Modern and Contemporary Art

"The reason why African Americans began these places of leisure and relaxation in the outdoors was because they were excluded from going to the white establishments."

Around the turn of the 20th century, African Americans seeking to escape racism in the South began moving to Southern California in larger numbers. Like others who migrated to the Golden State at the time, they also came in search of new opportunities and seaside recreation. But discrimination prevailed, even out West, and Black Americans found themselves barred from accessing public pools, parks, and beaches. As a result, Black entrepreneurs and community builders created their own gathering spots, such as Bruce’s Beach in Manhattan Beach and Ocean Park in Santa Monica, where people of color could enjoy surf and sand. 

These successful leisure sites weren’t embraced by everyone—it wasn’t long before white residents, local developers, and members of the KKK launched campaigns of harassment. In 1922, African Americans were forced to give up plans for a beachfront project in Santa Monica. A few years later, the oceanfront property owned by the Bruce family was seized by the city through eminent domain and the resort was shut down. Today, many of these stories of Black resourcefulness and self-determination—thwarted by racist policies—have been forgotten, if not intentionally obscured. But there have been some attempts to make amends, including California’s Governor Gavin Newsom recently signing into law a new bill that will return the oceanfront property taken from the Bruce family almost a century ago to their descendants.

In this episode, historian Alison Rose Jefferson discusses these stories as documented in her book, Living the California Dream: African American Leisure Sites during the Jim Crow Era, and the need for a more inclusive look at America’s past.

California Leisure Sites Pioneered by African Americans

“You look at the thinking behind the creation of the building, but then also at the material needs. And you merge the two to really build an in-depth understanding of the building, and a path forward to preserving it.”

From the sculptural curves of the Sydney Opera House to the sliding walls and windows of the Eames House, the hallmarks of modern buildings make them easy to spot. Modernist architecture—with its signature use of industrial materials and innovative, sleek designs—emerged in the early 1900s and dominated the post–World War II building boom. Unfortunately, many of the iconic buildings from this period are now in serious need of repair but lack clear conservation plans due to the use of untested building methods and materials. How do you fix concrete that’s been damaged by ocean water, or remove graffiti to preserve stainless steel? In response to such dilemmas, the Getty Foundation created the Keeping It Modern initiative, an international grant program focused on the conservation of significant 20th-century architecture. Launched in 2014, Keeping It Modern has to date supported a total of 77 projects in 40 countries. 

In this episode, Antoine Wilmering, senior program officer at the Getty Foundation, discusses the importance and ongoing impact of Keeping It Modern.

Protecting Modernist Architecture for Generations to Come

Deborah Grant, James Ensor

In this lecture, “Night Lights in the Intaglio Print: Edgar Degas and Mary Cassatt, 1878–1882,”  Hollis Clayson, professor of art history at Northwestern University, explores the impact of new lighting technologies on the conceptualization of the modern interior on the part of the most inventive print-makers of the late 19th century. The monochrome palette used in the prints to fashion shadowy interiors punctuated by points and zones of light is analyzed in terms of both the descriptive and metaphorical roles played by the orchestration of lights and darks in the prints.

Recorded at the Getty Center on March 16, 2016

Night Lights In the Intaglio Print

The tapestry cycles installed in the Los Angeles Cathedral of Our Lady of the Angels, by artist John Nava, constitute one of the largest weaving commissions of the last hundred years. They re-introduced tapestry as a medium for monumental works on an architectural scale and incorporated modern, industrial Jacquard weaving technology. In this talk, “Making Tapestries Now: Digital Jacquard and a Renewed Form,” Nava outlines his personal experience with this technology, the fascinating properties of the form, and the developments that have followed. Support provided by Textile Museum Associates of Southern California, Inc.

Offered in conjunction with the exhibition “Woven Gold: Tapestries of Louis XIV” (December 15, 2015–May 1, 2016). 

Recorded at the Getty Center on April 3, 2016.

Making Tapestries Now

Gabriel Weisberg, professor of art history at the University of Minnesota, has spent the past five decades engaged with 19th-century realist drawings. In this lecture, “The Bleakness of Being: Realist Drawings and their Meaning,” he explores the social history of drawings and the difficult lives of the French and Belgian artists who made them, with a look at how black drawing media was used to emphasize somber themes.

Recorded at the Getty Center on April 12, 2016.

Realist Drawings and Their Meaning

Offering a behind-the-scenes look into the development of the exhibition “Unruly Nature: The Landscapes of Théodore Rousseau,” paintings curator Scott Allan considers how his evolving thinking about this fascinating 19th-century artist shaped the exhibition and informed its installation design. 

Offered in conjunction with the exhibition “Unruly Nature: The Landscapes of Théodore Rousseau” (June 21–September 11, 2016).

Recorded at the Getty Center on June 23, 2016

Théodore Rousseau

Photographer Richard Learoyd speaks with curator Arpad Kovacs about his work in the exhibition "Richard Learoyd: In the Studio" and various aspects of his photographic techniques and materials.

Recorded at the Getty Center on August 31, 2016

Getty 360

Richard Learoyd

Francis Bacon, Lucian Freud, Leon Kossoff, Michael Andrews, Frank Auerbach, and R.B. Kitaj variously appropriated, re-imagined, and took inspiration from the "Old Masters." The Getty's Julian Brooks, co-curator of “London Calling,” explores some of their interactions with the art of the past. 

Offered in conjunction with the exhibition “London Calling” (July 26–November 13, 2016) See http://www.getty.edu/art/exhibitions/london/  

Recorded at the Getty Center on September 18, 2016.

Getty360

Beyond the Past

Artist Pipilotti Rist and historian and "North of Dixie: Civil Rights Photography Beyond the South" author Mark Speltz.

Pipilotti Rist, Mark Speltz

Kimi ni Todoke OP 1

The Getty works in Los Angeles and around the world to conserve and interpret the world's artistic legacy.

Night Lights In the Intaglio Print

Getty

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