Craig Kauffman
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Dilexi Gallery: Disparate Ontologies “The 1960S Dilexi Gallery, Raw and Radical, Gets Brought Back to Life” by Leah Ollman 30 July 2019
Dilexi Gallery: Disparate Ontologies “The 1960s Dilexi Gallery, raw and radical, gets brought back to life” by Leah Ollman 30 July 2019 The Landing Gallery in L.A., which is part of a retrospective on the midcentury Dilexi Gallery.(Joshua White / The Landing) Retrospective exhibitions typically trace the career of an individual artist, but the format applies equally well to the lifespan of a gallery, as evidenced by “Dilexi Gallery: Disparate Ontologies” at the L.A. gallery the Landing. Organized by independent curator Laura Whitcomb, the show is part of a six-venue pro- gram examining the evolution and character of Dilexi, which operated in San Francisco from 1958 to 1969 as well as in Los Angeles briefly in the early ‘60s. The Landing’s show, like the project as a whole (a comprehensive catalog is forthcoming), is a vibrant lesson in art history-cum-astronomy, a tale of radiant bodies, constellations and orbits. 5118 w Jefferson Boulevard, Los Angeles, CA 90016, 323 272 3194 The first revelatory big bang came in 1950, when music student Jim Newman met fellow Stanford freshman Walter Hopps. Friendship and collaboration ensued. Hopps launched the legendary Ferus Gallery in L.A. in 1957, and the next year Newman (with poet, artist and activist Bob Alexander) opened Dilexi above a jazz club. Newman later described the venture as “performing more of a missionary or even maybe a political function” than a commercial one. He was drawn to artists — largely Californians — whom he perceived as radical in intent and bold with materials. A New York Times critic called the gallery “a springboard for the hairy avant-garde.” Professional nonconformism seems to have been the gallery’s ethos. -
Julian Wasser at Robert Berman/E6 Gallery
INTERNATIONAL ARTS AND CULTURE REVIEW MUCH ADO ABOUT MARCEL: JULIAN WASSER AT ROBERT BERMAN/E6 GALLERY JOHN HELD, JR. — AUGUST 24, 2015 SHARE ON: Installation view of JULIAN WASSER: DUCHAMP IN PASADENA REVISITED… (Summer 2015). image courtesy of Robert Berman/E6 Gallery. Julian Wasser: Duchamp in Pasadena Revisited… June 21 – September 23, 2015 Robert Berman/E6 Gallery 1632 Market St., San Francisco, CA 94102 Much came before and more was to follow, but a pivotal swing in the course of West Coast art history occurred during Marcel Duchamp’s first American museum retrospective at the Pasadena Art Museum in 1963. It was then he sat down to play chess with a naked Eve Babitz—an act that was documented by TIME Magazine-assigned photographer Julian Wasser. By leapfrogging the New York City institutional art establishment, California curatorial foresight provoked a future pregnant with conceptual possibilities escaping a purely “retinal” art. Julian Wasser. “Chess Match, Duchamp scratching nose,” Duchamp Retrospective, Pasadena Art Museum, 1963. Vintage gelatin silver print. 6.75 x 9.5”. Courtesy Robert Berman/E6 Gallery. The exhibition was the brainchild of Walter Hopps, previously associated with the legendary Ferus Gallery and recently installed as Acting Director of the Pasadena Art Museum. As a teenager, Hopps had cut his eyeteeth by pestering Walter Arensberg, and scavenging the collector’s library and key works of Modernism, which Duchamp’s key benefactor had assembled and relocated from New York City. It was there a younger Hopps met Duchamp for the first time. Ensconced in a position to offer Duchamp his first major retrospective, Hopps found that the normally- reluctant Duchamp was predisposed to accept his invitation, given the Arensberg connection and the relocation of important early friends Man Ray and Beatrice Wood to the Los Angeles area. -
Andy Warhol Who Later Became the Most
Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15. -
