American architectural firm incorporated in 1977 by Bernardo Fort-Brescia (b Lima, Peru, 19 Nov 1950), Laurinda Hope Spear (b Rochester, MN, 23 Aug 1950), Hervin Romney (b Havana, Cuba, 9 Feb 1941), Andres Duany (b New York, 7 Sept 1949), and Elizabeth Plater-Zyberk (b Bryn Mawr, PA, 10 Dec 1950). The latter two members of the firm left in 1980 to start their own practice, as did Romney, in 1984. Arquitectonica’s modernism was youthful, unpredictable, and slightly rebellious, and essentially displaced the polemical and elitist high modern with a populist, chic, and jazzy modernism. The firm continued the colourism of Miami’s ‘tropical art deco’, but its roots remained in the Latin culture of Peru, Cuba, and Miami: ultimately their commercially hot architecture called to mind the non-academic character of Pop art, the non-conformity and pizzazz of youth, and the cultural flare and brassy musicality of Brazil 66, Tijuana Brass, and the Miami Sound Machine....
Robert M. Craig
One of the oldest and largest artist-run schools of art instruction in the USA. The Arts Students League (ASL) was founded in 1875 by and for art students, many of whom were women. It opened largely in response to student dissatisfaction with the classes and conservative leadership at the National Academy of Design (NAD), then the predominant school of art instruction. The Academy had been founded in 1825 by artists including Samuel F(inley) B(reese) Morse, Asher B(rown) Durand, and Thomas Cole. Faced with financial difficulty, it was rumored that live figure drawing classes were to be canceled at the Academy, and therefore students and concerned teachers called for a meeting to initiate a new program of art instruction. The Art Students League was independently funded by tuition fees and vowed that life drawing would always be available. The mission of the ASL remains to emphasize the importance of artistic creativity, to maintain the greatest respect for artists who devote their lives to art and to educate students in the process of making art in an environment where anyone who wishes to pursue an art education can realize their full potential....
Set of financial methods, instruments, and business models that are used in the Art market. Important developments since the 1960s include the spreading availability and use of art price information and price indexes (see Art index), the emergence of loans collateralized by artworks, repeated efforts to create art investment structures, and a strong growth in art market advisory services provided by wealth managers and new entrepreneurs (see also Investment).
The first major development has been the spread of art price information and art price indexes over the last half-century. After a few difficult decades, art price levels and public interest in the art market were going up again in the 1950s and 1960s. A number of books on the history of the art market and on art investment that were published around that time—Le Vie Etrange des Objets (1959) by Maurice Rheims, Art as an Investment...
American exhibition space established by Irving Sandler and Trudie Grace in 1972–3 for the exhibition of “unaffiliated artists” in New York. It was founded under the auspices of the New York State Council on the Arts (NYSCA) to provide artists with a non-profit alternative to the commercial gallery system in New York. The stated mission of the space was to provide a venue for artists without gallery representation and to give them greater control over the exhibition of their work. In accordance with this mission, artists have frequently played a key role in administering the space and determining its exhibition schedule. A number of notable figures exhibited at Artists Space early in their careers, including Laurie Anderson, Robert Longo, Richard Prince, Cindy Sherman, and Laurie Simmons.
In 1972, Sandler was acting as a consultant to NYSCA, and Grace was the director of its Visual Arts Program, and they established the space to provide financial resources and exhibition opportunities for unaffiliated artists living in New York. In accordance with this mission, artists often curated their own exhibitions and those of other artists, and in the 1970s and 1980s, the space became a crucial site of artistic independence and experimentation. During its early years, a pattern was established in which well-known artists would select someone from the younger generation for exhibition, but when Helene Winer followed Grace as director between ...
(b Morristown, NJ, Oct 29, 1955).
