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Archive: Spring 2006

Ed Ruscha/Raymond Pettibon: The Holy Bible and THE END
January 22 - April 9, 2006

Opening reception Sunday, January 22, 5-7 p.m.
Raymond Pettibon in conversation with Professor Arden Reed on Wednesday, May 3, at 4:15 p.m.


Ed Ruscha and Raymond Pettibon THE HOLY BIBLE - state II, 2003, 7-color lithograph 21 x 17 1/4 inches

Ruscha and Pettibon, as individuals, explore the tensions, congruencies, and associations of image and text. This occasion represents their collaborative work on the print series The Holy Bible and THE END, the second and third time that they have collaborated on works of art. Ruscha and Pet tibon worked with master printer Ed Hamilton at the Hamilton Press in a collaboration that engaged all three. The exhibition includes several states and proofs of the two collaborations, and new drawings by both. The exhibition is accompanied by a full-color catalogue with an essay by critic Dave Hickey and an essay by Ed Hamilton.

Long an influential voice in postwar American painting, Ruscha is also one of contemporary art’s most important graphic artists. From his earliest artist books and prints made in the 1960s to his most recent projects, Ruscha and his art epitomize both the tenets of Pop and Conceptual art with their reliance on combinations of text, image, and idea; and the culture of Los Angeles, with its close connections to popular culture, Hollywood, and the movie industry. Likewise, Pettibon and his art also have come to represent Los Angeles and its subcultures to many art historians and cultural critics. A generation younger than Ruscha, Pettibon grew up in a Southern California beach town and his seminal album covers and posters for punk rock bands of the 1970s and 1980s established his position as a figurative artist dealing with raw and often deviant combinations of popular culture (specifically comic books, crime, film and TV, politics, religion, sex, and sports); sub-cultures such as the punk rock music scene and the Southern California surfing community; and literary sources that include Henry James and Marcel Proust.


	Ed Ruscha and Raymond Pettibon THE END - state 2, 2003 2-color lithography 17 1/4 x 21 inches

Both artists examine the congruencies and disparities between high and low art and culture. Both artists are fascinated with the relationships between word and image, the textual and the visual. Ruscha’s interests stem from his early studies of commercial art, illustration, and signage; Pettibon’s from his early album covers, self-published zines, and political cartoons. Both artists’ signature styles reflect these early endeavors—for Ruscha, a continual quest to explore word and image, frequently manifesting as an iconic image combined with an oblique text penned by the artist; and for Pettibon, a singular image rendered in pen and ink, and always with text culled from a massive personal library of textual sources.

Project Series 29: Machine Projects
January 22 - April 9, 2006
Opening reception Sunday, January 22, 5-7 p.m.


	Philip Ross, Chronic Revel

For Project Series 29, Pomona College Museum of Art presents a series of events planned by artists affiliated with Machine Project, a non-profit organization based in Los Angeles. Founded and directed by artist and new Pomona College faculty member Mark Allen, Machine Project encourages and supports creativity and experimentation in art, technology, and science. Its mission is to provide educational resources to artists working with technology; to educate and collaborate with artists to produce site-specific, non-commercial work; and to promote conversations between artists, scientists, poets, technicians, performers, and the communities of Los Angeles. More...

The Senses
Selections from the Permanent Collection
January 22 - April 9, 2006
Reception in conjunction with the symposium Sense and Sentiment
Friday February 10, 5:00—7:00pm

The artists in this exhibition, in myriad ways, interrogate and complicate our understanding of the distinct qualities of individual senses. Their work incorporates the haptic and the aural, recalls the corrosive action of chemicals, evokes the splintering of light, and plays with conceptions of the weighty and weightless.

In Peter Shelton’s (PO’73) sculptures, mass, material, and biomorphic form interact in complicated ways. Denise Marika (PO’77) projects tender flesh onto steel, framed and bisected with fur. Grunting exhalations mark the effort of her repetitive movements. Céleste Boursier-Mougenot creates installations in which sound and sculptural form merge and which he describes as improvisational musical performances. Helen Pashgian’s (PO’56) epoxy resin painting captures and fractures light. The human form floating in Sandeep Mukherjee’s drawing seems to hover between states. Drawn in precise anatomical detail, it recedes and reappears in washes of color as if fluctuating between form and field of energy. Susan Rankaitis builds complex layered images that draw attention to the physical chemistry of photography. Allan deSouza’s scanned family snapshot, laden with the accumulation of the physical detritus of the living body, anchors photographic representation to the physical. Robert Stivers blurs the distinctions between stasis and motion, as well as between flesh and sculpted marble, drawing attention to the less obvious haptic differences between the inert and the conscious.

5 from '56
April 27 - May 14, 2006

Alumni Weekend
April 28 - 30, 2006
Reception: Friday, April 28, 10 - 12 p.m.

Veneficium Verum Propriorum

Senior Exhibition
April 27 - May 14, 2006
Reception: Wednesday, May 3, 7 - 9 p.m.