Exploring Photography: Works from the Permanent Collection Gallery Guide

GALLERY GUIDE

CONTEMPORARY

MASTERS

WORKS ON PAPER FROM THE ART MUSEUM OF SOUTH TEXAS

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7 collage and mixed media 12 pencil, ink, and charcoal drawings 13 paintings, wet media, and pastels 28 prints

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LATINO ARTISTS represent 13% of the artists

MASTER 27% of the art on display was created by female artists.

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on display.

Bring your lunch to LSU MOA and the-ISMS learn more about them at our free

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Brown Bag Lunch on May 3 from 12–1 p.m.

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and everything in between

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7 2 1940s

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1 1950s

1 1960s

1970s

1980s

BY THE DECADE

1990s

2000s

2010s

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MASTER the-ISMS

and everything in between

abstract expressionism

Abstract expressionists sought to convey intense emotional content through expressive non-representational mark-making with bold colors and masses. Compare the geometric, hard edge intensity of Lee Krasner’s print with the chaotic, scribbles that create tension in Ben Culwell’s mixed media.

conceptual art

Conceptual artists questioned what could and could not be considered art; they considered an idea as art equal to any finished visual product. Conceptual art frequently includes text, reference imagery, performance, and preparatory drawings in the work. Conceptual art rejected institutions (museums, galleries, universities, etc.) as authorities on defining art. Fact: Sol LeWitt named conceptual art with his essay “Paragraphs on Conceptual Art.”

op art

Op (optical) art explores illusion and perspective through the interaction of color. It was influenced by Josef Albers’ color theories. Albers’ student Richard Anuskiewicz was a leader of the op art movement. Check out the dynamic color interactions of teacher and student.

surrealism

Surrealists reacted to the rationalism of modernism by foregrounding the importance of the subconscious. Influenced by the theories of Freud, surrealists focused on dream states, the erotic, and the automatic—states unbounded by social norms. Hint: Look for a melting clock.

LATINO PERSPECTIVE

Lillian Garcia-Roig (American, b. 1966), La Infanta Teotihuacana, c. 1995, serigraph, Art Museum of South Texas.

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Cuban-American Lilian Garcia-Roig’s La Infanta Teotihuacana adds a distinctive Latino take on Diego Velasquez’s Las Meninas, a 17th-century portrait of the Spanish royal family. Garcia-Roig elevates an indigenous girl to the rank of royalty with this portrait.

She emphasizes features associated with indigenous people of Central America, which became part of the Spanish colonial empire.

She accentuates the girl’s darker skin, almond eyes, highlights her cheekbones with red, and adorns the girl’s thick hair with flowers.

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CONTEMPORARYMASTERS

on view April 7–July 9, 2017 Josef Albers Bruno Andrade Richard Anuskiewicz Richard Artschwager Milton Avery Walter Darby Bannard Jennifer Bartlett Leonard Baskin David Bates John Biggers Lee Bontecou Chris Burden Alexander Calder Judy Chicago Dale Chihuly Ben L. Culwell Salvador Dali Gene Davis Marylyn Dintenfass Janet Fish Vernon Fisher Roy Fridge Lilian Garcia-Roig Adolph Gottlieb Nancy Graves Alan Gussow Hans Hartung Carl Holty

Dorothy Hood Benito Huerta Paul Jenkins Luis Jimenez Donald Judd Sharon Kopriva Lee Krasner Sol Lewitt Jack Levine Seymour Lipton Robert Mangold Conrad Marca-Relli Mary McCleary Melissa Miller Robert Motherwell Bruce Nauman Kenneth Noland Robert Rauschenberg Susan Rothenberg

Alex Rubio Greg Rubio Edward Ruscha Al Souza James Surls Vincent Valdez Beth Van Hoesen Kathy Vargas Theodore Waddell Andy Warhol William T. Wiley Dee Wolff

PROGRAMS

BROWN BAG LUNCH Wednesday, May 3, 2017 12–1 p.m., Third floor Curatorial assistant Glauco Adorno gives an informal talk on Latino artists in Contemporary Masters. Free to attend.

THIRD THURSDAY Thursday, May 18, 2017 6–8 p.m., Fifth and Sixth floors LSU professor Leslie Friedman leads printmaking discussion followed by a screenprinting demo making art to take home and Japanese beer tasting with Tsunami on the Pennington Rooftop Terrace. $10 for general public, $5 for members, free for Contemporaries.

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#lsumoa | #contemporarymasters ON THE COVER Robert Motherwell (American, 1915–1991), Untitled, c.

1982, serigraph, 4/150, Art Museum of South Texas.

