Curriculum vitae

THOMAS F. REESE

Curriculum Vitae



General        U. S. Citizen, born October 9, 1943


Address       Roger Thayer Stone Center for Latin American Studies
                    Tulane University
                    New Orleans, Louisiana 70118-5698
                    (504) 865-5164 (telephone, office); (504) 865-6719 (fax, office)
                    (504) 896-8450 (telephone, home); (504) 896-8451 (fax, home)


Education

1973             Ph.D., Yale University
1969             M.A., Yale University
1965             B.A., Tulane University
1963-1964     Facultad de Filosofía y Letras, Universidad de Madrid




Employment

1999-            Executive Director, Roger Thayer Stone Center for Latin American Studies and Professor of Art History, Tulane University

1994-1998     Deputy Director, The Getty Research Institute for the History of Art and the     Humanities

1991, 1992-
1993             Acting Director, The Getty Center for the History of Art and the Humanities
   
1986-1992    Associate Director, The Getty Center for the History of Art and the Humanities,   Santa Monica, California
1983-1986    Professor of Art, The University of Texas at Austin
1976-1983    Associate Professor of Art, The University of Texas at Austin
1970-1976    Assistant Professor of Art, The University of Texas at Austin

University Service (since 1999)

2004              Provost Committee, African and African Diaspora Studies
2004              Search Committee for the Chair of the Department of International Health and
                     Development, School for Public Health and Tropical Medicine
2004              Planning Committee, College of Human and Urban Ecology (CHUE)
2002-2004      Mellon Professor Selection Committee
2001-2002      Louisiana Purchase Anniversary Committee
2000-2003      Co-Director Central American Library and Archive Project (CALAP)
2000-2002      Planning Committee for the National Museum of the Mississippi River
1999-2000      Strategic Planning Committee for Review of Graduate Program
1999-2004      Committee on Visual Culture
1999-2000      NEH Planning Committee for the Deep South Regional Humanities Center


Professional and Community Service (since 1989)

2005              Board Member, Arts Council of New Orleans
2004              Panelist, Louisiana's Cultural Economy Conference
2004              Advisory Council, New Orleans Museum of Art
2004              Board of Directors, Audubon Nature Institute
2004              Member, State of Louisiana Lieutenant Governor's Transition Committee for                          Developing a Creative Economy
2002-2004      Vice President External Affairs, College Art Association of America
2000-2004      Member, National Committee for the History of Art (CIHA) Comité                                          Internationale d'Histoire de l'Art
2000-08          International Committee Member, College Art Association of America
2000              Board of Directors, College Art Association of America
1999              Member, U.S. Committee, International Congress of the History of Art
1997-2004      Editorial Board, RES
1996-2001      Member, Consejo Rector, Instituto Histórico Tavera, Toledo/Madrid
1995-1998      Edilia de Montequin Fellowship Committee of the Society of Architectural                              Historians
1994-2000      Advisory Committee, Bibliography of the History of Art
1994              Proto-Committee for the Advancement of Historical Research in Latin America
1994-2000      Editorial Board, Anales del Instituto de Investigaciones Estéticas, Universidad                      Nacional Autónoma de México
1994-1995      Sculpture Garden Acquisitions Committee, Pasadena City College
1994              Focus Group Participant, UCLA World Arts and Cultures Program, for the                               "Center for Intercultural Performance" and "Interdisciplinary Collaborations with                      Asia"
1994-1998      KCET Arts Advisory Panel (Public Television, Los Angeles)
1987-1998      Series Editor, Getty Center Department of Publication Programs
1993-1995      Board of Directors, LAX-The Los Angeles Exhibition
1990, 1992     Publications Committee, American Society for Hispanic Art Historical Studies
1990              Co-chairman, Museums Working Group, United States delegation to the                              Mexican-American Commission on Cultural Cooperation, Mexico City
1990              Participant, international directors' conference sponsored by the Zentralinstitut                      für Kunstgeschichte: "Art History in an Open European House: Responsibilities                      and Prospects of Research Institutions"
1990              Consultant, Dallas Museum of Art, Task Force on Colonial Latin America                              Board of Overseers, Barnsdall Art Park, Los Angeles
1989-1993      Board of Trustees, Los Angeles Municipal Art Gallery; Chair, Long-range                              Planning Committee
1989, 1992,
1995              Panelists, Museums Program, National Endowment for the Humanities,
                     Washington, D.C.

Honors and Fellowships

1985              Andrew Mellon Faculty Summer Research Grant, Institute of Latin American                          Studies, University of Texas at Austin
1984              Institute of Latin American Studies Travel Grant, University of Texas at Austin
1983              Samuel H. Kress Senior Fellow, Center for Advanced Study in the Visual Arts,                      The National Gallery of Art, Washington, D.C.
1982-1983      Faculty Research Assignment, University Research Institute
1981-1982      Andrew Mellon Faculty Summer Research Grant, Institute of Latin American                          Studies, University of Texas at Austin
1977              Elected Académico correspondiente, Real Academia de Bellas Artes de San                          Fernando, Madrid
1976-1977      John Simon Guggenheim Memorial Foundation Fellowship
1975-1976      Elected Executive Secretary, American Society for Hispanic Art Historical                          Studies
1973              A.C.L.S. Travel Grant
1969-1970      Samuel H. Kress Foundation Grants
1966              Samuel H. Kress Foundation Grants
1965-1970      Yale University Fellowships
1965              Phi Beta Kappa



