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BMCM+AC Bookstore (@bmcbooks) • Fotos y vídeos de Instagram
"The official store of @bmcmuseum + Jargon Press. Open Mon + Weds - Sat 11am - 5pm. Visit our museum or webpage to purchase."

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blackmountaincollege  bmc  books  jargonpress 
5 weeks ago by robertogreco
Black Mountain College Museum en Instagram: “"Civilization seems in general to estrange men from materials, from materials in their original form. The process of shaping these is so…”
""Civilization seems in general to estrange men from materials, from materials in their original form. The process of shaping these is so divided into separate steps that one person is rarely involved in the whole course of manufacture, often knowing only the finished product. But if we want to get from materials the sense of directness, the adventure of being close to the stuff the world is made of, we have to go back to the material itself, to its original state, and from there on partake in its stages of change." - Anni Albers (Black Mountain College Bulletin. Series 1, No. 5. Anni Albers, Work With Material, November 1938)⠀

Emerging in the aftermath of WWI and revolting against the consumerism of the Industrial Revolution, the Bauhaus was based upon the philosophy that good design, intentional design, the melding of function and art, can change the world. The quote above, from Anni Albers' essay "Work With Material," showcases how materials play a role in this philosophy - which travelled with the Alberses to BMC. A new, modern approach offered the promise of reconnecting with not only the things we use and surround ourselves with, but with our own humanity.⠀

BAUHAUS 100 and Materials, Sounds + Black Mountain College come together to tell the story of how modern approaches to design, art and craft reconnected us with the materials our world is made of. This philosophy has inspired artists and craftspeople to continue investigating the potential of these materials. We look forward to opening these two exhibition next Friday, June 7th and hope you'll join us for opening weekend (more info through the link in our bio). [ ]"

Image: Student Bill Reed's hands at the loom, Black Mountain College, ca. 1938–42. Photograph by Claude Stoller. @albers_foundation"
annilbers  craft  making  slow  small  process  bmc  blackmountaincollege  materials  manufacturing  modernism  consumerism  bauhuas  design  art  artmaking 
6 weeks ago by robertogreco
Ruth Asawa: Visual Arts (Sculpture) | PBS LearningMedia
"Watch Ruth Asawa as she and her family assemble an expansive retrospective of her wire sculpture work for the reopening of Golden Gate Park's de Young Museum in October 2005. In preparation for this exhibition, Asawa's daughter, Aiko Cuneo, has been busily collecting her mother's work as well as selecting a variety of drawings and preparatory works. Original air date: May 2005."
ruthasawa  2005  art  artists  blackmountaincollege  bmc  sanfrancisco  deyoung  aikocuneo  hands-on  hand-made  process 
11 weeks ago by robertogreco
Ruth Asawa, a Pioneer of Necessity
"Black Mountain College was not Ruth Asawa’s first choice. Determined to be an art teacher, she enrolled in Milwaukee State Teachers College from 1943 to ’46. She chose Milwaukee because it was the cheapest college in the catalog she consulted while she and her family were interned in the Rohwer Relocation Center, in Rohwer, Arkansas. However, when she learned that her fourth year was going to be devoted to practice teaching, and that no school in Wisconsin would hire someone who was Japanese, she decided to go to art school. The war might have been over, and the Japanese defeated, but the racism it engendered was still officially in place.

This is perhaps why she and her sister Lois took a bus trip to Mexico City, where she enrolled in a newly formed art school, La Escuela Nacional de Pintura y Escultura La Esmeralda. She also enrolled at the University of Mexico, where she took a class with Clara Porset, an innovative furniture designer from Cuba who had been at Black Mountain College in 1934 and studied with Albers. Through the influence of Porset, as well as that of Asawa’s friend Elaine Schmitt, whom she had met at the end of her freshman year in Milwaukee, Black Mountain College and Josef Albers emerged as a viable American option — a small, relatively isolated environment where she had at least one friend, Schmitt.

Asawa was 20 years old when she and her sister arrived at Black Mountain in the summer of 1946. On the way there, at a stop in Missouri, they did not know whether to use the “colored” or “whites only” bathroom. Like other Asians living in America at that time (and even now), she was both visible and invisible, not always knowing which way she would be regarded.

