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UNIVERSITY ART MUSEUM, CSU LONG BEACH

2001/2002 EXHIBITIONS



Exhibitions are listed in chronological order, the most recent at the top.
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August 28-October 14, 2001
"By Hand: Pattern, Precision and Repetition in Contemporary Drawing"
Group exhibition, companion exhibition on this theme will also be hosted at CSU Fullerton and CSU Los Angeles.
Online exhibition portfolio

"By Hand: Pattern, Precision, and Repetition in Contemporary Drawing," was organized by UAM Curator of Exhibitions Mary-Kay Lombino. "By Hand" showcases a diverse group of drawings by 26 artists, ranging in the stages of their careers from emerging to established, who hail from cities around the world, including Los Angeles, New York, Paris, Tokyo, Dublin, and London.

In contrast to a recent surge of art made with the aid of technology, the drawings included in "By Hand" were all created with simple, hand-held tools. This exhibition brings together work that resists the ever-present temptation to generate images with a computer, even when the artist must laboriously render such minutiae as the pattern of fabric, type-written passages, or pin-straight, parallel lines. Visually prominent in many of the works are the obsessive attention to detail and the painstaking processes required in their making, while other works are handmade attempts to recreate an image or a pattern that was originally machinemade, thus revealing or concealing the differences between the two.


Eve Aschheim, "Water VII",
graphite on paper, 18 x 21", 1996.

Each of the artists represented here has brought a personal perspective and method to the medium of drawing, in most cases addressing process as much as subject matter. The images all show some hint, however small, of a distinct mode of mark-making that, like an individual signature, reflects its maker’s personality. The work demonstrates that drawing can provide a direct translation of the movements of the human body and the idiosyncrasies of the gesture into image. Full of marvelous discoveries about the various ways artists use drawing to achieve incredible feats of patience, skill, purity, and intricacy, "By Hand" is an exploration of a small region of the vast territory covered by contemporary drawing.

Much of the work featured in the exhibition shows evidence of a new kind of Minimalism. In a recent article published in ARTnews, entitled "The Microwave," Barbara MacAdam notes a current trend in drawing and suggests that "many artists today are producing labor-intensive works that are almost impossible to decipher." She identifies a host of artists, many of whom are featured in "By Hand," and who are "committed to a strange yet venerable genre best called ‘micro art.’"

Artists include Eve Aschheim, Russell Crotty, Elena Del Rivero, Dana Duff, Jacob El Hanani, Ann Faison, Simon Frost, Francesca Gabianni, Tayo Heuser, Seth Kaufman, Joyce Lightbody, Marco Maggi, Gerhard Mayer, Stefana McClure, John Morris, Paul Noble, Timothy Nolan, Kathy Prendergast, Nancy Picot Riegelman, Adam Ross, Makoto Sasaki, Michelle Segre, James Siena, Frederic Tchorbadjian, Mercedes Teixido, and Mungo Thomson.



October 30-December 16, 2001
The Hampton Krasners
Online exhibition portfolio

The University Art Museum, California State University, Long Beach, in conjunction with the Museum Studies Program and the Department of Art, presents an exhibition devoted to a unique collection of signature paintings by Lee Krasner, part of the museum’s Gordon F. Hampton Collection. The renowned mid-century Abstract Expressionist painter’s forceful personality and indomitable spirit--key features of the recent film Pollock, which earned actress Marcia Gay Harden an Academy Award for her portrayal of Krasner--animate the exhibition, which will attempt to reunite all eight paintings originally part of the Hampton Collection. The exhibition will highlight the late Mr. Hampton’s role as a collector, and Krasner’s position as a painter and a significant force in the Abstract Expressionist movement, America’s unique contribution to twentieth-century art. The exhibition is curated by graduate students in the Museum Studies program at CSULB.


Lee Krasner, "Cornucopia", oil on
canvas, 90 5/8 x 70", 1958.




