Frank Lloyd’s blog

Art, architecture and the people that I know.

Posts Tagged ‘Darthea Speyer

Craig Kauffman and Chicago Architects

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I’ve written before about Craig Kauffman’s early interest in architecture, including his success as a high school senior, when he won an award for his submission to a student architectural contest, juried by Richard Neutra. Craig was then admitted to the University of Southern California School of Art and Architecture at age 18, primarily on the basis of this prize. Though he stayed at the school for just one year, his essential abilities and interest in architecture remained with him for a lifetime.

Years ago, Craig gave me a well-worn copy of Chicago architect Louis H. Sullivan’s Kindergarten Chats and Other Writings, a 1947 classic Documents of Modern Art publication, edited by Robert Motherwell, and designed by Paul Rand. Craig had kept this book in his personal library since his teenage years (it is the original edition). Craig’s interest in architecture underlined his paintings throughout his life, and is especially evident in his drawings, where his spare use of line defines form and indicates scale and perspective.

Craig’s notebooks filled with drawings for his work during the period 1966–1971 are especially rich in architectural references, as well as notations for the radical forms of these works, fabricated from the industrial material of plastic. Their relationship to developments in modern architecture seems clearly related to the inventive use of industrial materials, such as steel and glass, in defining unorthodox form. It’s fascinating to know that both the Art Institute of Chicago and the Museum of Contemporary Art Chicago hold major works by Kauffman, as the city’s architectural heritage dovetails with Kauffman’s interests. The two Kauffmans in AIC’s collection were acquired during the tenure of A. James Speyer, a legendary chief curator and director. The MCA Chicago collection’s three were acquired in 2013, as gift of the estate of architect Walter A. Netsch and Dawn Clark Netsch.

Chicago’s architects must have felt some kinship with the inventive forms of Kauffman’s art and his use of new materials. James Speyer of the AIC was the architect for his sister Darthea Speyer’s art gallery in the Left Bank of Paris, where Kauffman had two solo shows. And Walter Netsch was a very prominent architect based in Chicago, who was most famous for his “sleek, functional structures” such as the United States Air Force Academy in Colorado Springs. Completed in 1963, the soaring Air Force chapel captured great, and controversial, attention from critics and the public.

Walter Netsch “designed and built his famously fantastic and unusual Chicago home and filled it with unique objects and artwork,” according to one article. Photos show that Kauffman’s works were hung along with paintings by Roy Lichtenstein, Robert Indiana, Claes Oldenburg, and Kenneth Noland, as well as Larry Bell. The Netsch couple collected in depth and took pride in “living with art.” Walter Netsch passed away in 2008, and his wife Dawn Clark Netsch passed away in 2013.

What is it that attracted architects to Kauffman’s work? In addition to these Chicago professionals, Craig’s work is in the collection of famed Los Angeles architect Frank Gehry, who knew Kauffman since 1950, at the architecture school of University of Southern California. Was Kauffman’s early education so formative that he understood the modern language of architectural form? Or were his innate abilities similar to the spatial recognition that is a requirement of architectural practice? Did Kauffman speak their language?

Whatever the reason, Chicago—the city of great 20th Century architecture—is now home to five of the finest Kauffman works from the late 1960s. From his early reading of Louis Sullivan’s Kindergarten Chats and Other Writings, to his later association with James Speyer and Walter Netsch, the artist entered the permanent collections of the two largest Chicago art museums.

 

 

 

 

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Craig Kauffman Conservation

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FKN072 copyI currently have on view an early drawing by Craig Kauffman that visitors are really responding to. From 1961, this drawing is one of a series of works on paper that Kauffman produced while he was traveling in Europe – to Copenhagen, Paris and Ibiza between 1959 and 1961. In Paris, Kauffman met the abstract artists Helen Frankenthaler and Robert Motherwell, as well as Darthea Speyer, who later became his Paris dealer. The works that he developed during this period reveal his continuing interest in Abstract Expressionism, coupled with an awareness of Japanese Zen sumi ink painting.

This piece, along with several others from the same timeframe, was included in the 2008 exhibition Craig Kauffman: A Retrospective of Drawings, at the Armory Center for the Arts, Pasadena. Kauffman carried these drawings with him during his travels, in several large portfolios, so they required some conservation before they were ready to be shown. For this task, I hired the late Victoria Blyth Hill, retired Director of the Los Angeles County Museum of Art’s Conservation Center, and longtime friend of the gallery. Her work on this project was everything I had hoped for, as she approached the pieces with sensitivity and expertise. With a “less is more” philosophy, the work was cleaned and stabilized, before being archivally framed to protect it against future damage.

Conservation is a major aspect of the Estate of Craig Kauffman’s responsibility to protect the legacy of the artist. Working with a team of selected conservators, we are trying to provide guidelines for the care and keeping of Kauffman’s work in all mediums. Given the diversity of his long career, this is a significant task, but one that is imperative if his work is to survive. The Estate of Craig Kauffman’s new website, www.craigkauffman.com, now has a conservation tab, where museums and private collectors can direct their conservation inquiries.

A French Connection

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Sometimes I look for unifying themes within the gallery’s exhibition program. It’s obvious that we specialize in contemporary ceramics, and we clearly favor a sense of place—the West Coast of the U.S. But what’s fascinating to me is that several of the gallery’s artists have a connection to France, and to French culture.

How? Let me explain.

Adrian Saxe was influenced, even early in his career, by Sèvres porcelain. He saw examples at the Huntington, when he was in his early twenties. Saxe was attracted to the soft-paste porcelain characteristic of the factory,as well as the inventive forms, delicate painting, and skillful gilding. Then, in 1983, Saxe was selected by Georges Jeanclos to be the first resident at the Atelier Experimental de Recherche et de Création de la Manufacture National de Sèvres. Saxe returned to Sèvres in 1987 for a second residency, where he continued his explorations of the factory’s traditional techniques and materials.

Craig Kauffman made many trips to Paris. His firstFKN275 copy was right after his graduation from UCLA’s master’s program in 1956. During his six month stay, Kauffman took classes at the Alliance Française and visited museums and galleries. He returned to Paris in 1959 to 1961, while also traveling to other cities including Copenhagen and Ibiza. During this more extended visit, Kauffman met Darthea Speyer, who would later become his Paris dealer. Kauffman went back to Paris in 1973 for a solo show at Galerie Darthea Speyer, and lived in a studio in the Cité Internationale des Arts through the fall of 1975. After spending the spring of 1976 in California, he returned to France, to work in his studio and exhibit new works at Galerie Darthea Speyer.

Bell Retro Nimes-64 copyThree years ago, Larry Bell was honored by the Carré d’Art de Nîmes with a very significant survey exhibition. Yet this is not the first time Bell’s work was shown, or collected, by the French. History shows that Larry Bell exhibited in France many times, including at the Galerie Ileana Sonnabend in 1967 and 1974, the Palais du Luxembourg in 1993, the Centre Pompidou in 2006, and the Galerie Daniel Templon in 2010. It’s interesting to note that Larry’s brother, a famed economist, maintains a residence in Paris.

The gallery has also shown a major French artist: FJS035_A copyGeorges Jeanclos. It was an honor to exhibit the work of such a renowned international artist on two occasions. His emotional work profoundly affected visitors, as the artist’s deft handling of his terra cotta materials evoked a powerful sense of the tragedy of human experience.