I thought about the road that Asawa took to Black Mountain College on her way to becoming an artist when I went to the exhibition Ruth Asawa at David Zwirner (September 13–October 21, 2017), her first with this gallery, which now represents her estate. Asawa — whose work was included in the traveling exhibition, Leap Before You Look: Black Mountain College 1933-1957, organized by Helen Molesworth — is the latest postwar American artist to be rediscovered by an establishment still waking up to its racist and sexist biases.

In the summer of 1947, Asawa returned to Mexico and worked as a volunteer teacher in the town of Toluca. While she was there, she learned about the crochet loop, which the locals used to make wire baskets. The act of making a loop, or bundling wires together and tying them with a knot, is central to her work. The loop, done in profuse repetition, gave her the freedom to make a range of transparent forms and to contain other transparent forms within them. Many of these works she suspended from the ceiling. Conceivably they could grow to any size, limited only by the dimensions of the room in which they were suspended. There are a number of works done in this way in the exhibition, spheres and cones and teardrop shapes, often with another shape suspended within. I was reminded of soap bubbles stretching but not dispersing, of a form changing slowly and inevitably as it descended from the ceiling.

Made of woven wire, the sculptures oscillate between solidity and dematerialization, which is underscored by the shadows they cast. I think this aspect of the work should have been dramatized more. The strongest works are the ones made of a number of what artist called “lobes” and forms suspended within forms. When she weaves a wire sphere within a larger, similarly shaped form, it evokes a woman’s body, an abstract figure with a womb.

The sculptures with an hourglass shape underscore this association. But this connection can be extended further. In some of Asawa’s sculptures, an elongated tubular form periodically swells into a globular structure with a small spherical form cocooned inside. It is as if these are models for cells undergoing a transformation, generative organisms giving birth to a similar being. At the same time, because they are suspended, gravity is registered as an inescapable and relentless force, an invisible presence manifesting itself on the very structure of the sculpture’s body.

Through the act of weaving the artist has transformed wire — an industrial material — into a cellular structure, something both microscopic and organic. Paradoxically, the structure is a kind of armor, at once protective and vulnerable, with inside and outside visible at the same time.

In other classes of sculptures, of which there are fewer examples, Asawa bundled together wires, which she tied with a knot. These spiky constructions — which are like abstract root systems — were inspired by nature, as were the artworks Asawa made while a student at Black Mountain: small oil paintings on paper, a potato print, a work in ink on paper made with a BMC (Black Mountain College) laundry stamp.

These pieces are complemented by archival materials and vintage photographs of her and of her works taken by Imogen Cunningham. The presentation is beautiful and clean, which made me happy and yet bugged. The wall text at the entrance to the show cited the difficulties Asawa encountered because she was a “woman of color,” which to my mind dilutes what happened.

In all of the work, a simple action or form is repeated. Asawa took this lesson and made it into something altogether unique in postwar sculpture. She does not weld or fabricate. There is nothing macho about her work. Rather, she weaves; her practice, gender, and race cast a shadow over her initial reception in the 1950s in New York, when she had shows at the Peridot Gallery in 1954, ’56, and ‘58. She was a woman of Japanese ancestry making art in the years after World War II, which was a double whammy. In the Time magazine review of her first show at Peridot, the writer paired her exhibition with one by Isamu Noguchi. That same writer identified her as a “San Francisco housewife.” The Art News review of her 1956 show by Eleanor C. Munro characterized her this way:
These are “domestic” sculptures in a feminine, handiwork mode — small and light and unobtrusive for home decoration, not meant, as is much contemporary sculpture, to be hoisted by cranes, carted by vans and installed on mountainsides.

Looking at this exhibition, and thinking about Asawas’ persistence and generosity, I realized why Robert Frost’s “The Road Not Taken” has often bothered me. In that poem, read by nearly all American schoolchildren, the poet talks about taking the road “less traveled.” That is all fine and dandy if you have that choice. Asawa did not. More than once, she had to make a road where there was none. She was a pioneer out of necessity."
ruthasawa  art  artists  education  arteducation  2017  blackmountaincollege  bmc  mexico  sanfrancisco  sculpture  josefalbers  claraporset 
11 weeks ago by robertogreco
No. 360: Ruth Asawa, Angela Fraleigh – The Modern Art Notes Podcast
"Episode No. 360 of The Modern Art Notes Podcast features curator Tamara Schenkenberg and artist Angela Fraleigh.

