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HomeMy WebLinkAbout1989-11-07; City Council; 10349; APPROVAL OF AGREEMENT FOR COORDINATOR OF THE TEMPORARY SCULPTURE EXHIBITION,-? AB# jC,3'/3 TITLE: MTG.- DEPT. LIB 13J&d89 APPROVAL OF AGREEMENT FOR COORDINATOR OF THE TEMPORARY SCULPTURE EXHIBITION DEP CITl CIT' 1 J b 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 I/ 0 0 RESOLUTION N0.89-394 A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF CARLSBAD, CALIFORNIA RECOMMENDING APPROVAL THE AGREEMENT FOR THE COORDINATOR OF THE TEMPORARY SCULPTURE EXHIBITION The City Council of the City of Carlsbad, Cali hereby resolve as follows: 1. That certain agreement between the City and Richard Stephens, as coordinator of a temporarl exhibit of public art in Carlsbad, a copy of which : hereto marked Exhibit "AIr and made a part hereof, approved. 2. That the Mayor of the City of Carlsbad authorized and directed to execute said agreement for an of the City of Carlsbad. 3. That funds in the amount of $20,000 are pr Civic Arts Fund No. 142-820-1810-3337 for this purpose a and all unexpended appropriation within the arts fun carried forward into the 1989/90 fiscal year. 4 NOW, THEREFORE, BE IT FURTHER RESOLVED tha 20 21 22 23 24 25 26 27 28 ~ Council of the City of Carlsbad, California, approves th ~ as stated above. //// //// //// //// //// //// //// 1 1 I * 1 2 3 4 5 6 7 a 9 10 11 12 13 14 15 16 17 18 0 0 PASSED, APPROVED AND ADOPTED at a regular meeting I Council of the City of Carlsbad, California, held on tk of November , 1989 by the following vote, to wit: AYES: NOES: None ABSENT: None Council Members Lewis, Kulchin, Pettine, Mamaul 1 (gALi5L 2 l?&L% ALETHA L. RAUTENKRANZ, Cityklerk ( SEAL ) i 19 20 21 22 23 24 25 26 27 28 ! I 0 mL*nlUll H 1 1 6 AGREEMENT FOR TEMPORARY SCULPTURE EXHIBITION THIS AGREEMENT, made and entered into as of the 17th day of October, 1989, by and between CITY OF CARLSBAD, a municipal corpor hereinafter referred to as "City" and RICHARD STEPHENS, hereinafter refer as "Consultant". RECITALS City requires the services of Richard Stephens to provide the nece curatorial/coordinating services for preparation of the Third Annual Temf Sculpture Exhibition; and Consultant possesses the necessary skills and qualifications to provil services required by City. NOW, THEREFORE, in consideration of these recitals and the n covenants contained herein, City and Consultant agree as follows: (1 ) CON SU LTANT'S 0 B LI GAT1 0 N S A. Consultant agrees to coordinate a temporary sculpture exhibii Carlsbad for approximately twelve weeks as described in Consultant's prc (attached). B. Duties are as follows: 1. Select artists for Temporary Sculpture Exhibition to be apF by the Carlsbad Arts Commission. 2. Administer artists contracts, subject to approval by City' Off ice. 3. Arrange for the acquisition of insurance for the ar sufficient to cover the full value of every loss. Said PO insurance shall be submitted to the City's Risk Manag 1 0 0 > i 4 approval. Work with appropriate source to obtain permission to use s Work with artists and Arts Office to select sites with ' approval by the Arts Commission. Supervise installation and removal of artwork. Write educational information about artists and artwork t used for publicity purposes and produce brochure. Be available for and assist in planning the opening 01 exhibition. Document all expenses to be submitted and with final r( before final payment. Complete other related tasks as they arise. 4. 5. 6. 7. 8. 9. 10. (2) CITY'S OBLIGATIONS The City shall assist in securing locations for sculpture and provide guid where needed. (3) PAYMENT OF FEES 25% On signature of agreement 50% Ten days prior to date of installation 25% On final date of exhibition and $5,000 as agreed upon by coordinator and removal of artwork $ 5,000 Manager of Arts Office $1 0,000 (4) DURATION OF CONTRACT This agreement shall be for a period of six months. The contract rr extended for a period of up to six additional months by mutual consent. (5) PROGRESS AND COMPLETION The work under this contract will begin within ten (IO) days after rec notification to proceed from the City and be completed within six months date. Extensions of time may be granted if requested by the Consultant and to in writing by the Arts Office Manager. In consideration of such requests, 1 Office Manager will give allowance for documented and substs 2 e 0 1 unforeseeable and unavoidable delays not caused by a lack of foresight on the F of the Consultant or delays caused by City inaction or other agencies' lack of tin action. (6) FEES TO BE PAID TO CONSULTANT The fee payable according to paragraph (3) shall be $20,000. (7) CHANGES IN WORK If, in the course of this contract, changes seem merited by the Consulta the City, and informal consultations with the other party indicate that a chan! the conditions of the contract is warranted, the