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THE
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The
Dow (1999) |
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LG WILLIAMS received his M.F.A from
the University of California, Davis
and B.A. from the Kansas City Art Institute.
He also holds an honorary Ph.D. from
ISSA, Cedar Rapids, IA. Williams has
taught art, art history and art appreciation
courses at the University of California-Davis,
University of Southern California, California
College of the Arts, and the University
of Hawaii, to name a few. Author of
many books and publications on art,
art criticism, and poetry, Williams
has appeared in Modern Painters, Juxtapoz,
Artweek, Art Papers, Village Voice,
San Francisco Chronicle, Honolulu Bulletin,
Sacramento Bee, LA Weekly, Maui Weekly,
SF Weekly, and The Bay Guardian. Williams’s
recent curatorial projects include Wally
Hedrick’s, War Room, at San Francisco
International Art Fair.
His
most recent book,
Drawing Upon Art:
A Workbook for Gardner's Art Through
the Ages: (Cengage Publishing),
is due out January 2009.
LG
Williams is also an established visual
artist with an extensive national and
international exhibition schedule. His
works have been shown at various venues,
among them the Lance Fung Gallery, Steven
Wirtz Gallery, Gallery Subversive, Yerba
Buena Center for the Arts, di Rosa Art
Preserve, and Lucerne Kuntzpanaorama.
His artworks are featured in many important
museums and private collections. According
to Kenneth Baker, an art critic for the
San Francisco Chronicle, “Williams
wants to hold open a space in which painting
might resume in earnest.” Three
catalogue raisonées are devoted
to the artist: Point of No Return: LG
Williams, 2003–2005; LARGE: LG Williams,
2002-2003; and LG Williams: An Appreciation,
1985-2000. His most recent work is the
House Where The Bottom Fell Out, Iao Valley,
Maui; 2008. Williams has won many awards,
among them, 1992 Award of Excellence,
was included in the 2005 Western Biennial,
and honored by induction into the Rat
Bastard Protective Association in 2001.
His design firm, lgofbeverlyhills, has
recently appeared in Modern Painters,
Juxtapoz, Nylon, LA Weekly and The Encyclopædia
Britannica.
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LG
Williams, Contemporary Landscape #4, 2004,
30 x 40", Mixed Media on Canvas |
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As
the Global Financial Crisis Escalates,
One Artwork
Stands Out From the Rest
LG
Williams, House
Where the Bottom Fell Out
Hawaii Foreclosures Tripled in
Year
(Honolulu
Bulletin, November 13)
Paulson
Says Treasury Is Shifting Focus
of Bailout (New
York Times, November 13)
Ala Moana Mall, Ward Center Owner
Facing Bankruptcy
(Honolulu
Bulletin, November 12)
Lobbyists
Swarm the Treasury for a Helping
of the Bailout Pie (New
York Times, November 12)
Democrats Seek Help for Carmakers
(New
York Times, November 11)
The Worst Week in History for
the Dow
(New
York Times, October 10)
House
Rejects Bailout Package, 228-205;
Stocks Plunge (New
York Times, September 30)
Contemporary Museum Lays Off 25
as Endowment Loses Value
(Honolulu
Advertiser, Sept 26)
Wall St. in Worst Loss Since ’01
(New
York Times, September 15)
Treasury Acts to Shore Up Fannie
Mae and Freddie Mac
(New
York Times, July 14)
House
Art: A Site Specific Sculpture
by LG Williams (Maui
Weekly, June 19)
House
Where The Bottom Fell Out
(November 2007)
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House Where The Bottom Fell OUt ,
2007, Site Specific Structure |
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House
Art
Sasha J. Schorr
| MauiWeekly.com
| Thursday, June 19, 2008
Site-specific
art reflects economic and
global conditions.
Nestled in
the valley near the ‘Iao
Needle in Wailuku lies an
eclectic piece of self-proclaimed
artwork by LG Williams,
a peculiar artist who interprets
art where the majority view
rubbish.
