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Structures and Systems: An Intercontinental Art World
October 1, 2004: Panel Discussion at LACMA
October 2, 2004: Full-Day Conference and Performance at the Getty Center

September 20, 2004

Los Angeles—The Getty conference Structures and Systems: An Intercontinental Art World will take place October 1– 2, 2004, examining the affinities between vanguard artists working in South America, Europe, and the United States in the 1960s and 1970s. The two-day event includes a panel discussion at the Los Angeles County Museum of Art (LACMA) and a day-long conference and evening musical performance at the Getty Center. 

An Intercontinental Art World is the second event in the Getty's two-part Structures and Systems series, which examines the radical transformations in the art world, beginning in the late 1950s, that redefined the concept, form, material, production, and function of artwork. The series is organized by the Getty Research Institute in association with LACMA and the Museum of Contemporary Art, Los Angeles (MOCA), to coincide with two major Los Angeles exhibitions of art characterized by simplified forms and systematic strategies.

Presented in conjunction with the current LACMA exhibition Beyond Geometry: Experiments in Form, 1940s–1970s, An Intercontinental Art World focuses on mutual influences among artists and movements on three continents. It looks at such shared interests as collaborative modes of making art, kinetic and ephemeral art, and the employment of geometric forms towards radical or utopian ideals. The event will feature discussions among noted artists, scholars, dealers, and museum professionals, along with screenings and performances. The conference will close with a special performance at the Getty Center featuring music from the cutting-edge but short-lived Brazilian Tropicalia movement, including works by famed musicians Caetono Veloso and Gilberto Gil.

An Intercontinental Art World marks the launch of the Getty Research Institute's 2004–2005 theme, "Duration," which explores the temporal nature of art. The events will be among a slate of programs offered to support the work of scholars from around the world working in residence at the Getty Center on projects related to "Duration." The theme provides a much-needed forum for research in this expanding area of contemporary art. Time, including longevity, has always been a question for art, but recent trends towards such ephemeral art forms as video installation raise questions that do not arise in more static forms such as painting, sculpture, and architecture. The Structures and Systems series reflects the Getty Research Institute's new contemporary programming effort aimed at incorporating modern art and artists into the Getty's schedule.

The first Structures and Systems event, Minimal Art in the United States, was held in May as part of the programming related to the Getty Research Institute's 2003–2004 research theme "Markets and Value." It was presented to coincide with the MOCA exhibition A Minimal Future? Art as Object 1958–1968. That conference examined the revolution in the art world brought about by the embrace of starkly reduced forms, the use of novel materials, and the emphasis on experimental modes of perception that challenged the structures and systems of the art world. 

Structures and Systems: An Intercontinental Art World, October 1–2, 2004

* Please note that separate reservations are required for each event.

October 1, 2004, 7:00 p.m.
Panel Discussion, LACMA West, fifth floor

Mel Bochner, artist
David Lamelas, artist
Jennifer Winkworth, consultant to the director and vice president, Association du Musée d'Art Moderne et d'Art Contemporain, Nice, France
Moderated by Lynn Zelevanksy, curator and department head, modern and
contemporary art, LACMA
* To make reservations for the LACMA event on October 1, 2004 please call 323-857-6564.

October 2, 2004, 9:00 a.m. to 5:30 p.m.
Conference, Museum Lecture Hall, The Getty Center
Yve-Alain Bois, Joseph Pulitzer, Jr. Professor of Modern Art, Harvard University
Anna Dezeuze, research fellow, University of Manchester, England
Paolo Herkenhoff, director, Museu Nacional de Belas Artes do Rio de Janeiro
Valerie Hillings, curatorial assistant, Guggenheim Museum, New York
Carrie Lambert-Beatty, assistant professor of History of Art and Architecture and Visual and Environmental Studies, Harvard University
Julia Bryan Wilson, assistant professor, Rhode Island School of Design
Monica Amor, professor, Maryland Institute College of Art
Sonia Salzstein, professor, department of visual arts, University of Sao Paulo
Pamela Lee, professor, Stanford University
* To make reservations for the Getty event on October 2, 2004 please call 310-440-7300.

