Posts tagged with "Huntington Library":

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Renderings from L.A.’s “golden age” on display at the Huntington Library

In an effort to better highlight its extensive collection of historical drawings, The Huntington Library in San Marino, California, is presenting Architects of a Golden Age: Highlights from The Huntington’s Southern California Architecture Collectionan exhibition focused on some of the region’s most eye-catching historical architecture. For the exhibition, curators at The Huntington have collected nearly 20 historical drawings to highlight the “elegant, powerful, whimsical, and iconic buildings” proposed and built in Los Angeles from between 1920 and 1940. The era is considered a “golden age” in Los Angeles’s development wherein the city not only saw tremendous population growth but also built itself up in a variety of dramatic and evocative styles. According to a press release, the inception of The Huntington’s print and drawing collections came in the late 1970s, as preservation awareness first rose to a fever pitch in the city following several decades’ worth of post–World War II development, which often pitted new development against aging structures from previous eras. Erin Chase, assistant curator of architecture and photography at The Huntington, said, “For curators at The Huntington, that was the time to actively seek out and salvage as much of the architectural record as possible, as dozens of significant buildings fell to the wrecking ball and the downtown skyline was forever changed.” Because of this fact, the collection enjoys a wide diversity of representational works. Included in the collection, for example, are drawings by architect Roger S. Hong, one of the developers behind L.A.’s modern Chinatown. Also highlighted are floor plans and other working drawings from the Foss Building and Design Collection depicting early craftsman houses in Pasadena and a large rendering by A. Quincy Jones and interior designer William Haines from 1952 depicting the Sidney and Frances Brody residence in the Holmby Hills area of Los Angeles, an early Modernist work in the region. Describing the exhibition, Chase added, “This show is an opportunity to showcase our collection, which has become invaluable in the study of the history of the region’s built environment.” The exhibition will be on view until January 21, 2019.
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Styled like illuminated manuscripts, Lari Pittman's paintings stand in a Michael Maltzan Architecture-designed exhibition

Lari Pittman: Mood Books, features an exhibition design by Michael Maltzan Architecture (MMA) and is currently on view at The Huntington Library, Art Collections, and Botanical Gardens in San Marino, California. Pittman’s works consist of six large-scale art books that contain a total of 65 hallucinogenic paintings styled by the artist in the manner of illuminated manuscripts. Michael Maltzan described Pittman’s works to The Architect’s Newspaper during a recent studio visit as “architectural in scale,” which the firm sought to accommodate via an elaborate and expressive series of billowing, stark white pedestals. MMA’s lofted forms serve to highlight the weighty books, with the smooth, white-painted plywood reliquaries accentuating the bulk and eye-popping color of Pittman’s paintings. The pedestals connect to form one long sequence, an alternating display of spreads that will change throughout the course of the exhibition’s duration as the book pages are turned by gallery attendants.

Lari Pittman: Mood Books The Huntington Library, Art Collections, and Botanical Gardens 1151 Oxford Road San Marino, CA Through February 20

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Michael Maltzan Architects designs exhibition for Huntington Library

  The exhibition, Lari Pittman: Mood Books, with works by artist Lari Pittman and exhibition design by Michael Maltzan Architecture (MMA), is currently on view at the Huntington Library and Botanical Gardens in San Marino, California. Pittman is a Los Angeles—based visual artist who makes large-scale paintings that combine surrealism, geometric shapes, and narrative association with vivid color. The artist’s paintings vary widely in terms of size and scale and alternate between collections of single and multiple works. The exhibition on view features a collection of Pittman’s smaller recent works: six art-books containing a bound collection of 65 paintings by the artist, with the books resting on large pedestals designed by MMA. The tomes, styled in the manner of psychedelia-inspired illuminated manuscripts, are located in a dark, ancillary gallery and are removed from the museum’s permanent collection. Within that space, the books and their respective pedestals are organized in a straight line, with books open for viewing along alternating sides of the heavily articulated, painted plywood arrangement. MMA’s designs for the pedestals are articulated as stark-white, billowing forms, rendered in sumptuous planes with surface qualities halfway between those sheets of a paper and billowing drapery. Each pedestal is supported by four diminutive legs, where the form of each supported volume swoops down to touch the floor. Like sliced up milk cartons, the pedestals unfold and bend backward, connecting with adjacent pedestals to create one monolithic object. A light-gauge curved rod spans between the open section of each pedestal along the viewing edge, guarding Pittman’s works. A wall-based work on a touchscreen hangs, off in a the corner of the room, the small painting illuminated and pushed out from the wall by an exaggerated, extruded picture frame. The pages of each book will be turned throughout the course of the exhibition and all the sheets are accessible via the touch screen component. For more information on Mood Books, visit the Huntington Library website.
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Huntington Library showcases Yasuhiro Ishimoto’s photographs of Greene and Greene’s Pasadena architecture

