Posts Tagged ‘Larry Bell’
For the installation of Los Gigantes, I included something new – a bench! Although I don’t often place benches in the gallery, this show motivated me to include one. The aesthetic of Los Gigantes is very spare, with only ten pieces on view. The works really fill the space though, and they all benefit from prolonged looking. For example, the more time a visitor spends with a Light Knot by Larry Bell, the more they understand the ephemeral, kinetic nature of the piece. Practically weightless, the Light Knot turns and sways with the slightest breath of air. Because it is so responsive to light and environmental conditions, the piece changes from moment to moment.
I encourage people to sit down and study the pieces, rather than rushing through. From the bench installed in Los Gigantes, you will see a painting by Ed Moses, framed by two luminous wall reliefs by Craig Kauffman. The subtle, translucent colors of the Kauffman pieces beautifully complement the stained surface of Moses’ painting. Viewed together, the works illustrate the impact of shimmering, sensual color in differing media.
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.
We had our opening reception for Los Gigantes at the gallery last Saturday, January 18th, and it was a great time. As you might expect, a show featuring the work of Larry Bell, Craig Kauffman, John Mason, Ed Moses and Peter Voulkos draws a big crowd. These artists are giants within the history of West Coast art, and their work attracts writers, other artists, museum and gallery professionals, and lots of fans!
We were lucky enough to have Larry Bell, John Mason, and Ed Moses in attendance. In the week leading up to the reception, we fielded phone calls from excited visitors who wanted to know if they would have the chance to meet the artists, and I’m glad we didn’t disappoint them. The reception had the feel of a reunion, as Bell, Mason and Moses have known each other for many years, and they have a large circle of mutual friends. It was great to see so many members of the Los Angeles art world turn out to support these artists, who each have such strong histories in the city.
With a group like this, it was no surprise that visitors wanted to linger, spending time with both the artworks and the artists. It was a great opportunity to hear from the artists directly, in a relaxed atmosphere. In the end, we knew it was time to head home after a long night when Pinky, Larry Bell’s dog and constant companion, curled up and took a nap in the gallery.
Taking a look around at Los Gigantes today got me thinking about the artists and their histories with the gallery. Larry Bell, Craig Kauffman, John Mason, Ed Moses, and Peter Voulkos have all exhibited here numerous times and most of them even have a gallery publication to their name! I’m always happy to produce catalogues for artists, and to support their work with scholarship that provides important context for visitors.
Right now, we have four gallery-produced publications available, as well as one collaborative effort. These include exhibition catalogues for John Mason from 2000, Craig Kauffman from 2008, and Peter Voulkos from 2012. Of course, we also have Sensual Mechanical: The Art of Craig Kauffman, the definitive monograph on Kauffman’s life and work. To round things out, I also contributed an essay to the catalogue for the Ruth Chandler Williamson Gallery’s 2012 exhibition Clay’s Tectonic Shift, which I co-curated with Mary MacNaughton and Kirk Delman.
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.”
The gallery’s current exhibition, Translucence, will be on display through October 19th. It’s best to see it in person. Presenting works by Larry Bell, Robert Irwin, Craig Kauffman, Helen Pashgian, and DeWain Valentine, the show explores the perceptual effects these artists achieved through their use of mediums such as acrylic plastic, epoxy, cast resin, and glass.
We produced a video walk-through for Translucence, in case you won’t be able to make it to the gallery. Shot and edited by Oliver Bell, the video beautifully illustrates the atmospheric nature of the works.
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.
The artists in our current show, Translucence, were all active in the 1960s. Their work is linked by their shared interest in transparency, light, reflection and the awareness of visual perception. Although they are frequently united under the label of Light and Space, and strongly associated with the late 1960s and early 1970s, it’s important to note how these artists’ work has evolved.
Our current show presents historical and contemporary examples of artwork. For instance, Larry Bell’s well-known form, the glass cube, is presented alongside work from his most recent series, the “Light Knots.” Working in diverse materials, Bell achieves complex visual effects through his use of thin film deposition – resulting in objects that absorb, transmit, and reflect light, thus calling into question the nature of the physical and visual spaces they inhabit.
Sensuous color characterizes Craig Kauffman’s practice, and plastic allowed him to expand on and enhance this sensibility. Suspended from the ceiling, Kauffman’s Untitled Loop from 1969 radiates luminous color, casting reflections on the surrounding walls. His more recent wall reliefs pulse with layers of iridescent paint, applied in thin layers to achieve a glowing, atmospheric quality.
Helen Pashgian’s work, like that of many of her contemporaries, used the new possibilities offered by industrial mediums to manipulate and explore visual and physical phenomena. Her practice constitutes an ongoing investigation into the interaction between light, color, and three-dimensional form. Like her historical spheres, Pashgian’s recent pieces explore the perceptual relationship between color and structure, blurring the borders between these principles. As the viewer moves around her work, colors and shapes advance and recede within each piece, creating an effect of instability.
As we start to install our next exhibition, titled Translucence, at the gallery, I am struck by its parallels with the Beyond Brancusi show currently on view at the Norton Simon Museum. I visited the NSM’s show in July, and really enjoyed its perspective on the influence of Constantin Brancusi on the following generations of 20th century sculptors.
I particularly remember the third room of the exhibit, which featured “a grouping of works by Southern California artists who introduced experimental materials and expanded the relationship between sculptural object and space even further.”1 This space features four of the five artists included in the gallery’s Translucence exhibition: Robert Irwin, Craig Kauffman, Helen Pashgian, and DeWain Valentine. A large cube by Larry Bell (our fifth artist) rests just beyond the doorway.
The works on display at the NSM, like those that will soon be up at the gallery, explore the qualities of light, color, reflection, and translucency. They play with our perception of sculptural space, complicating the subject/object relationship as they dissolve into the surrounding environment. Spatial relationships and perceptual phenomena are the primary focus of these works, and of Translucence as a show.
1 Beyond Brancusi: The Space of Sculpture, Press Release, The Norton Simon Museum, January 2013, http://www.nortonsimon.org/assets/Uploads/Beyond-Brancusi-Press-Release.pdf