Displaying items by tag: robert irwin

But Mr. Irwin doesn’t make sculptures or, for that matter, very many of what would be considered art objects of any kind. Instead, he has spent most of a restless career, based in Los Angeles and then San Diego, creating subtle, at times vanishingly evanescent, environments with plain materials — fabric scrim, glass, lights, plants and trees — “to make you a little more aware than you were the day before,” as he puts it, “of how beautiful the world is.”

Robert Irwin will create a huge new work for the galleries of the Hirshhorn Museum in Washington, DC, next spring. The octogenarian artist will produce the site-specific immersive installation using his signature materials—scrim and natural light.

Responding to the Hirshhorn’s unconventional architecture—it is a cylindrical building—Irwin will stretch more than 100ft of scrim from floor to ceiling in a gallery space that measures around 4,000 sq ft.

Maurice Tuchman, the first full-time curator of modern art at the Los Angeles County Museum of Art, has donated his papers to the Getty Research Institute, the GRI is expected to announce Thursday.

Tuchman held the LACMA position from 1964 to 1994 and was responsible for mounting pioneering shows and projects, including the lauded Art and Technology program, which championed emerging light and space artists such as Robert Irwin and James Turrell and paired artists with Southern California technology companies from 1966 to 1971.

American installation artist Robert Irwin will create a major piece for the Chinati Foundation in Marfa, Texas, the foundation announced on Thursday.

The project has been in the works for 13 years, Irwin said.

"I'm not going to count my chickens before they hatch," he joked. "I'll believe it when I see it."

He'll have to wait a couple of years until then. Construction on the installation will begin next year and isn't slated to be completed until 2016.

Conceived as a challenge to long-standing conventional wisdom, "Creating the Future: Art and Los Angeles in the 1970s" (on-sale September 9th, 2014) examines the premise that the progress of art in Los Angeles ceased during the 1970s—after the decline of the Ferus Gallery, the scattering of its stable of artists (Robert Irwin, Ed Kienholz, Ed Moses, Ed Rusha and others), and the economic struggles throughout the decade—and didn’t resume until sometime around 1984 when Mark Tansey, Alison Saar, Judy Fiskin, Carrie Mae Weems, David Salle, Manuel Ocampo, among others, became stars in an exploding art market. However, this is far from the reality of the L.A. art scene in the 1970s.

The passing of those fashionable 1960s-era icons, in fact, enabled the development of a chaotic array of outlandish and independent voices, marginalized communities, and energetic, sometimes bizarre visions that thrived during the stagnant 1970s. Fallon’s narrative describes and celebrates, through twelve thematically arranged chapters, the wide range of intriguing artists and the world they created.

The Lombardy region of northern Italy is known for its many “villas of delight” — the “ville di delizia” that aristocratic Milanese families built in the 17th and 18th centuries as summer escapes and settings for lavish entertainments. Varese, in the foothills of the Alps, was a magnet for these estates, several of which are clustered on the parklike hill of Biumo Superiore. At its crest sits the Villa Menafoglio Litta Panza, the most storied, thanks to its longtime owner, Giuseppe Panza di Biumo, the Milanese businessman whose adventurous tastes and ardent appetites made him one of the most important art collectors of the last century.

“It’s not bad,” admitted his daughter, Maria Giuseppina Panza di Biumo, a smile escaping her lips as our eyes swept across eight acres of topiary and fountains.