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

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October 5, 2003 – January 11, 2004
Lee Bontecou: A Retrospective
The first major exhibition of the artist’s work as a whole, Lee Bontecou: A Retrospective, includes sculptures and drawings by the American artist Lee Bontecou (b. 1931)—one of the leading figures of her generation. Bontecou created a strikingly original body of work that was critically acclaimed and actively collected during the 1960s and 1970s. The work she has created since that time, however, is little known and has never been publicly exhibited. The exhibition presents approximately 50 sculptures and 75 drawings that span several decades and provide an extraordinary opportunity to reevaluate the career of an artist who has become a legendary figure in the art world.

Lee Bontecou in her studio, 1962.

The exhibition is co-organized by the Museum of Contemporary Art, Chicago and the UCLA Hammer Museum in Los Angeles, and curated by Elizabeth A.T. Smith, James W. Alsdorf Chief Curator at the MCA with Ann Philbin, Director of the Hammer Museum.

After beginning its national tour at the Hammer Museum, the exhibition will travel to the Museum of Contemporary Art, Chicago (February 23 - May 24, 2004) and then to New York where it will be on view at The Museum of Modern Art (MoMA QNS), Long Island City (summer 2004).

May 23, 2003 - January 5, 2004
Hammer Project: Markus Linnenbrink
Markus Linnenbrink uses dry pigment, water and an acrylic binder to paint bright parallel swaths of color on different surfaces like canvas, floors, ceilings and walls. These stripes of intense color coalesce into works that encourage the viewer to contemplate the nature of creativity, of the artist's hand, of architectural space, and of paint. He allows the paint to dribble and run in response to gravity, creating an uneven grid-like pattern of broad stripes and thin rivulets, highlighting the energy and atmosphere of the rooms they occupy. Linnenbrink lives and works in Dortmund, Germany. At the Hammer, he will paint the large walls along the lobby stairs, submerging the viewer with his painting.

September 2003 – February 8, 2004
The Eunice and Hal David Collection
of 19th- and 20th-Century Works on Paper

The collection comprises approximately 60 European and American drawings dating from the early 19th through the late 20th century. Various types of drawings, such as exploratory sketches, preliminary drawings for paintings and large-scale or highly finished presentation drawings, are included. Over 50 major artists are represented, including Mary Cassatt, Winslow Homer, Edward Hopper, Roy Lichtenstein, Andy Warhol, Richard Diebenkorn, Georgia O’Keeffe, Edouard Manet, Edgar Degas, Henri Matisse, Gustav Klimt, Pablo Picasso and David Hockney.

June 1 – August 31, 2003
Christian Marclay
The first in-depth presentation of Christian Marclay’s work in an American museum, this exhibition includes a full range of sculpture, collage, installation, photography and video made over the last twenty years. Exploring the relationship between sound and vision, Marclay’s art focuses our attention not only on the audible qualities of sound, but also on the way it is experienced, visualized and translated into other forms. Telephone conversations from movies, reviews of musical performances, compact discs and album covers have all provided sources of inspiration for his work.

Christian Marclay, "Untitled",
1991, relief print, detail.
This diverse and original body of work has established the artist as one of the primary links between the worlds of contemporary art and music.

Marclay’s work has been seen in exhibitions at the Museum of Contemporary Art, Chicago; the Hirshhorn Museum, Washington, D.C.; the New Museum, New York; the Whitney Museum, New York; the Venice Biennale; and the Centre Georges Pompidou, Paris.

After the UCLA Hammer Museum, the exhibition will travel to national and international venues through 2004, including the Center for Curatorial Studies Museum, Bard College, New York (fall 2003) and the Seattle Art Museum (February 5 – April 25, 2004).

Tentative venues: Kunsthalle Thun, Switzerland June-August, 2004; another European venue Fall 2004; Winter 2004/2005 Tokyo Opera City (or another European venue)

Christian Marclay, Tape Fall, 1989. Reel-to-reel tape recorder, ladder, speaker and magnetic tape. Eileen Cohen Collection.

April 22 - August 3, 2003
Hammer Project: Deborah Stratman
"In Order Not to Be Here", film installation.

October 6, 2002 - June 1, 2003 (extended)
Tomoko Takahashi
Tomoko Takahashi's chaotic installations imbue ordinary objects with renewed life. Consisting of "found objects" and rubbish that the artist arranges in sprawling installations, Takahashi's displays may at first appear to be random piles of discarded refuse. Upon closer inspection, however, a sense of underlying order is revealed. Resisting clear-cut narrative "readings," Takahashi's installations are associative and abstract in nature, highly schematic yet also deeply intuitive.

