By the early 1970s most art history students knew the work of Larry Bell. His glass cubes made him world famous; his minimalist work, along with that of his contemporaries Robert Irwin, Ed Ruscha, Billy Al Bengston, Ken Price, and Joe Goode, defined the "L.A. Look." This retrospective includes Bell's evolving zones of experience: the elegant cubes, his monumental glass sculptures, the furniture and games, his vapor drawings and mirage paintings, the light and space explorations including photographs of the leaning room, his recent Sumer/Stickman sculptures, and the Fractions. Zones of Experience spans the artist's work from the early 1960s to the present, and includes a comprehensive biography/bibliography. Essays are by art historian Peter Frank; writer and photographer Douglas Kent Hall; former art school classmate Dean Cushman; and Larry Bell.
The full story of the infamous double murder featured on Discovery’s FBI Files—includes photos. In this book, former South Carolina Law Enforcement Division (SLED) forensic photographer Lt. Rita Y. Shuler recounts twenty-eight days of terror and shocking developments in one of the most notorious double murders and manhunts in South Carolina history. Shuler shares her own personal interactions with some of the key players in this famous manhunt and investigation. Also included are Bell’s chilling calls from area phone booths to the Smith family, along with his disconcerting interviews and bizarre actions in the courtroom, which show the dark, evil, and criminal mind of this horrific killer. This is a comprehensive account of the case that has been featured on the Discovery Channel’s FBI Files, in the CBS movie Nightmare in Columbia County, and on Court TV’s Forensic Files.
During the 1960s and 1970s, a loosely affiliated group of Los Angeles artists--including Larry Bell, Mary Corse, Robert Irwin, James Turrell, and Doug Wheeler--more intrigued by questions of perception than by the crafting of discrete objects, embraced light as their primary medium. Whether by directing the flow of natural light, embedding artificial light within objects or architecture, or playing with light through the use of reflective, translucent, or transparent materials, each of these artists created situations capable of stimulating heightened sensory awareness in the receptive viewer. Phenomenal: California Light, Space, Surface, companion book to the exhibition of the same name, explores and documents the unique traits of the phenomenologically engaged work produced in Southern California during those decades and traces its ongoing influence on current generations of international artists. Foreword by Hugh M. Davies Additional contributors: Michael Auping Stephanie Hanor Adrian Kohn Dawna Schuld Artists: Peter Alexander Larry Bell Ron Cooper Mary Corse Robert Irwin Craig Kauffman John McCracken Bruce Nauman Eric Orr Helen Pashgian James Turrell De Wain Valentine Doug Wheeler
THE STORY: Gillian Holroyd is one of the few modern people who can actually cast spells and perform feats of supernaturalism. She casts a spell over an unattached publisher, Shepherd Henderson, partly to keep him away from a rival and partly becaus
With hundreds of pages of new and previously unpublished essays, notes, and letters, Donald Judd Writings is the most comprehensive collection of the artist’s writings assembled to date. This timely publication includes Judd’s best-known essays, as well as little-known texts previously published in limited editions. Moreover, this new collection also includes unpublished college essays and hundreds of never-before-seen notes, a critical but unknown part of Judd’s writing practice. Judd’s earliest published writing, consisting largely of art reviews for hire, defined the terms of art criticism in the 1960s, but his essays as an undergraduate at Columbia University in New York, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd’s early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now. The largest addition of newly available material is Judd’s unpublished notes—transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most. In these intimate reflections we see Judd’s thinking at his least mediated—a mind continuing to grapple with questions of its moment, thinking them through, changing positions, and demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary visual art. Edited by the artist’s son, Judd Foundation curator and co-president Flavin Judd, and Judd Foundation archivist Caitlin Murray, this volume finally provides readers with the full extent of Donald Judd’s influence on contemporary art, art history, and art criticism.
In the 1960s, a group of Los Angeles artists fashioned a body of work that has come to be known as the “LA Look” or West Coast Minimalism. Its distinct aesthetic is characterized by clean lines, simple shapes, and pristine reflective or translucent surfaces, and often by the use of bright, seductive colors. While the role of materials and processes in the advent of these truly indigenous Los Angeles art forms has often been commented on, it has never been studied in depth — until now. Made in Los Angeles focuses on four pioneers of West Coast Minimalism — Larry Bell, Robert Irwin, Craig Kauffman, and John McCracken — whose working methods, often borrowed from other industries, featured the use of synthetic paints and resins as well as industrial processes to create objects that are both painting and sculpture. Bell, for example, coated plate glass with films of material that alter the way the light is absorbed, reflected, and transmitted, while Kauffman employed a process usually reserved for commercial signs for his work. McCracken coated plywood with fiberglass then spray painted it with countless layers of automotive paints, and Irwin spray-painted discs of hammered aluminum or vacuum-formed plastics. The detailed study of each artist’s work is presented in the context of the emergence of modern art in Los Angeles, the burgeoning mid-twentieth-century gallery scene, and the light-infused LA cityscape. Initially undertaken as part of the Pacific Standard Time: Art in L.A.1945–1980 initiative, this volume combines technical art history and scientific analysis to investigate conservation issues associated with the work of these artists, which are often emblematic of issues in the conservation of contemporary art in general.
“Awakening Together combines the intimately personal, the Buddhist and universal into a loving, courageous, important work that will benefit all who read it. For anyone who longs to collaborate and create a just and inclusive community, Larry provides a brilliant guidebook.” —Jack Kornfield, author of A Path With Heart How can we connect our personal spiritual journeys with the larger course of our shared human experience? How do we compassionately and wisely navigate belonging and exclusion in our own hearts? And how can we embrace diverse identities and experiences within our spiritual communities, building sanghas that make good on the promise of liberation for everyone? If you aren’t sure how to start this work, Awakening Together is for you. If you’ve begun but aren’t sure what the next steps are, this book is for you. If you’re already engaged in this work, this book will remind you none of us do this work alone. Whether you find yourself at the center or at the margins of your community, whether you’re a community member or a community leader, this book is for you.