ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 12/11/2018

"Sweet dreams, kiddies."
—Love, R. Crumb

DATE 12/6/2018

Join Artbook @ Art Basel Miami Beach 2018!

DATE 12/5/2018

'The Moon: From Inner Worlds to Outer Space' is a Staff Pick Holiday Gift for Stargazers

DATE 12/4/2018

Coleen Sterritt book launch at Artbook at Hauser & Wirth Bookstore, LA

DATE 12/4/2018

Luc Sante picks 'Shomei Tomatsu' for the 'New York Times Book Review' Holiday Gift Guide

DATE 12/3/2018

We ❤️ Karen Green's 'Frail Sister'

DATE 12/3/2018

Roy DeCarava and Langston Hughes' 'Sweet Flypaper of Life' featured in The New York Times Book Review

DATE 12/2/2018

Precog Mag launch, screening and performance at MoMA PS1 Book Space

DATE 12/2/2018

MoMA PS1 Book Space launches 'Bricks from the Kiln' #3

DATE 12/1/2018

Time stops in Holiday Gift Staff Pick 'Evelyn Hofer: New York'

DATE 12/1/2018

Design as an Attitude: Alice Rawsthorn in Conversation with Paola Antonelli at MoMA

DATE 12/1/2018

The Brother In Elysium Books celebrates Dick Higgins' Selected Writings and 10 Years of Siglio Press

DATE 12/1/2018

Bonnie Marranca, Omar Berrada, Susan Bee, Stephen Motika, and Joan Retallack celebrate 'Etel Adnan: The Sun on the Tongue' at MoMA PS1 Book Space

DATE 12/1/2018

Dashwood Books celebrates The Ice Plant with Melissa Catanese, Michael Schmelling & Jake Longstreth signings

DATE 12/1/2018

Rachel Cobb presents 'Mistral' at Albertine

DATE 11/30/2018

'Rachel Cobb: Mistral' captures the legendary wind of Provence

DATE 11/29/2018

Music lovers, rejoice! An expanded edition of Vince Aletti's "Disco Files" is out now.

DATE 11/29/2018

Michael Roberts and Grace Coddington to launch 'GingerNutz Takes Paris' at Bookmarc NYC

DATE 11/29/2018

Steve Clay, Joshua Beckman, Steve McCaffery & Tracie Morris celebrate Dick Higgins' Selected Writings at Poets House

DATE 11/28/2018

Sartorial mastery in 'Italian Tailoring'

DATE 11/27/2018

Ed Templeton signing at Arcana: Books on the Arts

DATE 11/27/2018

Give 'Viktor & Rolf: Fashion Artists 25 Years' to the Fashionista on your list!

DATE 11/26/2018

Frédéric Lagrange's deluxe, oversized 'Mongolia' is a Staff Pick Holiday Gift for the Jetsetter

DATE 11/26/2018

Conversation and Book Launch with Tania Bruguera and Hans Ulrich Obrist at Americas Society

DATE 11/25/2018

ARTFORUM reviews 'Intermedia, Fluxus and the Something Else Press: Selected Writings by Dick Higgins' for ARTFORUM

DATE 11/22/2018

Happy Thanksgiving from ARTBOOK | D.A.P.

DATE 11/22/2018

Vienna Secession magic in 'Ver Sacrum'

DATE 11/21/2018

'James Turrell: Extraordinary Ideas—Realized' is a WSJ Best Holiday Gift Book

DATE 11/20/2018

What a life! 'Ralph Gibson: Self-Exposure'

DATE 11/19/2018

Lydia Kallipoliti asks, "What is the Power of Shit?"

DATE 11/18/2018

The exquisite Arts and Crafts Jewelry of once-Puritan Boston

DATE 11/17/2018

Gorgeous 'Brassaď' book is a Staff Favorite Holiday Gift, 2018

DATE 11/16/2018

Wonderful, decadent Brassaď show opens at SFMOMA

DATE 11/15/2018

Holiday Gift Staff Pick 'Ed Templeton: Tangentially Parenthetical' is NEW from Um Yeah Arts

DATE 11/15/2018

Provocation and inspiration in 'David Casavant Archive'

DATE 11/14/2018

Too Big: Rebuild by Design’s Transformative Response to Climate Change at National Building Museum

DATE 11/14/2018

For the Music Lover or Cinephile

DATE 11/13/2018

Yoshimi Hasegawa to launch 'Italian Tailoring' with Simone Ubertino Rosso & Justin MacInerney at Rizzoli

DATE 11/13/2018

All hail Andy Warhol

DATE 11/12/2018

Andy Warhol, all the way

DATE 11/12/2018

Ralph Gibson to launch 'Self-Exposure' in conversation with Laurie Anderson at The Strand

DATE 11/11/2018

Holiday Gift Staff Pick 'The New Tide' presents Gordon Parks' early work, 1940–1950

DATE 11/10/2018

Celebrate the Centennial of Sister Corita!

DATE 11/10/2018

For the Design Devotee

DATE 11/10/2018

Simone Forti to launch and sign 'The Bear in the Mirror' at Hauser & Wirth LA

DATE 11/10/2018

Hans Ulrich Obrist & Ari Marcopolous launch 'The Athens Dialogues' at Karma

DATE 11/9/2018

For the Stargazer

DATE 11/9/2018

We ❤️ Voyagers!