Tomoko Takahashi, "Spillican",
2001, mixed media sculpture.
At the Hammer Museum, Takahashi's first exhibition on the West Coast, she will create an installation in the unfinished concrete shell of the Hammer Museum theater. Incorporating materials scavenged from the streets of Los Angeles, electronics junkyards, studio prop houses, and other sources of industrial refuse, Takahashi will create a highly idiosyncratic "map" of our city as seen through her eyes. Hammer assistant curator Claudine Isé says, "Tomoko Takahashi's installations pose a challenge to her audience. One of the clichés often used to describe modern and contemporary art is that it 'looks like a pile of junk.' Rauschenberg's early combines, for example, were often dismissed on those terms. Tomoko's works certainly can feel overwhelming in their sheer, sprawling mass. But look closer and you see that she has an incredibly intimate relationship to her surroundings. Her installations also invite certain questions, such as why we give such tremendous value to certain kinds of objects while discarding others without a second thought, how we make distinctions between what is useful and what isn't, and what the consequences of those decisions are."

Jim Iserman, "Vega", 1999, thermal
die-cut vinyl decals, reconfigured for
UCLA Hammer Museum installation.
Through Spring, 2003
Hammer Project: Jim Isermann
Brochure essay by Dave Hickey
Critic Dave Hickey describes artist Jim Isermann as "a California artist with Bauhaus tendencies, Minimalist agendas, and formalist precedents in the Abstract Classicism of John McLaughlin and Frederick Hammersley." Using a multi-colored assortment of vinyl decals in complex geometric patterns, Isermann has created a mural along the Hammer Museum's lobby staircase. Isermann's vibrant, algorithmic arrangement of adhesive tiles marries the populist reach of handcrafted kitsch with the dramatic architectural impact of large-scale public murals.

December 6, 2002 – April 6, 2003
From the Studio to the Salon:
Daumier Sketches Artists and Their Audience

This selection of 50 lithographs focuses on the milieu Daumier knew most intimately--that of art and artists. His often stinging, yet at times sympathetic, observations positioned him as a fellow member in an often under-appreciated, under-paid group. This exhibition is also drawn from the Armand Hammer Daumier and Contemporaries Collection.

January 11 – April 14, 2003
Hammer Project: Jeff Wall
Jeff Wall’s photographs, mounted in lightboxes, exist at the intersection of painting, photography and film. Resembling Baroque paintings or film stills, the works draw the viewer into detailed scenes that imply larger narratives. The Hammer installation of Wall’s work, opening January 11, will include a recent work, “After Invisible Man by Ralph Ellison, the Preface.” First shown at Documenta 11, the large-scale staged image illustrates the “hole… warm and full of light” in which Ellison’s narrator lives. Like that character, Wall uses light to illuminate the invisible, bringing physical form to Ellison’s iconic figure.

January 26 – April 27, 2003
International Paper
Organized by the UCLA Hammer Museum, this exhibition surveys the range and breadth of contemporary drawings. It includes work by an international group of 23 emerging artists from China, Germany, Italy, Japan, Mexico, Sweden and the United States.

Surveying a range of techniques and approaches that one finds in works on paper today—watercolors, gouache, graphite, colored pencil, paper cut-outs, scored and folded vellum and mixed-media collage—the exhibition includes examples of representational and abstract works and both large and small-scale drawings. A full-color publication accompanies the exhibition.

Iona Rozeal Brown, "blackface
#21", 2002, acrylic on paper.

Nina Lola Bachhuber,
"Untitled", 2001, ink on paper.

Domenico del Barbiere, after Rosso Fior-
entino. Skeletons and écorchés (Squel-
ettes et écorchés). 16th c. engraving.

Albrect Dürer, "Melencolia I",
1514, engraving.
January 26 – April 27, 2003
Inventing the Print: 1500-1800
In 15th-century Europe, the invention of the printed image coincided with both the wide availability of paper and the invention of moveable type in the West. During the ensuing centuries, the print became an increasingly important artistic medium. Organized by the Grunwald Center for the Graphic Arts at the UCLA Hammer Museum, the exhibition includes approximately 100 rare and important prints dating from 1500 to 1800. The exhibition is divided into thematic sections: Landscape and Architecture; Portraiture; Figure Studies and Anatomy; and Allegory and Religion. Over 40 artists are represented, including Albrecht Dürer, Rembrandt van Rijn, Andrea Mantegna, Jacques Callot, Hendrick Goltzius, Jacques Bellange, Canaletto, Giovanni Battista Piranesi and Jusepe de Ribera.

January 26 – May 4, 2003
Hammer Project: Erick Swenson
Texas artist Erick Swenson, in his West Coast debut, will exhibit an untitled sculpture consisting of resin casts of an Oriental carpet and a young deer.
From a very early age, Swenson has been obsessed with dioramas, prosthetics, stage sets and special effects that have fed his imagination and dreams and now populate his art. For his Hammer Project, Swenson has cast and meticulously re-created a large Oriental carpet in polyurethane resin. Using digital technology to scan the original carpet and using an inkjet billboard printer, Swenson has painted the design and color onto the resin cast in oil paint. On the carpet is a young deer, which has also been carved and then cast in resin. The deer stands precariously with bone-white, delicate and elongated legs, rubbing its antlers on the carpet to shed their velvet skin. As if out of a dream, Swenson offers us a haunting and surreal juxtaposition of object and creature, both displaced from their original identities and place.

