Artwork of the 80's
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Artists & Works

Leland Rice
American (b. 1940)
from the WALL SITES series (1973-5)
4 silver prints
each 20” x 16”

STYLE: 70s PHOTOGRAPHY

 

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-Nagy’s 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 Philadelphia’s Tyler School of Art.

CRITICAL EXCERPTS

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. I’m really interested in that energy.’"