sculpture garden guide and site-specific works

SCULPTURE GARDEN GUIDE
AND SITE-SPECIFIC WORKS
ARTIST: TITLE
MUSEUM OF CONTEMPORARY ART SAN DIEGO 1
Welcome to the Museum of
Contemporary Art San Diego
Enjoy the Edwards Sculpture Garden and discover unique, sitespecific sculptures and installations throughout the Museum
grounds.
To make your visit more enjoyable, please be aware of the rules in
the Museum:
• Running is not permitted in the Museum galleries, lobby, Sculpture Garden, and theater..
• If you have a child under the age of five, we recommend you
hold his or her hand as you walk through the galleries and
garden.
• The role of our Security Service Representatives is to protect
you and the artwork. Please respect their requests.
• Food and beverages are only allowed in the Museum Cafe
and terrace tables.
• Sketching is permitted. To protect the artwork we ask you
that you use pencils only. You may ask for a pencil at our
front desk.
Visitors are reminded that touching the artwork is not allowed
unless otherwise indicated. Looking for an artwork you can
interact with? Check out Liquid Ballistics by Roman de Salvo.
This guide is intended for families with children ages 5 and older.
Inside you will find questions for self-guided tours, activities,
and suggestions for future exploration.
For accessibility, use the elevator to the Coast Room, and then to
the ramp outside. Some of these pieces can also be viewed from a
distance, from the above terrace.
WELCOME
MUSEUM OF CONTEMPORARY ART SAN DIEGO 2
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Edwards Sculpture Garden
A. Iran do Espírito Santo, Drops I, 1997
B. Nancy Rubins, Pleasure Point, 2006
c. Gabriel Orozco, Long Yellow Hose, 1996
d. Judith Shea, Eden, 1987
e. Ed Ruscha, Brave Men of La Jolla, 1995–1996
f. Mauro Staccioli, Untitled, 1987
g. Richard Fleischner, Froebel’s Blocks, 1983
h. Roman de Salvo, Liquid Ballistic, 2001
i. Erika Rothenberg, Monument to a Bear, 2002–2003
j. Marcos Ramírez ERRE, Crossroads
(Border Tijuana—San Diego), 2003
k. Vito Acconci, Garden Installation (Displaced Person), 1987
l. Niki de Saint Phalle, Big Ganesh, 1998
M. Andy Goldsworthy, Three Cairns, 2002
N. Jonathan Borofsky, Hammering Man at 3,110,527, 1988
O. Stephen Antonakos, Incomplete Neon Square for La Jolla, 1984
P. George Trakas, Pacific Union, 1986–1988
MUSEUM OF CONTEMPORARY ART SAN DIEGO 3
Garden history
As part of Ellen Browning Scripps’ first home South Moulton Villa, the
lush formal garden now known as the Edwards Sculpture Garden was
designed by landscape artist [definition: one’s job is the decorative
and functional alteration and planting of grounds, especially at or
around a building site] Kate Sessions who created many of San Diego’s
most beautiful gardens in the late 1800s. The meandering garden facing Coast Boulevard was well known and well admired. Miss Scripps and
her team of ten gardeners were constantly moving plants and trees
from one place to another, which changed the view of coast from the
windows of the house.
By the 1940s, Ms. Scripps’ South Moulton Villa was turned into La Jolla’s
first institution for art. From many names such as La Jolla Art Center
to La Jolla Museum of Contemporary Art and now Museum of Contemporary Art San Diego, the property and the garden underwent several
renovations. The current design was not constructed until the 1980s.
In 1986, architect Robert Venturi was commissioned to design an expansion for MCASD. Venturi expanded the Edwards Sculpture Garden
space by adding new stairs, ramps, retaining walls, and paths to accommodate the stylized natural landscape. Venturi wanted to make sure he
preserved the garden’s organic forms, contrasting it with the geometric
forms of the building itself. The renovation was completed in 1996 and
included the addition of what Venturi refers to as the “art wall,” where
Ed Ruscha’s Brave Men of La Jolla is presently displayed.
