2019 Summer Series: Featured Artists & Conversations and Critical Dialog
Toby Devan Lewis, Presenting Sponsor
National Council registration opens 9AM on May 28th.
Registration opens to the public 9AM on May 29th.
Explore the work of world-renowned artists and curators. Enjoy stimulating conversations with today’s most influential critics and collectors. Anderson Ranch’s popular Summer Series: Featured Artists & Conversations fosters a broader understanding of contemporary art and art making. Featured events include lectures, conversations, panels and Q&A formats. Presentations are focused on artists’ work and topics relevant to the contemporary art community.
July 3: Chairman’s Choice Sanford Biggers in Conversation with Helen Molesworth, Curator-in-Residence, Anderson Ranch Arts Center
Sanford Biggers’ work is an interplay of narrative, perspective and history that speaks to current social, political and economic happenings while also examining the contexts that bore them. His diverse practice positions him as a collaborator with the past through explorations of often overlooked cultural and political narratives from American history. Working with antique quilts that echo rumors of their use as signposts on the Underground Railroad, he engages these legends and contributes to this narrative by drawing and painting directly onto them. In response to ongoing occurrences of police brutality against Black Americans, Biggers’ BAMseries is composed of bronze sculptures recast from fragments of wooden African statues that have been anonymized through dipping in wax and then ballistically ‘resculpted’. Following a residency as a 2017 American Academy Fellow in Rome, the artist recently began working in marble. Drawing on and playing with the tradition of working in this medium, Biggers creates hybridized forms that transpose, combine and juxtapose classical and historical subjects to create alternative meanings and produce what he calls “future ethnographies”. As creative director and keyboardist, he fronts Moon Medicin, a multimedia concept band that straddles visual art and music with performances staged against a backdrop of curated sound effects and video. Moon Medicin performed at Open Spaces Kansas City in October 2018 and at the Kennedy Center in Washington D.C. in 2019.
Helen Molesworth is currently the Curator-in-Residence at Anderson Ranch Arts Center. Previously, she was the Chief Curator at The Museum of Contemporary Art (MOCA), Los Angeles from 2014-2018. While at MOCA, she organized the large group show “One Day at a Time: Manny Farber and Termite Art” and the critically acclaimed Kerry James Marshall and Anna Maria Maiolino exhibitions. From 2010—2014 she was the Barbara Lee Chief Curator at the Institute of Contemporary Art (ICA) Boston, where she assembled exhibitions of artists Steve Locke, Catherine Opie, Josiah McElheny and Amy Sillman, and the group exhibitions “Leap Before You Look: Black Mountain College 1933—1957”, “Dance/Draw”, and “This Will Have Been: Art, Love & Politics in the 1980s”. Her writing has appeared in publications such as Artforum, Art Journal, Documents, and October.
Molesworth will also present “The Work of Art in the Age of Hip-Hop” with Gary Simmons at Anderson Ranch this summer as part of the 2019 Critical Dialog program.
July 6: National Council Summer Series Celebration: Shio Kusaka and Jonas Wood in Conversation with Helen Molesworth, Curator-in-Residence, Anderson Ranch Arts Center
SPECIAL TIME, 4-7PM
Private off campus event
To join the National Council, call 970/924-5052
Shio Kusaka (b. 1972, Morioka, Japan) is a Los Angeles-based artist practicing in the ceramic medium. Kusaka grew up attending her grandmother’s tea ceremonies in Japan, in which she learned to observe vessels closely. After receiving her BFA from the University of Washington, Seattle, she moved to Los Angeles in 2003 and focused on clay specifically. Kusaka merges drawing and sculpture, typically moving between abstraction and representation. She has developed a distinct formal language in her use of shape, pattern, color, and glazing techniques that make reference to Yayoi period Japanese pottery, Eighteenth Dynasty of Egypt, and the wall drawings of Sol LeWitt alike. As Roberta Smith stated in the New York Times “If the Minimalist painter Agnes Martin had been a potter, she might have made vessels like these.” From grids, dots, and line patterns to the more playful strawberry, watermelon, and dinosaur vessels, Kusaka always shows her hand in the construction of the works.
