Frank Lloyd’s blog

Art, architecture and the people that I know.

Posts Tagged ‘Hunter Drohojowska-Philp

Closing a gallery

with one comment

CVS059_A copyThis week, the Frank Lloyd Gallery announced the closing of the public exhibition program at Bergamot Station. As of February 14, the gallery will close its doors, and move to a private space in Pasadena. The current show, of Peter Voulkos and Craig Kauffman, will be the last. After a long and successful program of over 190 exhibitions, the founder and director, Frank Lloyd, sat down to talk with Kelly Boyd and answer a few questions:

Q.: Why would you want to leave the gallery business?

A.: Well, after nineteen years of exhibitions, publications, and sales, I am finally moving on. I consider it more of a transition. I have to leave behind this accomplishment, and forge ahead with another job, as the full-time representative of an artist’s estate. I also have very personal reasons for the move, since I need to be close to my 91-year-old mother.

Q.: But what about your artists? What will happen to them?

A.: When I started the gallery, I had a specific mission of presenting ceramic artwork in a fine art context. The gallery functioned on three levels: as a commercial venue for individual artists, as an educational resource for the community of Southern California. I wanted to preserve a legacy of ceramics in Los Angeles. Finally, the gallery served as a forum for dialogue among artists, collectors and critics. I think it succeeded on all those goals.

Later, as the gallery expanded, I showed artists from other countries, FJL053_C copyincluding England, Mexico, France, Holland and especially Japan. Then, I further expanded the program to include contemporary painters and sculptors, because I thought they all came out of the same time period in L.A., the innovative post-war period. In many ways, ceramics, along with assemblage, led the way back then. Voulkos, Mason and Price were examples of fearless leadership and grew out of a common bond.

Q.: But the artists, what will happen to them? You didn’t answer my question.

A.: Oh, you’re right! I’m pleased to say that, for several reasons, ceramics has regained its rightful spot in the mainstream. Just today I had the pleasure of reading a review in the Boston Globe about an exhibition of 200 years of American ceramics at the Museum of Fine Arts, Boston. Featured were Cheryl Ann Thomas and Adrian Saxe. Also, an artist that I represented for 16 years, John Mason, has now regained his position in the art world, with shows like the Getty’s Pacific Standard Time, the recent Whitney Biennial, and his representation by David Kordansky.

Bell_Installation_2006 copyI’m proud of showing Larry Bell since 2006, and now he’s with an international powerhouse gallery, White Cube. Even a less well-known ceramic artist from Japan, Satoru Hoshino, is having a show with Dominique Levy. Others that I’ve shown, like Betty Woodman and Ken Price, both had retrospective exhibits at the Metropolitan. Back in 2003, Dave Hickey for Artforum named Ron Nagle’s show at my gallery one of the top shows in the world. Now, he’s been in the Venice Bienniale and had a survey at the San Diego Museum of Contemporary Art. Adrian Saxe continues to win awards and recognition from critics and organizations.

Q.: Is that because of what you did? Do you take credit for that?

A.: No, I think the artists should get all the credit, I’ve always thought that. But the art world is increasingly aware of these artists, now, and there is a feeling of some vindication. I get some satisfaction out of seeing these artists, who I showed and believed in, get the change in visibility. I think it’s due to several factors, actually. I just felt it was going to happen, twenty years ago when I started the gallery. The exhibition program was all about the place of these artists and that history.

Q.: What exactly are the factors you’re referring to?

A.: First is the obvious trend: Young artists have been using the ceramic medium, and they have no real material hierarchy. That’s a major factor. Younger artists will use anything; they are, quite fortunately, not bound to the old prejudices against clay. Critics have been champions of this use by young artists as well as the use by recognized artists. And curators have recognized the value of the work—look at the tremendous reception for the retrospective of Ken Price, for instance. The curators at major museums are making a big difference in the public’s perception.

Q.: What other examples?

A.: Well, the gallery showed the ceramic work of a major woman FLB008 copysculptor, Lynda Benglis. We had two quite visible and successful shows of Betty Woodman’s work, well in advance of the retrospective at the Met. We’ve shown a significant number of women, including the early group like Vivika Heino, Laura Andreson and Beatrice Wood, then more contemporary artists like Cindy Kolodziejski, Jennifer Lee, Marilyn Levine, Betty Woodman, and Elizabeth Fritsch, as well as sculptors like Lynda. Cheryl Ann Thomas is another example. We didn’t just show the men!

