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Daniel Buren: L'Abandon de l'Atelier et ses consequences or 'The Desertion of the Studio and its Implications'

Twentieth Annual Getty Lecture Series

Sponsored by USC School of Fine Arts, The Getty Oil Company

Mon, April 7, 2003 from 7:30 pm to 9:00 pm

Admission: Free

Andrus Gerontology Center (GER)
Andrus Gerontology Auditorium
University Park Campus

RSVP via E-mail

Presented by the USC School of Fine Arts, French painter and conceptual artist Daniel Buren delivers the first lecture in a three-part talk as part of the Twentieth Annual Getty Lecture Series.

USC School of Fine Arts presents a rare opportunity to listen to one of the greatest French conceptualists of his generation: Daniel Buren.

In this first lecture, Buren discusses the foundations of work from Cité des Fleurs, Paris to the Solomon Guggenheim Museum, New York (1965 to 1971).

In part two, Buren examines his "Works in situ, or on site, from StadtMuseum, Mönchengladbach to Centre Pompidou, Paris (1971 to 2002).

Lecture nights one and two (April 7 and 8) are scheduled at the USC Andrus Gerontology Auditorium.

An opening night reception in the foyer of USC Andrus Gerontology Center, from 7:00-7:30 PM, kicks-off USC's Annual Spring Festival of the Arts.

In the third and final lecture, Buren discusses "Public Works: from Palais-Royal, Paris to Kanazawa in Japan (1985 to 2002) at LACMA's Bing Auditorium.

Buren's exhibitions and installations are focused solely on the context of their architectural and institutional settings or "in situ" as Buren describes it. Protesting traditional art, Buren abandoned the idea of painting as object. He reduced his paintings to a series of uniform, vertical bands. This enabled him to link together the interior exhibition space and the exterior of the museum or gallery building.

Buren offers only the following as his official biography: " Daniel Buren was born in 1938 in Boulogne-Billancourt, France. He lives and works in situ." This limited biography, from the most important French conceptualist of his generation, does not mention his schooling at Ecole Nationale Supérieure des Métiers d'Art in Paris or his manifesto with the BMPT group's Olivier Mosset, Parmentier, and Niele Toroni. Nor does it offer a retrospective list of his exhibitions and oftentimes-contentious creations in the streets and metros of Paris, in the Solomon Guggenheim Museum in New York, and in the courtyard of the Palais Royal in Paris.

Seating is limited. Please arrive early.

 

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