After Venturi’s renovations were complete, MCASD commissioned local landscape [definition: An expanse of scenery that can be seen
in a single view] architectural firm Garbini & Garbini to provide a new
design for the Edwards Sculpture Garden. The firm’s design focused
on the Museum’s sculpture garden, coastal planting, and the historic
preservation of Ms. Scripps’ 1930s vintage garden. The garden displays
installation artworks from the Museum’s permanent collection and
features an array of specimen cactus, palms and succulents, and accent
shrubs dating back to the original 1930s coastal garden.
Sculpture: a three dimensional piece of art made by shaping or
combining materials, usually wood, rock, metal, glass, or marble
Site-specific: art that is made with a certain location in mind and
whose location influences the meaning of the art.
Which of these pieces do you think is site-specific? Circle
their names as you walk through the sculpture garden!
You can find the name of each piece on the object label
[definition: sign next to the artwork that says the title,
artist and material the art is made of] near it.
Pleasure Point
Big Ganesh
Garden Installation (Displaced Person)
Long Yellow Hose
Crossroads
Liquid Ballistic
Froebel’s Blocks
Eden
Untitled
Brave Men of La Jolla
Drops I
Hammering Man at 3,110,527
Three Cairns
Crossroads
Monument to a Bear
MUSEUM OF CONTEMPORARY ART SAN DIEGO 4
NANCY RUBINS
Pleasure Point
2006
nautical vessels, stainless
steel, wire
How do you think the boats
stay up in the air?
There are wires connecting the boats that
hold them up and attach them to the roof.
The tension [definition: stiffness as a result
of something being stretched as tight
as possible] of the wires keeps the boats
together so it’s safe to walk under them.
DRAW THEM IN HERE
How many boats can you count? What colors do
you see?
WHY BOATS?
What activities do we do with boats? Boats are
especially important to San Diego because they allow
people to fish for food that they can cook or that
can be served in restaurants. Boats are also fun for
tourists or families to spend a day in the ocean. Nancy
Rubins’ boats point right at the Pacific Ocean. Maybe
she’s telling us to go for a swim!
NANCY RUBINS: PLEASURE POINT
MUSEUM OF CONTEMPORARY ART SAN DIEGO 5
What kind of animal head does
Ganesh have? Why might he
have that animal’s head?
It is said that Parvati, a goddess of Hinduism
[definition: major Indian religion which worships
a number of gods and believes in reincarnation,
or rebirth after death], created Ganesh one day
to help guard her washroom. When her husband
Shiva came home, he was so angry with Ganesh
for restricting his access that he cut off Ganesh’s
head! Parvati told Shiva to find the nearest
animal, an elephant, and reattached the elephant
head to save Ganesh.
Niki de
Saint Phalle
Big Ganesh
1998
steel, polystyrene foam,
polyurthane, automotive
paint, electronic component,
light bulbs, and iron base
Niki de Saint Phalle put a mouse next
to Ganesh. There are many possible
meanings for this, such as…
1.
2.
3.
In mythology, Ganesh
is said to ride atop a
mouse, showing humility
in his lack of embarrassment at utilizing such a
small animal.
Elephants don’t get
along well with mice.
Elephants have bad
eyesight, so they are
annoyed by mice which
are too small for them
to keep track of.
In Indian culture, mice are
thought to be untamed
creatures. Putting Ganesh
next to his “pet” shows a
balance between the calm
elephant and the wild
mouse.
Can you think of another MEANING?
Invent your own!
How do you think Ganesh
feels about the mouse?
How would you feel if
a mouse was following
you around?
NIKI DE SAINT PHALLE: BIG GANESH
Niki de Saint Phalle’s sculpture of the Hindu [definition: an
individual practicing Hinduism] god Ganesh shows her interest in mythology and storytelling. Ganesh is the Hindu god
of the arts, sciences, success, education, and wisdom. More
of Niki De Saint Phalle’s oversized sculptures can be found
around San Diego, from Balboa Park to the UCSD campus.
MUSEUM OF CONTEMPORARY ART SAN DIEGO 6
Vito Acconci is interested in forms and the environment, and how those
things can work together. He used to be involved in performance art
[definition: a type of art that combines visual art, things you can see,
with theatrical art, things you can do]. His work almost always needs
you, as the audience, to confront the piece actively!
