Archive for the ‘Museums’ Category
I know I’ve posted artists’ portraits before, but I can’t resist sharing these great photos of the artists in Los Gigantes: Larry Bell, Craig Kauffman, John Mason, Ed Moses, and Peter Voulkos. These giants of the West Coast art scene were all photographed by Jim McHugh, who was kind enough to send us these images. McHugh is a noted chronicler of contemporary West Coast artists and has published several books including California Painters: New Work, 1989 and The Art of Light and Space, 1993. More recently, his work was exhibited by Timothy Yarger Fine Art, and was included in the Getty Museum’s Pacific Standard Time initiative. For over thirty years, McHugh has created compelling portraits of artists, capturing their individuality and offering unique views into their world. His respect and enthusiasm for his subjects and their work comes through in every image.
I’m happy to announce the opening of Larry Bell’s second solo exhibition with White Cube Gallery, in São Paulo, Brazil. Bell first exhibited with White Cube London in the fall of 2013, with great success. Now, he’s been invited to participate in another exhibition, titled The Carnival Series, in São Paulo. On view from February 18 – March 22, 2014, this show is scheduled to coincide with the Brazilian Carnival season.
This exhibition will feature a selection of works dating from the 1980s to the present. This includes ten Mirage Works, composed of layers of found papers, films and applied acrylic paint, which play on the artist’s persistent interest in spatial ambiguity and perception. The show will also feature a recent series of colorful collages that reference the female form. Three Light Knots will round out the presentation, their graceful forms suspended from the ceiling of the exhibition space. Made of Mylar, these sculptures are multi-dimensional, kinetic works that reflect, refract, and transmit light.
It’s great to see Larry Bell continue to get such international exposure. One of the most prominent artists to have come out of the 1960s Los Angeles art scene, Bell’s work is featured in major museums collections around the world, including: the Museum of Modern Art, New York; the Los Angeles County Museum of Art; the Museum Ludwig, Cologne; the Stedelijk Museum, Amsterdam; the Tate Gallery, London; and the Whitney Museum of American Art, New York.
It’s always gratifying to learn that an artist is receiving deserved recognition. Especially when the work has been a key part of the history of American ceramic sculpture. This year, John Mason will be appearing in the Whitney Biennial, curated by Stuart Comer, Anthony Elms, and Michelle Grabner, on view March 7 – May 25, 2014. Of course, this isn’t Mason’s first time at the Whitney Museum of American Art, where Mason has a fifty year record of shows. His work has been included in exhibitions such as Fifty California Artists, 1962; the 1964 Annual Exhibition: Contemporary American Sculpture; the 1973 Biennial Exhibition: Contemporary American Art; 200 Years of American Sculpture, 1976; and Ceramic Sculpture, Six Artists, 1981.
The Frank Lloyd Gallery has a long history with Mason – we had the honor of representing him for sixteen years, and exhibited his work in nine solo shows. Mason was a key part of the gallery’s primary mission to re-contextualize the achievements of the major figures of West Coast Art. In addition to that recorded history, we also worked to place Mason’s work in major museum collections and private art foundations. Looking back, we facilitated the placement of fifteen artworks in seven institutions, including the Maxine and Stuart Frankel Foundation for Art, the Los Angeles County Museum of Art, the Kaneko Foundation, the Anderson Collection, the Boston Museum of Fine Arts, the Buck Collection, and the Philadelphia Museum of Art. Some of these works, such as the Untitled Wall Relief, 1960, donated by W.D. Fletcher to LACMA in 2007, are on display now!
In recent years, a tremendous interest has developed in Los Angeles artists and the growth of L.A. art institutions. The success of programs at the Hammer Museum and at LACMA are examples of that surge. While some news may have focused on the ups and downs of museum funding and staff changes, there’s one fact that that bears repeating over and over: the shows coming out of Los Angeles have been superb! Today I was reminded of how the efforts of curators at both L.A. museums and local galleries have been nationally recognized.
In 2013, the International Association of Art Critics included an impressive number of L.A. curators and organizations in their annual awards. Headquartered in New York, AICA-USA’s membership comprises over 400 critics, curators, scholars, and art historians working throughout the United States. Take a look at some of the awards given out last year: to Stephanie Barron for “Ken Price Sculpture: A Retrospective,” Los Angeles County Museum of Art; to Wendy Kaplan and Bobbye Tigerman for “California Design, 1930–1965: “Living in a Modern Way,” also at the Los Angeles County Museum of Art; and to Kellie Jones, curator of “Now Dig This! Art and Black Los Angeles 1960-1980,” which opened at the Hammer Museum and traveled to MoMA PS1, New York.
Paul Schimmel’s brilliant final show at MOCA, “Destroy the Picture: Painting the Void, 1949-1962,” was given an award as one of the two best thematic museum shows nationally, along with the Hammer’s “Now Dig This”.
