UWP Lecturers GRIevents January Newsletter

[John Ganim]

>
>
>If you have trouble viewing this e-mail, read 
>GRIevents online at 
><http://www.getty.edu/egetty/grievents/index.html>http://www.getty.edu/egetty/grievents/index.html. 
>Please add GRIevents at getty.edu to your address book.
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
><http://www.getty.edu/research/>
>J. Paul Getty Trust
>
>[]
>  January 2009
>[]
>
><http://www.getty.edu/visit/calendar>
>Find Events at the Getty Center and the Getty Villa
>
>[]
>
>[]
>
>R E M I N D E R
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
><http://www.getty.edu/research/scholarly_activities/events/gallery32/index.html>
>[]
>
>Stabilized Warrior, Timothy Washington, 1969, 
>engraving on aluminum with added color. Courtesy of the artist
>[]
>  Modern Art in Los Angeles: Gallery 32
>Conversation
>
>Wednesday, January 28, 2009
>7:30 p.m.
>Harold M. Williams Auditorium, The Getty Center
>
>Betye Saar, Suzanne Jackson, and Carolyn Peter 
>discuss the historic and ongoing impact of 
>Gallery 32, one of the few art spaces in Los 
>Angeles that exhibited emerging African American 
>artists in the 1960s and 1970s. The gallery 
>played an important role in the social struggles 
>of the period while contributing to Los 
>Angeles's diverse art scene. Organized in 
>collaboration with Loyola Marymount University's Laband Art Gallery.
>
><http://www.getty.edu/research/scholarly_activities/events/gallery32/index.html>Learn 
>more and make reservations.
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>C U R R E N T   E X H I B I T I O N
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>Tango with Cows: Book Art of the Russian Avant-Garde, 1910–1917
>Through April 19, 2009
>
>Drawn from the Getty Research Institute's superb 
>collection of Russian modernist books, Tango 
>with Cows: Book Art of the Russian Avant-Garde, 
>1910–1917 brings into focus a brief but 
>tumultuous period when Russian visual artists 
>and poets challenged Symbolism and revolutionized book art.
>
>Interactive touch screens in the exhibition 
>gallery allow visitors to explore some of these 
>books page by page with audio recordings, text 
>translations, and an image tool. This feature is 
>also available on the exhibition Web site.
>
><http://www.getty.edu/art/exhibitions/tango_with_cows/index.html>Learn 
>more about the exhibition.
>[]
> <http://www.getty.edu/art/exhibitions/tango_with_cows/index.html>
>[]
>
>Portrait of Akhmet,
>Mikhail Larionov,
>Mirskontsa (Worldbackwards), Moscow, 1912
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>A L S O   O F   I N T E R E S T
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>Figure making sound, Mikhail Larionov, Velimir 
>Khlebnikov and Alexei Kruchenykh, Mirskontsa (Worldbackwards), Moscow, 1912
>[]
>  Explodity: An Evening of Transrational Sound Poetry
>Performance
>
>Wednesday, February 4, 2009
>Reception and Exhibition Viewing
>5:00–6:45 p.m.
>Getty Research Institute Exhibition Gallery, The Getty Center
>
>Russian Futurist Zaum' and Contemporary Sound Poetry
>7:00–8:45 p.m.
>Museum Lecture Hall, The Getty Center
>
>Performances by Christian Bök, Steve McCaffery, 
>and Oleg Minin of Russian Futurist zaum' and of 
>contemporary sound poetry, with an introduction 
>by Gerald Janecek. This event is presented in 
>conjunction with the exhibition Tango with Cows: 
>Book Art of the Russian Avant-Garde, 1910–1917.
>
><http://www.getty.edu/research/scholarly_activities/events/explodity/index.html>Learn 
>more and make reservations.
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>The Book as Such in the Russian Avant-Garde
>Symposium
>
>Thursday, February 5, 2009
>9:00 a.m.–5:00 p.m.
>Museum Lecture Hall, The Getty Center
>
>Presented in conjunction with the exhibition 
>Tango with Cows: Book Art of the Russian 
>Avant-Garde, 1910–1917, this one-day symposium 
>brings together scholars and artists in fields 
>from art history to literature to explore the 
>Russian avant-garde's revolution of the book.
