Mike Kelley’s introduction begins with a sing-along slide show promoting the Foxhill Mall. After which SCI-Arc student Mark Skiles introduces the artist Mike Kelley. Kelley discusses his early work and gives a general history of his back ground as a formalist painter. Through a chronological slide show of selected works, Kelley explains his evolution as an artist through different media. He discusses his use of narrative as well as his invented belief systems which help guide his performance. He also discusses his use of low culture symbolism to subvert societal conventions and exploit audience empathy.
Videos | Yearly Archives1995 (27)
This SCI-Arc alumni event, geared toward increasing participation, both organizationally and financially, features various faculty members addressing an assembly of early SCI-Arc students. Current and past faculty discuss their experience in the school and encourage those in the audience to do the same, hoping to strengthen the bond between the past and present of the school. In addition to the series of speakers, this event includes a video segment showing imagery from the early days of the school including community interactions, student work, and important events.
After an introduction by Ray and Shelly Kappe, Jerry Compton and Tony Spencer recreate the multimedia presentation they created to promote SCI-Arc. In the mid-1970s the presented it at many architecture schools around the country. The presentation includes scenes of the SCI-Arc community, student work and events in the development of the school.
Eugenia Butler introduces her lecture series and welcomes artist John Otterbridge and poet George Evans. John Otterbridge and George Evans compare their families and discuss the idiosyncrasies of their environments. Topics include poverty, neighborhood folklore, and work. The video ends abruptly.
The concluding 44 minutes of Eugenia Butler’s conversation with artist John Otterbridge and poet George Evans. Otterbridge and Evans compare their families and discuss the idiosyncrasies of their environments. Topics include women, war, the supernatural, and art.
Four minutes of Steve Badanes responding to audience questions, on construction and collaboration.
Artist Mark Pauline discusses his work with Survival Research Laboratories and shows videos made of shows in San Francisco and Austria. SRL works secretly in preparing for shows in order to reduce the probability of being stopped by local authorities, including using carefully crafted contracts that allow them to sue local governments and venue operators for preventing a show from taking place. Pauline founded SRL along with Matt Heckert and Eric Warner who both eventually left the group to work on their own projects. SRL operates as a network cooperating with artists such as Christian Rizzo, Chip Flynn, and Chico McMurtry. The SRL network stages large theatrical performances that feature machines as the characters.
Dolores Hayden reviews the urban history of Los Angeles in terms of cultural landmarks. She identifies her goal of re-inserting lost ethnic histories back into downtown Los Angeles, while making ethnic identities more visible in general. She challenges the modernist and pop culture histories of L. A. made popular by Charles Moore and Rayner Banham. Hayden describes “The Power of Place,” a project in collaboration with UCLA graduate students documenting the economic development of the city. She chronicles the Biddy Mason’s struggle for livelihood in a changing Los Angeles, and the commemorative Biddy Mason Park. Hayden describes three projects in collaboration with artists, preservationists and the public dealing with making the complex social history of Los Angeles visible. She argues that social history, preservation, and architecture should merge. She stresses the importance of understanding both the built and natural environments as social, economic, and physical products.
Ben Ledbetter reviews some of his inspirations and aspirations, stressing Peter Eisenman’s ways of thinking about architecture. He explains his use of the term “innerness” and how it relates formal qualities to clients intentions. Ledbetter documents a series of recent projects, including a bank in Oxford, Mississippi. He acknowledges the influence of poetry and storytelling on his work, reading several excerpts from William Faulkner, among others. He presents an exercise in urban planning for the city of New Haven, and presents a series of smaller projects in New Haven. He describes his intention of collapsing public and private space within the neighborhood. He shows a project for a new headquarters for the Neighborhood Watch association.