In “Hair, Heir, Heire: Paratextual Modernity and Learning from Las Vegas,” Michael J. Golec will explore how paratextual, or graphic formatting, of Robert Venturi, Denise Scott Brown, and Steven Izenour’s Learning from Las Vegas (1972) and Learning from Las Vegas (1977) influences the textual meaning of these two books.  By focusing on the photographic images in the 1972 and 1977 books and in Las Vegas Studio exhibition, Golec asks, “What can we learn from paratextual formatting such that we can have two books that can convey such distinct meanings in their material manifestations?”

Michael J. Golec is an Anshutz Distinguished Fellow in American Studies and Visting Associate Professor of Art and Archaeology at Princeton University.  He is an Associate Professor of the History of Design at the School of the Art Institute of Chicago.  And, along with Aron Vinegar, Golec is a coeditor of and contributor to Relearning from Las Vegas, published by the University of Minnesota Press. The book is available for purchase at the Graham Foundation.

Toast the holiday season and the kick off of the Graham Foundation's mini book store in the library. Please join us from 5PM to 8PM to enjoy the Graham Foundation's current exhibition, Las Vegas Studio: Images from the Archives of Robert Venturi and Denise Scott Brown, and shop its new book store for holiday gifts. All titles will be 20% off including,

...the exhibition catalogue,
Las Vegas Studio
EDITED BY HILAR STADLER AND MARTINO STIERLI

...a new collection of essays by Denise Scott Brown,
AA Words 4: Having Words
DENISE SCOTT BROWN

...classics,
Learning From Las Vegas
ROBERT VENTURI, DENISE SCOTT BROWN & STEVEN IZENOUR

Complexity and Contradiction in Architecture
ROBERT VENTURI

...recent grantee publications,
Log 20: Curating Architecture
ANYONE CORPORATION

Katarina Grosse: Atoms Inside Balloons
ESSAYS BY DAVID HILBERT AND NANA LAST

Architecture's Historical Turn, Phenomenology and the Rise of the Postmodern
JORGE OTERO-PAILOS

& more!

Book sale proceeds benefit the Graham Foundation's public programs.

On Saturday, December 4, Tali Hinkis and Kyle Lapidus of LoVid will perform with their Sync Armonica, a 9 ft. sculptural, analog, handmade A/V synthesizer.

LoVid's performances use realtime audiovisuals that are immersive, visceral and intensely colorful, patterned and rhythmic. Works combine handmade and machine produced craft, DIY electro-engineering, textile, video and noise.

LoVid is the art duo of Tali Hinkis (b. 1974, Jerusalem) and Kyle Lapidus (b. 1975, New York). Working together since 2001, LoVid’s interdisciplinary works explore social, personal and corporal experiences in the networked era. The duo’s events are playful yet aggressive, with realtime audiovisuals that are immersive, visceral and intensely colorful, patterned and rhythmic. LoVid has performed and exhibited internationally in venues such as: Real Art Ways, Urbis (Manchester), MoMA, PS1, The Kitchen, The Jewish Museum, The Neuberger Museum, The New Museum of Contemporary Art and Institute of Contemporary Art (London).  LoVid has been artist in residence at Smack Mellon, Cue Art Foundation, Eyebeam, Harvestworks, free103point9, and has received grants, awards, and fellowships from NYFA, LMCC, Experimental TV Center, NYSCA, Foundation for Contemporary Arts, turbulence.org, Puffin Foundation, and Greenwall Foundation.
http://www.lovid.org/

Presented in partnership with Lampo.

Founded in 1997, Lampo is a non-profit organization for experimental music, sound art and intermedia projects. For information and to add your name to the Lampo list, contact info@lampo.org or visit www.lampo.org.

On Saturday, November 6, Dutch artists Bas van Koolwijk and Gert-Jan Prins bring you Synchronator, a stunning audiovisual project that adds video sync pulses and color coding signals to sound. The collaborative work is a continuation on medium specific experiments  between image and sound from the early years of video art.

Bas van Koolwijk (b. 1966, Nijmegen, The Netherlands) works with video errors and digital code to create sound and image interactions. He uses self-made software and hardware applications in live performances, installations and video compositions. He has appeared at media art festivals worldwide, including Impakt in the Netherlands, Mutek in Canada, Netmage in Italy, Avanto in Finland, European Media Art Festival in Germany and Courtisane in Belgium. From 2003 to 2006 Van Koolwijk was part of Umatic, a small group of Dutch artists working in the different fields of net-, video- and sound art. He lives in Utrecht.

Gert-Jan Prins (b. 1961, IJmuiden, The Netherlands) is a self-taught artist who focuses on the sonic and musical qualities of electronic noise. In his work, Prins makes connections with modern electronic club culture, occupying a radical position with his investigation of electronic sound and its relationship to the visual. Current projects include M.I.M.E.O. (the 12-piece Movement in Music Electronic Orchestra) and a duo with Tomas Korber. Prins first appeared at Lampo in April 2004, when he performed an extended version of “Risk,” (Mego) his solo project for electronics, customized transmitters, television and AM/FM radio.
http://www.synchronator.com/

Presented in partnership with Lampo.

Founded in 1997, Lampo is a non-profit organization for experimental music, sound art and intermedia projects. For information and to add your name to the Lampo list, contact info@lampo.org or visit www.lampo.org.

Robert Venturi and Denise Scott Brown in Las Vegas, 1966 © Venturi, Scott Brown and Associates, Inc., Philadelphia

Almost immediately upon its publication in 1972, Learning from Las Vegas was hailed as a landmark in the theory of modern architecture and urbanism. For its authors Robert Venturi, Denise Scott Brown, and Steven Izenour, traditional visual techniques were no longer adequate for the analysis and representation of the city. For this reason, they made extensive use of new media such as photography and film. Photography and film served them for both the analysis and the representation of the city. Despite its prominence in architectural debates, there have been only partial attempts to locate this seminal urbanistic study within the discourse on the image of the city prevalent in the 1950s and 1960s. Exhibition co-curator Martino Stierli presents original film footage and photographs from the 1968 Learning from Las Vegas research, some of which has only been made accessible for the first time to the public in the exhibition, Las Vegas Studio: Images from the Archives of Robert Venturi and Denise Scott Brown.

Martino Stierli is an art historian focusing on modern art and architecture, born in 1974 in Zug, Switzerland, Stierli studied at the University of Zurich and holds a Ph.D. from ETH Zurich. He is currently a postdoctoral fellow at the NCCR "Iconic Criticism" (eikones) at the University of Basel working on a project on collage in architecture.

For more information on the exhibition, Las Vegas Studio: Images from the Archives of Robert Venturi and Denise Scott Brown, click here.

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