American sculptor. He studied Oriental and Middle Eastern cultures and languages before later graduating in Painting and Drawing from the School of the Art Institute of Chicago (MFA 1993). Ashkin gained international recognition in the mid-1990s for his tabletop dioramas of inhospitable, often deserted, American landscapes. Influenced by Robert Smithson’s interest in the concept of entropy as well as more traditional landscape discourses such as Romanticism and the Sublime, Ashkin’s work has often suggested vast inhuman wastelands, although their real scale might only be a few square feet. His earliest works concentrated on semi-arid deserts, but soon the dominant motif switched to semi-stagnant marshes. No. 33 (1996; see exh. cat.), typical of the numerical nomination of his work, depicts a long, thin freeway in a swampy wilderness; a single truck drives along and telegraph wires line the road, suggesting vast distances. No. 15 (1996; see exh. cat.) is smaller in size, though again the tiny scale of the trucks that pass in convoy over a swampy, pock-marked landscape suggest great expanse. More recently Ashkin has expanded his practice into video and photography exploring the Sublime. ...
American multi-ethnic arts organization based in New York’s Chinatown. The Asian American Arts Centre (AAAC) and its predecessors, the Asian American Dance Theatre (1974–93) and the Asian Arts Institute (1981–8), emerged from the milieu of the Basement Workshop, the first working group of the Asian American Movement on the East Coast, whose mouthpiece was the journal Bridge (1970–81). After the closing of the Basement Workshop in 1987, the Dance Theatre and the Asian Arts Institute were consolidated as the AAAC.
Directed by Eleanor S. Yung, the Dance Theatre was at the core of the organization’s activities from the 1970s through the early 1990s, performing traditional dances from several Asian cultures alongside modern and postmodern forms. In the early 1980s, the Asian Arts Institute began to hold exhibitions and collect slides of artists’ work and documentation of their activities, working primarily with artists involved in the downtown art scene. Early programs included open studio events for artists working in Chinatown and exhibitions of the work of Arlan Huang (...
(b Dec 8, 1956).
Ethiopian painter, installation artist, graphic designer, and writer, active in the USA. She grew up in Addis Ababa in a family of painters before moving to the USA. She graduated from Howard University, Washington, DC, with a BFA in painting (1975) and returned in 1994 for an MFA. Her early works, based on dreams or visions, have richly textured surfaces. In the 1980s she abandoned her early palette of reds, ochres, and greens for one of purples and blues. Later paintings depict an urban environment and frequently evoke the feeling of dislocation and nostalgia that comes from living in a country that is not one’s own. Her use of themes and motifs from myriad cultures (including those of Ethiopia and Latin America) comes out of her experiences as a diasporic subject as well as the lives of the women around her. Her pieces often tell their stories, as in the Dream Dancers series (...
revised by Margaret Barlow
(b Harrisburg, PA, Nov 20, 1946).
American sculptor, draughtswoman, and installation and environmental artist. She studied liberal arts at Rutgers University, New Brunswick, NJ (1964–8), and obtained an MA in studio art at Hunter College, City University of New York (1968–71), where she worked under Robert Morris and became familiar with systems theory. From the 1960s Aycock developed phenomenologically site-orientated works to include metaphor and simile, referring to machinery and construction sites, archaeological sites, models, children’s play areas and funfairs, and other public or social settings. For example in A Simple Network of Underground Wells and Tunnels (1975) six concrete wells (1.62 sq. m) with connecting tunnels were sunk into an area of ground c. 6.1×12.2 m at Merriewold West, Far Hills, NJ (destr.). The curious sense of authority within her sophisticated, well-made structures is simultaneously articulated and undermined by a nonsensical, non-functional, and fantastical element. Her works are often a synthesis of diverse elements. The imagery of the ...
Anne K. Swartz
(b East Los Angeles, CA, Sept 20, 1946).