Who do you think Acconci traced
to make the form [definition: the
visible shape of something, also
known as the positive space] of
this piece?
Trace your hand
at home and cut it
out to make a piece
that uses form
(positive space) and
negative space!
Do you think you could
fit into the negative
space here?
VITO ACCONCI
Garden Installation
(Displaced Person)
1987
concrete, stones, dirt
and grass
VITO ACCONCI: DISPLACED PERSON
What does “displaced”
mean?
It means something has been taken out of its
original place and put into a new, unfamiliar
one. How would the meaning of this piece
change if Acconci used a different word in
the title?
MUSEUM OF CONTEMPORARY ART SAN DIEGO 7
Long Yellow Hose is a piece of art made from found
objects [definition: something the artist found that
was not designed to be art and already had another
purpose]. Gabriel Orozco likes to use found objects
for art in order to say something about the purpose
they already have. Notice how the hose is laid on top
of plants that rely on water to live.
Why is water so important
to the garden?
San Diego is a desert so without water, plants couldn’t
grow here! What else needs water to survive?
Do you have a hose in your
home?
Think about the plants you have in your garden
at home or the plants at a local park. What design
would you make? Design it here.
Gabriel Orozco
Long Yellow Hose
1996
plastic watering hose
FUN FACT
This hose is 1,200 feet long. That’s longer than
three football fields!
Gabriel orozco: long yellow hose
MUSEUM OF CONTEMPORARY ART SAN DIEGO 8
What do you think this
cannon does now?
The cannon doesn’t work as a weapon! What do
you think the cannon does now? Look—there are
handles to play on the cannon like a seesaw, and
pumps so that water can flow through it like a
fountain!
Roman de Salvo likes to turn
common items or found
objects into works of art. He
changes an object’s usual
purpose into something that either looks
pretty or means something important.
What do you have at your home that you
could turn into a piece of art? How can
you turn these objects into art?
Roman de Salvo
says himself that
the cannon is a
“testament to
bygone hostilities”
looking back to the
Spanish invasion.
Doesn’t this cannon look
like it’s defending against
a sea invasion?
This area of California was invaded by Spain
in the 1500s. This artwork reminds us of
early settlements in the San Diego area.
ROMAN DE SALVO
Liquid Ballistic
2001
mahogany, diaphragm
pump, water, storage tank,
brass, plumbing hardware,
fasteners
DID yOU KNOW?
A twin version of this cannon
exists in Brooklyn, NY as part
of the Public Art Fund.
ROMAN DE SALVO: Liquid Ballistic
MUSEUM OF CONTEMPORARY ART SAN DIEGO 9
Richard Flesichner is a minimalist artist,
which means he uses simple shapes and
colors in order to say something more
complicated. Blocks like the ones here
allow kids to connect learning with fun.
What do you have fun learning?
These are supposed to look like Toy blocks!
They teach kids like you and your friends about shapes and building, and
about how those shapes can fit in to nature. What shapes do you recognize
in Richard Fleischner’s art? What would you build with your blocks? Try
it at home!
What ARE SOME
differences
between art
and nature? Are
the blocks art?
Could you do this
with rocks found
in the forest or
beach?
FUN FACT
Richard
Fleischner
Froebel’s Blocks
1983
limestone
richard fleischner: froebel’s blocks
Friedrich Froebel is the name
of the man who invented kindergarten! He created songs,
games, and toys like the toy
blocks to help kids learn.
Even the famous architect
Frank Lloyd Wright is known
to have used them when he
was little.
MUSEUM OF CONTEMPORARY ART SAN DIEGO 10
What might this man and woman
be saying to each other?
Consider how close they are standing to each other,
what they are wearing, and where they might be.
Draw in the
missing heads
and bodies for
these people!
