September 26, 2019
With Pleasure: Pattern and Decoration in American Art 1972–1985 at MOCA LA
ArtFix Daily
September 25, 2019
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This fall, The Museum of Contemporary Art (MOCA) in Los Angeles presents With Pleasure: Pattern and Decoration in American Art 1972–1985, the first full-scale scholarly North American survey of the groundbreaking yet understudied Pattern and Decoration art movement. Including painting, sculpture, collage, ceramics, textiles, installation art, and performance documentation, the exhibition spans the years 1972 to 1985 and features forty-five artists from across the United States. With Pleasure examines the Pattern and Decoration movement’s defiant embrace of forms traditionally coded as feminine, domestic, ornamental, or craft-based and thought to be categorically inferior to fine art.

This expansive exhibition traces the movement’s broad reach in postwar American art by including artists widely regarded as comprising the core of the movement, such as Valerie Jaudon, Joyce Kozloff, Robert Kushner, Kim MacConnel, and Miriam Schapiro; artists whose contributions to Pattern and Decoration have been underrecognized, such as Merion Estes, Dee Shapiro, Kendall Shaw, and Takako Yamaguchi; as well as artists who are not normally considered in the context of Pattern and Decoration, such as Emma Amos, Billy Al Bengston, Al Loving, and Betty Woodman.

Organized by MOCA Curator Anna Katz, with Assistant Curator Rebecca Lowery, the exhibition will be on view at MOCA Grand Avenue from October 27, 2019 to May 11, 2020. It is accompanied by a fully illustrated, scholarly catalogue published in association with Yale University Press.

Often described as the first contemporary art movement comprised of majority female artists, Pattern and Decoration—or P&D, as it is commonly known—defied the dominance of modernist art by embracing the much-maligned category of the decorative. P&D artists gleaned motifs, color schemes, and materials from the decorative arts, freely appropriating floral, arabesque, and patchwork patterns and arranging them in intricate, almost dizzying, and sometimes purposefully gaudy designs. Their work across mediums pointedly evokes a pluralistic array of sources from Islamic architectural ornamentation to American quilts, wallpaper design, Persian carpets, and Japanese Imari ware ceramics.

Pattern and Decoration’s maximalist, eclectic citation of all things ornamental flew in the face of the reductive, cool aesthetics of minimalism, modernist ambitions to purity and self-reflexivity, and conceptual art’s demotion of the handmade. Most importantly, it was intended as a recuperation of forms and techniques historically discredited on the basis of their “femininity” and their status as craft. Shaped and driven in large part by feminism and the development of feminist art historical methods that demystified the logic and rhetoric of value assignation, Pattern and Decoration artists understood modernism as a puritanical art of exclusion—of progressively stripping away or excluding forms and materials deemed extraneous—and sought to create an art based on both aesthetic and political principles of inclusion.

P&D artists practiced a postmodernist art of appropriation born of love for its sources rather than the cynical detachment that became de rigueur in the international art world of the 1980s. Though little studied today, the Pattern and Decoration movement was institutionally recognized, critically received, and commercially successful from the mid1970s to the mid-1980s. The overwhelming preponderance of craft-based practices and unabashedly decorative sensibilities in art of the present-day point to an influential legacy that is ripe for consideration.

Dee Shapiro, Rotunda, 1982, Acrylic on canvas, 42" diameter

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January 17, 2017
Globalocation: Celebrating 20 Years of Artnauts
J. Willard Marriott Library
The University of Utah, 01/17/2017

The University of Utah’s J. Willard Marriott Library will host the art exhibition Globalocation: Celebrating 20 Years of Artnauts, Jan. 20-March 3.

Artnauts, an art collective formed 20 years ago by George Rivera, professor of art and art history at the University of Colorado, Boulder, consists of 300 global artists who serve as goodwill ambassadors, acknowledging and supporting victims of oppression worldwide. Their creativity has generated over 230 exhibitions across five continents. Five faculty members from the U’s Department of Art and Art History are members of the collective, Sandy Brunvand, Beth Krensky, V. Kim Martinez, Brian Snapp and Xi Zhang.

Globalocation derives from “Globalocational Art” — a concept used by the Artnauts to refer to their exhibitions in international venues. It is the mission of the Artnauts to take art to places of contention, and this anniversary exhibition is a sample of places where they have been and themes they have addressed.

“The Artnauts could not exist without the commitment of the artists in the collective to a common vision of the transformative power of art,” said Rivera. “The Artnauts make their contribution with art that hopefully generates a dialogue with an international community on subjects that are sometimes difficult to raise.”

Krensky, associate department chair of the Art and Art History Department, had the opportunity to travel with Rivera in Chile as part of an Artnauts project, working with mothers who were searching for their children who had mysteriously disappeared during a time of political unrest.

“When I travelled to Chile in 1998, George and I spent an afternoon with the Mothers of the Disappeared, and the meeting changed my life,” said Krensky. “It was from that moment on that I placed a picture of them on my desk to look at every day. I was so moved by what they each had lost — a son, a brother, a father — and yet what remained for them was a deep, deep well of love. They were fierce warriors and stood up to the government to demand the whereabouts and information of the people who had disappeared, but they lived within profound love.”

The 20th anniversary exhibition at the Marriott Library is a retrospective of the traveling works the Artnauts have toured around the globe. The exhibition will be located on level three of the library. The opening reception is open to the public and will be held on Friday, Jan 20, 4-6 p.m. Rivera will speak at 4 p.m.

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