Amidst a pristine
valley sits a beaten up,
rundown home that Williams
has defined as art. He calls
this project House Where
the Bottom Fell Out. Originally,
Williams said he found people
squatting in the area of
this forgotten home, and
at one time, Williams chose
this house as his residence.
“I was
going through a hard time
of my life when I lived
there,” said Williams
in reference to his embodiment
of a metaphor, as the bottom
seemingly fell out from
under him.
Williams,
who moved to Hawai‘i
last year, has a long history
of making site-specific
art—art created and
intended to exist and be
viewed in a specific place.
Or, he said, you might simply
call it “house art.”
Williams’
choice of the term “house
art” is a pun that
spins against house music,
a style of electronic music
developed for dance clubs
in the late 1970s and early
1980s. Additionally, this
jest can also ring true
when considering that house
music was not vital in a
house but was played more
often in clubs and discos.
Generally,
in the last 20 to 30 years,
there has been a trend toward
creating art within and
around the structure of
a house. Older examples
include Paul Cezanne’s
paintings of houses in valleys.
Cezanne presented a series
of paintings of houses and
landscapes, such as depictions
of Mont Sainte-Victoire
from 1880 to 1883 and others
of Gardanne from 1885 to
1888. Partially Buried Woodshed
is a work of land art created
by Robert Smithson created
at Kent State University
in January 1970, where apparently,
Smithson expedited the decomposition
proc-ess. Gordon Matta-Clark
was best known for site-specific
artwork he made in the 1970s.
He is known for cutting
houses in half. His work
involved a series of projects
in abandoned buildings in
which he removed sections
of floors, ceilings and
walls.
“House
Where the Bottom Fell Out
is juggling multiple levels
of complexity,” said
Williams. “There are
direct references that are
introduced within the entirety
of the work.”
This ironic
piece is reflective of the
real estate industry in
that it is bottoming out.
According to The Honolulu
Advertiser, on Sunday, May
25, Hawai‘i’s
mortgage lenders saw a nearly
50 percent drop in business
in the first three months
of the year as home sales
slowed and lending rules
were tightened. Similar
to the house in the project,
“The industry is bottoming
out,” said Williams.
Williams said
that since you can’t
actually enter the house,
it’s also a metaphor
for his work as a foreigner—a
tourist in a land that can
never fully connect with
the roots of the native
way of life. And he waxes
on about how “perceptive
materiality and spatiality
changes drastically from
opaque, semi-transparent
and transparent.”
But there’s also the
sense of falling, which
is the sensation that many
get when viewing the house
for the first time. “That
and the smell of dirt,”
Williams added.
House Where
The Bottom Fell Out evokes
a contrast between its location
set amidst the natural beauty
of ‘Iao Valley and
the destitute nature of
the dilapidated house, further
drawing parallels to society’s
home at-large and our current
state of global warming.
“The bottom has fallen
out from the home that houses
all of humanity; in that
sense this artwork is a
memorial,” said Williams.
Williams’
sculpture was inspired by
and dedicated to the Los
Angeles gallerist Merry
Karnowsky. Williams draws
his true form of motivation
for living and heartfelt
connection from Performance
Enhancement Specialist Katherine
Wilder.
House Where
The Bottom Fell Out is intended
to be experienced over an
extended period of time,
and visitors are encouraged
to spend as much time as
possible near the house,
especially during sunset
and sunrise. To witness
the house, visit 2801 Mulliwai
St. in Wailuku, or visit
www.lgwilliams.com. To contact
the artist directly, email:
info(at)lgwilliams.com or
call (206) 312-8300. |
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House
Where The Bottom Fell Out
Dr. Julia Friedman | November 2007
Where The Bottom Fell Out (2007)
by the American artist LG Williams
is a work of self-proclaimed
'House Art' (i.e., Site-specific
art), located in a remote area
of Maui, Hawaii, called Wailuku.
