Frank Lloyd’s blog

Art, architecture and the people that I know.

Posts Tagged ‘Robert Irwin

Kauffman at MoMA

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603.1965Craig Kauffman has a long history with The MoMA. Kauffman’s work was first acquired by The Museum of Modern Art in 1965, through the Larry Aldrich Foundation Fund. This large-scale vacuum formed plastic work was shown at the MoMA in 1966 in “Recent Acquisitions: Painting and Sculpture,” as Red-Blue, and again in 1967 during a show titled, ” The 1960’s: Painting & Sculpture from the Museum Collection.”

Kauffman’s second major work in the MoMA collection was acquired in 1969, when legendary curator Kynaston McShine organized the show “Five Recent Acquisitions,” which included works by Larry Bell, Ron Davis, Robert Irwin, Craig Kauffman, and John McCracken. This 1968 wall relief painting has been exhibited at the MoMA six times, and loaned to important surveys from the collection such as “American Art since 1945: A Loan Exhibition from The Museum of Modern Art,” a 1972 exhibition at the Philadelphia Museum of Art.

Red-Blue, 1964, Synthetic polymer on vacuum formed plastic, 89 5/8 x 45 1/2 x 5 inches, Museum of Modern Art, New York. Courtesy Museum of Modern Art, New York.

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Installation view of American Art since 1945: A Loan Exhibition from The Museum of Modern Art, September 15–October 22, 1972 at the Philadelphia Museum of Modern Art. Courtesy Philadelphia Museum of Modern Art.

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Installation view of The 1960’s: Painting & Sculpture from the Museum Collection, June 28–September 24, 1967 at the Museum of Modern Art, New York. Courtesy Museum of Modern Art, New York.










A Video Walk-Through for Translucence

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The gallery’s current exhibition, Translucence, will be on display through October 19th. It’s best to see it in person. Presenting works by Larry Bell, Robert Irwin, Craig Kauffman, Helen Pashgian, and DeWain Valentine, the show explores the perceptual effects these artists achieved through their use of mediums such as acrylic plastic, epoxy, cast resin, and glass.

We produced a video walk-through for Translucence, in case you won’t be able to make it to the gallery. Shot and edited by Oliver Bell, the video beautifully illustrates the atmospheric nature of the works.

Written by Frank Lloyd

October 10, 2013 at 11:18 pm

Translucence and Beyond Brancusi

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FKN211 copyAs we start to install our next exhibition, titled Translucence, at the gallery, I am struck by its parallels with the Beyond Brancusi show currently on view at the Norton Simon Museum. I visited the NSM’s show in July, and really enjoyed its perspective on the influence of Constantin Brancusi on the following generations of 20th century sculptors.

I particularly remember the third room of the exhibit, which featured “a grouping of works by Southern California artists who introduced experimental materials and expanded the relationship between sculptural object and space even further.”1 This space features four of the five artists included in the gallery’s Translucence exhibition: Robert Irwin, Craig Kauffman, Helen Pashgian, and DeWain Valentine. A large cube by Larry Bell (our fifth artist) rests just beyond the doorway.

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The works on display at the NSM, like those that will soon be up at the gallery, explore the qualities of light, color, reflection, and translucency. They play with our perception of sculptural space, complicating the subject/object relationship as they dissolve into the surrounding environment. Spatial relationships and perceptual phenomena are the primary focus of these works, and of Translucence as a show.

1 Beyond Brancusi: The Space of Sculpture, Press Release, The Norton Simon Museum, January 2013,

Vindication for PST

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JPTURRELLIn 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 CPE014_CreditGetty 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.

Videos for Phenomenal at MCASD

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I’ve written about the Museum of Contemporary Art San Diego’s exhibition Phenomenal: California Light, Space, Surface before, but I recently stumbled upon a couple of videos that reminded me of the beauty of the show. MCASD has produced five beautifully shot and insightfully narrated videos that document some of the challenges and successes of their 2012 exhibition. Robert Irwin, Larry Bell, Craig Kauffman and De Wain Valentine are all highlighted in these videos, which give viewers a chance to relive Phenomenal.

Curator Robin Clark and research assistant Christie Mitchell provide illuminating commentary, on the works as well as the kinds of practical decisions that needed to be made. The discussion of natural versus artificial lighting is particularly interesting, as many of the artworks are inherently light-responsive.

I especially like the video that pairs Robert Irwin with Craig Kauffman, as the artists were friends and colleagues who enjoyed an exchange of ideas. The Larry Bell video explains the delicate process of setting up his five-paneled installation from 1970. It’s great to hear Larry talk about the experience of installing an older work, and to see the pleasure he still takes in the piece.

If you haven’t seen all of the videos produced by the Museum of Contemporary Art San Diego for Phenomenal, I encourage you to take a look at the following link: Just click “Media” to find the available videos.

In Their Own Words

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Artists often lament the paucity of words when speaking about their work.  Some painters are more articulate than others, and some sculptors more given to physical form than to prose.  There are exceptions—those with brilliant insight. In my high school art history classroom, there was a quote from Picasso that encircled the room: “Everyone wants to understand art. Why not consider the song of a bird?” was the beginning of the quote.

Today I thought about insights of another kind, the way that artists speak about their peers. In the current Ken Price retrospective at LACMA, there is an amazing, brilliant quote on the wall from the artist Robert Irwin (a long-time friend and colleague of Price). Irwin’s words concern the use of color.

“Kenny is a sculptor, and he makes the best use of color of any sculptor I have ever known or known of,” Irwin said to researcher Suzanne Muchnic, for a Scripps College research project sponsored by the Getty last year. “What Kenny knew, early on, is what painters know,” Irwin continued. “He would paint his pieces fifteen or twenty times. You had the feeling that if you cut the thing in half, it would be that color all the way through. The color was so right, so tuned to the shape, and so informative of the shape that, to me, there was a real brilliance in it. No one else has that.”

More insight into the work of Ken Price can be gleaned from a straightforward and marvelous tribute to our current show from artist Larry Bell. Here’s the video walk-through of our current show, made by Larry Bell’s son, Ollie:

Ken Price at Frank Lloyd Gallery from Frank Lloyd on Vimeo.

Written by Frank Lloyd

September 26, 2012 at 6:55 pm

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.