100 Japanese Cameras 1925-2014
Invitation & Poster Side
EXHIBITION BROCHURE
Selections from the
David Whitmire Hearst Jr. Foundation Collection
California Museum of Photography
ARTSblock, University of California, Riverside
July 19 – October 11, 2014
ORIGINS 1925-1949 ORIGINS 1925-1949
2
3
w Asahi Optical
Super Olympic D, 1936
4
e Canon
r Minolta
Hansa, 1937
Auto Press, 1937
5
t Canon
6
y Migagawa Seisakusho
S, 1938
Boltax III, 1940
7
8
u Canon
i Mamiya
S-II, 1947
Mamiya-6 IV, 1947
9
10
o Sakura Seiki
a Toyo Kogaku
Petal Camera, 1947
Mighty Camera, 1947
MODERN MODERN
CAMERASCAMERAS
1950-1959 1950-1959
100
11
12
13
14
15
17
18
q Konica, Pearlette,1925
s Konica
d Nippon
Konica I, 1948
JAPANESE CAMERAS
1925
2014
19
21
20
 Chiyoda Kogaku
 Mamiya
Minolta-35 Model II, 1953
Mamiyaflex II, 1952
Nicca (Original), 1948
f Nikon
22
! Nikon
@ Canon
S2, 1954
g Canon
I, 1948
IIB, 1949
23
IVSB2, Rapid Winder, 1955
 Sanei Sangyo
Samocaflex 35, 1955
h Nikon
24
 Konica
Konica III MXL, 1957
k Canon
16
M, 1949
l Nikon
IIC, 1951
25
S, 1951
26
% Mamiya
 Riken Optical, Steky Model III,1950
Magazine 35, 1957
27
^ Nikon
& Sears, Roebuck & Co.
SP, 1957
Tower 45, 1958
THE NEW ERA: THE SLR 1954-1971
THE NEW ERA: THE SLR 1954-1971
28
30
 Panon,
31
3! Minolta,
3 Miranda
29
Widelux F8, 1959
SR-2, 1959
Orion,1955
32
3@ Nikon
33
3 Konica
F, 1959
35
34
3 Canon
F, 1960
Canonflex R2000, 1961
3% Olympus
Pen 4, 1963
37
36
3^ Tokyo Kogaku
Topcon RE Super, 1963
3& Kuribayashi,
Petri Flex 7, 1964
ADVANCED MECHANICAL CAMERA 1960–2001
ADVANCED MECHANICAL CAMERAS 1960–2001
38
39
40
41
42
43
44
( Sears, Roebuck & Co., Tower 24, 1954
3( Canon
3 Konica,
Selections from the
DAVID WHITMIRE HEARST JR. FOUNDATION COLLECTION
California Museum of Photography
ARTSblock, University of California, Riverside
4 Asahi Optical
Pellix QL,1966
Auto-Reflex, 1965
46
4^ Taiyo Koki
47
Viscawide 16 ST-D,1961
4& Canon
Dial 35, 1963
48
Pentax Spotmatic Motor
Drive, 1967
49
4 Asahi Kogaku
Pentax LX Gold, 1981
4( Plaubel
Makina W67, 1981
4! Kowa
Six, 1968
50
5 Olympus
O-product, 1989
4@ Minolta
SRM with 250 Exposure
Film Back, 1970
51
5! Mamiya
Mamiya7, 1995
4 Canon
F1 with Motor Drive, 1971
52
5@ Fuji
GX617 Professional, 1997
4 Nikon
53
5 1971Nikon
F3H with Motor Drive, 1998
45
Eyelevel, 1971
54
4% Nikon, S3M, 1960
5 1971Horseman
SW-612, 1999
THE FIRSTFIRST
ELECTRONIC
CAMERAS
1971-1989
ELECTRONIC
CAMERAS
1971-1989
55
5% Bronica
56
58
5^ Voigtlander
RF645,2000
65
5 Nikon
57
Cosina Bessa R, 2001
Nikkormat EL, 1972
EF, 1973
67
66
60
59
5( Canon
6 Nikon
EM Cutaway, 1979
68
61
6! Leitz
Leica R3 Electronic, 1979
69
62
6@ Canon
AE-1, 1981
70
63
6 Minolta
Auto CLE, 1981
71
64
6 Yashica
Contax RTS Gold, 1981
72
73
5& Riken Optical, Ricoh 500 G, 1971
6% Minolta
6^ Nikon
X-700,1982
6& Nikon
FG, 1982
FE-2, 1983
6 Olympus
OM-25 Program, 1984
6( Minolta
Maxxum 9000 AF, 1985
7 Nikon
N2020 AF, 1986
7! Nikon
7@ Canon
F4, 1988
EOS-1, 1989
7 Yashica,
Contax T2, 1990
ADVANCED
ELECTRONIC
FILM CASMERAS
1990-1998
ADVANCED
ELECTRONIC
CAMERAS
1990-1998
75
7% Yashica
74
Contax S2, Anniversary, 1992
76
7^ Kyocera
Contax G1, 1994
77
7& Canon
Elph 490Z, 1996
78
7 Canon
EOS IX, 1996
28Ti, 1996
80
8 Contax
AX, 1996
81
8! Hasselblad
X-Pan, 1998
82
8@ Minolta
Maxxum 9, 1998
83
8 Minolta
Vectis 300, 1998
THE END
FILM:
1995-2014
THEOF
END
OF DIGITAL
FILM: DIGITAL
CAMERAS 1995-2014
84
7
79
7( Nikon
86
87
88
89
90
91
Nikon, Nikonos RS AF, 1992
8 Nikon
F5 50th Anniversary, 1998
93
92
85
8^
Kodak/Nikon
DCS 660, 2000
94
8&
Canon
EOS-1 D Mark IV, 2001
95
8 Panasonic
Lumix DMC-LC5, 2001
96
97
8( Minolta
Dimage X, 2002
9 Pentax
Optio X, 2003
98
9! Olympus
C-8080 Wide Zoom, 2004
99
100
8% Minolta, RD 175, 1995
9@ Leica,
Digilux 2, 2005
9 Canon
Powershot SD 1000 Elph 7.1
2007
9 Canon
5D Mark II, 2009
9% Sony,
NEX-5N, 2011
9^ Leica,
V-Lux 30, 2012
9& Nikon
D5200, 2013
9 Olympus
OM-D E-M1, 2013
9( FujiFilm
XP 200, 2013

100
100
Sony
DSC-RX100 ll, 2014
• Leica + Hasselblad
Cover
EXHIBITION BOOK/CATALOG
Leica + Hasselblad
David Whitmire Hearst Jr. Foundation Collection
Leica + Hasselblad
UCR/California Museum of Photography
Selections from the
David Whitmire Hearst Jr.
Foundation Collection
UCR/CALIFORNIA MUSEUM OF PHOTOGRAPHY
96
Two-page Spread
49
49
LEICA
Leica Look-Alikes
Hansa Canon, 1936
Fed 1B, 1937
Fed 1D, 1940
The Hansa was Canon’s first camera, and was the first 35mm camera to be produced in Japan. Interestingly, this first Canon camera was made with a Nikon lens because their technology was
stronger than Canon’s at the time. The camera was distributed
by Omiya Photo Supply, and originally retailed for 275 yen. The
Hansa also got its name from Omiya, which produced a series of
cameras in multiple formats with the “Hansa” name attached.
The Fed 1b is a Soviet copy of the Leica IId manufactured between
1935 and 1937. The camera gets its name from its founder’s initials, Felix Edmundovich Dzerzhinksy, and Fed began production
of 35mm cameras in 1934 with the 1a. The 1b was its second
production model, although is largely identical to the 1a.
The Fed 1D is a Soviet copy of the Leica II, Model D. Although
most Fed 1D cameras featured traditional black-and-chrome finishes like the Leica, this particular camera features an alternating
gloss and matte paint job on the exterior and black trim.
Leica M6, Gold, 150/75 Jahre Edition, 1989
Kardon Signal Corps Camera, ca. 1941-1946
Reid & Sigrist Reid III, 1951-1964
Canon S II, 1946-1949
Leica’s seventy-fifth anniversary coincided with the one hundred-fiftieth anniversary of the invention of photography, and
both events are commemorated in this Leica M6. Made in black
vulcanite and trimmed with gold plates, the camera’s top plate
is engraved with a drawing of 35mm film with both anniversary
landmarks noted.
During World War II, when German cameras were unavailable to
the American forces, Kardon U.S.A. sought to create an equivalent of a Leica screw-mount camera. Commissioned by the U.S.
Signal Corps, Kardon attempted to design a camera that was easily mass-produced. Unfortunately, the camera and its production
techniques were not mastered until near the end of the War, and
the US cancelled its contract. As a result, the Kardon Signal Corps
camera was never used by the armed forces and is very rare.
The Reid III was an English copy of the Leica IIIb, and was produced in a limited quantity of approximately 1600 over thirteen
years. The Reid III was known only as the “Reid” until 1958 when
other Reid models were introduced. This Reid III has its original
Taylor and Hobson Anastigmat lens.
The Canon S II was released shortly after the Canon S, a camera
that was manufactured only in limited quantity. Made beginning
in 1946, it was the first new mass-produced model after the end
of the Second World War. It featured a non-universal threadmount lens and a coupled viewfinder and rangefinder. The camera originally retailed for 48,000 yen. Canon Camera Company
fared well during the postwar period, and received national favor
for the supplies necessary to create the cameras. .
48
Two-page Spread
85
075:47:30
Anders or Borman (onboard): Oh, my God! Look at that picture over there! Here’s the Earth coming up.
Wow, is that pretty!
075:47:37
Borman or Anders (onboard): Hey, don’t take that, it’s not scheduled.
075:47:39
Borman (onboard): [Laughter] You got a color film, Jim?
075:47:46
Anders (onboard): Hand me that roll of color quick, will you...
075:47:48
Lovell (onboard): Oh man, that’s great!
075:47:50
Anders (onboard): ...Hurry. Quick.
075:47:54
Borman (onboard): Gee.
075:47:55
Lovell (onboard): It’s down here?
075:47:56
Anders (onboard): Just grab me a color. That color exterior.
075:48:00
Lovell (onboard): [Garbled.]
075:48:01
Anders (onboard): Hurry up!
075:48:06
Borman (onboard): Got one?
075:48:08
Anders (onboard): Yeah, I’m looking for one.
075:48:10
Lovell (onboard): C 368.
075:48:11
Anders (onboard): Anything, quick.
075:48:13
Lovell (onboard): Here.
075:48:17
Anders (onboard): Well, I think we missed it.
075:48:31
Lovell (onboard): Hey, I got it right here!
075:48:33
Anders (onboard): Let - let me get it out this window. It’s a lot clearer.
075:48:37
Lovell (onboard): Bill, I got it framed; it’s very clear right here. You got it?
075:48:41
Anders (onboard): Yep.
075:48:42
Borman (onboard): Well, take several of them.
075:48:43
Lovell (onboard): Take several of them! Here, give it to me.
075:48:44
Anders (onboard): Wait a minute, let’s get the right setting, here now; just calm down.
075:48:47
Borman (onboard): Calm down, Lovell.
075:48:49
Lovell (onboard): Well, I got it ri - Oh, that’s a beautiful shot.
075:48:54
Lovell (onboard): 250 at f/11.
075:49:07
Anders (onboard): Okay.
075:49:08
Lovell (onboard): Now vary the - vary the exposure a little bit.
075:49:09
Anders (onboard): I did. I took two of them.
075:49:11
Lovell (onboard): You sure we got it now?
075:49:12
Anders (onboard): Yes, we’ll get - we’ll - It’ll come up again, I think.
075:49:17
Lovell (onboard): Just take another one, Bill.
Apollo 8, Day 4: Lunar Orbit 4, Corrected Transcript, December 24, 1968, NASA
HASSELBLAD
Hasselblad MKW/E, 1996
Like the MK 70 and MKW, this camera was devised from developments between NASA and Hasselblad, and manufactured by Hasselblad’s engineering division, Hasselblad Engineering AB. The
MKW/E has a wide-angled 38-mm lens, a motor drive, and used 70-mm film but was based on the
SWC903 body. This camera was made for precision photogrammetric work.