Consultant or the City may rec a change in contract. Such changes shall be processed by the City in the follo manner: A letter outlining the required changes shall be forwarded to the C Consultant to inform them of the proposed changes along with a statemc estimated changes in charges or time schedule. After reaching mutual agrec on the proposal, a supplemental agreement shall be prepared by the Cit approved by the appropriate parties. Such supplemental agreement sha render ineffective or invalidate unaffected portions of the agreement. Ch: requiring immediate action by the Consultant or City shall be ordered by th Office Manager who will inform the Consultant of the necessity of such actic follow up with a supplemental agreement covering such work. (8) COVENANT AGAINST CONTINGENT FEES The Consultant warrants that he has not employed or retained any col or person, other than a bona fide employee working for the Consultant, to or secure this agreement, and the Consultant has not paid or agreed to pay 3 0 0 .3 6 company or person, other than a bona fide employee, any fee, commk percentage, brokerage fee, gift or any other consideration contingent upc resulting from, the award or making this agreement. For breach or violati this warranty, the City shall have the right to annul this agreement without lia or, in its discretion, to deduct from the agreement price or consideratic otherwise recover, the full amount of such fee, commission, percentage, brok fee, gift or contingent fee. (9) NON-DISCRIMINATION CLAUSE The Consultant shall comply with applicable State and Federal regarding non-discrimination. (IO) TERMINATION OF CONTRACT In the event of the Consultant’s failure to prosecute, deliver or perfor work as provided for in this contract, the City may terminate this contract fo performance by notifying the Consultant by certified mail of the termination contract. The Consultant, thereupon, has five working days to delivei documents owned by the City and all work in progress to the City Arts Ma The Arts Office Manager shall make a determination of fact based upc documents delivered to City of the percentage of work which the Consulta performed which is usable and of worth to the City in having the cc completed. Based upon that finding as reported to the City Council, the C shall determine the final payment of the contract. (1 1) DISPUTES If a dispute should arise regarding the performance of work und 4 . e 0 7 ' agreement, the following procedure shall be used to resolve any questions o or interpretation not otherwise settled by agreement between parties. questions, if they become identified as a part of a dispute among per operating under the provisions of Phis contract, shall be reduced to writing b Consultant or the Arts Office Manager. A copy of such documented dispute be forwarded to both parties involved along with recommended metho resolution which would be of benefit to both parties. The Arts Office Mana! Consultant receiving the letter shall reply to the letter along with a recommz method of resolution within ten (IO) days. If the resolution thus obtain unsatisfactory to the aggrieved party, a letter outlining the dispute sh: forwarded to the City Council for their resolution through the office of th Manager. The City Council may then opt to consider the directed solution problem. In such cases, the action of the City Council shall be binding upc parties involved, although nothing in this procedure shall prohibit the p seeking remedies available to them at law. (12) SUSPENSION OR TERMINATION OF SERVICES This agreement may be terminated by either party upon tendering thir days written notice to the other party. In the event of such suspens termination, upon request of the City, the Consultant shall assemble the product and put same in order for proper filing and closing and delive product to City. In the event of termination, the Consultant shall be paid fo performed to the termination date; however, the total shall not excer guaranteed total maximum. The City shall make the final determination as 5 1 e a 1 portions of tasks completed and the compensation to be made. Compensati to be made in compliance with the Code of Federal Regulations. (13) STATUS OF THE CONSULTANT The Consultant shall perform the services provided for herein in Consul own way as an independent contractor and in pursuit of Consultant‘s indepe calling, and not as an employee of the Citv. Consultant shall be under coni the City only as to the result to be accomplished and the personnel assigned project, but shall consult with the City as provided for in the request for pro; The Consultant is an independent contractor of the City. The payment to the Consultant pursuant to this contract shall be the full and con compensation to which the Consultant is entitled pursuant to this contract. Tk shall not make any federal or state tax withholdings on behalf of the Cons The City shall not be required to pay any workers’ compensation insuran behalf of the Consultant. The Consultant agrees to indemnify the City for ai retirement contribution, social security, overtime payment, workers’ compen payment which the City may be required to make on behalf of Consultant employee of Consultant for work done under this agreement. The Consultant shall be aware of the requirements of the Immigration F and Control Act of 1986 (8 USC Sec. 1101 - 1525) and shall comply with requirements, including, but not limited to, verifying the eligibility for emplc of all agents, employees, subcontractors and consultants that are included agreement. 