Painting and Sculpture in California, the Modern Era : [Exhibition] San Francisco Museum of Modern Art September 3-November

Home , Armin Hansen, Beniamino Bufano, Cliff McReynolds, Deborah Marrow, Deborah Remington, Edward Dugmore

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NEW COLLEGE OF CALIFORNIA (SF)

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N #9134 6530 San Francisco Museum of Modern Art*

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THE LIBRARY NEW COLLEGE OF CALIFORNIA 50 FELL STREET 94102 SAN FRANOSCO, CALIFORNIA (415) 626-4212

Painting and Sculpture in California: The Modern Era

San Francisco Museum of Modern Art September 3-November 21, 1976

National Collection of Fine Arts, Smithsonian Institution Washington, D.C. May 20-September 11, 1977 \ a)

This exhibition and its catalog were supported by grants from the Foremost-McKesson Foundation, Inc., the Crown Zellerbach Foundation, Mason Wells and Frank Hamilton and the National Endowment for the Arts, Washington, D.C., a Federal agency.

Page

Acknowledgments 6 Lenders to the Exhibition 9 Preface 13 Painting and Sculpture in California: The Modern Era 19 A European's View of California Art 43 Institutions 58 Schools 69 Collecting 76 Checklist of the Exhibition

1 Modern Dawn in California: The Bay Area 82

2 The Oakland Six and Clayton S. Price 87

3 Pioneer Moderns: Los Angeles 93 4 Early Surrealist Explorations 97 5 Public Art of the 1930's 100 6 Into Abstraction: The Bay Region 1930-1945 104 7 The Romantic Surrealist Tradition 109 8 Climax: Hard Edge Abstraction, Los Angeles 115 9 Clyfford Still 119 10 Expressionism, Abstract and Figurative, in the Bay Area 1945-1956 123 11 Expressionism, Bay Area and Los Angeles, after 1956 133 12 Toward the Personal 145 13 Collage/Assemblage and the Visual Metaphor 159 14 Color and Field Abstraction 168 15 New Realism and The Visionaries 179 16 Conceptual, Environmental and Performance 186 Artists' Biographies 196 Selected Bibliography 248 Photography Credits 270 Board of Trustees and Staff Listing 271 Acknowledgments

"Painting and Sculpture in California: The Modern Era" was accepted by the Board of Trustees of the San Francisco Museum of Modern Art as our contribution to the Twin Bicentennial of our nation and our city in early 1974. Shortly thereafter co-sponsorship was accepted by the National Collection of Fine Arts, a branch of the Smithsonian Institution in Washington, D.C. Our thanks go to the museum and to Dr. Joshua C. Taylor, Director of the NCFA as well as Harry Lowe, Harry Jordan and the staff of the Modern Art Department of that museum for their help and cooperation in this extensive project.

Initially it was proposed that curatorial responsibility would be shared by four persons: Walter Hopps, Curator of Modern Art at the NCFA; Joseph Goldyne, who originally proposed a modified version of this exhibition to the Board; Suzanne Foley, Curator at the SFMMA and

myself. It quickly became apparent that on-the-spot decision making was not compatible with the concept of committee selection and Joseph Goldyne gracefully stepped aside. Suzanne Foley has remained close to the project and has been responsible for selection in some areas but she accepted the primary duty of holding the rest of the museum's

exhibition program together while Walter Hopps and I indulged ourselves in attempting to fulfill a long cherished dream.

Michael McCone, Deputy Director, solicited financial help and guided the museum's operations. S.C. St. John wrestled with NEA forms and the budget.

Karen Tsujimoto admirably carried out the task of coordinating loans, loan forms and photographs. Katherine Holland and Jan Butterfield, supported by Merril Greene, Linda Kent, Jean Laurie, Shelley Diekman and Louise Katzman, newly researched and compiled nearly two hundred biographies and bibliographical references from original source material whenever possible.

Susan King, Registrar, executed the exacting task of arranging loan pickup, shipping, packing and insurance. Scott Atthowe of Atthowe Transportation responded admirably to the museum's statewide transportation needs.

Alberta Mayo, Executive Secretary, carried out her regular full schedule and transcribed over one hundred and eighty-three pages of taped conversation between Walter Hopps and myself for use in the catalog. Karen Lee and Connie Goldsmith provided valuable clerical assistance beyond their normal duties.

Julius Wasserstein and his staff completed our installation plans for the largest exhibition ever held in the museum, which meant removing and safely storing the entire permanent collection. Deepest appreciation is extended to the many museums, galleries, patrons and artists listed below who have lent cherished and often fragile works to this exhibition because they believed in the idea. Our real thanks to the artists included, who swallowed hard and accepted the fact that we were presenting them in the light of history rather than through their newest works. And equal thanks go to the estimated three thousand professional artists in California who are not included in this particular exhibition for accepting the fact that one cannot put every candle on a seventy year old's birthday cake even though each one has special meaning.

Personal thanks are given to Hal Glicksman, Relf Case, John Humphrey, George Neubert, Lorser Feitelson, Helen Lundeberg, Nick Wilder, James Corcoran, Wanda Hansen, Diana Fuller, Ruth Braunstein, Paul Karlstrom, Harry Mulford and many others unnamed for their valuable assistance in locating specific works.

Mason Wells and Frank Hamilton have a particular interest in the art and artists of California and have given financial assistance to many of our exhibitions dealing with California themes, including this one.

And finally, it gives me great pleasure to thank the Foremost-McKesson Foundation, Inc., the Crown Zellerbach Foundation and the National Endowment for the Arts, Washington, D.C., a Federal agency, for generous grants in support of this exhibition and its catalog.

Henry T. Hopkins Director, SFMMA

Lenders to the Exhibition

Private Lenders Dr. and Mrs. Sandor Burstein, San Francisco, California Akawie, Berkeley, California Tom Robert Colescott, Oakland, California Harvey California Jo Allen, Fresno, Austin Conkey, San Francisco, Mr. and Mrs. Harry W. Anderson, California Atherton, California Timothy Corcoran, Los Angeles, Jeremy Anderson, Mill Valley, California California Charles Cowles Ruth Armer, San Francisco, Jay DeFeo, Larkspur, California California Thomas Eatherton, Santa Monica, Ruth Asawa, San Francisco, California California Mr. and Mrs. Gene A. Estribou, Big Mr. and Mrs. Sid R. Bass, Fort Worth, Sur, California Texas Frederick Eversley, Venice, California Paul Beattie, Healdsburg, California Betty and Monte Factor Family Larry Bell, Ranchos de Taos, New Collection, Beverly Hills, California Mexico Mr. and Mrs. Lorser Feitelson, Los Mrs. Allen Bleiweiss, Los Angeles, Angeles, California California Mrs. Oskar Fischinger, West Irving Blum, New York, New York Hollywood, California Mr. and Mrs. Peter Bosko, Oakland, Terry Fox, San Francisco, California California Sam Francis, Santa Monica, John Bransten, San Francisco, California California Howard Fried, San Francisco, Mr. and Mrs. Joseph M. Bransten, San California Francisco, California Charles Garabedian, Santa Monica, Rena Bransten, San Francisco, California California Mrs. August Gay, Oakland, California Nick Brigante, Hollywood, California Berta and Frank Gehry, Santa Monica, Mr. and Mrs. Richard F. Brown, Fort California Worth, Texas Dr. and Mrs. Merle S. Click, Los Hans Burkhardt, Los Angeles, Angeles, California California Hal Glicksman, Venice, California

Joe Goode, Los Angeles, California

Joni and Monte Gordon Family, Los Angeles, California Robert Graham. Venice, California Peter Krasnow, Los Angeles, Milton T. Pflueger, San Francisco, California California Ed Gregson, Santa Monica, California Mr. and Mrs. Moses Lasky, San Mr. and Mrs. Gifford Phillips, Santa Grinstein Family, Los Angeles, Francisco, California Monica, California California Hansel Hagel, Santa Rosa, California M. Susan Lewis, Fresno, California Kenneth Price, Taos, New Mexico Alvin Light, San Francisco, Richard Reisman, San Francisco, Newton Harrison, La Jolla, California California California Wally Hedrick, San Geronimo, Mr. and Mrs. Philip E. Lilienthal, San Reiss, Venice, California California Roland Francisco, California Maxwell Handler, Santa Monica, Mr. and Mrs. C. David Robinson, Frank Lobdell, Palo Alto, California Sausalito, California California Locks, San George Herms, Los Angeles, Fay and Seymour Dr. and Mrs. K. Roost, Hillsborough, Francisco, California California California Maurice Logan, Oakland, California Mr. and Mrs. William M. Roth, San Gerald R. Hoepfner, Davis, California Douglas Alexandra Lynch, Francisco, California Sterling Holloway, Laguna Beach, and Portland, Oregon Robert A. Pasadena, California Rowan, California Estate of Stanton Macdonald-Wright, Mrs. F. Herbert Hoover, San California Francisco, California Santa Monica, Edward Ruscha, Los Angeles, Deborah Marrow, Philadelphia, California Robert B. Howard, San Francisco, California California Pennsylvania Betye Saar, Hollywood, Venice, California Nick Hyde, San Francisco, California Fred Mason, Darryl Sapien, San Francisco, Petaluma, California Edwin )anss. Thousand Oaks, Robert McChesney, California California Louis Siegriest, Oakland, California Philadelphia, The Janss Foundation, Thousand Michael McGuire, Hassel Smith, Bristol, England Pennsylvania Oaks, California Clay Spohn, New York, New York Meeker, Fort Worth, Texas Jack Jefferson, San Francisco, James J. California Professor and Mrs. R. Joseph Monsen, David Jones, San Francisco, Seattle, Washington California Edward Moses, Venice, California Vivian Kauffman, Los Angeles, Lee MuUican, Santa Monica, California California

Mr. and Mrs. Francis V. Keesling, Jr., Manuel Neri, Benicia, California San Francisco, California Mr. and Mrs. Stephen D. Paine, James Keilty, San Francisco, Boston, Massachusetts California Max Palevsky, Los Angeles, California Sonny Palmer, Fresno, California

Mr. and Mrs. Eugene C. Payne, III, San Francisco, California

10 Mr. and Mrs. Philip B. Starke, San Museums Galleries Jose, California The Art Institute of Chicago, Illinois Laura Lee Stearns, Los Angeles, John Berggruen Gallery, San California Brigham Young University, Provo, Francisco, California Utah Norman Stiegelmeyer, Walnut Creek, Braunstein/Quay Gallery, San Francisco, California California E.B. Crocker Art Gallery, Sacramento, California Dean Stockwell, Topanga, California Leo Castelli Gallery, New York, New Des Moines Art Center, Iowa York John E. Talbert, West Covina, California The Fine Arts Museums of San Gallery Rebecca Cooper, Washington, D.C. Michael Todd, Los Angeles, Francisco: California Palace of the California Legion of Honor The Claire Copley Gallery, Inc., Los Angeles, Fort Worth California DeWain Valentine, Venice, California The Art Museum, Texas Hirshhorn Museum and Sculpture James Corcoran Gallery, Los Angeles, James Valerio, Encino, California California Garden, Smithsonian Institution, Robert la Vergne, Tomales, de Washington, D.C. Hansen Fuller Gallery, San Francisco, California California La JoUa Museum of Contemporary Julius Wasserstein, San Francisco, Art, California The Harmon Gallery, Naples, Florida California Long Beach Museum of Art, Nancy Hoffman Gallery, New York, Mr. and Mrs. Frederick R. Weisman, California New York Beverly Hills, California Los Angeles County Museum of Art, Gallery M, Washington, D.C. Ernest and Eunice White, Los California Angeles, California Maxwell Galleries, Ltd., San The Museum of Modern Art, New Francisco, California Nicholas Wilder, Los Angeles, York, New York California Riko Mizuno Gallery, Los Angeles, National Collection of Fine Arts, California Guy Williams, West Los Angeles, Smithsonian Institution, Washington, Rose Rabow Galleries, San Francisco, California D.C. California Melinda Wortz, Pasadena, California The Oakland Museum, California Jodi Scully Gallery, Los Angeles, Helen Wurdemann, Los Angeles, Portland Art Museum, Oregon California California San Antonio Museum Association, Smith Andersen Gallery, San Sid Zaro, Los Angeles, California Texas Francisco, California Diana Zlotnick, Studio City, San Francisco Museum of Modern Sonnabend Gallery, New York, New California Art, California York

Santa Barbara Museum of Art, Tortue Gallery, Santa Monica, California California

Stanford University Museum of Art, Daniel Weinberg Gallery, San Stanford, California Francisco, California

University Art Museum, University Nicholas Wilder Gallery, Los Angeles, of California, Berkeley California

University Gallery, University of James Willis Gallery, San Francisco, Minnesota, Minneapolis California

Whitney Museum of American Art, The Zabriskie Gallery, New York, New York, New York New York

Preface

"Painting and Sculpture in California: The Modern Era" should be

viewed as a beginning rather than an ending for in truth it is just that. This exhibition represents the first completely serious effort to document in a manageable, historical fashion, the vast multiplicity of creative effort which has taken place in the state of California over the past seventy years. The exhibition takes on the physical proportions of a festival by offering over three hundred works by nearly two hundred artists and still remains highly selective.

"Painting and Sculpture in California: The Modern Era" offers more important twentieth century art from all of California under one roof

and at one time than ever before in the history of this museum. Thus it should provide more insights, raise more questions and suggest more

ideas for future exhibitions and scholarly study than ever before. It was of primary importance to us that this exhibition should develop within an historical context and we have, according to our best judgments and availability of works, carefully selected representation which shows the artist at the time, or times, of influence upon his peers. The artists' biographies, exhibition records and bibliographic references have been completely re-researched for accuracy from original sources whenever possible. These efforts become the beginning steps toward establishing a solid base for a new maturity in our understanding and appreciation of the vast infusion into the national art treasury which California- produced modern art of this century represents.

There have been several other meaningful efforts made in the recent past to record certain aspects of California-produced modern art. These exhibitions and their catalogs have been of great value in our research and are listed in the bibliography. There have also been some attempts to skim the richest cream from what is a fully homogenized bottle, however, among these only a very few have tried to provide a comprehensive overview of the complete spectrum of activity.

Frederick Wight's "The Artist's Environment: West Coast," which was organized in 1962, sought to extract the full western sensibility from Seattle to San Diego with no more than forty-nine works. The catalog essay dealt with history, but the majority of works selected were produced within two years of their presentation. This exhibition was shown at the UCLA Art Galleries, the Oakland Art Museum and the Amon Carter Museum of Western Art in Fort Worth, Texas.

"Fifty California Artists" was gathered together by George Culler, then of the San Francisco Museum of Art, James Elliott, then of the Los Angeles County Museum of Art, and Lloyd Goodrich, then of the Whitney Museum of American Art, for showing at the Whitney Museum, the Walker Art Center, the Albright-Knox Art Gallery and the

13 Des Moines Art Center. This exhibition, also in 1962, was developed from readily available objects and made no attempt to place the work into the framework of history.

Importantly, these two serious but somewhat narrow exhibitions, now fourteen years in the past, remain as the best efforts to present recent California art to the rest of the nation.

It is therefore not surprising that this exhibition should emerge at this time for extended showing at the San Francisco Museum of Modern Art and the National Collection of Fine Arts, a branch of the Smithsonian

Institution, in Washington, D.C. It is long overdue.

That the exhibition should be developed for these two museums is more than fitting since both have records of long-standing interest in the collection, preservation and exposition of American art and, in particular, the art of the nation's regions.

The National Collection of Fine Arts has developed collections in all phases of American art from the Colonial period to the present and has, under its present administration, placed unusual emphasis upon the scholarly documentation of the many schools and pockets of American art which have not been adequately dealt with at the national level. Exhibitions such as "The Arts of the Pacific Northwest," "Made in Chicago," and now "Painting and Sculpture in California: The Modern Era," are fresh examples of the national museum system working with other museums and experts in their region to retrieve and preserve America's art heritage.

The San Francisco Museum of Modern Art is the third oldest museum of modern art in the nation and the fourth oldest in the world. Throughout its long history the museum has given encouragement to advanced American art activity with special emphasis placed upon the art of its own Bay Area. The museum exists as a rare, national example of a private museum dedicated to the preservation and presentation of contemporary art.

Thus, the what, the where, the why and the when are simply stated when compared to the logistical complexity of the how. Our guidelines of selection were of necessity difficult, time consuming, and agonizing.

The first determination was that the work to be shown was to have been produced in California. Secondly, the artists selected must have spent a reasonable number of their years of creative maturity working in the

state. If this sounds excessively regional it was only partially reflective of our full intent for we recognize that putting a label "Made in California" on art and artists who hold international positions of high

14 esteem is nonsense. However, it was our purpose to examine, as closely as possible, environmental, philosophical, social, economic and political events which are special to this region and which provided the base for a massive contribution to the visual arts —a contribution which is unique. This guideline was not proposed to establish the fact that California-made art is better or worse than New York-made art any more than seventeenth century Italian art is better than seventeenth

century Dutch art. Rather, it points up and takes pleasure in the differences as well as in the similarities.

In this same context, it became increasingly apparent during our research that the compelling forces behind the art look of Northern and Southern California were often as different as those between the East and the West Coasts. One of the fascinations in watching this exhibition develop was seeing the moments of cross-fertilization and retreat which occurred through the era. For this reason we felt that these moments of contact should be given special emphasis.

Our selection mandate led inevitably to a series of hard choices which were difficult both historically as well as in the present. Perhaps a few

examples will help to clarify. It is a well-documented fact that the great pioneer modernist Hans Hofmann was brought to the University of California faculty by Glenn Wessels for the summer sessions of 1930 and 1931 and that Hofmann also taught at the Chouinard Art Institute, Los Angeles, during the spring of 1931. He was even given a one-man show at the California Palace of the Legion of Honor, San Francisco, in August 1931, but the show was one of drawings which reflected the mood of Matisse and the Fauves and did not represent the greatness of

Hofmann that was yet to come. It would be wrong to declare Hofmann to be a seminal influence upon California art during his brief stay here.

This is equally true of Mark Rothko who taught through the summers of 1947 and 1949, and Ad Reinhardt who taught the summer of 1950 at the California School of Fine Arts, San Francisco, for even though this was an important period in the development of their own art the local influence is negligible when compared to that of their West Coast peers Clyfford Still and Hassel Smith.

More recently, it would give great pleasure to include Mark di Suvero, Richard Serra, Michael Heizer, Walter De Maria and others of their generation who were born and schooled here but who have reached their maturity away from the region. Perhaps they will yet, like Sam Francis, find the West Coast environment compatible with their creative interests and return to work here.

15 Other different areas of decision-making were forced by our title "Painting and Sculpture in California: The Modern Era." The word "modern" is semantically insufficient but popularly understood enough to connote our desire to seek those knowns and relatively unknowns who have attempted to reach out through and bend the bars

of the existing esthetic cage at whatever moment in time. It is this esthetic attitude and not from lack of respect that led us to exclude imposing academic figures such as Francis de Erdely and Charles White.

The use of the terms "painting" and "sculpture" in the title should be self-explanatory, but they also raised the question of primary effort. June Wayne, John Paul Jones, Marvin Harden, Eleanor Dickinson and others are, in our minds, exceptional contributors to the field of graphic arts who may also paint or sculpt but still fall outside the exhibition guidelines.

Quite beyond semantics, certain movements gave us real problems because of their size. For example, the group which emerged around Rico Lebrun and the Jepson Art Institute in Los Angeles still has several viable, youthful practitioners but for the sake of manageability we stayed close to the original members. Similarly, the very large group of so-called "Bay Area Figurative Painters" which emerged in the East Bay during the mid-1950's is represented by several primary figures rather than a comprehensive review of all participants.

On the other hand, certain areas seemed to cry out for reasonably in-depth treatment. The group of teachers and students at the California School of Fine Arts from 1945 to 1950 were of particular concern, for even though the era is well documented in Mary Fuller

McChesney's book "A Period of Exploration," it remains the most heroic and yet ignored episode in recent California art history.

Almost equally ignored has been the collage and assemblage movement of the 1950's which was linked philosophically to the "Beat" generation. This group now emerges in form and content as a distinctive and almost uniquely California manifestation.

Other areas could not be dealt with adequately in this type of exhibition and must wait for full-scale presentation at a later date. For example, our search turned up a highly interesting, unbroken chain of inventions and events dealing with light and color beyond painting which lead from the yet shadowy figure of Charles Doccum to Stanton Macdonald-Wright, Oskar Fischinger and the Whitney family of Los Angeles and on to the current experiments of Robert Irwin, Jim Turrell

16 and Maria Nordman. Full exposition of this very special and unheralded direction in California art will be spectacular.

Another factor in our selection was the desire to represent specific works or groupings of works by artists who had some documentable influence, no matter how fleeting, upon peers or a wider artist audience. Many of these artists may not yet have received deserved public recognition but nonetheless they played prototypal roles in establishing direction and movements which have since borne fruit.

And, of course, quality was a major consideration, but not always in the publicly accepted meaning of the word; historical quality, quality of invention, quality of intent, quality of mind and spirit, all "yes;" but not necessarily quality as related to skill and the production of the handsome object.

I append this final word because I recognize the inevitability of questions concerning ethnic and male/female balance within the exhibition. Certainly we were aware during the selection process of the imbalance that would develop as a factual documentation of history as we understood it and we did not feel justified in subverting our understanding.

So, we are attempting a great deal. We are fully cognizant of our strengths and weaknesses, but it is time to begin.

It is time to begin, for it is only now, as we watch the chain of California art continue to thicken and strengthen, that we gain the perspective necessary to be aware that a rich modernist history emerged in this state concurrently with similar developments in the East.

It is time to begin, for it is just now that a number of bright, young scholars. East and West, are finding art produced in California to be both fascinating and largely undocumented.

It is time to begin from pride in those many artists who have chosen to work here, often under the most difficult conditions. To them this work is dedicated.

Henry T. Hopkins

17 4 Gottardo Piazzoni Brushy Hillside 1904 Painting and Sculpture in California: The Modem Era

Even though California was discovered by the Spanish in 1542 little took place which had any real effect upon the natural environment until January 1769 when Don Caspar de Portola, Governor of the Californias under the Spanish crown and founder of the mission and town of San Diego, led an expedition northward up the coast and through the valleys to reach the Bay of San Francisco in the fall of that same year. Portola's group was the first of white men to see those waters. Anglo settlements began to develop around new mission centers as they were established in the 1770's and 1780's and the mission trail became the first historical linkage for travellers moving between Southern California and the Bay Area.

In 1821 California's government shifted, through revolution, from a remote Spanish colonial society to a nearer-to-home Mexican provincial leadership. During the Mexican period the Russians, the English and the Anglo-Americans, as well as the commercial influence of the Pacific cultures of China, the Philippines and Hawaii, began to shape the environment and to form a cosmopolitan atmosphere which was unique on the North American continent.

The Mexican wars of the 1840's, the transfer of government to the control of the American military and finally the discovery of gold in 1849 led thousands of people from every cornerof the earth to try their luck in the loosely-formed and sparsely inhabited territory. Sizeable cities made up of a complex ethnic mix emerged almost overnight and even more than in eastern cities of that time a true "melting pot" culture was established. Ideas, events and a variety of religious attitudes produced a philosophy and a tolerance quite beyond anything in the American experience. Throughout this formative period the number of artists who came to document the vanishing frontier and stayed to affect the social formation was unusually high. Thus, even from the beginning, it is justifiable to reinforce the ever-present cliche that the footloose, the adventuresome and the dreamer loom large in the formation of California's compatible but strikingly individualistic social structure.

In 1850, because of a dramatically enlarged population which was developing sea trade with the eastern cities as well as other world centers, California was accepted as the thirty-first state of the Union. Doing so without going through an extended period of territorial status is a fact which also set California apart from her sister states.

By the 1860's Californians were able to help finance and to build the first transcontinental railway. The four "Barons" who provided funds

for this great venture, Charles Crocker, Collis P. Huntington, Leland

19 Stanford and Mark Hopkins, filled their extraordinary houses with art of all kinds. Judge E.B. Crocker, for a moment, made Sacramento the cultural center of the West when in the early 1870's he attached a new and sumptuously furnished "art gallery" to his Sacramento home. The core of his collection of nineteenth century painting and drawing was purchased intact during one trip to Europe.

By 1876 the first Southern Pacific rail line established a connection between San Francisco and Los Angeles. In 1885 a Santa Fe line was constructed to unite Los Angeles with Chicago via New Mexico. These lines not only served to reduce the real isolation of the West Coast but also opened up new agricultural, timber and oil lands which gave unusual stability to the economy of the state even after the "gold fever" had passed into history. The possibilities for the expansion of business and the excitement of travelling to the "old west" under safe and fast conditions brought wealthy eastern families to California, first for extended vacations and later to develop lavish summer residences. It is an interesting note that these vacation colonies developed not on the seashore, which they knew from home, but rather in the lush valley areas south of San Francisco and in Pasadena where the air was pure and clean and the mountains and the desert were close at hand. Many artists, well known and amateur, came here for similar reasons.

The most highly regarded painters of the period, Albert Bierstadt, Thomas Hill and William Keith were, in fact, foreign born and trained. They were drawn to California via the East Coast by the majesty of Yosemite and other natural wonders. Keith, especially, found a ready local audience for his huge romantic landscapes, which, along with portraiture, dominated the art of the period.

During the decades from 1850 to 1890 nearly all significant work in the visual arts came from the San Francisco Bay Area and the most important artistic center was the school of the San Francisco Art Association. The school offered enough solid technical training without repressiveness to assure growth and most aspiring young artists studied there. Often they went on to the European study centers and ateliers of Munich for finish.

By the early years of the twentieth century several styles began to overlap. The Diisseldorf, Munich and Barbizon landscape styles of Keith and Hill still flourished as did a new American Impressionist style represented by Thaddeus Welch, Edwin Deakin and Theodore Wores. The dominant figure of the period, however, was Arthur

20 Mathews whose California Decorative style set the base for twentieth century California art. The style was derived from sophisticated French academic art of the time including Puvis de Chavannes, James McNeil Whistler and L'Art Nouveau. The paintings, landscape and figure, were elegant, flat, muted color harmonies. Mathews also evolved a thematically consistent style of furniture and other decorative arts. He became the central figure at the school of the San Francisco Art Association between 1879 and 1906 where he encouraged students to study at the Parisian Academie Julian rather than the conservative Munich schools. He, his wife Lucia Mathews and close friend Emil Carlsen, brought California art to a new plateau. His followers Xavier Martinez, Eugene Neuhaus and Gottardo Piazzoni continued to develop the style well into this century.

By the end of the nineteenth century, a number of art colonies had developed in Southern California, and with the emergence of the motion picture industry in Los Angeles, which employed many art craftsmen, the geographical distribution of artists reached parity.