Gay Outlaw, "Expanded Cloud Study
(for Arthur)
", , MDF, wooden dowels,
rubber, wire, latex paint ,
40 x 61 x 7", 2001.
October 30-December 16, 2001
Gay Outlaw: Centric 61
Online exhibition portfolio

The UAM, has invited award-winning artist Gay Outlaw to create new work for the exhibition Gay Outlaw: Centric 61. In her first one-person show in Southern California, she will present 18 works, ranging from wall-mounted works to floor sculptures. Outlaw, who was born in Mobile, Alabama, in 1959, began her art career as a photographer. She has turned to sculpture in recent years in order to expand her artistic investigations, bringing them into 3-D. Outlaw creates patterns and optical illusions that give the impression that the surfaces of her sculptures move, their shapes seeming to metamorphose as the viewer moves around the works. Using vernacular materials such as pencils, chalk, or segments of drain hoses filled with plaster, she has produced a series of brilliantly simple works that reveal her fundamental belief in the value of craft. These abstracted forms possess an ornate complexity of surface, yet they take the ordinary shapes of cubes, spheres, and stairs. This exhibition, a continuation of the UAM Centric program, is the latest in an on-going series of small, timely exhibitions dedicated to introducing UAM audiences to the work of individual artists not previously seen in this area.

A fully illustrated catalogue accompanies each exhibition.



January 29—April 21, 2002
Carrie Mae Weems:
The Hampton Project

Online exhibition portfolio

The University Art Museum, California State University, Long Beach, presents Carrie Mae Weems: The Hampton Project, a challenging new body of work. Internationally renowned artist Carrie Mae Weems engages the viewer in a compelling multi-media dialogue devoted to historical and contemporary perspectives on race, education, and social responsibility. With The Hampton Project, Weems, best known for works that critically investigate the representation of African Americans, reinterprets the turn-of-the-century photographs taken by Frances Benjamin Johnston (1864-1952) at the Hampton Normal and Agricultural Institute (now Hampton University). The Institute, founded during the Reconstruction era in 1868, was the first educational organization to offer programs of study for African Americans and later, Native Americans. Established with the assistance of the American Missionary Association, the Hampton Institute provided rigorous occupational, academic, and religious instruction, designed to assimilate newly freed slaves into mainstream society.


Carrie Mae Weems, "The Hampton
Project," installation view.

As a noted photojournalist, Johnston was commissioned to document the success of the Hampton Institute for the Exhibit of American Negroes at the Universal Exposition of 1900 in Paris.

With this new body of work, Weems--through muslin enlargements of contemporary and historic photographs, graphics, text, and audio recordings--challenges the ideological program of the Institute, looking closely at the issue of assimilation as expressed through patterns of education, social mores, and etiquette. Twenty-six rare, original works by Johnston are also included in the exhibition. This exhibition was organized by the Williams College Museum of Art and is being presented by seven museums nationwide.

"
I want to make things that are beautiful, seductive, formally challenging, and culturally meaningful... I’m also committed to radical social change... Any form of human injustice moves me deeply...the battle against all forms of oppression keeps me focused."
—Carrie Mae Weems, from the exhibition catalogue



June 18 - July 18, 2002
See America First:
The Prints of H.C. Westermann

Online exhibition portfolio

The University Art Museum, California State University, Long Beach, presents See America First: The Prints of H.C. Westermann, a retrospective exhibition of H. C. Westermann’s complete graphic works. While See America First takes its name from one of Westermann’s well-known print series, over 90 prints, drawings, woodcut blocks and pieces of ephemera will be on display. The show, which was organized and is being toured by The David and Alfred Smart Museum of Art, the University of Chicago, is the first to offer an in-depth examination of Westermann's complete graphic works by exhibiting them as one coherent body.

CONCURRENT MOCA EXHIBITION:


H.C. Westermann, "The Connecticut
Ballroom: Dance of Death"

See America First is designed to coincide with H.C. Westermann, a retrospective exhibition devoted to the artist’s sculpture, which was organized and is being toured by the Museum of Contemporary Art in Chicago. The exhibition will open at MOCA, Los Angeles on June 9th and run through September 8th, 2002. The University Art Museum’s concurrent presentation of See America First: The Prints of H.C. Westermann offers audiences an unparalleled opportunity to compare the relationships in style, subject, and theme between the prints and sculptural objects of this important postwar American artist.These hallmark exhibitions— the first Los Angeles museum exposure of Westermann’s work since 1968—demonstrate both the artist’s working procedures in developing and executing his prints and sculptures, and the meticulous craftsmanship of his final works and related materials.

QUOTE:
According to an April, 2002 review in the New York Times, “...Westermann’s bad-boy antics were a form of pitiless scrutiny trained on himself and society— its racism, warmongering, materialism, environmental profligacy and general hypocrisy. He rarely liked what he saw in any direction. And these antics were always balanced by beautiful forms and rigorous technique, in which craft borrowed from cabinetry and folk art was raised to the level of passion and and penetrating intelligence.”



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