Williams considers this installation
to be one of his most important
artworks to date.
Description
The site-specific sculpture,
House Where The Bottom Fell
Out, is one plantation style
house, approximately 2010 square
feet, with the entire floor
completely removed from the
building. The structure is unique
in that it is cantilevered alongside
a great valley rift; and, as
a result, the site offers an
opportunity for viewers to see
the entire artwork comprehensively
as a whole.
The suspended building's artistic
modifications make the primary
nature and intent of the site-specific
sculpture perfectly clear: one
can view the house, not only
from above, ground-view, or
below, but also from the exterior
into the interior space (through
doors, windows and cracks),
and further still, back beyond
through to the exterior background
landscape. For viewers, the
result is a distinct interactive
experience of walking around
and viewing the sculpture's
changing features.
The sculpture cannot be walked
on or in--as the artwork's title
illustrates, the artwork does
not have a floor to stand on.
As one surveys the sculpture,
shifting one's perspective,
additional key formal elements
of the sculpture appear: the
massive sculpture's perceptive
materiality and spatiality changes
drastically from opaque, semi-transparent
and transparent. Similarly,
one can look at, into and through
the structure to the surroundings
and breathtaking vistas of the
sacred Iao Valley.
''House Where The Bottom Fell
Out'' is intended to be experienced
over an extended period of time,
and visitors are encouraged
to spend as much time as possible
near the house, especially during
sunset and sunrise. In order
to provide this opportunity,
sculpture administrators offer
early morning and evening visits
during the months of May through
October.
Privately commissioned and
permanently maintained by Telephonebooth
Gallery, Kansas City, and LG
Williams, ''House Where The
Bottom Fell Out'' will soon
be recognized as one of the
early 21st century's significant
works of art.
Meaning and significance
Aside from its sheer bold presence
and audacity, the installation’s
witty and comprehensive puns,
cultural and personal references
make it a remarkable, unforgettable
artwork. Coupled with a many-faceted,
metaphorical presence, the sculpture
also becomes a powerful political
and social image to consider.
From the start, Williams's
choice of the term 'house art'
is itself a highly loaded, coy
pun; in that, Williams, a caucasian
artist, spins the word-play
'House Art' against 'House music',
a style of electronic music
developed for dance clubs in
the late 1970s and early 1980s
and popularized primarily by
blacks and Latinos. Additionally,
this jest can also ring true
when one considers that house
music was ''not'' vital in a
'house', but in dance clubs;
whereas Williams's 'house art'
is ''strictly'' residential.
In fact, this 'house art' is
an 'art house'.
Furthermore, in this local
region of Hawaii, the word 'house'
(pronounced: how-z) wittingly
evokes the term Haole, (pronounced
by a caucasian as: how-le),
which in the Hawaiian language
means "foreign" or
"foreigner" <ref>Haole|See
Wikipedia: Haole</ref>.
This, in itself is a poignant
but humble, self-referential
proclamation by the artist as
"an artist and a tourist"
in this sacred, magical Hawaiian
setting. In fact, this theme
is amplified by the notion that
the viewer must always remains
outside of this artwork, unable
to enter it as the house has
no floor to stand on.
As a perpetual tourist/outsider
to this artwork and remarkable
territory, the sculpture subtly
posits the notion that one will
forever remain on the outside,
personally, artistically and
culturally, in this site-specific
aesthetic situation. Thus, if
follows that, and one cannot
avoid considering -- while visiting
and experiencing this artwork
-- the 100 years dispossession
of native Hawaiians of their
land and their sovereignty,
wherein Hawaii's citizens were
automatically made U.S. citizens,
prodded to drop their own identities
and to accept "Americanism."
The great sense of loss of Hawaiian
sovereignty, land, and its "dropped
identities" is again articulated
imaginatively in the bottomless
rooms and hallways of this highly
reflective, evocative, but ultimately
transparent artwork.
