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Leland Rice studied at Arizona State University and California
State University, receiving an M.A. in 1969. He immediately began
his teaching career, founding the photography department at the
California College of Arts and Crafts at Oakland, where he was a
great influence for many young photographers. In the early seventies,
Rice began making portraits, intentionally stripping them of their
relationship to external events and attempting to realize them as
pure objects. He then started to focus on environments, including
many images of chairs; in these works, the artist attempted to allude
to the human presence without including it.
Rice began the Wall Site series in 1973, first in black and white
and then in color. They are all set in his studio and feature simple
arrangements of objects against the studio wall. Light radiates
from the wall, giving the prosaic scenes almost a spiritual weight.
In 1983, Rice began to document the soon-to-be-demolished Berlin
Wall, and continued to do so until 1991; his photographs are a complete
record of paintings, graffiti, and other accretia on the Wall.
A respected curator and collector, as well as artist and teacher,
Rice curated Photographs of Moholy-Nagy, the first major
American exhibition of Laszlo Moholy-Nagys photographs and
photograms, which traveled to museums from 1975 through 1979 and
was accompanied by his catalogue. Rice has also curated major museum
exhibitions with publications of photography by Herbert Bayer, Frederick
Sommer and Frances Benjamin Johnston. He taught photography at the
College of Arts and Crafts, Oakland (where he founded the photography
department); in Southern California at Pomona College, UCLA and
USC; and Philadelphias Tyler School of Art.
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Richard Wickerson, Leland Rice: The Wall Site Series,
New Mexico State University, 10/80
"...Rice...lowered the position of his camera and traded the
distorting capability of the wide lens for its capacity to record
a broader range of information. This image focused attention on
the action of light and, in so doing, marked the beginning of the
Wall Site series. With the light appearing to emanate from the objects
or walls, his interest in the symbolic implications of objects was
replaced by a symbolic interest of light.
...Rice suggests that Everything has a certain time sequence
and things change appearance, just as people change appearance over
a period of time...When objects get abandoned, if only for a while,
they really get to be interesting because then other forces begin
to take over and work on them. Im really interested in that
energy."
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