The completion of the Panama Canal in August of 1914 can rightly be looked upon as the moment of transition from an adolescent to a mature West Coast society. The canal had particular relevance to San Francisco since one of her trade ships, "The Pleiades," was the first commercial vessel through the canal on her way from San Francisco to New York with five thousand tons of lumber. The trip, which took thirty days, would have taken from sixty to seventy days by the Straits of Magellan. The new route literally doubled trading capacity. Additionally, the new passage put San Francisco very close to the Great Circle Route, the shortest distance between the Orient and the Panama Canal, which made her a primary port-of-call on all East-West sea traffic runs to New York. It is little wonder that both San Diego and San Francisco wished to celebrate the opening of the canal in a manner never again to be matched.

San Diego's Panama-California Exposition established that city's great park and zoo area as well as providing many buildings which still exist as museum structures.

The Panama-Pacific Exposition was held in San Francisco in 1915 to celebrate the discovery of the Pacific Ocean and the construction of the Panama Canal. As an exposition it achieved a degree of fantasy surpassing that of Walt Disney at his best. Fantasy tempered by pragmatics, however, since the final expenditures which were in excess of twenty-five million dollars were balanced by receipts which left a profit of over one million dollars.

21 The exposition idea was initially proposed in 1904 and survived, was perhaps even enhanced, by the earthquake and fire of 1906 which gave the citizens of San Francisco a remarkably homogeneous spirit of regeneration. An entire temporary community, referred to as the "City of Ivory" developed in what is now the Marina district of the city. Buildings and malls took names such as "The Crystal Dome;" "The Forbidden Gardens;" "The Tower of Jewels;" "The Court of Abundance;" "The Court of the Universe;" and "The Forecourt of the Stars." A monumental night lighting display called the "Scintillator"

was conceived to rival the Northern Lights. It was described as the greatest blaze of artificial light ever radiated from one spot on earth. The "Joy Zone" was the name given the amusement section after a public naming competition with a ten-dollar season-ticket book as a prize.

The art exhibition, which was international in scope, could be called San Francisco's response to the New York Armory Show of 1913, for while most of the eleven thousand four hundred and three works exhibited represented popular academic trends, there was also a liberal sampling of the most advanced European and American work in painting and sculpture. Included were many of the French Impressionists, the Symbolists, the Nabis, the Norwegian Edvard Munch and a large section devoted to the Italian Futurists.

Foremost among the American exhibitors were James McNeil Whistler, Frank Duveneck and William Merritt Chase, each having individual galleries devoted to the presentation of his work. The American "Eight" group was also well represented as were artists such as Stuart Davis. Several Californians including Lucia and Arthur Mathews, Maynard Dixon, Xavier Martinez and Frank Van Sloun were also shown.

It is impossible to imagine what the response of the regional art community would be to viewing eleven thousand four hundred and three works but certainly such a manifestation should put to rest any thought that California artists lacked exposure to contemporary modes

of expression. That it had an effect is borne out by a 1918 statement from Gottardo Piazzoni, an established and respected Bay Area artist, who by heritage was unusually attentive to contemporary art movements.

"I strongly believe in any movement that makes for the advancement

of art and the development of individuality. Especially am I interested

in Futurism ... I have been associated with the movement since its beginning and am acquainted and in correspondence with the man who started it in Italy."

22 36 Stanton Macdonald-Wright Dragon Forms 1926 A review of Piazzoni's work makes it clear that while his vision was

advanced for that time and place it was not developed out of the fervor that guided Futurism through its short, influential history. Nonethe- less, such a statement gives a real clue to developing attitudes.

Another reaction to the exposition resulted in reshuffling the staff of the Art Association's school. Pedro Lemos, the Director, resigned, and Lee Randolph, a young artist recently returned from Paris, replaced him. Most of the more academic instructors were dismissed and Gottardo Piazzoni remained to exert significant experimental influence. In 1922, Piazzoni, accompanied by sculptor Ralph Stackpole, revisited France and returned with a deeper conviction of the ascendancy of the Impressionists and their followers.

By 1925 a casual group of "modernists" began to form. Along with Piazzoni and Stackpole, Rinaldo Cuneo, Charles Stafford Duncan, Helen Forbes, Otis Oldfield, Nelson Poole and Edgar Walter were members. Maynard Dixon urged the group to organize and form a gallery for the presentation and sale of their work and with this cause in mind Beatrice Judd Ryan founded the Beaux Arts Galerie under Dixon's guidance. The gallery was active from 1925 to 1933.

Other artists in the area were also rallying to the new ideas. The Oakland Art Gallery, now the Art Department of The Oakland Museum, opened in the Municipal Auditorium on February 1, 1916. In 1918 William H.Clapp, a primary member of an emerging group of Oakland painters known as "The Six," became part-time curator and quickly established a progressive exhibition program. His close associate, Florence Lehre, worked with him to show international, national and Bay Area art. In addition Lehre wrote criticism for The Oakland Tribune and a perceptive local publication known as The Argus.

Clapp and the other members of The Six, which included Louis Siegriest, Maurice Logan, August Gay, Bernard von Eichman and their "Captain" Selden Gile, found influences which ranged from French and American Impressionism to Kandinsky-like abstraction, but they still managed to fashion a communal genre that was both advanced and reflective of the geographical region of its origin. The work, very modest in scale, composed rich color and dense pigmentation around views of the picturesque waterfront and the rolling hills above San Francisco's bay.

In 1923 Clapp established an exhibition policy of annual shows for the Society of Six and penned the following manifesto for his group.

24 We Believe

All great art is founded upon the use of visual abstractions to express beauty.

These abstractions are: Vision, light, color, space (third dimensional form), atmosphere (air), vibration (life, movement), form (length and breadth) and form of accidents such as persons, trees, etc.

Pattern is the means by which the abstractions are arranged and united in such a way as to procure the esthetic end. And by pattern we mean unity, contrast, harmony, variety, symmetry, rhythm, radiation, interchange, line, tone, etc.

Form, i.e., objects, is accidental and transitory, except in its large sense— space. That the object we see happens to be a man instead of a tree or other object is an accident, since if we look a few feet to one side we see an entirely different object. Form is also destroyed and distorted by light, color, vision, and space — in other words, its visual existence is by grace of larger abstractions. We choose the greater rather than the lesser, inasmuch as painting is interpretation rather than representation, and it is only by sacrifice of the lesser that we can express the greater with most force.

To us, seeing is the greatest joy of existence, and we try to express that joy. Hence the cheer and happiness of the present exhibition.

We do not believe that painting is a language. Nor do we try to "say" things, but we do try to fix upon canvas the joy of vision. To express, to show—not to write hieroglyphics. We have no concern with stories, with lapse of time, nor with the probability or improbability of hereafter. In other words, we are not trying to illustrate a thought or write a catalogue, but to produce a joy through the use of the eyes. We have much to express, but nothing to say. We have felt, and desire that others may also feel."

Perhaps it is here that one should state that the sensibility expressed by the painters of the Society of Six and their philosophical colleague Clayton S. Price, who was then working in California, set a pattern for Bay Area art which has continued to the present time without abate- ment. Simply stated it is a sense of place, an awareness and appreciation of the natural, physical environment. The Mathews, Piazzoni, the Society of Six, the Bay Area Figurative painters, the early and later Richard Diebenkorn, Wayne Thiebaud, the Photo Realists, William T. Wiley, William Allan, Joseph Raffael, Bill Martin and Gage Taylor, no matter what school title is devised to cover them all, each draws heavily upon the physical place of Northern California. To be sure, this

25 51 Lorser Feitelson Magical Forms 1948 manifestation is only one of several, for a number of Bay Area artists are interior-urban oriented to the exclusion of nature. But, this is the unbroken string that not only separates the look of the art of this region from most of that of the East Coast but that of Southern California as well. This same continuity can be seen in the evolution of Northern California photography.

Also, as much as the artists of the Bay Area accepted their natural, physical environment, the artists of Southern California rejected theirs. This is not to say that there is not a multitude of landscape and seascape painters in the South, but early on in the modernist movement they became the enemy. The Eucalyptus painters and the Laguna seascape painters became symbols of all that was wrong with art rather than something that could be built upon. Los Angeles artists renounce a sense of place in the immediate geographical sense but the "feel" of place is very much in evidence. The clarity of form and color, the open spaciousness, the smooth surfaces, all seem to speak of a lack of seasonal turbulence. The extensive use of new materials, plastic, glass, lacquers and chromed steel, as well as an interest in technical advances and kinetics, seem to reflect the newness and the high white finish of Los Angeles. The "dumbness" and "razzle dazzle" of much of the imagery accepts the heritage of Hollywood and Disneyland.

1923 can be designated as a seminal year in the evolution of modernism since at the same time that Clapp was forming his manifesto, "The Group of Independent Artists" held its first exhibition in Los Angeles and the catalog introduction written by Stanton Macdonald-Wright also took the form of a manifesto.

"The puerile repetition of the surface aspects of the Masters has ceased to interest any intelligent man. The modern artist striving to express

his own age . . . cannot be expected to project himself with any degree of sureness five hundred years back and drag forth by the aid of necromantic stupidity the corpse of an art inspired and nourished by a period environment, a greater art, if you will, but a corpse nonetheless Let our final work affect you as it will, but at least let your final opinion not be the result of a preconceived antagonism.

To all workers in the graphic arts who rebel against the rule of thumb in

art! . . . (The Group of Independents) has been organized to bring together experimental and creative artists, and, by holding frequent exhibitions of their work, afford opportunity to the public to follow the progress made in the field of artistic research . . . The group maintains that artistic manifestations such as Cubism, Dynamism and Expressionism, are sincere intellectual efforts to obtain a clearer

27 aesthetic vision . . . The apparent preference, in the past, for dead form, is not so much a preference, arising from Free selection as a habit due to the fact that any new work of an evolutionary character has been

refused to exhibitions and thereby withheld from public view . . . The public will at last have an opportunity to comprehend the New Form and an incentive will thus be provided for a more fluent expression on the part of the artist."

In addition to Macdonald-Wright, artists such as Ben Berlin, Boris Deutsch, Max Reno, Peter Krasnow and Nick Brigante were included. Interestingly, each of these artists had his own special sense of input. They were not a group with a homogeneous esthetic like the Society of Six. Macdonald-Wright was a colorist, Ben Berlin and Peter Krasnow were cubist-oriented abstractionists, Max Reno and Nick Brigante were interested in what could be called surrealist ideas and Boris Deutsch was a pure expressionist.

It is here that one can make a second observation about modern art in California and that concerns the lack of homogeneity in the art of Los

Angeles and the acceptance of it in the Bay Area. Only three "schools" can be clearly designated in twentieth century Los Angeles. The hard edge abstractionists, Rico Lebrun and his followers and, more recently, the perceptualists which could link artists such as Robert Irwin, Douglas Wheeler, Jim Turrell and Maria Nordman, but even these groupings began as independent efforts without common cause and were linked after emergence by museum curators and critics. A much more typical Los Angeles phenomenon would be represented by the group of strong artists around the Ferus Gallery which became a force in the late 1950's and early 1960's. Edward Kienholz emerged as an early assemblagist or environmental artist, Billy Al Bengston was immersed in heraldic central imagery with automotive surfaces, Robert Irwin was a pure abstractionist, John Altoon a surreal expressionist. Ken Price and John Mason were pushing ceramic sculpture in different directions, Ed Moses was a figurative abstractionist, and Craig Kauffman an abstract expressionist. Like their early counterparts in the Group of Independent Artists they were held together by the idea of advanced art, they were highly competitive and not interested in mutual problem-solving.

In the North, the Society of Six, the group around the California School of Fine Arts at the time of Clyfford Still, the Bay Area Figurative painters which developed in the East Bay, the Dynaton group, the Assemblagists, the philosophical grouping of painters and ceramicists that Peter Selz would call "Funk," the Photo Realists, the Visionaries, are all groups which share common concern with other practitioners in the idiom. 28 Even with all the activity surrounding the formation of new modernist groups in the 1920's such ideas still represented only a small portion of the whole. With the depression of 1929 the percentage became even smaller. In California, as throughout the nation, there was a tendency among modern artists to pull back from the leading edge. The national press, guided by the economic and political mood of the country, gave great credibility to the American regional painters, especially Grant Wood and Thomas Hart Benton. It was in this context that Millard Sheets, a young Los Angeles social realist and California scene painter, became the momentary darling of the art world. His watercolors were particularly appealing and his work helped to breathe new life into the venerable California Watercolor Society.

Fletcher Martin, who painted in Los Angeles for a brief period and later taught there, also claimed national attention at that time.

In 1929, Diego Rivera was invited to San Francisco to produce a mural at the California School of Fine Arts and at the same time he painted a full stairwell at, of all places, the San Francisco Stock Exchange Club.

It was very much a sign of the times that, while there was some grumbling about Rivera's Communist affiliations, he was allowed to proceed with his work. In 1930, Jose Clemente Orozco was in the Los Angeles area executing his powerful mural of Prometheus in Frary Hall at Pomona College. David Alfaro Siqueiros, the other of the big three in Mexican mural art and leftist politics, was also in Los Angeles for a period of time. Recollections from artists of the period suggest that Siqueiros completed a large outdoor mural at Olvera Street in the heart of old Mexican Los Angeles. No trace of this mural remains.

The influence of these three great figures is being felt once more. In the late 1960's, as the Latino movement gained momentum, social content murals began to appear on many walls within the Mexican American communities from San Diego to San Francisco. The early examples were rather weak in their handling but now they have gained in style and technique. These murals, which pay homage to Rivera, Orozco and Siqueiros but deal with contemporary Latino concerns, have become an important part of California's present art scene. This heritage has also extended to the black communities.

Holger Cahill, the National Director of the Federal Art Projects, wrote in 1936, "There is a theory that art always somehow takes care of itself, as if it were a rootless plant feeding upon itself in sequestered places. Many people are willing to believe, in a time like this, where art patronage has dwindled to infinitesimal proportions, that it is not necessary for organized society to do anything in particular, because no

29 85 lohn McLaughlin L/nlitled(yellow/blar.k) 1951 matter what happens a few artists starving in garrets will see to it that art does not die. It is quite obvious that this theory will not hold." Thus, for the first time in the history of this country, the federal government took the lead in the maintenance and development of the arts.

Interestingly, even though the art temper of the 1930's was reserved, two "modernists" were selected to head the W.P.A. Art Project in Southern California. Stanton Macdonald-Wright became the Director and Lorser Feitelson was chosen as his assistant. Macdonald-Wright's own murals, which were developed for the Santa Monica Public

Library through the W.P.A. , displayed the prevailing tendency to produce art which could meet a more popular standard. These murals were removed when the library was torn down.

In San Francisco, the Coit Tower murals were completed as part of the government project. And, though these murals are considered to be "social realist" in form, perhaps the emphasis should be upon "social" since they reflect the idealistic optimism of a happily revitalized America which was to be brought about by the communal efforts of America's labor force. There was no government pressure to paint in a specific mode but these, and many other murals created at that time, directly reflect the hope for the future inspired by President Franklin Delano Roosevelt's "Fireside Chats."

If the forward thrust of painting was momentarily slowed during the era of the 1930's, it is worth noting that two remarkable architectural monuments were produced at that time in Los Angeles. Richard Neutra's "Health House" was completed just at the moment of the economic crash. It stood on its dramatic hill site as a prefiguration of developed International Style architecture. Nothing like it existed in

America at that time and it even predated Le Corbusier's Savoye Villa in France.

At the opposite end of the architectural spectrum was that amazing monument to the strength of the individual will, the Watts Towers. They were built singlehandedly by the eccentric Simon Rodia between 1921 and 1954. While the towers were noted in some publications as early as the 1930's, they were publicly ignored until 1959 when they were threatened with destruction by the City of Los Angeles. A variety of structural tests were performed which proved them to be remarkably sound and they were allowed to stand. Perhaps fate has placed the towers in what is now the heart of Watts, the black community which erupted with such violence in 1965, as a symbol of individual strength and determination.

An excellent essay by Mary Fuller McChesney, covering the period of the 30's, goes on to state that:

31 "Social Realism was not the only esthetic strand in the painting of the art projects. Then, as today, the painters were divided into different groups and individuals were responding in a variety of ways to the artistic influences from New York and Europe as well as from Mexico, even though much more slowly in those days before wide-spread color reproductions, television and the jet plane. Artists did not travel from New York and Europe to California the way they do now, a fact which had both disadvantages and advantages. The local art world was more

provincial because of less contact but it was also less blatantly imitative. Still, Cubism and Surrealism were both known in the Far West and were influential on the project art. In San Francisco the Aquatic Park murals and sculpture reflect the modernistic European styles and taste and the easel projects were completely mixed bags of artists — Realists, American Scene Painters, Surrealists and Cubist-oriented abstractionists all together.

Preparations for, and the final outbreak of, World War Two killed off the federal art projects. Some painters moved into poster work for the government but the majority went into the service or into industry and not much happened artistically until the war was over. Painting continued to be done, of course, and sculpture to be made but there were no big artistic changes. For some time there had been a kind of traditional watercolor painting going on both in San Francisco and Los Angeles and there had always been the individual eccentrics, taking their sources and inspiration from unlikely places and movements. The watered-down Cubism of the Berkeley School ruled the Bay Area art establishment and Post Surrealism flourished in Los Angeles along with a very traditional brand of oil painting.

The end of World War Two and the G.L Bill of Rights brought a flood of veterans into the art schools of California. They were older than the usual student, they had been matured by the war, they had been horrified by the atom bomb and they were in a mood to question most accepted values. At the same time people such as Douglas MacAgy, the director of the California School of Fine Arts in San Francisco, and painters like Clyfford Still were bringing news of the artistic revolution happening in New York out West. These are some of the reasons for the sudden explosion of Abstract Expressionism in California painting. Artists were fed up with the past. They were looking for something new and the freedom of this kind of painting with its emphasis on individual expression, on letting go with a big gesture directly in paint on the canvas, was right for that time. Interestingly enough, and as usual, even in this so-called movement there were splits. The lack of discipline or structure or order in action painting repelled some of the artists and they, although totally abstract, moved off into a different

32 direction, using a deep space, more line and letting fewer of the accidents that occurred in the making of a picture remain.

There has been critical talk about the development of a Pacific School of painting, or an 'Ecole du Pacifique' as they called it in Paris, during this period and some of the West Coast Abstract Expressionism does have a rougher, cruder look than most abstract painting of the same time done in New York, where the Cubist and Surrealist influences were so much stronger and direct. Even though by then there was more contact between the two coasts, the Western painting had a ragged, earthy, unsophisticated look that was different. 'Brutal' some New York critics called it.

In the late 1940's there was an abrupt movement back to the figure and to landscape by some of the Abstract Expressionist painters, although in that move they took the large scale, rough paint handling and rawness of their earlier work along with them. Here again and as always, these directions overlap. Some painters continued to work abstractly. Some had never done so and they didn't 'go back to the figure.' They had never left it. And some California painters had been working consistently in a kind of hard-edge abstract style which was to come back into fashion, altered slightly, in a short time.''^ These hard-edge abstractionists were the Southern Californians John McLaughlin and Lorser Feitelson, followed by the youthful Karl Benjamin and Fred Hammersley. Such artists were fighting for clarity in form and color as a viable counterpoint to the widely accepted romantic cubo-expressionism practiced by Rico Lebrun and his followers.

In addition to these hard-edge abstractionists a number of independent Southern California artists such as Helen Lundeberg, Leonard Edmondson, Ynez Johnston, Oliver Andrews, Lee Mullican, Richards Ruben, Gilbert Henderson and John Altoon were carrying out their own approaches to experimental art. Some of their ideas were European- based and some showed a consciousness of New York's Abstract Expressionists but all were reaching away from the academic influence which had controlled Los Angeles art for an extended period. The ceramicist Peter Voulkos reached farther than anyone and received national attention for taking ceramic sculpture out of the realm of crafts and into the area of Abstract Expressionism. His work, along with that of John Mason, bred a whole generation of clay experimentation including Kenneth Price in Los Angeles and Robert Arneson, David Gilhooly, Richard Shaw, Ron Nagle and others in the Bay Area.

33 By the early 1950's Bay Area "modernism," whether abstract or figurative, had found acceptance among artists as the mainstream of activity in California. Students graduating from the School of Fine Arts, the College of Arts and Crafts and the University of California at Berkeley were all beginning to think and to work in advanced modes. What was widely accepted by artists, however, was not widely accepted by the art public and the support system did not function. The experimental, cooperative Metart Gallery, which was founded by the students of Clyfford Still, had closed down. The King Ubu Gallery was transforming itself into the Six Gallery and Dilexi Gallery had not yet emerged. Clyfford Still had left the area and promising younger painters like Sam Francis, John Hultberg, Ernest Briggs, Madeleine Dimond and Deborah Remington left for New York or Europe.

Still others settled in for the long wait, recognizing that even if galleries and collectors were not breaking down their doors, the general live and let live environment of the Bay Area was suitable to their evolution. Clyfford Still's strong statements about the dangers of the marketplace and the need for the artist to develop naturally were widely quoted at the time.

Fortunately, in 1953 and 1954 Southern California began to come alive. An energetic group of young artists and appreciators, including Craig Kauffman, Walter Hopps, Ed Moses and Jim Newman, joined with Ben Bartosh to establish Syndell Studio in an old building made of pier pilings in Brentwood. The idea was to develop a salon where artists and friends could meet and talk and where exciting new work could be seen. Kauffman and Hopps had developed close contact with the artists of the Bay Area and began to bring their work to Los Angeles to show at the studio.

This group developed a wildly experimental exhibition called "Action" which opened in the Merry-go-Round Building at Santa Monica Pier in May 1955. The exhibition introduced several Bay Area artists to Los Angeles and marks one of the very few moments in the long history of the two cities when cross-pollination occurred. Hassel Smith, Ed Corbett, James Budd Dixon, Julius Wasserstein, Roy De Forest, Jim Kelly, Sonia Gechtoff, Deborah Remington, Jay DeFeo, Relf Case, Madeleine Dimond, Richard Brodney, Fred Martin, Paul Wonner and William Theo Brown were all represented along with Paul Sarkisian, Gilbert Henderson and Craig Kauffman from the South.

At this same time Edward Kienholz arrived in Los Angeles to establish The Now Gallery which was structured along democratic, first come first served, lines. Some of the exhibitions were exceptional and some weak but all broke away from the prevailing attitudes in the established commercial galleries. Kienholz also arranged exhibitions for the lobby 34 109 Richard Diebenkorn Berkeley #4 1953 of the Coronet-Louvre Theater on La Cienega Boulevard. The theater which showed old movies and avant-garde films became more of a meeting place than the museums or the galleries. Barney's Beanery, a hash house-style restaurant nearby, became the focal point for late night artists' conversations.

Kienholz and Walter Hopps pooled their interests to work on several projects together including "Action^" in the spring of 1956. This was the second and last North-South extravaganza which, along with many of the artists already named, gave credibility to a new kind of mythical collage and assemblage. In retrospect Wallace Berman and the printer/ designer Robert Alexander appear to be the spiritual fathers of this movement which became one of the strongest strains of California-produced art during the "Beat" movement of the late 1950's. Berman, Wally Hedrick, Bruce Conner, George Herms, Arthur Richer, Ben Talbert, Fred Mason, Jess Collins and, to a certain extent, Ed Kienholz and Fred Martin, shared different aspects of this esthetic. Strongly poetic, this love/hate art created from the transient residual leftovers of society, became the first movement to blanket the whole

state. It also served a prototypal role for much of the popular and funky art which would come later.

In 1957 Hopps and Kienholz opened the Ferus Gallery on La Cienega Boulevard which became the point of focus for avant-garde activity in Southern California.

La Cienega was becoming the art gallery street. The established Esther Robles Gallery and the Felix Landau Gallery, which were somewhat more traditional in their style, supported many California artists. The Paul Kantor Gallery and the Frank Perls Gallery located in the more posh surroundings of Beverly Hills not only offered exceptional examples of international modern art but also showed artists of this region.

Here, another point of difference between the art tastes of Southern and Northern California shows up. During the formative 1950's Los Angeles had a number of strong galleries where the casual visitor could view or purchase excellent examples of European and American modern art. Picasso, the German Expressionists, the Austrian Expressionists, Klee, Kandinsky, the Surrealists, Gaidar, Moore and the French Impressionists, were all available at one time or another. Such programming coupled with a revitalized Los Angeles County Museum of Art and the program of modern art education offered through UCLA Extension gave many a reasonably broad-based understanding of the art of this century including work produced in California.

36 In San Francisco the modern galleries have been much more regional in their orientation. In one sense this can be laudatory but it had a restrictive effect on general knowledge and presented an unbalanced picture of international art activity. A review of the Bay Area museum programs of the period shows this same bias. A major exception was R. E. Lewis' gallery which became a haven for many students and young collectors who could study primary examples of print work from Diirer to Picasso. Just recently the galleries of Daniel Weinberg and John Berggruen have begun to correct this imbalance.

In the early 1960's June Wayne, printmaker and painter, convinced the

Ford Foundation that it should support an experimental lithography workshop which would train master printers as well as artists in the complexities of this dwindling medium. Tamarind Lithography Workshop was formed in Los Angeles and brought many of America's best artists there on fellowships. Quite apart from the technical brilliance of the print production, many of the artists lectured and mingled with the expanding local art community which helped to develop common bonds of appreciation.

Kenneth Tyler, a master printer trained at Tamarind, established Gemini G.E.L. and brought in well-known artists from the East such as Robert Rauschenberg, Jasper Johns, Ellsworth Kelly, Frank Stella and Claes Oldenburg to work in the shop. Gemini also produced a limited number of prints by Los Angeles artists John Altoon, Kenneth Price, Ed

Ruscha and Joe Goode, but it remained for yet another print shop, Cirrus Editions, to concentrate on the printing of editions of many Californians.

More recently, Kathan Brown established her Crown Point Press in Oakland to produce exceptional quality intaglio prints. Artists such as Claes Oldenburg, Dan Flavin, Sol LeWitt, Dorothea Rockburne and Brice Marden now find their way to Oakland and mix with the Bay Area art public.

These efforts have stimulated many young collectors and created a market which might not have existed otherwise.

In June 1962 John Irwin began to publish a remarkable art magazine in San Francisco. Art/orum began with the modest dictum that: "Art/orum is an art magazine published in the west—but not only a magazine of western art. We are concerned first with western activity but claim the world of art as our domain."

During the first year of publication the magazine established Philip Leider as Managing Editor with John Coplans and Arthur Secunda as Contributing Editors from San Francisco and Los Angeles. Leider's

37 editorship, which held for several years, through the magazine's move

to Los Angeles where it began to be published by Charles Cowles, and later to New York, brought the magazine to national prominence. By the

mid-1960's it became the single most important reference for avant-

garde activity in America. During its passage from one city to another

the character of the magazine changed but it can be credited with bringing a number of West Coast artists to national attention and with helping to make Los Angeles this country's number two art city. )ohn Coplans became the Editor in 1970 and continues in that role to the present time.