84
Two-page Spread
71
Mary Ellen Mark, Acrobats Rehearsing Their Act at Great Golden Circus, Ahmedabad, 1989
Robert Mapplethorpe, Ken, Lydia, and Tyler, 1985
70
HASSELBLAD
• The End of Film
EXHIBITION CATALOG
EXHIBITION CATALOG
Roots AgAinst the sky Photographs by DAviD WhitmiRe heARst JR .
• David W. Hearst Jr.
Roots Against the Sky
UCR/CAlifoRniA mUseUm of photogRAphy
EXHIBITION CATALOG
Photographs by DAviD WhitmiRe heARSt JR .
UCR/CAlifoRniA mUSeUm of PhotogRAPhy | ARtSblock | UniveRSity of CAlifoRniA, RiveRSiDe
EXHIBITION CATALOG
t
his book is a project about the landscape . the ten sections
here and in the exhibition correspond to motifs in a musical
composition or stanzas in a poem. this poem is built around David
Whitmire hearst Jr.’s examination of the fabric, mesh, curtain and
lattice the tree delineates in the landscape. the tree is thicket, trunk,
branches, leaves, and roots against the sky. the tree is both a presence in the landscape and a marker of human perception. the tree is
the loom on which both meaning and image are woven.
in these photographs, hearst follows in the footsteps of almost two
centuries of American photographers who have used the landscape
as the essential subject, object, and platform for rigorous and
conscious experimentation in aesthetic values, pictorial styles, and
technological principles. indeed, the American landscape has been a
central contested ground of American photography since the time of
the Civil War. every new photographic instrument and new photographic technology initiated a new rendering of the landscape. every
photographic movement established its orbit and faction on the land.
every social and cultural change in America brought new interpretations to the landscape. indeed, landscape photography over the last
two centuries reflects how we live, see, think and experience the
natural world.
the thrust toward Western expansion after the Civil War was
lead by teams of geologists, topographers and photographers who
brought back for the first time realistic images of a spectacular and
largely unknown world. Photographers, such as timothy o’Sullivan
(c.1840-1882) were constrained by the same early glass plates
and emulsion that had created the haunting landscapes of death
during the Civil War: a material which could not reproduce color,
had limited dynamic range, and most especially lacked sensitivity
to blue light. given the inherent deficiencies and distortions of
the medium, these photographers of necessity relied principally on
the inherent descriptive qualities of the medium itself: their most
persuasive contribution was to allow the camera, lens, and emulsion
to render the world in its own image. the starkness and scale of
their landscapes is a testament to the camera’s radical objectivity,
to the absence of any manipulation of the negative, and to the
photographers’ lack of acquaintance with—or conscious refusal to
imitate—the pictorial styles of the paintings of the day.
however, as the 19th century drew to a close and smaller cameras
and emulsions with greater light sensitivity were developed, landscape photographers on the east Coast took the opposite stance:
painting and tradition rather than the inherent objectivity of the
camera provided the dominant aesthetic. Alfred Stieglitz (18641946) and members of the Photo-Secession, such as Anne Brigman,
produced landscapes both on photographic paper and mechanically
printed in photogravure with the express intent of appropriating for
photography the soft styles and delicacy of Whistler, Rembrandt, and
the Pre-Raphaelites. Where the early Western landscapes were sharp,
stark and heroic, these works were soft focused, lush, and intimate:
radical transformations of what the camera actually recorded.
it was Ansel Adams (1901-1984) and edward Weston (1886-1958)
who began to synthesize these two aesthetics. Adams and Weston
used newer film and printing technologies that afforded a significantly greater measure of control over tonal rendition. they worked
as self-conscious artists dedicated to a fine art aesthetic rather than
to geological accuracy. from the Photo-Secession they understood
that the world could be radically manipulated and that tonal controls
could dramatically modify the meaning and emotional impact of the
image. And from the frontier photographers they inherited a commitment to careful description of the expanse before the lens.
Working predominately on the east Coast, eliot Porter (1901-1990)
forged another type of synthesis out of the extremes of 19th century
movements and styles. Where Adams chose the heroic, Porter chose
the intimate. Where Weston chose the extracted metaphorical detail,
Porter was always true to the subject and its context. Where the
• Timothy O’Sullivan, East Humboldt Mountains, 1868
• Anne Brigman, The Lone Pine, 1907
• Eliot Porter, Redbud Tree in Bottomland, Near Red River Gorge, KY, 1968
• Ansel Adams, Aspens, Northern New Mexico, 1958
• Lee Friedlander, California, 2009
• Lewis Baltz, West Wall, Semicoa, 333 McCormick, Costa Mesa, 1974
Secessionists used soft focus, Porter shot as sharply as possible.
And where previous photographers of necessity and preference
photographed in monochrome, Porter began to experiment
with color, shooting kodachrome film and printing with the Dye
transfer process to provide a more mimetic image and to expand
photography’s descriptive vocabulary of the natural world. every
contemporary color photograph of the landscape can be traced back
to Porter. Porter discovered that the camera’s straight rendition of
the chromatic harmonies of intimate natural scenes could generate
the transcendent responses that the Secessionists sought through
impressionistic, painterly gestures. At the same time it could convey
the compelling myth of nature embedded in Adams’ work. And
Porter, as the frontier photographers, accepted the camera’s most
unique characteristic: its ability to apprehend the world ensemble
and generate cohesive, undifferentiated, all-over, edge-to-edge
compositions without a hierarchy of center over edge.
the nineteen seventies view of the American landscape was less
sanguine than the visions of vastness, grandeur and wildness that
animated the frontier photographers and Adams and less sensual and
more committed to social and political investigation than Stieglitz
or Porter. Adams and the frontier photographers stood with the
civilized world behind them and looked out toward the wilderness.
in the latter half of the seventies a new breed of photographers,
reversed this orientation. they stood in the open land and pointed
their cameras back toward the approaching civilization. their con-
cerns and images were first heralded in New Topographics: Photographs of a Man-Altered Landscape in 1975. the world they described
was in truth, radically different from the wild and inaccessible West
photographed 100 years earlier. neither could they embrace the epic
world described in Adams’ popular vision. they would actively refute
previous attempts by Weston and Stieglitz to minimize photography’s
documentary imperative in favor of symbolic transmutations. yet in
spite of these pictorially and politically radical intentions, as we see
at times in the photographs of lewis Baltz and Robert Adams, the
power of actual Western light, the grandeur of the landscape, both
civilized and uncivilized, and the pervasive visions of their predecessors, softened and diffused their agenda.
in the early 1990s, lee friedlander began to integrate actual
landscapes into his studies of the American social landscape. his
landscapes—including images that go back to the mid seventies —
can be seen as a marriage between eliot Porter and the New Topographics. As these photographers, friedlander eschews Adams’ heroic
view, his dynamic range, and the absence of human presence. But in
composition and meaning, his landscapes are closer to Porter’s: they
are dense, intimate, human-scaled vistas that reveal the lyrical and
the beautiful at the intersection of nature and human habitation.
most recently with the advent of the digital camera and Photoshop,
popular landscape photography has moved into the hyperreal:
a pictorial aesthetic defined by intensity, saturation, exquisite
tonal control, and a precision of manipulation of hues, values,
and even compositional elements unknown and impossible with
previous technologies. Almost always on the edge of photographic
believability, this world of glowing light, mysterious shadows, and
sumptuous splendor marries Adams’ opulence with cinematic
special effects. While there have indeed been sensitive landscape
interpretations using this style, in most instances it lacks subtlety: it
portrays the eradication of the real world. it is an escape from the
truth of an actual encounter into a synthetic, imagined world.
11
EXHIBITION CATALOG
ONE
TWO
THREE
FOUR
FIVE
SIX
SEVEN
EIGHT
NINE
TEN
Page
Camera
Lens
Focal Length
Speed
f stop
17
18
19
20
21
24
25
26/27
28
29
33
34/35
36/37
40
41
42
43
45
49
50
53
56
57
58
59
60
61
64/65
66
67
68
69
70
71
74
75
76
77
78
79
82/83
84/85
86/87
90
91
92
93
Nikon D7000
FujiFilm FinePix X100
FujiFilm FinePix X100
Nikon D7000
Leica X1
Leica M9
Canon EOS 1Ds Mark III
Canon PowerShot G12
Nikon D7000
Olympus
Leica S2
Canon EOS 5D Mark II
Leica M8
Leica M8
Leica D-LUX 4
Olympus
Canon PowerShot G12
Sony DSLR-A900
Nikon D35
Olympus
Nikon D7000
Olympus XZ-1
na
Fijifilm FinePix HS10
Fijifilm FinePix HS10
Olympus
Nikon D7000
Olympus E-PL2
Sony DSLR-A900
Sony DSLR-A900
Sony DSLR-A900
Sony DSC-H20
Canon PowerShot SX100IS
Sony DSLR A900
Olympus
Olympus XZ-1
Sigma SD1
Canon Powershot G12
Olympus E-1
Olympus XZ-1
Canon EOS Rebel T3i
Leaf Afi 755
Nikon D3005
Leica S2
Leica M8
Leica S2
Canon Powershot G12
18.0-105.0 mm
Super EBC 23mm
Super EBC 23mm
18.0-105.0 mm
Elmarit 24mm
Super-Elmar-M 18mm asph
200mm
6.1-30.5mm
18.0-105.0 mm
na
Summarit-S 70
TS-E 17mm L
na
na
Vario-Summicron 5.1-12.8mm
na
6.1-30.5mm
70mm
14-24mm
na
18.0-105.0 mm f/3.5-5.6
6-24mm
na
24-720mm
24-720mm
na
18.0-105.0 mm
9-18mm/18mm
70mm
70mm
60mm
Zeiss Vario-Tessar 6.3-63mm
6.0-60mm
70mm
na
6-24mm
105mm
6.1-30.5mm
14-54mm
6-24mm
70-300mm
90mm
18-200mm
Summarit-S 70
na
Summarit-S 70
6.1-30.5mm
105mm
23mm
23mm
105mm
24mm
18mm
200mm
12.1mm
32mm
na
70mm
17mm
na
na
5.1mm
na
18.1mm
70mm
24mm
na
58mm
6mm
na
39.8mm
21.2mm
na
105mm
18mm
70mm
70mm
60mm
6.3mm
28.1mm
70mm
na
16.6mm
105mm
30.5mm
54mm
18.2mm
70mm
90mm
62mm
70mm
na
70mm
30.5mm
1/500
1/1250
1/1250
1/640
1/125
1/180
1/500
1/80
1/60
na
1/1000
1/200
1/125
1/125
1/1000
na
1/60
1/100
1/125
na
1/60
1/640
na
1/350
1/320
na
1/640
1/125
1/125
1/125
1/250
1/1000
1/60
1/250
na
1/640
1/250
1/30
1/400
1/640
1/250
1/80
1/60
1/750
1/125
1/750
1/800
f5.6
f5.6
f5.6
f6.3
f4
f10
f9
f3.5
f5.0
na
f6.7
f10
na
na
f5.6
na
f4
f5
f5.6
na
f5.0
f3.2
na
f5
f4.5
na
f6.3
f7
f6.3
f6.3
f2.8
f8
f4
f5
na
f3.2
f3.2
f4.5
f7.1
f3.5
f6.3
f5
f4.8
f9
na
f9
f4.5
95
120
ck Plane, Airflow Collectibles
• Vehicles of Imagination
Culver Center of the Arts
Opening Exhibition
edo, Murray, ca. 1948-1955
Mustang, AMF, ca. 1965-1972
EXHIBITION BROCHURE
er Bentley Speed 6 Racing Car,
Brothers Classic Cars
Biplane, Airflow Collectibles
PEDAL CARS
VEHICLES of
IMAGINATION
Selections from the
ire Department Truck No. 1,
edal Car Company
USAF) 3521 Jeep, Hamilton
ucts, ca. 1958
Roadster with Jimmy C. custom
Warehouse 36
son Essex Roadster, Steelcraft
Shelby GT-350, Warehouse 36
urray, ca. 1960s
Racer
ire Department Truck No. 8
an Roadster, Morgan Cycle
An Inaugural Exhibition
Barbara & Art Culver Center of the Arts
October 7–December 31, 2010
Flamed Roadster Hot Rod,
e 36
llac, Garton
University of California, Riverside
culvercenter.ucr.edu
As the automobile industry gained speed
so did toys that reflected the public’s fascination
with these new icons of the industrial age at the
turn of the twentieth century. Vehicles of Imagination exhibits many of the varieties of pedal
cars that were popular children’s toys from the
1890s through the 1970s. Like bicycles, pedal
cars were operated by human power, giving
children a feeling of control and importance
and providing the make-believe that they were
operating a real car. Some featured headlights,
horns and custom paint jobs, but the pedal car’s
most important quality was as a vehicle for
imaginative play and fantasy. Most were replicas of automobiles, but that soon expanded to
include planes, trains, and all modes of internal
combustion transportation.