Memberships
American Historical Association
American Society for Hispanic Art Historical Studies
Association for Latin American Art
College Art Association
Latin American Studies Association
Museum of Modern Art, New York City
Precolumbian Art Research Institute
Preservation Resource Center of New Orleans
Society of Architectural Historians, U.S.
Urban History Association
World Trade Center of New Orleans

Publications
           
Books
Buenos Aires 1910: el imaginario para una gran capital; Coloquio internacional, 28 y 29 de noviembre de 1995. Edited by Thomas Reese and Margarita Gutman. Buenos Aires: Centro de estudios avanzados de la Universidad de Buenos Aires, 1999.

Kubler, George.  La configuración del tiempo: Observaciones sobre la historia de las cosas.  Nueva edición ampliada [Spanish translation of The Shape of Time].  Introduction by Thomas F. Reese;  trans. Jorge Luján Muñoz.  Madrid: Editorial Nerea, 1988.

Studies in Ancient American and European Art: The Collected Essays of George Kubler.  Edited by Thomas F. Reese.  New Haven and London: Yale University Press, 1985.

Libro de diferentes pensamientos unos imbentados y otros delineados por Diego de Villanueva, edición facsímile con introducción, resúmen biográfico, y notas a las láminas por Thomas F. Reese.  Madrid: Real Academia de Bellas Artes de San Fernando, 1980.

The Architecture of Ventura Rodríguez, 2 vols.  New York: Garland Publishing Inc., 1976.

Selected Articles
 
"The Institutionalization of Art History as a Disciplinary and Pedagogical Practice in American Universities in the Twentieth Century," in Lucero Enríquez, ed., (In)disciplinas: estética e historia del arte en el cruce de los discursos (Mexico: INAM, 1999), pp.17-25.

With Carol McMichael Reese. "Richard Meier, The J. Paul Getty Museum, Los Angeles, California 1984-1997," in Vittorio Magnago Lampugnani and Angeli Sachs, eds., Museums for a New Millenium: Concept, Projects, Buildings (Munich: Prestel, 1999), pp. 42-49.

With Carol McMichael Reese. "Centennial Euphoria and the Future of the Metropolis, Celebrations and Exhibitions," in Margarita Gutman, ed., Buenos Aires 1910: Memoria del Porvenir (Buenos Aires: Gobierno de la Ciudad de Buenos Aires, Consejo del Plano Urbano Ambiental, Facultad de Arquitectura, Diseño y Urbanismo de la Universidad de Buenos Aires, 1999), pp.320-341.

With Carol McMichael Reese. "Richard Meier's New Getty Center in Los Angeles," A+ U, Architecture and Urbanism  328, no. 1 (1998): 4-11.

"Arquitecturas dibujadas como prueba evidente: la defensa de las nuevas poblaciones de Sierra Morena y Andalucía." In Arquitecturas Dibujadas, I jornadas internacionales sobre el estudio y conservación de las fuentes de arquitectura, edited Mariano J. Ruiz de Ael, pp. 184-97.  Vitoria-Gasteiz: Centro Vasco de Arquitectura, 1996.

"Mapping Interdisciplinarity," Art Bulletin 77 (December 1995): 544-49.

"The Architectural Politics of the Getty Center for the Arts," Lotus International  85 (1995): 6-43.

With Carol McMichael Reese.  "Revolutionary Urban Legacies: Porfirio Díaz's Celebrations of the Centennial of Mexican Independence in 1910."  In Arte, Historia e Identidad en América: Visiones Comparativas; XVII Coloquio Internacional de Historia del Arte, vol. II, pp. 361-373. Mexico City: Universidad Nacional Autónoma de México, 1994.

With Carol McMichael Reese.  "Moisés in Exile" [review of "Remar sin celar, cincelar el mar," an exhibition of the work of Moisés Zabludovsky], Plural 267 (December 1993): 75-79, 81-84.

"Las transformaciones coloniales del arte español: Nueva España en el siglo XVI." In Tiempo y arte; XVIII Coloquio Internacional de Historia del Arte, pp.195-219.  Mexico City: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, 1991.

"Figuras canónicas. La imagen de la España reciente," A & V: Monografias de Arquitectura y Vivienda, 24 (1990), 25-32.

With Carol McMichael Reese. "Cuatro 'pritzkers' en Los Angeles: Concurso para el Auditorio Disney," Arquitectura Viva 10 (enero-febrero 1990): 21-26.

With Carol McMichael Reese.  "Böhm, Gehry, Hollein, and Stirling in Los Angeles: The Competition Entries for the Walt Disney Concert Hall," Zodiac 2 (September 1989): 157-222.

"Hipódromos, Carros, Fuentes, Paseantes, y la diversión pública en la España del siglo XVIII: un programa agrario y de la antigüedad clásica para el Salón del Prado; Lección magistral."  In IV Jornadas de arte: El arte en tiempo de Carlos III, pp. 1-47.  Madrid: Editorial Alpuerto, 1989.

With Carol McMichael Reese.  "Residential Los Angeles and Pasadena: The Growth and Development of a Suburban Landscape, 1886-1988," Scripted tour for the scholars and fellows of the Getty Center for the History of Art and the Humanities (40 pp.; given 1988-1990, 1992).