DILEXI GALLERY Multi-Venue Retrospective
DILEXI GALLERY Multi-Venue Retrospective Taking place at: Brian Gross Fine Art / San Francisco Crown Point Press / San Francisco Parker Gallery / Los Angeles Parrasch Heijnen Gallery / Los Angeles The Landing / Los Angeles with a related exhibition at: Marc Selwyn Fine Art / Los Angeles The Dilexi Multi-Venue Retrospective The Dilexi Gallery in San Francisco operated in the years and Southern Californian artists that had begun with his 1958-1969 and played a key role in the cultivation and friendship and tight relationship with well-known curator development of contemporary art in the Bay Area and Walter Hopps and the Ferus Gallery. beyond. The Dilexi’s young director Jim Newman had an implicit understanding of works that engaged paradigmatic Following the closure of its San Francisco venue, the Dilexi shifts, embraced new philosophical constructs, and served went on to become the Dilexi Foundation commissioning as vessels of sacred reverie for a new era. artist films, happenings, publications, and performances which sought to continue its objectives within a broader Dilexi presented artists who not only became some of the cultural sphere. most well-known in California and American art, but also notably distinguished itself by showcasing disparate artists This multi-venue exhibition, taking place in the summer of as a cohesive like-minded whole. It functioned much like 2019 at five galleries in both San Francisco and Los Angeles, a laboratory with variant chemical compounds that when rekindles the Dilexi’s original spirit of alliance. This staging combined offered a powerful philosophical formula that of multiple museum quality shows allows an exploration of actively transmuted the cultural landscape, allowing its the deeper philosophic underpinnings of the gallery’s role artists to find passage through the confining culture of the as a key vehicle in showcasing the breadth of ideas taking status quo toward a total liberation and mystical revolution. -
For Immediate Release Ed Moses
FOR IMMEDIATE RELEASE ED MOSES: GESTURE January 14 – March 13, 2021 Brian Gross Fine Art is proud to announce the opening of ED MOSES: GESTURE, on January 14, 2021. This exhibition will showcase Moses’ masterful expressionist painting for which he received much acclaim throughout his career. This is BGFA’s fourteenth exhibition of Ed Moses’ work and the second since his passing in 2018. It will run through March 13th. Ed Moses (1926-2018) is one of the original artists affiliated with the legendary Ferus Gallery in Los Angeles, where he had his first show of abstract paintings in 1958. Over the following 60 years of his career, the driving force behind the creation of his work was his intuitive process of painting, in which gesture, mark making, and painterly exploration of the picture plane was of ultimate importance. This exhibition explores a range of his gestural abstractions made in the 2000’s. Included in the exhibition are paintings like Gold Bach (2002), where sensual, iridescent purple is juxtaposed with patches of deep black. The smaller scale Uno (2008) is a vibrant radiating composition of fuschia and violet that glows with intensity. In Moses’ hands, the paint is poured, scraped and washed over to create richly layered surfaces and effects. In contrast to the bold color seen in most of these works, Rever-Sa #2 and Who-BART (both 2008) are complex linear works, painted with ‘whip line’ gestures in black with positive/negative reversals. In all of these works, Ed Moses’ command of the painted surface is unequivocal. Ed Moses was born in Long Beach and received his BA and MA from the University of California, Los Angeles. -
Armory 2019 the Estate of John Altoon & Jonathan Lyndon Chase
