From Venezia to Venice, California, Claire Falkenstein (1908-1997) proved herself to be a versatile and pioneering artist, in three and more dimensions.
In her modest studio on the Giudecca in Venice, Italy, in 1961, Claire Falkenstein finished and readied for installation the now iconic Gates to the Peggy Guggenheim Collection.
In 1963, the artist moved to Venice, California, bought a house on Ocean Front Walk, and went to work. It was a risky move, but smart.
When Falkenstein left Europe in the early 1960s for Los Angeles, she was coming to a place without particular distinction in the arts. However, a transformation was underway. Incomplete but under construction, and gradually becoming visible, was the Music Center. The Dorothy Chandler Pavilion opened in 1964. The Mark Taper Forum and Ahmanson Theater were nearing completion. The newly independent Los Angeles County Museum of Art opened on Wilshire in 1965—albeit with only one building for exhibition space. Regarding transportation, neither the 405 or 10 freeways had been completed. And downtown LA, still without its signature high rise buildings, was hard to find even on a map. Additionally, the Cal State University system, recently created in 1960, was expanding in the area with several new campuses.
この記事は art ltd. の September - October 2016 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
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この記事は art ltd. の September - October 2016 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
The Schorrs
A recent show of drawings at the SBMA highlights longtime collectors Lenore and Herbert Schorr, who have gathered work by emerging artists on two coasts.
Reno/ Las Vegas
A new survey shows the range of contemporary art in the Silver State.
Lake ISEO, Italy
Vistors were walking on water experiencing Christo’s “Floating Piers” this summer.
Claire Falkenstein
From Venezia to Venice, California, Claire Falkenstein (1908-1997) proved herself to be a versatile and pioneering artist, in three and more dimensions.
Made in La 2016: a, the, Though, Only
This year’s edition of the Hammer biennial luxuriates in the de-materialized, the ephemeral, and the transitory.
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Engaging geometric painting both as image and as physical entity, to memorable effect, the 101-year old Cuban-born artist is having a career moment.
Catherine Morris
The Sackler Center for Feminist Art’s “A Year of Yes,” 10-year anniversary celebration becomes an intervention.
Spotlight: Portland
The arrival of the 51st NCECA Conference this March puts a spotlight on Northwest clay.
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The five 2017 awardees recognized by SFMOMA’s group demonstrate the wide range of Bay Area contemporary art practices.
On View
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