Posts Tagged ‘Los Angeles County Museum of Art’
I’m looking forward to attending the exhibition Helen Pashgian: Light Invisible, opening at the Los Angeles County Museum of Art on March 30. The show features a large-scale sculptural installation of molded acrylic columns. Visitors will be able to move around and between these forms, creating “an immersive viewing experience that invites meditations on the nature of material and, more importantly, of light.”
I exhibited works by Helen Pashgian in the group show Translucence, presented at the gallery in the fall of 2013. The work pictured here demonstrates how Pashgian’s work has explored the new possibilities offered by industrial mediums to manipulate and explore visual and perceptual phenomena. Dating from the early 1970s, this piece traps, reflects, and diffuses light, much like the columns that will soon be on display. As you move around the piece, colors and shapes seem to advance and recede, which contributes to its perceptual ambiguity. The traditional boundaries between form and color dissolve, leaving the viewer with a subtle, shifting sense of space.
The current exhibition, Roseline Delisle, is an unusual opportunity to see so many of the artist’s works displayed together. The show spans two decades of her career, and illustrates Deslisle’s development of progressively larger forms. The rarity of her work on the market has led to a lot of questions from visitors, some of whom are experiencing Delisle’s work for the first time.
Roseline Delisle’s work was avidly collected by private individuals and major museums during her lifetime. For example, the Los Angeles County Museum of Art owns seven Delisle artworks, including the 1997 piece 8=1 (to the third power), which was purchased in 1998 with funds provided by the Friends of Clay and Decorative Arts Council. The Metropolitan Museum of Art, New York, owns two beautiful works as well.
Delisle’s work is also represented internationally. In her native Québec, the Musée des Beaux Arts, Montréal, owns a beautiful bowl in the artist’s signature cobalt blue. The Tokyo National Museum of Art also has in their collection two Delisle works from 1988. Altogether, Roseline Delisle has works in nearly twenty major museums around the world.
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.
We are showing a selection of small, early ceramics by Robert Graham in the group exhibition Small is Beautiful. Produced in 1975, these works were first exhibited at the legendary Nicholas Wilder Gallery that same year. Wilder occupies an important place in the art history of Los Angeles – he was the first to show Bruce Nauman and also exhibited David Hockney, Ron Davis, John McCracken and John McLaughlin.
Graham is well known for his monumental bronze sculptures and civic monuments, and these small works continue his investigation of the female form. Curator Maurice Tuchman writes evocatively about Graham’s work in the 1982 catalogue for the exhibition of the Michael and Dorothy Blankfort Collection at the Los Angeles County Museum of Art:
The fine anatomical detail makes the figures powerfully believable; yet, at the same time, the sensuous surface treatment makes them extremely satisfying as objects whether the medium is bronze, sometimes gilded or painted, or porcelain. In relief or in the round, Graham’s figures and fragments embody a quality of near-hallucinatory expectancy – a sense of emerging from mist or out of time – that gives them a beauty and significance beyond their intrinsic qualities as representation or craft.
It’s good news that the Kayne Griffin Corcoran Gallery will be opening a show of works by Robert Graham from 1969-1974 on January 14. Including figurative sculpture in wax and bronze, as well as drawings in graphite and pastel, their exhibition will focus on the period that directly precedes the ceramic works we have on display. Graham’s lifelong pursuit of the human form is elegantly reflected in these two bodies of work, with these investigations continuing for the duration of his career.
I’m often asked, “where can I see ceramics in Los Angeles?” One of the first places to look is the Los Angeles County Museum of Art. The museum has been acquiring ceramics for decades, and their collection ranges from Pre-Columbian figures to a mural by Henri Matisse, to a Peter Voulkos sculpture.