Kusaka was included in the 2014 Whitney Biennial at the Whitney Museum of American Art, New York. Recent museum exhibitions include Shio Kusaka & Jonas Wood, Museum Voorlinden, Wassenaar, Netherlands (2017); Recent Acquisitions in Asian Art, Allen Memorial Art Museum, Oberlin, OH (2017); Going Public: The Napoleone Collection – International Art Collectors in Sheffield, Graves Gallery, Sheffield, UK (2016), traveled to Touchstones Rochdale Museum, Rochdale, UK; among others.
Jonas Wood (b. 1977, Boston) makes paintings that can be classified as a variety of different genres, including portraiture, still life, landscape and interior scenes. In each of these, however, his work reflects an instantly recognizable vision of the contemporary world, as well as a personal approach to subject matter defined by his affinities and experiences. Its warmth is matched by a quasi-abstract logic that breaks pictures down into layered compositions of geometry, pattern, and color. Wood works at every scale, and maintains active drawing and printmaking practices, each of which helps him generate techniques that he eventually uses in paintings. Conjuring depth using flat forms––his process involves collage-based studies in which he works with various materials to break images apart and reassemble them––Wood probes the boundary between the new and the familiar, integrating emotionally resonant material from everyday life.
Jonas Wood has been the subject of solo exhibitions at the Dallas Art Museum (2019); Museum Voorlinden, Wassenaar, the Netherlands (with Shio Kusaka, 2017); Lever House, New York (2014); and Hammer Museum, Los Angeles (2010). Other solo projects include Still Life with Two Owls (MOCA), a monumental picture covering the façade of the Museum of Contemporary Art, Los Angeles (2016 – 2018); Shelf Still Life, High Line Billboard, High Line Art, New York (2014); and LAXART Billboard and Façade, LAXART, Los Angeles (2014). His work is included in the permanent collections of many institutions, among them the Albright-Knox Art Gallery, Buffalo, New York; Dallas Museum of Art; Hammer Museum, Los Angeles; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; The Broad Art Foundation, Los Angeles; Museum of Modern Art, New York; and Whitney Museum of American Art, New York. Wood lives and works in Los Angeles.
July 11: Paul McCarthy
Paul McCarthy is widely considered to be one of the most influential and groundbreaking contemporary American artists. Born in 1945, and raised in Salt Lake City, Utah, he first established a multi-faceted artistic practice, which sought to break the limitations of painting by using unorthodox materials such as bodily fluids and food. He has since become known for visceral, often hauntingly humorous work in a variety of mediums – from performance, photography, film and video, to sculpture, drawing and painting.
During the 1990s, he extended his practice into installations and stand-alone sculptural figures, utilizing a range of materials such as fiberglass, silicone, animatronics and inflatable vinyl. Playing on popular illusions and cultural myths, fantasy and reality collide in a delirious yet poignant exploration of the subconscious, in works that simultaneously challenge the viewer’s phenomenological expectations.
Whether absent or present, the human figure has been a constant in his work, either through the artist‘s own performances or the array of characters he creates to mix high and low culture, and provoke an analysis of our fundamental beliefs. These playfully oversized characters and objects critique the worlds from which they are drawn: Hollywood, politics, philosophy, science, art, literature, and television. McCarthy’s work, thus, locates the traumas lurking behind the stage set of the American Dream and identifies their counterparts in the art historical canon.
McCarthy earned a BFA in painting from the San Francisco Art Institute in 1969, and an MFA in multimedia, film and art from USC in 1973. For 18 years, he taught performance, video, installation, and art history in the New Genres Department at UCLA, where he influenced future generations of west coast artists and he has exhibited extensively worldwide. McCarthy’s work comprises collaborations with artist-friends such as Mike Kelley and Jason Rhoades, as well as his son Damon McCarthy.
July 16: 2019 Extraordinary Leadership Honoree Doug Casebeer in Conversation with Brad Miller, Executive Director of Anderson Ranch Arts Center, 1984-1992
SPECIAL TIME, 5PM
Doug Casebeer has been at Anderson Ranch Arts Center since 1985. He has exhibited extensively nationally and internationally and is in numerous public and private collections. His recent exhibitions include a solo show at Trax Gallery, Berkeley, CA and a two person show with Takashi Nakazato in Tokyo and Fukuoka, Japan. He has served as pottery/ceramics consultant to the U.N.’s Industrial Development Organization, and recently as a board member for the Carbondale Clay Center.