Schenkenberg is the curator of “Ruth Asawa: Life’s Work” at the Pulitzer Arts Foundation in St. Louis. Ruth Asawa (1926-2013) was a San Francisco-based artist who melded traditional craft practices with industrial materials to make some of the most distinctive sculpture of the twentieth century. The exhibition includes 80 works including sculpture, works on paper and collages spanning the start of Asawa’s career at Black Mountain College in western North Carolina through to the intricate and complicated ceiling-hanging works of her later years. It is the first museum exhibition of Asawa’s work in 12 years and the first away from the West Coast. The exhibition is on view until February 16, 2019. A catalogue is forthcoming from Yale University Press. Amazon offers it for pre-order for $40.

Angela Fraleigh is included in “The Un-Heroic Act: Representations of Rape in Contemporary Women’s Art in the U.S.” at the Shiva Gallery at John Jay College. The exhibition includes artists such as Kara Walker, Yoko Ono, Senga Nengudi and Suzanne Lacy and was curated by Monica Fabijanska. It is on view through November 2. On Wednesday, October 3, the Shiva will host an evening symposium related to the exhibition.

Fraleigh is a painter and sculptor whose work engages issues of desire and power. Her work is in the collections of the Kemper Art Museum in Kansas City and the Museum of Fine Arts Houston."
ruthasawa  2018  art  artists  bwc  blackmountaincollege  craft  labor  work  tamaraschenkenberg  angelafraleigh  weaving  knitting  crochet  identity  arteducation  education  activism  hands-on  rural  handmade  materials  simplicity  repetition  layering  wire  imogencunningham  buckminsterfuller  mercecunningham  movement  sculpture  farming 
11 weeks ago by robertogreco
david silver en Instagram: “Every time a new semester rolls up and I scramble to prepare another syllabus, I think of the wise words of Mary “Molly” Gregory, faculty…”
"Every time a new semester rolls up and I scramble to prepare another syllabus, I think of the wise words of Mary “Molly” Gregory, faculty of woodworking (and so much more) from 1941-47 at Black Mountain College. “How,” to paraphrase Molly Gregory, “can you design a course before getting to know your students and their skills?”"
davidsilver  blackmountaincollege  bmc  education  syllabus  cocreation  teaching  howweteach  marygregory  1940s  howwelearn  listening  maryemmaharris  via:robertogreco 
january 2019 by jfbeatty
david silver en Instagram: “Every time a new semester rolls up and I scramble to prepare another syllabus, I think of the wise words of Mary “Molly” Gregory, faculty…”
"Every time a new semester rolls up and I scramble to prepare another syllabus, I think of the wise words of Mary “Molly” Gregory, faculty of woodworking (and so much more) from 1941-47 at Black Mountain College. “How,” to paraphrase Molly Gregory, “can you design a course before getting to know your students and their skills?”"
davidsilver  blackmountaincollege  bmc  education  syllabus  cocreation  teaching  howweteach  marygregory  1940s  howwelearn  listening  maryemmaharris  syllabi 
january 2019 by robertogreco
Black Mountain College Museum en Instagram: ““FBI people showed up all the time, and they looked like something out of a grade B movie [...] They always had trench coats on, and you…”
“FBI people showed up all the time, and they looked like something out of a grade B movie [...] They always had trench coats on, and you could spot them a mile away [...] And of course the students at Black Mountain put on an act for them. One of the favorite student tricks was to not have shoes on in the middle of the winter, and to crunch out a cigarette butt with their bare feet … It confirmed their worst opinions, and we did not answer any of their questions.” -Dorothea Rockburne (Interview with Connie Bostic, 2002.)


This spring, the fascinating story of BMC's FBI investigation is coming out of the shadows (along with other pivotal moments in political history, including WWII, The Great Depression, and Jim Crow) The Politics of Black Mountain College, curated by Connie Bostic, Jon Ellison, Jay Miller and Alice Sebrell opens February 1st.