Q.: What part of the gallery are you most proud of?

Sensual_Mechanical_cover copy4A.: Oh, that’s easy: the publications. I’ve taken that job seriously, working with writers and a legendary graphic designer. In many ways, I was lucky to work with a superb graphic designer, the late Joe Molloy, and he mentored me through the process of publishing. I still have a huge stash of our publications, in which we published the writing of Kristine McKenna, Hunter Drohojowska-Philp, and the art historian Frances Colpitt.

I’d also have to say that every day in my gallery was enhanced by the architecture, designed by Fred Fisher. It’s a sad thing to leave this space, so perfectly designed.

Q.: So, that’s a regret. What was your biggest disappointment?

A.: Lack of attendance. We work our butts off, and then the attendance is poor.

Q.: Were there shows that drew in the audience?FJS028 copy

A.: Yes, and it’s a great memory. The big crowd pleasers were clearly deserving: Adrian Saxe’s shows—any of them! And then, we had people return again with their family, just to see the stunning and heartfelt works of French sculptor Georges Jeanclos. The first show of Peter Voulkos in 1999, that had people lined up just to get in. All were extremely gratifying to present. But lately, the attention has shifted and we are working on other projects.

Q.: Will you be busy? Is there enough work in your new job to keep you busy? Or are you retiring?

A.: This is a common question. The truth is, with an artist of this significance, Craig Kauffman, there is more than enough research, conservation, and publication to keep a full staff busy for a decade. The representatives of artist’s estates, and many foundations, are dedicated to the job of preserving and protecting the legacy and work of an artist. We’ll have plenty to do.

Q.: Won’t you miss the gallery business?

DSC_0646 copyA.: I’ll miss the people. I have a number of passionate colleagues. That’s something I learned: many art dealers are passionate and committed individuals. We are fortunate to have them. I must say that there should be more recognition for the patrons and the dealers. I started by coming from the artists’ side—and now I’ve learned more about the collectors and the dealers. Art world news is often about hot young artists, the big money that is spent, and the connections to celebrity, all of it coming in a steady stream on new portal sites, traditional news media, and social media. But the thing that sustains it all is the hard work and passion of the artists, dealers, and patrons. I’d hate to see an art world without art galleries.

Q.: How would you sum up the last 19 years?

A.: In five words or less? A lot of hard work. But seriously, when I started, I wanted to make a statement: a gallery with a sense of history, that presents itself as a strong and relevant component of the contemporary art world.  Although it was originally media-specific and became known as a specialty gallery, everything we exhibited had a relationship to painting and sculpture.  We presented ceramics as a vital part of the regional and national scene and we also proposed links between historical precedents and contemporary ceramics. That was the reason for the expanded program, and it succeeded in many ways. I think the last show is a good way to finish the statement, and I’ll continue to try to set the record straight.

Books

leave a comment »

bookcase2 copyPublications are an important part of what we do at the gallery – they provide us with another way to educate the public about the arts. I’ve written a lot about Sensual Mechanical: The Art of Craig Kauffman, our recent monograph on the life and work of Craig Kauffman, but that’s far from the only book we have available to visitors. In addition to books and catalogs produced by the gallery, we also offer selected museum publications. I try to make a point of displaying a variety of books that relate to our current exhibition or connect with what’s going on with the artists that we represent.

From the Peter Shire_Chairs Catalogue 2007beginning (our first gallery publication was a 1999 catalogue for Roseline Delise), my intent was to use the talent and resources at hand. The late Joe Molloy, a superb graphic designer and legendary typographer, designed most of our publications. His eye for composition, alignment, and legibility was always present, as the catalogues were designed to extend our graphic identity as well as present the artworks. I’ve also employed recognized authors to write the essays, including Kristine McKenna and Hunter Drohojowska-Philp. Another feature of the gallery publications has been the excellent photography of Anthony Cuñha and Alan Shaffer.

collaborations copyRight now, we have a selection of books related to the Getty’s Pacific Standard Time initiative, with exhibition catalogs including Clay’s Tectonic Shift at Scripps College, Phenomenal at the Museum of Contemporary Art, San Diego, and our own Peter Voulkos in L.A.: Time Capsule. Other publications feature the work of artists we currently have on display at the gallery, such as Richard Shaw and Peter Shire. To see a more complete list of the books we offer, including our online publications, follow this link to the publications page of the Frank Lloyd Gallery website:
http://www.franklloyd.com/dynamic/publications.asp.