"El estilo tardío de Ventura Rodríguez: Arquitectura y política de reforma en el reinado de Carlos III," Gaceta del Museo Municipal 11 (diciembre 1983):  2-5.

"Rodríguez y Villanueva: Conflict in the Early Academy," A Symposium on the Art of the Age of Charles III,  preliminary multilithed edition for symposium, 1979, sponsored jointly by the Prado Museum and the Santa Barbara Museum.

"V. Rodríguez, Jovellanos, y Covadonga: Proto-romanticismo en la España del siglo XVIII," Archivo español de arte 197 (1977): 31-58.

"Ventura Rodríguez en Vélez de Benandalla y Larrabezúa," Cuadernos de Arte de la Universidad de Granada 23 (1975): 24-60.

"The Late Style of Ventura Rodríguez: Architecture and Reform Politics in the Reign of Charles III." In Actas del XXIII Congreso internacional de la historia del arte, Granada, 1973, pp. 544-52. Granada, 1976.

"The Hero's Dilemma: Personal Style vs. Popular Sources in the Architecture of Robert Venturi and Denise Scott Brown," Journal of the American Studies Association of Texas IV (1973): 90-101.

[journals edited] (with Judith Berg Sobré) Newsletter for the American Society of Hispanic Art Historical Studies (1974-1976).

Work Pending and in Progress

"Taking Sail: Kurt Forster's Getty Center for the History of Art and the Humanities," Festschrift for Kurt W. Forster (in press).

Las Nuevas Poblaciones de Sierra Morena and Andalucía: Agrarian Reform, Repopulation, and Town Planning in Rural Eighteenth-Century Spain.

Borderlands: Essays in Colonial Latin American Art, Architecture, and Culture; essays on "horizon styles," "colonial transformations," "devotional space,"  "performing independence," and "recovering the colonial after 1920."


Selected Exhibitions

"Spectacles, Spectators, and Consumers: Cultural Documentation from the Getty Center,"
The Getty Center for the History of Art and the Humanities, October 1991 to February 1992.  Thomas Reese, coordinator, with Don Anderle, J. M. Edelstein, Stephen Nonak, JoAnne Paradise, Marcia Reed, Francis Terpak, and Glenn Willumson.

"Connections 1:  Explorations in the Getty Center Collections by Raymond Pettibon, Ed Ruscha, Alexis Smith, and Buzz Spector," The Getty Center for the History of Art and the Humanities, July 11, 1992-October 3, 1992. Thomas Reese with Marcia Reed and Stacy Miyagawa.

"Connections 2:  Explorations in the Getty Center by Harry Gamboa, Jr., Nobuho Nagasawa, Noah Purifoy, and Rachel Rosenthal,"  The Getty Center for the History of Art and the Humanities, February 12, 1994-April 30, 1994. Thomas Reese with David Jensen, Stacy Miyagawa, and Marcia Reed.

 "They saw a very great future here:  Photographs from Central Los Angeles by Camilo José Vergara," The Getty Research Institute for the History of Art and the Humanities, November 4, 1996-May 2, 1997. Thomas Reese and Camilo José Vergara.

"Buenos Aires 1910: Memorias del Porvenir,"  Mercado del Abasto, Buenos Aires, May-July 1999. Margarita Gutman (dirección), Thomas Reese (curador senior), Roberto Amigo and Luis Priamo (curaduría).  Buenos Aires 1910: Memoria del Porvenir. Buenos Aires: Gobierno de la Ciudad de Buenos Aires and Facultad de Arquitectura, Diseño, y Urbanismo de la Universidad de Buenos Aires, 1999. 525pp.

Selected Papers and Lectures (since 1989)

With Carol McMichael Reese. "Cara a Cara - Face to Face, Panama City and the Canal Zone, 1904-1999." University of Illinois, Chicago. September 10, 2004

"Prolegomena to a Comparative Study of Art History and Disciplinarity in the United States and Europe," Tulane University, New Orleans, Louisiana; March 15, 2001.

Moderator, panel discussion, "From the Arcades Project to Shopping Malls and Roadside Kitsch: Configurations of Public Space," in SITE97 conference on "Private Time in Public Space: Romance and Violence in the City," San Diego, California; November 21, 1997.

"Art and the Archive: Collecting, Preserving, Valuing," Keynote Address for "Arts in the Archive: Conference of Intermountain Archivists Annual Meeting," Southern Utah University, Cedar City, Utah; June 25, 1997.

"Regimes of Representation and the Construction of Identities in Early Twentieth-Century American Cities,"  conference on "Imaging the City in the Americas: Washington and Mexico City, 1910," The Library of Congress, Washington, D.C.; October 23, 1996.

"Shifting Boundaries/Contested Spaces: Art, Culture, and Late Twentieth-century Consumer Society," V International Forum on Contemporary Art Theory, Guadalajara, Mexico; September 29, 1996.

With Carol McMichael Reese.  "Frames of Representation: the Architecture of Exhibitions," conference on "Diffused Spaces: On The Future of the Museum," Museu d'Art Contemporani de Barcelona; July 4, 1996.

