Frank Lloyd’s blog

Art, architecture and the people that I know.

Posts Tagged ‘Richard Diebenkorn

The Two Californias

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Camp_Bluff_Lake_letter copyI don’t know how many times I’ve made the drive from L.A. to the Bay Area. The number is well over 100, and spans a time period of over 50 years. Even as a child, I was irrationally obsessed with images of San Francisco, and begged my parents to take me there. My family traveled together on the train in August of 1960. We were tourists that first time, and I recorded the vacation in a short essay for my fourth grade class, with what was my very best effort at penmanship.

I’ve just returned from a road trip; this time it was part business and part pleasure. Stops in Oakland, Fairfax and Sebastopol were for gallery duties—picking up and dropping off artworks, and viewing a painting. During the long drive, I had a chance to reflect on my multiple trips, and my relationship to the oft-cited divide between the two regions of California. The divisions of geography, climate, politics, and culture are often the subjects of debate. The controversies and arguments can grow passionate—especially the rivalry between Dodger and Giant fans.

Road_Trip_1 copyBut what I was recalling—the people I know in the world of art—was a different story. It demonstrates how very much interrelated the lives of the artists and the two regions are. Let’s take, for example, the story of our artist Richard Shaw, who was born in Hollywood and lived in Newport Beach before becoming a resident of the quintessential Northern California town of Fairfax. Or consider the history of my friend, the late Henry Hopkins, a UCLA graduate who went on to become the Curator of Exhibitions and Publications at LACMA, before his tenure as Director at SFMOMA, and then his eventual return to the Hammer. Don’t forget about Richard Diebenkorn, whose first shows were in the Bay Area, but produced perhaps his most well-known series of paintings in a studio in Ocean Park, a neighborhood in Santa Monica. Peter Selz, who had a stay in Claremont before going to MOMA as the Chief Curator of Painting, eventually wound up in Berkeley. Peter Voulkos, a Montana native who attended California College of Arts and Crafts for his master’s degree, came to L.A. during the period of 1954 to 1959, then returned to Berkeley.

This list could go on, but the thought persists: Is there really such a division between the two Californias? I think not. Yes, the politics and culture may differ overall, but the people travel freely through some sort of permeable membrane. I have lived and worked in both the North and South, and so have many of my friends. Though I must be clear about one thing: I’m still a Dodger fan.

Los Angeles Artists, Everywhere

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It’s easy to think that the birth of the Los Angeles art scene is just beginning to be fully appreciated. After all, the Getty-sponsored Pacific Standard Time: Art in L.A. 1945-1980 has drawn to a close, having given an enormous audience the chance to learn about the range of styles and materials during this period.

However, this view overlooks the ways in which these West Coast artists were appreciated in their own time, and the substantial recognition they gained at a much earlier date. Artists from the Los Angeles area and the West Coast were exhibited throughout the world in shows including Ten from Los Angeles at the Seattle Art Museum Pavilion, 1966, Los Angeles 6 by the Vancouver Art Gallery, 1968, and 11 Los Angeles Artists by the Arts Council of Great Britain in London, 1971.

Not only were these West Coast artists important, they were important together, and could be shown together without making distinctions between media. The image you see here is an exhibition announcement for Kompass, a 1970 show at the Kunsthalle Bern in Bern, Switzerland. The poster announces that the show consists of “American Art of the West Coast,” and lists the artists represented, including Larry Bell, Billy Al Bengston, Bruce Conner, Richard Diebenkorn, Robert Irwin, Craig Kauffman, Ed Kienholz, Frank Lobdell, John Mason, John McCracken, Bruce Nauman, Ken Price, Ed Ruscha, Hassel Smith, Clifford Still, Wayne Thiebaud, Peter Voulkos, Doug Wheeler, and William T. Wiley.

Seeing such a diverse group of names together really illustrates what was happening on the West Coast. The pluralistic approach of these exhibits reflects an understanding of the multiplicity of styles and mediums that thrived in the Los Angeles scene of that period.