PHOTO OPPORTUNITY
Photo Opportunity! Try
using a camera phone to
take a picture with your
heads positioned where the
man and woman’s heads are
on the sculpture. Be careful
and touch the work. Take your picture
and upload it to Flickr. Don’t forget to tag
Museum of Contemporary Art San Diego.
judith shea
Eden
1987
bronze
judith shea: Eden
This piece is influenced by the story of Eden found in
Christianity [definition: the religion founded from the
life and the teachings of Jesus Christ, professed by
Eastern, Roman Catholic, and Protestant bodies]. A
passage in the Bible [definition: the sacred scripture
or book of Christianity], tells the story of how Adam
and Eve lived together in the paradise garden of Eden
until Eve was tempted by a snake to eat the apple of
knowledge, which God told her not to eat. Because the
rules were broken, God made them leave the garden
and live in the desert. How do you think Judith Shea’s
sculpture represents the story?
MUSEUM OF CONTEMPORARY ART SAN DIEGO 11
MAURO STACCIOLI
Untitled
1987
plywood, cement,
red pigment, and metal
Do you recognize
this shape? Where
else might we see
this shape in daily
life?
The straight lines that make the triangle
are supposed to remind the viewer of the
straight lines on the Museum’s building. The
triangle also points towards the horizon,
which is another straight line. This piece
shows that the artist likes how shapes
respond to the environment; this piece is
known as environmental art.
In this piece,
the artist plays
with the red
triangle’s contrast
[definition: opposite colors
that stand out more when
put next to each other] with
the blue of the ocean and the
sky. Which colors do you think
would contrast with the colors
listed here?
Mauro STACCIOLI: untitled
Red
blue
___________
Black
___________
Yellow ___________
Green
___________
Silver
___________
Try contrasting
triangles of different
colors with the colors
of the landscape
around you!
MUSEUM OF CONTEMPORARY ART SAN DIEGO 12
This work includes the following
text: “Brave Men Run in My
Family.” What are the different
meanings of the word “run?”
Did you know that ships, like the one
Ruscha uses on the wall, can also run?
That happens when the wind blows from behind the ship. The sails
catch the wind and it helps the boat to move faster on the water.
To move very fast
To carry a characteristic from one generation
to the next
To work or operate
And More!
What “runs” in your family?
Blue eyes? A dog? Your
sister’s nose?
Make your own play on words inspired by Ed Ruscha.
Ed Ruscha
Brave Men of La Jolla
1995–1996
acrylic on PVC coated
fabric
___________________________________________________
___________________________________________________
runs in my family!
ed ruscha: brave men of la jolla
Ed Ruscha used to work in advertising [definition: a
public notice about a product, like a TV commercial]
so he likes to use words in his art!
MUSEUM OF CONTEMPORARY ART SAN DIEGO 13
The 12-foot sign points away from the U.S.–Mexico
border to ten West Coast and international cities.
On the back of each city sign, there is a quotation
from an important artist who lived there. For example,
on the back of the street sign for Paris, France is a
quotation from Marcel Duchamp (1887-1968).
Where have you been?
Have you ever traveled to any of the cities on the
sign? Where do you want to travel? Circle the cities
and countries you want to travel to.
This work uses the style of
official street signs and
tourism markers.
FUN FACT
Marcos Ramírez ERRE, like several artists at the
Museum, is inspired by objects found in everyday
life. What is the difference between your street
sign at home with this piece of art? Would you
consider a stop sign art?
Each of the signs shows us the distance to the
city from the U.S.–Mexico border. It is even aligned
according to the points of a real life compass.
Marcos Ramírez erre: crossroads (border Tijuana - San Diego)
MARCOS
RAMíREZ ERRE
Crossroads (Border Tijuana – San Diego)
2003
aluminum, automotive
paint, wood, vinyl
MUSEUM OF CONTEMPORARY ART SAN DIEGO 14
FUN FACT
Iran do Espírito Santo made twenty
sets of dice that can be found along
the U.S.–Mexico border, including
this one!
Imagine the size of the
hands it would take to
roll dice that are 16 inches
tall by 16 inches wide, and
made of concrete!
What did
the artist
roll in
this work?
Where do you find dice
normally? What sorts of games
involve dice? List the games
here!
____________________________
____________________________
____________________________
What determines if you win or
lose in these games? Is it skill
or luck?