Since the early 1960's the art activity in California could no longer be labelled "modernist" or "conservative" for the bastions had fallen away. Museums and gallery exhibitions in all sectors of the state provided ample evidence that the modern art of California had achieved a position of wide acceptance. This closing of the circle allows one to pursue that elusive thing called "art" as he pleases, whether creator, collector or appreciator.

The full impact of Southern California-produced art began to be felt at the international level. By 1960 the original Ferus Gallery artists had been joined by Larry Bell, Edward Ruscha, Joe Goode, Llyn Foulkes, Stephan von Huene and several others and all moved quickly toward first levels of real art maturity.

At this time a number of new galleries also emerged. The Everett Ellin Gallery and the Dwan Gallery began to show the works of Robert Rauschenberg and Jasper Johns, Franz Kline, Philip Guston and some of the advanced Europeans such as Yves Klein and Jean Tinguely. They also showed artists from the region. The Huysman Gallery introduced Joe Goode, Edward Ruscha, Larry Bell, Michael Todd and Ed Bereal during its nine months of operation. A Los Angeles version of San Francisco's Dilexi Gallery was operated by Rolf Nelson. David Stuart and Ed Primus combined an interest in showing both pre-Columbian and contemporary work. Eastern dealer Richard Feigen joined with Herbert Palmer to open a western branch, the Feigen-Palmer Gallery, and for a brief period New York's Pace Gallery joined Irving Blum's new Ferus Gallery in a joint venture. Comara Gallery, Heritage Gallery, Charles Feingarten Gallery and the Ankrum Gallery also joined the ranks.

In the middle '60's Nicholas Wilder came from San Francisco to Los Angeles to open his gallery which for the next decade replaced the Ferus as the center of support for the artists of Southern California. More recently the James Corcoran Gallery.The Claire Copley Gallery, Margo Leavin Gallery and Tortue Gallery opened to show a broad

38 spectrum of the most advanced art, and the Jodi Scully Gallery is showing several of the best of the "old timers." With the obvious exceptions of Edward Kienholz and )ohn Altoon, Los Angeles art also developed a special look which could be characterized as cool, clear and clean. Individual esthetics remained intact but many artists shared a quality referred to by lohn Coplans as a "finish fetish." To my mind this is a misapplied term. Rather, the "look" is born out of deeper philosophical conviction. Craftsmanship becomes an inherent part of the full conception of the work and is not an added afterthought, as the word "finish" implies. For example, Kenneth Price would build beautiful and elaborate bases for the presentation of his small-scale ceramic sculpture. The purpose was to make it clear that this was work to be taken seriously and not to be confused with shelf ornamentation. Joe Goode would cover his large, rather roughly painted skies with plexiglass, not to protect the surface but to create the illusion of looking through a window. Robert Irwin would round edges and forms to defeat spatial boundaries, and so on. But, no question, the "look" was also related to place.

Visitors to Los Angeles, especially Europeans, become entranced with the "pop" elements of the city (Forest Lawn, larger-than-life billboards, the Sunset Strip and Hollywood) but, in fact, Los Angeles, especially considering its size, is astoundingly pure and clean. Hundreds of new buildings bounce the clear light from these pale surfaces. Immaculate parks and lawns seem always green, civic plantings are landscaping wonders, the freeway system is a work of crisp precision and the shimmering Pacific laps at the doorstep of the city. There are smoggy days but residents don't dwell on them.

Is it any wonder that light and reflective surfaces would play an increasingly major role in the art of that area? Or that, ultimately, in the 1970's, light would become the primary medium in the work of Robert Irwin, Douglas Wheeler, Jim Turrell, Michael Asher, Maria Nordman and DeWain Valentine.

It is also interesting to note that Northern California artists who found their way south, Ronald Davis, John McCracken, Tony DeLap and even Richard Diebenkorn, began to partake of this particular sensibility.

Bay Area art of the 1960's also began to take a new turn. Worries about "abstract" and "figurative" disappeared in favor of "personalized" art. The sculpture of Robert Hudson and William Geis and the painting of William Wiley forced a new consciousness, as did the ceramic work of Robert Arneson, David Gilhooly and Richard Shaw. Built on the poetic base of assemblage, the intended awkwardness of Alvin Light's

39 sculpture, the strange presences of Jeremy Anderson and the "folk" characters, Roy De Forest and Wally Hedrick, Bay Area art for a brief moment escaped from the physical look of the region. The "feel" began to dominate.

Perhaps these artists could be referred to as sophisticated rustics since they prefer the country to the city, a fact which shows in their work, but the often-used generic title "funk" does not apply.

This particular sensibility, best exemplified by William Wiley, found wide acceptance among American university art students during the late 1960's as a symbol of their desire to escape the rigors of urban existence and return to a "homespun" life.

To my mind it was not a dissimilar seed that spawned the particularly California brand of photo realism centered in the Bay Area. The celebration of the mobile middle class by Robert Bechtle and Ralph Goings seems to be the manifestation of a comfortably-off generation which retains vague, warm memories of Jack Kerouac and On the Road.

And, undoubtedly, it was the same genetic structure, only slightly modified, which gave rise to the Bay Area Visionary painters, especially Bill Martin and Gage Taylor, who conduct the "acid rock" generation into thoughts of a pastoral Nirvana.

San Francisco and Bay Area art galleries, if not the public, have always been supportive of their own and in recent years the situation has improved immeasurably. The pioneer efforts of Gump's Gallery, BoUes Gallery, Rose Rabow Galleries, Lucien Labaudt Art Gallery, Charles Campbell Gallery and the Triangle Gallery, as well as Metart, King Ubu Gallery, Six Gallery, East & West Gallery, Dilexi Gallery and Batman Gallery, smoothed the road for the future. Today the Braunstein/Quay Gallery, Hansen Fuller Gallery, Phoenix Gallery, James Willis Gallery, Smith Andersen Gallery, John Berggruen Gallery, Daniel Weinberg Gallery, Hank Baum Gallery, Berkeley Gallery, William Sawyer Gallery, Zara Gallery, Malvina Miller Gallery, Lester Gallery, The Allrich Gallery and the Grapestake Gallery are all functioning well. The Galeria de la Raza is giving support to emerging Latino artists and the Thackrey & Robertson Gallery and Focus Gallery are concentrating on photography.

California has retained from its heritage a strong and stimulating sense of independence and openness which managed to hold through the emotional conflicts of the late 1960's and the economic recession of the 1970's. Current issues have not so much to do with what art should be but rather upon how more art can be seen so that its message can be

40 imparted, its impact felt. This feeling is particularly strong among artists who are women or artists who have taken a strong ethnic position and who feel that the prevailing system of galleries and museums blocks adequate representation. This condition has led to the reemergence of the cooperative gallery, the open studio and the manifesto, all of which are healthy signs of art's self-regenerative powers.

Henry T. Hopkins

'Mary Fuller McChesney, A Century oj California Painting 1870-1970. Crocker-Citizens National Bank, Los Angeles, California, 1970. General References The Amon Carter Museum of Western Art, Fort Worth. Texas. The Artist's Environment; West Coast. 1962. Text by Frederick S. Wight.

Crocker-Citizens National Bank, Los Angeles, California. A Century o/Caii/ornia Painting 1870-1970. 1970. Essays by Joseph A. Baird (1870-1890), Paul Mills (1890-1910). Kent L. Seavey (1910-1930), Mary Fuller McChesney (1930-1950), Alfred Frankenstein (1950-1970).

Moure. Nancy Dustin Wall. Dictionary of Art and Artists in Southern California Before 1930. Los Angeles: privately printed, 1975.

The Oakland Museum, Oakland, California. Society of Six. 1972. Text by Terry St. John.

Ryan. Beatrice Judd. "The Rise of Modern Art in the Bay Area," California Historical Society Quarterly, Vol. XXXVIII, No. 1, March 1959, pp. 1-5 (ill.).

Todd. Frank Morton. The Story of the Exposition. New York: G. P. Putnam's Sons for the Panama-Pacific International Exposition Company, 1921.

Taped conversation with Walter Hopps. July 1976.

41 98 Clyfford Still Untitled 1947-S (PH :i71) 1947 A European's View of California Art

An introduction to the situation of plastic art on the American West Coast can, to my mind, not get off to a better start than with an account of the impressions and experiences of the traveler who for the first time

sets eyes on this area. Taking off, as I did, from one of the New York airports in the late afternoon, one realizes that one is headed for the unknown. So long as the slowly fading daylight permits — for about six hours we are flying west—one gets between the scattered clouds occasional glimpses of a continuously changing, in large parts thinly populated, scenery. Reminiscences of books and films about the 'great trek to the West' come to mind. Romanticism? Yes indeed, but a romanticism that will prove still actively alive in the actual on-the-spot experiences.

Night has fallen and Las Vegas is pointed out to us. As the aircraft starts downward, an immense fair of lights gradually unfolds below: the Los Angeles agglomeration which is sprawling over an area of more than

4000 square miles. It is inconceivable. Crossing from New York, with recollections of other major American cities like Chicago, Boston, Washington, one fails to adequately translate this carpet of lights; how does a city get that inconceivably big?

After landing, in a bus on our way to the hotel, we pass through endless suburbial districts. We see a hotch-potch of all kinds of buildings. Spaciously laid out gas stations bathe in a sea of artificial light. In the hotel, an atmosphere of leisure prevails —the other America. Not until the next day, when we traverse the city from West to East on the enormous, yet very busy freeways, does the real picture reveal itself. Actually, Los Angeles is one vast suburb of gigantic dimensions.

Building is still entirely in 'Wild West' fashion. Motivated by the fear of quakes, houses have of old been kept low. Only in recent years have the people ventured in places to break up the familiar pattern with closer formations of towering buildings. In spite of the splendid examples of older date (the works of Maybeck, Gill, Greene and Greene, Schindler), there is in Los Angeles in fact no architecture of any quality to speak of. Instead, we find either insignificant buildings or the most fantastic structures bordering on the grotesque. This may have been inspired by the extremely beneficial climate which in the eyes of the inhabitants, makes the automobile and the telephone, much more than the home, the most cherished necessities of life. (As a consequence of the extreme distances, the city has hardly any public transportation, not even taxis.)

Wherever one looks, contrasts are staggering. Life seems to be marked by an exuberant urge of expression which oftentimes assumes a

hypertrophic character. It radiates optimism, although it is here that the

43 —

contrasts are apt to explode in violent clashes, witness the treatment meted out to the hippies, and the student revolt in Berkeley, to cite but a few examples.

Most remarkable of it all is the fact that the excessive urge of expression tends to manifest itself visually in all areas of life. 'Visualization seems to be a characteristic of life on the Pacific Coast,' Werner Spies aptly writes. Advertising boards, larger than the houses on or between which they are erected, dominate the face of the city. Everything, barring the gas stations, is dwarfed by them.

Later, San Francisco indeed offers an entirely different picture — is this maybe, one wonders, why art life has shifted to Los Angeles? Or rather, why the actual breakthrough that made the new art of the West Coast emerge on an international level, did not originate in this wonderful city which, in many places, reminds [one] of the paintings of Edward Hopper?

Against this exuberant background developed the art of the younger

generation; with this background it is linked in an ambiguous way

it partly thrives on it, partly reacts upon and against it. Having experienced this background, one looks with more perspicacious eyes upon the few examples of West Coast art one has already come across in exhibitions on the East Coast or in Europe. In spite of the great difference in the work of the various artists, there is evidence of underlying relationships that are conditioned by the very climate, both

spiritual and material, of the environment. It also explains why this work and its atmosphere are so very much unlike what we find in New York. The awareness of this adds to the self-confidence of the artists and makes them envision the seventies with great expectations. Characteristic for Los Angeles is also the fact that, unlike New York, there is no 'art center' as a focal point, but rather an 'art environment.' There are some major galleries and museums, but modern art is just as much to be seen in studios and private collections. These are usually at great distances from each other.

Going back to the years just after the end of World War II, it is the state of art affairs in San Francisco and its Bay Area that determines our perspective. Not that the situation then and there was a very promising one, but at that time, in spite of the earlier presence of such artists as Man Ray and Archipenko, no major impulse was coming from Los

Angeles. In fact, it harbored a conservative, classic, academic establishment under the lead of the painter Lebrun.

In San Francisco, famed for its wonderful site on the large bay and its beautifully designed residential districts and relatively old houses, the academies, notably the California School of Fine Arts (now the San

44 Francisco Art Institute), have had a greater impact on the development of art than the local museums and art galleries. Not until the more recent years have the latter devoted greater attention to contemporary art. The great influence of the academies is to be laid to the fact that outside their walls interest in contemporary art was virtually nil. On account of the unfavorable art climate, artists who had come in contact with these institutions, not infrequently stayed around them and were often taken on as teachers. Others left for the East Coast or gave up their vocation.

One of the most consequential impulses came from Clyfford Still who, like Mark Rothko, was invited to teach there toward the close of the forties. For the first generation represented in this retrospective survey, Clyfford Still has been of vital importance, both through his work and the type of artist he represents. Rothko's work, it is true, has undoubtedly left its marks, but this is maybe more clearly pronounced in the work of later generations. His influence appears therefore less marked.

Clyfford Still, whose work is hard to obtain in loan—but little of his extensive oeuvre has been sold and the painter himself does not fancy collective exhibitions — is known for his outsize canvases. They are monumental in character and have a place of their own in Abstract

Expressionism. In the years following the end of World War II, Abstract Expressionism sprang up on the East Coast with New York as a center. The key figures of this movement: Pollock, de Kooning, Newman, Still, Rothko, Kline and others, all reached the fruition of their own personal style around 1950. At that time, two trends are beginning to show: a. Action Painting which puts greater emphasis on movement (Pollock, de Kooning, Kline) and b. Chromatic Abstraction, a term applied to the work of Newman and Rothko. With his work, Clyfford Still stands between these two trends. His work is characterized on the one hand by the tangibility of the pigment which he often puts on thick with the spatula, on the other hand by the monumental aspect of his color fields achieved by the massive closeness of his monochrome fields of which the edges, by contrast, are breaking apart. His canvases give the impression of masonry and on this score have been of decisive significance for the field-painting that was especially practised on the East Coast. On the West Coast, emphasis was put more on the material aspect of the paint and the way it is put on— Still's concrete way of painting. This influence is strongly reflected in the work of Lobdell, but is also to be found—be it thoroughly transformed — in the so much different work of Thiebaud. His ethical views as well as his unapproachable attitude as an artist have also greatly affected the

45 artistic type of his generation. Like Still, many of these artists are living far from the art centers, Lobdell, for one, lives in the small town of Palo Alto, dozens of miles from the perimeter of San Francisco. In his work, the black backgrounds, done in a crustlike material, frequently dominate the painting. The oftentimes diagonally placed figures barely detach themselves from the background so that, notwithstanding the baroque design, the flat aspect of the painting remains intact. As to this diagonal effect against a dark fond which we also encounter in the work of many contemporary painters, Kienholz once pointed out to me that, when turning off an old vintage television set, one sees the picture disappear from the screen in a diagonal movement.

For Hassel Smith, the years 1948-1952 at the California School of Fine Arts were decisive for his artistic growth. He made paintings in which an abstract-linear script is the salient feature. This he has in common with the well-known painter Tobey who for many years worked on the West Coast and settled in Basel afterwards, hi Smith's work too. the line appears autonomous which bespeaks the influence of Pollock. His treatment of the linear, however, shows a strong personal character unlike that of the two other artists. The line shoots over the canvas in sharp angles and curves, ends in or is accompanied by dots and stripes which makes for a humoristic effect. Smith was fascinated by comic strips and cartoons.

One of the most significant painters of his generation is Richard Diebenkorn whose work testifies to a rich evolution. He started out under the influence of Edward Hopper's work which is notably apparent in the qualities of isolation, monotony and the disengagement of the human figures in the picture, hi 1947-1948 he teaches, along with Still, Parker, Smith and others, at the California School of Fine Arts. At that time, the composition of his work assumes a more structural character allied to Cubism. The surface is subdivided in a free, abstract-geometric pattern. Spatiality tends to flatten, increasingly so during his stay in Mjexico (1950-1951). His Albuquerque paintings dating from that time, are all but monochrome, of sand and meat coloring; they show an intermittently tense and relaxed linear movement that freely outlines the painted forms. Whereas his earlier (and more recent) paintings clearly bespeak his admiration for certain paintings by Matisse, here the unerring linear drawing technique of de

Kooning asserts itself, be it that he handles it in a uniquely personal way. One wonders why these paintings of undoubtedly high quality have never met with the admiration they rightly deserve. Greater dynamic power emanates from his consequent series of scenery paintings, titled Berkeley. The diagonal continuously recurs in the composition. His color scheme Diebenkorn derives from the general mood of the landscape whose structural lines determine the 46 175 Robert Arneson Typewriter 1965 composition. Until 1955, his paintings are nevertheless abstract. In that year, under the influence of the mediocre painter David Park, Diebenkorn moves toward figuration from which he has distanced himself only recently. In this figurative period, his paintings have become larger. Mention should be made furthermore of the cosmopolitan Sam Francis who, in addition to his studios in Tokyo, Bern and Paris, also worked and taught at the University of California, Berkeley.

With this first generation, we leave the scene of San Francisco and the Bay Area. The latter half of the fifties is marked by the activities that take place at Los Angeles. Artists are leaving San Francisco to settle in Los Angeles or on the East Coast. Not until the sixties are new trends,

be it spasmodically, to originate in this area. Also because the activities in Los Angeles are mainly focused on fields outside painting in its traditional form (except for the work of Feitelson and McLaughlin), this shift of scene marks an incisive change.

Which are those fields outside conventional painting? First, we must point to the unconventional evolution that occurred in the field of ceramics. This will be dealt with in greater detail later. Next and along

with it, there is the powerful progressive upsurge in the fields of the art of assemblage, lighting and the use of new media. At the same time, we witness the emergence of a peculiar Pop-image which, to a greater or lesser degree, uses the techniques of traditional painting. This is, admittedly only the broad outline, as there are individual painters who are active in several fields at the same time. In Los Angeles too, we find an older and a younger generation. The dividing line lies aroimd the year 1962.

The development in the field of ceramics is one of the first major events on the West Coast that reflects a free and independent attitude of the artists vis-a-vis the traditional and what is simultaneously taking place on the East Coast. Ceramics had so far always been classed as applied art. Rebelling against the inherited hierarchical division of media, the artists began viewing ceramics in terms of its own specific merits.

48 Voulkos and his colleagues, a fruitful exchange of ideas was possible. Their joint endeavor resulted in the rediscovery of the essential characteristics of the medium clay as a very manageable and plastic material which lends itself to more than just the making of symmetrically-shaped functional pots. Voulkos and Mason attacked symmetry as their first target and the upshot was that the object, as it is viewed from different angles, now offers each time a different aspect and contour. Especially in the case of Voulkos and Mason, the new development moved toward sculpture. In an important part of his work. Price concentrates still on the creation of cups, of such fantastic shapes though that they altogether lose their functional character. In the expression of form and color, the work of these artists shows ties with Abstract Expressionism. Notably in the work of Price, color has a significant function. While on the pot shown in this exhibition, the color is put on in the form of glazing (compare the method of coloring with e.g. Clyfford Still's way of painting), later he aims at such powerful color and such a smooth sheen that he oftentimes paints his objects after baking.

The confrontation with painting also applies to the others: like Still achieved masonry work with paint, Voulkos does it with clay; Bengston is to derive his world of signs of his later paintings from his earlier work in clay. Aside from the beauty and expressive power of the results reached, these ceramic experiments have an added importance in that they have opened new avenues toward a great number of novel possibilities. Overnight, color had become something that could be made with other materials and had a meaning of its own. The long process of drying and baking makes it unfeasible to foresee the various consecutive stages. From the struggle out of this situation grew a procedure and an experimental craftsmanship without which the current trends (e.g. Larry Bell, Craig Kauffman) are inconceivable. All criteria of form, color, structure, et cetera, called for a change of perspective as, from now on, all creative activity was to start out from the material and the working method. Later, it is true, for the purpose of achieving a specific objective, the artists reverted to choosing an appropriate material and the pertinent working method. But they had learned to be free in setting their goals and, in the process, an interaction between objective choice of material and working method developed.

The evolution in the art of assemblage kept, at first, closer to the technique of painting. Inaugurator of this movement is Wallace Berman who, during the time he was employed in a furniture store (about 1950), started assembling odds and ends of scrap material. In his work, he reacts upon sentiments that, repressed or openly, exist in the

49 environmental society: advertising, sex, violence together with the race issue, often combined in one work, are his recurrent themes. His only one-man exhibition organized in 1957, had to close its doors. Herman was arrested and put in jail on the score of pornographic activities. After that, he started making kinds of envelopes enclosing poems, photographs, drawings, et cetera. His works are only rarely shown nowadays. He influenced Bruce Conner and Kienholz, the key exponents of the movement.

Bruce Conner, who started out by making collages, turned to making spatial works after meeting with Berman. From all kinds of objects such as old clothes, costume jewelry, old photographs, et cetera he made assemblages over which he often pulled ruined nylon stockings which created a romantically tinged alienation of every day reality. Like many of the works of Kienholz, they are 'memento mori' pieces with a bitter, caustic humor. More so than the work of Kienholz, they are mellowed by the romantic nostalgic veils of the nylons. Later he focused his activities on filmmaking.

Kienholz' work has a more direct impact. After making wood reliefs of a rather formal character, he shifts, toward the close of the fifties, to making objects of a more spatial nature. This leads to the construction of environments, accessible or otherwise. One of his best but probably also most poignant works is his non-accessible 'State Hospital.' Kienholz' work springs from a direct reaction against the artificial life of his environment with which he feels, nonetheless, related. A major part of his work which will be shown in the Stedelijk Museum at Amsterdam, has a socio-critical angle with sometimes a hint of caricature. Kienholz stands out by his great inventive power and versatile craftsmanship. These qualities are clearly noticeable in his less socially engaged works.

The younger generation includes William T. Wiley and Bruce Nauman. (Their work sometimes is termed 'funk-art.' The term 'funk' is taken from music and denotes the combination of heterogenous forms and techniques.) Through Kaspar Konig, both artists came in contact, at a relatively early stage, with the work of the German Joseph Beuys. Wiley made a great number of aquarel drawings of landscapes in which there are all kinds of bizarre objects or bizarre things are happening. The scenery is overgrown with the conception of an artificial world which finds its full expression in his later assemblage-like constructions. The artist draws our attention to the unusual processes we can observe in our backyards or which we can imagine. Wiley organized many happenings somewhat on the line of the 'fluxus' activities in Europe. Much of Bruce Nauman's work has the characteristic aspect of a happening or rather 'performance.' The inversion positive-negative is a

50 202 Wayne Thiebaud Pies 1961 theme that recurs in his earlier work. When he makes, for instance, a sculpture of the space between two volumes or 'the space under my chair,' the inversion is applied in two ways: he not only makes the rather arbitrary space into a sharply defined tangible object but at the same time evokes again the now imaginary spatial parts of the original object. We encounter this inversion also in his experiments with new materials, his holograms: the 'light picture,' as a concrete construction

in space, is here however virtual. It is, more so than Wiley's work, conceptual of character which adds a new effect to the title of his work. In this respect, he is linked up with the other group of artists who work with the medium of light.

As for Robert Irwin, it may seem difficult to bring his work under the denominator of the art of light. In fact, as from the close of the fifties, this artist has developed a style in which the painting or, for that

matter, any substitute object is, as to its presence, increasingly neutralized in the process of the visual experience of the spectator. For him, the visual experience is the only thing that counts; it cannot, then, be translated by anything else, including my introductory remarks, let alone be replaced. For Irwin, the only legitimate goal is that the conception be formed through and during the visual experience of light and non-light (shadow). Everything else has to recede before

it —the concrete-material aspect of the work and its attributes, the spatial reality of the exhibition hall, even the rest of my descriptive text

(be it so).

Doug Wheeler is closely allied with Irwin's endeavor. Also in his work, we find the ambiguity of the presence of the object alongside its concurrent negation caused by the working of light. Unlike Irwin, he does not throw light on the object but makes the light flow through the work toward the spectator. The square light box is transparent in front and lighted from the back. The light is directed through the edges to the transparent front plate which makes for a richly shaded surface. The dimensions of both the work and the surroundings are essential for the viewer's reaction.

Light, be it daylight or artificial light, as to the way it is modified by the

work, is also a key element in the oeuvre of Larry Bell who introduced new media in his art. From painting (shaped canvases), the artist turned to making cube-shaped objects of coated glass which, through varying degrees of absorption and reflection, lend a very special quality of expression to the enclosed volume. This calls for an extremely high technical perfection which the artist developed entirely by himself. His studio is in fact a plant with special ovens, vacuum chambers, et cetera, which he runs with the aid of a few assistants.

52 Depending on the degree of reflection, the cube receives impulses from the environment which, in combination with the activity of the spectator, constitute the content of the work. For the benefit of the exhibition in Eindhoven, Bell wanted to step up the effect. Thanks to the recent acquisition of an oven of the required dimensions, he managed to make glass panels of more than man-size; with these he is now able to construct a regularly patterned footpath which makes the

(of . . hitherto closed cubic space accessible. The mystery of the box . ] has been lifted without violating the visually happening magic; on the contrary, it intensifies the immediate contact between spectator and work.

Craig Kauffman, one of the first initiators around the Ferus Gallery at Los Angeles, executes his later work in plexiglass moulded in the vacuum chamber. From one mould he has several forms made which he paints from within with various iridescent colors. As a result of the semi- transparency and the reflection on the outside of the object, a richly shaded color effect is achieved which can only be accomplished with this technique and in this material. Originally, the reliefs were moulded in monochromatic plexiglass. Later, Kauffman discovered that by spraying the swelling on the inside, a condensation is formed at that spot: this produces a certain ambiguity again as regards the interplay of color and form. The effect is still heightened, when various mutually blending colors are used. John McCracken makes monochromatic sculptural objects, mostly composed of composite wood or plywood finished with a layer of fiberglass and colored polyester resin. His minimal art-like sculptures often consist of several parts that are either detached or placed on top or next to each other. There is a close interrelation between proportions and choice of color. The form is sprayed with 20 to 30 layers of paint, then sanded and polished. Not transparent in itself, the surface lends transparency to the shiny surface. The quality of the surface luster affects the intensity of the color which dominates the sculptural conversely. aspect . . . color becomes volume and The Pop-image on the West Coast developed relatively independently of that on the East Coast. Also, within the West Coast area the work of Bengston, Ruscha and Thiebaud is widely different in character. Billy Al Bengston probably was the first and most influential of them. Following his ceramic period as referred to above, he turned to painting. It has been of paramount importance for the West Coast that, already at an early stage, Bengston not only saw but understood the work of Jasper Johns: from it he drew the conclusions that have greatly influenced the development on the West Coast. Aside from the work of

53 assemblage artists, it was through Bengston, a motorcycle racer of stature, that art developed in direct response to the social, cultural and political climate. Also in terms of form, he exerted great influence. In defiance of the current ideas infused by Abstract Expressionism, Bengston advocated toward the end of the fifties a radical symmetrism.