I was reminded of this by the current issue of “The Insider”, LACMA’s members’ magazine, which features the Henri Matisse ceramic mural La Gerbe, a gift of Francis L. Brody, in honor of the museum’s 25th anniversary. La Gerbe, a 1953 commissioned work, is a ceramic tile mural installed on the plaza level of the Ahmanson Building. The Matisse has its own spot, just to the left as one enters from the Plaza. It’s something that inspired Pablo Picasso to say, “Only Matisse could have made something this beautiful.” 1
In the Art of the Americas building, the large Pre-Columbian collection is on view, as well as a selection of modern and contemporary ceramics from the Decorative Arts Department on the third floor. Many works in the LACMA collection were donated by Howard and Gwen Laurie Smits, a large gift that includes work by several of the artists represented by the gallery.
My favorite piece is Peter Voulkos’ 5,000 Feet, a muscular, dark vertical work that was first exhibited at the Pasadena Art Museum in 1958. Made of stoneware clay and iron slip, it stands 45½ inches tall and is almost two feet in depth. The piece, now prominently displayed at the entrance to the Los Angeles County Museum’s permanent collection of “American Art Since 1950”, is a clear demonstration of the methods Voulkos used. He seemed to build these forms from the ground up, taking the wheel-thrown cylinders and shaping them into appendages on the central form. The body of the massive 5,000 Feet is built ruggedly, composed of wheel-thrown and paddled shapes, growing to its top with thinner, jagged forms. This powerful, expressive work won the Junior Art Council Sculpture Prize Award and the Purchase Award, 1959, Annual Exhibition of Los Angeles and Vicinity, Los Angeles County Museum of Art. 2
1 Picasso, Pablo, quoted in The Insider 3 (Summer 2013): 13.
2 Lloyd, Frank, “Vanguard Ceramics: John Mason, Ken Price, and Peter Voulkos.” In Clay’s Tectonic Shift: John Mason, Ken Price, Peter Voulkos, 1956-1968, edited by Mary Davis MacNaughton, 19-39. Claremont: Scripps College and Getty Publications, 2012.
In the New York Times this morning, I found some unprecedented news. The above-the-fold story by Holland Cotter, “The East Coast of California,” included his phrase “…an unheard-of convergence here of major California shows.” Below the fold, Mr. Cotter reviewed the Ken Price retrospective at the Metropolitan, while Roberta Smith addressed James Turrell at the Guggenheim, and Ken Johnson wrote about the Llyn Foulkes show at the New Museum.
Unprecedented, indeed—and also amazing that the curatorial work of LACMA’s Stephanie Barron and the Hammer’s Ali Subotnick are again recognized. Not just the artists from the West Coast, but the curatorial vision. Mr. Cotter’s leading line was, “The project [Pacific Standard Time] was a big success and continues to generate energy.”
How vindicated do the PST folks at the Getty Research Institute feel? Pretty strongly justified, if you look at Project Specialist Glenn Phillips’ Facebook post. The Yale-trained art historian noted “Many people claimed that Pacific Standard Time would never have more than local impact, particularly in relation to New York,” and goes on to cite the three exhibits of Price, Turrell, and Foulkes as well as the current “State of Mind” show at PS1, the Paul McCarthy installation at the Armory, and the upcoming full-floor installation by Robert Irwin at the Whitney. (Let’s not forget about Jay DeFeo, the San Francisco painter whose Whitney retrospective just closed earlier this month.)
I don’t want this post to seem like a laundry list, but it’s also a matter of record that “Now Dig This! Art and Black Los Angeles 1960–1980″ appeared at MoMA’s PS1 last year, and that “Asco: Elite of the Obscure, a Retrospective, 1972-1987″ had a run at Williams College (alma mater of many U.S. museum curators and directors). “California Design, 1930-1965: ‘Living in a Modern Way,” continues its worldwide tour, and Wendy Kaplan’s publication is now in its 4th printing. PST is having a lasting effect.
Back in October 13, 2011, the Wall Street Journal’s critic Peter Plagens (who is a former Angeleno) questioned, “isn’t PST preaching to the choir?” It’s obvious that’s just not true.
Yesterday, a journalist asked me “What is California Design?” My response was to send her the first chapter of Wendy Kaplan’s excellent essay in the LACMA publication, “Living in a Modern Way: California Design 1930-1965.” Kaplan’s book (now in its fourth printing!) accompanies the touring exhibition which debuted at LACMA last year, and is set to open in Tokyo in March.