IRAN DO
ESPÍRITO SANTO
Drops I
1997
concrete
IRan do espîrito santo: Drops I
As a minimalist [definition:
when an artist likes to reduce
art to a minimal number of
colors, shapes, and lines] artist,
Iran do Espírito Santo likes to
play with everyday objects in
his work. In Drops I, he uses the
dice often found in board games
to convey the idea of luck. He
is looking at the “luck of the
draw” and how fate determines
which side of the U.S.–Mexico
border you are born on.
MUSEUM OF CONTEMPORARY ART SAN DIEGO 15
Where do you usually
find hammers? What kind
of work do you do with
hammers? What do you
consider work?
What do you think
the Hammering Man is
working on?
What story would you tell about this
piece? Can you imagine hammering
for 24 hours a day?
Jonathan Borofsky has hammering men all over
the world in Japan and Switzerland and in the U.S.
There are men hammering in the cities of New York,
Minneapolis, Los Angeles, and Washington, D.C. He
wanted all these hammering men to be hammering
all together at the same time. The artist is showing
us how everyone is connected no matter what time it
is or how far away we are from each other.
Have you ever thought about
where your sneakers come from?
Jonathan Borofsky
Hammering Man at 3,110,527
1988
13/4” thick COR-TEN steel with
motorized aluminum arm
Jonathan borofsky: HAMMERING MAN AT 3,110,527
Most likely your sneakers were made in a foreign country
like China or Chile by someone you’ve never met. That
makes you connected to this person. Think about the
things you have in your room–where did they come from?
Who made them?
MUSEUM OF CONTEMPORARY ART SAN DIEGO 16
DID yOU KNOW?
Andy Goldsworthy
Andy Goldsworthy is from Scotland and the word cairn
[definition: A mound of rough stones built as a landmark
or in memory of someone] comes from the Scottish Gaelic
word càrn. An old Scottish Gaelic blessing is “Cuiridh mi
clach air do chàrn”or, “I’ll put a stone on your cairn.”
Three Cairns
2002
limestone
The pieces
aren’t
being held
together
by anything except
their own weight!
Next time you are at the beach or
playing at home, try to build a mound
like Andy Goldsworthy’s. How large
can you build it? What shape would
you make it? Draw it here! Try making
your own cairn with blocks at home.
andy goldsworthy: three cairns
Andy Goldsworthy brought six
stonemasons all the way from
Scotland to help him make
this. He made a total of three
cairns—two more sculptures
just like this are in Iowa and
the other one is in New York.
Cairns are
traditionally
journey markers.
Each of the
three cairns in
Iowa, New York,
and LA JOLLA
mark the artist’s
journeys across
America. Where
would you build
your cairns?
MUSEUM OF CONTEMPORARY ART SAN DIEGO 17
ERIKA ROTHENBERG
Monument to a Bear
2002–2003
glass reinforced concrete
over steel, bronze plaque,
edition 1 of 2
Given the title of the work, do
you see what you would expect?
Does the word monument [definition: a type of
structure created to commemorate a person or
important event] in the title of this artwork make
you assume the work is supposed to be larger?
Why might the artist want
us to honor nature?
How are the memorials by Erika Rothenberg
and Maya Lin different? How are they similar?
This work is a memorial to a
black bear cub that had its
paws burned. A memorial can
be a monument or holiday
intended to celebrate or honor
the memory of a person or an
event. In the United States,
we honor the memory of
important leaders like Martin
Luther King, Jr. or war heroes
as in Maya Lin’s Vietnam
War Memorial (at right). In
Monument to a Bear Erika
Rothenberg asks us to consider
nature, like this black bear cub,
as a victim that should to be
remembered. She wants us to
honor nature like we do our
war heroes.
ERIKA ROTHENBERG: Monument to a Bear
Photographic view of the apex of the Vietnam War
Memorial, West Potomac Park, Washington, D.C., looking
from the apex towards the Washington Monument. Courtesy of the Historic American Buildings Survey, Library of
Congress, Washington, D. C.
MUSEUM OF CONTEMPORARY ART SAN DIEGO 18
Thank you for visiting the Museum of Contemporary Art San Diego!
Don’t forget that your admission is valid for seven days and includes
admission to our downtown location at 1100 & 1001 Kettner Boulevard.