Shifting Status Quo

with one comment

CMN012_TC copyAbout a year ago, I was asked to moderate a panel discussion about the change in status of contemporary ceramics. The position and ranking of ceramics in the world of contemporary art has been shifting for over 60 years. Great artists have made the biggest difference in overcoming prejudices, and have been quite blunt about their assessment of how the art world perceives their work. Ken Price, for instance, succinctly noted that in the middle 1950s, the material hierarchy was established, saying that, “In those days, clay as an art medium was dead and buried.”[i]

The first task for the panel, I thought, would be to enumerate the ways that such a lowly ranking was overcome. In the current environment, a viewer can see contemporary ceramics in major museums and hundreds of galleries. How and why has this happened, and what were the forces for this change?  I believe there are some clear reasons:

First, the lack of material hierarchy in the work of young artistsFSE053 copy made it clear that a new attitude about media exists (this is especially evident in curated exhibitions such as the award-winning show at the Hammer titled “Thing”, or the traveling show from the Institute of Contemporary Art in Philadelphia titled “Dirt on Delight”). This seems to be coming from two sources: university and art school-trained artists who are the product of interdisciplinary programs; and the popular culture at large. Younger artists have adopted the contemporary music world’s sampling techniques—piecing together disparate parts and re-mixing them. Old school ideas of purity and media specificity just don’t apply anymore.

Second, critical acceptance has accelerated profoundly. These days, art journals and newspapers have major critics such as Roberta Smith, Christopher Knight, Dave Hickey, Christopher Miles, Leah Ollman and Peter Schjeldahl championing both ceramics shows and individual ceramic artists. Dozens more reviews are being published in mainstream art journals, rather than being segregated into craft-specific publications.

1-900-Zeitgeist, view a copyA third reason for the new standing of ceramics in the public’s eye is a burgeoning maturity of curatorial vision and the building of significant collections (both regional and in major encyclopedic museums). This also involves recognition of the rich traditions of other countries.  The organization of group exhibitions and acquisitions by major museums including the Met and LACMA are also indications of ceramic art’s rising status.

Fourth, of course, is the fact that the use of ceramic materials continues to grow. Major artists since Picasso have worked seriously in clay, but now it’s nearly ubiquitous, as artists from contemporary art—even Jeff Koons and Ai Wei-Wei—use the medium.

Finally, there has been shift in the historical and curatorial CPE052 copy 2perception of some major artists and their respected position in the overall canon. Just consider the Betty Woodman retrospective at the Metropolitan Museum of Art in New York, and the recent LACMA retrospective of the late Ken Price, which travels nationally to the Nasher and then the Metropolitan, with each venue designed by the great architect Frank Gehry.

We are now in an era when a major critic (Roberta Smith) in the New York Times writes about a show at the Institute of Contemporary Art in Philadelphia in these terms:

The show’s determination to integrate ceramics into the art mainstream is nothing new. But its refusal to do so simply by slipping some universally agreed-upon ceramic exceptions into a show of painting, sculpture and so forth is close to groundbreaking.  “Dirt on Delight” argues for ceramics as a more than worthy subject. It reminds us that the art form incorporates quite a bit of painting and sculpture, thank you, and has one of the richest histories of any medium on the planet. Ceramics also plays well with all kinds of artistic ideas and needs no propping up by supposedly serious fine art or, incidentally, by much in the way of explanatory labels.” [ii]


[i] Hunter Drohojowska-Philp, A Life in Clay (interview with Ken Price), Artnet online magazine, http://www.artnet.com/magazineus/features/drohojowska-philp/drohojowska-philp10-22-08.asp

[ii] Roberta Smith, Dirt on Delight, New York Times, May 19, 2009, http://www.nytimes.com/2009/03/20/arts/design/20dirt.html/

Videos from the Gallery

leave a comment »

The Frank Lloyd Gallery maintains a Vimeo channel, where we post videos of events held in the gallery. These videos document exhibition walk-throughs or conversations with artists, and allow friends of the gallery who were not able to attend the event in person to experience it nonetheless. So far we have produced five examples.

LA Time Capsule Scrn 1 copyThe first of these videos is an exhibition walk-through of our Pacific Standard Time show, Larry Bell: Early Works. We followed that up with an interview of Larry Bell by Hunter Drohojowska-Philp, where he shared the story of his discovery of the thin-film evaporation process.