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EXPLORING PHOTOGRAPHY

WORKS FROM THE PERMANENT COLLECTION on view April 7–July 9, 2017

ARTISTS Berenice Abbott Barry Anderson Diane Arbus Morley Baer Bruce Barnbaum Ruth Bernhard Brice Bischoff Howard Bond Debbie Fleming Caffery Paul Caponigro Darryl Curran Judy Dater Alfred Eisenstaedt Robert Fichter Henry E. Gilpin Suda House Yousuf Karsh Victor Landweber Clarence John Laughlin A.J. Meek Lisette Model Thomas Neff Kenda North Sheila Pinkel Alan Ross Bonnie Schiffman Richard Sexton Michael Stone Jerry Uelsmann Robert von Sternberg Melanie Walker Todd Walker Nancy Webber Henry Wessel, Jr. Brett Weston Edward Weston

Interested in learning more about the photographic processes seen throughout the exhibition? Visit www.lsumoa.org/exploring-photography and join us at any of the programs listed below.

THIRD THURSDAY Thursday, April 20, 2017, 6–8 p.m., Fifth floor Gallery Talk with LSU professors Jeremiah Ariaz and Kristine Thompson followed by a beer tasting with Tin Roof Brewery and an opportunity to make your own cyanotypes. $10 for general public, $5 for members, free for Contemporaries members.

STUDIO TOUR Sunday, May 7, 2017, 3:30 p.m., LSU School of Art and Tin Roof Brewery Visit the LSU School of Art photography studios and Gallery 229 with professors Kristine Thompson and Johanna Warwick. Following the studio tour, head to Tin Roof Brewery for a brewery tour and specialty brews in their taproom, with live music and lawn games.

Exclusive to Contemporaries only.

FREE FIRST SUNDAY Sunday, June 4, 2017, 2 p.m., Fifth floor Create your own cyanotype—also known as a sunprint—to take home. Free admission all day.

BROWN BAG LUNCH Wednesday, June 7, 2017, 12–1 p.m., Third floor Executive Director Daniel E. Stetson gives an informal talk on Exploring Photography. Free to attend.

#lsumoa | #exploringphotography ON THE COVER Robert von Sternberg (American, b. 1939), Rockview Trailer Park (detail), 2013, printed 2016, inkjet print on Carson Infinity Baryta Photographique paper, Gift of the Artist, LSUMOA 2016.6.9

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EXPLORING CAMERA-LESS IMAGES SCANOGRAPH Darryl Curran arranged a series of objects, including yellow squash blossoms and cloth, on a scanner to create this photographic still life.

Assembled from the front to the back on a glass plate, this collage was scanned digitally. The high-resolution scan captures sharp details and a shallow depth of field to create a tonally rich still life composition.

MAKE YOUR OWN CYANOTYPE CYANOTYPE! A cyanotype, also known as a sunprint, is created when paper Meet on the museum’s treated with light-sensitive iron salts reacts to sunlight. If the fifth floor for Free First treated paper is exposed to light, the paper will turn blue where Sunday on June 4 at exposed. An object placed on the paper blocking light will 2 p.m. leave an image after the paper is submerged in water bath and “fixed” by oxidation.

XERORADIOGRAPHY To create the image, Pinkel placed an artichoke on a charged selenium plate. Then, she placed the plate inside an X-ray box. Based on the density of the artichoke, Pinkel selected an X-ray intensity and exposed the plate to X-rays to change the charge on the plate. Lastly, the plate was dusted with charged toner and moved to the Xerox machine, which produced a print in roughly one minute.

INTERESTING FACT This image looks similar to a cyanotype because it is blue, but its coloring is actually a result of doctor’s preference for blue. Pinkel had access to xeroradiography through medical facilities that used the equipment for mammography.

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EXPANDED CONNECTIONS Find the contemporary photographs intermingled among the permanent collection galleries and discover connections throughout the museum as you consider identity, environment, and image-making. Here are two examples:

Robert von Sternberg’s Columbia Icefield features a construction cone front and center as if to warn of ice melt related to global warming. Julie Heffernan signals the impending dangers of climate change using construction cones as a metaphor in many paintings.

Learn more about Brice Bischoff’s Bronson Caves.

Oil is an important part of our economy and energy sectors, but it also has controversial implications for our environment. A.J. Meek’s photograph of an Exxon fire points to the disruptive impacts of the oil industry.

Alexander Drysdales’ landscapes achieve a soothing, atmospheric effect through a unique mixture of oil and turpentine.

ON OPPOSITE PAGE: TOP RIGHT: Darryl Curran, Five Squash Blossoms, c. 1995, archival pigment print, scaogram, A/P, L2016.39.1 BOTTOM RIGHT: Sheila Pinkel, Artichoke, zeroradiography/archival digital print, ed.

31/15, L2016.35.2

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GALLERY GUIDE

EXPLORING PHOTOGRAPHY

WORKS FROM THE PERMANENT COLLECTION