In contemporary, personal and
social terms, ''House Where
The Bottom Fell Out'' highlights
the present-day plight of the
Subprime mortgage crisis, which
occurred when a sharp rise in
home foreclosures started in
the United States during the
fall of 2006 and became a global
financial crisis during 2007
and 2008. In effect, during
this crisis the "bottom
fell out" of the entire
US housing market and many families
lost their homes. And indeed,
during this period the artist,
himself, lost his home, too.
The 'bottom fell out' when he
was personally betrayed by his
closest friends in Los Angeles,
California, and tossed out of
his house with only a plane
ticket and a $200 loan. As a
result, the artist took to living
in the streets and abandoned
buildings and beaches of Maui,
Hawaii. This is the story of
how the artist first came across
the abandoned building and future
artwork which for a while was
the artist's house and shelter.
The unmistakably sad and destitute
nature of ''House Where The
Bottom Fell Out'' clearly harks
to the artistry of another fellow
Californian, the musician Tom
Waits, specifically the song,
'House Where Nobody Lives'.
The artwork's bleak imago and
prognostication is counterbalanced
by its strategic, picturesque
placement. Nestled upon an ancient
valley between breathtaking
mountains and the Pacific Ocean,
''House Where The Bottom Fell
Out's'' jarring contrasts invariably
leads a viewer to a quick realization,
a contemporary assessment of
human society's 'home' at-large.
Quoting James Lovelock, "any
efforts to counter global warming
cannot succeed, in fact, it
is already too late." In
effect, says Williams, "the
bottom has fallen out from the
home that houses all of humanity;
in that sense this artwork is
a memorial." Macro and
micro merge within the viewer,
and there is hell to pay.
It is this rich layering of
image, puns and metaphors that
distinguish Williams's, ''House
Where The Bottom Fell Out'',
from traditional, cut or paste
approaches to architectural
sculptures like those of Gordon
Matta-Clark, and the conventionally
episodic themes consuming human
history like Partially Buried
Woodshed by Robert Smithson.
Instead, Williams's imagery,
ambition, and multi-faceted
transformative artistic agenda
clearly beckons the artist Paul
Cezanne, especially in light
of Cezanne's innovative practice
of using spatial planes, and
his exploration of visual perception
intersecting with the human
imagination. One can see these
conscious artistic concerns
clearly in a series of paintings
of houses and landscapes by
Cezanne of Montagne Sainte-Victoire|Mont
Sainte-Victoire from 1880-1883
and others of Gardanne from
1885-1888. Furthermore, the
learned observer will note the
House's subtle, inverted reference
to Williams's colleague Wally
Hedrick (1928-2003). In contrast
to Hedrick's War Room (Artwork)
(1967-2002), where the destructive
artistic force directs the viewer
skyward (ceiling opening), thus
emphasizing the transcendental
quality of space, Williams’s
House forces the viewer's gaze
to plummet earthward (floor
removed).
Williams's own persistent emphasis
upon the centrality of 'embodied'
metaphor in this artwork relies
on the pioneering research and
writings of the artist's friend,
George Lakoff.
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LG Williams, The Man Who Knew Infinity
#11, 2007, Mixed Media |
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Outrage
Over Price of LG Williams's Artwork
2008-05-19 By US
Art Today
Everyone
Offers a Reason: Inventory is
Low, Big Collectors are Smart
and Fearless, Artist is Greedy
For Immediate Release:
Collectors facing spiraling
art prices on the first long
holiday weekend of the summer
are on their own, gallery and
museum officials say, with one
warning that "market forces"
and green policies may drive
the price for LG Williams's
artwork to $40,000 a painting.
As prices jumped above $30,000
a painting at most art galleries
yesterday, an art gallerist
said future price hikes are
inevitable if the frenzy continues
to demand art from Williams.
"Everybody here knows LG
and that the price of his art
is dictated by market forces,"
somebody told the Art Investigator,
accusing the detractors of being
"hypocrites" for complaining
about LG?s art prices while
he continues to toughen his
aesthetic measures while surmounting
his earlier accomplishments.