6 e e I (14) CONFORMITY TO LEGAL REQUIREMENTS The Consultant shall cause all drawings and specifications to conform applicable requirements of law: Federal, State and local. Consultant shall pi all necessary supporting documents, to be filed with any agencies whose apl is necessary. The City will provide copies of the approved plans to any agencies. (15) OWNERSHIP OF DOCUMENTS All plans, studies, sketches, drawings, reports and specifications as required are the property of the City, whether the work for which they are m: executed or not. In the event this contract is terminated, all documents, specifications, drawings, reports and studies shall be delivered forthwith City. Consultant shall have the right to make one copy of the plans for t records. (16) ASSIGNMENT OF CONTRACT The Consultant shall not assign this contract or any part thereof t monies due thereunder without the prior written consent of the City. (17) SUBCONTRACTING If the Consultant shall subcontract any of the work to be performed this contract by the Consultant, consultant shall be fully responsible to the C the acts and omissions of Consultant's subcontractor, as Consultant is for tt and omissions of persons directly employed by Consultant. Nothing contai this contract shall create any contractual relationship between any subcon 7 e e of Consultant and the City. The Consultant shall bind every subcontractor every subcontractor of a subcontractor by the terms of this contract applicab Consultant’s work unless specifically noted to the contrary in the subcontra question approved in writing by the City. (18) VERBAL AGREEMENT OR CONVERSATION No verbal agreement or conversation with any officer, agent or employ the City, either before, during or after the execution of this contract, shall afft modify any of the terms or obligations herein contained nor such verbal agree or conversation entitle the Consultant to any additional payment whatsoever i the terms of this contract. (19) SUCCESSORS OR ASSIGNS Subject to the provisions of paragraph (16), Hold Harmless Agreemei terms, conditions and provisions hereof shall ensure to and shall bind each parties hereto, and each of their respective heirs, executors, administr successors and assigns. (20) EFFECTIVE DATE This agreement shall be effective on and from the day and year first written for a period of one (1) year. 8 * e T IN WITNESS WHEREOF, we have hereunto set our hands and seals. 3 CITY OF CARLSBAD BY Mayor Title ATTEST: APPROVED AS TO FORM: City Clerk Assistant City Attorney CONTRACT/STEPHENS.RIC Rev. 10/11/89 9 . 0 0 , b' The 3rd ANNUAL CARL SBAD OUTDOOR SCULPTURE EXHIBITION November 1989 through November 1990 5 THEMES 1. The Map of Carlsbad: Civic Identity 2. Water: The Pacific, the Dam, the Lagoons 3. North/South: Roads, Tourism, Sightseeing 4. Flower Fields 5. The Personality of Carlsbad Curator: Richard Stephens w 0 THE 3RD ,!!NNUAL CARLSBAD OUTDOOR SCULPTURE EXHIBITION PROPOSAL By Richard Stephens @ 1989 Contents Introduction Theme 1: The Map of Carlsbad: Civic Identity Page 3 8 lQ 12 14 16 21 23 Theme 2: Water: The Pacific, the Dam, the Lagoons Theme 3: North/South: Roads, Tourism, Sightseeing Theme 4: Flower Fields Theme 5: The Personality of Carlsbad Art i s ts Under Cons idera t ion Views On Art Writing References L 0 e . ,I THE 3RD ANNUAL CARLSBAD OUTDOOR SCULPTURE EXHIBITION Introduction The occasion of this, the 3rd, exhibit lends itself to a new level of ambition. Inviting public art expert,Rich Andrews to speak to civic leaders, demonstrates a bold commitment to seriousness that is very rare even in citi 50 times the size of Carlsbad. Your city is courageous t adopt such a cosmopolitan approach so rapidly. This year I would like to help introduce some new goals, which even though they will not be completely realized this year, will serve as guidance for this year's and for future exhibits. There are two important artistic objectives I would. like-to encourage, The first is that the art must be suitable and appropriately placed in it. site. Secondly, the artists selected to exhibit outdoor5 in Carlsbad should be capable and interested in interact and/or commenting upon with the city environment. If yo^ curator is sincere in his/her aim