>
><http://www.getty.edu/research/scholarly_activities/events/book_as_such.html>Learn 
>more and make reservations.
>[]
>
>[]
>
>Hermit, Natalia Goncharova, Alexei Kruchenykh, 
>Pustynniki, Pustynnitsa: Dve poemy(Hermits; 
>Hermitess: Two Poems), Moscow, 1913
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>N E W   P U B L I C A T I O N S
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
> Meyer Schapiro Abroad
>Letters to Lillian and Travel Notebooks
>Edited by Daniel Esterman
>
>The letters and travel notebook pages of Meyer 
>Schapiro­one of the leading art historians of 
>the twentieth century­are filled with 
>observations and drawings that illuminate the 
>intellectual and emotional life of a young 
>scholar committed to tracing the deep 
>connections of art with the totality of culture.
>
>Accompanying the letters and travel notebook 
>pages­transcribed and annotated by Daniel 
>Esterman, the Schapiros' nephew­are Thomas 
>Crow's foreword, Esterman's introduction, and an essay by Hubert Damisch.
>
><http://www.getty.edu/bookstore/titles/schapiro.html>Learn 
>more and buy online.
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>Art of the Defeat,
>France 1940–1944
>
>by Laurence Bertrand Dorléac
>Translation by Jane Marie Todd
>Foreword by Serge Guilbaut
>
>Art of the Defeat provides an unflinching look 
>at the art scene in Occupied France. Beginning 
>with Adolf Hitler's staging of the armistice at 
>Rethondes, the book offers a survey of Nazi and 
>Vichy artistic policies, key events and 
>organizations, and individual acts of collaboration and resistance.
>
><http://www.getty.edu/bookstore/titles/defeat.html>Learn more and buy online.
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>N E W   A C Q U I S I T I O N
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>Props (Gorilla mask, false fruit), Guerrilla 
>Girls records, 1985–2000, 2008.M.14
>[]
>  Guerrilla Girls Records, 1985–2000
>
>The archive chronicles this feminist protest 
>group formed to fight discrimination against 
>women artists and artists of color. Files 
>illuminate the development of the Guerrilla 
>Girls' polemics and tactics, documenting public 
>and private responses to their protest actions.
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>L O O K I N G   A H E A D
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>In This New Day: Collecting African American Art in the 21st Century
>Project for the Study of Collecting and Provenance Annual Lecture
>
>Tuesday, February 17, 2009
>4:00 p.m.–5:15 p.m.
>Museum Lecture Hall, The Getty Center
>
>Lecturer: Alvia J. Wardlaw, Texas Southern University
>Alvia J. Wardlaw is a professor and curator 
>nationally recognized in the classroom and 
>showroom, is a leading expert on African-American art and history.
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>
><http://www.getty.edu>www.getty.edu
>[]
>
>
>If this e-mail was forwarded to you and you 
>would like to be added to our mailing list, 
><http://www.getty.edu/subscribe/grievents/index.html>subscribe 
>to GRIevents now.
>
>CONTACT US
>General inquiries: <mailto:griweb at getty.edu>griweb at getty.edu
>Library reference inquiries: 
><http://www.getty.edu/research/conducting_research/library/reference_form.html>Research 
>Library Reference
>Press inquiries: 
><mailto:communications at getty.edu>communications at getty.edu 
>or visit the Getty's <http://www.getty.edu/news/>Press Room
>
>[]
>
>
>You are subscribed as john.ganim at ucr.edu.
><http://lists.getty.edu/u?id=25253.930e465b24e652636d37b7aaa3ca92f1&n=T&c=F&l=gri-events>Unsubscribe 
>here
>
><http://getty.edu/legal/copyright.html>C O P Y R 
>I G H T © 2008 J. Paul Getty Trust | 
><http://getty.edu/legal/privacy.html>Privacy Policy
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
>[]
>
-------------- next part --------------
An HTML attachment was scrubbed...
URL: http://lists.ucr.edu/pipermail/englecturers/attachments/20081223/33cf35a8/attachment-0001.html