2012: The Year in Review
Inspired by the Getty’s holiday card – a video narrated by James Cuno outlining the Getty’s accomplishments of 2012 – I decided to take a look at the happenings of the past year here at the gallery.
In January the gallery opened Peter Voulkos in L.A.: Time Capsule, a show that critic Peter Frank hailed as “…the kind of show Pacific Standard Time has been all too short of: an intimate look at the taste and thinking and working methods of an influential figure. Everything in the show, drawn from the artist’s daughter’s collection, was small in scale and dated from the later 1950s…” in the Huffington Post.
Also early in the year, Clay’s Tectonic Shift: John Mason, Ken Price, Peter Voulkos, 1956—1968 debuted at Scripps College. I contributed to this major Getty-sponsored exhibition by serving as co-curator and lead essayist for the show, which was singled out by Hunter Drohojowska-Philp on Artnet as “…something of a model for what PST has accomplished, putting into relief the important contributions made by California-based ceramicists during the ‘50s and ‘60s.” By year’s end, Los Angeles Times critic Christopher Knight recognized the show in his “Best of 2012” list of art museum exhibitions, writing that: “Together, ‘Common Ground: Ceramics in Southern California, 1945-1975’ … and ‘Clay’s Tectonic Shift: John Mason, Ken Price and Peter Voulkos, 1956-1968’ … made for the most thorough telling of the tale of a distinctive revolution in postwar art. One laid out the rich panoply of modern ceramic conventions, the other cheerfully smashed them.”
Drawing on Japan’s significant history with ceramics, the gallery presented Sugimoto Sadamitsu’s work in February. Sugimoto-sensei is regarded as the greatest living master of the Iga and Shigaraki styles, and his work was highlighted in a 1989 exhibition that celebrated the 400th anniversary of the death of Sen no Rikyu, the legendary early master of the Tea Ceremony. Sugimoto-sensei’s work represented Shigaraki and Iga masterpieces of the Momoyama period for use in the movie made in that year titled Rikyu, a well-received treatment of the life of this master of the Tea Ceremony. Our show was the first appearance of Sugimoto-sensei’s work in the western United States.
We also brought an unprecedented show of paintings from the late 1980s by Craig Kauffman to the L.A. audience in April. Never exhibited together in the artist’s lifetime, these paintings showed Kauffman’s interest in unorthodox application of paint and his love of the physicality of painting, accompanied by his brilliant color sense. Kauffman considered the 1989 works, which became known as the Numbers, to be a continuation of his use of calligraphic line, and an integration of sensuous color with architectural form. It was a memorable show.
This summer we mounted Jennifer Lee’s fourth solo show in Los Angeles. Jennifer Lee’s pottery is carefully colored with oxides incorporated into the stoneware body of the vessels, so that the interiors and exteriors work together. Referring to her unique pigments, Sir David Attenborough noted: “Because she does not use glaze, her subtle colours and misty shades come not from a veil draped over the pot but from within its very substance, as in the face of a cliff.” The quiet elegance of her pots never fails to make an impact on viewers. Indeed, Leah Ollman of the Los Angeles Times wrote in August that, “For all the calm they invoke, the pieces are charged with the motion of the swirls that encircle them…Their implicit movement suggests the shy whirl of demure dervishes.”
In the fall, the LACMA retrospective of the late Ken Price was a landmark exhibit for the artist. In every way, from the innovative design of the exhibition to the superb publication, the tribute to Ken Price signaled the significance of ceramic sculpture in the development of contemporary art in Los Angeles. In a related exhibit, the gallery presented a show of small works, which was described by David Pagel of the Los Angeles Times as a “dazzling solo show at Frank Lloyd Gallery.”
November brought the release of the gallery’s major monograph on Craig Kauffman, entitled Sensual Mechanical. Written by biographer Hunter Drohojowska-Philp, the publication was praised by Christopher Knight in the Los Angeles Times as “…a gorgeously illustrated and highly informative monograph published by Frank Lloyd Gallery, which represents the artist’s estate. Hunter Drohojowska-Philp’s 2011 book ‘Rebels in Paradise: The Los Angeles Art Scene and the 1960s’ sketched the city’s first flush of artistic maturity. Here she chronicles for the first time and in illuminating depth Kauffman’s life and the complete evolution of his luminous art.”