"Remarks the Politics of Survival in the Humanities," in "Humanities and Its Publics," Director's Special Session, Annual Conference of the Consortium of Humanities Centers and Institutes,  University of California, Irvine; October 27, 1995.

"Goya's Madrid" for the exhibition "Goya, Truth and Fantasy: The Small Paintings," The Art Institute of Chicago; October 2, 1994.

"Site/Scene L.A.," conference on "Cine City: Film and Perceptions of Urban Space, 1895-1995," The Getty Center, Santa Monica; March 31, 1994.

Participant, "Technology, Scholarship, and the Humanities: The Implications of Electronic Information," a conference organized by the Getty Art History Information Program and the American Council of Learned Societies, Irvine, California; September 30-October 2, 1992.

"The Structure of Devotional Space: Mendicant Religion and Ritual in Colonial South America," colloquium on "Ritual Spaces," Delft University of Technology, The Netherlands; May 19, 1989.

Summary of Scholarly and Public Programs at the Getty Center for the History of Art and the Humanities (1986-96)

Symposia

"New Geographies of Performance: Cultural Representation and Intercultural Exchange on the Edge of the 21st Century," January 10-13, 1991.

This conference, organized with the World Arts and Cultures Program at UCLA and the Los Angeles Festival, took as its subject fundamental issues raised by the production and reception of the 1990 Los Angeles Festival, directed by Peter Sellars.  It addresssed basic questions about cultural representation and the very real challenges of moving from theoretical debate to practical assessment.  It raised the implications of re-mapping and enfranchising new institutions and cultural distribution systems.

The format for the conference was a combination of presentations followed by a series of focus group discussions.  The Center framed the issues for the conference and issued invitations to key scholars.  The experience of bringing scholars face to face with artists, presenters, and community and institutional leaders proved to be extremely valuable.  Scholars were compelled to confront their often abstract pronouncements on cultural practices in the presence of practitioners in other fields of values.

"Fault Zones: Readings at the Edge,"
May 4, 1992.

This panel discussion was planned in conjunction with three exhibitions in Los Angeles: Joe Deal at the Municipal Art Gallery, Lewis Baltz at the Los Angeles Country Museum of Art, and Dennis Oppenheim at Ace Contemporary Exhibitions. The goal was to bring together photographers, filmmakers, architects, earth and conceptual artists, painters, and writers, all of whom had worked in California in the 1960s and 1970s, to discuss important but neglected aspects of the formation and representation of Southern California's landscapes and urban environments. Participants included Thomas Reese, Marvin Heiferman, Baltz, Deal, Oppenheim, Frank Gehry, and Kurt Forster. Filmmaker Wim Wenders, author Joan Didion,  painter Ed Ruscha, and production designer Richard Sylbert participated in initial discussions. The panel was held at Barnsdall Park.

"The Aesthetics of Community-Based Arts Organizations," March 4-7, 1993.

With funding from the Rockefeller Foundation, California Institute for the Arts President Steven Lavine approached the Center about co-sponsorship of a conference that would examine the phenomena of community-based arts organizations in America.  The initial planning meeting--attended by Center Project Associate David Jensen and Thomas Reese, Lavine, Glenna Avila, and Lindsay Shields from CalArts, Steve Durland, editor of High Performance magazine, artist Joe Lewis, John Outterbridge of the Watts Tower Arts Center, and Gemma Sandoval of Plaza de la Raza--explored  goals, definitions, and formats for the conference.

The three-day symposium took place at three Los Angeles venues: Watts Towers Art Center, Plaza de la Raza, and the California Institute of the Arts.  Primary participation was limited to individuals involved in community-based art making. There were 35 speakers. The dynamics of the conference were complex, frequently angry and contentious.  The presence of two dominant-culture institutions as sponsors was vigorously challenged, as was CalArts' role in a planned publication. Nonetheless, the debate was beneficial to both sides and the presence of the two large institutions began the gradual process of gaining the respect and trust of community art makers in Los Angeles.

"Power and Responsibility: Art Institutions and Cultural Change," September 30-October 2, 1993.

This symposium, planned jointly by the Center, the California Institute for the Arts, and the Museum of Contemporary Art, brought together an international group of artists, curators, cultural critics, and arts administrators to discuss issues of access to cultural decision-making, relationships between public and private spheres, questions of audience and community, and ethical concerns about the control of distribution of works of art, images, and ideas. 

Broad questions about the nature of museums today, their authority to "speak" on behalf of the populace, their similarities and differences from their predecessors, their origins, and the relationship of these issues to concepts of power provided the charge to a panel of speakers who addressed the international dimensions of these issues under very different social, economic, and political conditions.  Panelists included David Avalos, visual artist, Los Angeles; Marie Claude-Beaud, Cartier Foundation, France; Olivier Debroise, novelist and culture critic, Mexico; Tom Finkelpearl, Public Arts Program, New York; Felix Gonzalez-Torres, artist, Group Material USA, New York;  Vasif Kortun, curator, Istanbul; James Luna, artist, La Jolla Reservation, California; Declan McGonagle, Museum Director, Dublin, among others.

For the Center and CalArts, the symposium provided a natural complement to their earlier conference on bottom-up community based arts organizations, by examining some of the more innovative and productive approaches by which dominant institutions have succeeded in engaging social, moral, and political issues.

"Cine City: Film and the Perception of Urban Space--1895-1995," March 25-April 7, 1994.