If you’re in the La Jolla area for longer, please take a look at two of our
additional works:
Incomplete Neon Square for La Jolla sits just above the Museum’s
box office at an angle of the roofline. Stephen Antonakos plays with
light and color. The piece changes with the location of the viewer and
the time of day. The neon lights only come on at night, so be sure to
stop by and see it after dark!
George Trakas
Pacific Union
1986–1988
mixed media outdoor site
installation
Pacific Union was designed for visitors to sit, meet, and meditate.
George Trakas made sure to use steps, wooden walkways, and
benches to engage the viewer. He invites you to enjoy the foliage, to
perch atop the slabs of natural granite or huddle underneath them
in private den-like hutches. It’s a great place to enjoy the view of the
Pacific.
GEORGE TRAKAS: Pacific union and STEPHEN ANTONAKOS: Incomplete neon square for la jolla
Stephen Antonakos
Incomplete Neon Square for
La Jolla
1984
neon tubes and painted metal
MUSEUM OF CONTEMPORARY ART SAN DIEGO 19
GLOSSARY OF TERMS
advertising: a public notice about a product, like a TV commercial.
Bible: the sacred scripture or book of Christianity.
cairn: a mound of rough stones built as a landmark or in memory of someone.
Christianity: the religion founded from the life and the teachings of Jesus
Christ, professed by Eastern, Roman Catholic, and Protestant bodies.
monument: a type of structure created to commemorate a person or important
event.
negative space: the areas in an artwork that are empty.
object label: a sign next to the artwork that says the title, artist, and material
with which the art is made.
contrast: opposite colors that stand out more when put next to each other.
performance art: a type of art that combines visual art “things you can see”
with theatrical art “things you can do.”
displaced: when something has been taken out of its original place and put
into a new, unfamiliar one.
sculpture: a three dimensional piece of art made by shaping or combining
materials, usually wood, rock, metal, glass, or marble.
environmental art: artworks that artists created in response to the
environment, or when artists use the enviroment as a medium for their
artwork.
site-specific: art that is made with a certain location in mind and whose location
influences the meaning of the art. Site-specific pieces are installed permanently
in a particular place.
form: the visible shape of something, also known as the positive space.
tension: stiffness as a result of something being stretched as tight as possible.
found objects (also known as common objects): something the artist found
that was not designed to be art and already had another purpose.
Hindu: an individual practicing Hinduism.
Hinduism: major Indian religion which worships a number of gods and
believes in reincarnation, or rebirth after death.
landscape: an expanse of scenery that can be seen in a single view.
landscape artist: an artist whose job is the decorative and functional
alteration and planting of grounds, especially at or around a building site.
memorial: a monument or holiday intended to celebrate or honor the memory
of a person or an event.
minimalist: an artist who chooses to reduce art to a minimal number of
colors, shapes, and lines.
GLOSSARY OF TERMS
MUSEUM OF CONTEMPORARY ART SAN DIEGO 20
CREDITS
Vito Acconci, Garden Installation (Displaced Person), 1987, concrete, stones,
dirt and grass. Extended loan of the artist. © 2012 Vito Acconci / Artists
Rights Society (ARS), New York. Photo by Philipp Scholz Rittermann.
Stephen Antonakos, Incomplete Neon Square for La Jolla, 1984, neon tubes
and painted metal. Collection Museum of Contemporary Art San Diego,
Museum purchase with contributions from the Museum Art Council Fund.
© Stephen Antonakos 1984. Photo by Philipp Scholz Rittermann.
Jonathan Borofsky, Hammering Man at 3,110,527, 1988, 13/4” thick COR-TEN
steel with motorized aluminum arm. Collection Museum of Contemporary
Art San Diego, Gift of Matthew and Iris Strauss. © Jonathan Borofsky 1988.
Photo by Jimmy Fluker.
Niki de Saint Phalle, Big Ganesh, 1998, steel, polystyrene foam, polyurethane,
automotive paint, electronic component, light bulbs, and iron base. Collection
Museum of Contemporary Art San Diego, Gift of Ron and Mary Taylor to
honor Martha Longnecker, Founder, Mingei International Museum of Folk Art.