Prior to this award, Casebeer was most recently honored with the 2019 NCECA Honorary Member Award in March, 2019. The NCECA Honorary Member Award is for individuals whose contributions to the field have been deemed as superior, unique, and consistent over the years. The NCECA Board was in unanimous agreement that this award Doug earned is acknowledgement of his incredible contributions to the organization’s past, present and future.
In addition, Casebeer has joined the University of Oklahoma as an Artist-in-Residence, specifically mentoring graduate students. He and his wife Susan split their time between Norman, OK and their home and Doug’s newly-built studio in Carbondale, CO.
Brad Miller: “In my work I keep reworking a handful of patterns including spirals, packing patterns, and dendritic systems. These patterns appear in different materials and processes sometimes incorporating several of these patterns in one piece. My intention is to infuse my work with these timeless and familiar symbols as they dance between order and chaos.”
Brad Miller’s work can be found at the Los Angeles County Museum of Art, The Denver Art Museum, The Brooklyn Museum and National Museum of American Art. He is represented by the Edward Cella Art and Architecture Gallery, Los Angeles and the Harvey Preston Gallery, Aspen. Brad lives and works in Venice, CA. and is actively sharing on Instagram at @bradmillerstudio.
July 17: 2019 International Artist Honoree Presentation
Nick Cave is an artist, educator and foremost a messenger, working between the visual and performing arts through a wide range of mediums including sculpture, installation, video, sound and performance. Cave is well known for his Soundsuits, which camouflage the body, masking and creating a second skin that conceals race, gender, and class, forcing the viewer to look without judgment.
Cave has several important institutional projects concurrently on view, including Nick Cave: Feat, which opened at the Frist Art Museum (2017 – 18), then travelled to the Orlando Museum of Art (2018) and the Akron Art Museum, the Glenbow Museum, and the Mississippi Museum, all in 2019. Cave was recently the subject of Until, a major solo exhibition of new work at Mass MoCA in 2016 – 17, which travelled to Carriageworks (2018 – 19), then to Crystal Bridges Museum of American Art in 2020. Other recent solo exhibitions include The Let Go at the Park Avenue Armory in June 2018.
Public collections include the Brooklyn Museum, New York; the High Museum of Art, Atlanta, GA; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Museum of Modern Art, New York; the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the Museum of Contemporary Art, Chicago; the National Gallery of Canada, Ottawa; the National Gallery of Victoria, Australia; the San Francisco Museum of Modern Art, CA; and the Trapholt Museum, Kolding, Denmark, among others.
Nick Cave has been represented by Jack Shainman Gallery since 2006. Cave is Professor and Chairman of the Fashion Department at the School of the Art Institute of Chicago.
July 18: 2019 Service to the Arts Honoree Sarah Arison in Conversation with Anne Pasternak, Shelby White and Leon Levy Director of the Brooklyn Museum
Born and raised in Miami, Sarah Arison is President of the Arison Arts Foundation, a private grant-making organization that supports emerging artists and the institutions that foster them. She was immersed in the arts from a young age by her grandparents, visionary philanthropists Ted and Lin Arison, who founded Arison Arts Foundation, the National YoungArts Foundation, and the New World Symphony, among their many philanthropic endeavors.
Arison is active across a broad cross-section of national arts organizations. She is Chair of the Board of the National YoungArts Foundation, where she has developed strategic partnerships with The Metropolitan Museum of Art, Sotheby’s, Sundance Film Festival and more to provide aspiring talent with presentation and mentorship opportunities. Arison is Vice-Chair of the board of MoMA PS1; a trustee of MoMA and member of the Committee on Education; a trustee of American Ballet Theatre and Chair of the Education Committee; a trustee of Lincoln Center; a trustee of the Brooklyn Museum and Chair of the Education Committee; a trustee of New World Symphony; a member of the Board of Directors of Americans for the Arts; and a trustee of the Americas Foundation of the Serpentine Galleries.
Arison has also ventured into film producing, supporting projects that shed light on lesser known aspects of the arts. In 2015, she produced her first feature film, “Desert Dancer”, starring Freida Pinto. She later went on to co-produce “The First Monday in May”, a documentary film chronicling the creation of The Metropolitan Museum of Art’s Costume Institute blockbuster exhibition China: Through the Looking Glass. She recently co-produced “The Price of Everything” which was acquired by HBO at the Sundance Film Festival.
Arison earned a Bachelor of Arts degree in Business and French with a minor in Art History from Emory University.