ARMORY 2019 THE ESTATE OF JOHN ALTOON & JONATHAN LYNDON CHASE detail: Jonathan Lyndon Chase, Pulpit 6, 2018 Acrylic, marker, chalk, pastel and glitter on muslin, 84 1/2 x 78 inches Jonathan Lyndon Chase, Pulpit 6, 2018 Acrylic, marker, chalk, pastel and glitter on muslin, 84 1/2 x 78 inches detail: John Altoon, Untitled (B&W-30), 1966, ink on board, 30 x 40 inches John Altoon, Untitled (B&W-30), 1966, ink on board, 30 x 40 inches detail: Jonathan Lyndon Chase, Hands hands hands hands hands hands 2 hoodies, 2018 Acrylic, marker and glitter on muslin, 96 x 72 inches Jonathan Lyndon Chase, Hands hands hands hands hands hands 2 hoodies, 2018 Acrylic, marker and glitter on muslin, 96 x 72 inches John Altoon, Untitled (F-80), 1966, airbrush and ink on board, 30 x 40 inches John Altoon, Untitled (F-5), 1968, airbrush and ink on board, 30 x 40 inches detail: Jonathan Lyndon Chase, Run away with me, 2018 Acrylic, marker and glitter on muslin, 78 x 84 1/2 inches Jonathan Lyndon Chase, Run away with me, 2018 Acrylic, marker and glitter on muslin, 78 x 84 1/2 inches John Altoon, Untitled (ANI-65), 1968, airbrush and ink on board, 30 x 40 inches detail: Jonathan Lyndon Chase, They got a crush on him, 2019 Acrylic, marker, spray paint, oil and glitter on muslin, 72 x 60 inches Jonathan Lyndon Chase, They got a crush on him, 2019 Acrylic, marker, spray paint, oil and glitter on muslin, 72 x 60 inches detail: John Altoon, Untitled (F-74), 1966, ink on board, 30 x 40 inches John Altoon, Untitled (F-74), 1966, ink on board, 30 x 40 inches detail: Jonathan -
Knight, Christopher. "A Storied Art Collection Shrouded in Mystery Will
A storied art collection shrouded in mystery will anchor new UC Irvine museum By Christopher Knight Art Critic Contact Reporter When real estate developer Gerald Buck was selling a rural farm near San Luis Obispo, land he bought in a failed oil-drilling scheme, a prospective buyer offered him an elegant Old Master painting by Anthony van Dyck in lieu of cash. Buck had no interest in art, but neither did he have any other buyers in sight. So Buck plunged into researching the painting’s authenticity, history of ownership and market value — then agreed to the trade. And he was off. The Van Dyck is long gone, but now, four decades later, the Gerald E. Buck Collection has grown to more than 3,200 paintings, sculptures and works on paper. Not only is the vast trove the finest holding of its kind in private hands, the collection is poised to anchor an ambitious new museum being launched at UC Irvine. Chancellor Howard Gillman is expected to announce Wednesday the formation of the UCI Museum and Institute for California Art, or MICA, with the Buck Collection as its core. The collection, much coveted by other museums, focuses on artists who emerged in California between World War II and 1980. In addition to his art-filled home, where numerous major works were kept, a nondescript, unmarked former post office building a few blocks from the beach in Laguna provided a private place for Buck to study his collection. Few have ever been inside. When Stephen Barker, dean of UCI’s Claire Trevor School of the Arts, recently opened the building for The Times, about 80 works were on display in several large galleries plus offices, a small kitchen, a bathroom and hallways. -
Ed Moses 1926 Born in Long Beach, California Lives and Works In
2525 Michigan Ave., Unit B2, Santa Monica, CA USA 90404 T/ 310 264 5988 F/ 310 453 6354 www.patrickpainter.com Ed Moses 1926 Born in Long Beach, California Lives and works in Venice, California Education 1955 B.A., University Of California, Los Angeles, CA 1958 M.A., University Of California, Los Angeles, CA Selected Solo Exhibitions: 2012 Phase I - Garden Of Forking Tongues (Bifurcated”, Ace Gallery, Los Angeles, CA Phase II - Garden Of Forking Tongues (Bifurcated”, Ace Gallery, Los Angeles, CA 2011 Shatterheads And Gwynn, Ernie Wolfe Gallery, Los Angeles, CA ASAP & Friends, Charlotte Jackson Fine Art, Santa Fe, NM. Lite, Imago Galleries, Palm Desert, CA Through The Looking Glass With Ed Moses, Art Link, Seoul, Korea. 