"Its just bullshit. People
make lots of noise and they
deny it, but those are the facts.
Under the current low concept
/ demand aesthetic ... the price
of high calibre art like that
from Williams will rise by 60
per cent," the spokeperson
said. "They may want to
go back and talk to their own
collectors and see if they can
get a resale LG Williams artwork,
which they can get for $20,000
- $50,000 depending on the artwork."
But the reality of $50,000+
artworks for LG?s art was nightmare
enough for San Francisco art
collectors pulling into his
exhibition yesterday.
Still, buying an artwork at
his Los Angeles gallery, Paul
Wilson estimated the visit would
cost him $40,000.
"The art is just freaking
killing me," he said. "It's
just murder. It's just unreal.
The cost is ridiculous?.but
shit I GOTTA HAVE ANOTHER LG
ARTWORK!"
Jennifer Harris said big collectors
should have seen it coming.
"It's always like this,"
Harris said as she filled her
SUV with LG?s art. "They
spiked it up again this month,
the fucking dealers. They spike
it up even on the off-season,
during the summer. They always
have an excuse. It's output
problems, or it's terrorism
in the Middle East, or hurricanes.
Or, LG is on vacation in Hawaii.
Art is mostly bad everywhere
else, but this is no reason
for spiking LG?s prices."
Some experts agree with her.
Conservative art watchdog Dan
McTeague said art galleries
and museums are now making a
60-cent profit on every LG artwork
sold. Hugh Mackenzie, an art
policy analyst with the American
Centre for Art Alternatives,
wrote in a report last week
that consumers are paying 15
percent an artwork more than
justified by costs and historic
industry profit margins.
"Art pricing is pretty
simple," he said. "It's
about charging what the market
will bear."
At some blue-chip art galleries
the price was up to $40,000
for LG Williams's art, renewing
calls for tougher legislation
to prevent anti-competitive
behaviour from the art galleries
and museums.
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LG Williams, 2008,
Stupid Morons - Amateur Imbeciles
- Complete Idiots, 25 x 35 x 8',
Lettering on Wall
Photo: Abandoned Gallery Installation,
Wailuku, Hi |
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LG
Williams, 2008: Abandoned Gallery
Installation, Wailuku, Hawaii
Abandoned Gallery To Debut First
Major Hawaiian Retrospective Of
The Work Of LG Williams
WAILUKU, March 3, 2008
by Abandoned Gallery, Wailuku,
HI
LG WILLIAMS: IF YOUR NOT LAUGHING
AT THE MORONS YOUR TOO BUSY
DRINKING is a comprehensive
examination of Williams's remarkable
and cohesive oeuvre, assembling
key selections and bodies of
work from throughout his nearly
twenty-year career. The exhibition
represents the full range of
Williams's art, from the early
paintings of the 2000s, to the
artist's renowned "specific
and general" works—works
using language that have characterized
his art since 2008. Also included
are works on paper, films, videos,
books, posters, multiples, and
audio works. In conjunction
with the exhibition, a series
of Williams’s films will
be screened at Wailuku’s
Anthology Film Archives.
As co-curator Don De Salvo
remarks, “By jettisoning
the most fundamental notions
about the art object and its
dissemination, LG Williams arrived
at a form that has made it possible
for him to insinuate his art
into the world—the arena
he sees for his work. His works
exist on the façades
of buildings, as song lyrics,
as tattoos on bodies, and of
course on the walls of galleries.
A compilation of these efforts
reads more as atlas than exhibition
catalogue.”
Williams has defined art as
"the relationship of human
beings to objects and objects
to objects in relation to human
beings," and that premise
remains at the core of all of
his work. As a pioneer of Hawaiian-conceptual
art, Williams began in the 2000s
to create works that were central
to the ongoing debate on the
nature and meaning of art. Williams
was at the forefront of a radical
shift in which language or text
emerged as a primary medium
for the making of art. These
artists challenged the “object
status” of painting and
sculpture, proposing that the
idea and intention of the artist
were as important, if not more
important, than the object that
resulted.