The pedal cars in this exhibition, which have
been selected from the David Whitmire Hearst
Jr. Foundation Collection, are especially elegant
examples that both spark the imagination as
toys and delight the eye as carefully detailed
works of art. These pedal cars are installed in
the Atrium of the Culver Center as a unique,
site-specific intervention that deliberately isolates the cars from the ordinary and repositions
them as sculptural artifacts. The cars hang down
like a curtain from the skylight, heightening the
viewer’s experience of the magnificent architectural setting, and emphasizing the transformative nature of playthings.
Vehicles of Imagination is curated by Jonathan
Green, ucr artsblock Executive Director, and
Tyler Stallings, Artistic Director Culver Center of the Arts & Director Sweeney Art Gallery.
Jeff Cain, artsblock Exhibition Designer, engineered and designed the installation. Curator
of Collections Leigh Gleason provided invaluable research on the cars.
Our deep thanks to David Whitmire Hearst
Jr. for his continuing belief in the importance
of artsblock’s programs, his fascination with
technology, and his generous willingness to
share his collections.
Jonathan Green, Executive Director, UCR ARTSblock
PEDAL CARS IN THE EXHIBITION
1
Casey Jones Cannonball Express No. 9
Locomotive, Garton, 1961
2
Fire Department Ladder Car, Garton, ca. 1949
3
1965 Ford Mustang Apache Mach 1, AMF,
ca. 1965-1972
4
Custom Chrome “Sad Face” Coupe, Murray,
ca. 1950-1958
5
Hot Rod #5, Garton, ca. 1950s
6
Custom Roadster with Trailer, Gendron,
ca. 1940
7
Estate Wagon, Murray
8
Tee-Bird (V-Front), Murray, ca. 1960-1967
9
1953 Corvette, Pedal Car Classics, 2005
10 Army Pursuit Plane, Murray, 1945-1951
19 Jaguar XK120
20 Shark Attack Plane, Airflow Collectibles
21 Buick Torpedo, Murray, ca. 1948-1955
22 1965 Ford Mustang, AMF, ca. 1965-1972
23 1930 Blower Bentley Speed 6 Racing Car,
Stevenson Brothers Classic Cars
24 Red Baron Biplane, Airflow Collectibles
25 Volunteer Fire Department Truck No. 1,
Gearbox Pedal Car Company
26 Air Force (USAF) 3521 Jeep, Hamilton
painting, Warehouse 36
28 1920s Hudson Essex Roadster, Steelcraft
11 Police “Sad Face” Sedan, Murray
29 1965 Ford Shelby GT-350, Warehouse 36
30 Ranger, Murray, ca. 1960s
13 Chrome Pedal Plane, Airflow Collectibles
31 Ferrari F2 Racer
14 State Farm 80th Anniversary Tow Truck,
32 Volunteer Fire Department Truck No. 8
Pedal Car Classics, 2002
16 Ford Airflow Plane, Airflow Collectibles
17 Ford Phaeton, Steelcraft, ca. 1936
18 Audi Auto Union Type C, Tazio Nuvolari Racer
Selections from the
Steel Products, ca. 1958
27 1932 Ford Roadster with Jimmy C. custom
12 Super Charger, Steelcraft, 1935
15 Ferrari F2 Racer
PEDAL CARS
VEHICLES of
IMAGINATION
33 1932 Morgan Roadster, Morgan Cycle
34 1932 Ford Flamed Roadster Hot Rod,
Warehouse 36
35 1950s Kidillac, Garton
1
7
2
8
3
9
4
5
10
6
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
1
2
3
ca. 1965-1972
4
ca. 1950-1958
5
6
ca. 1940
7
8
9
19 Jaguar XK120
31 Ferrari F2 Racer
15 Ferrari F2 Racer
Warehouse 36
Audi Auto Union Type C, Tazio Nuvolari Racer
As the automobile industry gained speed
so did toys that reflected the public’s fascination
with these new icons of the industrial age at the
turn of the twentieth century. Vehicles of Imagination exhibits many of the varieties of pedal
cars that were popular children’s toys from the
1890s through the 1970s. Like bicycles, pedal
cars were operated by human power, giving
children a feeling of control and importance
and providing the make-believe that they were
operating a real car. Some featured headlights,
horns and custom paint jobs, but the pedal car’s
most important quality was as a vehicle for
imaginative play and fantasy. Most were replicas of automobiles, but that soon expanded to
include planes, trains, and all modes of internal
combustion transportation.
The pedal cars in this exhibition, which have
been selected from the David Whitmire Hearst
Jr. Foundation Collection, are especially elegant
examples that both spark the imagination as
toys and delight the eye as carefully detailed
works of art. These pedal cars are installed in
the Atrium of the Culver Center as a unique,
site-specific intervention that deliberately isolates the cars from the ordinary and repositions
them as sculptural artifacts. The cars hang down
like a curtain from the skylight, heightening the
viewer’s experience of the magnificent architectural setting, and emphasizing the transformative nature of playthings.
Vehicles of Imagination
is 3curated
by5 Jonathan
1
2
4
6
Green, ucr artsblock Executive Director, and
Tyler Stallings, Artistic
Director
Cen7
8
9
10 Culver
11
ter of the Arts & Director Sweeney Art Gallery.
Jeff Cain, artsblock
Exhibition
Designer,
en12
13
14
15
16
17
gineered and designed the installation. Curator
of Collections Leigh Gleason provided invalu19
20
21
22
23
able research on 18the cars.
Our deep thanks to David Whitmire Hearst
Jr. for his continuing
belief26 in the
importance
24
25
27
28
29
of artsblock’s programs, his fascination with
technology, and his generous willingness to
30
31
32
33
34
35
share his collections.
Jonathan Green, Executive Director, UCR ARTSblock
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ca. 1965-1972
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ca. 1950-1958
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artsblock.ucr.edu
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UCR ARTSblock
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UCR ARTSblock
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ARTSblock’s
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exhibitions,exhibitions,
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screenings,
and
artist residencies.
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national and
artist residencies.
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present significant
national and
international
art, and showcase
regional artists
andartists
UCR and UCR
international
art, and showcase
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student artists.
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embody University
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commitment
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and cutting-edge
research. research.
ARTSblockARTSblock
offers innovative
and cutting-edge
offers innovative
programs programs
that engage
nourish the
that diverse
engage audiences,
diverse audiences,
nourish the
imagination
and challenge
assumptions.
To learn more
imagination
and challenge
assumptions.
To learn more
about ARTSblock’s
exhibitions,exhibitions,
films, performances,
about ARTSblock’s
films, performances,
programs, programs,
and workshops,
visit the web
site web
at www.
and workshops,
visit the
site at www.
artsblock.ucr.edu.
artsblock.ucr.edu.
UCR ARTSblock
is a facility of
UCR ARTSblock
is the
a facility of the ULTRAVIOLET
ULTRAVIOLET
University ofUniversity
California,ofRiverside.
California, Riverside. A light Installation
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3824 Main 3824
Street,Main
Riverside,
92501 CA 92501
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Riverside,
Hiromi Takizawa
(951) 827-4787
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as he returns to
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Friday August 16
Friday December 21
Saturday August
17
Saturday
December 22
NO Chile/France/USA
2012
The Forgiveness
of Blood USA/Albania 2011
“No is a cunning combination
of high-stakes
and
“Set in Albania
and using drama
a cast of
mostly nonactors, The
media satire. The fiForgiveness
lm explores the
twisted
relationship
of Blood
centers
on the Kanun, a centuries-old
between Pinochet’sAlbanian
regime’scode
brutalstill
reality
andtoday.
a nation’s
in use
When a simmering land
fantasy entertainment.
Freedom
is a two
commodity
short
dispute
between
families in
boils
over in an act of violence,
supply but there’s a sliver of hope. Pressured by foreign
the Kanun, which governs how such a crime must be
governments to democratize, Pinochet will hold a plebiscite
atoned for comes into play. As his family’s eldest son, Nik
on his dictatorship, and opposition groups can share 15
becomes a target of retribution. Until that debt is paid—
minutes a day of television to make their case. In this
through blood or otherwise—Nik is unable to set foot outside
fictionalized account of actual history, Gael Garcia Bernal
lest he be killed. It’s in accordance with the Kanun, yet it’s
plays a young, hip advertising pitch man who runs the No
hard to take for a restless, hormonal adolescent, even one
campaign: Say no to boring old leaders and military parades;
used to staying in touch with his friends through texting and
say yes to the sexy, bright future, all set to a jingle: ‘Chile,
social media. This is a tale of tribalism, set in a Facebook
happiness is coming!’” Liam Lacey, Toronto Globe and Mail.
world.” Michael O’Sullivan, The Washington Post.
Nominated Best Foreign Langauge Film, Academy Awards, 2013
Silver Bear, Best Screenplay, Berlin Film Festival, 2011
Friday DecemberStray
28 dogs Taiwan/France 2013
Saturday December
29March 20
FridAy
Cave of ForgottenSAturdAy
Dreams Canada/USA
2010 & eveNiNG
March 21 MAtiNee
“Werner Herzog was the
only and
filmmaker
have access
to the
the margins of modern
A father
his twotochildren
wander
oldest known
paintings.
Here
32,000
year old
Culver Center world’s
is Riverside’s
home
for By
day
Taipei.
daythese
the father
scrapes
out a meager income
drawings come to life.
flicker
across while
the undulating,
asLights
a human
billboard,
his young son and daughter
liquid-smooth walls of
the the
Chauvet
Cave. Herzog
interviews
roam
supermarkets
and malls
surviving off free food
various experts. Mostsamples.
fascinating
all, Herzog
gives
his shelter in an abandoned
Eachofnight
the family
takes
foreign-language,
andbuilding.
the
distinctive
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ownalternative,
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on
themost
artThe
and
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The
drawings
father
is strangely
affected by a hypnotic mural
of horses,
mammoths,
rhinos,
bears
and
lions often
adorning
the
wallthe
of this
makeshift
home. On the day of the
films. Join us Friday
andbison,
Saturday
evenings
in
state-of-the-art
have multiple sets offather’s
legs, a birthday
blur ‘likethe
frames
in isanjoined
animated
family
by a woman—might she
Culver Screening
Room
on speculates
the mall in
historic
downtown.
Free
film.’
Herzog
onthe
the to
artists:
‘Do
they
dream?
Do
be the
key
unlocking
the buried
emotions
that linger from
parking is available
adjacent
to Herzog’s
the
Center
off
ofbe9th
Street.
All connoisseur
they cry
at night?’
poetic
turn
phrase
makes
him
theCulver
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mayof
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foremost
the perfect
tourp.m.
guide.
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another
the
ofEvening
defeat:
best lovely
chronicler
weinhave
of the temps mort
evening films begin
at 7:00
admission
isstanza
$9.99.
Student
epic poem of humanity
that Herzog
has been
for halfdreams of despair.”
between
social reality
and writing
darkly comic
admission is $5.00.
All fiRoger
lms are
subject
to change.
Some films may
a century.”
Moore,
Orlando
Sentinel.