2010 Wic Wack, Brian Gross Fine Art, San Francisco, CA Paintings 2007-2009, Robert Green Fine Arts, Mill Valley, CA Brain Band, Ferus Gallery/Nyehaus, Los Angeles, CA Ed Moses Paintings, Frank Lloyd Gallery, Greenfield Sacks Gallery. Santa Monica, CA 2009 Ed Moses: Mutator, Frank Lloyd Gallery, Greenfield Sacks Gallery. Santa Monica, CA Ed Moses, Peter Blake Gallery, Laguna Beach, CA 2008 Owlbo, Brian Gross Fine Art, San Francisco, CA No Works, Seiler + Mosseri-Marlio Galerie, Zurich, Switzerland. Ed Moses: Paintings, Frank Lloyd Gallery, Santa Monica, CA 2007 Past, Here & Now Part 2, Robert Green Fine Arts, Mill Valley, CA Ed Moses: Primal And Primary Paintings 1975, Charlotte Jackson Fine Art Past, Here & Now Part 1, Robert Green Fine Arts, Mill Valley, CA Ed Moses Paintings, Frank Lloyd & Bobbie Greenfield Galleries, -
Phenomenal California Light, Space, Surface
PHENOMENAL CALIFORNIA LIGHT, SPACE, SURFACE EDITED BY ROBIN CLARK ESSAYS BY MICHAEL AUPING, ROBIN CLARK, StePHANie HANOR, AdriAN KOHN FOREWORD BY HUGH M. DAVIES AND DAWNA SCHULD MUSEUM OF CONTEMPORARY ART SAN DIEGO UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON PUBLISHED WITH THE ASSISTANCE OF THE GETTY FOUNDATION WORK AND WORDS the wall behind an Irwin disc. Something like illuminated shadows, maybe. And the right prepositions and verbs are tough to pick out when saying what Bell’s glass does. As you look at or into or through a panel, it both reflects and trans- mits light and obscures the distinction implied there. Such phenomena strain Work and Words the language, and the resulting verbal muddle offers the chance to see, for a Adrian Kohn change, without reading or reading into. LEARNING ESOTERICA It is hard to keep clear how words work as you hold forth on strange art. Meta- Making an art object provides new knowledge about the piece itself, of course, phor, analogy, and other abstract conceits tend to treat a piece under examination but also to some extent about the world in which it exists—about, attested Larry as already well enough understood that it can be tellingly likened to something Bell, “light, physics, matter in general.”1 “As I look back on the early pieces,” he else, another artwork perhaps or a theoretical concept, that is itself regarded as wrote years later, “the thing that is most dramatic about them to me is how much well enough understood to anchor the suggested correlation. Such a structure I learned from them, how much I learned on my own about things that I never presupposes considerable knowledge of both entities to be compared and, for before even considered relevant.”2 That realization prompted another in turn, a that reason, seems unpromising if you are just beginning to learn about either of broader claim on behalf of both his own creations and creative activity at large. -
Craig Kauffman
CRAIG KAUFFMAN 1932 Born, Los Angeles, CA EDUCATION 1955 B.A. University of California, Los Angeles, CA 1956 M.A. University of California, Los Angeles, CA SOLO EXHIBITIONS 2004 Craig Kauffman: Works from the 1960s, Franklin Parrasch Gallery, New York, NY 2003 Sandra Gering Gallery, New York, NY 2001 Sandra Gering Gallery, New York, NY 1999 Bubbles, Patricia Faure Gallery, Santa Monica, CA 1998 Painted Drawings, Patricia Faure Gallery, Santa Monica, CA. 1995 New Work, Patricia Faure Gallery, Santa Monica, CA 1992 The Works Gallery South, Costa Mesa, CA 1990 The Works Gallery South, Costa Mesa, CA 1988 The Works Gallery, Long Beach, CA Asher/Faure Gallery, Los Angeles, CA Craig Kauffman: Wall Reliefs, 1967-69, Santa Barbara Contemporary Arts Forum, CA 1987 Craig Kauffman: Wall Reliefs, 1967-69, Whitney Museum of American Art, New York, NY 1985 Asher/Faure Gallery, Los Angeles, CA Fuller Goldeen Gallery, San Francisco, CA 1983 Asher/Faure Gallery, Los Angeles, CA Craig Kauffman, Faith and Charity in Hope Gallery, Hope, ID 1982 Thomas Segal Gallery, Boston, MA Blum Helman, New York, NY Cirrus Gallery, Los Angeles, CA 1981 Craig Kauffman: A Comprehensive Exhibition, 1957-1980, organized by the La Jolla Museum of Contemporary Art; traveled to the Elvehjem Museum of Art, Madison; the Anderson Gallery at Virginia Commonwealth University, Richmond; and the Oakland Museum (1982) Asher/Faure Gallery, Los Angeles, CA 1979 Grapestake Gallery, San Francisco, CA Janus Gallery, Venice, CA Blum Helman, New York, NY 1978 Arco Center for Visual Art, Los -