Since 2015, Anne Pasternak has served as the Shelby White and Leon Levy Director of the Brooklyn Museum. For more than thirty years, she has devoted her career to engaging broad audiences with the limitless power of art to move, motivate, and inspire. A staunch advocate for the civic and democratic roles our cultural and educational institutions can play, Anne is committed to projects that demonstrate the crucial links between art and social justice. During her time here, Anne has focused on strengthening the Museum as a global center for the visual arts that is courageous, pioneering, and inclusive. Through her leadership, Anne has expanded exhibitions, educational offerings and public programs. Previously, Anne served as the President and Artistic Director of Creative Time. She collaborated with hundreds of artists commissioning and presenting works as well as Tribute in Light, the twin beacons of light that illuminate the former World Trade Center site, on the anniversary of 9/11.
July 25: Taryn Simon in Conversation with Kate Fowle, Chief Curator for Garage Center for Contemporary Culture, Moscow
Taryn Simon directs our attention to familiar systems of organization—bloodlines, criminal investigations, mourning, flower arrangements—making visible the contours of power and authority hidden within. Incorporating mediums ranging from photography and sculpture to text, sound, and performance, each of her projects is shaped by years of research and planning, including obtaining access from institutions as varied as the U.S. Department of Homeland Security, Central Zionist Archives, the CIA's abstract art collection, and Playboy Enterprises, Inc. Simon’s work has been exhibited with Artangel in Islington, London (2018); and at the Massachusetts Museum of Contemporary Art, North Adams, Massachusetts (2018–2019); Louisiana Museum of Modern Art, Humlebaek, Denmark (2016–2017); Park Avenue Armory, New York (2016); the Albertinum, Dresden (2016); Galerie Rudolfinum, Prague (2016); Garage Museum of Contemporary Art, Moscow (2016); Jeu de Paume, Paris (2015); Ullens Center for Contemporary Art, Beijing (2013); Museum of Modern Art, New York (2012); Tate Modern, London (2011); Neue Nationalgalerie, Berlin (2011); and Whitney Museum of American Art, New York (2007). Her work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, Tate Modern, Solomon R. Guggenheim Museum, Centre Pompidou, Kunstmuseum Lucerne, and Los Angeles County Museum of Art, and was included in the 56th Venice Biennale (2015). Simon’s honors include the Guggenheim Memorial Foundation Fellowship in Photography and a Photo London Master of Photography award.
Kate Fowle is director-at-large at Independent Curators International (ICI) in New York where she was the executive director from 2009-13. For the last six years she was the inaugural chief curator at Garage Museum of Contemporary Art in Moscow (2013-2019), and previously the inaugural international curator at the Ullens Center for Contemporary Art in Beijing (2007-08). In 2002 she co-founded the Master’s Program in Curatorial Practice for California College of the Arts in San Francisco, for which she was the chair until 2007. Before moving to the United States, Fowle was co-director of Smith + Fowle in London from 1996-2002. From 1994-96 she was curator at the Towner Art Gallery and Museum in Eastbourne, East Sussex. Fowle’s recent curatorial projects include solo exhibitions with David Adjaye, Rasheed Araeen, John Baldessari, Sammy Baloji, Louise Bourgeois, Marcel Broodthaers, Urs Fischer, Rashid Johnson, Irina Korina, Robert Longo, Anri Sala, Taryn Simon, Juergen Teller, and Rirkrit Tirivanija, as well as extended essays on Ilya Kabakov, Sterling Ruby, Qiu Zhijie, and Althea Thauberger. She has also written on curating and exhibition histories for numerous publications and magazines, including Open Editions/de Appel, Parkett, Modern Painters, Mousse, Art in America, Manifesta Journal, the Exhibitionist, and Frieze. Fowle has published books on the history of Russian Contemporary Art, including “Exhibit Russia: The New International Decade 1986-1996” and “Access Moscow: The Art Life of a City Revealed 1990–2000,” as well as the books “Proof: Francisco Goya, Sergei Eisenstein, Robert Longo” and “Rashid Johnson: Within Our Gates” (2016).
August 1: Beth Rudin DeWoody in Conversation with Maynard Monrow, Co-Curator of The Bunker Artspace
Beth Rudin DeWoody, daughter of the late real estate developer Lewis Rudin and the late Gladyce Begelman, is a native of New York. Ms. DeWoody is married to renowned photographer, Firooz Zahedi. Mr. Zahedi published a photograph book on Elizabeth Taylor called “My Elizabeth”. He also published a book called “City of Angels” for Vendome Press. Ms. DeWoody studied at the University of California at Santa Barbara where she majored in anthropology and film studies, and completed her studies at the New School for Social Research in New York City where she received her B.A. in Liberal Arts.
