Posts Tagged ‘Museums’
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.
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.
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.”
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.
Among the most gratifying moments of owning a gallery are the times when our artists’ work is placed in great museums. Especially when the piece was acquired from an important exhibit at the gallery, and preserved in a carefully selected collection—before being promised to a major museum. This is the best of all possible paths: preservation of the legacy of the artist.
I’ve written before about Peter Voulkos in museums. This week, at the Nasher Sculpture Center in Dallas, his work will be exhibited in the company of the 20th century’s greatest: Pablo Picasso, Willem DeKooning, and Alberto Giacometti, among many others. Those who have questioned the placement of Voulkos in the history of sculpture must take note, as this is yet another example of the recognition and power of Voulkos by a major collection. Fortunately for future generations, the work, Alhambra, is a promised gift from one of the gallery’s best collectors, and was enthusiastically accepted by the Director of the Nasher.
Titled Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943-1963, the exhibit is described on the Nasher website as “the first exhibition to explore the phenomenal increase in interest ceramics received from artists of the avant-garde during this period.”1 It promises to be an expansive look into how these artists, who were not primarily known for their work in ceramics, paved the way for future generations of ceramic sculptors. Within the exhibition, Voulkos’s powerful ceramic piece is rightly positioned as a “radical [example] of the expressive potential of fired clay.”2
Return to Earth opens at the Nasher Sculpture Center on Saturday, September 21st, 2013, and will remain on view through January 14th, 2014.
1 Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943-1963, Nasher Sculpture Center, Dallas, 2013, http://www.nashersculpturecenter.org/Exhibitions/Return-to-Earth
It has been a busy summer for our gallery artists, and their momentum looks like it will continue into the fall! For example, Richard Shaw has three works featured in the Laguna Art Museum’s ongoing exhibition, Faux Real. On display through September 29th, Faux Real presents a selection of artworks that mimic and manipulate reality. Shaw’s porcelain sculptures are a natural fit for the show – he has been producing artful and irreverent trompe l’oeil objects for decades. Shaw is also presenting a series of figural ceramic sculptures in a solo show at the Gallery Paule Anglim in San Francisco, through August 24th. At a glance, these figures appear to be cobbled together from a variety of everyday objects, including instruments, books, branches, and cast-off shoes. However, these seemingly found objects are actually cast in porcelain.
The Orange County Museum of Art’s California-Pacific Triennial includes works by Akio Takamori. A re-working of the OCMA’s previously established California Biennial, the Triennial explores the complex cultural exchange between countries located on the Pacific Rim. Takamori, a naturalized American citizen born in Japan, is a perfect example of this phenomenon, making figurative sculptures that explore ideas of global community and his own multicultural background. His work will be on display at OCMA through November 17th.
Finally, Craig Kauffman will be included in an exhibition titled Pop Art Design at the Barbican Art Gallery in London, running October 22, 2013 through February 9, 2014. This show, organized in cooperation with the Louisiana Museum of Modern Art and Moderna Museet, will investigate the “exciting exchange of ideas between the fields of design and art” during the Pop Art movement.1 Kauffman will be represented by a beautiful plastic lozenge from 1968-69, from the collection of the Louisiana Museum of Modern Art.
1 Pop Art Design, Barbican Art Gallery, London: 2013, http://www.barbican.org.uk/artgallery/event-detail.asp?ID=14797
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.