Turning against all that is approximate and improvised, he upheld perfection of method and technique. His experiments resulted in a combination of various techniques, e.g. a clearly articulated brush stroke alongside a smooth surface technique.

Fascinated by the light reflexes on the paintwork of his motorcycles, he was probably the first to handle the spray-gun as an artist. Bengston's work can be easily identified by the recurrence of a number of stereotyped emblematic forms such as crossform, heartform, iris, chevron, which as a rule are grouped in a small central section of the painting.

Wayne Thiebaud is not so much concerned with the social environment but rather with the identity of painting method and subject (with him often foods such as pastries, cream puffs, ice creams, et cetera). As stated above, in his method of painting and the application of paint, the influence of Clyfford Still, though greatly transformed, is still traceable. In his composition, the serial element often plays an essential part. We must, however, not overrate the Pop-image aspect of his work: Thiebaud professes to be a realist, although he is aware that realism rarely, if at all, concerns itself with the choice of these kinds of objects, let alone in close-up form. Thiebaud had a telling influence on painters like Mel Ramos.

Edward Ruscha came to the Art School as an ad man but, disappointed in commercial art, took up painting. His activities are twofold: 1. paintings, prints, et cetera, 2. books which he designs, publishes and distributes himself. He keeps these two activities strictly apart. In his paintings, Ruscha applies the technique of commercial advertising. Words like 'Space,' 'Smash,' 'Annie' he paints as is customary for advertisements: flat and schematic; they are for him only variable elements (he sometimes makes the words in his paintings drip like honey). In his books, Ruscha proves to be an extremely alert observer who succeeds in giving his photographically registered impressions a cool, yet deadly accurate typographic form. His books belong to the most penetratingly graphic visual information of the West Coast (Los Angeles) one can wish for.

It is hard, at this point, to draw the balance sheet of West Coast art.

For one thing, it appears fundamentally different from art on the East Coast. The idea and its conception, light and its reflection are the main

54 282 Sam Francis Blue Balls I 1960 concerns of many of the West Coast artists. In this field, they have developed highly perfected techniques. In many instances, these qualities lend to the work an almost ephemeral character. The illusion against which the object-cultus of the East Coast stormed, returns here.

But not in the old form nor with the same objectives as before. We are often confronted with an optical illusion in which the concrete presence of the work seems to dissolve. But this illusion is only created for the purpose of making the spectator inescapably aware that the art process gravitates in essence around his individual experience (in connection with something, say a work of art). With some artists, this view is stretched to the point where they are more concerned with the physiological than with the intellectually understood qualities of vision. Whereas the East Coast saw the concreteness of art in the process of making a work of art which has to be stripped of all illusionary elements, the West Coast seeks the concreteness of physiological vision to which the optical illusion may be instrumental. The technical perfection of the execution and the ephemeral aspect of many works sometimes induces us to suspect the artist of aestheticism. This would, however, be a misconception, for the artist, far from seeking beauty for the sake of beauty, resorts to these qualities as a necessary means to increase the intensity of the (visual) experience. In

spite of these apparent differences, it is, as stated above, as yet difficult to draw the balance sheet of art on the West Coast.

Source: Jan Leering, catalog essay for Kompas 4, West Coast USA, Van Abbemuseum Eindhoven, Netherlands, 1969. Translated from Dutch.

Institutions

The Official Museum Directory, 1975 edition, lists forty-nine museums and art centers in California. Of these, thirty-six deal with modern art in a major or minor manner. The list does not include many of the small but enterprising public galleries associated with California's vast system of universities, state universities and community colleges.

The oldest public art institution in the state is the E. B. Crocker Art Gallery in Sacramento which was established by Judge Crocker in 1873 and turned over to the city as a municipal gallery in 1885. The Stanford University Museum and Art Gallery was foimded by Leland Stanford in 1891. The Mark Hopkins mansion was turned over to the San Francisco Art Association for use as a school and art gallery in 1893. The Huntington Library, Art Gallery and Botanical Gardens, founded by Henry Huntington in San Marino, was incorporated in 1919. These bits of information have little to do with the evolution of modern art in the state but they do point up the fact that the four great "barons" of California were all dedicated patrons of the visual arts.

Of the many institutions which have dealt with modern art, three have long records of interest. San Francisco Museum of Modem Art The San Francisco Museum of Art was incorporated in 1921 but did not begin to function in the fullest sense until January 18, 1935, when its present housing in the Civic Center was completed. The museum operated under that name until late 1975 when it became the San Francisco Museum of Modern Art. The name change was long overdue since the purpose of the museum from its inception was to present modern art to the community. It is the oldest such museum in the. West and the third oldest museum of modern art in the country being antedated by only The Phillips Collection in Washington, D.C. and The Museum of Modern Art, New York.

Under the professional directorship of Dr. Grace L. McCann Morley, the first decade of activity kept pace with the East by presenting retrospective exhibitions of Paul Gauguin, Paul Cezanne, Wassily Kandinsky, Georges Braque and Paul Klee. Also shown were "Picasso —Forty Years of His Art," "Abstract and Surrealist Art in the United States," and exhibitions of Fernand Leger and Joan Miro. Dr. Morley also gave the first West Coast showing of Jackson Pollock and the first museum exhibition of Clyfford Still. The second decade included the first museum presentation of Arshile Gorky. Jacques Lipchitz and Henri Matisse exhibitions were imported from The Museum of Modern Art. Much to Dr. Morley's credit was the

58 introduction of California artists at the Sao Paulo Bienal in 1955 and her continuous showings of artists from the Bay Area in full scale and juried exhibitions.

In 1960, Dr. Morley was succeeded by George D. Culler who saw his role as developing still further the emphasis upon art from the region which he promoted through theme and group exhibitions and the continuation of the San Francisco Art Association Annual, then in its eightieth year. He also continued to borrow major exhibitions from The Museum of Modern Art including the important "The Art of Assemblage" exhibition of 1962 which featured a number of West Coast artists such as Edward Kienholz and Bruce Conner.

During this period the Society for the Encouragement of Contemporary Art was developed to give support to local artists and to aid the museum's program.

Following Culler's resignation in June 1965, Clifford Peterson served as Acting Director until September 1966 when Gerald Nordland was appointed to the post. Nordland wished to broaden the program and while he still gave support to regional artists through exhibitions of Richard Diebenkorn, Peter Voulkos and John Altoon, he also developed traveling exhibitions of the work of Leon Polk Smith and Paul Jenkins. He continued the unbroken relationship with The Museum of Modern Art by showing "The machine as seen at the end of the mechanical age." Nordland can be credited with greatly enhancing the space and appearance of the museum by gaining an additional floor of the building for offices and education purposes thus freeing the entire fourth level for presentation of the permanent collection and changing exhibitions. He resigned his position in 1973 to become Director of the UCLA Art Galleries and was replaced in January 1974, by Henry T. Hopkins.

After reviewing the program for the past ten years Hopkins felt that it was time to look again at some of the early modern masters. Exhibitions of "Arthur Dove," guest-curated by Barbara Haskell and "Picasso Braque Leger" were developed. "The Wild Beasts: Fauvism and Its Affinities" and the small but choice "The Paintings of Gerald Murphy" were borrowed from The Museum of Modern Art. In a more contemporary vein, exhibitions of Max Bill, Arshile Gorky, Louise Nevelson and "Poets of the Cities," an examination of artists of the "Beat" generation, were imported from other museums. Curator Suzanne Foley originated "Works in Spaces" which featured large- scale work by Sam Gilliam, Dorothea Rockburne, Robert Irwin, Ronald Bladen and Stephen Antonakos; a selection from the collection of Richard Brown Baker of New York and the Monsen Collection of

59 ceramic sculpture. She also developed a new video program for the museum. Curator John Humphrey, in addition to enhancing an already historically important photography collection and program, has originated traveling exhibitions of Roy De Forest and "Women of Photography." Though the title was controversial, Rolando Castellon's "A Third World Painting and Sculpture Exhibition" was the highlight of a series of exhibitions under his direction designed to reach for art world integration within the Bay Area.

In late 1975 Clyfford Still once again entered the West Coast art picture by presenting twenty-eight of his monumental paintings to the permanent collection of the museum.

At present community support is excellent. The Board of Trustees is embarking upon a major fund drive to strengthen the museum's financial position and with success one sees several years of healthy growth and program development ahead. Los Angeles County Museum of Art

Prior to 1965 , the Los Angeles County Museum of Art was one part of the Los Angeles County Museum of History, Science and Art and was located in Exposition Park. Early director of the Museum, William Valentiner, had a deep interest in contemporary art especially the German Expressionists, but the story of modem art at the museum was

more of curators than it was of directors. In 1952, Valentiner's assistant, curator James Byrnes, presented the "American Vanguard in Paris" exhibition which had been organized by Samuel Kootz in New York. This show became the first large-scale institutional showing of the new American abstract art in Los Angeles. A superior Josef Albers, and fine examples of Jackson Pollock and William Baziotes were purchased from the show which established a small but viable base for the future collecting of contemporary art.

In the 1950's Richard F. Brown was selected to be Chief Curator of the Art Division and would later become the first director of the new museum which would be built under his leadership. Early in his tenure Brown developed full-scale exhibitions of Renoir and Stanton Macdonald-Wright. He appointed James Elliott to be Curator of Modern Art and later Chief Curator of Art.

During the late 1950's and early 1960's not many exhibitions were originated but the percentage of modern exhibitions in what is a general museum began to increase. Grand exhibitions of Claude Monet, The Joseph Hirshhorn Sculpture Collection, Futurism, Philip Guston, Jean Dubuffet and the Ben Heller Collection were from The Museum of Modern Art and the Guggenheim Museum. The first American museum exhibition of Reuben Nakian was developed and Frederick

60 Wight guest-curated a complete Amedeo Modigliani retrospective. The grandiose "Artists of Los Angeles and Vicinity" juried annuals breathed their last gasp as the staff prepared to move the museum to its new site on Wilshire Boulevard. On April 1, 1965 the museum opened with Elliott's long-awaited Pierre Bonnard retrospective.

One of Elliott's major contributions was the development of the Contemporary Art Council which has played an important role in the museum ever since. The Council gives cash awards to developing artists in Los Angeles, supports exhibitions of modern art and adds important acquisitions of contemporary art to the museum's collection.

During the move to the new building Maurice Tuchman was named Curator of Modern Art and, with Elliott's departure to direct the Wadsworth Atheneum, Henry T. Hopkins, who had been on the staff since 1962, became Curator of Exhibitions and Publications. During the next few years Tuchman originated monumental exhibitions of "New York School: The First Generation: Paintings of the 1940s and 1950s," "American Sculpture of the Sixties," and "Chaim Soutine." He also presented important exhibitions of David Smith, Ron Kitaj, Peter Voulkos, John Mason, Robert Irwin and Kenneth Price, Billy Al Bengston and the wildly controversial showing of Edward Kienholz.

Hopkins planned a major exhibition of Morris Louis with guest curator Michael Fried, arranged for guest curator Jules Langsner to develop a Man Ray retrospective and planned with Henry Seldis his Rico Lebrun retrospective. Hopkins also brought in retrospectives of Alberto Giacometti, Jackson Pollock, Willem de Kooning and the "Dada, Surrealism and Their Heritage" exhibitions from the East Coast. He also planned the first Los Angeles Museum performance and dance pieces with Robert Rauschenberg, Deborah and Alex Hay, Steve Paxton

and Jill Johnston. After 1968 the Board of Trustees of the museum began to shift the emphasis to earlier periods of art history and since the completion of Maurice Tuchman's ambitious "Experiments in Art and Technology" and "Bruce Nauman," which was co-curated by Jane Livingston and Marcia Tucker, little of exceptional scope has been forthcoming in the modern art area. At present, because of the demise of the Pasadena Art Museum and the conservative policies at the Los Angeles County Museum of Art, Southern California artists feel disenfranchised. Fortunately, exhibition areas outside the museum such as The Los Angeles Institute of Contemporary Art and the new Arco Center for the Visual Arts have responded to try to fill the gap.

61 277 Ronald Davis #110 Frame 1969 Pasadena Art Museum The history of the Pasadena Art Museum, now the Norton Simon

Museum of Art, is perhaps the most interesting of all as it relates to the presentation of modern art in California. It is interesting because the museum emerged from very modest beginnings into a major showcase of modern activity, almost against its will, then faded away.

The museum came into being as the Pasadena Art Institute in the 1920's and was housed in a modest wooden structure in Carmelita Park. The park at the edge of the business district had been laid out by the great naturalist John Muir. The museum trustees hoped for expansion on this site but their plans were aborted by the Great Depression.

In 1942 a wonderful oriental structure which had been designed in the 1920's by Grace Nicholson, a dealer in oriental art and antiquities, was made available to the museum. The building had been given to the City of Pasadena upon her death. The Trustees were reluctant to move from the Carmelita Park site and it was only after a pact that the museum could retain its right to build there for twenty years that this move was made. In fact, this oriental building, presenting a series of galleries around a lovely, enclosed garden proved very serviceable as a museum. The first professional director was John Palmer Leeper followed by W. Joseph Fulton.

After World War II the museum opened an education department which provided a progressive approach to teaching art to children in Southern California. Many recent education projects in Los Angeles have staff who were developed in the Pasadena school.

In 1951 the event which would lead the museum to a modern stance occurred. The Galka Scheyer Collection of six hundred paintings, drawings and valuable documents of Wassily Kandinsky, Paul Klee, Lyonel Feininger and Alexi von Jawlensky, as well as a primary 1913 Picasso painted construction, were deeded to the museum. Suddenly, this modest institution held an internationally prominent collection.

During his tenure, Fulton circulated portions of the "Blue Four" collection and developed early exhibitions of the Abstract Expressionists in 1954 and later full exhibitions of Man Ray and David Alfaro Siqueiros.

Thomas Leavitt, Assistant Director at the Fogg Museum, was named Director in 1957. Leavitt was able to bring the museum to professional standards of administration and in 1962 he was finally able to hire a curator, Walter Hopps. Leavitt produced a number of important modern exhibitions and paid particular attention to artists of West Coast origin. He presented Richard Diebenkorn and Hassel Smith in

63 full exhibitions. His last major show was Robert Motherwell. During his tenure plans for a new museum moved forward but Leavitt, feeling them to be unrealizable, resigned in May 1962 to become the Director of the Santa Barbara Museum of Art. Walter Hopps was appointed Acting Director and then Director. He hired James Demetrion, who had guest-curated a fine jawlensky exhibition for the museum, as curator. Few funds were available for acquisitions so the emphasis was placed on changing shows, originated and borrowed. Several of Hopps' exhibitions, including Kurt Schwitters (1962), Marcel Duchamp (1963), and "The New Painting of Common Objects," the first "Pop" art show in an American museum, brought the museum to national attention. Demetrion developed exhibitions of Lyonel Feininger, Frank Stella and completed Hopps' work on a beautiful Joseph Cornell show. Both of them also developed California art projects.

Also during this period Mrs. Eudorah Moore set up a design section at the museum which existed as a separate corporation. "California Design," now in its tenth year, has become an important contribution in its own right.

Hopps resigned in 1967, primarily because of problems related to the new building. Demetrion became Director and held the position for a short two years. One of Demetrion's stipulations for acceptance of the position was that he would have a minimum of $25,000 per annum for acquisitions. With this he was able to buy a Joseph Cornell, an Ellsworth Kelly, a Claes Oldenburg sculpture as well as works by Robert Irwin and Larry Bell which were the first major collection additions in several years.

Through all of this the new, controversial Pasadena Art Museum was being completed at the Carmelita Park site. Demetrion appointed John Coplans as his curator. Coplans had already produced a successful Roy Lichtenstein exhibition for the museum in 1967. Then, Demetrion

resigned before the opening of the new museum. Thomas G. Terbell, Jr., a young banker and collector, took over the directorship.

The new museum opened in 1969 with a massive exhibition, "Painting in New York, 1944-1969," organized by guest curator Alan Solomon, and a smaller exhibition of West Coast artists. The opening was followed with exhibitions of the Bauhaus, Donald Judd and Andy Warhol. Soon after, Coplans, and then Tom Terbell, resigned their positions and William Agee was to see the Pasadena Museum of Art, fleetingly named the Pasadena Museum of Modern Art, through what were to be its final days.

Even before the new building opened, critical financial problems had arisen and afterward the increased cost of operation, past deficits and 64 unpaid building costs made it necessary to close the museum. On May 13, 1974, Norton Simon took possession of the museum and the existing collections for the presentation of the remarkable collections which he had formed. An understanding was reached that for five years 25% of the museum space would remain available for "exhibiting modern and contemporary art from the permanent Pasadena Museum collection, the Galka Scheyer Collection and other modern and contemporary art loaned to the museum for exhibitions."

Thus, an exciting phase of the presentation of modern art in California came to an end. There can be little question that the Norton Simon collections are tremendously important to the West Coast and one prays that they will remain here, but nonetheless one regrets the circumstances that removed the Pasadena Art Museum from the pages of future history.

Other California museums and public galleries have also made substantial contributions to modern art appreciation.

The Oakland Museum, a museum which combines the history, science and art of the state of California, was founded in its handsome new building in 1969. However, prior to that time, as the Oakland Art Gallery, the institution had a long history of service. The gallery, developed from interest aroused among Bay Area artists by the 1915

Panama- Pacific International Exposition, opened on February 1, 1916. Robert C. Harshe, former Assistant Director of the Fine Arts Department of the Exposition, became the first Director and Dr. William S. Porter, President of the Oakland Art Association, became the primary patron. Following brief directorial stints by Worth Ryder and Finn Froelich, William H. Clapp was appointed Director in 1918. With the assistance of Florence Lehre, Clapp established a progressive exhibition program. The first West Coast showing of Galka Scheyer's collection of the "Blue Four" was held there in 1926. It was shown again in 1931. The primary emphasis was placed upon juried annuals which used a three-juror system (radical, intermediate, conservative) that allowed for a broad range of representation from conservative to the most radically modern.

After Clapp's retirement in 1951 and the temporary leadership of Lillian Canfield and Alice Mulford, Paul Mills became curator in 1953. He formalized the regional trend of the gallery's collection and in 1954 established the Archives of California Art to provide a supporting research program. He also changed the name to the Oakland Art Museum. Mills produced exhibitions such as "Contemporary Bay Area Figurative Painting" in 1957 which gave wide credibility to David " Park, Elmer Bischoff, Richard Diebenkorn and others. "Pop Art USA

65 281 Frederick Eversley VnlUU-d 1971 of 1963 was an early national survey of that movement and "New Perspectives in Black American Art," 1968, showed early concern for democratization.

After Mills went to the Santa Barbara Museum of Art in 1970, George W. Neubert was named Curator of Art. Along with Terry St. John and the rest of his staff, he has given clarity to the pioneering efforts of Arthur and Lucia Mathews and Xavier Martinez, as well as producing well-documented exhibitions of contemporary California art including a giant showing of monumental sculpture for the urban environment, and retrospectives of Ronald Davis and Manuel Neri. The California Palace of the Legion of Honor and the M. H. de Young Memorial Museum of San Francisco are now combined under one administration and are known as The Fine Arts Museums of San Francisco. In recent years, because of a cooperative relationship with the San Francisco Museum of Modern Art, these museums have minimized their modern art programs with the important exception of small exhibitions of Bay Area artists such as Bruce Conner, Eleanor Dickinson, William Allan and Robert Cremean.

During and immediately following the World War II period, Jermayne MacAgy, Assistant Director of the Legion of Honor, mounted a number of modern exhibitions including "Contemporary American Painting" (1945], Charles Howard (1946), Clyfford Still (1947), and Morris Graves (1948). The de Young Museum, beginning with the era of curator Ninfa Valvo, did showings of Ralston Crawford, Cameron Booth, Kenzo Okada and an extended series of exhibitions of local artists including David Park, )ohn Baxter, Frank Lobdell, Elmer Bischoff, Arthur Holman, David Simpson, Faralla, Keith Boyle, Howard Hack and Bruce Beasley.

The UCLA Art Galleries under Frederick S. Wight produced exhibitions of Arthur Dove, Hans Hofmann, Henri Matisse, Gerhard Marcks, Bradley Walker Tomlin, Hyman Bloom and Francis Bacon among others. Wight's tenure also produced a number of special California-related exhibitions including "The Artist's Environment: West Coast," "California Painters Thirty-five and Under" and "Fifty Paintings by Thirty-seven Painters of the Los Angeles Area." Since Gerald Nordland's directorship, beginning in 1974, exhibitions of Gaston Lachaise and "Fourteen Abstract Painters" have been formed.

The University Art Museum at the University of California, Berkeley, under Peter Selz, produced exhibitions of Arnaldo Pomodoro, Richard Lindner, Hundertwasser, "Directions in Kinetic Sculpture," William T. Wiley, Harold Paris and the widely known "Funk" exhibition which

67 brought a number of California artists to prominence. Selz was supported in many of these projects by curators Tom L. Freudenheim and Brenda Richardson. After Selz' resignation in 1974, exhibitions of Joan Brown and Joseph Raffael, among others, were developed by Richardson.

In 1976, James Elliott was offered the opportunity to return to California as Director of the museum, a challenge which he accepted. The Santa Barbara Museum of Art; Mills College in Oakland; the Los Angeles Municipal Art Gallery; Pomona College; the University of Southern California Art Galleries, Los Angeles; Pepperdine College in Los Angeles; California State University, Long Beach; California State University, Fullerton; Immaculate Heart College, Los Angeles; California State University, Los Angeles; University of California, Irvine; University of California, San Diego; University of California, Santa Barbara; Otis Art Institute Gallery, Los Angeles; San Jose State University Gallery and the de Saisset Art Gallery and Museum in Santa Clara have all made significant contributions.

The La JoUa Museum of Art, now the La Jolla Museum of Contemporary Art, under the directorship of Donald Brewer and now Sebastian Adler, is doing an excellent job of presenting recent and sometimes difficult art in the San Diego area.

The Long Beach Museum of Art, now directed by Jan Adlmann, is in a

period of transition as it prepares yet another new museum structure. Of particular immediate interest in this program is the development of a wide ranging video art program formed by curator David Ross.

And, the Newport Harbor Art Museum should receive special mention

since it has, under the most adverse conditions of support, been able to produce a remarkable number of fine exhibitions, the majority of which have emphasized artists from the area. Often they have been the first to recognize and provide showings and documentation for emerging artists.

This section cannot do full justice to the efforts made by institutions, large and small, in support of modern art in general and modern art of

California in particular. It is also immediately apparent that these paragraphs are written from the viewpoint of the professional curator and directors in the field, which is not meant to remove proper recognition from the fact that no museum or public gallery can exist without continued work and support of its boards of trustees, volunteer groups and the membership at large.

68 Schools

Schools have played an important role in the evolution of the style and character of the art of California. Perhaps more than museums and galleries the schools have been at the center of art life. They have served as philosophical as well as art training grounds. They have served as places of refuge and they have provided employment opportunities for many of the artists who have needed or wanted to teach.

No better example of this exists than the San Francisco Art Institute which through its long and turbulent history has provided a sense of place. The San Francisco Art Association was founded in 1871, which in turn spawned the California School of Design in 1874. It was the first art school west of the Mississippi and the fourth oldest in the nation. After twenty-two years of existence in modest quarters the Association gained possession of the Mark Hopkins mansion and the organization combined under the umbrella title of the Mark Hopkins Institute of Art.

In 1906 the disastrous fire which followed the great earthquake destroyed the mansion and the largest part of its contents. In less than a year's time the spirited supporters of art in the city had rebuilt on the same site and boasted more than three thousand members. Because the mansion no longer remained and because the group was looking for wider support the name was changed once again to become the San Francisco Institute of Art.

After the Panama-Pacific Exposition in 1915 the Institute maintained a museum in the Palace of Fine Arts, a temporary structure built for the Exposition. In 1916 the group instituted an exhibition which presented over twelve hundred artists from many nations. A significant number of these were living and working in California. This site was maintained until 1926. A new school building, modeled along the lines of a California mission, was opened on Russian Hill in 1926. This building, with recent additions, has served as the school until the present time. Also in 1926 the school became known as the California School of Fine Arts which was to hold until February 15, 1961, when the present name of the San Francisco Art Institute was selected.

In 1935 this same association gave birth to the San Francisco Museum of Art. Separate boards of trustees were established at that time but the long heritage of kinship is still recognized.

From its inception until World War II the School of the Institute was structured along academic lines. This was to change in 1945 when Douglas MacAgy was appointed Director. MacAgy had been brought to San Francisco in 1941 by Grace McCann Morley to be curator at the San Francisco Museum of Art. He was an enthusiast for contemporary art

69 53 Helen Lundnberg Double Porfra/t of the Artist in Time 1935 and enjoyed direct contact with artists so when the school position was offered, he accepted. His plan was to utilize the teaching talents of some of the most advanced artists of the region such as David Park, Hassel Smith, Richard Diebenkorn and Clay Spohn and to bring in some additional thinking artists from outside the area. He employed Clyfford Still who had been working in the Bay Area and who had just had his first major gallery exhibition in New York at Peggy Guggenheim's Art of this Century gallery. He also employed Mark Rothko and Ad Reinhardt to teach summer sessions. The students during this exciting five year period from 1945 to 1950 were mostly returning G.I.'s who took this work very seriously and who were ready for the new revolutionary art attitudes expressed by Still and the others.

The school became a hotbed of advanced, large-scale and heavily pigmented abstraction which in time and appearance rivaled the "New York School." That era is now referred to as the "Golden Age" of Bay Area art activity and with some real justification for the methods of teaching and the independent attitudes instilled by the faculty at that time are carried over from generation to generation. Since that time the school has maintained its reputation as a tough, artist-oriented place and many of the best artists of the region have continued to serve on the faculty.

The California School of Arts and Crafts was established in Berkeley in 1907 by Dr. Frederick H. Meyer with a handful of his art students from the earthquake-ravaged Mark Hopkins Institute in San Francisco. The school's name was changed to the California College of Arts and Crafts

in 1936, a decade after it moved to the present site in the former Treadwell estate in Oakland. Even though the school has expanded dramatically over the years the architectural character of the Treadwell Mansion has been retained and

in 1975 it was named an Oakland historical landmark.

