Frank Lloyd’s blog

Art, architecture and the people that I know.

Posts Tagged ‘1-900-ZEITGEIST

Adrian Saxe at the Minneapolis Institute of Art

with one comment

AS_COLOR copyIf you’re near Minneapolis, I hope you’ll have the chance to attend Adrian Saxe’s upcoming lecture in the Pillsbury Auditorium at the Minneapolis Institute of Art, on Saturday, June 21 at 2:00 pm. Adrian will deliver his talk as part of his participation in the Northern Clay Center’s Regis Master Series. His complementary solo exhibition at the Northern Clay Center will remain on view through June 29.

This lecture is one of many that Adrian has been invited to give over the years, and will be a good opportunity to hear from one of the most accomplished ceramic artists in the world. Recently, Adrian participated in a 2013 panel discussion hosted by the James Renwick Alliance as a Master of Medium honoree, and in 2012, Adrian spoke about his artistic practice and career at the Hammer Museum, a lecture which can be found online. Adrian also discussed his work, 1-900-Zeitgeist, in a lecture delivered in the Harold M. Williams auditorium at the Getty Center as part of the exhibition Departures: 11 Artists at the Getty in 2000.

Adrian Saxe at the Getty

with 2 comments

1-900-Zeitgeist, view b copyIn early 2000, the Getty presented an exhibition of commissioned works by Los Angeles-area artists called Departures: 11 Artists at the Getty. Organized by guest curator Lisa Lyons, the show invited artists to create works in response to the Getty’s collections. Adrian Saxe was one of the participating artists, with his wildly popular contribution, 1-900-ZEITGEIST.

Using an eighteenth century French table from the museum’s decorative arts collection as a base, Saxe produced an outrageously ornate set of vessels, riffing on the idea of a classic garniture set. Produced in bright colors with exaggerated decorative techniques, the porcelain objects synthesize a number of historical and contemporary references. With forms suggestive of Chinese scholar’s rocks, handles based on French Rococo designs, and finials made of plastic action figures, the work represents a collision between high art and popular culture. Saxe’s decision to use a treasured object from the Getty’s collection as the support for his own work contributes to the genre-defying nature of the piece.

Departures: 11 Artists at the Getty was a considerable success for the museum, as it explored the surprising ways in which contemporary art is informed by art history. It was a critical success as well, with a favorable review by David Pagel for the Los Angeles Times, praising the efforts of the museum and the individual artists.