Dennis Hopper, Photographs 1961–1967, Edited by Dennis Hopper and Tony Shafrazi
Dennis Hopper, Photographs 1961–1967, edited by Dennis Hopper and Tony Shafrazi. Taschen, 2018 (484 pages). Joanna Elena Batsakis For fans of the prolific Hollywood artist Dennis Hopper, the re-release of Dennis Hopper, Photographs 1961–1967 is a sensational addition to the growing Hopper canon within Western film scholarship. Originally, the book was published as a limited-edition collector’s item in 2011, with a small run of 1,500 copies. Each copy was signed by Hopper himself, and there was an alternative option to purchase its even more prestigious version entitled Photographs 1961–1967 Art Edition, which included a gelatine print of Hopper’s infamous photograph Biker Couple (1961). In collaboration between The Hopper Art Trust, gallerist Tony Shafrazi, and Dennis Hopper, this original volume was massive in size: with 544 pages, its hardcover measured 30 centimetres in height by 33 centimetres in length and weighed 5.5 kilograms. The volume displayed dozens of black-and-white photographs Hopper had taken between 1961 and 1967, all on his Nikon Tri-X camera which was gifted to him by his first wife Brooke Hayward. The book also included introductory essays by Hopper’s long-time friends, such as Shafrazi and West Coast art pioneer Walter Hopps, as well as an extensive photographic biography authored by filmmaker and journalist Jessica Hundley. In 2018, Taschen and The Hopper Art Trust have co-operated to release a slightly smaller, unlimited trade edition of the same book, which is the subject of this review. Even though this year’s edition of has now been reduced to 484 pages and weighs 3.5 kilograms, the book is still an extremely ambitious project and integral to the Dennis Hopper canon. -
Artist's Name
JOHN MASON 1927 Born in Madrid, Nebraska Studio in Los Angeles, California EDUCATION Otis Art Institute, Los Angeles, California Chouinard Art Institute, Los Angeles, California SELECTED EXHIBITIONS One Person 2013 David Kordansky Gallery, Los Angeles, California Laguna Art Museum, Laguna Beach, California 2010 Frank Lloyd Gallery, Santa Monica, California 2008 Frank Lloyd Gallery, Santa Monica 2007 Frank Lloyd Gallery, Santa Monica Stremmel Gallery, Reno, Nevada 2006 Holter Museum, Helena, Montana 2005 Frank Lloyd Gallery, Santa Monica 2004 Franklin Parrasch Gallery, New York Sheppard Fine Arts Gallery, University of Nevada, Reno 2002 Frank Lloyd Gallery, Santa Monica 2000 Frank Lloyd Gallery, Santa Monica Perimeter Gallery, Chicago 1999 Frank Lloyd Gallery, Santa Monica 1998 Frank Lloyd Gallery, Santa Monica Perimeter Gallery, Chicago 1997 Frank Lloyd Gallery, Santa Monica 1995 Habatat/Shaw Gallery, Pontiac, Michigan Perimeter Gallery, Chicago 1994 Garth Clark Gallery, Los Angeles 1993 Garth Clark Gallery, New York 1992 Garth Clark Gallery, Los Angeles 1991 Garth Clark Gallery, Los Angeles 1990 Garth Clark Gallery, New York 1987 Rena Bransten Gallery, San Francisco 1986 L.A. Louver Gallery, Venice, California 1981 Max Hutchinson Gallery, New York 1979 University of Nevada, Reno Wright State University, Dayton, Ohio John Mason, page 2 Minneapolis College of Art & Design, Minneapolis, Minnesota California State University at Long Beach University of Kentucky, Lexington 1978 University Art Museum, University of Texas, Austin San Francisco