Dr. Meyer's approach to education was derived from the concepts of the British writer /craftsman William Morris and he stressed a unified approach to the arts and crafts. Interestingly, Meyer disagreed with the Morris edict that the machine was a destructive force in society and in building his program around the arts and crafts he accepted machine technology. Thus the school can be looked upon as a prototype of the German Bauhaus.

The school was distinguished in its first fifteen years of existence when

it was recognized by the California State Board of Education with its

first accreditation. It remains the only private art college in the state

71 which is authorized to recommend candidates for the California Secondary Teaching Credential and the Standard Elementary Credential.

The Art Department of the University of California in Berkeley was founded in 1902. Mills College in Oakland, one of California's oldest colleges, was established in 1852 to train young women in life preparation and the arts.

The development of art schools in Southern California was not far behind with the establishment of several schools before the turn of the century. Among the earliest of these was the Stickney Memorial Art School in Pasadena which was founded in 1896 by Susan Horner Stickney to honor her sister Anna Stickney Whitney. Not atypically for the Los Angeles area, the school took the configuration of a replica of Anne Hathaway's cottage in Stratford-on-Avon. It was dedicated to the course of art in Southern California. After serving its purpose the school was sold in 1934 to raise funds for the Pasadena Art Institute which was later to become the Pasadena Art Museum. Another Southern California experiment which was to have more effect on the development of modern attitudes was the Art Students League of Los Angeles founded in 1906 by Hanson Duvall Puthuff. Rex Slinkard, one of the earliest modernist thinkers, began to teach there in 1910 with students such as Nick Brigante. In 1918, after his return from Paris and his founding of the school of Synchromism, Stanton Macdonald-Wright was to become the school's leader. The members clustered around this school organized as the "Group of Independents" who in their first exhibition in 1923 offered a strong manifesto in support of modernist ideas. Macdonald-Wright, Boris Deutsch, Peter Krasnow, Nick Brigante, Ben Berlin and Max Reno were among the included artists.

The two early schools which had the greatest influence and which exist to the present time are Otis Art Institute and Chouinard Art Institute.

Otis Art Institute was established in 1918 when, shortly before his death, General Harrison Gray Otis, founder of the Los Angeles Times newspaper turned over his residence, "The Bivouac," to the county of Los Angeles for the advancement of art in the West. The school became affiliated through county supervision with the new Los Angeles Museum of History, Science and Art in Exposition Park. The property adjacent to "The Bivouac," located on Wilshire Boulevard, was acquired in 1939 and in 1954 major rebuilding and expansion was undertaken. The school was reorganized to be able to offer a Master of Fine Arts degree. Among other significant contributions the school's

72 strong ceramics department gave credibility to the ceramic sculpture breakthrough of Peter Voulkos and John Mason. Otis is still administered by the county with strong internal support groups and has several hundred full-time students.

Chouinard Art Institute was founded by Nelbert Chouinard, an East Coast-trained art educator who came to Southern California in 1909. That same year she began teaching design and crafts at the Throop Polytechnic histitute in Pasadena.

It is an interesting sidelight that the Throop Polytechnic Institute was established to develop the total person. Both male and female students took classes in science, natural history, art and a special series of classes in the manual arts of wood and metal working. By 1920 the teaching of science became emphasized and the Institute went on to become the California Institute of Technology.

Nelbert Chouinard opened the art institute which bore her name in 1921 at a location close to Otis Art Institute, for the school was founded to take care of the overflow from that popular school. In the post-World

War II period the two strong schools became rivals and as Otis became more structured, Chouinard became more open and responsive to more aggressive modes of representation. Instructors such as Richards Ruben, John Altoon and Robert Irwin turned out students such as Larry Bell, Edward Ruscha, Joe Goode and Stephan von Huene, among others.

In 1961 the Institute joined forces with the Los Angeles Conservatory of Music and became known as the California Institute of the Arts. Massive funding from a bequest by Walt Disney allowed them to build an extensive new campus in Valencia, some thirty miles north of Los Angeles. The premise of this new school was to integrate all of the arts — music, dance, theater, poetry and the visual arts along the Utopian lines of the earlier German Bauhaus. The recent history has been turbulent and it is yet too early to document the results. During the mid-1940's another short-lived but influential school developed in Los Angeles as the Jepson Art Institute. The school evolved to take advantage of the many returning G.I.'s who were looking for an art education outside of the university and formal art school structure. Rico Lebrun, then the dominant force in Southern California art, was the primary instructor with the support of long-time visitors such as Eugene Berman. Artists from that school like William Brice and Howard Warshaw have carried this tradition forward in their teaching and their art.

The Art Center School in Los Angeles is primarily concerned with

teaching design and commercial art but it has for decades served as a platform for the ideas and teachings of Lorser Feitelson.

73 In the 1950's the California system of universities and colleges exploded into a massive network which presently includes nine fully-recognized universities, nineteen state universities and one hundred and five community colleges. Almost all of these schools have art departments and several have good-to-excellent departments of art history which are beginning to produce scholars and teachers who have a special affinity for the art of California.

The University of California with campuses in Berkeley, Los Angeles, Santa Barbara, Davis, Irvine, San Diego and Santa Cruz has unusually strong art programs as do the state universities in San Francisco, San Fernando Valley, Long Beach and San Jose. Even during the recent recession enrollment in the fine arts departments of these schools held steady while many other majors declined. Thus California, a state which has had from the inception an unusually high number of art-involved residents, continues to expand. In the mid-nineteenth century many artists were drawn here because of the unspoiled natural beauty of the sea, the coastal hills, the valleys and the great forests of tall trees —more recently they have come to participate in the hospitable social climate. For many, California still remains an open dream.

74 299 Ralph Goings Paul's Corner 1970 Collecting

The collecting of modern art in California by private patrons has had an erratic history, one marked by periods of great activity followed by lengthy pauses.

In Northern California early interest in collecting was spurred by Sarah and Michael Stein who returned to the Bay Area from Europe shortly after the 1906 earthquake. They brought with them not only the romance of Paris and news of the illustrious Gertrude, but also the first paintings of Matisse to come to the United States. Their influence is felt to the present day through the extended patronage and collections of Mr. and Mrs. WaUer A. Haas, Sr., Mr. and Mrs. W. W. Crocker and Harriet Lane Levy. Fortunately, many of the fine works from these collections have found their way to the San Francisco museums along with large parts of the collections of Albert M. Bender, William L. Gerstle, Mr. and Mrs. Philip Lilienthal, Charlotte Mack, Jeanne Reynal and Mrs. Henry Potter Russell.

Mrs. Alexander Albert, Mr. and Mrs. Prentis Cobb Hale, Mrs. Edgar Sinton and Mr. and Mrs. Hans Popper developed good collections as did Mr. and Mrs. Grover Magnin, who specialized in the French Impressionists, and Mr. and Mrs. Jaquelin Hume who prefer the German Expressionists. The collection of Madeleine Haas Russell is the most comprehensive of those dealing with the twentieth century European masters. In the 1940's Gordon Onslow Ford, an artist and early enthusiast of Surrealism, brought his collection of Yves Tanguy, Giorgio de Chirico, Paul Delvaux and others to the Bay Area from Britain. Collecting emphasis was placed almost completely upon modern European art until the 1950's when Mr. and Mrs. Joseph Bransten, Mr. and Mrs. Wellington Henderson, Mrs. Sally Lilienthal and Mr. Mason B. Wells began to take interest in American movements and collected works by Franz Kline, Hans Hofmann, Mark Rothko and Morris Louis. They also began to collect representative examples of the art produced in California as did John and Rena Bransten, Mary Keesling, Mr. and

Mrs. A. Hunter Land, II, Mr. and Mrs. Moses Lasky, Mr. and Mrs. Robert Lauter, Byron Meyer, Mr. and Mrs. James Newman, William S. Picher and Walter Goodman and Rene di Rosa. Just now other collections are beginning to form.

Dr. Samuel West and Nell Sinton both developed good collections of contemporary Bay Area art.

Mr. and Mrs. C. David Robinson collect in the contemporary American field, including California, and hold examples of Ellsworth Kelly, Morris Louis, John McLaughlin, Larry Bell, Robert Hudson and William Wiley, among others. Almost all Northern California collectors maintain close ties to the local art scene but the Robinsons 76 are exemplary in their hospitality to developing artists. Unquestionably, the most impressive and comprehensive collection of modern art in Northern California has been developed over the past ten years by Mr. and Mrs. Harry W. Anderson. They began by collecting prime examples of early American and British furniture and then were lured into collecting lesser examples of French Impressionism which disappointed them. So, after gaining significant expertise, they launched into the art of the twentieth century. Painting and sculpture are their specialty areas though drawings and prints also consume their interest. Important works by Picasso, Giacometti, the early American modernists, the Abstract Expressionists, Robert Rauschenberg, Jasper Johns and many of the American artists of the 1960's, as well as a large collection of California contemporary art, grace their home and the offices and working spaces of Saga Foods, Mr. Anderson's company in Menlo Park, California.

The pattern of collecting in Southern California is not dissimilar except that there has been more of it. However, while most Northern California collections are eventually given to the museums in the area, several select Southern California collections have been sold off or disappeared to the East Coast.

The earliest example of such a loss was the collection of Mr. and Mrs. Walter Arensberg who moved to the Los Angeles area from the East in the 1930's. The Arensbergs developed an extraordinary collection of twentieth century art which included several exceptional works each by the early Cubists, Constantin Brancusi, the Surrealists and Marcel Duchamp. Their great desire to have the collection housed in a Los Angeles museum was thwarted when both the Los Angeles County Museum and UCLA refused to meet their terms of gift. The collection is presently housed in the Philadelphia Museum of Art where it has already served to educate several generations toward an understanding of modern art.

As early as 1925, Galka Scheyer began to represent Wassily Kandinsky, Paul Klee, Lyonel Feininger and Alexi von Jawlensky on the West Coast. She entitled the group the "Blue Four" in homage to their historical association to the "Blue Rider" movement in Germany. Essentially a dealer, Scheyer pursued her interests with great energy and arranged showings up and down the California coast. There was no market and upon her death the extensive holdings were placed in the Pasadena Art Museum, now the Norton Simon Museum of Art.

The Ruth McC. Maitland collection, which reflected the taste of her friend Walter Arensberg through excellent examples of Picasso, Kandinsky, Dali and Miro, was, at the time of her death, sold off by the

77 heirs. The collection of Mr. and Mrs. George Garde da Silva which emphasized the French Impressionists and the collection of Preston Harrison which had good American work of the 1930's suffered better fates and were turned over intact to the Los Angeles Gounty Museum of Art in the 1940's. Film pioneer Josef von Sternberg developed a fine comprehensive art collection some of which also found its way into the museum's collection.

Mr. and Mrs. William Goetz collected importantly in the field of the French Impressionists and Post-Impressionists as did film actor Edward G. Robinson. Unfortunately, the best of the Robinson collection was dispersed in a divorce settlement. The movie colony as such has not provided as many major collections as one might think but Robinson, Vincent Price, who has a sensitive eye for drawings, and Sterling Holloway, who was among the earliest collectors of Galifornia art, became well- known proselytizers for art understanding through speaking engagements and television appearances. The Reverend James McLand built a nice collection of Marc Ghagall and Mr. and Mrs. Donald Winston sensitively collected lovely works including those of Oskar Kokoshka, Odilon Redon and Joan Miro.

During the post-World War II era a number of important modern collections began to develop. Mr. and Mrs. Sidney F. Brody collected exceptional examples of Pablo Picasso, Pierre Bonnard, Amedeo Modigliani and Henri Matisse. Matisse's last commission was for a large ceramic wall in the patio of the Brody home. The paper model for this work is at UCLA. Mr. and Mrs. B. Gerald Gantor began their monumental collection of Rodin sculpture. A large part of the collection which was developed through their foundation is now placed at Stanford University and the Los Angeles Gounty Museum of Art.

Mr. and Mrs. Gifford Phillips, Mr. and Mrs. Frederick R. Weisman, Mr. and Mrs. Taft Schreiber, Mr. and Mrs. Milton Sperling, Mr. and Mrs. Stanley Freeman, Mr. and Mrs. Melvin Hirsch and Mr. and Mrs. David E. Bright all began to be responsive to American abstract art even while retaining an interest in European modernism.

Upon the death of David Bright in 1965 his collection was divided between the Los Angeles Gounty Museum of Art, which received the paintings, and UGLA, which received the sculpture. The paintings

greatly enhanced the museum 's collection and the sculpture provided the impetus for the development of an excellent, evolving sculpture garden at UGLA which has recently been named to honor retired Chancellor Franklin Murphy.

It was also during this period that Norton Simon began to build his fabled collection which became increasingly historical in its emphasis 78 308 Tom Akawie Pyramid Sunset 1974 but which nonetheless contains brilliant examples of early twentieth century material.

In the early 1960's a number of younger and more venturesome collectors were reaching toward Robert Rauschenberg, Jasper Johns, Frank Stella, Roy Lichtenstein and Andy Warhol as well as the more advanced Californians. Mr. and Mrs. Donald Factor and Mr. and Mrs. Dennis Hopper gathered balanced collections which are now dispersed.

The leading collectors of Southern California contemporary art are Betty Asher, Sterling Holloway, Mr. and Mrs. Monte Factor, Mr. and Mrs. Stanley Grinstein, Mr. and Mrs. Michael Blankfort, Laura Lee Stearns and Diana Zlotnick. Bart Lytton built a well-rounded collection of Southern California artists and opened a public gallery in his Savings and Loan Headquarters.

The premier Southern California collection of American art of the 1960's was developed by Mr. and Mrs. Robert Rowan and includes multiple examples of Morris Louis, Kenneth Noland, Jules Olitski, Ronald Davis and William Wiley, among others. Mr. and Mrs. Bert Kleiner developed an excellent collection from the same decade which included many examples of California art which were given to the Los Angeles County Museum of Art.

In Santa Barbara the influence of Donald and Esther Bear upon collectors and art appreciators was profound. Wright Ludington has been the most thoughtful collector of everything from classical to surrealist art and many of his objects have found their way into the collection of the Santa Barbara Museum of Art.

The period from 1950 to 1968 has marked the zenith of Los Angeles collecting so far. Since that time the combination of education and enthusiasm has been lacking to support collector interest. Bay Area collectors seem to be developing a strong interest in support of the

artists of the West Coast but it is still too early to say how this will develop.

Quite apart from the momentary lull in activity, it can be stated without qualification that the growth of art collecting in California over the past thirty years has been nothing short of dramatic. This is even more true

in pre-twentieth century collecting. The J. Paul Getty Museum in Malibu, with its magnificent new inheritance which is estimated to be four million dollars annually, will continue to develop its collection of Greek and Roman classical art. The public presentation of the Norton Simon collection in his own museum provides impetus for scholarship in many areas. This combined with the general collection growth of the art museums throughout the state establishes a solid base for study and developed appreciation for the visual arts. 80 In the listing of dimensions, height precedes width precedes depth. Unitalicized, parenthetical entries in the checklist are descriptive information only. 81 1 Modem Dawn in California: The Bay Area

Equally important to (Arthur F.] Mathews' style is the California landscape. The California landscape is truly distinctive in its contours, coloring, foliage and atmosphere. Arthur Mathews was frequently asked why an artist of his remarkable ability should prefer San Francisco to the art centers of the Eastern seaboard or those of Europe.

"Why do I stay in California?" he asked, "California is an undiscovered

country for the painter. It hasn't been touched. The forms and colors of our countryside haven't begun to yield their secrets ..."

The tawny gold of California's summer hillsides and a glimpse of the sea beyond is characteristic of the Mathews style. Occasional views of urban scenery in his paintings consistently reflect the typical local architecture in both color and style.

The mood of Mathews' paintings, whether portrait, figurative or landscape, is typically quiet and serene. The mood of revery in his portrait studies recalls that of Whistler.

Further regional aspects of this so-called style derive from the Mathews' followers. Although there was never a movement or a school of art per se that could be identified with Mathews in the way certain other art movements were created, evidence of his widespread influence among California artists is evident.

Certain aspects of the California Decorative style can be seen in the works of several noted California artists. Gottardo Piazzoni, Xavier Martinez, Francis McComas, Carl Armin Hansen and of course Lucia Mathews are but a few artists whose works bear testimony to the master's influence.

Source: Harvey L. Jones, catalog essay for Mathews: Masterpieces of the California Decorative Style, The Oakland Museum, California, 1972.

A group of young artists, fresh with ideas and techniques, founded the California Society of Artists in 1902. This society was formed in reaction to conservative academic attitudes which restricted freer expressions and opportunities for the younger artists. Listed as founding members are Gottardo Piazzoni, Xavier T. Martinez, Blendon R. Campbell, Arthur Putnam, L. Maynard Dixon, Charles P. Nelson, W.H. Bull and Matteo Sandona.

A manifesto published in May, 1902, on the occasion of their first group exhibition solicits cooperation and makes clear their goals:

82 California Society of Artists Manifesto

As the California Society of Artists wishes to enlist your interest and

cooperation in the movement for which it is organized, the objects of the society are here set forth:

1st To benefit local art and artists by stimulating interest in art. To benefit equally the members of this society and all other artists

who may exhibit with it, by bringing them into close contact with the public by holding independent semi-annual exhibitions which shall be more accessible to the public at large than those previously held here.

2nd To bring the artists themselves into closer and friendlier contact with one another by maintaining an independent society of artists, conducted exclusively by and for artists.

3rd To give the younger artists a freer opportunity of showing what they can do— providing always that their work be of good quality.

Local artists are asked to exhibit with this society, the work of our own members being subject to just as searching criticism and careful selection as that of non-members. The intention of the society is to enlarge its membership to the fullest extent upon the basis of good work.

Source: George W. Neubert, catalog essay for Xavier Martinez [1669-1943), The Oakland Museum, California, 1974.

83 Checklist Lucia Mathews Xavier Martinez 1 Sand Dunes with Beach LJmbrelia 6 Untitled (eucalyptus trees), in Background, 1899, oil on wood 1915-1918, oil on cardboard, 20x22" panel, 101/4x8%" Lent by the Collection of The Lent by the Collection of The Oakland Museum, California, Oakland Museum, California, Gift of Extended loan of Mr. and Mrs. Peter Mr. Harold Wagner Bosko Arthur Mathews Maynard Dixon 2 Landscape —San Francisco, not 7 Mesas in Shadow, 1926, oil on dated, oil on canvas, 26x30" canvas, 30x40" Lent by the Collection of The Lent by Brigham Young University, Oakland Museum, California, Gift of Provo, Utah, Brigham Yoimg the Art Guild, The Oakland Museum University Permanent Collection Association Lucien Labaudt 3 The Swan, not dated, oil on canvas, 8 L'Homme au Chapeau Gris (Man 26x23" with Gray Hat), circa 1920, oil on Lent by the Collection of The canvas, 26X28V4" Oakland Museum, California, Gift of Lent by the Collection of The the Art Guild, The Oakland Museum Oakland Museum, California, Gift of Association Mrs. Lucien Labaudt Gottardo Piazzoni 4 Brushy Hillside, 1904, oil on canvas, 43V2X29V2" Lent by University Art Museum, Berkeley, University of California, Gift of Ansley K. Salz, San Francisco

5 The Channel, 1918, oil on canvas, 34V2X46" Lent by the Collection of The Oakland Museum, California, The Oakland Museum Founders' Fund

84 1 Lucia Mathews Sand Dunes with Beach 2 Arthur Mathews Landscape —San Francisco not dated Umbrella in Background 1899

5 Gottardo Piazzoni The Channel 1918

85 Xavier Martinez Untitled (eucalyptus trees) 1915-1918 7 Maynard Dixon Mesas in Shadow

Lucien Labaudt L'Homme au Chapeau Gris circa 1920

86 2 The Oakland Six and Clayton S. Price

Society of Six All the members of "The Six," Louis Siegriest, Maurice Logan, William Clapp, August Gay, Selden Gile and Bernard von Eichman, discovered

for themselves during their long association what it was like to be an artist and a member of a close-knit, self-conscious art movement. They all had strong and independent personalities that helped them to avoid the studied and artificial attitudes previously adopted by past generations of Europeanized California artists. The Society of Six was intensely devoted to its self-imposed rough-and-tumble ideas. The members sensed that they were not making new art merely for the sake of newness, but with an exhilaration that was born from overthrowing subservient attitudes toward previously sanctified art modes. They were a part of the Bay Area art scene in the Twenties, but they had an

allegiance primarily to themselves . . . they were forced to be their own best audience. Influences on the Society of Six artists ranged from 19th century Impressionism to European abstraction. Although it is fairly easy to trace their more obvious influences, they nonetheless managed to fashion their individualistic painting styles into a fresh and ingenuous genre that appears generally American and specifically

Californian. It is regional painting in the best sense of the word.

Source: Terry St. John, catalog essay for Society of Six, The Oakland Museum, California, 1972.

Clayton S. Price There followed a period of experimentation, which betrays a self- conscious concern with manner and style, typical of the work of the younger artists of the area. Still faithful to his farm and animal themes, he painted them now in Gauguinesque decorative silhouette and now in simplified Cezannesque volumes, but in neither idiom did they seem completely at home.

About 1925 Price began to carve and paint wood and cork models of animals and farm workers. These little figures, frequently miniature sculptures of a high order, were part of an effort to simplify his conception of three-dimensional form and to strengthen the organization of his canvases. Horses in Barnyard is a careful, almost literal, rendering of these carvings, placed among paint rags on a table top.

Source: Priscilla C. Colt, "Notes Memorial Exhibition, Portland Art on the Artist's Development," in Museum, Oregon, 1951. catalog, C.S. Price 1874-1950: A

87 checklist William Clapp Selden Gile 9 Estuaiy Dwellings, 1920-1930, oil 13 Untitled (fishermen in on plywood, 20x16%" Belvedere), not dated, oil on Lent by the Collection of The paperboard, 17x14" Oakland Museum, California, Gift of Lent by the Collection of The Mr. Donn Schroder Oakland Museum, California, Gift of Dr. and Mrs. Wallace W. Hall 10 Oakland Yacht CJub, 1920-1930, oil on chipboard, 14^8X18" 14 Untitled (country scene), not Lent by the Collection of The dated, oil on canvas, llxl5" Oakland Museum, California, Gift of Lent by the Collection of The Mr. Donn Schroder Oakland Museum, California, Gift of August Gay Mr. Louis Siegriest 11 Ranch in Carmel Valley, 1925, oil Maurice Logan on paperboard, 8%xll%" 15 Old Milk Ranch, 1925, oil on Lent by the Collection of The paperboard, lOx 113/4" Oakland Museum, California, Gift of Lent by the Collection of The Dr. and Mrs. Frederick Novy Oakland Museum, California, Extended loan of the artist 12 Untitled (garden scene), not dated, oil on panel, 15V4XI8V4" 16 Point Richmond, 1929, oil on Lent by the Collection of The canvas, 14y8Xl7%" Oakland Museum, California, Lent by the Collection of The Extended loan of Mrs. August Gay Oakland Museum, California, Gift of Mr. Louis Siegriest Louis Siegriest 17 Oakland Quarry, 1920, oil on paperboard, 12x I6V4" Lent by the Collection of The Oakland Museum, California, Gift of the artist

18 Landscape, 1926, oil on paperboard, 13y4Xl6V8" Lent by the Collection of The Oakland Museum, California, Extended loan of the artist Bernard von Eichman 27 Standing CoJt, not dated, painted 19 China Street Scene No. 1, 1923, oil wood, rope and leather, 25/8x3x3/4" on paperboard, 191/4 x leW Lent by Portland Art Museum, Lent by the Collection of The Oregon Oakland Museum, California, Gift of 28 Standing Cow, not dated, painted Mr. Louis Siegriest wood, 23/8x4x3/4" 20 China Street Scene No. 11. 1923, Lent by Portland Art Museum, oil on paperboard, 21 x 14" Oregon Lent by the Collection of The 29 Standing, Grazing Horse, not Oakland Museum, California, Gift of dated, painted wood, 25/8X4x34" Mr. Louis Siegriest Lent by Portland Art Museum, Clayton S. Price Oregon 21 Coastline, circa 1924, oil on 30 Standing Horse, not dated, canvas, 40V8X50" painted wood, 21/2x3^x3/4" Lent by Hirshhorn Museum and Lent by Portland Art Museum, Sculpture Garden, Smithsonian Oregon Institution, Washington, D.C. 31 Standing Indian Woman, not 22 Horses in Barnyard, circa 1925, dated, painted wood, 3x11/4x3/4" oil on canvas, 241/2x291/2" Lent by Portland Art Museum, Lent by Douglas and Alexandra Oregon Lynch, Portland, Oregon 32 Standing Sow, not dated, painted 23 Cart with Wheels, not dated, Two wood, 11/8x2x1/4" painted wood, 2 x 21/4 x 31/4" Lent by Portland Art Museum, Lent by Portland Art Museum, Oregon Oregon 24 Man, Legs Spread, not dated, painted wood, 2V8Xiy8X%" Lent by Portland Art Museum, Oregon 25 Man with Hands on Hips, not dated, painted wood, 31/4x11/2x1/4" Lent by Portland Art Museum, Oregon

26 Standing Calf, not dated, painted wood and rope, 1 1/2 x 21/4 x %" Lent by Portland Art Museum, Oregon

89 9 William Clapp Estuary DweHings 1920-1930

11 August Gay Ranch in Carmel Valley 1925

13 Selden Gile Untitled (fishermen in Belvedere) not dated

90 16 Maurice Logan Point Richmond 1929

17 Louis Siegriest Oakland Quarry 1920

20 Bernard von Eichman China Street Scene No. /I 1923

91 22 Clayton S. Price Horses in Barnyard circa 1925

Clayton S. Price Carved Wood Figures not dated

92 3 Pioneer Moderns: Los Angeles

Rex Slinkard Slinkard studied under Robert Henri and at the College of Fine Arts, U.S.C. He also studied at the Art Students League of Los Angeles where he later (1910) took charge of the classes. In his spare time from teaching he painted poetic canvases at his father's ranch in Saugus.

Source: Nancy Dustin Wall Moure, Dictionary of Art and Artists in Southern California, Los Angeles, 1975.

The Group of Independents The Group of Independent Artists of Los Angeles held its first exhibition in 1923. S. Macdonald-Wright wrote in the foreword to the exhibition catalogue a plea for fairness in judgment.