Ms. DeWoody’s works include working in Africa as an Assistant Director of the TV series “Born Free” and as Production Assistant for the movie films “Annie Hall”, “The Front” and “Hair”. She also was co-producer of the musical production “Enter Juliet”. She also was the executive producer of the documentary “Who Gets To Call It Art”, directed by Peter Rosen, about Henry Geldzahler. Ms. DeWoody is now Chairman of The Rudin Family Foundations and Executive Vice President of Rudin Management Company. She also curated many shows for several different art galleries between New York City, New Orleans, London and Vermont. Ms. DeWoody has a private art space called The Bunker in West Palm Beach displaying works from her collection.
Ms. DeWoody’s Board affiliations include Vice Chair of the Whitney Museum of American Art, The New School, Empowers Africa, Save A Child India, Inc. Ms. DeWoody is also on the Advisory Board at The Glass House in New Canaan, and the Board of Overseers at the Hammer Museum in Los Angeles as well as an Honorary Trustee at the Brooklyn Academy of Music (BAM). Ms. DeWoody is a Trustee Emeritus for The New York City Police Foundation, and serves on the Advisory Board for New Yorkers for Children, Inc.
Ms. DeWoody serves on the Parsons Board of Governors of the New School and is a Member of the Committee for the University Art Collection, and is on the Photography Steering Committee at the Norton Museum in West Palm Beach, Florida. Her professional affiliations include charter member of New York Women Executives in Real Estate.
Ms. DeWoody is Chairman of the Arts and Culture Committee of the Association for a Better New York (ABNY), is on the Council of Conservators of the New York Public Library, National Leadership Council at United States Artists, and the Library Association of MOMA.
Maynard Monrow was born in Hollywood California and currently lives in New York. Having graduated from the California Institute of the Arts in 2001 with a Bachelor of Fine Arts, his artistic practice continues through conceptual text-based reinventions of the still life convention in classical art through the form of readymade café boards. Monrow has also staged international performances in Rome, Italy, and participated in numerous projects including Ruffian’s Spring 2016 Ready-to-Wear Collection and LAX Art’s L.A.P.D. Billboard Project.
Alongside co-curating The Bunker Artspace which presents rotating exhibitions of Beth Rudin DeWoody’s art collection, Monrow is involved with curating collections of numerous private art collectors in New York, Los Angeles and Palm Beach.
August 8: Elliott Hundley
Elliott Hundley was born in Greensboro, North Carolina in 1975. He received his B.F.A. from the Rhode Island School of Design, Providence in 1997, and an M.F.A. from the University of California, Los Angeles in 2005.
Hundley’s practice integrates photography, painting, collage, sculpture, performance, and drawing. Utilizing a myriad of diverse materials, he creates sculptures that hang from the ceiling, extend off the wall, or exist as freestanding objects. Mining the nostalgic and diverse qualities of his eclectic and quotidian materials, Hundley melds the familiar with the foreign in a layered and translucent world. These precarious, intricate, and multi- layered works are composed as a web of interconnections that create a wondrous and fragmented tableaux. Each artwork is an investigation into the material process and the resulting formal tension and visual narrative that unfolds.
The surfaces of Hundley’s works are built-up and composed from hundreds of elements including photographs taken during elaborate photo shoots. In these shoots, nude or semi-clothed sitters are adorned with jewelry, paint, or tunics and clutch various props. The figures are then cut out of the photographs (to erase any trace of recognizable time and location) and collaged to the surface of his works. These figures serve as focal points and illustrate the importance of both figure and landscape in his pieces. The intense physicality of Hundley’s work juxtaposed with incongruous scale and a disjointed aesthetic creates a formal distortion and friction emblematic of his practice.
Hundley’s work is a journey into history, mythology, and contemporary culture. His epically dense surfaces are laced with historical references and mythological narratives. Hundley culls fragments from ancient mythology to fuel obscure and mysterious visual dramas that unfold on the surface of his sculptures and present a dialogue between classical antiquity and the relics of modernity. His works communicate an abstract series of events that adhere to a chronology all their own. The coalescence of Hundley’s own personal and symbolic world with contemporary and ancient cultural references and signs creates a highly personalized visual language in his work.
