CONTEMPORARY ART MOVEMENTS

PUBLISHER
Pomona College Museum of Art

BOOK FORMAT
Paperback, 9 x 13 in. / 386 pgs / 120 color / 160 bw.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2011 p. 45   

PRODUCT DETAILS
ISBN 9780981895581 TRADE
List Price: $49.95 CDN $67.50

AVAILABILITY
In stock

EXHIBITION SCHEDULE

Claremont, CA
Pomona College Museum of Art, 08/30/11-05/13/12

BROWSE THE 2018 FALL CATALOG

From 'Led Zeppelin by Led Zeppelin' to 'The Swimming Pool in Photography' to 'Protest: The Aesthetics of Resistance,' with new monographs on Yayoi Kusama, Hilma af Klint, James Turrell and Jack Whitten, and announcing D.A.P. distribution for Glenstone Museum and SPBH Editions.

  

POMONA COLLEGE MUSEUM OF ART

It Happened at Pomona

Art at the Edge of Los Angeles 1969-1973

Edited by Rebecca G. McGrew, Glenn R. Phillips, Marie Shurkus. Text by Thomas Crow, David Pagel.

Featured image is Michael Asher's "No Title," installed at the Pomona College Art Gallery in 1970, and reproduced from <a href=" 9780981895581.html">It Happened at Pomona</a>. Asher’s architectural intervention dramatically altered two of the Museum's adjacent galleries, transforming them into triangular spaces joined by a narrow opening that restricted the flow of light into one space while keeping the other permanently open to the street by removing the entrance doors. By "opening" the museum, Asher initiated the conceptual art practice known as "institutional critique;" this piece is consequently widely considered one of the most important artworks produced in the United States during this period.From 1969 to 1973, a series of radical art projects took place at the far eastern edge of Los Angeles County at the Pomona College Museum of Art, in Claremont, California. Here, Hal Glicksman, a pioneering curator in Light and Space art and former assistant to Walter Hopps, and Helene Winer, later the director of Artists Space and founder of Metro Pictures gallery in New York, curated landmark exhibitions by young local artists who bridged the gap between postminimalism and Conceptual art and presaged the development of postminimalism in the late 1970s. Among these artists were Bas Jan Ader, Michael Asher, Mowry Baden, Lewis Baltz, Chris Burden, Judy Chicago, Ger van Elk, Jack Goldstein, Robert Irwin, William Leavitt, John McCracken, Allen Ruppersberg, James Turrell and William Wegman. Providing unprecedented and revelatory insight into the art history of postwar Los Angeles, It Happened at Pomona chronicles the activities of artists, scholars, students and faculty associated with the College during this period. The book provides new insight into the relationship between postminimalism, Light and Space art and various strands of Conceptual art, performance art and photography in California, while contributing substantial new information about interconnections between artistic developments in Los Angeles and New York.

Featured image is Michael Asher's "No Title," installed at the Pomona College Art Gallery in 1970, and reproduced from It Happened at Pomona. Asher’s architectural intervention dramatically altered two of the Museum's adjacent galleries, transforming them into triangular spaces joined by a narrow opening that restricted the flow of light into one space while keeping the other permanently open to the street by removing the entrance doors. By "opening" the museum, Asher initiated the conceptual art practice known as "institutional critique;" this piece is consequently widely considered one of the most important artworks produced in the United States during this period.

PRAISE AND REVIEWS

Angeleno Magazine

Gary Baum

It happened at Pomona chronicles the particularly fertile circle- then-upstarts locals Michael Asher, Chris Burden, Judy Chicago, Robert Irwin, James Turrell and William Wegman among them-which, for a brief moment, turned Pomona College's art museum into an internationally significant showcase of postminimalism, photography, light-and-space ideas and more.

It Happened at Pomona

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FROM THE BOOK
"Pomona's strong point was that there was a sense that if you really had an interesting idea, nobody was going to stand in your way. And if you wanted to be a jock and marry a princess and settle in the suburbs, you could, but if you wanted to create this new gallery situation, and show all these artworks from Los Angles, of course, why not? It was wide open. Because of the strength of the people, the chain of associations, you didn't have an administration saying this is too radical. It sort of caught them after the fact, and they said, 'Oh, wait a minute. This is too radical.' But it was already done…"

Kay Larson, quoted in Rebecca McGrew's introduction to It Happened at Pomona.

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