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Exhibitions are listed in chronological order, the most recent at the top.
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June 29 – July 31, 2004
Reception: June 29, 5-7pm

Using materials that felt familiar—scraps of fabric, wood, string, wire, pieces from children’s games, printed labels and other discarded items—artist Hannelore Baron (1926-1987) constructed intimately scaled works that offer glimpses into history, the human condition and the artist’s past. The Smithsonian Institution exhibition Hannelore Baron: Works from 1969 to 1987 opens at the University Art Museum on June 29, 2004 and continues through July 31.

Hannelore Baron, “Untitled”,
1981, paper fabric and ink.

Approximately 40 collages and five box assemblages are presented along with quotes from Baron (1926-1987) illuminating her artistic inspirations and creative processes. In her struggles with depression, with cancer, and with memories of the Holocaust, Baron found more than solace in her art. She found a fountain of creativity with which she could explore feelings and ideas that words could not express. She gathered artistic inspiration not only from her own past and existential beliefs, but also from contemporary events such as the Vietnam War, and other artistic sources including American Indian art, African art, Tantric art, illuminated pages of the Koran, and Persian miniatures. “The materials I use in the box constructions and cloth collages are gathered with great care,” said Baron. “The reason I use old cloth and boxes is that the new material lacks the sentiment of the old, and seems too dry in an emotional sense.”

Baron, born in 1926 in Dillingen, Germany, has become renowned for the highly personal, intimately sized abstract collages and box constructions that she began exhibiting in the late 1960s. Her works from this time through 1987 (the year of her death) garnered her a reputation as a master of the collage medium. During her life, the ideas expressed in her work grew more complex, introspective and personal, while at the same time they communicated a universal message about nationalism, war and cruelty.

Unrecognized during most of Baron’s life, her work can now be found in numerous museum collections, including the Smithsonian American Art Museum, the Whitney Museum of American Art, the Art Institute of Chicago, the Solomon R. Guggenheim Museum and the Israel Museum in Jerusalem.

Hannelore Baron: Works from 1969 to 1987 is organized by the Smithsonian Institution Traveling Exhibition Service (SITES) in cooperation with the Estate of Hannelore Baron and the Manny Silverman Gallery, Los Angeles. The exhibition is curated by art historian, and writer Ingrid Schaffner. “Current interest in issues of personal identity and themes of memory (the Jewish Holocaust from which her family escaped, and cancer), bring a new appreciation for Baron’s collage,” said Schaffner. “It is interesting to note that her collage boxes usually involve a lid that shuts the contents from view. This self-effacing gesture, also an act of preservation, seems typical of Baron in a way that also suggests why she did not command greater public renown during her lifetime.”

A full-color catalogue has been published in conjunction with the tour, and will be available at the University Art Museum. The catalogue was made possible through the generous support of The Judith Rothschild Foundation, Ruth and Robert Halperin, Ruth and Barney O’Hara, The Jamie and Steve Tisch Foundation, Mary Mhoon, and The Howard Earl Rachofsky Foundation. The exhibition is supported at the UAM by the Chais Family Foundation, the Bess J. Hodges Foundation, the Instructionally Related Activities Fund, the college of the Arts, CSULB, and the Public Corporation for the Arts and City of Long Beach. Each year, the Smithsonian Institution Traveling Exhibition Service (SITES) shares the wealth of Smithsonian collections and research programs with millions of people outside of Washington, D.C. One of the Smithsonian's four National Programs, SITES makes available a wide range of exhibitions about art, science, and history, which are shown not only in museums but wherever people live, work, and play: in libraries, science centers, historical societies, community centers, botanical gardens, schools, and shopping malls. In 2002, SITES celebrated 50 years of connecting Americans to their shared cultural heritage. Exhibition descriptions and tour schedules are available at

MAY 6-28, 2004| RECEPTION MAY 6
The CSULB Department of Art and the University Art Museum will present the annual student exhibition. The exhibit will feature work by both graduate and undergraduate students from the California State University, Long Beach Art Department. Juried by the Art Department faculty members, the exhibition highlights work by students in all disciplines including ceramics, drawing and painting, fiber, graphic design, illustration, new genre, metal, photography, printmaking, and wood.

"ReModeling: New Ideas on the Form and Function of Architectural Models"
January 27-April 18, 2004
Reception: January 28, 5-7pm

The University Art Museum presents an exhibition of work by Leo Saul Berk, Barbara Bestor, Taft Green, and David Schafer that considers the architectural model as a form that makes us rethink the ways in which we relate to the world around us. A focused group show organized by Mary-Kay Lombino, Curator of Exhibitions, this exhibition is a continuation of the museum's interest in issues related to architecture, which demonstrates our commitment to showcasing all forms of contemporary visual culture and our interest in the instrumental role that innovative architecture and design play in enriching our environment.

Leo Saul Berk, "Long Beach Above", study
for model, 2003, computer rendering, is
part of "ReModeling" during Feburary..