Tony Rayans,
Film
Comment Magazine.
have directors, Winner,
actors, Best
or scholars
present:
check
the2011
website
for Festival, 2013
Documentary,
LA Film
Critics,
Grand
Jury
Special
Prize,
venice Film
Art-house Cinema specializing in independent,
updates. For all shows buy tickets at www.culvercenter.ucr.edu/film or
call 951.827.4787. This summer enjoy special matinee screenings at
Code Black USA 2013
3:00 p.m on Saturday during JulyFridAy
with $5.00
for all tickets.
Marchadmission
27 eveNiNG
NEW YEAR’S
EVE
Free Admission: reserve
SeatsCELEBRATION
Online
Join Riverside City Councilman Andy Melendrez for a Cesar
Birthday
Celebration
Reading
on
Beasts of theChavez
Southern
Wild
USA featuring
2012 a•Theatrical
Monday
December
31
Thursday, March 26 directed by Tiffany Lopez, and screenings
fouratChicano
films.
This
Celebration
heldScreening, Dinner,
Celebrate the NewofYear
Culver’sExperience
Third Annual
New
Year’s
Eve Partyiswith
inEnjoy
support
of Riverside’s youth
program,
The will put you in the
and Entertainment.
a pre-screening
Dinnerenrichment
at Phood On
Main which
Riverside School of the Arts, housed at the Cesar Chavez
mood with Cajun Community
fare, followed
by the
screening
of the small
miracle,
Beasts
Center,
which
offers performing
arts
programs
for of the Southern
many
of the city’s
under-served youth.
Onfabulous
Friday Code
Wild, topped off with
dancing
and entertainment
with the
bandBlack
Milpa. Beasts of the
presents
a thought-provoking
portrait
of LA County
Hospital’s
Southern Wild, one
of the most
talked about and
unexpected
films of
the year is a daring, lyrinotorious trauma bay that serves the uninsured working poor.
challenging
of folk art which won the
The film shows the realities of cal,
life and
death inpiece
a healthcare
Special Cesar Chavez Birthday Celebration
y Awards, 2013
enings at 3 & 7
Friday August 9Friday December 14
Saturday August
10
Saturday
December 15
Starlet USA 2012
El Velador Mexico 2012
“In another time and
StarletWatchman)
could haveis Natalia Almada’s
“Elanother
Veladorplace,
(The Night
inspired a short story
by Chekhov
or O. Henry—a
eloquent
documentary
portrait story
of a sprawling graveyard
about two women, one
22, the other
85, in
who
linked
in Culiacán,
Mexico,
theare
northwestern
state of Sinaloa.
by one of those accidental
plot expanding
twists. Indeed,
for almost
The rapidly
cemetery
has become the burial
an hour, the story isground
all the of
movie
is about:
and slain drug lords. Its rows
choice
for theThat,
country’s
performances so effective they’re enough all by themselves.
of garish, domed mausoleums topped with crosses may be
Twenty-two-year-old Jane is played by Dree Hemingway the
gaudy eyesores. But in Ms. Almada’s calm, nearly wordless
daughter of Mariel Hemingway. Besedka Johnson, playing
reverie, the cemetery, often shown at twilight, looks beautiful.
Sadie, is a first-time actress who was discovered by the
El Velador
is a nonviolent
film two
about
violence. At night the
filmmakers at the West
Hollywood
YMCA. These
women,
racket
construction
abates
as theusworkers
depart, and an
so very different, are
the fiof
lm’s
heart and soul,
inviting
to
silence descends.
The watchman
decide for ourselvesominous
what’s beneath
their seemingly
obvious going about his
rounds
might be described
as a silent witness to a national
facades.” Roger Ebert,
Chicago-Sun
Times.
Stephen Holden,
The New
York Times.
Won Robert Altman tragedy.”
Award, Independent
Spirit Awards,
2012
Friday OctoberFriday
17 February 14
Saturday October
18 Matinee
& Evening
Saturday
February
15 Matinee & Evening
Omar PalestineViola
2013Argentina 2012
mischievous
paradox
of Viola
is that it is at once
“Towards the end“The
of Abu-Assad’s
powerful
new
film, Omar
complicated
and lost,
perfectly
simple. Watching Viola
says to Nadia, thedevilishly
woman he
has loved and
“We have
is like walkingThe
intoimpossible
the middlebackdrop
of a partytowhose guests
all believed the unbelievable.”
are mostly
friends
friends,
very attractive
their love is the Israeli
occupation
ofof
the
West Bank;
indeed and a little
You try
to glean
who isthe
connected to whom. Are
there is much thatmysterious.
is unbelievable
about
the reality
those two women
friends
rivals? And
occupation has maintained.
Innocence
andorcomplicity
arethen you drift into
another
conversation.
You
end
up
zigzagging through town
profoundly intertwined in the mind of a person struggling
on obscure
errands.
And then
unexpectedly,
it all makes
to physically survive,
to love, and
to maintain
dignity
where
sense. A narrative
shape
andisan
emotional
there is no hope. Abu-Assad
said, ‘The
movie
more
about payoff arrive
in politics.
the very The
last great
scenes.
Youofhave
love and trust’ than
merit
this been
stark privy to a series of
seductive
moments,
drawn
intospace
the eternal
film is forcing complex
questions
into the
private
of rhythm of youth,
withpublic
something
and durable,
one name for
the viewer no lessconnected
than into the
arena old
of Israel
and
is art.”
TheofNew
York Times.
Palestine.” David which
Shulman,
NewA.O.
YorkScott,
Review
Books.
BuenosFilm,
Aires
International
Festival,
Nominated Best Foreign
Academy
Awards,
2014 FIPRESCI Prize, 2013
Grand
Juryhis
Prize
at Sundance
system on the brink of overload.
During
lifetime
Chavez and the Golden
constantly fought for human rights,
health,
safety;and
thisFIPRESCI Prizes at
Camera,
Prix and
Regards,
film highlights an overburdened and inequitable system that
Cannes.
A.O. Scott, The New York Times, comunfairly impacts both Latinos and
all Americans.
the 6-year-old heroine
Best documentary, Los Angelesmented,
Festival“Hushpuppy,
2013
of Beasts of the Southern Wild, has a smile
Struggle in the Fields USA
1996fish
andout of the water and a scowl so
to charm
yo Soy Joaquín USA 1969
MAtiNee dOuBLe FeAture
fierce it can stop monsters in their tracks. The
Cesar Chavez USA 2014 eveNiNG
movie, a passionate and unruly explosion of
SAturdAy March 28
Americana,
Free Admission: reserve Seats
Online directed by Benh Zeitlin, winks at
Struggle in the Fields chronicles
the Mexican-American
skepticism,
laughs at sober analysis and stares
crusade for equal rights in thedown
60s and
70s and
documents
criticism.
Made
on a shoestring by a
Chavez’s unionization efforts for the farm workers. I Am
Orleans-based
collective, it is
Joaquín, a 1969 short film by resourceful
Luis Valdez, New
a project
of his
El Teatro Campesino, is basedanimated
on the poem
by same
Rodolfo
by the
spirit of freedom it sets
Gonzáles, a key text of the Chicano
out to movement.
celebrate.” And
See on
website for details and
Saturday evening, Cesar Chavez, the new 2014 film by Diego
ticket prices.toReserve
Last Year’s New
Luna, emphasizes Chavez’s commitment
bringingearly!
dignity
and justice to others as he embraced
non-violence.
Year’s Eve
Party sold out.
yo Soy Joaquín: uSA National Film Preservation Board 2010
Cesar Chavez: Audience Award, SXSW Film Festival 2014
student admission is $5.00. Some films may have directors, actors,
Friday February 28
or scholars present: check the website for updates. For all shows buy
Saturday March 1 Matinee & Evening
tickets at www.culvercenter.ucr.edu/film
or call
951.827.4787.
Medora USA
2013
“This stellar, incisive documentary centers on the crowdpleasing competition story that lures in audiences and then
lays bare heartsick truths about small-town America. The
film is about a basketball team, but what’s most moving is its
examination of the lives of the players. The Medora Hornets
represent a school with just 70-odd students, and their
schedule pits them against consolidated school districts.
With the brick plant and the plastic factory long gone, that
school is all the prideful town has left. These kids’ desperate
urge to win, just once, reflects their circumstances: growing
up in a no-job town, given little opportunity, having to find it
within themselves to get out there into the world and matter.”
Alan Scherstuhl, The Village Voice.
Indianapolis Film Festival, Grand Jury Award, 2013
Culver Center
is Riverside’s
Friday
March 7 home for
Saturday March 8 Matinee & Evening
Art-house
specializing in independent,
Nebraska Cinema
USA 2013
“Have you
ever thought
of Nebraska
Oz? Woody Hollywood
Grant,
foreign-language,
alternative,
and
the mostasdistinctive
played by an understated, Bruce Dern, sure has. Old Woody
films. Join us
almost every Friday and Saturday in the state-of-the-art
got one of those magazine scams in the mail claiming he’s
Culver Screening
onbucks.
the historic
mall.
Free
parking
baggedRoom
a million
‘It says downtown
I won,’ growls
Woody,
with
unshakable
faith
in what
he seesoff
in of
print.
he needs
is available an
adjacent
to the
Culver
Center
9thAllStreet.
All evening
to do is leave his home in Montana, and head off to the
films begin prize
at 7:00
p.m.
Saturday
matinees
begin
at
3:00
p.m. Matinee
office in Lincoln, Nebraska. From that outline, director
admission isAlexander
$8.00. Payne
In theand
evening
adult
admission
$9.99. Student
first-time
screenwriter
BobisNelson
a story
of theFilms
American
characterto
onchange.
the lost frontiers
admission issculpt
always
$5.00.
are subject
Buy tickets at
of trust and shame. Is this a comedy or a drama? Like life,
www.artsblock.ucr.edu/film
it’s both. Deal withor
it. call
This 951.827.4787.
is a movie to bring home and live
Culver Center is Riverside’s home for
foreign-language, alternative, and the most distinctive Hollywood films.
Join us Friday and Saturday—and for a free screening on Thursday,
December 5th—in the state-of-the-art Culver Screening Room on the
mall in the historic downtown. Free parking is available adjacent to the
Culver Center off of 9th Street. All evening films, except on New Year’s
Eve, begin at 7:00 p.m. Saturday matinees begin at 3:00 p.m. Matinee
admission is $8.00. In the evening adult admission is $9.99. Student
admission is always $5.00. Films are subject to change. Some films
may have directors, actors, or scholars present: check the website.
Buy tickets at www.culvercenter.ucr.edu/film or call 951.827.4787.
with, to kick around in your head after it hits you in the heart.
It’s damn near perfect.” Peter Travers, Rolling Stone.
Won Best Actor, Nominated Palme d’Or, Cannes Festival, 2013
Citizenfour Germany/USA 2014
FridAy April 3
SAturdAy April 4 MAtiNee & eveNiNG
“In is
January
2013, Laura
Poitras
Culver Center
Riverside’s
home
for (recipient of the 2012
MacArthur Genius Fellowship) was several years into making
a film about surveillance in the post-9/11 era when she
started receiving encrypted e-mails from someone identifying
foreign-language
and
Join
us to
onblow
Friday
and Saturday
himself
as alternative
‘citizen four,’films.
who was
ready
the whistle
evenings in the
state-of-the-art
Screening
Room
onthe
the
downtown
on the
massive covertCulver
surveillance
programs
run by
NSA
and other
intelligenceadjacent
agencies.to
In the
JuneCulver
2013 she
flew to
mall. Free parking
is available
Center
off of 9th
Hong Kong for the first of many meetings with the man who
Street. All weekend
films
at Snowden.
7:00 p.m.
and
are subject
to change.
turned out
to bebegin
Edward
She
brought
her camera
her. on
TheFriday
film that
resulted
from this
series
of tense
Admission is with
$9.99
and
Saturday.
Some
films
may have
encounters is absolutely sui generis in the history of cinema:
directors, actors, or scholars present: check the website for updates.
a 100% real-life thriller unfolding minute by minute before
Celebrate New
Eve at Culver.