The gallery’s next video production documented another of our PST shows – Peter Voulkos in L.A.: Time Capsule. Both Larry and Ollie Bell spoke about Peter Voulkos’ historical significance within the Los Angeles art scene, and offered commentary on the show, which presented work from the artist’s personal collection.

Our most recent videos document two shows that we Bell_Talk_Price_Vid copyexhibited over the summer. In one, I interviewed Scot Heywood regarding his show Polarities. Scot was great, speaking insightfully about his artistic development. In the other, Larry Bell returned to lead an exhibition walk-through of our Ken Price show. His close personal and professional relationship with Ken really came through as he shared stories about the artist and his work.

If you haven’t seen all of the videos we’ve produced, I encourage you to take a look at them on the Frank Lloyd Gallery Vimeo channel. We’re working on producing more of these, so stay tuned!

Written by Frank Lloyd

January 18, 2013 at 11:57 pm

Education at the Gallery

leave a comment »

Henry and AdrianI’ve written before about some of the educational programs we’ve presented at the gallery. Last time, I used a big yellow school bus as the illustration, and wrote about a couple of gallery talks by experts. But this week I had a chance to review some of the many other programs.

In the past ten years, speakers have presented gallery walk-throughs, interviews have been conducted, and conversations between artists have been recorded. This public service has been intended to provide a forum for discussion and a resource for the art community of Los Angeles.

The gallery also offered a class on art collecting that Larry Bell Hunter talk copycomprised of a series of talks, titled “The First Class, Parts One and Two”. Speakers came from the museum world, such as the late Henry Hopkins, Director of the UCLA Hammer Museum, and Charlotte Eyerman, former curator at the Getty Museum. Highly recognized journalists, including Suzanne Muchnic, staff art writer at the Los Angeles Times for 3 decades, and Hunter Drohojowska-Philp, author of biographies on Georgia O’Keefe and Craig Kauffman, gave lectures.

Berlant Lecture 005 copy2We have also hosted exhibition walk-throughs by artists, as well as conversations between artists and journalists. One very memorable event was a conversation between Tony Berlant and Tony Marsh, both admirers of the ancient work of the Mimbres potters. By guiding art enthusiasts through the exhibition and engaging with them in discussion about the works on display, the artists that have participated in our walk-throughs and conversations contribute to the educational mission of the gallery.

Written by Frank Lloyd

January 17, 2013 at 1:51 am

2012: The Year in Review

with one comment

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.

Pier Voulkos Collection_Group 1_crop copyIn 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, clays_bookPeter 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.”

FSU024_A copy2Drawing 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 Numbers_Installation7show 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.

FJL053This 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 CPE052 copyexhibit 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.”

Sensual_Mechanical_cover copy3November 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.”

Sensual Mechanical: The Art of Craig Kauffman

with 2 comments

After two years of hard work and the efforts of a dedicated team, I am happy to announce that Sensual Mechanical: The Art of Craig Kauffman will be completed, and available for purchase, near the end of October!

This 212 page monograph on the life and work of Craig Kauffman was written by Hunter Drohojowska-Philp, the author of the recently published book Rebels in Paradise: The Los Angeles Art Scene and the 1960s as well as of Full Bloom: The Art and Life of Georgia O’Keeffe, and Modernism Rediscovered: The Architectural Photography of Julius Shulman. Drohojowska-Philp has written catalog essays on the work of Kauffman and other contemporary artists such as Robert Graham, Alexis Smith, and John Baldessari. She contributes to Art News and the Los Angeles Times, and is a weekly art critic for KCRW radio in Santa Monica, California.

In Sensual Mechanical: The Art of Craig Kauffman, Drohojowska-Philp traces the development of Kauffman’s luminous paintings, which evolved out of architectural rigor and unabashed sensuality. Both traits characterize the extraordinary art and, to some extent, the life of Kauffman. While challenging the accepted norms of art made after the Second World War, Kauffman retained an allegiance to the traditions of Modernism. A sophisticated and self-consciously cultured man, he harnessed his various, and often contradictory, impulses to achieve an unparalleled body of work. Although Kauffman is one of the most significant figures to emerge from the lively art scene that arose in the 1960s in Los Angeles, Sensual Mechanical: The Art of Craig Kauffman will be the first comprehensive publication of his work.

Written by Frank Lloyd

October 13, 2012 at 10:13 pm