September 10-December 29
Hammer Project:
Simon Starling, ”Inverted Retrograde Theme, USA (House for a Songbird)”, installation.

Brochure essay by Massimiliano Gioni
References to music, architecture, social history and philosophy abound in the work of British artist Simon Starling. Taking the utopian ideal of Modernism as his point of reference, Starling will present Inverted Retrograde Theme, USA (House for a Songbird), 2002-complete with birds. In the installation in the Hammer's Lobby Gallery, two scale models by Austrian architect Simon Schmiderer of a Puerto Rican housing project dating from the 1960s double as birdcages.

Simon Starling, "Inverted Retrograde
Theme, USA", 2002, secession-
Vienna, Austria, installation view.
They sit atop mahogany branches that stretch up from the floor below. Art critic Massimiliano Gioni notes that "by replicating the elaborate pattern of steel gates and fences, and by trapping a couple of songbirds in one of his miniaturized houses, Starling evokes the contradictions that disarm and immobilize any version of utopian thought when faced with the unpredictable chaos of life."

September 10-December 29
Hammer Project:
Mark Handforth, sculptures.

Brochure essay by Tim Griffin
In his sculptural installations, Mark Handforth transplants familiar objects into unfamiliar surroundings in order to reveal something new about the ways in which these things exist and function in our everyday lives. Born in Hong Kong, raised in England, and based in Miami since 1992, Handforth revels in the skewed perspectives and unintended consequences that result from cultural migration and displacement. In the Hammer's Vault Gallery, Handforth will present several recent sculptures, including that of a street lamppost that appears to have been stretched out and folded in upon itself, and a fluorescent light sculpture whose abstract design is inspired by graffiti scrawled on a wall in Rome.

Mark Handforth, 2002, installation
view at Gavin Brown's enterprise.

October 6, 2002 - January 5, 2003
Dave Muller: Connections
Dave Muller: Connections features artist Muller's ongoing series of drawings and watercolors that are his personal interpretations of art exhibition announcements and invitations by various museums and galleries. Dave Muller, the subject of this exhibition curated by Amada Cruz, director of the Center for Curatorial Studies Museum at Bard College, is a dynamic and multitalented force in the Los Angeles art scene.

Dave Muller, "Finite Regression",
1999, pencil and acrylic on paper.

Inspired in part by amateur flyers created by fans of indie-rock bands, Muller began producing watercolors based on exhibition announcements of artists he admired. These acts of homage are not copies, however, as Muller transforms and personalizes them, often with a wry sense of humor. For example, in a 1999 series of four watercolors announcing the Jackson Pollock retrospective exhibition at The Museum of Modern Art, Muller drew scenes of Charlie Brown walking through a snowy landscape while commenting upon the artistic merits of different snowmen: "Trite! Very Trite!" and "Unimaginative." Muller also appropriates the work of other artists to such a a degree that it is often difficult to distinguish who did what. Muller clearly acknowledges the historical precedents to his artistic practice, yet in its anti-monumental stance and idiosyncratic character, his work is also very much his own.

October 6, 2002 - January 5, 2003
Catherine Sullivan: Five Economies (big hunt/little hunt)
Five Economies (big hunt/little hunt) is a newly commissioned multimedia piece whose main component is a five-screen video projection installed in a single gallery. The silent black-and-white footage in Five Economies consists of multiple versions of a scene from Arthur Penn's 1962 film, The Miracle Worker. The scene has been re-staged and re-choreographed several times, using different acting styles and approaches to movement and gesture.

Catherine Sullivan, "Big Hunt",
1999, production still.

For the past few years, Los Angeles-based artist Catherine Sullivan has created works that combine performance, video installation, and traditional theater techniques. In Sullivan's live and filmed performances, the dramatic process employed by actors to re-create the scene is itself the spectacle on display. Sullivan's work examines the ways in which the meaning of a particular scene, moment, or gesture changes according to the style or mode in which it is choreographed and performed.

Co-organized with The Renaissance Society at the University of Chicago, this installation is the West Coast premiere of Five Economies and also marks Catherine Sullivan's first major traveling museum exhibition in the United States.

August 20 - December 1, 2002
Bon Anniversaire Victor Hugo
One of the ongoing, rotating exhibitions curated by Hammer staff, Bon Anniversaire Victor Hugo celebrates the 200th anniversary of the birth of this renowned 19th-century writer. Drawn from The Armand Hammer Daumier and Contemporaries Collection, which comprises over 7,500 works, and is one of the most extensive holdings of Daumier's art in the world, this exhibition will feature the many caricatures that Honoré Daumier made of his friend as well as other images of Hugo's cohorts and enemies. Hugo was the author of Les Misérables, Notre Dame de Paris, and Hernani among many others. He is also known for his strongly held political opinions which brought about his exile from France between 1851-1870 and inspired him to run for and hold offices in the National Assembly and the Senate upon his return to Paris. Daumier and Hugo shared political sympathies and a friendship for many years.

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