© 2012 Niki Charitable Art Foundation. All rights reserved / ARS, NY / ADAGP,
Paris. Photo by Pablo Mason.
Roman de Salvo, Liquid Ballistic, 2001, mahogany, diaphragm pump, water,
storage tank, brass, plumbing hardware, fasteners. Courtesy of the artist and
Quint Contemporary Art. © Roman de Salvo 2001. Photo by Pablo Mason.
Iran do Espírito Santo, Drops I, 1997, concrete. Collection Museum of
Contemporary Art San Diego, Anonymous gift. © Iran do Espírito Santo 1997.
Photo by Philipp Scholz Rittermann.
Marcos Ramírez ERRE, Crossroads (Border Tijuana - San Diego), 2003,
aluminum, automotive paint, wood, vinyl. Collection Museum of Contemporary
Art San Diego, Museum purchase. © Marcos Ramírez ERRE 2003.
Richard Fleischner, Froebel’s Blocks, 1983, limestone. Collection Museum of
Contemporary Art San Diego, Museum purchase, Contemporary Collectors
Fund in honor of Ronald J. Onorato. © Richard Fleischner 1983. Photo by
Pablo Mason.
CREDITS
Andy Goldsworthy, Three Cairns, 2002, limestone. Collection Museum of
Contemporary Art San Diego, Museum purchase with funds from Sue K. and
Dr. Charles C. Edwards. © Andy Goldsworthy 2002. Photo by Philipp Scholz
Rittermann.
Gabriel Orozco, Long Yellow Hose, 1996, plastic watering hoses. Collection
Museum of Contemporary Art San Diego, Museum purchase. © Gabriel Orozco
1996. Photo by Philipp Scholz Rittermann.
Erika Rothenberg, Monument to a Bear, 2002-2003, glass reinforced concrete
over steel, bronze plaque, edition 1 of 2. Collection Museum of Contemporary Art
San Diego, Gift of Sheridan Brown. © Erika Rothenberg. Photo by Pablo Mason.
Nancy Rubins, Pleasure Point, 2006, nautical vessels, stainless steel, steel
wire. Collection Museum of Contemporary Art San Diego, Museum purchase,
International and Contemporary Collectors Funds. © Nancy Rubins. Courtesy of
the artist and Gagosian Gallery. Photo by Erich Koyama.
Ed Ruscha, Brave Men of La Jolla, 1995-1996, acrylic on PVC coated fabric.
Collection Museum of Contemporary Art San Diego, Museum purchase with
proceeds from Museum of Contemporary Art San Diego Art Auction 2006, and
from prior donations by Susan and Frank Kockritz and Mr. and Mrs. Norton S.
Walbridge. © Ed Ruscha. Photo by Philipp Scholz Rittermann.
Judith Shea, Eden, 1987, bronze. Extended loan of Collette Carson and Dr. Ivor
Royston. © Judith Shea 1987. Photo by Philipp Scholz Rittermann.
Mauro Staccioli, Untitled, 1987, plywood, cement, red pigment, and metal.
Extended loan of the artist. © Mauro Staccioli. Photo by Pablo Mason.
George Trakas, Pacific Union, 1986-1988, mixed media outdoor site installation.
Collection Museum of Contemporary Art San Diego, Museum purchase with
matching funds from the National Endowment for the Arts, Art in Public Places
program. © George Trakas 1986-1988. Photo by Philipp Scholz Rittermann.
MUSEUM OF CONTEMPORARY ART SAN DIEGO 21
Guide written by Jessica Jacobs and Jennifer Winter Snow, Education Interns, in collaboration with the Museum of
Contemporary Art San Diego Education Department.
At the time of publication, Education Programs at MCASD are supported by The James Irvine Foundation,
Qualcomm Foundation, the County of San Diego Community Enhancement Fund, the Samuel I. & John Henry Fox
Foundation, and contributions to MCASD’s Museum Fund. Institutional support for MCASD is provided, in part, by
the City of San Diego Commission for Arts and Culture.
MUSEUM OF CONTEMPORARY ART SAN DIEGO 22