But as I thought about the question of definition, I realized that California Design has some strong antecedents and a marvelous mix of influences. In fact, Kaplan said it best herself when she wrote that, when speaking about California Design, scholars are “referring not to a single aesthetic but to a loose, albeit clearly recognizable, group of ideas.” It’s a movement that was fed by European émigrés, including architects Schindler and Neutra, as well as Marguerite Wildenhain and the Natzlers in ceramics. Another component was the modern craft movement, which emphasizes the connection to the hand and the recognition of the beauty of every-day objects, when imbued with a refined aesthetic. Being on the edge of the Pacific Rim, California also absorbed the aesthetic and philosophy of Asian culture in the post-WWII environment. And certainly, most accounts include the open and unbounded atmosphere for expression on the West Coast, not to mention the inviting climate.
European immigration to California came in two primary waves, the first beginning in the late teens and 1920s and the second consisting of war-time refugees, fleeing the Nazis. R.M. Schindler and Richard Neutra were both early émigrés, who found in California an accommodating climate and a clientele interested in their theories of indoor/outdoor living and the use of modern materials such as steel and glass. The conditions of California were particularly amenable to the casual outdoor living promoted by these transplanted Modernists, who worked to tailor their visions to the desires of Californians.
These modern homes needed to be filled with the furniture and objects of everyday life, and the modern craft movements had a marked influence in this regard. Designers and artists strove to make their work accessible to the middle class, giving rise to the designer-craftsman. In her volume, Kaplan writes that “The concept of the designer-craftsman, though not unique to California, was most successfully realized there, particularly in ceramics.” Ceramists such as Harrison McIntosh embodied the idea that everyday items can be imbued with elegance and dignity, and that using these well-designed objects adds enjoyment to one’s daily life. Influenced by the Bauhaus-educated Marguerite Wildenhain, who fled the Nazis in 1940, McIntosh focused on simple and graceful silhouettes for practical usage.
Openness to new ideas is no doubt one of most important factors in the development of the style that came to be known as California Modern Design. A willingness to try new things led to an exciting synthesis of influences. California’s proximity to Asia led to heightened interest in the aesthetic and philosophy of Asian culture after the Second World War. Furniture and the decorative arts in particular were influenced by Pan-Asian motifs.
Thus, the question “What is California Design?” is not one that can be answered simply. California Design, like California itself, reflects the complex set of factors that shaped a region during the middle of the 20th century.
Yesterday, a pair of writers from back East asked for recommendations on Pacific Standard Time shows. I urged them to take the trip to San Diego (and La Jolla) for Phenomenal: California Light, Space, Surface at MCASD. Robin Clark’s show simply should not be missed. I singled out the shows that I’ve seen at LACMA: first, Five Card Stud, Ed Kienholz’s stunning and unforgettable installation about race and violence in America. Also (for entirely different reasons) Asco, the well-documented look at the Latino collective performance group, and California Design: Living in a Modern Way, LACMA’s delightful and rich presentation of design.
However, I forgot to send these visitors to a show that is a sleeper hit or hidden gem: Artistic Evolution: Southern California Artists at the Natural History Museum of Los Angeles County, 1945—1963. Perfectly chosen and presented by Charlotte Eyerman, this exhibit is the most faithful to the stated purpose of the Getty’s project: original scholarly research leading to an exhibition about Los Angeles art from the period of 1945 to 1980. Ms. Eyerman deserves a huge round of applause for a tightly curated and thoroughly researched show, presented in the rotunda of the Natural History Museum—quite similar in location to the old LA County Museum’s annual exhibits.
I was reminded of Eyerman’s contribution to the PST cause today. I read a review by Christopher Knight, and he has superb way of looking at the Artistic Evolution show. After reading Knight’s review, scroll down and read his post about Larry Bell, Frank Gehry and architecture. It’s a brilliant linking of those three elements, and Knight rightfully cites the long-term friendship of Bell and Gehry, who have often worked together on projects.