SeeSoderbergh.”
the websiteRadius.
for information
ourYear’s
eyes. Produced
by Steven
BestYear’s
documentary,
Gotham Awards
2014
on the CulverNominee,
Gala New
Eve Screening
Party.
For all shows buy
tickets online at www.culvercenter.ucr.edu/film or call 951.827.4787.
Life itself USA 2014
FridAy April 10
“When critics review films, they bring the sum of their
intellectual capacity and life experience to bear, along
with whatever drama (or comedy) they’re going through at
that moment in time. Life Itself gets this. ‘Life itself,’ that
loaded two-word phrase, is what Roger really wrote about
when he wrote about movies. This movie is about cinema
history and critical history, writing and reading, drinking and
sobriety, religion and doubt, love and sex and marriage and
parenthood and labor relations and so many other factors
that combined to create Roger Ebert; and it’s about why,
even if complete emotional detachment were an achievable
goal for any critic of any medium it’s impossible to achieve
when writing about Life Itself.” Matt Seitz, RogerEbert.com.
Sheffield international documentary Festival 2014
in Bloom Georgia|Germany|France 2014
FridAy April 17
“Thrillingly intuitive and lively performances from two
teenagers lend heart and soul to this coming-of-age drama
set in post-Soviet Georgia; a world in which a gun can be
a token of affection, a marriage proposal looks more like a
kidnapping, and love and death are never far apart. Drawing
on memories of growing up in the 90s, this terrifically
engaging work raises important questions about universal
experience and cultural context—in this case, the search for
independent female identity in a society all but suffocated by
the threat of violence. The film has an extraordinary lightness
of touch, with moments of astutely observed comedy giving
way to defiant displays of dance beneath the overarching
shadow of looming unrest.” Mark Kermode, The Guardian.
30 Awards including AFi Fest and Berlin Film Festival 2013
Culver Center is Riverside’s home for
Art-house Cinema
specializing in independent,
foreign-language, alternative, and the most distinctive Hollywood
films. Join us almost every Friday and Saturday in the state-of-the-art
Culver Screening Room on the downtown mall. Free parking is available
adjacent to the Culver Center off of 9th Street. All evening films begin
at 7:00 pm. Saturday matinees begin at 3:00 pm. Matinee admission
is $8.00. In the evenings adult admission is $9.99. Student admission
is always $5.00. Some films may have directors, actors, or scholars
present: check the website for updates. Films are subject to change. Buy
Tickets or Reserve Seats for free films at www.culvercenter.ucr.edu/film
or call 951.827.4787.
CULVER SCREENING ROOM • 2015 WINTER FILM SCHEDULE
out characters
rky and sad
tor David O
eats them with
with originality
c cast— Bradley
o—‘real’
its bittersweet
and notions
to tell what is
y finds a place in
Friday August 2Friday December 7
Saturday
December 8
Saturday August
3
Trishna UK 2011
Pavilion USA 2012
in the
Indian
state of teenager
Rajasthan
and in the surging city of
Tim Sutton’s debut“Set
feature
follows
a laconic
who
Mumbai,
Trishna
the home
relationship
between a young
moves from an idyllic
lakeside
town torecounts
his father’s
in
woman
rural Indiaimagery
and a to-the-manor-born
son of a
arid suburban Arizona.
Withfrom
mesmerizing
of hot
business
man.
Celebrating the movie’s sense
summer bike rides wealthy
and coolIndian
lake-bound
dives,
Pavilion
of placeand
might
sound
once
captures the ephemerality
reverie
of strange
youth and
theyou consider Trishna
is afriendships.
retelling of A
Thomas
Hardy’s
fragility of adolescent
haunting
score Victorian
by the novel Tess of the
D’Urbervilles.
Yet, the
Sea and Cake’s Sam
Prekop shadows
the massive
storyline,cultural
echoingshifts occurring in
present-day
India have“There’s
similarities
to the upheaval England
its secrets and shouldering
its mysteries.
no inciting
at the
of the Industrial
Revolution. Trishna
incident or barbed experienced
narrative hook,
andstart
it’s unclear
if this
the potent
collisionsbyofobvious
the rural and the urban, the
is a fictional work orengages
a documentary.
Unguided
rich,toand
considers
story signposts, youpoor
slip and
fromthe
image
image,
pulled how
alongthese interactions
a romance
and rhythms
how theyofmight
by their beauty andunfold
by theindreamy,
leisurely
the also destroy it.”
Lisa Kennedy,
The
Denver Post.
editing.” Manohla Dargis,
New York
Times.
Best Film,
Festival, 2011
Winner Special JuryNominated,
Prize, CineVegas
FilmLondon
Festival,Film
2009
10 February 7
Saturday October
11 Matinee
& Evening
Saturday
February
8 Matinee & Evening
The Immigrant Housemaids
USA 2014 Brazil 2013
Seven adolescents
take
on beautiful,
the mission of filming, for one
“The Immigrant, probably
James Gray’s
most
week,work,
their isfamily’s
housemaids
moving and expansive
a sepia-steeped
odeand
to then handing over
the struggle
footage to
theAmerican
director to
make a film.
immigrant resilience,
and
Dreaming
that The images that
confrontGodfather
us uncover
theII,complex
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visually evokes Coppola’s
Part
but in itsrelationship
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housemaids
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employers, a relationship
irony-free melodramatic
sincerity
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a silentthatà confuses
intimacy
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power
in the
era woman’s picture
la D.W. Griffith.
Daring
being
so workplace and
provides
us with
insight into
echoes of a colonial
unabashedly serious,
romantic
andan
classical,
and the
providing
past.
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the context for a trio
of performances—Cotillard,
Joaquinabout the role of
domestic
workersare
in Brazilian
Phoenix and Jeremy
Renner—that
permittedsociety,
to growforcing
and people from all
social
classes
to
question
economic
and
racial
privilege and
breathe in the movie’s deep spaces and slow rhythms, Gray’s
inequality.
“Housemaids
humorous
and sensitive, while
movie is a flawlessly
articulated
example of isthe
kind of thing
alsoany
managing
to be a adult,
profound
work of denunciation. This
they just don’t make
more: serious,
characteris a historic
documentary.”
Pedro
driven and impassioned.”
Geoff
Pevere, Globe
and Butcher,
Mail. Folha de São Paulo.
Internacional
Coisa
de Cinema, Best Film, 2012
Nominated Palme Panorama
d’Or, Cannes
Film Festival,
2013
Friday February 21
Saturday February 22 Matinee & Evening
Let the Fire Burn USA 2013
“In the astonishingly gripping Let the Fire Burn, director
Jason Osder has crafted that rarest of cinematic objects: a
found-footage film that unfurls with the tension of a great
thriller. In May 1985, a longtime feud between the city of
Philadelphia and radical urban group MOVE came to a
deadly climax. Police dropped military-grade explosives onto
a MOVE rowhouse.
TV cameras
captured the conflagration
specializing
in independent,
that quickly escalated and resulted in the eleven deaths and
foreign-language and alternativethe
films.
Join usof Friday
andItSaturday
destruction
61 homes.
was only later discovered
that authorities
decided
to ‘let
burn.’
evenings in the state-of-the-art Culver
Screening
Room
onthe
thefire
mall
in Using only
archival news coverage, Osder has brought to life one of the
the historic downtown. Free parking
is available adjacent to the Culver
most tumultuous clashes between government and citizens
Center off of 9th Street. All weekend
films
begin at
7:00 p.m.
(except
in modern
American
history.”
Zeitgeist.
FilmAdmission
Festival, Best
2013
where noted) and are subject toTribeca
change.
is Editing,
$9.99.Documentary,
UCR
UCR CULVER CENTER SCREENING ROOM • 2012 FALL SCHEDULE
enings at 3 & 7
2
Friday April 12Friday September 26
Saturday April Saturday
13
September 27 Evening Only
Spectres of theThe
Spectrum
1999 France/Austria 2013
Last of USA
the Unjust
“No American filmmaker has taken more advantage of
“A new documentary from Claude Lanzmann, the director
the sheer breadth of media including vintage 16- and
of Shoah. This film is shorter—it runs three hours and
Super-8mm than Craig Baldwin, whose movies stitch
forty minutes—and Lanzmann confines himself to a single
together huge ranges of material—B-movies, commercials,
figure: Benjamin Murmelstein, a Viennese rabbi, who
kinescopes, quiz shows, A-movies, industrial films—to
became the Elder of the Jewish Council in Theresienstadt.
create indictments of contemporary culture. All of Baldwin’s
In that capacity, he was not just responsible for the lives
movies are about information technologies. This 1999
of his fellow-Jews but also answerable to the Nazis: an
epic is simultaneously a partially coherent science-fiction
impossible task. Throughout his interviews with Lanzmann,
parable and a re-telling of the development of mass media.”
acrossscreened
as pugnacious and all but
Tom McCormack, Murmelstein
Fandor. This comes
film is being
fullyScience
alive to the
grave ironies of his story. The
in conjunction withindestructible,
the UCR’s Eaton
Fiction
film itself—not
least
in the aged
Conference, an academic
gathering
devoted
to thefigure
studyofofLanzmann, still
his tracing
of monstrosities—becomes
a double
science fiction as atireless
literaryingenre
and social
phenomenon.
portrait of
the will to endure.”
Winner Way Cool Feature,
MicroCineFest,
1999 Anthony Lane, The New Yorker.
Nominated Best Documentary, César Awards, France 2014
tickets at www.culvercenter.ucr.edu/film or call 951.827.4787.
UCR CULVER CENTER SCREENING ROOM 2013 SPRING / SUMMER
enings at 3 & 7
12
never gives
e of where it’s
horitative French
ne turns out to be
spectacular and
mpassion. It is
ovies of the year,
struggle rather
olution. That’s
nder Audiard
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ngton Post.
l, 2012
Friday April 5 Friday September 19
Saturday April Saturday
6
September 20 Matinee & Evening
The Sessions USA
2012 USA 2014
Sol LeWitt
“The Sessions is a heartfelt dramatic comedy that addresses
“Conceptual artists leap to conclusions logic cannot
the erotic longings of a disabled man. Director Lewin, a
reach,” Sol LeWitt said in a rare audio-interview from
polio survivor, knows precisely how to tell this story, and
1974. Notoriously camera-shy, Lewitt refused awards and
he’s aided by stunning performances. John Hawkes pours
rarely granted interviews, yet in Chris Teerink’s sensitive
himself into the role of Mark. Lying immobile throughout the
cinematic portrait, the pioneering conceptual American
film in a bed, a gurney or a respirator, he delivers a humane,
artist comes alive. LeWitt’s artwork can be seen as obsession
soaring performance. Mark’s body is atrophied, but his wit is
pushed to the limit of paradox and absurdity: simple ideas,
electric and his soul is expansive and poetic. Mark has the
communicated simply—often with a set of instructions
serendipity to meet Cheryl (Helen Hunt), a compassionate
sent by fax—lead to overwhelming visual and intellectual
sex surrogate. Their encounters are shot frankly, clinical at
complexity. The film documents the installation of Wall
first but with an increasingly warm sensuality that never feels
drawing #801: Spiral in the Netherlands which takes eight
exploitative. Consistently surprising, this is a crowd-pleaser
assistants 30 days to complete. When the work is done and
of the finest sort.” Colin Covert, Minneapolis Star Tribune.
the scaffolding taken away, the result is transformative.
Audience Award and Special Jury Prize, Sundance, 2012
Prix du Meilleur Portrait, Montreal Art Film Festival, 2013
Art-house Cinema
andtowatches
to see
what will happen.
villagers and tourists
an ancient
mountaintop
temple. Using
This inexperienced
specializing
in the
independent,
actors and
lived-in
locations,
joins an off-the-cuff
evocative and rigorously
structured
documentary
isfilm
filmed
narrative
to aJoin
rigorous
realism,
information to swell
in 16mm
and shows
11
rides:
each
a single
10and
toallowing
11
minute
foreign-language
and alternative
films.
us
Friday
Saturday
through
snatches isofaoverheard
take on a 400-footand
rollfade
of film.