to serve, then you car trust him/her to make an effort to select and aid artist who will do their best to create living, communicative works. And these works need not serve hackneyed expectal nor need they offend people through agressiveness or in- sensitivity. It has always been difficult to bridge the gap between expert and the novice in discussing art. And nowadays i more difficult than ever, especially in California wher communities grow so rapidly. It is becoming increasing1 hard for intelligent people (myself included), to unde stand the often bloated claims and convoluted rhetoric university-weened "experts ." This is a tough problem th must be faced. By overreacting against the elitism and obscurity of contemporary discourse we may be tempted i w a obscurity of contemporarz art discourse we may be tempted into dealing with the easier hobby, craftsy, or stylistically dated art. San Diego art critic, Robert Pincus,wrote: It 'Give them something mildly pleasing rather than challenging.' This approach is bad enough in the commercial arena, but for public venues it is even worse. Public art should speak to our common experiences ... not simply be forget- able decoration in the landscape." Professionals in public art--curators, administrators and artists alike-- have a tough enough time trying to solve these problems. When well meaning, but inexperienced, artists make their sincere attempts there is even less chance of success. During the process of selecting artists, I will seek those whose ideas and past accomplishments demonstrate sensitivity to the placement or context of the art. I will recommend artists whose work can be regarded as accessible to the general public, but who don't sacrifice pertinence in current aesthetic/lzonceptual dialogues. It is a time of interesting changes in art. It would be practical on healthy to view the annual exhibits as a "laboratory" situation, in view of the collaborative and experimental nature of public art projects nowadays. It is wise to keep in mind a remark made by Richard Andrews during his May 19 lecture on public art in Carlsbad: "Artists are now beginning to relearn the languags of public art.'' It is necessary to avoid, even though we have a very limited budget, just displaying art objects removed from commercial salesrooms for temporary viewing in public. This is not public art:; it is merely private art placed in public view. When ii city wishes to seriously pursue a 9 0 0 I t' program of public art it must define these terms. A squa dance is not the same thing as a ballet. I have listed below the 6 ways that I see that Calsbad may benefit from the annual exhibitions. 1. To educate Carlsbad's citizens about 2. To establish a network of relationships contemporary art, with art professionals that will be useful for current and future projects. procedures of dealing with public art. 3. For the City to learn the processes and 4. To bring visitors to Carlsbad. 5. To give pleasure to residents. 6. To bolster civic pride and attract publicity for the city. With careful planning, Carlsbad could have the potentia: if it wishes to host an important-annual cultural event that would be recognised and respected throughout southern California. If you think I may be unduly optomistic please consider map below. You will see how few places there are to see outdoor contemporary sculpture.in southern California. Out of the nineteen sited on the map, only four have sufficient grounds, and all but Carlsbad are restricted to very well known artists, such as Mark diSuvero and Robert Irwin, (with the exception of McArthur Park in L As you will see from the details of my proposal I took seriously the requirements noted in Ms. Beardsley's June 5 letter requesting me to submit this proposal: * "The Committee is interested in a serious response to what Carlsbad is about. They would like the relevance of this city, the nature of Carlsbad, addr es sed. " I hope you feel I have respected your wishes with the following notes. w 0 The encircled institutions exhibit contemporary sculpture outdoors. Newport Harbor Art Museum La Jolla Museum of Contemporary Art, San Diego Museum of Art . e e t* 5 THEMES c w e Theme 1 The Map of Carlsbad: Civic Identity . 