DATE 11/8/2018

'Intermedia, Fluxus and the Something Else Press: Selected Writings by Dick Higgins' launch at Printed Matter

DATE 11/8/2018

For the Fashion Forward

DATE 11/8/2018

Keith Godard and Esther K. Smith at MoMA PS1 Book Space


EXCERPTS & ESSAYS

CORY REYNOLDS | DATE 1/18/2011

James Welling in Conversation with Sylvia Lavin

The following interview is reproduced from Damiani's stunning new monograph, James Welling: Glass House, which launches Thursday, January 20th at the Hammer museum as part of the UCLA Department of Art Lecture Series. To view event details, please visit the museum's Events page.
James Welling: Glass House
SYLVIA LAVIN: So why the Glass House?
JAMES WELLING: I had a very indirect route to the Glass House. In the early 1980s, I worked in the Department of Architecture and Design at the Museum of Modern Art, first as an art handler, then as a photographer. I helped wrap the entire collection to move it out for the Cesar Pelli renovation. When Arthur Drexler, director of the department, found out I was a photographer, he asked me shoot design objects, furniture, and drawings that were housed in the museum’s Mies van der Rohe Archive. So I got to know the collection and the Mies archive extremely well. From time to time, Philip Johnson would wander in and talk to Drexler. Of course I knew who Johnson was, but since I wasn’t part of the architecture community, I had no reason to talk to him.
James Welling: Glass House
James Welling: Glass House
SL: If I am understanding you correctly, you first came to look at Modern architecture through images, rather than through buildings.
JW: Yes. When I started working at MoMA , I was making abstract photographs. But I was looking at lots of architectural photographs in the files and learning about architecture from the collection. A few years later, in 1986, I did a show at Feature in Chicago, and made a pilgrimage out to Mies’s IIT campus. After working at MoMA, I was very, very interested in Mies. A few years later, I did begin an architectural project, but not about Mies. Probably in reaction to my time at MoMA , I made an extensive photographic survey of buildings by H. H. Richardson. Then, jumping forward eighteen years, in 2006 I did a show at Donald Young in Chicago and made another pilgrimage, this time to see Mies’s Farnsworth House. When I saw it, I completely fell for it. I went back a month later and took photographs. At the time, I was making multiple exposure photographs using six colored filters (red, green, blue, cyan, magenta, and yellow) and I photographed Farnsworth this way. I showed these pictures to Jody Quon, the photo editor at New York Magazine, and she asked me to do something similar with Johnson’s Glass House.
James Welling: Glass House
James Welling: Glass House
SL: This project, then, has a long history that can be said to begin at the Museum of Modern Art as you were packing up the Mies archive, putting shrink wrap and bubble wrap and other sorts of semi-transparent things around these objects. You were already producing a filtering system through which you would see these works. But while you started with the Farnsworth House, which is where it is often said that Johnson’s Glass House began, the Mies having been for decades understood as the original from which Johnson made a copy, you ultimately ended up with the Glass House as your subject. How do you explain the shift?
JW: You approach the Farnsworth House through the woods. It’s completely magical to arrive at this glowing, transparent house that you’ve glimpsed through the trees, with a big travertine deck, the beautiful stairs, and the incredible interior. I remember taking a slew of pictures at Farnsworth because it was just so beautiful sitting there in this green landscape. I didn’t want to leave it. At the time, I thought that it was a perfect building in the landscape. Three months later, I visited the Glass House. For some reason, I never bothered to look at photographs of the Glass House before I got there. I thought of it as a very conceptual house; I knew it was just a glass box. When you first see the Glass House, it looks almost crude. There’s no beautiful deck as there is at Farnsworth. The Glass House, which is much bigger than it appears, sits directly on a brick base on the earth. And right behind you, as you look at the Glass House from the classic viewpoint, is the Brick House, a completely windowless facade that stands like a brutal, impenetrable structure in contrast to the Glass House. As I worked on the property, I began to appreciate the simplicity and brutality of these two buildings, and became hooked on the Glass House over the sophistication of Farnsworth. As I have been thinking about the Glass House recently, I see it as a lens sitting in the landscape animating or activating all the other buildings on the property. You always look back to the Glass House from wherever you’re standing.
James Welling: Glass House
SL: Your ultimate preference for the Glass House is strikingly in keeping with the postmodernist pleasure in the copy rather than admiration for the original. Not only do you seem to understand the Glass House as a kind of reproduction of the Farnsworth House, you also seem to get close to describing it as a photographic reproduction in particular, as a lens that produces a potentially infinite series of images. In your analysis, the Glass House becomes a proleptic James Welling or James Welling becomes a retroactive manifesto for the Glass House. In this scenario, the Farnsworth House is not a digression, rather it is embedded in a productively critical reading of the Glass House, which is why I’m so interested in hearing you describe the difference between them.
JW: Well, I came to the Glass House via Farnsworth, but I quickly saw the Glass House as a complex of structures. Farnsworth is a single pavilion. The Glass House starts out as a pair of buildings, and these multiply into over a dozen structures over time. Still, the Glass House is always the focus when you are in the other buildings.
James Welling: Glass House
SL: The Farnsworth House entered the cultural imaginary as a perfect object, so perfect that it could not withstand human habitation. Edith Farnsworth, the woman who commissioned Mies to design it for her, was never comfortable in the house. She found herself to be a kind of smudge on its perfection. The Glass House, on the other hand, has until recently been thought of as somehow lacking. But I wonder if this very imperfection is what invites you to intervene.
JW: Yes, there’s something a little off about the Glass House, and that’s what is fascinating about it…
James Welling: Glass House

James Welling: Glass House

James Welling: Glass House

DAMIANI
Hbk, 13 x 10 in. / 112 pgs / 45 color.

$50.00  free shipping





ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
75 Broad Street, Suite 630
New York NY 10004
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2017 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com