The exhibitors with survival power were Boris Deutsch who showed a vigorous landscape, Peter Krasnow, and, of course, Macdonald-Wright

himself, with Santa Monica Canyon , a watercolor partially abstract and quite oriental in conception if one is not reading too much of Wright's history into a dim reproduction. Wright had been teaching since 1921 at the new Art Students League of Los Angeles. He had already established his early place in art history when he was a young painter in Paris before the first World War. Synchromism, the movement or invention associated with his name, was sufficiently related to Cubism

to be grafted successfully on that tree. It was nonetheless distinct, a

development that Wright shared with his friend, Morgan Russell, and it was doubtless due to Wright that Russell contributed two paintings to the show. The sculptor Zorach and Thomas Benton were also out-of- town contributors. A Nolde-like flower scene by Nick Brigante brought the German Expressionist way of seeing to Los Angeles, Max Reno painted a skeleton as a cellist bowing a female figure called Dying Vienna, and a geometric abstraction by Ben Berlin was all circles, rays, and saw-tooth patterns, quite in step with Kandinsky of the early 1920's.

Source: Frederick S. Wight, catalog essay for The Artist's Environment: West Coast, Amon Carter Museum of Western Art, Fort Worth, Texas, 1962.

93 oil board, 48 35^8" checklist Stanton Macdonald-Wright 42 K-1 , 1944, on x 33 Los Angeles Landscape, 1903, Lent by the artist years painted when the artist was 13 43 K-3, 1953, oil on board, old, oil on panel, 16x8" 473/4x671/8" Estate of Stanton Lent by the Lent by the artist Macdonald-Wright, Santa Monica, California Ben Berlin 44 Untitled, 1937, casein on firtex, 34 Synchromy (Orange), circa Canon 221/4x281/2" 1919, oil on canvas, 24V8x24y8" Lent by Mr. and Mrs. Lorser Lent by University Gallery, Feitelson, Los Angeles, California University of Minnesota, Minneapolis, Gift of lone and Hudson Oskar Fischinger Walker 45 Circles, Triangles and Squares, 1938, oil on canvas, 48% x 36%" Fire Synchromy, 1925, oil on 35 Lent by Mrs. Oskar Fischinger, West canvas, 18x18" Hollywood, California Lent by Tortue Gallery, Santa Monica, California 46 Tower, 1954, oil on canvas, 36x48" Forms, oil on panel, 36 Dragon 1926, Lent by Mrs. Oskar Fischinger, West 26x151/2" Hollywood, California Lent by The Harmon Gallery, Naples, Florida Knud Merrild 47 Equilibrium, 1938, painted wood Rex Stinkard 1 2" and metal, 2 1/2 x 14^8 x 37 Song, 1915-1916, oil on My San Francisco Museum of Modern canvas, 37y2X5lV2" Art, California, Gift of Mr. and Mrs. Lent Stanford University Museum by Walter Conrad Arensberg of Art, Stanford, California, Estate of Florence Williams 48 Flux Bouquet, 1947, oil on canvas mounted on composition board, Nick Brigante 19x141/2" Porcelain and Oranges, 1931, 38 Lent by Los Angeles County Museum watercolor on paper, 15 x 22" of Art, California, Gift of Dr. William Lent by the artist R. Valentiner Animated Rocker, 1948, 39 Charls Tracy on paper, 27x20" watercolor 49 The Sun Bathers, circa 1940, Lent by the artist tempera on paper, 17x22" 40 Mitosis of Sea Plankton, 1956, oil Lent by Helen Wurdemann, Los on canvas, 60x36" Angeles, California Lent by the artist Peter Krasnow 41 Untitled, 1940-1945, walnut, 8OV4XI6XI8V2" Lent by the artist

94 33 Stanton Macdonald-Wright 42 Peter Krasnow K-1 1944 Los Angeles Landscape 1903

39 Nick Brigante Animated Rocker 1948 37 RexSlinkard My Song 1915-1916

95 44 Ben Berlin Untitled 1937 45 Oskar Fischinger Circles, Triangles and Squares 1938

49 Charls Tracy The Sun Bathers circa 1940

47 Knud Merrild Equilibrium 1938

96 4 Early Surrealist Explorations

On the West Coast of the United States, the "subjectively-organized" paintings of Helen Lundeberg and Lorser Feitelson of the early 1930's culminated in their joint exhibition of twenty California Post-Surrealist paintings in the Hollywood Centaur Gallery in 1934. Other artists from Northern and Southern California soon joined the new American movement, and in 1936 the California Post-Surrealists were invited to exhibit at the Brooklyn Museum for four months. From this substantial avant-garde presentation, works by the founders of this movement along with paintings by Knud Merrild were later presented in the "Fantastic Art, Dada, Surrealism" exhibition of the same year at The Museum of Modern Art in New York. For these pioneer painters of the

1930's it must seem ironic to have made works of art nearly half a century ago that today might seem avant-garde, especially since after their initial explorations many West Coast artists continually engaged themselves with surrealism in one form or another, even when later developments such as Abstract Expressionism, Pop, Minimal and Conceptual Art arrived on the international art scene.

Source: Joseph E. Young, "Los Angeles," Art International, Volume XV, No. 4, April 20, 1971.

97 Checklist Lorser Feitelson Knud Merrild 50 Genesis, First Version, 1934, oil 54 Third Month, 1935, oil on on composition board, 24x30" masonite, ISVsXlS'A" San Francisco Museum of Modem Lent by Los Angeles County Museum Art, California, Gift of Helen Klokke of Art, California, Gift of Mr. and Mrs. Walter Conrad Arensberg 51 Magical Forms, 1948, oil on canvas, 36x30" Agnes Pelton Lent by Mr. and Mrs. Lorser 55 Orbits, 1934, oil on canvas, Feitelson, Los Angeles, California 361/2X30" Helen Lundeberg Lent by the Collection of The Oakland Museum, California, Gift of 52 Artist, Flowers and Hemispheres, Concours d'Antiques, Art Guild, The 1934, oil on celotex panel, 23^8 x 30" Oakland Association San Francisco Museum of Modern Museum Art, California, Gift of Helen Klokke

53 DoublePortraito/ the Artist in Time, 1935, oil on fiberboard, 48x40" Lent by Mr. and Mrs. Lorser Feitelson, Los Angeles, California

98 50 Lorser Feitelson Genesis, First Version 1934 52 Helen Lundeberg Artist, Flowers and Hemispheres 1934

54 KnudMerrild Third iWonfh 1935

55 Agnes Pelton Orbits 1934

99 5 Public Art of the 1930's

In 1930 the Federal Government moved into California with the Federal Art Project and many of the more experienced artists were put to work on decoration for public buildings. The mural exercised a disciplining

influence on the artists' work as it demanded specific subject matter and the creation of a special design to fill an allotted space.

Among the interesting murals of this period remaining today are the decoration at the Mother House at the Fleishhacker Zoo, executed by Helen Forbes and Dorothy Wagner Puccinelli, the Beach Chalet decorations by Lucien Labaudt, the murals by Piazzoni in the Public Library, the decoration in the interior of the Aquatic Park Building, now the Marine Museum, by Hilaire Hiler, and the beautiful slate relief above the facade of the building by Sargent Johnson.

Stimulated by the interest in mural decoration, Charles Peter Weeks, architect of the Mark Hopkins Hotel, commissioned Maynard Dixon and Frank Van Sloun to execute murals for the Room of the Dons, and Ray Boynton, just returned from a trip to Mexico, to do an encaustic in the dining room. Later both Dixon and Van Sloun were given a commission by Weeks to decorate the Sacramento Library.

Timothy Pflueger, the architect of 450 Sutter Street, who later became President of the San Francisco Art Association, and in 1939-40 the head of the Department of Fine Arts at the hiternational Exposition, was instrumental in employing many artists by incorporating their work in his buildings. He commissioned Stackpole to do the sculpture on the outside of the Stock Exchange and several artists —Adaline Kent, Ruth Cravath, Otis Oldfield, Bob Howard, and others — to decorate the interior of the Stock Exchange Club, but in selecting an artist to execute the fresco on the stairway, he and Bertram Alanson, President of the Club, brought Diego Rivera from Mexico. Several years later Rivera was again commissioned by William Gerstle to execute the murals for the California School of Art.

Source: Beatrice Judd Ryan, "The Rise of Modern Art in the Bay Area," California Historical Society Quarterly, Vol. XXXVIH,

No. 1, March 1959.

100 checklist Maynard Dixon Beniamino Bufano 56 Free Speech, 1934-1936, oil on 60 Female Torso, not dated, black canvas, 36X40" 2 gran ite , 2 1/4 x 1 V2 x 7 V2" Lent by Brigham Young University, Lent by The Fine Arts Museums of Provo, Utah, Harold R. Clark San Francisco: California Palace of Memorial Collection the Legion of Honor, Gift of Mr. and Sargent Johnson Mrs. Budd Rosenberg 57 Negro Woman, not dated, Millard Sheets lacquered cloth over wood, 61 Angel's Flight, 1931, oil on 28XI2V4XII" canvas, 5OV4X 40" San Francisco Museum of Modern Lent by Los Angeles County Museum Art, California, Gift of Albert M. of Art, California, Gift of Mrs. L.M. Bender Maitland Ralph Stackpole 58 Study /or San Francisco Stock Exchange (man), not dated, cement, 10x5x21/2" Lent by Hansel Hagel, Santa Rosa, California 59 Study/or San Francisco Stock Exchange (woman), not dated, cement, IOX5X2V2" Lent by Hansel Hagel, Santa Rosa, California

101 56 Maynard Dixon Free Speech 1934-1936

59 Ralph Stackpole Study /or San Francisco Stock Exchange (woman) not dated

57 SdrgeTil Johnson Negro Woman not dated

102 61 Millard Sheets Angel's Flight 1931

60 Beniamino Bufano Female Torso not dated

103 6 Into Abstraction: The Bay Region 1930-1945

During the years preceding World War II, years filled with economic chaos and signs of war, painting and sculpture in the San Francisco Bay Area continued in a traditional, almost reactionary, direction. The

art produced outside the federal art program, like that within it, was

tied to the American scene, or magical visions of it. Most of the Bay Region artists practiced some form of realism, while a few developed individual styles. Grace Clements, working in what she termed "modern classicism," painted ordered architectural works, concerned primarily with formal relationships. Matthew Barnes, a romantic, produced eloquent moonlit scenes, set with ghostly buildings and inhabited by solitary Ryderesque figures.

Around 1938, however, a change began to occur and the wave of abstraction which had lain quietly beneath the swell of Social Realism and American Regionalism in the country, began to make itself felt in the Bay Area. Some artists, like Ruth Armer who had exhibited abstract paintings as early as 1930, continued to work in the abstract tradition. For others, abstraction was an entirely new adventure. These artists tended to take several paths.

The artists connected with the University of California, Berkeley, generally went toward Cubism. The influence of Hans Hofmann, a great advocate of Cubism who had taught in Berkeley in 1930 and 1931, continued to be felt in the works of those after him. David Park's Woman in Red and White Robe shows quite directly the impact of Cubism with its planar construction and ambiguous space sense. James McCray, a student in the early thirties, also shows the effects of his Berkeley years in his disciplined picture structuring and emphasis on the horizontal and vertical.

Other artists, particularly those clustered around the California School of Fine Arts, moved toward the surrealist end of abstraction. Charles Howard, who had exhibited with the International Surrealist Group in London in 1936, came to San Francisco in 1940 and remained there six years before returning to England. His works, with their biomorphic forms interlaced with linear elements, were widely exhibited during his stay and their influence was considerable.

104 Adaline Kent and her husband, Robert Howard, brother of Charles, both began to concern themselves with abstract problems. Kent, who had worked in a realistic, cut-direct tradition derived from her Paris training with Antoine Bourdelle, moved to three-dimensional works using organic forms controlled geometrically and often overlaid with simple linear tracings. In the early forties, Robert Howard worked through strongly Cubist sculpture, then developed his large carved wood sculptures which employed abstract forms jutting into space and often used motion to underline the thrusts of these forms.

Clay Spohn moved toward Dada, experimenting with ideas he had garnered in Paris during a visit in 1926-1927. In his exhibition. Fantastic War Machines and Guerragraphs, held at the San Francisco Museum of Art in 1942, he showed color drawings of his dream reactions to World War II, fantasy forts and phantom tanks, all realistically drawn, illustrations of dreams. Later in the forties his images took on less realistic forms, and he employed abstract curvilinear shapes, broadly painted.

With this background of abstraction in the Bay Region, the stage was set for the emergence of Abstract Expressionism. Katherine Church Holland

105 Checklist Ruth Armer Adaline Kent 62 Immaterial Forms, circa 1940, oil 69 Dark Mountain, 1945, plaster, on canvas, 26V2X38" 33V2XI2V2X8" Lent by the artist San Francisco Museum of Modern Matthew Barnes Art, California, Purchase 63 Night Scene, circa 1932, oil on 70 Presence, 1947, magnesite, canvas, 35x42" 44V2 XI 33/4x7" San Francisco Museum of Modern San Francisco Museum of Modern Art, California, Albert M. Bender Art, California, Gift of the Women's Memorial Fund Purchase Board and Membership Activities Grace Clements Board 64 Tokyo Restaurant, 1931, oil on David Park canvas, 34x36" 71 Woman in Red and White Robe, Lent by the Collection of The 1938, oil on canvas, 52 x 24" Oakland Museum, California, Gift of Lent by Maxwell Galleries, Ltd., San the artist Francisco, California Charles Howard Clay Spohn 65 First War Winter, 1940, oil on 72 The Rolling Fort, 1942, gouache canvas, 24y8X34" and pencil on paper, 27x33" San Francisco Museum of Modern Lent by Milton T. Pflueger, San Art, California, Purchase Francisco, California

Robert B. Howard 73 Conquistador and Thunderbird, 66 Semaphore, 1947, pearwood, 1946, oil on canvas, 36x56%" 44x14x12" Lent by the artist Lent by the artist 67 Night Watch, 1950, metal, gypsum, resins and wood, 106x56x31" Lent by the artist 68 Study /or Custodian, 1952, wood, metal, gypsum, polyvinyl acetate and redwood dust, 16V4X7xl6" Lent by the artist

106 62 Ruth Armer Immaterial Forms circa 1940 64 Grace Clements Tokyo Restaurant 1931

65 Charles Howard First War Winter 1940

63 Matthew Barnes Night Scene circa 1932

107 69 AdalineKent Dark Mountain 1945

66 Robert B. Howard Semaphore 1947

72 ClaySpohn The RoJiing Fort 1942

71 David Park Woman in Red and White Robe 1938 108 The Romantic Surrealist Tradition

The Romantic Surrealists As far as the West Coast is concerned the Romantic Surrealist tradition began with Rico Lebrun. His Italian training in classical draughts- manship, a full knowledge of Pablo Picasso and Salvador Dali, as well as a compassionate nature, combined to form his powerful style which dominated Los Angeles art thought for a decade in the 1940's. Lebrun's ideas melded with those of the romantic Eugene Herman during a period of mutual growth as teachers at the Jepson Art Institute, Los Angeles, in 1947. Younger men at the Institute, Howard Warshaw and William Brice, absorbed and developed these methods into their own individual styles.

Two artists, Jack Zajac and Robert Cremean, successfully translated the style into three-dimensional form.

A somewhat different approach, reaching toward abstract art, was introduced to Los Angeles by Hans Burkhardt who developed many of his ideas from years of close association with the dynamic Armenian romantic Arshile Gorky. HT.H.

Dynaton Gordon Onslow-Ford, Lee Mullican and myself have come to express the manifold expanse of transdimensional potentiality. Our points of departure are not any aspects of reality, but awareness of the formative powers which make and unmake reality. This awareness of the Dynaton gives us the emotional knowledge of forms beyond dimensions, of infra and ultra shapes.

I call our concept of painting metaplastic, because although our means consist in direct plastic expression, our aims are not solutions of formal problems, but a new meaning. The meaning is to be the image- makers of a cosmic freedom which makes human consciousness find its true place as the beam of the balance between the infinitely great and the infinitely small.

Art, for us, has no business to preach nor to teach, but to complement the quantitative understanding of science by a cosmography in terms of quality. But we will not become prisoners of any concepts, not even of our own. If the metaplastic idea ever came to degenerate into an "ism," we will be the first "anti-metaplasticians."

109 For us, a painting is beautiful when it makes the spectator partake emotionally in the great structural rhythms, the tidal waves of form and chaos, of being and becoming, which go beyond the accidents of individual fate. Our images are not meant to shock nor to relax; they are neither objects for mere aesthetic satisfaction nor for visual experimentation. Our pictures are objects for that active meditation which does not mean detachment from human purpose, but a state of self-transcending awareness, which is not an escape from reality,

because it is an intuitive participation in the formative potentialities of reality.

Source: Wolfgang Paalen, "Theory of the Dynaton," Dynaton 1951, book published to accompany exhibition, A New Vision, San Francisco Museum of Art, 1951.

110 checklist Rico Lebrun Gordon Onslow Ford 74 The MagdaJene, 1950, oil on wood 81 The GreatHaunts, 1950, oil on panel 64x48 1/4" masonite, 48x76" Lent by Santa Barbara Museum of San Francisco Museum of Modern Art, California Art, California, Extended anonymous Eugene Berman loan 75 Nike, 1943, oil on canvas, Jack Zajac 583/8X383/8" 82 Bound Goat with Two Stakes, Lent by Hirshhorn Museum and 1958, bronze, 24X411/2X16" Sculpture Garden, Smithsonian Lent by Jodi Scully Gallery, Los Institution, Washington, D.C. Angeles, California, and James Willis Howard Warshaw Gallery, San Francisco, California 76 The Spectator, 1953-1955, oil on Robert Cremean canvas, 70x72" 83 Main Fragment for a Disputed Lent by Santa Barbara Museum of Curia, 1962, laminated wood, metal Art, California and cloth, 74x31x29" William Brice Lent by Robert de la Vergne, Tomales, California 77 Figure and Pomegranates, 1959, oil on canvas, 201/4x161/4" Lent by Mr. and Mrs. Richard F. Brown, Fort Worth, Texas Hans Burkhardt 78 Abstraction, 1953, oil on canvas, 60x50" Lent by the artist Lee Mullican 79 The Splintering Lions, 1950, oil on canvas, 50x40" Lent by the artist

80 Head, 1954, painted wood construction, 281/4x133/4x6" Lent by the artist

111 % n: ' k %

74 Rico Lebrun The Magdalene 1950 75 Eugene Herman Nike 1943

77 William Brice Figure and Pomegranates 1959

76 Howard Warshaw The Spectator 1953-1955

112 t'

» I'lumiitlilf li.J_.JHi 78 Hans Burkhardt Abstraction 1953 80 LeeMullican Head 1954

79 LeeMullican The SpJintering Lions 1950 113 81 Gordon Onslow Ford The Great Haunts 1950

82 lackZajac Bound Goat with Two Stakes 1958

83 Robert Cremean Main Fragment /or a Disputed Curia 1962

114 .

8 Climax: Hard Edge Abstraction, Los Angeles

Abstract Classicist painting is hard-edged painting. Forms are finite, flat, rimmed by a hard clean edge. These forms are not intended to evoke in the spectator any recollections of specific shapes he may have encountered in some other connection. They are autonomous shapes, sufficient unto themselves as shapes. These clean-edged forms are presented in uniform flat colors running border to border. Ordinarily color serves as a descriptive or emotive element in painting. Its relation to the viewer tends to be more visceral than cerebral. But in these paintings color is not an independent force. Color and shape are one and the same entity. Form gains its existence through color and color its being through form. Color and form here are indivisible. To deprive one of the other is to destroy both. To clarify matters, eliminate semantic

confusion, it is helpful to unite the two elements in a single word— color/orm

The approach follows a track of ideas suggested by the pictures of Malevitch and the constructivists, and Mondrian and the painters of De Stijl. In the pictures of Malevitch and Mondrian there is a striving to

create an art of flat geometric shapes that is not fixed and stabile. It is an art in which static elements are tensed, made to separate from each other, advance forward from the picture surface and back again.

The California Abstract Classicists proceed from this intention of Malevitch and Mondrian. They seek to fluctuate forms that are tightly embraced together. Forms in their paintings are in continuous flux. Forms are not frozen in an instant of time, nor are they constructed as a building —firmly fixed in a stationary position. The paintings take place in space-time. At one moment a form announces its presence, and

the next moment it slips away, only to reassert itself again. This alternation between forms in focus and the same forms thrust into periphery is precisely determined. The gears must interlock if the paintings are "to work."

Source: Jules Lahgsner, catalog essay for Four Abstract Classicists, Los Angeles County Museum, 1959.

Hard Edge painting is more closely associated with Southern California, however a few Northern Californians around Berkeley were experimenting with a more complex optical variant, here represented by James McCray. HT.H.

115 Checklist John McLaughlin 90 Hardedge Line Painting, 1963, 84 Untitled (black/grey), 1946, oil on enamel on canvas, 72 x 60" canvas, 20V2XI7" Lent by Los Angeles County Museum Lent by Nicholas Wilder, Los of Art, California, Anonymous Gift Angeles, California through the Contemporary Art Council 85 Untitled (yellow/black), 1951, oil on mason ite, 31%x37%" Helen Lundeberg Lent by Nicholas Wilder Gallery, Los 91 Sunny Corridor, 1959, oil on Angeles, California canvas, 20x24" Lent by Mr. and Mrs. Lorser 86 No.l (blue), 1964, oil on canvas, 48x60" Feitelson, Los Angeles, California Lent by Nicholas Wilder Gallery, Los Karl Benjamin Angeles, California 92 I.F. Black, Grey, Umber, Red, 1958, oil on canvas, 62V2X42V4" 87 No. 7 (grey), 1974, oil on canvas, 48x60" San Francisco Museum of Modern Art, California, Gift of Ned C. Lent by Nicholas Wilder, Los Pearlstein Angeles, California McCray Lorser Feitelson James 93 Reticulation, 1945, oil on canvas, 88 Geomorphic Metaphor, 22x32" 1950-1951, oil on canvas, 58X82" Lent by Milton T. Pflueger, San Lent by Los Angeles County Museum Francisco, California of Art, California, Gift of Mr. and Mrs. Thomas C. McCray 89 Dichotomic —Organization, 1959, oil on canvas, 50x60" Lent by Mr. and Mrs. Lorser Feitelson, Los Angeles, California

116 86 John McLaughlin No. 1 (blue) 1964 91 Helen Lundeberg Sunny Corridor 1959

88 Lorser Feitelson Geomorphic Metaphor 1950-1951

117 93 James McCray Heticuiation 1945

Karl Benjamin I.F. Black, Grey. L'mhi

118 9 Clyflford Still

From the fall of 1941 until summer of 1943 he (Still) worked in war industry, as a steel checker for the Navy in Oakland and later as a materials release engineer for Hammond Aircraft in San Francisco. War work did not allow much painting time but a number of exceptional works were produced, some of which were included in his first one-man exhibition at the San Francisco Museum of Art in 1943. The exhibition was organized by Grace McCann Morley and, even though the exhibition wall label misspelled both of Still's names (Clifford Stills)^, this event undoubtedly helped bring about the gift to the museum. Of his eleven one-man exhibitions, three have been in San Francisco. The other two took place at the California Palace of the Legion of Honor in 1947 and at the Metart Gallery in 1950.

Another factor of real importance must be his influence as a teacher in the Bay Area which continues to be felt. Still has been a teacher since 1933, when he began at Washington State College in Pullman. He remained there in positions of increasing responsibility until 1941. After completing his war work in 1943, he taught at the Richmond Professional Institute, then a division of the College of William and Mary in Richmond, Virginia, until 1945. So, when in 1946, after a year in New York, he was asked to come to San Francisco to teach at the California School of Fine Arts (now renamed the San Francisco Art Institute), he was a seasoned professional. He taught there until the summer of 1948, when he again went to New York to bring into being an idea he had proposed to Douglas MacAgy and Mark Rothko in 1947. The idea was to bring together a number of active artists in a teaching group to aid younger men in the milieu of New York. The group became known as the "Subjects of the Artist.'"*

By fall no action had been taken to put the idea into practice and Still returned once more to San Francisco and the California School of Fine Arts, where he planned and introduced a graduate painting class by which the school became especially known throughout the world.

'From time to time Still would enter the classroom and begin to extemporize about the "revolution" which was going on in painting,

insinuating that the center of it was precisely in the room where we all

119 were at the moment, and that we were engaged in some conspiratorial movement together, subverting the value of Western art. The reactions to a few moments of that kind of pep talk would send everyone back to his easel with the renewed conviction that the making of abstract painting was almost a secret weapon in the cause not only of beauty but of truth as well.'^

Source: Henry T. Hopkins, "Clyfford Still's Gift to the San Francisco Museum of Modern Art,"

American Art Review, Vol. Ill, No. 1, January-February 1976.

Footnotes:

-'"Clyfford Still" appears on his birth certificate. The name was given to him by his father in honor of a friend whose name bore this unique spelling.

••William Baziotes, Robert Motherwell, Mark Rothko, Clyfford Still and later sculptor David Hare made up this group.

^Hubert Crehan, "Art Schools Smell Alike." This World. San Francisco Sunday E.xaminere- Chronicle, October 4, 1970. 120 Checklist Clyfford Still 98 UntitJed 1947-S (PH-371), 1947, 94 UntitJed 1941-R (PH-169), 1941, oil on canvas, 84 x 71" oil on brown denim, 58x251/2" San Francisco Museum of Modern San Francisco Museum of Modern Art, California, Gift of the artist Art, California, Gift of the artist 99 Untitled, 1948, oil on canvas, 95 UntitJed (PH-298), 1942, oil on 803/4 X 68%" blue denim, 58y2X27V2" Lent by the Collection of The San Francisco Museum of Modern Oakland Museum, California, Art, California, Gift of the artist Extended loan of Hassel Smith

96 Untitled (PH-123), 1947, oil on 100 Untitled (PH-84), 1952, oil on canvas, 69V2x39y2" canvas, 6OX47V2" San Francisco Museum of Modern San Francisco Museum of Modern Art, California, Gift of the artist Art, California, Gift of the artist

97 Untitled 1947-H-No. 3 (PH-446), 1947, oil on canvas, 91x57" San Francisco Museum of Modern Art, California, Gift of the artist

121 99 c:lvllnnl Shll Untitled 1948

122 10 Expressionism, Abstract and Figurative, in the Bay Area 1945-1956

Three events now seem to have been most instrumental in shaping the course of the Abstract Expressionist chapter of San Francisco art. The first and perhaps the most significant event was a sweeping change in the California School of Fine Arts' faculty and educational philosophy. Douglas MacAgy became Director and replaced most of the faculty with artists who not only experimented with radically new ideas but who encouraged their students to do the same. The next event that occurred was the influx of ex-G.I.'s into its student body. The final important factor was the post-World War II era itself.

Although he lived in the Bay Area during most of the 1940's, Clyfford Still, a germinal CSFA teacher, had close contacts at that time with New York abstract artists. He was not only familiar with the New York School

but influenced it considerably. The impact of his work was initiated by his one-man exhibition at Peggy Guggenheim's Art of This Century gallery in 1946 and at Betty Parsons' gallery in 1947. It is not of primary importance to establish whether Still was a California or New York artist, but to emphasize that he was the most influential teacher at the California School of Fine Arts in the late 40's. At the same time, it should be recognized that he possessed one of the most acutely perceptive outlooks on the role of the artist and his art to the society and the marketplace in the United States. He was not only wired into some of the most radical painting ideas of this century but also helped to place the comparatively small group of American Abstract Expressionists at the center of the international art scene. He, perhaps more than any other figure, helped to unlearn the subservient attitude that previous generations of Americans had towards European art.