Image: Dan Rice and Robert Creeley at Black Mountain College photographed by Jonathan Williams."
bmc  blackmountaincollege  fbi  education  history  politcs  conniebostic  jonellison  jaymiller  alicesebrell  jimcrow  greatdepression  ww2  wwii  dorothearockburne  jonathanwilliams  danrice  robertcreeley 
december 2018 by robertogreco
Black Mountain College Museum en Instagram: “"Albers was a beautiful teacher and an impossible person. He wasn’t easy to talk to, and I found his criticism so excruciating and so…”
[Robert Rauschenberg on Josef Albers as his teacher at Black Mountain College]

"Albers was a beautiful teacher and an impossible person. He wasn’t easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught had to do with the entire visual world. He didn’t teach you how to do art. The focus was always on your personal sense of looking. When he taught watercolor, for example, he taught the specific properties of watercolor - not how to make a good watercolor picture. When he taught drawing, he taught the efficient functioning of line. Color was about the flexibilities and the complex relationships that color have with one another.
I consider Albers the most important teacher I've ever had, and I'm sure he considered me one of his poorest students. Coming from Paris, entering in the middle of the term, and showing all that wildness and naivety and hunger, I must have seemed not serious to him, and I don’t think he ever realized the it was his discipline that I came for. Besides, my response to what I learned from him was just the opposite of what he intended. When Albers showed me that one color was as good as another that that you were just expressing a personal preference if you thought a certain color would be better, I found that I couldn’t decide to use one color instead of another, because I really wasn’t interested in taste. I was so involved with the materials separately that I didn’t want painting to be simply an act of employing one color to do something to another color, like using red to intensify green, because that would imply some subordination of red. I was very hesitant about arbitrarily designing form and selecting colors that would achieve some predetermined result, because I didn’t have any ideas to support that sort of thing — I didn’t want color to serve me, in other words. That’s why I ended doing the the all-white and all-black paintings — one of the reasons anyway." (via @rauschenbergfoundation)"
bmc  blackmountaincollege  teaching  robertrauschenberg  josefalbers  howeteach  looking  seeing  color 
december 2018 by robertogreco
School of the Alternative
Previously Black Mountain School, started in 2016 on the site of the Black Mountain College.
blackmountaincollege  education 
november 2018 by philgyford
Back to School: Re-creating Black Mountain College - Art in America
On the Black Mountain School (since renamed School of the Alternative) starting in 2016. Maybe sounds a bit… backward looking? Perhaps inevitably?
ericadawnlyle  blackmountaincollege  education 
november 2018 by philgyford
26 | Black Mountain College — Do Not Touch
"We're going back to school and learning about an arts college in the mountains of Asheville, North Carolina. For 24 years the college attracted famous teachers and produced students who would go on to achieve their own fame. I have two guests speaking to me about Black Mountain - Kate Averett from the Black Mountain College Museum + Arts Center and Professor Eva Diaz from Pratt Institute."
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october 2018 by robertogreco
Black Mountain College: "The Grass-Roots of Democracy" - Open Source with Christopher Lydon
"Our guest, the literary historian Louis Menand, explains that B.M.C. was a philosophical experiment intent on putting the progressive philosopher John Dewey‘s ideas to work in higher education. The college curriculum was unbelievably permissive — but it did ask that students undertake their own formation as citizens of the world by means of creative expression, and hard work, in a community of likeminded people.

The college may not have lived up to its utopian self-image — the scene was frequently riven by interpersonal conflict — but it did serve as a stage-set to some of modern culture’s most interesting personalities and partnerships."
bmc  blackmountaincollege  rutherickson  louismenand  teddreier  theodoredreier  sebastiansmee  taylordavis  williamdavis  2016  robertcreeley  jacoblawrence  josefalbers  robertrauschenberg  annialbers  davidtudor  franzkline  mercecunningham  johncage  charlesolson  buckminsterfuller  johndewey  democracy  art  music  film  poetry  cytwombly  bauhaus  experientiallearning  howwelearn  education  johnandrewrice  unschooling  deschooling  schools  schooling  learning  howelearn  howweteach  pedagogy  christopherlydon  abstractexpressionism  popart  jacksonpollock  arthistory  history  arts  purpose  lcproject  openstudioproject  leapbeforeyoulook  canon  discovery  conflict  artists  happenings  openness  rural  community  highered  highereducation  curriculum  willemdekooning  small  control  conversation  interdisciplinary  transdisciplinary  mitmedialab  medialab  chaos  utopia  dicklyons  artschools  davidbowie  experimentation  exploration  humanity  humanism  humility  politics 
october 2018 by robertogreco

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