The conference had its origins in proposals prepared by former Getty Scholars Iain Boyd White, Anton Kaes, and Annette Michelson, and former Research Associate Fritz Neumeyer.  Its goal was to investigate the ways in which ideas about urban space and movement were radically redefined in the last decade of the 19th century, and to explore the complex interrelations between these ideas and their expression in architectural design and the emerging medium of cinema, as they occured throughout the 20th century.  The five-day international conference brought together architects, filmmakers, production designers, and architecture and film historians to examine the city as represented in film and its relationship to built form. Each evening several film works were shown to illustrate the ideas presented in the daytime conference sessions.

An additional program of documentary, experimental, and ethnographic narrative films was presented in conjunction with the conference.  The series ran for four weeks with nightly screenings across the city.  Developed by Center Special Project staff, the program of films was intended to represent the city not only in celebratory modes but also in critical ones.  The films were screened free of charge and were attended by over 15,000 people.

"Censorship and Silencing: Practices of Cultural Regulation," October 1993-June 1994.

Following the earlier conference on "Censorship and the Arts," held at UCLA in November 1992, planning meetings were held to discuss the nature and feasibility of the next stage of the project.  Participants included representatives from the original conveners--the Center, UCLA, and the American Academy of Arts and Sciences--and additional invited participants, including Mark Rose, the Director of the University of California Humanities Research Institute at Irvine; Robert Post, Professor of Law at the University of California at Berkeley; and Roy Ritchie, Director of Research at the Huntington Library, all of whom became members of a steering committee for the project.  The institutional sponsors were determined to be the Center, the American Academy of Arts and Sciences, and the University of California Humanities Research Institute.

The concept of the program, which took place over the course of the 1994-1995 academic year, was to create a series of lectures and panel discussions on a broad range of issues under the rubric of "Censorship and Silencing: Practices of Cultural Regulation."  Presentations--many virtual symposia--occurred at the University of California campuses at Berkeley, Irvine, Los Angeles, San Diego, Riverside, and Santa Barbara, and also at Stanford University, the California Institute of Technology, and the Huntington Library.  The Center held a final two-day workshop on "Censorship" in 1995 (see below).

"Buenos Aires 1910: El Imaginario para un Gran Capital," November 28-30, 1995.

This international colloquium was held in Buenos Aires, as part of the ongoing seminar and exhibition project "Imaging the City in the Americas" (see below). It included planning for a citywide exhibit in Buenos Aires in 1997. The symposium was co-sponsored with the Universidad de Buenos Aires, the Fondo Nacional de las Artes, the Fundación MAPFRE-América, and the Instituto Internacional de Medio Ambiente y Desarrollo IIED-América Latina. It took place in Buenos Aires. The next in the series is scheduled for Mexico City.

"Censorship & Silencing: Practices of Cultural Regulation," December 15-16, 1995.
This workshop brought together 15 scholars from the fields of law, philosophy, literature, anthropology, cultural studies, and history to present theoretical texts and case studies on issues of cultural expression, repression, and regulation. It was the final component in our "Censorship" program. Its goal was to discuss each paper critically in light of its potential contribution to a book. The meeting was co-sponsored again with the American Academy of Arts & Sciences and the University of California  Humanities Research Institute and held at the Center.

Lecture Series

"Shifting Boundaries, Contested Spaces," March-June 1992.

In planning the second of the Center's public lecture series, Thomas Reese and David Jensen held three lengthy meetings with the scholars in residence during the "Mass and Popular Culture" year to identify themes the scholars would like to explore and other scholars they hoped to involve in the projected series that would take place during their residency.  The scholars were particularly interested in exploring the rich and contradictory transactions between artists and the "culture-industries" that control mass media, as each in turn appropriates, transforms, and attempts to repossess the other's forms and techniques of expression.

This subject formed the basis of the series "Shifting Boundaries/Contested Spaces." The program achieved multiple goals for the Center with respect to generating new audiences, community contacts, and positive publicity.  The programming also represented advances in the development of new capabilities in the delivery of technical and logistical support for a broad range of lectures, panel discussions, performances, and film and video screenings with commentary by the makers.  Audiences fluctuated between 160 and 300 at each lecture.

 
Getty Seminars

"Imaging the City in the Americas: the Formation and Display of Urban Identity around 1910," 1994-1998.

This series was inaugurated as a prototypical Getty Seminar in 1994, by Thomas Reese and a Center research group that included Claudia Bohn-Spector, Research Project Analyst; Wim De Wit, Head of Special Collections; Margarita Gutman, Getty Scholar, 1993-1994; and Carol McMichael Reese, Scholar Associate. The research focus of the seminar is to consider how the image of the American city came into being and how it functioned in the construction of civic identities.  In a multidisciplinary and comparative approach to the subject, and within the context of social, political, and economic conditions of urbanization, the seminar focuses on selected cities that experienced rapid demographic change and economic expansion in the early 20th century, in order to examine the relationship between the politics of their development and their visual representation in popular culture, art, and literature.  The objective is to illuminate not only the means by which ideas and images of urban form were constructed for--as well as by--various urban constituencies, but also the full range of modernist technologies that were harnessed for these purposes.  Initial seminar sessions focused on Mexico City, Buenos Aires, and Los Angeles.