American muralist, activist and teacher. Born to Mexican–American parents, Baca is recognized as one of the leading muralists in the USA. She was involved from a young age in activism, including the Chicano Movement, the antiwar protest and Women’s Liberation. She studied art at California State University, Northridge, where she received Bachelor’s and Master’s degrees. Baca started teaching art in 1970 in East Los Angeles for the Los Angeles Department of Recreation and Parks and became interested in the ways murals could involve youth, allowing them to express their experiences. She founded the City of Los Angeles Mural Program in 1974, which evolved into the Social and Public Resource Center, a community arts organization, where she served as artistic director. She held five summer mural workshops from 1976 through 1983 for teenagers and community artists to help her paint a huge mural on the ethnic history of Los Angeles, called the ...
(b Newport Beach, CA, Sept 12, 1945; d Paris, Nov 22, 2014).
American photographer . He was a major force in the New Topographics movement in American photography and devised a technique that is cool, subtly considered, surgically executed and ironic. His principal photographic series, The New Industrial Parks near Irvine, California, Park City and San Quentin Point, together comprising the Industrial Trilogy, fuse Minimalist art conventions with cultural observation reminiscent of novelist Norman Mailer (1923–2007) in such works as The Executioner’s Song. His apparently expressionless but obsessive recording of industrial deserts takes on metaphorical overtones as a representation of an American wasteland. Baltz’s bleak vision of ‘landscape as real estate’ has found echoes in the work of many later photographic artists around the world. His work in the 1990s reflected his interest in surveillance and cybernetics. In 2003 Baltz became a Professor of Art at the University IUAV in Venice, Italy.Baltz, Lewis The New Industrial Parks near Irvine, California...
Elizabeth K. Mix
(b Bristol, ?1974).
English graffiti and interventionist artist. Banksy is best known for stencilled graffiti that sometimes mimics government posts. His graffiti, both freehand and stencil, started appearing on trains and walls around Bristol in 1992–4. He apparently left Bristol for London late in 1999. The name ‘Banksy’ became formally associated with his work with the publication of his first book, Banging Your Head Against a Brick Wall (2001).
Banksy’s text-based graffiti has included the phrase, ‘caution, concealed trap doors in operation’, on London’s Millennium Bridge; ‘designated riot area’ in Trafalgar Square, and ‘this is not a not a photo opportunity’ at various tourist sites including Big Ben, the Eiffel Tower, and the Sydney Opera House. Many were fooled by his official-looking stencilled declaration that walls on Marylebone and Bayswater Roads in Westminster were ‘a designated graffiti area’. Other works contained unusual appropriations of public property—vandalized street signs, traffic cones, telephone booths, vehicles, and even farm animals. Banksy has termed his appropriation and manipulation of public advertisements ‘Brandalism’. A subtle use of found objects involves the painting of frames or dotted lines and scissors around the edges of objects, making the outlined objects appear to be either artworks or coupons ready to be clipped. In addition, Banksy has mimicked British pound notes (‘Banksy notes’ featuring Princess Diana) and oil paintings by William Bouguereau and Claude Monet, among other artists, by inserting incongruous objects (bombs, iPods, shopping trolleys) into copies of well-known paintings in a series of ‘Vandalized Oil Paintings’....
(b San Francisco, CA, 1967).
American sculptor, installation artist, filmmaker, and video artist. Barney emerged in the early 1990s to considerable fanfare, based on the reputation of works made while still an undergraduate at Yale University (he graduated with a BA in 1989), and early exhibitions in New York galleries. Exhibitions such as Field Dressing (1989; New Haven, CT, Yale, U., Payne Whitney Athletic Complex), and early works in the series Drawing Restraint (begun in 1987), established characteristics of Barney’s work: striking imagery drawn from an idiosyncratic range of sources (sport-oriented in the earliest works), sculptural objects in signature materials (e.g. petroleum jelly, ‘self-lubricating plastic’), and athletic performances by the artist, in the service of arcane personal mythology (see fig.). These characteristics are most fully expressed in the Cremaster cycle of five films (1994–2003, released out of order, beginning with Cremaster 4 (1992)). Elaborate and expensive productions featuring lush imagery, drawing on both marginal and mainstream histories (performance art and Hollywood cinema), Celtic and Masonic lore, popular cultural references (Harry Houdini, Gary Gilmore), and anatomical metaphors (the Cremaster is the muscle by which the testicles are raised and lowered), the ...
