Exhibitions are listed in chronological order, the most recent at the top.

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May 21 - August 25, 2002
Hammer Projects--Frances Stark, “The Unspeakable Compromise of the Portable Work of Art”
Works on paper and sculptures; Eric Schnell, sculptural installation in the lobby gallery.

May 21 - September 8, 2002
“Milton Avery: The Late Paintings”
Over 45 paintings produced during the last two decades of Avery’s life (1947-1963).

May 21 - August 11, 2002
“Trains, Balloon, and Buggies: Modes of Transportation in Nineteenth-Century France”
Works drawn from the Daumier and Contemporaries Collection.

May 21 - July 14, 2002
Hammer Project: Aaron Noble
Inspired by comic book imagery, Aaron Noble's wall paintings incorporate superhero body parts morphed, stretched, and free floating in a 'negative space' landscape. He is well-known in San Francisco for his earlier WPA-styled outdoor murals depicting the city's labor history. Now his interests involve contemporary popular street culture, Western comic art, Japanese anime and manga, video games, and technology. He will be creating a series of large-scale paintings for the museum's lobby walls. Noble lives and works in Los Angeles.

February 9 - May 5, 2002
David Shrigley
David Shrigley is a young artist based in Glasgow, Scotland. The exhibition includes drawings, photographs, and sculptures. Shrigley's work is funny, dry, and sometimes disturbing. His caustic take on the world is expressed through childlike, comic-book style drawings that combine text and image and which often depict the world as an absurd place. Shrigley embraces the paranoias, obsessions, insecurities, moral conundrums, and anxieties of contemporary life. He pokes fun at a range of cultural absurdities, from the British Royal Family to the art world itself. Curated by Amada Cruz, the show travels to the Hammer Museum from the Center for Curatorial Studies Museum at Bard College in New York.

February 9 - May 5, 2002
You Look Beautiful Like That: The Portrait Photographs of Seydou Keïta and Malick Sidibé
This exhibition focuses on the portrait photographs of two African photographers, Seydou Keïta and Malick Sidibé, both of whom were commercial portrait photographers working in Bamako, the capital of Mali. Their gorgeous, black-and-white portraits of local people were taken during the period before and after Mali achieved independence from France in 1960. Both Keita and Sidibe adapted the traditions of portrait photography to make unforgettable images that reflected his clients' personal style and social identity within the community. These are photographs of African subjects made by Africans for an African audience, offering audiences a unique opportunity to examine the role of portrait photography in the construction of national and post-colonial identities. Curated by Harvard Ph.D. candidate Michelle Lamuniere, the show travels to the Hammer Museum from the Fogg Art Museum at Harvard University.

February 9 - May 5, 2002
“Mirror Image”
"Mirror Image" is an eclectic look at some of the ways in which artists have explored ideas related to self-portraiture. In many of the works the line between straightforward self-presentation and the assumption of a more-or-less fictional persona is decidedly blurred. This exhibition seeks to explore this area of ambiguity. As in a mirror, the artists' images shown here are accurate reflections of their appearances, yet are often at the same time complete reversals, or alternate identities. Among the artists whose work is included are Mark Bradford, Patty Chang, James Ensor, General Idea, Francisco Goya, Richard Hawkins, Larry Johnson, Martin Kippenberger, Oskar Kokoschka, Nikki S. Lee, Christian Marclay, Robert Rauschenberg and Gillian Wearing. This exhibition was curated by Russell Ferguson, Deputy Director of Exhibitions and Programs and Chief Curator.

February 9 - April 28, 2002
Hammer Project:
Amy Adler, photographs of drawings from photographs.
Adler has long been fascinated with public figures--especially movie stars and musicians--whose mechanically-reproduced images circulate endlessly throughout our culture and yet whose private identities remain inaccessible to the public. In early 2001, Adler photographed the actor Leonardo DiCaprio at her home in London.

Her brief session with DiCaprio proved to be the very antithesis of a celebrity publicity shoot: intimate, casual, un-posed and spontaneous. Adler made drawings of the DiCaprio photographs, and then photographed the drawings. The drawings and the original negatives were then destroyed, resulting in six singular images that are the only remaining physical evidence of Adler's encounter with this elusive celebrity.

February 9 - May 5, 2002
Hammer Project: Karen Yasinsky
In the lobby gallery, Karen Yasinsky will exhibit a recent project entitled Still Life with Cows, which includes an animated video and related works on paper. Using hand-made dolls and sets, and stop-action animation she creates a surreal yet somewhat familiar environment where two female figures explore the everyday 'nothingness' of domestic life, desire and relationships. Yasinsky lives and works in New York.

David Shrigley, "Untitled", acrylic/
photograph on paper, 2000.

Seydou Keïta, "Untitled",
photograph, 1956-57.

Malick Sidibé, "Untitled",
photograph, 1962-c.1980.