The original Center research group has now been joined by history and anthropology faculty from the University of California, San Diego; faculty from the departments of History and Spanish and Portuguese at UCLA; and the Director of Research Programs at the Huntington Library, San Marino. The format of the seminar in its first year included an hour of formal presentation in the auditorium.  Members of the seminar then reconvened around a seminar table to hear comments by invited respondents, who had read a preliminary version of the presented paper, and to join in a general discussion of the subject in its comparative dimensions.  The average seminar met for three to four hours. The seminar subsequently expanded its scope and has established parallel seminars in Washington, D.C. and Buenos Aires, where it has sponsored meetings and symposia (see above).

Los Angeles Community Programming

For many years, the Center engaged in extensive programming focused on local community cultures in Los Angeles.  The programs, which have ranged across various presentation formats--for example, readings, performances, film and video screenings, as well as more conventional lectures, have often been undertaken in partnerships with community-based arts organizations, and have spanned the traditional to the avant-garde in focus and subject matter.  Some of this programming has already been mentioned in other areas of this report.  Woven into the fabric of the Center's activities in a variety of areas, it is far too extensive to list in any comprehensive way.

One of the first activities undertaken, by a project staff assembled for the purpose of conceptualizing and implementing new programs related to Los Angeles' cultural diversity was the creation, beginning in the fall of 1992, of a database of community-based arts organizations.  From a total of 153 community organizations that were surveyed, Center staff selected 50 that they believed would make strong potential partners for the Center's future community programming

In December of 1992, the Center initiated a Community Leadership Roundtable, which was composed of approximately 40 individuals representing community-based arts organizations, artists and scholars of color, civil and corporate leaders, and representatives of dominant culture institutions in the city. Together, we discussed community needs.

Street Art/Graffiti Vandalism, September 14, 1991.

This conference and workshop was co-sponsored with the Cultural Affairs Department of the City of Los Angeles, which had worked during the year preceding the conference on a broad range of artistic and educational programs with street artists, many of whom were graffiti writers.  These programs were politically sensitive because of conflicting attitudes and policies towards graffiti and graffiti writers among different state and city agencies, as well as the angry points of view of vocal constituencies among the electorate.

The Center was able to furnish a neutral site and to provide intellectual and organizational guidance in structuring the meeting. The goal was to enhance mutual understanding among the various groups at the meeting and to make policy recommendations that might minimize contradictory policies and enforcement patterns among different agencies and groups, such as street artists, directors of city art programs, graffiti abaters, neighborhood organizers, RTD officials, Cal Trans officials, city police, criminal attorneys from the District Attorney's gang division, representatives of the City Attorney's office, the ACLU and other civil rights groups, academics, gallery artists, and city council representatives. A forty-page report prepared by Siegel & Nicholl documented the proceedings and was submitted to the City of Los Angeles.

Aesthetics of Community-Based Art Making, March 4-7, 1993.

The Center created this series of public programs in downtown Los Angeles to coincide with its conference with CalArts on "The Aesthetics of Community-Based Art Making."  The intent was to deal with basic issues raised by the arts with respect to culture, identity, democracy, and education, but also to reach beyond the Center's normal academic audience and find subjects that would attract new support for the arts as an agent of cultural change.  In addition to three sessions of the conference that were open to the public (on "Taste and Community," "Artists' Responsibilities to Communities," and "The Future of Community Arts"), there were three events, one each in a religious, a civic, and a commercial building within walking distance of one another: an evening performance, "Perspectives on LA at the Jodo Shu Betsuin Buddhist Temple," in Little Tokyo, with a sold out crowd of 182 in attendance; "Rushing Waters at the Rotunda of Los Angeles City Hall," booked to capacity at 171; and "From the Margins to Center Stage at the Bradbury Building," booked for 285 reservations with 234 in attendance.

Asian Pacific American Heritage Month (miscellaneous events), May 3-April 18, 1993.

This program included film screenings, a writer's forum, and performances. They were planned in conjunction with The Mayor's Asian Pacific American Heritage Month Committee and involved collaborations with  KCET/Channel 28, KSCI/International Channel 18, the USC Asian Pacific American Student Center, the Japan American National Museum, the Cold Tofu Theater Co., the Korean Youth and Community Center, the UCLA Film and Television Archive, and the 1993 Los Angeles Asian Pacific Film and Video Festival. Events were at various venues in Los Angeles.

Getty Night at the Ivar--"Windows...Mama, Why is LA Burning," May 22, 1993.

The Center sponsored a postperformance dialogue between audience and cast members that explored the complex issues of social and political ethics, which surfaced after the Los Angeles rebellion. The event was co-sponsored with Crystal Stair Productions and took place at the Hollywood Ivar Theater.

Urban Activism: Notions of a New LA, May 26-29, 1993.

This program included video screenings and panel discussions that focused on community responses in the aftermath of the April 1992 rebellion in Los Angeles. The event was held in collaboration with Filmforum at the Santa Monica Bay Woman's Club and Kaos Network.

In Search of A Black Middle Class: South Africa, June 2-July 18, 1993.

This photo exhibition explored the phenomenon of an emerging black middle class in South Africa within the context of the social, political and economic realities of Los Angeles' current history. The Center sponsored the exhibition, readings, and a panel discussion in collaboration with the Cultural Affairs Department of the City of L.A., the Museum of African American Art, the Black Photographers of California, and the Los Angeles Black Gallery. The exhibition and events were held at The Museum of African American Art.