Manakamana
tender, conversations.
evenings in the state-of-the-art
Culver Screening
Room on
the mall infrom the leads
Punctuated
lengthy musical
ephemeral character
study of by
its passengers
and performances
a window
the historic downtown.
Free
parking
available
adjacent
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andlandscape
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bands,
Used
Be Culver
Darker frequently
onto the lush,
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Yorkinto
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Center off of 9th
weekend
films
begin
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ramble
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Festival called it, “an
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version
of an Andy Warhol
where noted) screen
and are
subjectfamily,
to change.
Admission
ischronicle
$9.99.of
UCR
asuggestive
dreamy,
detached
dissolution and
test, an endlessly
film that describes
and
student admission
is $5.00.
Someoffilms
mayspace.”
have
directors,
actors,
renewal.”
Jeannette
Catsoulis,
The New
York Times.
transcends
the bounds
time
and
Buenos
International
Festival,
Best
Director,
Special Mention,
Best
First Aires
Feature,
Locarno Film
Festival,
2013
or scholars present:
check the
website
for
updates.
For
all shows
buy 2013
WINTER 2013-2014
s one of the
r’s most
umanity’s
y and social
about the
all his films but
mining the place
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timate meaning
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Top 250 Movies.
FILM SERIES BROCHURES
“A ballad
photographs,Manakamana
music and memories—both the
Breathtaking, poignant
andofmesmerizing,
savor and
thethe
new
we consciously
is a documentary old
shotwe
entirely
inside
narrow
bubble of construct—I Used
Summer/Fall 2014
968
• Culver Center Screening Room
January 31
3
Saturday October
4 Matinee
& Evening
Saturday
February
1 Matinee & Evening
Manakamana Nepal/USA
I Used to be2013
Darker USA 2013
Culver Centera is
Riverside’s
tohome
Be Darker
at theas
seams
of an unraveling family
cable
car, high above
a for
junglepicks
in Nepal,
it transports
UCR CULVER CENTER SCREENING ROOM
1979
years after
o prevailing
ension, the
and director
s with elaborate,
rebuke to
slow, oozing
oday’s sped-up
peed, but not on
lds at a tempo
attention to the
ost important
ever twined so
ent Weekly.
Top 250 Movies.
Friday March 29
Friday September 12
Saturday March
30
Saturday
September 13 Matinee & Evening
Beetle Queen Conquers
Tokyo
Japan/USA
2009
We Are the
Best!
Sweden/Denmark
2014
“If Beetle Queen Conquers
Tokyo
sounds
like 80s
some
retro
“Pipsqueak
misfits
in early
Stockholm,
Bobo and Clara
Japanese creature feature, guess again. This is a gentle
are the kind of friends who bond because everybody around
docu-tribute to Japan’s age-old connection to the insect
them, from their parents to their teachers to their classmates,
world, a meditative piece that is at times hypnotically
is impossibly stupid and wrong. In Lukas Moodysson’s
beautiful. The film mixes fascinating shots of Japan’s most
exuberant We Are the Best!, the tweenage girls do the only
popular insects — dragonflies, fireflies, crickets, butterflies
thing they can: Start a band. Not an Abbaesque pop outfit,
and, of course, beetles — with related visuals of local
but a slashing, crashing punk unit. Their gym teacher is a
daily life and rituals. The point, taken with quiet matter-oftyrant, soccer blows, so their first fiery two-minute anthem
factness, is that nature has always been an inextricable part
makes perfect sense. It’s called “Hate the Sport.” Their
of Japanese culture, religion and philosophy, with insects
repertoire, raging and rebellious, goes from there. It’s not
being an ideal representation of the country’s traditional
blood that flows through their veins, it’s nitroglycerin. The
attention to detail and harmony.”
girls chant the Swedish title: “Vi är bäst! Vi är bäst!” And
Gary Goldstein, Los Angeles Times.
they’re right, they are.” Steven Rea, Philadelphia Inquirer.
Winner Special Jury Prize, CineVegas Film Festival, 2009
Tokyo Grand Prix, Tokyo International Film Festival, 2013
UCR CULVER CENTER SCREENING ROOM
onjunction with
he Art of Citizen
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UCR CULVER CENTER SCREENING ROOM • 2013 WINTER SCHEDULE
LMS SERIES
• RearView Mirror
UCR CMP
• Adam Baer
Displaced Perspectives
EXHIBITION CATALOG
ADAM
BAER Perspectives
Displaced
ucr/california museum of photography
• Adam Baer
EXHIBITION CATALOG
adam[s] meet[s] mtv
j o n at h a n G r e e n
In effect the ground-glass divorces us from the realistic appearances of the world as seen in the rectified
small-camera finder.The ground-glass image thus exists as a thing in itself, specifically photographic and
not merely a simulation of the “view” before the camera.
Ansel Adams, The Camera, 1980
N
ot surprisingly for someone still using a nineteenth century
instrument, Adam Baer’s view camera work continues anachronistically to favor such classic photographic notions as previsualization, single point perspective, careful craftsmanship,
and disdain for the hand-held camera, modern equipment and electronic
manipulation; an outlook somewhat antithetical to the chaotic world he
records. The grand paradox and achievement of Baer’s work is that he
has found strategies to naturalize the view camera as the archetypal postmodern instrument; to subvert its history of pre-industrial, pre-digital,
pre-Internet description as a means to comment on bourgeois society,
and contemporary visual theory, thought and production without actually
using the electronic digital technologies which dominate our age.
For both Adam Baer and Ansel Adams the view camera is the essential
instrument in the construction of a hyperbolic world. Both relish the camera’s large negative with its density of detail and extensive adjustments
over framing of the subject. But it is the view camera’s seldom discussed
extraordinary ability to control the position of the plane of focus that provides the key both to the mechanics and meaning of their images.
With most cameras the relationship between the lens and film plane is
fixed: the plane of the lens is always parallel to the film plane constraining the plane of focus in the real world perpendicular to the axis of the
lens. Only one perpendicular plane can be rendered in sharp focus at a
time. But the view camera’s independent movements of front and rear
standards allow the photographer to alter the relationship between the
lens axis and the film plane, obtaining sharp focus on a plane defined by
three points anywhere in space in front of the camera. In Ansel Adams’
archetypal images this plane of sharp focus runs from the thistle at the
10
photographer’s feet to the mountains on the horizon, giving the appearance of apparent clarity and deep space and simulating in two dimensions three dimensional depth as perceived by everyday binocular vision.
In these landscapes the eye is forced to seek the vanishing point, to peer
beyond the natural into the transcendental. The precision of the view
camera allows Adams to reaffirm Newton’s notion that the harmonious
working of the universe reflected the magnificence of “the Great Geometrician.” The focal mark for infinity engraved on Adams’ lens is not technological but theological. This straight, clear beacon of precision and lucidity stretched between the photographer and infinity becomes the hallmark
and argument of Adams’ work.
By adjusting the swings and tilts of the view camera Adam Baer also
threads his plane of sharp focus slantwise into the world. But where
Adams, a founding member of Group f/64, utilizes the better known optical phenomena of a small aperture to expand his depth of field envelope
of sharp focus, Baer shoots “wide open” with a large aperture, delineating
in sharp focus only those objects that reside precisely on the focal plane
while allowing all other information to lose clarity, to become indistinct, to
blend and blur. By placing the interstices of divergent objects off the plane
of focus Baer is able to seamlessly join discontinuous elements, unifying
in a single image a fractured, chaotic, incoherent reality. Where Ansel
Adams presents a world that achieves coherence through spatial continuity, the coherence in Adam Baer’s world is achieved by spatial juxtapositions tied together by photographic continuity.
Paradoxically, Adams’ closed-down aperture’s envelope of inclusion
excludes all mundane subjects, realities and alternative histories while
Baer’s open aperture, which excludes from sharpness everything that sits
Adam Baer, Untitled #981, 1998
• Adam Baer
EXHIBITION CATALOG
encapsulated in mere language and relegated to the past. There are at
least 20 separate and in themselves memorable scenes together in one
photograph.
It would be easy to call the image surreal or Felliniesque and stop puzzling over it. We could say that these images are together because our
subconscious is illogical and puts thoughts and images together willy-nilly,
or in a Freudian sense take these as dream images that actually refer
to the real world obliquely. While interpreters of dreams could obviously
have a great deal of fun treating these scenes
as coded manifestations of Baer’s repressed
thoughts that would get us nowhere. Baer’s
labor intensive working method requires a
deliberateness that makes the spontaneous
expression of repressed thoughts unlikely.
While a few details are unreal and never
seen–the woman’s body materializing out of
the smoke of three chimneys is one obvious
example–and every transition point between
abutting tableaux is conspicuously unlikely.
Yet each still seems more the type of simplified images we have in our heads when we
imagine something unseen and we fill in only
the salient details. For instance when I imagine McVeigh’s execution chamber I picture the death table and glass
window but not the light switches. And while through that simplification
some images appear symbolic–the women atop the mountain–the nature
of his process gives us a literalness of their flesh that keeps them at least
partially in his playing field of actual events.
In the Western Picture tradition when we have multiple scenes together
within a rectangle the first question we have to ask is are they happening
over time or all at once. There is long history of still images which are
meant to present multiple scenes in one story over time ganging them up
in ways not dissimilar to the way Bear does here. But the foregrounded
bus driver on the lower right who looks both face-forward towards us and
back appears to be looking not only at the panicking passengers but at
all the scenes, to which the passengers may also be reacting. And the
topsy-turvy world-gone-crazy feel that Baer creates would make no sense
(or perhaps no nonsense) were these events parceled out over time. They
must all be happening in the “now” and all at once.
So if time is not compressed to fit these scenes together then what is? It
must be times other half, space. And that too
mirrors human thought processes as we can
as easily think of places-other-than-here as of
times-other-than-now. We can in the space of
a second flip from worrying about our jobs
to thinking of a landslide in Mexico, till
we can begin to blend the personal and
social, then micro and macro. Our feeling
on larger social forces affecting the economy
or environment merge with our annoyance
with inconsiderate neighbors. Far away wars
inflect our understanding of ourlover’s mood
swings. This is not crazy thinking. Just as we
desire to recombine the pieces of a picture
into a whole coherent image–even images as
incongruous as Baer’s–we want to take the sequence of events we experience and render them as a coherent understandable life. We know that
somehow all these events are interrelated, if we could just find the key.
That intersection of the world in our apartments, homes and backyards
with the world we see on the news and read about in the papers was more
conspicuous in Baer’s earlier works. In pieces such as Untitled #991
the seeming protagonist pedaling furiously on a bike is surrounded by
images of consumerism, the environment and home. In Untitled #981
and #982 other central domestic scenes–the troubled sleeper and the
Adam Baer, Untitled #942, 1994
18
• Adam Baer
EXHIBITION CATALOG
ance work, is the first
the camera in earnest
he body’s physicality,
sexual identity, and potential for harboring beauty and decay. This book and its accompanying exhibition are designed to reflect Zane’s aesthetic strategies and to explore the
dynamic interplay between his art and life, photography and dance, his collection of
found images and his own photographs, his self-portraits and images of others. The core
of this book consists of six portfolios which present Zane’s photographs side by side with
his art work, sketches, performance notes, snapshots of Bill and Arnie, video stills and
photos of the company in action. The portfolios are interpreted through observations
and personal recollections by friends, dancers, curators, and historians from the worlds
of photography, art, and dance.
The MIT Press, Massachusetts Institute of Technology, Cambridge, Massachusetts 02142
http://mitpress.mit.edu • In association with UCR/California Museum of Photography
ucr/cmp
personal and artistic
change defined each
orations and exploratury dance. The Bill T.
and to be inspired by
EXHIBITION CATALOG/BOOK
continuous replay the Photographs of Arnie Zane Jonathan Green
an essay by Jonathan
ster, Christine Pichini,
• Arnie Zane
Continuous Replay
continuous replay
the Photographs of Arnie Zane
introduction by
Bill T. Jones
Edited by
Jonathan Green
• Arnie Zane
Continuous Replay
This Book’s Choreography
Every image of the past that is not recognized by the present as one of its own concerns threatens to disappear irretrievably.