Following Under Construction, our spring 2002 exhibition, this spring we are presenting Re-modeling from January 27 - April 18. Since the dawn of Minimalism, artists have been wrestling with the issue of architectural space and the ways in which three-dimensional art objects can shape the area around them through a perceptual investigation of space. Expanding on this tradition, the work included in ReModeling investigates the role of models in the process of assessment, and places value on expanding the bodily experience of space and how it differs from perceiving two-dimensional representations of space. The sculptural work of Taft Green and David Schafer reminds us that spatial perception is always a process of interpretation, while Leo Berk and Barbara Bestor create models that simulate actual experiences with an emphasis on the role of materials and environment in determining our understanding of a space or a structure.

Seattle-based artist Leo Berk presents a new life-size model designed especially for the Court Gallery of the UAM. The model is a redesign of the UAM facade, which transforms the ordinary museum entrance into a grand, light-filled hallway leading to the front doors. The piece is constructed entirely of fluted polypropylene, a material commonly used by architects for fabricating small-scale models. By blowing up a miniature model to the size of an actual room, Berk allows the viewer to experience a Leo Saul Berk, Long Beach Above, 2003, computer rendering fully by entering inside the room within a room.

Barbara Bestor a Los Angeles-based architect recently named in Artforum's "Top Ten" is interested in how models allow her design process to expand as she work's through her ideas. Three concept models for the architect's home in Echo Park will be presented in a room in which all the walls will be plastered with her super-graphic wallpaper designs inspired by LA freeways, plywood, and Spanish moss. The models and the wallpaper together highlight Bestor's interest in surface and the ways in which the exterior shell of a building can often communicate a great deal through texture, color, and material presence.

Taft Green, a recent graduate from the Art Center School of Art and Design, is represented by three works in a recent series entitled Continual Distance. Here, Green combines his interests in building and cognitive theory to create sculptures that map out human perception of objects in everyday life such as a checkout counter, a staircase, an intersection, or a city block. He is interested in the frame of reference we use to locate ourselves within a context. Using models of architecture, and examining models of experience, he renders shifts between abstraction and recognition that occur in the way we understand our surroundings.

Los Angeles-based artist, David Schafer, will present a large-scale sculpture and related 3D-renderings that show evidence of his sustained interest in the interpretive tools we use to decipher our surroundings. The sculpture, a fifteen-foot high tower of eye-beams inspired by a found still image, recalls the monumental abstract work of Mark Di Suvero. However, it is imbued with the artist's acute sense of post-modern irony and critique of everything from contemporary architecture and modernism to popular culture and vernacular design.

OCTOBER 28 – DECEMBER 14, 2003

Bob Knox: Non-Fiction Paintings will be the first solo museum exhibition for this important, yet under-recognized, realist artist. This exhibition, curated by Mary-Kay Lombino, recognizes the maturity and development of the work of fifty-year-old Bob Knox who characterized his recent work as “non-fiction painting,” a description that reflects the power his paintings draw from the deadpan reality embedded in them.

Bob Knox, "Blue Poles", 2001, acrylic on canvas, 72 x 132".

Tom Wesselmann, "The Intimate Images"
1960 - Present | Studies & Maquettes
August 26-October 12, 2003
Reception September 18, 5-7pm

The University Art Museum presents Tom Wesselmann: The Intimate Images, the first full-career survey of the artist’s small scale works, from his earliest Pop drawing and collages of 1960, through the tiny studies which led to his famous Great American Nudes, to the current Blue Nudes and maquettes for his most recent abstractions. Wesselmann is considered one of the major artists of Pop Art and this exhibition of informal studies, many from the artist’s own collection, have yet to be seen by museum audiences.

Tom Wesselmann, "Still Life #18",
1964, mixed media maquette.

Euan Macdonald
"snail," 2003, Video still.
Euan Macdonald: some summer day
Centric 64
August 26 - October 12, 2003
Artist reception September 18, 5-7 pm

The University Art Museum is pleased to present new work by Los Angeles-based artist Euan Macdonald in his first museum show in the United States. On view will be three video installations accompanied by related works on paper including twenty drawings and one print. This exhibition is the 64th exhibition in our Centric series. Centric which began in 1981 is an on-going series of small timely exhibitions dedicated to introducing the UAM audience to work by individual artists that has not previously been shown in this area.
Born in 1965 in Edinburgh, Scotland, Macdonald grew up in the UK before moving to Canada where he received his education in art. He has held solo exhibitions in Toronto, Vancouver, Tokyo, New York, San Francisco, Los Angeles, Brussels, Rome, and Munich. A talented artist with a growing international profile, Macdonald uses the medium of video in combination with drawings, paintings, and sometimes sculptures to address a variety of themes. Among them are simultaneity, entropy, mysticism, memory, and boredom. Often depicting real time and mundane found images from a fixed camera angle, Macdonald's videos become hypnotic and leave the viewer with a profound sense of life's mysteries and paradoxes.

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