Frank Lloyd’s blog

Art, architecture and the people that I know.

Posts Tagged ‘Satoru Hoshino

Closing a gallery

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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.

Satoru Hoshino: Collaboration with Clay

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FSH008_A copyAnother artist I’m happy to be featuring in Frank’s International House of Ceramics, Part Three, is the Japanese artist Satoru Hoshino. Born in the Niigata prefecture in 1945, he graduated from Ritsumeikan University in 1971. Although he had already been working in ceramics for 15 years, Hoshino experienced a turning point in his artistic practice when a landslide destroyed his studio in 1986. Witnessing the devastating power of nature led to a change in the artist’s approach to his medium.

Hoshino describes his process as a collaboration between Hoshino Installation_02 copy2himself and his materials. He does not consider clay to be a passive recipient of his actions, instead conceiving of his work as a dialogue between equal partners. Rather than imposing his own desires on earth and clay materials, Hoshino strives to bring out the inner life of the clay. In an essay for Ceramics: Art and Perception in 2000, he writes that his work “is the result of a joint effort, like that of two people in a three-legged race, between myself and the medium of clay.” His towering coils are imprinted with the mark of his thumb and forefinger, leaving a direct record of his engagement with the material.

FSH016_A copyHoshino’s body of work includes large-scale installations that can fill entire rooms as well as more intimate objects that can be held in one’s hands. Leah Ollman wrote in her Los Angeles Times review of Satoru Hoshino’s 2008 solo exhibition that his sculptures have an “air of immediacy, of raw organic matter worked by a reverent hand, of primal forces in concert.” Honoring both the physical properties of the clay and the process by which the material is transformed, Hoshino seeks to reexamine human beings’ relationship with matter and nature. We’ll have three of his stunning works from the Spring Snow series on display in our upcoming show, opening on February 9th.

Written by Frank Lloyd

January 31, 2013 at 11:14 pm

The Presentation Room

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At the gallery, we hold an average of ten exhibitions a year, presenting the work of West Coast and international artists. These shows are held in the three main rooms of the gallery, and are a mix of solo and group exhibitions that may explore certain themes, materials, or ideas.

However, a part of the gallery that is sometimes overlooked by visitors is the presentation room. Here, we feature a variety of artworks that are not part of the major exhibits. These pieces are diverse in style, size, and material, and give a fuller picture of the artists represented here. They are also frequently rotated to showcase a greater number of artists and keep visitors coming back to see what’s new.

Right now, we have on display drawings and a sculpture by Larry Bell as well as ceramics and sculptures by Adrian Saxe, Robert Graham, Sugimoto Sadamitsu, Svend Bayer, Richard DeVore, Satoru Hoshino, Georges Jeanclos and Goro Suzuki.

The presentation room also has a small viewing area, where visitors are invited to watch one of the documentaries we have, including The Cool School and Revolutions of the Wheel: The Emergence of American Clay Art. We have also begun producing video interviews with some of our artists, and these will be available for viewing.

I like to use this space to continue to raise awareness for the artists, even when they are not the subject of an exhibition at the gallery. It’s fun to improvise here, switching out works and watching how they affect visitors and the other pieces of art they are displayed with. I sometimes find relationships between works that might not have occurred to me had I not combined such a disparate collection of pieces.