Walter Benjamin
This project is an attempt to make Arnie Zane’s photographic work widely
talking about. And he’s right. He said, “What’s wrong with someone hav-
available for the first time, to position Arnie’s work in the larger arena of late
ing to come to the picture?” I said, “It should sit on the wall and you
twentieth-century creative practice in the visual arts and dance, and to associate it with current issues in critical aesthetics, queer theory, and socio-political
should be able to stand in a museum or a gallery and look at it.” He said,
“Well that’s the art that you think matters, that’s not what I think matters.”
polemics, all of which focus on the body as the locus of identity. The book is a
performative gesture itself, a choreography of the many elements of Arnie’s
Nonetheless, when Arnie had access to friends’ darkrooms which could handle
life interpreted through commentary and personal recollection. The book’s
larger prints, he would print some of the same negatives on 11 x 14 and even
layout derives from the strategy of Arnie’s most emblematic dancework,
16 x 20 paper, sometimes bleeding the print to the very edge. Arnie also print-
Continuous Replay, which is built up from the repetition and accumulation of
ed a great number of his negatives on positive litho film which would then be
44 gestural positions closely related to the tight framing, symmetries, interre-
sandwiched between 3¼ x 4 pieces of glass and projected as Magic Lantern
lationships, and crisp poses of his photographs. The goal of this book is to
slides. These projections became a major part of his and Bill’s early dance piec-
present Arnie’s work in a manner that will provide the reader with a sense of
es. During the early years Arnie experimented with Xerox, video, and Polaroid
the vitality and extraordinary range of Arnie’s creative endeavors. As such, the
copies of his images, with photobooth sequences, and with reworking lantern
book’s layout is a major component of its critical strategy.
slides by drawing and scratching on the emulsion. Many images were further
used by Arnie as motifs for posters advertising his dance work and perfor-
While the book’s photographs are faithful reproductions of the colors, tones,
mances by the American Dance Asylum. Arnie’s images were also augmented
and formats of Arnie’s images, many are presented in juxtapositions created
by found photographs. These would be re-photographed to produce copy
especially for this volume. While Arnie presented and matted many images in
negatives which would then become an integral part of his own work. In the
diptychs, triptychs and collages, the great majority exist now as only single
end there are few negatives in the archive which do not exist in a great variety
images. Yet, early in the process of reviewing Arnie’s work it became clear that
of sizes and media. Moreover, Arnie never believed in random, haphazard
a single-image-per-page presentation would be an inappropriate representa-
shooting; he always concentrated on specific projects and series. Because of
tion of the dynamic interplay that characterized Arnie’s creative work and the
this, there are very few anomalous or divergent images in the archive. Almost
integration of his photography and dance projects. The layout thus evolved
every photograph relates to other images in a defined set.
from the substance of Arnie’s photographs and the boldness of the dances he
danced and choreographed.
This book presents Arnie’s work in six portfolios punctuated with excerpts from
Bill’s recorded commentary on the images and interspersed with essays on
Arnie’s original photographs were generally printed small, averaging not more
Arnie’s art an d life. The portfolios Amsterdam & Binghamton & San Francisco,
than 4½ inches square. Arnie’s sense of the appropriate size of his photo-
Pearl Pease, and Torsos contain Arnie’s work from specific moments in time,
graphs varied over time, determined by equipment and economic necessity,
while Projections, Repetitions & Accumulations, and Snapshots are thematic in
by his current projects and aesthetics, and by their presentation venue—
organization.Yet each portfolio references the other five, as well as the broad
whether they would be shown in a gallery, circulated to friends, or projected
range of Arnie’s experimentation preserved in his photographs, found photo-
in a dancework. Arnie’s early photographic work in Amsterdam, Binghamton,
graphs, choreographies, dance texts, journal entries, and performance notes.
and San Francisco was taken with a simple Brownie 127 box camera. Its poor
BTJ:
quality lens dictated that these early prints be small so that the image would
The reconstruction of a lost photographer is dangerous work. The world is full
not fall apart in enlargement. Later he began to use larger format 2¼ square
of undiscovered photographers where the context of the work is lost forever.
cameras with much better optics. He also shot occasionally with a 4 x 5 press
Yet because of Bill’s efforts, Arnie’s work is almost entirely intact; many of
camera and a 8 x 10 view camera. The print size of all this work was limited by
Arnie’s intentions are known, and enough specificity is embedded in Bill’s and
the capacity of Arnie’s small, pre-war enlarger, which worked well at only small
others’ recollections to proceed in good faith to create this volume. This book
This was probably in 1978. Hand Dance/ Pink Dress Blue was the first
magnification, and by his 8 x 10 darkroom trays. More important in the early
is intended to stand alone as a synoptic reconstruction of Arnie’s work.
group version of Continuous Replay. Arnie was so excited because he
work was Arnie’s concern for intimacy and intensity. Bill remembers that while
However it should also be understood as correlative to the exhibition in which
actually got an out-of-town engagement. It was first performed in a
he found the small prints
Arnie’s original photographs and juxtapositions can be viewed firsthand.
very small little space in York, Pennsylvania. Arnie designed the poster,
...compelling and beautiful, I always told him they were too small. They
as he did many of our first posters, using his own photographs.
were too precious, and he said that’s because I didn’t know what I was
Jonathan Green
15
• Arnie Zane
Continuous Replay
BTJ:
In San Francisco I was directing the dancing for a musical that my brother had written called Port Royal Sound. These were Magic Lantern slides done out by the
Pacific Ocean that Arnie made for that production. It was a real family affair. This is Rhodessa as the Young Dreamer. Vilena, my sister, played the Mama figure.
And here is the figure of Death. Dessa’s character dies in it. I played Willy, a young, black ex-slave who wants to join the Union army. He’s killed on the battlefield,
but this was never seen in the play. Arnie actually at one point wore black face and a fake nose because we didn’t have enough men to be black slaves, so we
made him up. <laughter> It was…it was real. It was real.
<#>
<#>
• Arnie Zane
Continuous Replay
JG:
BTJ:
In your conversations did you talk about the action,
Trisha Brown, Simone Forti, and Steve Paxton. Steve Paxton with his revolu-
pushed us to become both Bill and Arnie and the Bill T. Jones/Arnie Zane
cies I had in Riverside in 1995 and 1996, which were supported by the museum
the gesture, the position? Was the language at all in
tionary contact improvisation was sending a generation of choreographers in
Dance Company.
and the dance department and by a University of California Regents’
terms of physicality, either in the form of the photo-
search of the poetics of anatomy and kinesiology. There was great beauty and
graph or in the particular motivation?
mystery in standing, walking, sitting, and rolling; in non-theatricalized touch,
We had long hoped to publish a book of his photographs. Arnie always loved
examining this material, and the parallel involvement of the dance department
support, and counter-pull. This, plus the revelation of the use of pedestrian
the intimacy and scale of a book. We also recognized the importance of his
through Susan’s enthusiastic support, proved invaluable: there would now be
These photographs were made in March 1972.
performers in the works of Meredith Monk and Yvonne Rainer, encouraged
photographs to the company’s artistic sensibility, as well as their importance
a comprehensive presentation of Arnie’s photographic work, and I would be
Arnie called them On the Hill in Johnson City. We
Arnie as he resolved to share the domain of stage performance with me.
as historical documents that speak to issues of artistic identity and to aspira-
relieved of some of my anxiety about its physical preservation.
Lectureship. The interest and insight displayed by Jonathan and UCR/CMP in
tions both personal and professional. I also feel that Arnie’s photographs con-
knew we wanted to jump, so we’d count 1-2-3. I was
taking classes—he was not—so my vocabulary was
Lois Welk with her honesty and wisdom presented an unspoken challenge to
tinue to serve as a guide for the company’s future because they are so linked
Many people have been involved in this project, and I am deeply moved by
more dance oriented. I was actually doing some-
the highly determined, portrait-loving aesthetic that was Arnie’s. In his dance
to the origins of our work in dance.
their dedication to Arnie’s work and his memory. I particularly want to thank all
thing I had seen in dance class or in a photo of
At the Crux Of he notes, “I wanted to make a dance about the body (the clinical)
Martha Graham or something. I guess he thought it
and yet transcend that (the medical).” This was an exciting period and, I
When Arnie died in 1988, I was left with a legacy consisting of hundreds of
now provided a basic analysis upon which future studies of Arnie’s work, its
looked like it came from the 30s. <Laughter> I’m
believe, the last time that his interests in dance and in image making were
printed images and thousands of negatives, as well as notebooks, diaries, per-
relationship to the company’s production, and its relationship to the work of
sorry that it did. So that’s why it was allowed. No, it
equal. His photographs were of persons’ torsos, ranging from the blemish free
sonal letters, artworks, books, videotapes, and films—the products of seven-
the last thirty years can be based. I extend my special thanks to the Andy
was not really dance. Theater would be a better
young bodies of us dancers surrounding him to his own torso photographed
teen years of his and my own work and our work together. I felt that this
Warhol Foundation for the Visual Arts and to Tony Culver who have helped
word. Dance would have been too scary, you know
with infrared light so as to make more evident the blood coursing through his
material could instruct historians, dancers, and the public at large as to Arnie’s
underwrite this book and exhibition.
the essayists, commentators, and contributors to this publication. They have
what I mean? I think that he, like myself, was strug-
veins, extreme bodies such as Tinam, a more than voluptuous woman we had
vision and his place in the arts of the last thirty years. So I began to seek a way
gling so much inside with the instrument, that we
befriended, Frank, a young neighborhood tough, and of course the magnifi-
to secure the work and make it more widely available. First there was Body
Jonathan’s essay begins with a quote from Walter Benjamin: “Every image of
couldn’t really look at it from the outside. It was like
cent devastation of Pearl.
Against Body: The Dance and Other Collaborations of Bill T. Jones and Arnie Zane,
the past that is not recognized by the present as one of its own concerns
a slender volume funded by the Howard Gilman Foundation.
threatens to disappear irretrievably.” Arnie’s photography was quietly polemi-
what I felt inside, dancing-wise. They also suggest-
cal. In their own way the photographs set out to challenge and provoke. Arnie
ed frames from an old silent film—not that there
Everyone who knew Arnie knew about the photographs, and those who saw
were any characters in it, but there was something
them thought them extraordinary. I remember his happiness when he was
In the early 90s, Bill Bissell volunteered to undertake a basic cataloguing and
wanted to make works which would deeply affect people. His photographs
very intuitive about the way we were doing it. And
given a show at the now defunct Light Impressions Gallery in Rochester, New
initial conservation of Arnie’s work, which had been sitting in my house and
were an investigation of solidity, grace, and beauty, and they were also an
he was a great one for the lulls between things. He
York, or when he received a Creative Artist Public Service (CAPS) Award among
office untouched. With great care and vigor, Bill found support from the
investigation of disintegration and decay. Their concern was the most essential
said, <shouting> “Hep! Stop, hold that!” We were
the likes of Duane Michaels, William Wegman, and Diane Arbus. But in truth
Pittsburgh Dance Council and made the initial contact with the University of
issue: the body as the final site of all knowledge. Ultimately Arnie’s photogra-
performing, but by the same token it was just a step
the photos were rarely shown, and as Arnie became more and more involved
California, Riverside. Eventually I loaned the archives to the UCR/California
phy hoped to reveal the truth about his, and my, and everyone’s experience. I
away from real life. I think there are other photo-
in dance, his photographic output diminished and finally stopped almost com-
Museum of Photography, and its director, Jonathan Green, began to work with
know this publication will show that Arnie’s images are our own.
graphs that were probably more casual, but he
pletely. And because we were collaborators, it was his dancing and his photog-
Susan Foster of UCR’s dance department towards an exhibition of the work
chose the ones that were most archetypal.
raphy that mixed with, contested, and encouraged my own concerns and
and the publication of this book. This project was aided by weeklong residen-
Bill T. Jones, Fall 1998
13
• Arnie Zane
Continuous Replay
Phil Sykas:
I remember these being on the wall in Johnson City. There was
no embarrassment. I mean, they’re very, very intimate.