This morning I went to Cherry and Martin gallery, which was honored last year for their exhibit “Photography Into Sculpture / The Evolving Photographic Object.” Based on an exhibition at the Museum of Modern Art from 1970, organized by Peter Bunnell, the Cherry and Martin show was favored by critics as part of the Pacific Standard Time series of events.
Tomorrow I will return for another view of “Face to Face: Flanders, Florence, and Renaissance Painting,” the world-class exhibit at the Huntington. It’s the work of Catherine Hess, a scholar and curator at the Huntington, who has managed to put together one of the most perfect exhibits I’ve ever seen. It’s an art history lesson for all viewers, and the selection of examples are borrowed from the Uffizzi, the National Gallery, the Boston Museum of Fine Arts, and numerous museums in Europe and America. It’s another example of why L.A. deserves recognition: the excellence of the curators.
2014 is going to be a busy year for Adrian Saxe! To begin, Saxe’s artwork will be featured in the 70th Scripps Ceramic Annual, opening on January 25th at the Ruth Chandler Williamson Gallery. The Ceramics Annual is the longest-running exhibition of contemporary ceramics in the United States, and this year it presents works by artist curators who have previously participated. The Annual has historically been organized by artists, and this year’s theme honors their contributions. The show will be on display from January 25th – April 6th, 2014.
Saxe will also participate in a panel discussion including Wendell Castle and Janet Koplos at the Museum of Fine Arts Houston on February 22nd, for the opening of Beyond Craft: Decorative Arts from the Leatrice S. and Melvin B. Eagle Collection. The Eagles gifted their collection to the MFAH in 2010, and this exhibition is the first to draw extensively from it. It will remain on view through May 26th, 2014.
Finally, Adrian Saxe will be honored as a Regis Master for 2014 at the Northern Clay Center in Minneapolis, Minnesota. The Regis Masters Series honors senior artists who have had a major impact on the development of 20th and 21st century ceramics. Since the early 1980’s, Saxe has sought to reinvent, and bring up-to-date, a role for ceramic art that employs decorative art conventions to mirror, comment upon, and redirect social and cultural expectations. Furthermore, his longstanding position as Professor of Ceramics at the University of California, Los Angeles has allowed him to foster the development of countless ceramics students.
Frank Lloyd Gallery artists have been very busy, so here’s a round-up of their latest activities. To begin, Jennifer Lee has been invited to participate in the International Ceramic Festival in Sasama, Shizuoka, Japan. During the festival, November 22 – November 24, 2013, Lee will present a slide lecture and practical demonstration. Gustavo Pérez will join her at the festival, as he is also scheduled to speak to participants. In 2014, Lee will return to Japan for a two-month artist’s residency at the Shigaraki Ceramic Cultural Park.
An important work by Craig Kauffman is now on display at the Barbican Art Centre, as part of their exhibition Pop Art Design, which opened on October 22 and will run through February 9, 2014. I was fortunate enough to preview this show during my recent trip to London. Pop Art Design investigates the “exciting exchange of ideas between the fields of design and art” during the Pop Art movement.
Peter Voulkos is currently the subject of a one-man exhibition at the Franklin Parrasch Gallery titled Peter Voulkos: Works, 1956 – 1997. On view through November 23, 2013, this show features ten ceramic artworks drawn from distinct periods within the artist’s long career.
I am also pleased to announce that the Hetjens Museum in Dusseldorf, Germany, has acquired a recent sculpture by Wouter Dam. Founded in 1909, the Hetjens Museum is home to a collection of ceramic works from all over the world, spanning 8,000 years of ceramics history. Finally, The Harwood Museum of Art in Taos, New Mexico, recently announced a major gift of contemporary art by a private collector. The promised collection contains over 30 artworks by Larry Bell, including two examples of his most recent series, the “Light Knots.”
I’ve just returned from London, a true crossroads of the world (to say the least) and a center for global markets of finance, commerce—and art. Like many visitors, I strolled parks and avenues, walked along the Thames, and took in several museums—from the National Gallery to the Tate Modern and the Tate Britain. Like many others involved with contemporary art, I attended Frieze and Frieze Masters. I also went to London galleries.
Collecting art, which was once the pursuit of a smaller population of people and a smaller number of museums, has become far more common. The exponential expansion of the art market, due to the broad digital distribution of images and information, as well as concentrations of wealth in emerging economies, has led to a true change in the way that people see and acquire art. Globalization of art (and all kinds of related information) has drawn many new people who may not have the same objectives as the traditional collector. The art fair is now a primary source for them.