As co-curator Akana Goldstein
writes in the accompanying catalogue:
“Williams’s employment
of language allows the work
to be used by its receiver.
It is purposely left open for
translation, transference, and
transformation; each time the
work is made, it is made anew.
Not fixed in time and place,
every manifestation and point
of reception is different—each
person will use the work differently
and find a different relationship
to its content.”
This exhibition examines Williams's
work from his first studio-based
manifestations (as Williams
refers to the realization of
his works), which were included
in his landmark 2008 book, to
later works that address the
physical and cultural landscape,
and introduce figures of speech,
punctuation, and graphic devices.
The installations at both the
Abandoned Gallery will be designed
in close collaboration with
the artist. Williams’s
practice expands into the world
– from the spaces of the
gallery to the streets of the
city.
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THE OFFICIAL WEBSITE FOR
LG WILLIAMS. LG Williams is one
of the foremost young artists working today. He is famous for his
distinctive art and action-based artworks, but LG has also been actively
engaged in an extraordinary range of media, including sculpture, performance,
installation, design, furniture, posters, mail art, ceramics, artists
books, and poetry, as well as critical writing, textbook writing,
gallery management and curatorship, art security and various forms
of arts advocacy. LG Williams received his Bachelors of Art degree
in Art at the Kansas City Art Institute, and his Masters of Fine Art
degree in Art at the University of California, Davis. LG's interest
in art includes the practice and theory of high-level art-making and
thinking-centered art for homes, offices, businesses, galleries, corporations
and museums.Currently, LG is an artist, art professor, gallery director
and consultant, design firm founder and partner/co-principal investigator
of LG Art Security Services.LG has participated in no less
than 100 exhibitions since 1987 in the most prestigious venues, including
top-flight galleries such as Steven Wirtz Gallery and Lemon in Honolulu;
California Fine Arts and miracle galleryÔ both in Los Angeles; dai
bak hapÔ gallery in Berkeley; Lance Fung Gallery in New York; and
(regularly since 1999) the infamous HI Gallery in Honolulu; as well
as such high-profile art institutions as Yerba Buena Center for the
Arts and di Rosa Art Preserve in San Francisco.Over 155 of LG’s artworks
have been included in important public and private venues all across
the United States and the world: the Whitney Museum, the Guggenheim
Museum, the Museum of Modern Art, and the Metropolitan Museum of Art,
all in New York; the Art Institute of Chicago; the San Francisco Museum
of Modern Art; the Los Angeles County Museum of Art, the Getty Museum,
both in Los Angeles; the Menil Collection, Houston; the Nelson-Atkins
Museum of Art, Kansas City; the Oakland Museum; the, Pittsburgh; the
Berkeley Museum; and the Fogg Art Museum, Harvard.LG’s work has evoked
a flood of published and unpublished commentary and discussion, both
positive and negative, in a wide variety of forums and contexts in
this country and abroad. A number of major books and exhibition catalogues
are dedicated solely to the artist; foremost of these is the recent
400+ page catalogue raissoné LARGE: LG Williams 2002-2003,
produced on the occasion of his 2003 Linc Art Duct and Covered
exhibition and published by the notorious PCP Press, one of the
nation's leading underground artist-scholarly presses for contemporary
art and cultural issues. LG Williams: An Appreciation 1985-2000
is another comprehensive book on LG’s (early) work published in 2002
by PCP Press, and reissued by PCP Press in 2003. Critical commentary,
discussion, reviews, etc., devoted to LG’s work or art opinions have
appeared in leading contemporary art journals (Village Voice,
Artweek, and Art Papers), as well as in the most important public
journals of national interest and media criticism (San Francisco
Chronicle, The Wall Street Journal, Honolulu Bulletin,
and the Bay Guardian), with notable mention in more general
audience venues such as The Daily Californian, East Bay
Express, Modesto Bee, Berkeley Voice, and The
Sacramento Bee.LG Art Security ServicesÔ(LGASS), founded
with the scandalous Los Angeles artist Carl Fiacco, is privately funded
by many art trusts, foundations and institutions. This boutique art
security agency is a nationally based art security and art safety
company. Based in San Francisco, Los Angeles, San Diego and Honolulu,
this security firm is exploring high-leverage ways to develop art
security with under-recognized 12-step techniques such as honesty,
truthfulness, lawfulness, fairness, and abstinence.Most recently,
in the summer of 2003, LASS completed a dynamic collaborative
performance-project with the prestigious Yerba Buena Center for
the Arts (YBCA) in San Francisco. The focus of the research-art
project was art security and awareness, inquiry-based methods of art
protection, and an analysis of the safety of art that aims to develop
art patrons and students' empathic skills by looking at beautiful
and handsome art security guards while discussing art security. The
project involved the assessment and revision of the YBCA’s
art security practices, targeting written materials, museum procedure,
art security methodology, and after-hours cocktail and hot-tub parties.
