DOCUMENTING MY LIFE’S WORK
Returning to work full time in the studio in 2012 after a 15-year hiatus to orchestrate the Hiroshima/Nagasaki Memorial Project and to implement a vision for the revitalization of downtown, Los Angeles, I felt it was important to compile a complete history of my oeuvre. What was the evolution of ideas over time? What were the underlying “constants”? Where were the intervening experiences outside the art world going to take me going forward? I produced a 4-volume compendium of all of my work from 1974 through 2004, which I realized was, consistently, of, on and about paper.
Paper: Volume 3
Volume 3 focuses on Portraiture and The Figure executed in silkscreen, hand made paper and mixed media throughout that 30-year period.
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The Appendix contains Biographical Information, Exhibitions, Reviews and Announcements documenting my career during that period.
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USING ART TO BRING ABOUT SOCIAL CHANGE
As the 50th Anniversary of the end of the Second World War approached, I produced several installations of figurative paper sculptures memorializing the Holocaust and the dropping of the atomic bomb on Hiroshima and Nagasaki. My intention was to use these installations as a catalyst for reflection and reconciliation. Inspired by Cristo’s installations and his practice of community outreach, I embarked on an ambitions project that resulted in traveling these exhibitions along with public and educational programs, dance performances and political debate to 3 cities in the U.S. and 3 in Japan.
The Hiroshima/Nagasaki Memorial Project
Archival Catalog produced for the traveling exhibition of paper sculptures as an artistic response to the atomic bombing of Hiroshima and Nagasaki. The exhibition along with community, artistic and educational programs traveled to 3 cities in the US and to Hiroshima, Nagasaki and Osaka in 1995, the 50th anniversary of the bombings.
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The Project Report
Archival materials documenting the Hiroshima/Nagasaki Memorial Project; a body of art work and related community, educational and ancillary events that comprised a traveling exhibition commemorating the atomic bombing of Hiroshima and Nagasaki upon the 50th anniversary of those events. This report accompanies the publication, Hiroshima Nagasaki.
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The Holocaust Series
A body of three dimensional figurative paper sculptures combined with wood and construction materials representing the interment of people in the concentration camps during the Holocaust. Strips of mold-infected papers symbolize the striped uniforms that were worn. The works remind us that these were once vibrant healthy people who were brutalized and killed in the concentration camps.
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The Crucifixion Series
Nine figurative paper sculptures inspired by the iconography of the Crucifixion transposed into a feminist idiom. A headless (and, therefore, non-autobiographical/universal) female body (the artist’s) assumes the pose of the crucifixion, but from the backside. Each figure expresses a different physical desecration (fire, corrosion, disintegration, etc.) and the gesture as seen from behind seems as though these are ascending Angels transcending their earthly suffering. These pieces traveled with the Hiroshima/Nagasaki Memorial Project and provided a transcendent note in their position at the end of the installation.
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BECOMING A SOCIAL ACTIVIST
The Hiroshima/Nagasaki Memorial Project was a life-changing experience for me as an artist. I came to believe that artwork, alone, could not bring about social change. I asked myself: How can art change the world? and came to the conclusion that I should become a “social engineer” in order to change perceptions and awareness. The publications I have produced document the vision I pursued for many years as I attempted to create a new social milieu downtown and in my new neighborhood of Venice, CA.
Representing an Artist’s Vision for Urban Renewal
After 25 years of producing work in conventional media, I embarked on an ambitious plan to bring about social change by approaching the built environment – in particular, historic structures – as “found objects” and attempting to project a vision for their successful reuse. Historic neighborhoods became my new “canvas” and real estate transactions, my “medium.” The 20 years of social activism that ensued are documented in these new publications.
Downtown Up (smaller format/soft cover)
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Downtown Up (large format/hard cover)
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Bradbury Building (hard cover)
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Bradbury Building (soft cover)
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