BTJ:
You know, we didn’t know they were intimate. I think that he
and I truly believed that the aesthetic appreciation would override any moral concern. For us, it was not even really about sex.
It was like striving for Olympus, some other notion of purity.
That‘s what they were about. You couldn‘t even tell if it was a
man or a woman. We thought they were in some sort of classic
tradition. When he showed them to New York avant-gardists in
the early 70s, when minimalism was the rage, they were not
interested in retro decadence. They wanted their decadence in
the form of Andy Warhol. You know what I mean? This was too
sincere. They didn’t get it.
21
• Arnie Zane
Continuous Replay
BTJ:
Why did he choose to aestheticize his black boyfriend? What is this about making me a Bedouin? And why did Amsterdam have to become Morocco? What was
all that about? His black lover as a kind of showman from another era? Somehow to make it more beautiful? Make it timeless? He used that word all the time,
timeless. He wanted something to be timeless. Everything was always aestheticized, the tinting, all of that, setting it apart. Well, this is my reading of it, that he
was taking Arnie Zane and putting Arnie Zane in a timeless world. You can’t tell where this is. Is it in Rome? What century is it? He was trying to freeze a notion
of Arnie Zane and heighten it. And you know what’s sort of wonderful is that he would allow this trash to stay in it too, knowing that he wanted everything to
be so meticulous.
<#>
39
• Arnie Zane
Continuous Replay
Dance Asylum
Lois Welk
Jonathan Green:
Tell me about your recollections of the first time Arnie began to use photography in performance or dance.
Lois Welk:
The very first time was the dance First Portrait. He used a Magic Lantern to project transparencies of photographs of himself that he had taken on the roof of
the building. It was a very minimal piece, very simple and quiet. It dealt with him moving in a sculptural way, and it had a lot of stillness so that the images
did stand on their own. The images were projected, if I remember correctly, on a stretched white piece of cloth, probably a sheet behind him. We were always
pulling out our sheets to make projection surfaces. <laughter> I’m quite sure it was a sheet behind him, and it was a frontal projection. We did it at 137
Washington Street. He worked on it quite singularly. This was not a collaboration with Bill or with myself. You know, he took great pride; this was a very important piece for him at that time. It was also shortly afterwards that he received a CAPS grant for photography.
JG:
into contact improvisation for the balance of the twelve: seven,
The CAPS grant was specifically for photography as opposed to
eight, nine, ten, eleven, twelve.
dance or performance, right?
LW:
Yes.
JG:
So the first module of each one was choreographed.
JG:
I guess it would be hard in the 70s, with new experiments in contact
LW:
Right, and those modules were going through a reduction. So then
LW:
JG:
LW:
improvisation and performance, to distinguish between perfor-
you would go to the fives. You’d dance five counts of choreographed
mance, contact, and dance, but was this first piece, in your mind, a
material and then you’d improvise through the twelve. You had to be
dance piece or a performance piece?
able to phrase your contact while you were improvising so that both
I think within the context of that time it would have been perceived
dancers would be free enough and in a position to start a new
as a dance piece. Performance art is an art form that combines visu-
phrase. If you were going to do something like jump and land or give
als, text, movement, and props, which all together make something
your whole weight or slide or slump or roll or fall, it had to have the
but on their own would not stand alone. But I could have seen Arnie
integrity of the jump or the catch or the roll or the sluff or the fall. You
doing just the movement part of First Portrait. And the photographs
had to be sensitive and very much thinking ahead, so that the person
also do stand on their own, and certainly people had already experi-
could recover and be ready to go into the unison on one. That was
mented with images or shadows with dance. So I would say it was a
the basic structure.
dance piece.
Then we added the element of a Polaroid camera. It was an SX-70
There was another early dance piece that Bill mentions. He talks
that Arnie, I, and Bill bought. Throughout the dance one person
about you and Arnie using a Polaroid camera.
might be free, wouldn’t have a partner, and would be released from
Yes, I had created a structure that existed in many permutations for
the structure. That person could run over, get the camera, and photo-
many years at the Dance Asylum. The dance was called 6-5-4.
graph a moment. Then that image was stapled onto a white piece of
adding machine tape and pulled through the Magic Lantern to make
Originally we did it as an improvisational dance. It combined contact
a projection that would be like instant replay in a sports game—only
improvisation with choreographed material, which, I believe I can say
it was a still image.
with some confidence, we were the only people trying to do at that
time. The dance was structured in twelves. We’d partner up, and I’d
JG:
And would that influence further movement in the dance?
make a six count phrase and Arnie would make a six count phrase,
LW:
Not really, it was just the idea of images trailing after us, a trail of still
and I’d make a five, and he’d make a five, and a four and a four, and
photographs. The piece developed from being an eight-minute
a three and a three, and a two and a two. And then we’d dance. We
improv to being a thirty-minute work. We’d get more and more
would start out with my six count phrase and let that be the entree
involved in how we could structure it, when the Polaroids should
• Arnie Zane
Continuous Replay
A Hand Grenade of a Man
Robert Longo
I remember once reading a review in the New York Times about the piece that Bill, Arnie, and I had collaborated on. The writer had described Arnie as “A hand grenade
of a man.”
I always keep that image in my mind when I think of him and his body of work.
As artists traveling in the same Zeitgeist, we had a very precise form of visual shorthand when we spoke. We shared the diversity of mediums in making our art. We felt
no great need to explain why but rather that we were driven to use various mediums.
I believe that Arnie’s photos are the equivalent to dance what painting and drawing are to sculpture. His work always had a powerful consistency no matter what mode
of presentation he chose to express his ideas and feelings in.
From the very beginning his photos to me were always miraculous visions, taken by someone in a trance who was witnessing a magical event or presence and wanted
to share vision with others.
As an artist Arnie’s work always pushed the limits to find the zone that existed between personal symbol and social metaphors.
Arnie’s vision exploded on you in a visual and physical wonder.
• Photographs of Arnie Zane by Robert Longo, c. 1984.
157
• Arnie Zane
Continuous Replay
BTJ:
These sequins remind me that almost every person trying to do modern dance, all the women and a few of the men, did go-go dancing.
Arnie did exotic dancing too. Now Arnie was not like Joe Stud or anything, but there were very few guys, white guys—they didn’t want
black ones—who would dance in these shows. But he was dancing. He
got to wear a cotton jockstrap and simulate sex with a girl on stage. I
had to play the heavy one night in Binghamton because they were
acting funny about his money. At the end of the evening their receipts
weren’t right, so they were not going to pay him. I came to pick him up,
and so all I had to do was come in and act tough. <laughter> It was so
weird. Here he’s supposed to be this heterosexual man, yet he’s got his
thug. It was very funny. I never did the dancing. Arnie did it. Meredith
says that she was in San Francisco, and she did it. “Hippie love,” “acts of
love,” they called it at that time. But they didn’t want black performers.
150
• Weston + Mapplethorpe
The Garden of Earthly Delights
Cover
Two-page Spread
Two-page Spread
Non-Profit Organization
U.S. Postage Paid
Riverside, California
Permit No. 131
• Che Guevara
Revolution and Commerce
CMP Exhibition
INVITATION
VOLUTION and COMMERCE
Legacy of Korda’s Portrait of
HE GUEVARA
SATURDAY, JANUARY 29, 2005
mposium 3:00–5:00 pm Gala Opening 7:00–9:00 pm
music by Maggie Palomo y El Son de Los Angeles
bition
sters,
aphs,
, film,
s, art,
s and
rom:
Argentina
Austria
Bangladesh
Bolivia
Brazil
Canada
Chile
China
Cuba
Denmark
England
France
Germany
Grenada
Guatemala
Holland
Iran
Ireland
Italy
Korea
Mexico
Nicaragua
Palestine
Poland
Portugal
Russia
Spain
Turkey
United States
Uruguay
Vietnam
the Internet
REVOLUTION and COMMERCE
The Legacy of Korda’s Portrait of
CHE GUEVARA
Symposium 3:00–5:00 pm Gala Opening 7:00–9:00 pm
An exhibition
of posters,
photographs,
video, film,
banners, art,
web sites and
artifacts from:
Argentina
Austria
Bangladesh
Bolivia
Brazil
Canada
Chile
China
Cuba
Denmark
England
France
Germany
Grenada
Guatemala
Holland
Iran
Ireland
Italy
Korea
Mexico
Nicaragua
Palestine
Poland
Portugal
Russia
Spain
Turkey
United States
Uruguay
Vietnam
the Internet
ed by independent curator Trisha Ziff for UCR/California Museum
raphy, in collaboration with the Centro de la Imagen, Mexico City,
zonezero.com. n For additional information, contact UCR/California
f Photography at 951.784.FOTO or www.cmp.ucr.edu
n Produced by independent curator Trisha Ziff for UCR/California Museum
of Photography, in collaboration with the Centro de la Imagen, Mexico City,
and www.zonezero.com. n For additional information, contact UCR/California
Museum of Photography at 951.784.FOTO or www.cmp.ucr.edu
lude Center for the Study of Political Graphics, Los Angeles;
of David Kunzle; Magnum Photos; Darrel Couturier, Coutu, Los Angeles; Contact Press Images; International Institute of
ory (IISH), Amsterdam. Supported by the Anglo Mexican FounPIP Printing, Riverside. Images: Hai Yun Zhao, China; Jean
er Lunettes Ad; Che-Palestinian; Alberto Korda, Guerrilla He©Alberto Korda, 1960, courtesy Korda Estate and Diana Diaz.
Lenders include Center for the Study of Political Graphics, Los Angeles;
Collection of David Kunzle; Magnum Photos; Darrel Couturier, Couturier Gallery, Los Angeles; Contact Press Images; International Institute of
Social History (IISH), Amsterdam. Supported by the Anglo Mexican Foundation and PIP Printing, Riverside. Images: Hai Yun Zhao, China; Jean
Paul Gaultier Lunettes Ad; Che-Palestinian; Alberto Korda, Guerrilla Heroica, 1960, ©Alberto Korda, 1960, courtesy Korda Estate and Diana Diaz.
Anglo
MexicAn
the
F o u n d At i o n
the Anglo
MexicAn
F o u n d At i o n
CHE GUEVARA
CHE GUEVARA
Symposium 3:00–5:00 pm Gala Opening 7:00–9:00 pm
An exhibition
of posters,
photographs,
video, film,
banners, art,
web sites and
artifacts from:
Argentina
Austria
Bangladesh
Bolivia
Brazil
Canada
Chile
China
Cuba
Denmark
England
France
Germany
Grenada
Guatemala
Holland
Iran
Ireland
Italy
Korea
Mexico
Nicaragua
Palestine
Poland
Portugal
Russia
Spain
Turkey
United States
Uruguay
Vietnam
the Internet
n Produced by independent curator Trisha Ziff for UCR/California Museum
of Photography, in collaboration with the Centro de la Imagen, Mexico City,
and www.zonezero.com. n For additional information, contact UCR/California
Museum of Photography at 951.784.FOTO or www.cmp.ucr.edu
Lenders include Center for the Study of Political Graphics, Los Angeles;
Collection of David Kunzle; Magnum Photos; Darrel Couturier, Couturier Gallery, Los Angeles; Contact Press Images; International Institute of
Social History (IISH), Amsterdam. Supported by the Anglo Mexican Foundation and PIP Printing, Riverside. Images: Hai Yun Zhao, China; Jean
Paul Gaultier Lunettes Ad; Che-Palestinian; Alberto Korda, Guerrilla Heroica, 1960, ©Alberto Korda, 1960, courtesy Korda Estate and Diana Diaz.
the Anglo
MexicAn
F o u n d At i o n
INVITATION, BANNERS, T SHIRT
• Che Guevara
Revolution and Commerce
CMP Exhibition
• CMP FotoText
1990s Newsletter Cover
NEWSLETTERS
• CMP FotoText
1990s Newsletter Cover
NEWSLETTERS

Alinka Echeverría Faith and Vision

Transcription

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