He had his first solo exhibition at the Hammer Museum, Los Angeles in 2006. In 2011 a major exhibition entitled, Elliott Hundley: The Bacchae, was on view at the Wexner Center for the Arts, Columbus, and traveled to the Nasher Sculpture Center, Dallas. Hundley was included in the 7th Moscow International Biennale of Contemporary Art, 2017-2018. He is the inaugural curator of Open House, a group exhibition at the Museum of Contemporary Art, Los Angeles that features works drawn from the permanent collection, on view through September 16, 2019. Hundley is a recent recipient of a John Simon Guggenheim Memorial Foundation Guggenheim Fellowship (2019).
His work is included in the permanent collections of many museums, such as the Hammer Museum, Los Angeles; Istanbul Museum of Modern Art, Istanbul; Los Angeles County Museum of Art, Los Angeles; Louisiana Art Museum, Denmark; Museum of Modern Art, New York; Nasher Sculpture Center; Dallas; Solomon R. Guggenheim Museum, New York; Walker Art Center, Minneapolis; Whitney Museum of American Art, New York; among others.
He lives and works in Los Angeles.
August 15: Lari Pittman
Lari Pittman (b. 1952 Los Angeles, California) received both a BFA (1974) and an MFA (1976) from California Institute of the Arts, Valencia. Since 1993, he has held the position of Professor of Fine Arts at the University of California, Los Angeles.
Inspired by commercial advertising, folk art, and decorative traditions, his meticulously layered paintings transform pattern and signage into luxurious scenes fraught with complexity, difference, and desire. In a manner both visually gripping and psychologically strange, Pittman’s hallucinatory works reference myriad aesthetic styles, from Victorian silhouettes to social realist murals to Mexican “retablos.” He uses anthropomorphic depictions of furniture, weapons, and animals—loaded with symbolism—to convey themes of romantic love, violence, and mortality. His paintings and drawings are a personal rebellion against rigid, puritanical dichotomies. They demonstrate the complementary nature of beauty and suffering, pain and pleasure—and direct the viewer’s attention to bittersweet experiences and the value of sentimentality in art. Despite subject matter that changes from series to series, Pittman’s deployment of simultaneously occurring narratives and opulent imagery reflects the rich heterogeneity of American society, the artist’s Colombian heritage, and the distorting effects of hyper- capitalism on everyday life.
A major solo exhibition of his work titled, Lari Pittman: Declaration of Independence, will be held at the Hammer Museum, Los Angeles in September 2019. His work has been the subject of numerous solo exhibitions, including The Huntington Library, Art Collections, and Botanical Gardens, San Marino (2017); Museum of Contemporary Art, St. Louis (2013); Le Consortium, Dijon, France (2013); Institute of Contemporary Arts, London (1998); Los Angeles County Museum of Art (1996); and the Contemporary Arts Museum, Houston (1996); among many others. He has participated in the Venice Biennale (2003); Documenta X (1997); and four Whitney Biennial exhibitions (1985, 1993, 1995, 1997). A comprehensive monograph of his works was published by Rizzoli (2011), and catalogues were published on the occasion of his Le Consortium, Dijon and Museum of Contemporary Art, St. Louis exhibitions.
Pittman has received many awards, including the Skowhegan Medal (2002); three fellowships from the National Endowment for the Arts (1987, 1989, 1993); and the International Association of Art Critics’ award for the Best Show in a Commercial Gallery Nationally (2010, 2013).
His work is in the permanent collections of many museums, including the Art Institute of Chicago, Chicago; Harvard Art Museums, Cambridge; Los Angeles County Museum of Art, Los Angeles; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; San Francisco Museum of Modern Art, San Francisco; Hammer Museum, Los Angeles, Whitney Museum of American Art, New York; among others
He lives and works in Los Angeles.
This engaging program is driven by interactive discussion and led by an exciting lineup of renowned scholars, critics, writers and artists who take an in-depth look at relevant topics and trends in the contemporary visual arts. From intimate round table dialog to fascinating historical reviews of art through the ages, these seminars are open to all, and offer the perfect complement to the hands-on art experiences that take place in the studios at the Ranch.
For more information about the Summer Series or Critical Dialog, please call Molly O’Leary at 970/924-5056