Another prophetic figure from the first generation of New York Abstract Expressionists who taught at CSFA was Mark Rothko. His ideas had less of an impact than Still's, primarily because he taught only two summer sessions. His ideas were nevertheless considered highly developmental to a significant degree by many of the students and instructors there. A third precursor of a new abstraction at CSFA was Ad Reinhardt who taught a summer session there in 1950. His

123 remarkable irreverence for anything that smacks of a messianic mission for the artists helped to counterbalance some of the existential hyperbole that occasionally inundated the school. Besides these three heavies there were others who were lesser known, but not necessarily less influential or important in their roles as instructors. Artists such as Robert Howard, David Park, Clay Spohn, Hassel Smith, Edward Corbett and Richard Diebenkorn taught until the Director, Douglas MacAgy, resigned in the summer of 1950.

It can be said that during the years 1947-1953, the high point of Abstract Expressionism in the Bay Area produced an intensity of activity combined with an interchange of dialogues that at times anticipated developments in the East. The local development of Abstract Expressionism was relatively unknown on the East Coast probably because this art scene is rarely documented or covered by extensive national criticism and review.

Source: Terry St. John, introduction to book A Period oj Exploration, San Francisco 1945-1950, by Mary Fuller McChesney, The Oakland Museum, California, 1973.

124 Checklist Jeremy Anderson 109 Berkeley #4, 1953, oil on canvas, 101 Untitled, 1953, redwood, 551/4x48" 511/4x143/4x11" Lent by Mr. and Mrs. Joseph M. Lent by the artist, courtesy Bransten, San Francisco, California Braunstein/Quay Gallery, San 110 Berkeley #41, 1955, oil on Francisco, California canvas, 283/8X28%" 102 Altar, 1963, redwood, pine, Lent by Robert A. Rowan, Pasadena, privet and enamel, 89 x 31 x 33 V2" California Lent by the artist, courtesy 111 Cityscape 1, 1963, oil on canvas, Braunstein/Quay Gallery, San 601/2x501/2" Francisco, California San Francisco Museum of Modern 103 Riverrun, 1965, enamel on Art, California, Purchase from redwood and pine, 55x791/2x171/2" contributions of Trustees and friends Lent by University Art Museum, in memory of Hector Escobosa, Berkeley, University of California, Brayton Wilbur and J.D. Zellerbach Gift of the University Art Museum James Budd Dixon Council 112 Untitled, circa 1948, oil on For exhibition at San Francisco canvas, 48x37%" Museum of Modern Art only Lent by Frank Lobdell, Palo Alto, Ruth Asawa California 104 Woven Wire Sculpture, Edward Dugmore 1954-1955, iron and galvanized zinc 113 1950-CS, 1950, oil on canvas, wire, 138x17" diameter 61 X 541/2" Lent by the artist Lent by Gallery M, Washington, D.C. Elmer BischoET Sam Francis 105 Two Figures at the Seashore, 114 California, 1953, oil on canvas, 1957, oil on canvas, x 56% se^A" 491/4x831/8" Lent by Sterling Holloway, Laguna Lent by the artist Beach, California John Hultberg Ernest Briggs 115 Untitled, 1949, oil on canvas, 106 Untitled, 1951, oil on canvas, 40X2978" 78X681/2" Lent by Frank Lobdell, Palo Alto, Francisco of Modern San Museum California Art, California, Gift of Mr. and Mrs. Moses Lasky Jack Je£Ferson 116 Mission No. 11, 1955, oil on Edward Corbett canvas, 69x63" 107 Painting /or Puritans, 1956, oil Lent by Alvin Light, San Francisco, on canvas, 52 x 341/3" California San Francisco Museum of Modern Art, California, Extended anonymous 117 January 1976, 1976, acrylic, loan silver pencil and oil crayon on paper, 371/8x231/2" Richard Diebenkom Lent by Frank Lobdell, Palo Alto, Untitled, 1949, oil on canvas 108 California mounted on board, 36x32" Lent by Mrs. F. Herbert Hoover, San Francisco, California

125 James Kelly Deborah Remington 118 Untitled, 1951, oil and tacks on 128 Untitled, 1955, oil on canvas, canvas, 30x23V2" (sight) 30x36" San Francisco Museum of Modern Lent by James Keilty, San Francisco, Art, California, Gift of Mr. and Mrs. California William Roth M. Philip Roeber

119 Assault on K-2, 1956, oil on 1 29 Untitled , 1954, oil on canvas, canvas, 84 x66y4" 60x50" San Francisco Museum of Modern Lent by Mr. and Mrs. William M. Art, California, Gift of Gump's, Inc. Roth, San Francisco, California Walter Kuhlman John Saccaro 120 Untitled, 1957, oil on canvas, 130 Rock, Branch and Winter, 1952, 47X35" oil on canvas, 41V2X47V2" Lent by the Collection of The Lent by the Collection of The Oakland Museum, California, Gift of Oakland Museum, California, Gift of the artist the artist in memory of James Budd Dixon Frank Lobdell 121 5 October 1949, 1949, oil on Hassel Smith canvas, 72x42V2" 131 The Nocturnal Prowl, 1945, oil Lent by Jack Jefferson, San Francisco, on canvas, 33V4X29%" California Lent by Hirshhorn Museum and Smithsonian 122 March 1954, 1954, oil on canvas, Sculpture Garden, 70 X 651/2" Institution, Washington, D.C. Lent anonymously For exhibition at National Collection of Fine Arts only 123 Black Edge II, 3 March 1962, oil on canvas, 85V2X70" 132 The Little Big Horn, 1952-1953, canvas, x 70" Lent by Mr. and Mrs. Philip E. oil on 85 Gifford Phillips, Lilienthal, San Francisco, California Lent by Mr. and Mrs. Santa Monica, California Seymour Locks 124 The Pressure Cooker, 1955, 133 Untitled, 1958, oil on canvas, wood, nails and paint, 45x12x16" 69X42" Lent by Fay and Seymour Locks, San Lent by Robert A. Rowan, Pasadena, Francisco, California California Robert McChesney 134 #8, 1961, oil on canvas, 693/4X68" 125 Composition A#l, 1950, oil on canvas, 37X49" Lent by Irving Blum, New York, New York Lent by the artist David Park Julius Wasserstein canvas, 126 Rehearsal, 1951, oil on canvas, 135 Untitled, 1952, oil on 45x353/4" 60X38V4" Lent by the Collection of The Lent by the artist, courtesy Rose Galleries, San Francisco, Oakland Museum, California, Gift of Rabow Anonymous Donor Program California 136 Untitled, 1959, oil on canvas, 127 Man in Tee Shirt, 1958, oil on canvas, 60X50" 68x34%" artist, courtesy San Francisco Museum of Modern Lent by the Rose Galleries, San Francisco, Art, California, Gift of Mr. and Mrs. Rabow Harry W. Anderson California

126 101 Jeremy Anderson Untitled 1953

105 Elmer Bischoff TWo Figures at the Seashore 1957

104 Ruth Asawa Woven Wire Sculpture 1954-1955

127 lUb Ernest Bnggs L'niitled I'Jjl 107 Edward Corbett Painting /or Puritans 1956

112 James Budd Dixon Untitled circa 1948

111 Richard Diebenkom Cityscape I 1963

128 113 Edward Dugraore 1950-CS 1950 115 JohnHuItberg Untitled 1949 ^ »; *i-^^i*-v ,i VTK

--^.^:^^vf

116 Jack Jefferson Mission No. 11 1955

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119 James Kelly Assault on K-2 1956

129 120 Walter Kuhlman Untitled 1957

122 Frank Lobdell March 1954 1954

125 Robert McChesney Composition A #1 1950

124 Seymour Locks The Pressure Cooker 1955

130 -i>*^*rr

126 David Park Rehearsal 1951 128 Deborah Remington Untitled 1955

130 John Saccaro Rock, Branch and Winter 1952

129 Philip Roeber Untitled 1954 131 135 luliiis VVasserstein ilntithd 1952

132 —

11 Expressionism, Bay Area and Los Angeles, after 1956

The Ferus Gallery opened its doors on March 15, 1957 with a group exhibition which included works by Richard Diebenkorn, Hassel Smith and Clyfford Still, as well as a host of younger Northern and Southern California artists. As Gerald Nordland, the art critic for Frontier magazine at the time, commented, "... the Syndell and Now Galleries have joined forces." The Now Gallery was owned by Edward Kienholz and the Syndell by Walter Hopps. Both Kienholz and Hopps were extremely influential not only as art dealers — sales were virtually non-existent —but as key figures who brought together the best younger artists in the Southern California region as a group. Hopps, Kienholz and, later, in the fall of 1958, Irving Blum and Sadye Moss were to a large degree responsible for promulgating the notion among patrons as well as artists that there indeed was a vital group of artists of the highest ambition who lived and worked in California. In the spring

of 1957 it seemed necessary for both owners of the Ferus Gallery to establish the fact that the young abstract-expressionist painters in Southern California, including John Altoon, Billy Al Bengston, Craig Kauffman, Edward Moses and Paul Sarkisian, were of equal artistic merit as the better known artists of the San Francisco Bay Region, including Jay DeFeo, Sonia Gechtoff, James Kelly and a handful of others.

The high degree of competence exhibited by these young artists how intensely they understood the lessons of the fathers of Abstract- Expressionism—will astonish many visitors to this miniature survey of the early years of the Ferus Gallery. It has been my contention for the past few years that the second and third generation of abstract- expressionist artists in California compares favorably to other developments in this area throughout the world, and in almost every case is more serious, more engaging painting than any of the period with the exception of the best of the older generation. In arriving at this conclusion, which is justified by simple comparison of pictures completed between 1953 and 1962 by artists living on both coasts of the

United States, as well as Europe and Japan, it appears that the original animus so evident in the best early works of Still, de Kooning, Rothko, Newman and Kline stimulated the highest later achievement on the

West Coast rather than elsewhere in the world. It is this very quality of animosity, anarchy, even hatred, which animates even the sometimes lyric achievements of the artists within this exhibition. The rhetorical

133 pictures of de Kooning's emulators, exhibited in Tenth Street galleries on Manhattan Island, would for the most part not have been accepted as student work in the better art schools on the West Coast in the middle and late fifties. The artist's intentions as reflected in his art became extremely muddled in New York and Europe in the fifties, while in California a kind of moral criticism was practiced by the best teacher-painters on the work of art students. With the students of

Clyfford Still it became evident that skill in manipulating paint was a very real detriment to be overcome in order to reach a level where a student's pictures embody his existential position as accurately as is humanly possible. Painting was not judged in terms of innovative uses

of structure, color or form but rather how intensely it appeared, how it revealed the character and morality of the artist. One can characterize the difference on both coasts between hypothetical questions: the young East Coast artist working in the fifties asked of himself, "How

can I find a combination of elements which will push painting forward and at the same time give me an identity?" On the West Coast the

question would have been: "How can I find who I am through painting?"

Source: James Monte, catalog essay for Late Fifties at the Ferus, Los Angeles County Museum of Art, 1968.

134 Checklist Northern California: Arthur Holman

Arlo Acton 145 Reflection , 1958, oil on canvas, 137 Come One, Come Two, 66x66" 1963-1964, wood, 84V2X57X42" Lent anonymously San Francisco Museum of Modern Alvin Light Art, California, Gift of the Women's 146 Untitled, 1957, wood and Board pigment, 63x31x18" John Baxter Lent by the artist, courtesy Hansen 138 Samurai, not dated, wood, stone Fuller Gallery, San Francisco, and metal, 32x111/2x91/2" California Lent by the Collection of The 147 Untitled, September 1962, wood, California, Gift of Oakland Museum, pigmented epoxy glue and oil, Mr. Victor Fischer 119X37X34" Richard Brodney Lent by the artist, courtesy Hansen 139 Bequest, 1953, oil on canvas, Fuller Gallery, San Francisco, 30x341/8" California Lent by Private Collection, San Manuel Neri Francisco, California 148 Male Figure No. 1 . 1956, enamel Joan Brown on plaster, chicken wire and wood, 140 GirJ in Chair, 1962, oil on canvas, 611/2X18x17" 60X48" Lent by the artist, courtesy Lent by Los Angeles County Museum Braunstein/Quay Gallery, San of Art, California, Gift of Mr. and Mrs. Francisco, California Robert H. Ginter 149 Standing Plaster Figure, 1959, Claire Falkenstein enamel on plaster, 591/2x22x161/4", 141 PointAs a Set #18,1965 (surface including base reworked in 1976), copper tubing, San Francisco Museum of Modern 37x39" diameter Art, California, William L. Gerstle Lent by Tortue Gallery, Santa Monica, Fund Purchase California 150 Untitled, 1970, fiberglass, Faralla 60x18x12" 142 Column A^, 1960, latex on wood, Lent by Private Collection 541/4x11x11" Nathan Oliveira Lent by the Collection of The 151 Standing Man with Stick, 1959, California, Gift of Oakland Museum, oil on canvas, 68%x60i/4" the artist in memory of Edna Lent by The Museum of Modern Art, Stoddard Siegriest New York, New York, Gift of Joseph Sonia Gechtoff H. Hirshhorn,1959 143 Painting No. 4, 1956, oil on canvas, 96x48" San Francisco Museum of Modern Art, California, Gift of Mr. and Mrs. William M. Roth.

Julius Hatofsky 144 Voyage Continued 2, 1966, oil on canvas, 72 x 72" Lent by Smith Andersen Gallery, San Francisco, California

135 Nell Sinton James Weeks 152 PJatero #2, 1959, oil on canvas, 155 Two Children in a Garden, 1962, 50x60" oil on canvas, 43x45" Lent by Dr. and Mrs. K. Roost, Lent by Mr. and Mrs. Francis V.

Hillsborough, California Keesling, Jr., San Francisco, Sam Tchakalian California 153 Fia, 1965, oil on canvas, 74x84" Paul Wonner Lent by Braunstein/Quay Gallery, San 156 TheNewspaper, 1960, oilon Francisco, California canvas, 47V4 x 541/4" Carlos Villa San Francisco Museum of Modern 154 Feather Cape, 1972, analine dye Art, California, Gift of Hamilton and Wells Collection and feathers on silk, 66 x 144" Lent by Mr. and Mrs. C. David Robinson, Sausalito, California

Southern California: Gilbert Henderson John Altoon 161 Atavistic /mage, 1951, oil on 157 Hamburger and Gas Pump, 1959. canvas, 56x36" gouache on illustration board, Lent by Los Angeles County Museum 30x40" of Art, California, Purchase Award, Lent by Dr. and Mrs. Merle S. Click, Annual Exhibition of Artists of Los Los Angeles, California Angeles and Vicinity 158 Ocean Pork Series #11, 1962, oil Ynez Johnston on canvas, 81 V2 x 84" 162 Alpine Lake, 1956, watercolor on San Francisco Museum of Modern paper, 12V4XIOV2" Art, California, Purchase Lent by jodi Scully Gallery, Los Angeles, California Leonard Edmondson 159 Moon Curve, 1955, watercolor on Craig Kaufiman paper, 27x34" 163 Tell Tale Heart, 1958, oil on Lent by Mr. and Mrs. Gifford Phillips, canvas, 68V2X49" Santa Monica, California Lent by Vivian Kauffman, Los Angeles, California Charles Garabedian 160 Green China WaJ], 1970, latex and resin on wood, 95V2X72V2X4" Lent by the artist

136 John Mason James Strombotne 164 Vertical Edge, 1961, stoneware, 169 Juliet's Dream, 1965-1966, oil on 64x16x17" canvas, 48x59" Lent by Hansen Fuller Gallery, San Lent by Jodi Scully Gallery, Los Francisco. California Angeles, California 165 Cross Form, 1963, stoneware, Peter Voulkos 62x37x15" 170 Sitting Bull, 1959, glazed Lent by Hansen Fuller Gallery, San stoneware, 69 x 37 x 37" Francisco, California Lent by Santa Barbara Museum of Edward Moses Art, California

166 Untitled, 1958, enamel on paper, 171 Hiro 11, 1967, bronze, 391/4 X34V2" 96X372X72" Lent by the artist San Francisco Museum of Modern For exhibition at San Francisco Art, California, T. B. Walker Museum of Modern Art only Foundation Fund Purchase exhibition at Justin Plaza, 167 Untitled (roses), 1961, acrylic On Herman and graphite on paper, 60x40" The Embarcadero at Washington Street, San Francisco Lent by the artist For exhibition at San Francisco For exhibition at San Francisco Museum of Modern Art only Museum of Modern Art only Richards Ruben 168 Augustin Autumn, 1957, oil on canvas, 54V2X46y8" Lent by Stanford University Museum of Art, Stanford, California, Gift of the Committee for Art at Stanford

137 137 Arlo Acton Come One, Come Two 1963-1964 138 John Baxter Samurai not dated

139 Richard Brodney Bequest 1953

140 loan Brown Girl in Chair 1962

138 141 Claire Falkenstein Point As a Set #18 1965

142 Faralla Coiumn IV 1960

143 Sonia Gechtoff Painting No. 4 1956 144 Julius Hatofsky Voyage Continued 2 1966

139 149 Manuel Neri Slanding Plfislur Figure 1959 140 ^-^^'W-^mm/^'^ \

151 Nathan Oliveira Standing Man with Stick 1959 152 NellSinton Platero #2 1959

153 Sam Tchakalian Fia 1965 154 Carlos Villa FeatherCape 1972

141 x!l5 160 Charles Garabedian Green China Wall 1970 164 John Mason Vertical Edge 1961

162 Ynez Johnston Alpine Lake 1956

161 Gilbert Henderson Atavistic Image 1951

143 168 Richards Ruben August in Autumn 1957 170 Peter Voulkos Sitting Buli 1959

169 James Strombotne Juliet's Dream 1965-1966

144 12 Toward the Personal

They no longer looked upon it in terms of its usefulness but of the possibilities inherent in the material. They were very bold in their approach. The story goes that Voulkos, first among peers in the group, at one point misread the scale of some reproductions showing examples of Japanese ceramics he very much admired and, on that basis, set out to free ceramics of its small dimensional proportions. This required, however, the solution of some major technical problems. In 1954, Voulkos came to Los Angeles where he set up a ceramics center at the Otis Art Institute; here he was joined by Mason, Price and Bengston. Since there existed no hierarchical distance between Voulkos and his colleagues, a fruitful exchange of ideas was possible. Their joint endeavor resulted in the rediscovery of the essential characteristics of the medium clay as a very manageable and plastic material which lends itself to more than just the making of symmetrically shaped functional pots.

scenery is overgrown with the conception of an artificial world which finds its full expression in his later assemblage-like constructions. The artist draws our attention to the unusual processes we can observe in our backyards or which we can imagine. Wiley organized many happenings somewhat on the line of the 'fluxus' activities in Europe.

145 Wayne Thiebaud is not so much concerned with the social environment but rather with the identity of painting method and subject (with him often foods such as pastries, cream puffs, ice creams, et cetera). As stated above, in his method of painting and application of paint, the influence of Clyfford Still, though greatly transformed, is still traceable. In his composition, the serial element often plays an essential part. We must, however, not overrate the Pop-image aspect of his work: Thiebaud professes to be a realist, although he is aware that realism rarely, if at all, concerns itself with the choice of these kinds of objects, let alone in close-up form. Thiebaud had a telling influence on painters like Mel Ramos. Edward Ruscha came to the art school as an adman but, disappointed in commercial art, took up painting. His activities are twofold: 1. paintings, prints, et cetera, 2. books which he designs, publishes and distributes himself. He keeps these two activities strictly apart. In his paintings, Ruscha applies the technique of commercial advertising. Words like 'Space,' 'Smash,' 'Annie,' he paints as is customary for advertisements: flat and schematic; they are for him only variable elements.

Source: )an Leering, catalog essay for Kompas 4, West Coast U.S.A., Van Abbemuseum Eindhoven, Netherlands, 1969. Translated from Dutch.

146 checklist Northern California: Jay DeFeo William Allan 178 The Eyes, 1958, graphite on 172 Tentative Assault on Mt. Fear, paper mounted on canvas, 1971, acrylic on canvas, 74XIIIV2" 415/8X865/8" * Lent by Richard Reisman, San Lent by the artist Francisco, California 179 Doctor Jazz, 1959, oil on paper Terry Allen mounted on canvas, 132x42V2" 173 The Arizon'ia Spiritual, from Lent by the artist The Cowboy and the Stranger Series, Roy De Forest colored ink, oil pastel, colored 1968, 180 Equestrian Amazon, 1951, terra lettering pencil, graphite and contact cotta, 12x33/4x16" on illustration board with plexiglass Lent by Mr. and Mrs. Philip B. Starke, box, fox Arizona State head and San Jose, California patch; tape of song, " Arizon'ia 181 God's Country the Spiritual" and map of Oklahoma and Woman, 1962-1963, latex, oil displacement on verso, 29x23x11/2" wood, and polyester resin, 32x28V2X9" Lent by Jo Harvey Allen, Fresno, California Lent by Mr. and Mrs. Moses Lasky, San Francisco, California 174 La Despedida fThe Parting], from the Juarez Section of the /uarez 182 Country Dog Gentlemen, 1972, 961/4" Series, 1974, colored ink, oil pastel, polymer on canvas, 653/4 x colored pencil, graphite, contact San Francisco Museum of Modern lettering, snapshots, burned balsa Art, California, Gift of Hamilton and wood and scraps of paper on Wells Collection illustration board, 30x40" William Geis Lent M. Susan Lewis and Sonny by 183 Tensor 1 , 1966, plaster, Palmer, Fresno, California fiberglass, vinyl, tempera and Robert Arneson enamel, 60x48x48" 175 Typewriter, 1965, glazed Lent by University Art Museum, earthenware, 61/8x113/8x121/2" Berkeley, University of California, Lent by University Art Museum, Gift of Dr. Samuel A. West Berkeley, University of California, David Gilhooly Gift of the artist 184 Elephant Ottoman #2,1966, 176 KiJn Man, 1971, terracotta and glazed and stained white glazed porcelain, 36x12" diameter earthenware, vinyl and plywood, Lent by Gerald R. Hoepfner, Davis, 81/2x21x221/2" California Lent by Professor and Mrs. R. Joseph Monsen. Seattle, Washington Robert Colescott 177 The End o/the Trail, 1976, Wally Hedrick acrylic on canvas, 72 x 108" 185 Here's Art For 'Em, 1963, oil on Lent by the artist, courtesy John canvas, 1311/2x433/4" Berggruen Gallery, San Francisco, Lent by the artist California Robert Hudson 186 Space Window, 1966, automobile lacquer on steel, 69X60X57" Lent by Mr. and Mrs. Philip E. Lilienthal, San Francisco, California

147 187 Running Through the Woods, Don Potts 1975, stuffed deer, wood, rock, globe, 194 A Made Blade Loses a Cut Strut metal, string, found objects and Winner, 1965, wood and leather, acrylic, 77x62x50%" 78X54X28" Lent by Mr. and Mrs. C. David San Francisco Museum of Modern Robinson, Sausalito, California Art. California, Gift of Sally Lilienthal Robert Kinmont Mel Ramos 188 Broken thinker's chair repaired 195 Hunt/ortheBesf,1965,oilon with three dead birds, 1973, gouache canvas, 47% X 30%" on birch and ash, steel, string and Lent by Mr. and Mrs. Frederick R. birds, 37V2XI5V8XI6V2" Weisman, Beverly Hills, California Lent anonymously Sam Richardson Fred Martin 196 Most of that iceberg is below the 189 Do You Know My Name, 1958, water, 1969, plywood, polyurethane pencil, watercolor and collage on foam, polyester resin, fiberglass, paper, series of twelve, 12x9" each polyester filler and nitro-cellulose Lent by Hansen Fuller Gallery, San lacquers, 10xll%xll%" Francisco, California Lent by Mr. and Mrs. Harry W. 190 Landscapes, Diamond with Sun, Anderson, Atherton, California

1959, pencil, watercolor, hide glue 197 At this section 0/ land it is and collage on paper, series of six, autumn: on browning grass stands a 9x12" each bush, 1970-1971, plastic, acrylic Lent by Hansen Fuller Gallery, San lacquer and bush, 6V4X49%x3y8", Francisco, California including plexiglass base and Mrs. Harry W. 191 Cock-Book, 1961, pencil, Lent by Mr. watercolor, distemper and hide glue Anderson, Atherton, California on paper, series of six, 9 x 12" each Peter Saul Lent by Hansen Fuller Gallery, San 198 Cowboy, 1974, acrylic on canvas, Francisco, California 72x56" Jim Melchert Lent by Rena Bransten, San 192 Silvery Heart, 1965, glazed Francisco, California earthenware, 131/2x141/4x13" Ursula Schneider Lent by Mr. and Mrs. Stephen D. 199 Here 6- There, 1973. vinyl, Paine, Boston, Massachusetts acrylic and hair, 48x60" 193 Game in Layers #2, 1969, glazed Lent by Dr. and Mrs. Sandor Burstein, earthenware, decals and plexiglass, San Francisco, California 19X24X24" Richard Shaw San Francisco Museum of Modern 200 Couch Landscape, 1965, acrylic Art, California, Purchase on white earthenware and wood, 11X26X11" Lent by Rena Bransten, San Francisco, California

148 Wayne Thiebaud 204 AJJ That Grass, 1966, acrylic on 201 Five Hot Dogs, 1961, oil on canvas, 65 V4X 723/4" canvas, 18x24" Lent by Private Collection Lent by John Bransten, San Francisco, 205 American Rope Trick, 1968, California wood, rope and rock, 36 x 24 x 64" 202 Pies, 1961, oil on canvas, 24x 30" Lent by Hansen Fuller Gallery, San Lent by Mr. and Mrs. Harry W. Francisco, California Anderson, Atherton, California 206 HideAs a State 0/ Mind, 1971, William T. Wiley ink and watercolor on paper, 203 Columbus Re-Routed #3,1962, 22V2X3OV4" oil on canvas, two panels, 71^x141" Lent by Des Moines Art Center, Iowa, overall Dr. Maurice H. Noun Bequest Fund, Lent by E. B. Crocker Art Gallery, 1971 Sacramento, California, Cift of the Crocker Art Gallery Association with matching funds provided from the National Endowment for the Arts