Special attention was given to the YBCA's potential to extend
critical art security thinking skills and attitudes, especially in
regards to notions of beauty, gender and pharmaceutically derived
modalities of transcendence.In addition to his art practice, LG frequently
serves as an art advisor and consultant to a variety of organizations
and institutions concerned with thinking-centered art practices, acquisitions
and exhibitions (for example Linc Art, San Francisco;
Lucerne Kuntzpanaorama, Lucerne, Switzerland;and Sonoma State
University, Rohnert Park). Most recently, he assisted in
bringing the legendary Beat Artist Wally Hedrick’s 1967 War Room
to the 1993 San Francisco International Art Fair where it stunned
the audience and merited best of show by the San Francisco Chronicle.LG
has written extensively about art and has authored and co-authored
over 40 art catalogues, books, workbooks, poetry books, and curriculum
materials about high-level art thinking, its pedagogy, and its future.
His academic work focuses primarily upon the development, progression
and understanding of the visual arts--namely, the visual language
in combination with artistic genius. This intellectual work in the
visual arts focuses on sensitivity to complex aesthetic combinations
of color, form, line, text and composition. He has also worked in
the area of general art appreciation and education in the visual arts,
and was the principal author of the workbooks Drawing Upon
Art: A Handbook For Art and Art Appreciation (PCP Press, 1996)and
The Drawing Handbook: Mandarin Ruminations on The Art of Drawing
(PCP Press, 2001), which present an innovative art history/appreciation
and art studio program. His work in the history of art has focused
exclusively upon the understanding and discovery of artistic genius.
LG is the author of Y2K and Modern Art: Why The Modern World
and Great Art Is Incompatible (PCP Press, 1996), and Gorgeous
Nonsense: The Missing History of Artistic Genius (PCP Press,
2003). The most recent book explores the many misconceptions surrounding
the few spectacular masterpieces of Western Art, and sheds light on
the significant meanings, importance and challenges of their artistic
greatness. For ordering information please contact PCP Press www.cafepress.com/pcppress
or the legendary City Lights Bookstore in San Francisco.LG’s artistic
and academic dedication, reputation and accomplishments have earned
him widespread critical acclaim and national prestige. He has
won the Award of Excellence, the Kent Blossom Award,
the Broody Firecrest Denomination (BFD) Award, and the internationally
acclaimed Rat Bastard Award. Also, LG has been nominated
on many occasions for the SECA Award (Society for the Encouragement
of Contemporary Art), one of San Francisco’s most prestigious honors
for young emerging artists, the John S. Guggenheim Memorial Foundation
Award, the John D. and Catherine T. MacArthur Fellowship
Award, Phi Beta Kappa Teaching Award and the National Endowment
for the Arts, as well as numerous honorary degrees.For further
information please visit LG’s website at: www.lgwilliams.com
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