After triumphantly declaring "The hand is back” at this year’s Venice Biennale, Swiss architect Peter Zumthor touched off a debate within the architectural community regarding an age-old divide that echoes back through the annals of the architectural profession, pitting the handmade against and the technologically-derived. And while today’s quarrels over parametricism and auto-construction have found new kindling, let’s remember that, with roots in the Industrial Revolution, these disagreements have been smoldering for generations. The work of brothers Charles Sumner Greene and Henry Mather Greene in Southern California produced unambiguously handmade works within the American context of the early 1900s. Their buildings, the majestic Gamble House and the lavish Blacker House, for example, were over-wrought odes to bespoke craftsmanship that would not be out of place in today’s hipster bazaars. Built amid the bucolic environs of freshly conquered territories, the Craftsman-style Greene and Greene espoused not only represented a powerful counter to mass production, but utilized the a fluid vocabulary of vernacular Asian influences for inspiration. More specifically, Greene and Greene’s designs worked hard to profess this return to artisanship by drawing heavily from the traditional wooden architecture of Japan. The Huntington Library, by showcasing the work of Japanese-American photographer Yasuhiro Ishimoto’s photographs of Greens and Greene's Pasadena architecture, aims to bring the Greene Brothers’ cultural appropriation full circle by examining the influence of American cultural appropriation from the Japanese point of view.
Ishimoto, a man born in San Francisco, California but raised in Japan, became a renowned photographer after spending World War Two in an internment camp in Colorado. His photographic interests eventually took Ishimoto back to Japan, but he returned to America in 1974 to photograph Greene and Greene’s craftsman houses for a Japanese design magazine. Though Ishimoto's other works have been exhibited in the United States since the 1950s, this show marks the first time his Greene and Greene photographs are being exhibited in America. The 46 black-and-white photographs that resulted focus intently on the literal nuts and bolts of Greene and Greene’s designs; their wooden tectonics and sumptuous finishes are subjects of intense focus and composition. Former curator of the Gamble House Anne Mallek said in a press release for the exhibition, “Ishimoto rarely made an image of a structure in its entirety, but chose rather to examine details and create abstractions, focusing on pattern, light, and structure. All of the images telegraph his sensitivity to material, texture, form, and light.” The exhibition, “Yasuhiro Ishimoto: Bilingual Photography and the Architecture of Greene & Greene,” coincides with the reopening of the Huntington Library’s recently-renovated, Greene and Greene furniture repository that houses period rooms from the Gamble House, and is on view until October 13 2016.
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A former parking lot at the Huntington Library is now a beautiful Visitor Center, with more to come

On January 14, the Huntington Library in San Marino, California opened the doors to its newly constructed visitor center, designed by Architectural Resources Group (ARG) on the grounds of prestigious gardens' former parking lot. This first part of a larger 52,000 square foot project consists of an admissions area, a café, and a new museum shop. The second part of the site, the Steven S. Koblik Education Center, containing an education center, a restaurant, a multi-purpose room and a lecture auditorium, will open this April. A glass dome covering an outdoor assembly area accentuates the entrance to the new lecture hall and multi-purpose room. The new buildings are constructed in a historical style, reminiscent of the complex’s original architecture, conceived by Myron Hunt. The architects chose to split the project into several smaller buildings to accentuate the human scale and to create a linear "Mediterranean" garden walkway, designed by landscape architect Cheryl Barton. Steven Koblik, president of the foundation, is particularly proud of the 42,000 square foot underground storage area for collections and institutional storage. The Steven S. Koblik Center will also be home to four newly acquired pieces of artwork: the Mutual Savings and Loan mural by mid-century artist Doyle Lane, a mural by Millard Sheets donated by Red H. and Bessie Ranke, Bicentennial Tapestries by Alexander Calder, and Jerusalem Stabile, a red 24-foot-tall iron statue by Alexander Calder.
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On View> The House That Sam Built

The House That Sam Built: Sam Maloof and Art in the Pomona Valley, 1945–1975 The Huntington Library, Art Gallery, and Botanical Gardens 1151 Oxford Road San Marino, CA Through January 30, 2012 The exhibit explores over 100 works of renowned midcentury furniture craftsman, Sam Maloof (1916–2009) and his circle of friends, who gathered at the Maloof residence and workshop—which have become a central part of the dynamic Pomona Valley art community—to share a meal and their common interest of hand-crafted objects. The exhibit showcases some of the earliest Maloof pieces, such as a round, plywood coffee table with walnut legs, decorative arts and crafts such as ceramic works by Otto and Gertrude Natzler (above), an office chair made for the prominent industrial designer Henry Dreyfuss, three iterations of his classic rocking chair, a table lamp by William Manker, among other objects. Visitors will also find two rare watercolors produced early in Maloof’s career. The exhibit is part of Pacific Standard Time: Art in L.A. 1945–1980, a Getty collaboration spanning six months, bringing together over 60 cultural institutions all across Southern California.