The growth of the market is, of course, a welcome circumstance for artists, and it should be for art dealers. After all, it is the dealers who support the system more than any other group—an observation that was echoed in an interview with the organizer of the Frieze art fair, Matthew Slotover. This preeminent art fair, which began in 2003, gives global visitors the chance to see dozens of galleries under one roof (or tent, as the case may be) and the brilliant organizer sums it up by saying, “One of these reasons is that people have less time than they used to, so they’re generally people who work and travel a lot and they don’t have as much time to visit galleries as they used to, so art fairs are very convenient…”
On the other hand, however, one must recognize the value of galleries in the larger ecosystem. It’s a topic that was addressed eloquently in a recent op-ed piece written by Dorsey Waxter, president of the Art Dealers Association of America, published in the Blouin Art Info. I would suggest that anyone interested in art and art galleries read the article, and note the words of Ms. Waxter, “I have tried to imagine a world where there were no art dealers and galleries and what that would be like. Fortunately I cannot. All sectors of the art world are tied to one another, but it seems to me that galleries matter the most. Their impact on artists and their influence in the arts community is irreplaceable.”
Now that I have works on display by DeWain Valentine in our current exhibition, Translucence, I have been thinking a lot about another show of his – From Start to Finish: DeWain Valentine’s Gray Column – on display at the Getty from late 2011 through early 2012. Organized by the Getty Conservation Institute as part of the Pacific Standard Time Initiative, From Start to Finish told the story of the Gray Column’s production, original installation, and subsequent conservation.
This monumental work, cast in polyester resin, was commissioned by Baxter Travenol Laboratories as part of a two-piece installation of columns, each 12 feet high, for their Illinois headquarters. However, a change in architectural plans made it necessary for the works to be displayed horizontally, as Two Gray Walls. It wasn’t until the Getty’s 2011-2012 exhibition that the artwork was installed vertically, as Valentine had always intended.
A related work by Valentine, called Column Gray, 1972-75, is on view at the gallery now. After noting the strong relationship between Column Gray and the larger Gray Column, I did a little research into the background of the two pieces and found out that Column Gray is actually a color study for its large-scale twin. Before Valentine began work on the full-size Gray Columns, he produced a series of maquettes, in order to experiment with various levels of pigmentation and opacity. Standing at just under two feet tall, Column Gray is one of these maquettes, demonstrating a slightly darker color palette and a more opaque base.
I’m happy to announce that Larry Bell will be the subject of an upcoming solo exhibition at White Cube in London. On view from October 16th through December 22nd, the show is timed to coincide with the Frieze London Art Fair. Bell will be presenting recent works in the North Galleries, as well as in the central 9 x 9 x 9 meter exhibition space that the gallery is known for. This show will increase Bell’s already considerable presence in London – he currently has two cubes and a very early box on display in the Minimalism Gallery at the Tate Modern. A photograph from 1972 can also be seen in the Prints and Drawings Study at the Victoria and Albert Museum.
Another gallery artist, Wouter Dam, has been included in the group show In Dialogue with the Baroque at Schloss Schleissheim, near Munich, Germany. This exhibition presents contemporary artists in the context of the baroquely decorated Schleissheim Castle. The sinuous, curving lines of Dam’s ceramic sculptures recall the formal principles of baroque ornamentation, making his work a natural fit. In Dialogue with the Baroque opened on September 1st, and will be on display through October 13th.
Meanwhile, Gustavo Pérez’s international reputation continues to grow – he was included in Erskine, Hall & Coe’s Summer Show in London, and was featured in their earlier spring show, Classic and Contemporary. Pérez’s work will also be on display at the Galerie Capazza in Nançay, France, from October 5th – December 5th, 2013. This solo exhibition will include new works by the artist, who continues to pursue inventive methods of engaging with clay.
Scottish artist Jennifer Lee will open a self-titled solo show at Erskine, Hall & Coe on October 9th, which runs through November 1st. She was previously included in a group show alongside Pérez earlier this year titled Classic and Contemporary, also at Erskine, Hall & Coe. Lee’s work continues to evolve, her elegant vessels combining the geological power of nature with the beauty of human artifact.
Akio Takamori has had a busy summer, and he doesn’t seem to be slowing down for the fall season. Takamori recently opened a solo exhibition titled Portraits Ordinaires at the Musée Ariana in Geneva, Switzerland, which will remain up until October 27th. He will also be included in Body and Soul: New International Ceramics, a group show at the Museum of Arts and Design, on view September 24th, 2013 – March 2nd, 2014.
Scot Heywood will be the the subject of two complementary solo shows, both opening in October. The first of these, titled Scot Heywood: A Survey of Large Paintings, 2006-2013, will open at Santa Monica College’s Barrett Gallery on October 22nd. It will remain on display through December 7th. His second show this fall, organized in concert with the first, is called Scot Heywood: A Survey of Small Paintings, and it will be on view here at the Frank Lloyd Gallery from October 26th – November 30th.