(b Columbus, OH, 1949).
American installation artist and video artist. She graduated from the University of Florida in 1972, having studied finance, architecture and art; in 1986 she received an MA in Communication Arts from New York Institute of Technology. Barry’s work was consistently guided by an interest in the ways in which lived social relations are translated into built form in architecture and public space. Casual Shopper (1980–81; see 1988 exh. cat., p. 14) is typical of her early video pieces in examining these issues through a narrative about a couple in a Californian shopping mall; in it, Barry shows how the realms of private fantasy blend into the fantastical confections of the mall’s architecture. The slide and film installation In the Shadow of the City...Vamp r y... (1982–5) points to her related interests in subject formation, states of mind, and the way in which power is exercised through the gaze: bringing together a series of domestic and urban spaces, the images show a number of figures looking out of a window and a woman watching a man sleep. ...
(b Long Beach, CA, March 14, 1941).
American installation artist, painter, printmaker and sculptor. Bartlett studied at Mills College, Oakland, CA (1960–63), and at the Yale School of Art and Architecture, New Haven, CT (1964–5). The progressive approach to modern art taught at Yale and the nearby thriving art scene of New York were instrumental in her early development (1963–early 1970s). Bartlett’s first one-person exhibition was in New York (1970) in the loft of the artist Alan Saret. Nine-point Pieces (1973–4), a later work, was shown at the Paula Cooper Gallery in New York and was experimental both conceptually and materially. Her ambivalent use of systems to establish an order and to oppose it allowed her to explore the material and the conceptual process of making images and objects. Rhapsody (1975–6; priv. col., see exh. cat., p. 21), one of her best-known installations, consists of 988 steel plates covered with screenprint grids and hand-painted Testors enamel and hung on a wall (2.28×47.86 m). Each plate exists individually and in relation to its adjoining plate and may be read vertically or horizontally, creating a mesh of stylistic variability exploring both figurative and non-figurative motifs. Another work of the 1970s is ...
(b Philadelphia, Dec 17, 1960).
American sculptor, active in England. He obtained a BFA from Tyler School of Art, Philadelphia, PA, and an MFA from Goldsmiths’ College, London, in 1988. Exploring his interest in the government of behaviour by social constraint, he first used clothes and hair as materials before turning to animal remains and casts of human organs for his increasingly unsettling work. His The Cat and the Dog (1995; London, Saatchi Gal., see 1996 exh. cat., p. 4) consists of two skinned animal hides with perfectly reconstructed heads and feet. Described by the artist as frozen smiles, the animal objects act as abstract surrogates for socially repressed bestial tendencies. Be Your Dog (1997; see 1998 exh. cat., p. 10), consisting of scalped dog ears mounted on a wall as an invitation to wear them, illustrates this theme even more forcefully. Other works by Baseman represent human body parts. Muscle (1997...
(b New York, Dec 22, 1960; d New York, Aug 12, 1988).
American painter, sculptor and draughtsman. Basquiat showed an early interest in drawing, and he was encouraged by his mother’s interest in fashion design and sketching and by his father’s gifts of paper brought home from his office. From as early as 1965 Basquiat’s mother took him to the Brooklyn Museum, the Metropolitan Museum of Art and MOMA, and from 1966 he was a Junior Member of the Brooklyn Museum. Early influences on Basquiat’s art include his avid reading of French, Spanish and English texts, his interest in cartoon drawings, Alfred Hitchcock films, cars and comic books, such as MAD magazine and its main character, Alfred E. Neuman. While attending the City-as-School (1976–8), an alternative high school, he encountered the Upper West Side Drama Group and the Family Life Theatre and invented ‘SAMO’ (Same Old Shit), a fictional character who earns a living selling ‘fake’ religion. He also met, collaborated with and became a close friend of ...