LA Poverty Department Workshop: Change/Exchange, July 30, 1993.

The Center sponsored this performance methodologies workshop, where community service providers from around the nation had an opportunity to learn the process of implementing community-based arts programs in Skid Row communities.  The final public event was an interactive theater piece staged in collaboration with the homeless community and the Los Angeles Poverty Department (LAPD).

Literary Arts Festival: "Women's Voices," August 22-September 19, 1993.

In this program, the Center collaborated with the Los Angeles Festival and the Lannan Foundation, through its sponsorship of a series of readings by women writers, "New Voices/New Perceptions:  Conversations Among Women Writers of Los Angeles, Africa, and the Middle East."  Several prominent women writers were presented, including bell hooks, Nawal El Saadawi, Monica Monsour, Giaconda Belli, Ntozake Shange, Suzan Lori-Parks, Gwendolyn Brooks, Alice Walker, and many others. 

The Memory Projects: "Sexual Illegals," September 1993.

The Center documented the Hittite Empire's process/technique of collecting the oral history tradition transposed from Africa to LA's urban barbershops, where African American males share experiences, legends, and folklore, promoting male bonding and resulting in symbolic rites of passage. This research was the basis for a theater piece by the Hittite Empire that was one of five Memory Projects commissioned as part of the 1993 LA Festival. The work was co-sponsored with the LA Festival and the Audry Kinnis Skirbal Foundation. It was performed at California Plaza's Marina Court in downtown Los Angeles.

Estate Project for Artists with AIDS, October 13 & 17, 1993.

These panel discussions on cultural loss as a result of the AIDS crisis was
co-sponsored with the Estate Project for Artists with AIDS as they brought this important initiative to the West Coast. The discussions were held at the Getty Museum and the Barnsdall Art Park Gallery Theater. The first was "America's Cultural Legacy: Surviving AIDS" with Roberto Bedoya, Leonard Bloom, Fred Eggan, Essex Hemphill, Patrick Moore, and Fran Seegul. The second was "Protect and Preserve: Your Artistic Legacy" with Ron Athey, Fred Eggan, Elsa Flores, Patrick Moore, Al Nodal, and Roger Pansey.

Citycircus, November 7 & 21, 1993.

The Center curated these soundpiece performances inspired by John Cage and performed by artists Dick Higgins, Alison Knowles, and Jackson Mac Low, who studied, collaborated and were inspired by Cage's belief that any sound is a musical sound. The programs were held in conjunction with a major exhibition of Cage's work at the Museum of Contemporary Art.

Scratching the Belly of the Beast: Cutting Edge Media in Los Angeles, 1922-94, February-March 1994.

This series of screenings, workshops, and roundtables focused on  independent media practice in Los Angeles. They were collaborations with Filmforum and co-presented with the LA Central Library, the LA Municipal Gallery, the Museum of Contemporary Art, the UCLA Film and Television Archive, and Beyond Baroque Literary/Arts Center. Roundtables were held at Hollywood Moguls and the screenings at various locations in Southern California.

LA Freewaves - 4th Celebration of Independent Video, February 6-7, 1994, May 1994.

These workshops, panels, and discussions about new curatorial practices in the media of video were collaborations with LA Freewaves. The first panel, which was held in conjunction with the American Film Institute (AFI) and the National Video Festival, took place at the AFI.  The second panel was recorded at Pasadena Community Access Cable (May '94) for screening on 30 cable stations in Southern California in the fall of 1994.

Art as Trigger: The Other Weapon, March 4 & 26, 1994.

This program was held in conjunction with the Center's support of Visiting Scholar Robbie McCauley's research on Geronimo Pratt and the legacy of the Black Panther Party in Los Angeles. The research culminated in a theater production that explored the impact of specific historical events on individual  lives and how those events continue to affect a whole community today.  There were performances at a number of community venues.

Identity Dialogues: "In Conversation: Being Latino," June 1 & 8, 1994.

Artists, educators, politicians, community leaders, and scholars discussed issues of identity and its relationship to art-making & culture. These two "Identity Dialogues" focused on the construction of, and also resistance to Latino cultural identity. Panelists discussed--among other things--aspects of identity, sites where Latino identity is created and expressed, and the rapidity with which change can occur in an individual's sense of cultural identification. The first panel included Nancy de los Santos, Liz Guillen, Ramón Gutiérrez, Mauricio Mazón, and Luis J. Rodríguez; the second Gustavo Leclerc, Daniel J. Martinez, Leticia Quezada, Josephine Ramirez, and Father Juan Santillan  Both were held in the recently renovated Central Library in downtown Los Angeles.

Public Intellectuals: "Documenting the New American Ghetto," June 9, 1994.

Documentary photographer and sociologist Camilo Jose Vergara presented and discussed the documentary work that he has produced since 1977. The work included more than nine thousand color slides that he collectively titles "The New American Ghetto Archive." The series of photos are a long-term examination of the changing urban streets, structures, and inhabitants of blighted sections of major American cities. Mike Davis, author of City of Quartz: Excavating the Future in L.A.,  commented on the project.

UK/LA, September 23, 1994.