0 r LC THE 3RD A”UA F CARLSBAD OUTDOOR SCULPTURE EXHIBITION Theme 1 The Map of Carlsbad: Civic Identity Idea We can learn a great deal about a city (or county, state or nation for that matter) by studying its map. A bird’s eye view shows how boundaries are determined and how the growth of a city is controlled by geographics. Carlsbad‘s map has several particularly telling points of interest. I notice the 3 lagoons, the north/south transportation lines: 1-5, Amtrak, El Camino Real, and the Pacific. All have differing histories, and all serve to connect Carlsbad to the other cities of the west coas Site Carlsbad City Hall Artist Greg Colson Colson is rapidly becoming one of the better known young California artists. He has had a one-man show at the Lannan Museum in Florida and will exhibit in Germany ne2 year. He uses maps and diagrams and odd artefacts to assemble sculptures which subtly reveal the workings of systems of structure, and the structures of thought. c e Theme 2 Bodies of Water: The Pacific, the Dam, Buena Vista Lagoon the Lagoons glia Hedionda Lagoon Batiquitos Lagoon 0 a < k* THE 3RD ANNUAL (=ARLSBAD OUTDOOR SCULPTURE EXHIBITION Theme 2 Water: The Pacific, the Dam, the Lagoons Idea The sea and the lagoons are the most noticeably rich examples of Carlsbad's natural history. The bird sanctuary at the Buena Vista Lagoon and the shoreline views of migrating Grey Whales contribute character of Carlsbad. Also water sports: surfing, skiing, sailing are appreciated by residents and attract visitors, I want to find a way of focusing on the importance of water in the life of the city. much to the swimming, and Site Any body of water, to be decided by the artist. Artist Mineko Grimmer. See page 19. % -1 Theme 3 North / South: Roads, Tourism, Sightseeing 1 e 0 , t+ THE 3RD ANNUAL CARLSBAD OUTDOOR SCULPTURE EXHIBITION Theme 3 North / South: Roads, Tourism, Sightseeing Idea For decades, Carlsbad has been a favored resort for residents of the larger cities to the north and south. This north / south orientation has a tremendous effect on the character of the city and will play a decisive role in the city's future. The main arteries : 1-5, Amtrack, and El Camino Real symbolise human migration, much the same way as the lagoons and coast represent the migrations of birds and whales. Site Various sites to be chosen by the artist. Artist No decisions yet. L - w m Theme 4 Flower Fields . . -____ . . ...... -. --. ---- - . . .- .- . ._ . __ ... . - - . - - ......... - . - ......... . . _. . -. -. . .... .. _. .. - .- .. ,. . ... ..... .. ..... .. - ..... - - .. ...-_. .- -. - - __-_. - - - .. ... ..... ........ - ...... -- --.--- ..-- -.-.. .- - ....... - . -.-. . .- -. .. -. - ...... - _. ___ __.. . -_ . __ I. h-- t. . c e e < It 7 THE 3RD ANNUAL CARLSBAD OUTDOOR SCULPTURE EXHIBITION Theme 4 Flower Fields Idea The beautiful colors of the mnunculus fie125 was certai strongest impression when I first began looking for outdoor sculpture sites. Driving along Interstate 5, I wa able to see bright bands of alternating color. I was told that the flower fields have long been an important part of the area's economy and have been a particular source of pride for local residents. These fields lend themselves perfectly to the idea of an outdoor sculpture exhibit. Site There are three possible locations under consideration. The 1-5 fields seem preferable so far. Artist Tom Eatherton Eatherton has been exhibiting in museums for over 25 years. He is known primarily for his experiential room instations, which he has made at the Pasadena Museum and at U.C. Irvine, among other sites. He is one of the original members of the internationally known generatio] of artists known as the California Light and Space arti! c w W Theme 5 The Personality of Carlsbad - 'a - c 0 0 I I. - 7 THE 3RD ANNUAL CARLSBAD OUTDOOR SCULPTURE EXHIBITION Theme 5 The Personality of Carlsbad Idea This is the most open-ended of the themes. find an artist who will visit the city, gather impressi facts, or objects--then organize these materials and create an outdoor artwork that will reflect the persona of Carlsbad as this artist discovers it. I would prefer work with an artist from San Diego County on this theme - The idea is Site Open Artist A San Diego County artist, who will be selected from recommendations from museum curators and university gallery directors in the county. - 6 w e - Art is t s Under Cons ide ;ra t ion This is not an exhaustive list. I am still open to artists who are not listed here. Lita Albuquerque Well known Los Angeles artist. Known for site specific ideas derived fom astronomy ai12 metaphysics. David Bunn His installation in Santa Monica Museums inaugural show was praised for its sensitivity toward and accesibility to the public. Greg Colson Works with maps. Has had successful one man shows in Florida and Los Angeles. Works with large scale environments. Has been showing in museums for over 25 years. Member of important group of artists of the California Light and Space movement Tom Eatherton Kate Erickson 4 Work as a team. Have done many Me1 Ziegler environmental/conceptual pieces. They are respected for their ability to interact with audiences who are normally ignored by the contemporary art world. Jenny Holzer She uses common phrases of speech and literary cliches and adages as "concrete Foetry.'' One of the most well known New York artists to emergee in the 1980's Internationally known San Diego County artist. . Kim MacConnell a 0 , ,I Eric Orr All his work deals with a transcend use of symbolic traditional