Anne K. Swartz
(b Richmond, VA, June 25, 1931; d Oneonta, NY, Aug 29, 2013).
American painter. Beal studied at the College of William and Mary, Norfolk, VA, before going on to the School of the Art Institute of Chicago and the University of Chicago. In 1965, he began having solo exhibitions at the Allan Frumkin Gallery, later Frumkin/Adams Gallery and then George Adams Gallery, which had venues in New York City and Chicago, continuing to exhibit with them into the 21st century. Like many artists working in the 1960s, he repudiated the abstract, then so current in the art world, and favored instead the kind of “New Realism” being espoused by artists such as Philip Pearlstein, among others. His art focuses on the figure indoors, usually rendered up-close in a compact interior environment. The colors are usually vivid and the lines often dominant.
Beal is known primarily as a painter, but in addition to painting and prints, Beal produced two major public art monuments. The first was a series of four murals titled ...
(b San Francisco, CA, May 14, 1932).
American painter. Native of the San Francisco Bay Area, known for careful observation and explicit use of snapshot-like photographic source material for paintings of family, cars, and residential neighborhoods. The artist rose to national and international prominence in early 1970s as part of the Photorealist movement (see Photorealism).
From the 1960s, Bechtle pursued a quiet realism based on the things he knew best, translating what seem to be ordinary scenes of middle-class American life into paintings. Following an early childhood in the Bay Area and Sacramento, his family settled in 1942 in Alameda, an island suburb adjacent to Oakland where his mother would occupy the same house for almost 60 years. The neighborhood appears in many of Bechtle’s paintings.
Bechtle earned both his BFA (1954) and his MFA (1958) at Oakland’s California College of Arts and Crafts, where he studied graphic design and then painting. During his student years and into the 1960s, Bechtle was influenced by Pop art’s precedent for the use of commercial subject matter and techniques. He was likewise interested in Bay Area figuration, especially the subjects and structure of paintings by ...
A. Krista Sykes
(b Oak Park, IL, Oct 12, 1941).
American architect and teacher. Born in Oak Park, IL (home of numerous early works by Frank Lloyd Wright), Beeby moved with his family to Philadelphia before they relocated to England, where he completed high school. Beeby returned to the USA to attend Cornell University, earning a Bachelor of Architecture in 1964. The following year he received his Master’s of Architecture from Yale University and took a position in the Chicago office of C. F. Murphy, leaving in 1971 to join James Wright Hammond (a former partner at Skidmore, Owings & Merrill) in creating Hammond Beeby & Associates, which would eventually become the modern-day firm of Hammond Beeby Rupert Ainge. In 1973 Beeby began teaching at the Illinois Institute of Technology, serving as an associate professor from 1978 through 1980, when he assumed the directorship of the School of Architecture at the University of Illinois at Chicago. He left this post to become dean of the Yale University School of Architecture from ...
(b Genoa, April 25, 1969).
Italian performance artist active in the USA. Beecroft’s work is largely performance-based, using a number of professional models in formation rather than the body of the artist herself. Originating in journals in which she had documented her anorexia, her performances deal with the contemporary striving for perfection in one’s body image. Her first performances featured almost identically dressed women in wigs, either standing, sitting or moving in slow formation, as in VB08 (exh. Long Island City, NY, P.S.1, see N. Bryson and others, p.113). Beecroft developed these performances into ‘tableaux vivants’, turning the female performers into something between an object and an image. Always taking place in a gallery setting, and taking full advantage of the voyeuristic possibilities, her performances are defined by an almost exclusive dependence on beautiful semi-clad female models arranged in a highly formal choreography. Over the years the amount of clothes worn by the models has steadily decreased until they have been left sporting only high-heel shoes. A spectacular and very public performance called ...