Sirmai-Peterson House model, Frank Gehry, 19831988. Frank Gehry Papers at the Getty Research Institute.
Sirmai-Peterson House model (detail), Frank Gehry, 19831988. Frank Gehry Papers at the Getty Research Institute.
New Acquisition: Frank Gehry Papers
The Foundational Years, 19541988
Documenting the practice of one of the most eminent architects of today, the Frank Gehry Papers offers scholars an unparalleled opportunity to research Gehry's innovative design techniques and trace the evolution of some of his most iconic and influential builds. Materials in this collection pertain to 283 projects designed between 1954 and 1988 as well as a few seminal exhibitions, and include sketches and models for landmark sites such as the Walt Disney Concert Hall in Los Angeles and the Vitra Design Museum in Germany. Once processed, researchers will have access to over 120,000 drawings, sketches, and construction documents; 648 boxes of office records and personal papers; over 100,000 slides; and 280 architectural models.
Exterior photograph of the Walt Disney Concert Hall (detail), Carol M. Highsmith, 2012. Courtesy of The Jon B. Lovelace Collection of California Photographs in Carol M. Highsmith's America Project, Library of Congress, Prints and Photographs Division
Berlin/Los Angeles: Space for Music
April 25July 30, 2017 | The Getty Center
Celebrating the 50th anniversary of the sister-city partnership between Berlin and Los Angeles, Berlin/Los Angeles: A Space for Music brings together original drawings, sketches, photographs, and models of the two cities' iconic concert halls: Hans Scharoun's Berliner Philharmonie and Frank Gehry's Walt Disney Concert Hall. Both buildings were instrumental in fostering an architectural resonance between the two cities, and have captured the public's imagination to become synonymous with each city's urban landscape.
Gallery tours are offered on Tuesdays at 3:00 p.m. beginning April 25.
Acrobats, Ian Hamilton Finlay, 1964. From The Blue and the Brown Poems (New York, 1968). The Getty Research Institute, 2016.PR.36. By courtesy of the Estate of Ian Hamilton Finlay
Concrete Poetry: Words and Sounds in Graphic Space
Through July 30, 2017 | The Getty Center
Ian Hamilton Finlay's poem Acrobats was produced in both a black-and-white version (seen here) and a turquoise-and-orange version in the same year. The placement and pattern of the individual letters in the word acrobats first draw readers' eyes across the paper, but ultimately the eye travels in diagonals around the image, mimicking the movement of real acrobats. Finlay intended for the poemwhich is now on display as part of Concrete Poetry: Words and Sounds in Graphic Spaceto be produced on sandblasted glass to allow another level of visual movement: the ability to read the poem in three dimensions.
Gallery tours are offered on Tuesdays and Thursdays at 2:00 p.m. in April.
Imaginary View of Tetrapylon (detail), anonymous artist after Louis-François Cassas, ca. 1799. Proof-plate etching. The Getty Research Institute, 840011
The Legacy of Ancient Palmyra
French artist and architect Louis-François Cassas traveled throughout the Middle East as part of a three-year expedition to record the monuments of Egypt, Syria, Lebanon, Cyprus, Palestine, and Asia Minor. He arrived in Palmyra in May 1785, and spent a month detailing the site's ruins, which were scattered across the desert. The result was over 100 large-format etchings depicting the ancient city. Cassas's technical renderings of architectural features are complemented by romanticized and reconstructed views of Palmyra's grandeur in antiquity.
Paper Pear (detail), Ian Hamilton Finlay, 1966. From 6 Small Pears for Eugen Gomringer (Edinburgh, 1966). The Getty Research Institute, 92-B547. By courtesy of the Estate of Ian Hamilton Finlay
"Paper Pear Paper": Charting the Course of Concrete Poetry
Panel Discussion | April 6, 2017 | 7:00 p.m. | The Getty Center
Complementing the exhibition Concrete Poetry: Words and Sounds in Graphic Space, panelists Stephen Bann, Sergio Bessa, Marjorie Perloff, and GRI Curator Nancy Perloff compare and contrast the poetic art of Ian Hamilton Finlay, the work of the Brazilian concrete poetswho called themselves Noigandresand the poetry of Henri Chopin and Ernst Jandl. The panel will also present live readings of selected poems.
American photographer Allan Sekula revitalized the medium of documentary photography, and was one of the earliest to cast a critical eye on globalization as social phenomenon. This archive documents his practice as an artist, writer, and theorist and serves as a defining resource for researchers interested not only in Sekula's work, but in the transformation of photography as both a medium and an art form in the postwar era.
Real Birds in Imagined Gardens: Mughal Painting between Persia and Europe
In Real Birds in Imagined Gardens, Kavita Singh, professor at Jawaharlal Nehru University, New Delhi, dissects the theory that Mughal painting followed a linear evolutionary path, and instead demonstrates that this ornately detailed style underwent multiple cycles of development from its 16th-century roots through its contact with European Renaissance art. While the style of Mughal painting was motivated by both aesthetic interest and court politics, artists were also strategic in their inclusion of realistic, European style and traditional symbolism.
The papers of art critic and scholar Annette Michelson represent her dynamic career as a champion of minimalism, a theorist, and an instrumental player in establishing cinema studies as an academic field. Michelson's correspondence, research, and writings from the 1960s through 2014 form the bulk of the archive, and notably includes her writing and other documentation for the magazine October, which she cofounded. Her extensive library of books and magazines related to film have also been added to the GRI's general collections and are available to readers in the open stacks.