October 2, 2004, 8:00 p.m.
Musical Performance: Tropicalia '68Daring Days, Harold M. Williams Auditorium, The Getty Center

The Brazilian musicians Caetono Veloso and Gilberto Gil are world famous, but the Tropicalia movement they helped found is less clearly understood. The term "Tropicalia" was actually coined by a visual artist, Hélio Oiticica (whose work is featured in Beyond Geometry), and the movement embraced poetry, the visual arts, and music. The music, with both traditional and electronic instrumentation, and a mixture of Bahian and rock-and-roll rhythms, was not only a radical departure from traditional Brazilian music, but the movement as a whole was launched in opposition to Brazil's military dictatorship of the era. 

Although Tropicalia lasted only a short time before its leaders were forced into exile, its repercussions are still felt in Brazilian and world music today. At the Getty, the experience of Tropicalismo will be created through vintage recordings of Caetano Veloso, Gilberto Gil, Gal Costa, and Os Mutantes, combined with visuals and simultaneous live performance featuring Kleber Jorge on guitar, Bill Brendle on keyboards, and Meia Noite on percussion, featuring singer Carmen Doane, as well as DJ Ricardo Cassettari blending in contemporary sounds—a demonstration that Tropicalia is not just a historical art form, but a living one as well.
Concept and direction by Sergio Mielniczenko, host of "Global Village," KPFK-LA, and "Brazilian Hour," KXLU-LA.
Tickets: $20; students/seniors, $15; call 310-440-7300 for tickets.


Beyond Geometry: Experiments in Form, 1940s–1970s
June 13–October 3, 2004, LACMA
Beyond Geometry examines the role of radically simplified form and systematic strategies in the evolution of vanguard art throughout the West in the decades after World War II. Covering Western and Central Europe and North and South America, the exhibition includes examples of such trends as European and South American Concrete Art, Argentine Arte Madí, Brazilian Neo-Concretism, Kinetic and Op art, Minimalism, and various forms of Post-Minimalism, including Process and Conceptual art. For more information visit

Pioneers of Brazilian Video Art, 1973-1983

October 6, 2004, 7:30 p.m., Harold M. Williams Auditorium, The Getty Center
Covering the first decade of video art production in Brazil, this presentation of extremely rare and newly restored video art ranges from lyrical experiments in abstraction to documentation of some of the most radical performance and body art ever made. A factor that makes these works even more extraordinary is that many were filmed at the height of censorship under Brazil's military dictatorship in the 1970s. The program includes short videos by Sonia Andrade, Analívia Cordeiro, Rafael França, Anna Bella Geiger, Geraldo Anhaia Mello, Letícia Parente, Roberto Sandoval, and Regina Silveira. Call 310-440-7300 for reservations.

Beth Brett
Getty Communications Dept.

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The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that features the Getty Conservation Institute, the Getty Foundation, the J. Paul Getty Museum, and the Getty Research Institute. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty Center in Los Angeles and the Getty Villa in Malibu.

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The Getty Research Institute is an operating program of the J. Paul Getty Trust. It serves education in the broadest sense by increasing knowledge and understanding about art and its history through advanced research. The Research Institute provides intellectual leadership through its research, exhibition, and publication programs and provides service to a wide range of scholars worldwide through residencies, fellowships, online resources, and a Research Library. The Research Library - housed in the 201,000-square-foot Research Institute building designed by Richard Meier - is one of the largest art and architecture libraries in the world. The general library collections (secondary sources) include almost 900,000 volumes of books, periodicals, and auction catalogues encompassing the history of Western art and related fields in the humanities. The Research Library's special collections include rare books, artists' journals, sketchbooks, architectural drawings and models, photographs, and archival materials.