ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 6/19/2018

The photograph as source of unlocked potential in 'Shape of Light'

DATE 6/18/2018

The photographic object as a record of performance in 'The Shape of Light'

DATE 6/17/2018

'Shape of Light' presents 100 years of photography and abstract art

DATE 6/16/2018

Beauty and strangeness in 'Michael Webb: Two Journeys'

DATE 6/16/2018

Theo Deutinger: Handbook of Tyranny at MoMA PS1

DATE 6/15/2018

Still radical. 'Michael Webb: Two Journeys' releases this week.

DATE 6/14/2018

Aggression and menace, history and place in 'Jack Whitten: Odyssey'

DATE 6/13/2018

In 'Jack Whitten: Odyssey,' sculpture moves backward and forward in time and across the globe

DATE 6/12/2018

Manifesting a future only he could see: Bodys Isek Kingelez

DATE 6/11/2018

If only the real world could be more like Bodys Isek Kingelez's

DATE 6/10/2018

Suburban, exotic, utterly private, boisterously public, a threat or a blessing: 'The Swimming Pool in Photography'

DATE 6/9/2018

Celebrate summer with 'The Swimming Pool in Photography'

DATE 6/8/2018

Giacometti: breaking free from enforced immobility

DATE 6/7/2018

Giacometti comes to the Guggenheim!

DATE 6/6/2018

Ice Cream Headaches Launch Events in Bay Head, Long Beach & Montauk

DATE 6/6/2018

Celebrate Pride Month with the recently rediscovered paintings of Patrick Angus

DATE 6/5/2018

Celebrate Pride Month with 'LGBT: San Francisco'

DATE 6/4/2018

Grotesque, sensual and erotic: The Art of Aubrey Beardsley

DATE 6/2/2018

'Brion Gysin: His Name Was Master' Launch with Genesis Breyer P-Orridge at Mast

DATE 6/2/2018

Doves and fists, creativity and subversion in 'Protest: The Aesthetics of Resistance'

DATE 6/1/2018

Fifty years after 1968, Protest: The Aesthetics of Resistance

DATE 5/31/2018

Teju Cole on the Superhero Photographs of the Black Lives Matter movement in 'Protest: The Aesthetics of Resistance'

DATE 5/30/2018

Get ready for 'Protest: The Aesthetics of Resistance'

DATE 5/30/2018

Join ARTBOOK | D.A.P. at Book Expo 2018!

DATE 5/29/2018

Michael Stipe: Volume 1

DATE 5/29/2018

Michael Stipe signing at Mast Books

DATE 5/27/2018

No wonder photographers love pools…

DATE 5/27/2018

Migrant Journal: Dark Matters launch at the Artbook @ MoMA PS1 Book Space

DATE 5/26/2018

Celebrate Memorial Day with Joseph Szabo's Jones Beach Lifeguard photos

DATE 5/25/2018

Memorial Day Staff Pick: Ice Cream Headaches

DATE 5/24/2018

BACK IN STOCK! Sophie Calle: The Address Book

DATE 5/23/2018

The Art of Aubrey Beardsley, between the mind's outline and the outline of visible things

DATE 5/23/2018

BACK IN STOCK! Georgia O'Keeffe: Watercolors

DATE 5/22/2018

A different kind of photographer and woman: Susan Meiselas

DATE 5/21/2018

Agnes Martin: "Gratitude" (2001)

DATE 5/20/2018

Late Magritte: the missing link between James Ensor and Zap Comix

DATE 5/19/2018

After the confusion and panic… Magritte's late vache paintings and 'sunlit Surrealism'

DATE 5/18/2018

Whitewalling: Aruna D'Souza with Paul Chan at McNally Jackson Soho

DATE 5/18/2018

Susan Meiselas with Ann Hamilton LIVE from the NYPL

DATE 5/18/2018

René Magritte: The Fifth Season comes to SFMOMA

DATE 5/17/2018

David Goldes: Electricities, up against the limits of the medium

DATE 5/16/2018

BACK IN STOCK! Gordon Parks: The Flavio Story

DATE 5/15/2018

Positive notions of transgressions in Vitra's 'Night Fever: Designing Club Culture 1960-Today'

DATE 5/14/2018

Gay Pride!

DATE 5/14/2018

Night Fever, Night Fever!

DATE 5/13/2018

Mother's Day Magic in 'The Secret Language of Flowers: Notes on the Hidden Meanings of Flowers in Art'

DATE 5/12/2018

Howardena Pindell: intellectual and hedonistic, ironic and lyrical

DATE 5/11/2018

See video of Hiroshi Sugimoto and Darius Himes speaking at The Strand

DATE 5/9/2018

Jack Pierson to launch 'Tomorrow's Man 4' at BOOKMARC NYC

DATE 5/9/2018

Kevin Beasley opens at ICA Boston

DATE 5/9/2018

Almost like a thunderbolt out of the sky: Birgit Nilsson


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