This event was a roundtable on architectural patronage and practice held in conjunction with the British Consulate as part of a city-wide cultural festival of the arts of the United Kingdom. Participants include Edward D. B. Jones, Piers Gough, Frances Anderton, Eva Jiricna. The event was held at the Pacific Design Center.

Black/Brown Relations: Are Alliances Possible? October 23, 1994.

In partnership with the Watts Labor Community Action Committee, Sony Entertainment, Inc., and the County of Los Angeles, the Center created this program that featured Cornel West (Harvard) and Jorge Klor de Alva (UC Berkeley) in a  public dialogue on black/brown relations in the United States.   Ron Wakabayashi (Executive Director, LA County Human Relations Commission) moderated the event held at the Watts Labor Community Action Committee in South Central Los Angeles. The program was continued on October 13, 1995 in a program sponsored by the Smithsonian Institution.

Spinning the Media, Making the News: Media Analysis and Opposition in the US and Eastern Europe, February 24-25, 1995.

This program included video presentations by Brian Springer, and panel discussions with Chris Hill, Jon Stout, and others that explored television's impact on public opinion. Specifically, the panels discussed how news stories are interpreted in the broadcast media, the differences between Western commercial news operations and state-run agencies of Eastern Europe, and the role of alternative media. The program was co-sponsored with Filmforum, the 90's Channel, Fairness and Accuracy in Reporting  (FAIR), and held at LACE/Filmforum.

LA Archives & Collections: In Search of Urban Histories, March 13, May 15, & July 25, 1995.

These panel discussions were planned with the goal of bringing together the communities of archivists, librarians, and scholars who are responsible for the formation and interpretation of the documentary patrimony of Los Angeles and Southern California. A secondary goal was to focus on issues of what is not collected and what can be done about the situation. More specifically, we examined the extent to which the historical image of Los Angeles at the turn of the century is reflected in area archives and collections. The role of these institutions in the construction of meaning was addressed from three vantage points:  1) institutional repositories, 2) artists and scholars as users, and 3) public and private collectors.  The first panel included Robert Marshall, Jennifer Watts, Victoria Steele, Frances Terpak, and Mike Davis; the second Doug Flamming, Dan Kwong, George Lipsitz, Pat Ward Williams, and Nancy Troy; and the third Charles Merewether, Paul Apodaca, Mayme Clayton, Carolyn Kozo Cole, and Kevin Mulroy.

Imaging the Us, April 4 & 18, 1995.

Quincy Troupe, Dorothy Allison, Isaac Julien, Gioconda Belli, Anchee Min, and Greg Sarris read from their own autobiographical work and discussed the relationships among autobiographical writing, memory, and the articulation of an "Us."  The panels were held the LA Central Library.

The Eye and the Ear: New Directions in Twentieth-Century Musical Notation, April 13 & 18, 1995.

This concert by the Southwest Chamber Music Society occurred in conjunction with the Center's "The Eye and the Ear" exhibit.  The musicians performed scores in the exhibition and discussed their methods of devising realizations from graphic notations. The forum provided an opportunity to compare indeterminate scores to a particular interpretation of them, and explore correspondence between the way the notation looks and the way the music sounds.

Representation of the African American Male, May 4, 1995.

The Center sponsored this panel discussion and public dialogue in conjunction with the exhibit "Black Male: Representations of Masculinity in Contemporary American Art" at the Armand Hammer Museum. The panel consisted of Valerie Smith, Quincy Troupe, Alison Saar, James Rhodes, Joe Hicks, Roland Charles, R. McCall Jones.

Mark Franko Dance Performance, June 8-9, 1995.

The Nova Antiqua Dance Group, led by Getty Scholar Mark Franko, performed this "memory" project at the J. Paul Getty Museum during the scholar year on memory..

Bookworm, June-August 1995.

This series of radio interviews by Michael Silverblatt with authors Quincy Troope, Dorothy Allison, Anchee Min, Isabelle Allende, Sandra Cisneros, Eduardo Galliano, Greg Sarris dealt with the subject of autobiographical writing and memory. The goal was to seek broader audiences for authors who had participated in the Center's series "Imagining the Us" at the LA Central Library. Bookworm is produced by KCRW in Los Angeles and is broadcast over 42 stations in 20 states to aboput 406,000 weekly listeners.

"Hey There, Good Neighbor," August-September 1995.

This five-part cable television series of independent film and video works by noted media artists was jointly curated by the Getty Center and the Whitney Museum of American Art, and distributed by Free Speech TV (formerly The 90's Channel, a Denver Area Educational Telecommunications Consortium).  The series, shown on cable and community access channels around the country, hopes to inspire dialogue on the role of art and culture in society and the notion of the public sphere and the value of free speech in America.

Public Space/Culture Wars:  Redefining the Cultural Public Sphere. Panel 1: Television and Cultural and Civic Life in Postsuburbia, November 28-29, 1995.

These panel discussions were held at the LA Central Library and the Newport Beach Central Library as part of "Public Space/Culture Wars," a two-year series of research projects and public programs addressing the function and significance of art and culture in public life.  Panelists included Larry Grossman, Linda Malabot, Pat Morrison, Will Swaim, Ann Friedberg, and Peter Keller.  This event was the first in a series of national library forums shaped by the Center and in collaboration with Libraries for the Future.



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