materia evoking a sense of contemporary a1 Ray is rapidly becoming one of the respected site specific sculptors i America. His work is currently beir shown in the Whitney Biennial in NE York. He will have a one man show i Los Angeles MOCA in July. Charles Ray Peter Shelton Works with bronze, steel and other materials in a whimsical but subtlf style, often depicting fragments o the human body that are so full of character that they suggest human presence more fully than most full figure realistic sculptures. Dean of graduate school at Claremo College. Figurative sculptor, who deals with moral concerns. A retrc spective of is work is currently being organized under the sponsor5 of the Fellows of Contemporary Arl Graduate of UCSD. Her works use tE empty space surrounding her obj ecl and the shadows cast by them as e in the total sculpture. She exhibited early in her career San Diego State University Galler. where I first encountered her wor She builds beautiful structures t act as percussive musical instrru She uses the ephemerality of ice, and sound to help us see the mome of nature. Roland Reiss Margaret Honda s Mineko Grimmer -2 m 0 Richard Jackson Veteran conceptual/environmental artist who has exhibited widely with museums in Europe and America. Lives in Pasadena. Mark Lere Sculptor who works inboth traditional and unconventional materials. Some of his work is figurative, some abstract Has done outdoor pieces dealing water movement Robert Millar Young Manhattan Beach sculptor. He is advisor to the Manhattan Beach public art program, He is unusually conscien- tious about selecting the appropriate work for exkibits. Matt Mullican Internationally known artist who grew up in Southern California, but is now based in New Yol'lt, He uses international symbols in a very human manner, creating narratives and "idea landscapes If that cross over cultural and linguistic barriers, His major theme is -- meaning in contemporary urban/suburban ciyic bodies. Jack Nault Has a degree in geology as well as c an MFA in art from UCLA, His work deals with the collision of nature with modern technology. He draws ideas from the physical (geological) combined with the historical (mythical) char- acteristics of sites. e -0 t .-* Views on Art Writing I aim to write in a style that is useful, one that can serve the varied constituency of the art writer: artists, art professionals, connoisseurs and the genera public. The dullness of the larger part of current art writing stems from a lack in the writer of the desire t communicate. And without this desire, a writer will produce lifeless articles. Desire cannot be instilled b others, by editors, artists or by employers. No, a writer must wish to share. When we communicate, rather than merely talk or wr'ite, we share our knowledge, opinions, experience, humor, moods and fancies. Communication is human and it is subjective. The average academically trained art professional has been intimidated by the pedantry of college thesis writing. The result is pseudo-objective tone, essays overburdened with references and footnotes submerging the writer's underdeveloped personality. Hence, we are saddled with thousands of tedious article reviews and catalog essays, written without conviction, crippled by timorous phrasing and esoteric jargon, by writers who have been paralyzed by their fear of sharin Fine style, however, cannot compensate for the abse for a grasp of the subject. Often I've read pleasant, lucid and informative descriptions of art which leave m with nothing more than a list of data. It's as if the writer has not really been there, in the presence o the art. And indeed, the truth is, he has not, I believe the priority of art writing is to convey the sense of the experience of the art that is being written about. It is the writer's task to first underst m w c - Views on Art Writing (continued) and articulate his own experience of an artwork. Descriptions of objects and environments, and information on historical or critical contexts must be employed for the purpose of throwing light upon experience. There is no such thing as a work of art that can exist without the participation of the beholder. Richard Stephens 6-9-89 . 0 0 7 .-+- ? Richard Stephens Re f e renc e s Peter Clothier - Nationally published critic (2 341 Ronda Vista Drive Los Angeles, CA 90027 Peter Frank - Nationally published critic (2 11746 Goshen Avenue Los Angeles, CA 99 049 Henry Hopkins - Director and curator (2 Frederick R. Weisman Foundation 10350 Santa Monica Blvd. Los Angeles, CA 90025 Edward Leffingwell - Director of Visual Arts 12 Cultural Affairs Department City of Los Angeles 4804 Hollywood Blvd. Los Angeles, CA 90027 John McCracken - Internationally known sculptor (2 1001 East 1st Street LOS Angeles, CA 90012 Richard Smith - Editor for a national art monthly (2 New Art Examiner 600 Moulton Avenue #304 LOS Angeles, CA 90031 b