Mark Bradford, "Earth, Wind
and Fire", photograph, 2002.

Amy Adler, "Amy Adler Photographs
Leonardo DiCaprio, Detail 3 out
of 6", cibachrome print, 2001.

January 24 - March 10, 2002
In Print: 35 Years of Gemini G.E.L. Prints from the Grunwald Center
This exhibition commemorates the 35th anniversary of one of America's greatest printmaking workshops, Gemini G.E.L. (Graphic Editions Limited). Drawn from the permanent collection of the Grunwald Center for the Graphic Arts, it includes work by a number of artists who have published with Gemini since its earliest days, such as Ellsworth Kelly, Jasper Johns, Bruce Nauman, Robert Rauschenberg, and Richard Serra, as well as a selection of artists newer to Gemini. The exhibition will present a range of works by these and other artists which show the evolution of their creative collaborations with Gemini's master printers over the last three and a half decades.

October 17, 2001 - January 13, 2002
"The World from Here:
Treasures of the Great Libraries of Los Angeles"


Amidst metropolitan Los Angeles' superabundance of cultural offerings, the extraordinary holdings of area libraries are commonly overlooked. Aside from a relatively small number of book specialists and scholars, few people are aware of Los Angeles' vast collective resource of rare books, manuscripts, and related objects, which have arrived here from every quarter of the globe.

(Lotus Sutra)",
scroll, 1667.
The World from Here is a collaborative project that aims to involve up to forty area institutions in a dramatic and informative presentation of special collections materials in order to establish a prominent profile - locally, nationally, and internationally - for this impressive, yet little known, cultural resource. In promoting an awareness of what L.A.'s libraries have to offer, this project will increase its audiences' appreciation of the collections and encourage their public use. The World from Here is comprised of a tripartite program that includes a major exhibition, an extensive catalogue, and a full complement of educational programs.

October 17 - January 27, 2002
Hammer Project: Katharina Grosse.

August 29 - October 21, 2001
Heavenly Visions: Shaker Gift Drawings and Gift Songs
"Heavenly Visions: Shaker Gift Drawings and Gift Songs" will present approximately one hundred and thirty-five gift drawings, manuscripts of gift songs and related texts by Shakers from the period 1837 to about 1850. Since its establishment in the late 1790s, the United Society of Believers in Christ's Second Appearing, more commonly known as the Shakers, had been distinguished in part by their ecstatic spiritual practices, which included visions, dances, and speeches in tongue that manifested themselves in many Believers. These practices became less common by the early nineteenth century. During the period 1837 to about 1850, known in Shaker history as "Mother's Work" or "the Era of Manifestations," the group experienced a spiritual revival, when they believed a number of heavenly spirits showered the Shakers with a series of manifestations, referred to as gifts. Spiritually attuned mediums known as "instruments," mostly though not exclusively women, received these gifts. The "instruments" themselves or other Believers would record these gifts, which took many forms, including drawings, songs, and texts. Organized by The Drawing Center, New York and the UCLA Hammer Museum, and curated by France Morin, "Heavenly Visions: Shaker Gift Drawings and Gift Songs" will bring together works from major public and private collections in the United States. These meticulously drawn, exquisitely beautiful works were produced by Believers within the context of a culture that has never had a fully articulated conception of art. Since the last major exhibition of gift drawings, which did not include manuscripts of gift songs or related texts, new scholarship has not only uncovered new drawings and songs, but has made a reconsideration of their place within the history of the Shakers and within the broader history of the visual culture of the United States especially timely.

August 21 - October 28, 2001
Hammer Project: Hany Armanious
Hany Armanious, an Egyptian-born artist based in Sydney, Australia, has exhibited widely in Australia and New Zealand, but until now has never shown in the United States. Armanious works in a wide range of media including drawing, sculpture, and installation. His art blurs boundaries between content and context, the viewer and the work of art, in order to destabilize perceptions. In his first U.S. solo exhibition, Armanious will present Selflok 1999-2001, a new, mixed-media installation of hot-melt sculptures cast from liquid petroleum that explores the nature of unstable processes and chance operations. A brochure essay written by Sydney-based art historians Fergus Armstrong and Amanda Rowell will accompany his exhibition at the Hammer Museum.

August 29 - October 28, 2001
Hammer Project: Paul Pfeiffer
New York-based media artist Paul Pfeiffer will exhibit recent video work in the Museum's Lobby Gallery. Pfeiffer's video installations explore the relationship of cultural icons to history, memory and disappearance. Featured will be Pfeiffer's acclaimed installation from the Venice Biennale modeled after the notorious shower sequence in Alfred Hitchcock's Psycho. Pfeiffer was the inaugural winner of the Bucksbaum Award at last year's Whitney Biennial. A brochure essay written by novelist and New Yorker staff writer Hilton Als will accompany his exhibition at the Hammer Museum.

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