Southern California: Joe Goode Vija Celmins 210 Happy Birthday, 1961, oil on 207 Clouds, 1967, graphite on paper, canvas with painted milk bottle, 263/4x391/4" 68X68"; bottle, 83/4x33/3x33/8" Lent by Joni and Monte Gordon San Francisco Museum of Modern Family, Los Angeles, California Art, California, Extended loan of the Janss Foundation 208 Eraser, 1970, painted wood, 3X2OX6V2" 211 HnfitJed (staircase), 1965-1971, Lent by ]oni and Monte Gordon wood and carpet, 48V4 x 70 x 49 V2" Family, Los Angeles, California Lent by the artist James Eller 212 Torn Cloud, 1975, oil on canvas, 209 Rat Garage, circa 1956, painted 60x60" toy metal parking garage and toy Lent by Private Collection, Los rubber rats, 13 x 14 V2 x 25" Angeles, California Lent by Thomas Eatherton, Santa Lloyd Hamrol Monica, California 213 BJondie, 1960, painted wood, 31X15x103/8" Lent anonymously

149 Phillip Hefferton 218 L. Blue, 1961, glazed and 214 Sinking George, 1962, oil on lacquered clay, 6x 7%x5V2" canvas, 90x67" Lent by the artist Lent by Betty and Monte Factor 219 SilverDome, 1961, lacquered Family Collection, Los Angeles, and glazed clay, 68V2X21%xl5", California including wood pedestal

Jerry McMillan Lent by James J. Meeker, Fort Worth, 215 Bronze Bag, 1971, bronze plating Texas on paper, 16x12x10" Roland Reiss Lent by The Fort Worth Art Museum, 220 Adventures in the Painted Texas Desert; A Murder Mystery, 1975-1976, Richard Pettibone wood, stone, plastic, glass and metal, 216 Andy Warhol. Pepper Pot. 1962., 12x48x48" 1964, oil on canvas, OxsVs", Lent by the artist Lent anonymously Edward Ruscha Kenneth Price 221 Standard Station with lOc 217 Lou Minor Drake, 1960, glazed Western, 1963, oil on canvas, 65 x 122" earthenware, wood, glass and lace, Lent by James J. Meeker, Fort Worth, 11x91/2X61/2" Texas Lent anonymously 222 City, 1968, oil on canvas, 55x48" Lent by The Art Institute of Chicago, Illinois, 20th Century Purchase Fund

150 172 William Allan Tentative Assault on Mt Fear 1971 176 Robert Arneson Kiln Man 1971

174 Terry Allen La Despedida (The ParlingJ 1974

177 Robert Colescott The End of the Trail 1976

151 178 layDeFeo The Eyes 1958

183 William Geis Tensor 1 1966

181 Roy De Forest God's Country and the Woman 1962-1963

184 David Gilhooly Elephant Otlumun #2 1966

152 186 Robert Hudson Space Windoiv 1966

185 WallyHedrick Here's Art For 'Em 1963

189 Fred Martin Detail from: Do You Know My Name 1958

188 Robert Kinmont Broken thinker's chair repaired with three dead birds 1973

153 192 Jim Melchert Silvery Heart 1965 194 Don Potts A Made Blade Loses a Cut Strut Winner 1965

196 Sam Richardson Most of that iceberg is below the n-ater 1969

195 Mel Ramos Huiil for the Bi-st 1965

154 198 Peter Saul Cowboy 1974 199 Ursula Schneider Here S- There 1973

200 Richard Shaw Couch Landscape 1965 201 Wayne Thiebaud Five Hot Dogs 1961

155 203 William T.Wiley Columbus Re-Routed #3 1962

208 VijaCelmins Eraser 19/0

210 loeGoode Happy Birthday 1961

209 lames Eller Rat Garage circa 1956

156 213 Lloyd Hamrol BJondie 1960 216 Richard Pettibone Andy Warhol, Pepper Pot. 1962. 1964

iJirniTTniLiiiiiiiiiiiunTiiDiiMrnii ijiin

CERTS^IFIES THAT THERE 15 ON DEPOSIT IN THE TREASU_KY_OF uF OF OF @)f'J^

215 lerry McMillan Bronze Bag 1971

214 Phillip Hefferton Sinking George 1962

157 219 Kenneth Price Silver Dome 1961 220 Roland Reiss Adventures in tlie Painted Desert; A Murder Mystery 1975-1976

221 Edward Ruscha Standurd Slulion with U)c Western 1963

158 13 Collage /Assemblage and the Visual Metaphor

In California the style known as Assemblage is a covert art. It belongs to a small, arcane group of underground artists who draw upon a common source of literary, symbolic and visual metaphors which derive from a shared ambience as well as a close personal friendship and empathy for one another. All the artists in this exhibition are social critics of extreme candor who compulsively mirror their reaction to contemporary society. Critical to their work is the employment of human detritus, discarded and worn out objects which replace the conventional use of oil paint and canvas. The iconography informing the work of these artists is very often oblique and can only be decoded by the inner circle. For the most part, the artists in this exhibition are more concerned with a life style than making works of art, though very obviously their end product is distinctly art. Their art tends to be biographical and is very often ephemeral in quality. Generally speaking, these artists refuse to compromise their art for the sake of permanence. The exception to this is Edward Kienholz who engineers his work to a remarkable degree and bonds his surfaces with various plastics. Wallace Herman, Ben Talbert and Fred Mason tend to keep their work private. Bruce Conner who at one time sought public exhibition now reverses his position and has recently sought to repossess his work. George Herms appears to be completely indifferent

to the fate of his art once it leaves his hands. Of all these artists Edward Kienholz has been the most active in attempting to force public institutions to exhibit his work without censorship.

Source: John Coplans, acknowledgment for Assemblage in California, Art Gallery, University of California, Irvine, 1968.

159 Checklist Northern California: 228 Fig. 204.—Gastro-duodenostomy Paul Beattie (KocherJ, 1969, oil on canvas over 223 Dark Sun, 1965, collage: wood, 33X25" printer's ink on paper, 11x9^8" Lent by The Art Institute of Chicago, Lent by the artist Illinois, 20th Century Purchase Fund Bruce Conner Harold Paris 224 Rat Bastard #2,1959, wood, 229 Chai 14, 1969, vacuum-formed nylon, nut shells, magazine polyvinyl, 8V2X20V2XI7V4" reproduction, marbles, wax and Lent by University Art Museum, 11 of California, feathers , 1 53/4 X 1/4 X 2 V2" Berkeley, University Lent by Charles Cowles Gift of Mr. and Mrs. Anton Marguleas, San Francisco 225 Child, 1959-1960, wax figure, wood high chair, nylon, cloth, metal Clay Spohn and twine, 345/8x17x161/2" 230 Precious Objects, circa 1949, Lent by The Museum of Modern Art, metal and glass gum dispenser filled New York, New York, Gift of Philip with toothpicks, cigarette butts, Johnson, 1970 ashes, torn postcards, letter frag- ments, rhinestones and cloth rose, 226 Globe, 1964, acrylic on world 121/4x73/4x73/4" globe and metal, 29 x 18%" diameter Lent by the Collection of The Lent by Braunstein/Quay Gallery, San Oakland Museum, California, Gift of Francisco, California the artist Jess

227 Tricky Cad , circa 1959, collage: newspaper on illustration board, 19x7" Lent by Los Angeles County Museum of Art, California, Gift of Mr. and Mrs. Bruce Conner

Southern California: Tony Berlant Robert Alexander 234 The Heart ofthe Deep, 1970, 231 Untitled, 1956, blood and typed wood, polyester, tin, enamel, nails poem on paper mounted on and whale's tooth, IIV2X7V8XIO" cardboard, 25VbX\7%" (sight) Lent by Edwin Janss, Thousand Oaks, Lent by Sid Zaro, Los Angeles, California California Wallace Barman Ed Bereal 235 SeminaNos. 1-9.1955-1964, 232 Focke-WuI/FW 109, 1960, metal, assembled publication, each issue canvas, pipes, paint and nails, containing loose sheets with poems, 21V4XI2X6" drawings and photographs by various Lent by Betty and Monte Factor artists, in various containers; nine Family Collection, Los Angeles, different sizes, from 73/3x4" to 11 x 9" California Lent by Hal Glicksman, Venice. California 233 Stuka-/U 87, 1960, metal, canvas, pipes, paint and nails, 236 Untitled, 1956, ink on treated 14 V2X 11x31/2" paper mounted on canvas, 193/8 x 19 V4" Lent by Betty and Monte Factor Lent anonymously Family Collection, Los Angeles, California

160 237 UntitJed, 1956-1957, ink on Llyn Foulkes treated paper mounted on canvas, 246 FJanders, 1961-1962, 19V2XI9V2" polyethylene, canvas, acrylic, Lent by Mrs. Allen Bleiweiss, Los enamel, newspaper and wood, two Angeles, California units: 54x36x14"; I6XI53/4" Lent by Ernest and Eunice White, Los 238 UntitJed, circa 1956-1957, ink on Angeles, California treated paper mounted on canvas, 191/2x191/2" George Herms Lent by Hal Glicksman, Venice, 247 Three Cross, 1961, wood, wood California cabinet door and metal faucet handle, 25x17x81/2" 239 UntitJed, 1965-1968, verifax Lent by Diana Zlotnick, Studio City, collage, 24x261/8" California Lent by Dean Stockwell, Topanga, California 248 Greet the Circus with a SmiJe, 1962, wood, dressmaker's dummy, 240 UntitJed , circa 1966, verifax feathers, photographs, magazine collage, 12x13" pages, cloth, metal, cushion and Lent by Timothy Corcoran, Los found objects, 68 x 281/2 x 20" Angeles, California Lent by Ed Gregson, Los Angeles, 241 Untitled, 1967, verifax collage California mounted on plywood, 48x451/4" Daniel La Rue Johnson Lent by Los Angeles County Museum 249 UntitJed, 1961, painted wood, of Art, California, The Kleiner wax and doll's head, 5% x 45/3 x 3%" Foundation Gift of Contemporary Art Lent anonymously through the Contemporary Art Council Edward Kienholz 250 George Warshington in Drag, 242 UntitJed , circa 1967-1968, 1957, painted wood relief, verifax collage, 24 x 26" 311/2x35x3" Lent by Sid Zaro, Los Angeles, Lent anonymously California 251 Jane Doe, 1959, wood sewing 243 UntitJed, 1973, wood, rock, chest with fur-rimmed drawers, head chain, paint, photograph and glass, and neck of female mannequin, skirt 91/2x91/2x6" of white bridal dress and oil, Lent by Edwin Janss, Thousand Oaks, 42X27X16" California Lent by Laura Lee Stearns, Los Judy Chicago Angeles, California 244 Transformation Painting, 1973, For exhibition at San Francisco sprayed acrylic and felt-tip pen on Museum of Modern Art only canvas, 40i/8x40V8" 252 /ohn Doe, 1959, two halves of Lent by Deborah Marrow and Michael armless male mannequin, child's McGuire, Philadelphia, Pennsylvania perambulator and oil, 41x19x34" William Dole Lent by Sterling HoUoway, Laguna 245 Printout, 1969, collage: Beach, California watercolor on paper, 171/2XI6" Lent by Jodi Scully Gallery, Los Angeles, California

161 253 The Illegal Operation, 1962, Ben Talbert fiberglassed shopping cart, furniture, 259 The Ace, 1961-1962, artist's concrete, medical implements and easel, bicycle wheel, airplane wings, rug, 59x48x54" photograph, paper collage and oil, Lent by Betty and Monte Factor 96x50x38" Family Collection, Los Angeles, Lent by Hal Glicksman, Venice, California California For exhibition at the San Francisco 260 Registered Trademark, 1963, Museum of Modern Art only collage: magazine reproductions and Fred Mason colored and printed paper on paper,

254 Super Ball , 1960, wood, basket, 103/4x81/4" (sight) doll's plaster arms and legs, hair, Lent by )ohn E. Talbert, West Covina, feathers, mirror, cloth and dried rose, California 26X201/2X5" 261 Someone Pulled Out the Plug, Lent by the artist 1963, collage: newspaper and 255 Up's Brother, 1963, wood, magazine reproductions on paper, rubber, leather holster, metal, doll's 101/4 X 71/8" body, lace, magazine reproduction, Lent by )ohn E. Talbert, West Covina, photographs, cardboard, glove and California rose, 30xl3V2x5" dried Stephan von Huene Lent by the artist 262 Totem Tone II, 1970, wood, Arthur Richer leather, plexiglass, metal and 256 Semper Fi, 1957, oil on canvas, pneumatic valves, 871/2x30^8x20" 65X45" Lent by Mr. and Mrs. William M. Lent by George Herms, Los Angeles, Roth, San Francisco, California California Betye Saar 257 Black Girl's Window, 1969, wood window frame, glass, color etchings, ink on paper, daguerreotype, cloth, paint and found objects, 35y4Xl8xlV2" Lent by the artist 258 The Time Inbefween, 1974, wood box, magazine reproductions, leather glove, fan, jewelry and found objects, 31/4x111/2x8" (closed) Lent by the artist

162 223 PaulBeattie Dark Sun 1965 225 Bruce Conner Child 1959-1960

229 Harold Paris Choi 14 1969

227 Jess Tricky Cad circa 1959

163 230 Clay Spohn Precious Objects 234 Tony Berlant The Heart of circa 1949 the Deep 1970

232 EdBereal Focke-Wul/FW 109 1960

231 Robert Alexander Untitled 1956

164 * V - -, -J aan

248 George Herms Greet the Circus with 249 Daniel La Rue lohnson Untitled a Smile 1962 1961

254 Fred Mason Super Ball 1960

252 Edward Kienholz John Doe 1959

166 256 Arthur Richer Semper Fi 1957 258 Betye Saar The Time Inbetween 1974

262 Stephan von Huene Totem Tone 11 1970

259 BenTalbert The Ace 1961-1962

167 4 Color and Field Abstraction

Color has played a major role in California painting and sculpture in both the Bay Area and Southern California from the very beginning of this century. In Oakland, in the 1920's, the Society of Six saturated their tiny canvases with joyful color reminiscent of the French Fauves. Stanton Macdonald-Wright, along with Morgan Russell and others, founded the international movement of Synchromism in Paris in 1912, which was based upon scientifically worked chromatic scales of color. Macdonald-Wright brought his ideas back to Los Angeles in 1919.

Recent history shows that while color has been important to Northern California artists, especially its unique use in the sculpture of Seymour

Locks, Jeremy Anderson, Manuel Neri and Robert Hudson, it remained for Los Angeles artists to give color a position of primacy in their work.

In the 1930's Peter Krasnow and Oskar Fischinger were using geometric modules to contain their clean, opaque and transparent color studies. By the late 1940's the Los Angeles Abstract Classicists, John McLaughlin and Lorser Feitelson, had achieved a color and form expression which rivalled the sophistication of Josef Albers.

Of the next generation probably Billy Al Bengston was the first to reach beyond traditional oil paint on canvas to achieve new and strikingly heightened color effects. Multiple sprayed layers of automobile lacquer on primed masonite gave his work the highly reflective but translucent surface of a surfboard. Kenneth Price and later John McCracken would utilize similar effects in their work.

Robert Irwin's minimal line paintings of the early 1960's started him on an extended journey of extracting the essence of light and its colors from a variety of new materials for artists including spun aluminum, plexiglass, cast acrylic and, most recently, fabric scrim.

168 Craig Kauffman's vacuum-formed plastic wall units, paint-coated from the back, allow light to penetrate the surface and bounce back shimmering color sequences. The cast acrylic work of Peter Alexander, DeWain Valentine and Frederick Eversley provide similarly enhanced optical effects through translucency.

Larry Bell, by applying vacuumed-attached colorants to glass surfaces, reaches for the ultimate cognizance of light and color in harmonious conjunction.

Based on the work of these experimentors, young artists such as Jim Turrell, Maria Nordman, Michael Asher, Eric Orr and others are stretching light and color into fully saturated environmental chambers.

In a more traditional vein the brilliant color handling and grand scale of Sam Francis, Ronald Davis, Tom Holland and the recent work by Richard Diebenkorn combine to absorb the viewer into expansive fields the Fauves could only dream of. HT.H.

169 checklist Northern California: David Jones

Fletcher Benton 266 Untitled , 1976, lacquer on steel, 263 SynchroneticC-2500-S,1969, wood and fiberglass, 78V4X93V4" stainless steel, plexiglass and motor, Lent by the artist 631/2x713/8X6%", including Gregg Renfrow plexiglass base 267 Untitled, 1976, polymer and Lent by Mr. and Mrs. Harry W. fibermesh, two panels, 69x99" Anderson, Atherton, California overall Tony DeLap Lent by Mr. and Mrs. Eugene C. 264 Tango Tangles III, 1966, lacquer Payne, III, San Francisco, California on wood and fiberglass, 39x39x39" For exhibition at San Francisco Lent by Long Beach Museum of Art, Museum of Modern Art only California David Simpson Tom Holland 268 Red V\Iave, 1965, co-polymer on 265 Untitled, from Berkeley canvas, 66x66" Series, 1970, epoxy on fiberglass, Lent by La Jolla Museum of 9IX67V2" Contemporary Art, California Lent by The Fort Worth Art Museum,

Texas, Gift of Mr. J. J. Meeker

Southern California: 273 Untitled, 1968, coated glass with Peter Alexander vaporized metallic compounds and 269 Untitled, 1968, cast polyester metal, 36x36x36" resin, 661/2 X6V4X6V4" Lent by Mr. and Mrs. C. David Lent by University Art Museum, Robinson. Sausalito, California Berkeley, University of California Billy Al Bengston Charles Arnold! 274 Bridgette, 1959-1960, oil on 270 Boggie, 1973, acrylic on tree canvas, 171/3x13" branches, 96X96" Lent anonymously

Lent by Robert A. Rowan, Pasadena, 275 Buster, 1962, oil and sprayed California lacquer on masonite, 60 x 60" Larry Bell Lent by La Jolla Museum of 271 Conrad Hawk, 1962, acrylic Contemporary Art, California polymer on canvas and glass, 276 Lady /rem Louisiana, 1968, 601/8X6578X33/4" acrylic lacquer on metal, Lent by the artist 12x111/4x11/2" 272 Untitled, 1968, coated glass with Lent by The Fort Worth Art Museum, vaporized metallic compounds and Texas, Gift of Mr. and Mrs. Andrew P. metal, 18i/8X18i/bX 181/3" Fuller San Francisco Museum of Modern Art, California, Extended loan of Rena Bransten

170 Ronald Davis Robert Irwin 277 #110 Frame, 1969, polyester 284 A Bed ojYKoses, 1962, oil on resin and fiberglass, 50y2X 140V2" canvas, 66x65" Lent by Nicholas Wilder Gallery, Los Lent by Mr. and Mrs. Sid R. Bass, Fort Angeles, California Worth, Texas

278 Bridge through Frame, 1976, 285 Untitled, 1964-1966, oil on acrylic on canvas, 114x 122V2" bowed convex canvas, 84x84" Lent by Berta and Frank Gehry, Santa Lent by Melinda Wortz, Pasadena, Monica, California California Richard Diebenkom 286 Untitled, 1968, sprayed 279 Ocean Park #53, 1972, oil on plexiglass, 53" diameter x 24" canvas, 100x76" San Francisco Museum of Modern Lent by San Antonio Museum Art, California, T. B. Walker Association, Texas, Purchased with Foundation Fund Purchase of funds from the National aid Richard Jackson Endowment for the Arts and the 287 Untitled, 1976, canvas, wood Brown Foundation and acrylic on wall, two walls, Laddie John Dill 166X103" each 280 Untitled, 1975, cement, polymer Courtesy Daniel Weinberg Gallery, and glass on plywood, 84x60" San Francisco, California Lent by James Corcoran Gallery, Los Work created for site Angeles, California Craig Kaufiman Frederick Eversley 288 Untitled VtlaW Relief, 1967,

281 Untitled , 1971 , cast polyester vacuum-formed plexiglass, resin, 36V2" diameterx9y8" 50x72x15" Lent by the artist Lent by Los Angeles County Museum Sam Francis of Art, California, Gift of the Kleiner 282 Blue BaJJs 1,1960, oil on canvas, Foundation 119x1611/2" Lent by the artist 283 Upper Yellow, 1967, acryUc on canvas, 865/8X1575/8" Lent by the artist

171 John McCracken DeWain Valentine 289 Column (blue), 1975, polyester 294 Triple Disk, 1966, fiberglass resin, 90 X20V2XIOV2" reinforced plastic, 72x84x72" Lent by Nicholas Wilder Gallery, Los Lent by the artist Angeles, California Guy Williams Edward Moses 295 Untitled, 1960, oil on canvas, 290 Hagamatama, 1972, acrylic on 96x66" canvas and plastic resin, 84 x 108" Lent by the artist Lent by Edwin Janss, Thousand Oaks, Tom Wudl California 296 Untitled, 1972, acrylic polymer Peter Plagens and gold leaf on perforated rice paper

291 The Grave of Reason , 1976, oil imbedded with maple and bamboo and acrylic on canvas, 68x90" leaves, laminated with polymer, Lent by Nancy Hoffman Gallery, New 72X60" York, New York Lent by the Grinstein Family, Los Michael Todd Angeles, California 292 Ako's Enso, 1976, varnished, Richard Yokomi welded steel, 114x112x50" 297 Untitled, 1975, acrylic on approximately synthetic canvas, 82y2x80" Lent by the artist, courtesy The Lent by Nicholas Wilder Gallery, Los Zabriskie Gallery, New York, New Angeles, California York For exhibition at National Collection of Fine Arts only 293 Untitled, 1976, varnished, welded steel, 114x112x50" Lent by the artist, courtesy Nicholas Wilder Gallery, Los Angeles, California For exhibition at San Francisco Museum of Modern Art only

172 263 Fletcher Benton Synchronetic C-2500-S 1969

266 David Jones Untitled 1976

265 Tom Holland Untitled, from Berkeley Series 1970

264 Tony DeLap Tango Tangles III 1966

173 2liH David Simpson Hed Wave 19ii5 269 Peter Alexander Untitled 1968

^Ii7 Cii'HK Ki'iilnnv Cnlillcd 1976

270 Charles Arnoldi Boggie 1973

174 1 1

279 Richard Diebenkorn Ocean Park #53 1972

272 Larry Bell Untitled 1968

275 Billy Al Bengston Buster 1962

175 280 Laddie lohn Dill Untitled 1975

288 Craig Kauffman Untitled Wall Relief 1967

287 Richard |ackson Untitled 1976

176 289 John McCracken Column (blue) 1975 290 Edward Moses Hagamatama 1972

291 Peter Plagens The Grave o/ Reason 1976

293 Michael Todd Untitled 1976

177 295 Guy Williams Untitled 1960

297 Richard Yokomi Untilied 1975

29(5 lomVVudl Untitled 1972

178 15 New Realism and The Visionaries

New Realism "Beyond the Actual" implies more than the considerable skill of faith- fully rendering the factual literalness of a given subject. The artist is not a camera. The mind's eye is quite a different thing than the camera's lens as the image registered on the retina is always conditioned by human experience. Nevertheless, high fidelity to the actual subject appears to be unusually prevalent among a majority of these painters

but it is a state best considered a means to another end. Most feel the

reality of their work, its meaning, is reached beyond the literal ... in this

sense, it is para-realistic!

Located in major metropolitan cities: San Francisco, Oakland, Los Angeles, and Sacramento, the works of these artists initially seem to have much in common. A number of them are close friends, yet each works independently; and collectively, their works cannot be categorized as a school of painting with a common structure and purpose.

If reasons exist which tend to unite these painters, they lie more in what has been rejected i.e., expressionism, the non-objective and abstract, and perhaps in technical aspects of their style. For example, use of the oil medium by the majority indicates the speed of completing a painting is of secondary importance for many spend hundreds of hours in completing a painting.

Source: Donald Brewer, catalog essay for Beyond the ActuaJ- Contemporary California Realist Painting, Pioneer Museum and Haggin Galleries, Stockton, California, 1970.

179 The Visionaries A strong, richly fertile undercurrent in the San Francisco area has been felt by a group of Bay Area painters who are utilizing it to produce a highly refreshing style of art. This new style is characterized by its intense introspective and spiritual qualities, its instructive nature and

its dazzling technical skill. This "movement" has already been labeled visionary painting.

To a degree this development has received ripples from earlier San Francisco movements. Conventions found in the forms of the poster- makers and psychedelic artists, content of the vast rock-music and light show performances, as well as the symbolism of Eastern and primitive religions and ancient occult societies, all have contributed raw source material.

Yet the innovations produced by these visionaries have not come about only through immersion in these spiritual streams. They are often nourished through feeding upon, or reacting to, the events of past art history through the expansion or development of all but forgotten forms and concepts. The imagery and content within the work of these artists contain visual footnotes which refer to the contributions of other schools.

Most immediate of these is a surface resemblance to the work of the surrealist, metaphysical and fantasy painters of the early part of our century. The difference between them lies not so much in method and technique but in motives and what today might be called group dynamics.

The intensity and profusion of symbols which represent the subconscious are a measure of the San Francisco's group faith in the

richness of its content. They simply want to use it to reach, touch, and,

if possible, change people. They are more like emissaries projecting the more human possibilities of other realities.

Perhaps reversing the idea of the earlier surrealists, these visionaries convey the sense that the conscious world is now that dark "Other Side;" conversely, the unconscious world—their primary source — is the only possible channel to a new alternate reality. They are trying to show the delight and mystery of this shadow land's erotic and sensual nature.

Source: Donald Brewer, catalog essay for Other Landscapes and Shadow Land, University of Southern California Art Galleries, Los Angeles, 1971.

180 checklist New Realism Richard McLean Northern California: 301 Still Li/e with Black Jockey, Robert Bechtie 1969, oil on canvas, 60x60" 298 '60 T-Bird, 1967-1968, oil on Lent by Whitney Museum of canvas, 72x983/4" American Art, New York, New York University Lent by Art Museum, Joseph Raffael Berkeley, University of California 302 Water Painting IV, 1973, oil on Ralph Goings canvas, 78xll4" 299 Paul's Corner, 1970, oil on Lent by Private Collection, San canvas, 48x75%" Francisco, California Lent by Max Palevsky, Los Angeles, California Howard Hack 300 Window #21, F. Uri Meat Co., 1967, oil on canvas, 84% x 109" San Francisco Museum of Modern Art, California, Extended loan of Mr. and Mrs. Harry V/. Anderson

Southern California: Paul Sarkisian Robert Graham 306 Untitled, 1970, acrylic on canvas, 303 #2 Mirror, 1971-1973, bronze and 1171/4x141" mirror, edition of 6, 10y4X29y8X23y8" Lent by Mr. and Mrs. Gene A. Estribou, Lent by the artist Big Sur, California 304 Single Figure, 1973-1976, bronze, James Valerio edition of 3, 66x9x9" 307 Swan Lake and SignoreJJi's Lent by the artist Lament, 1974, oil on canvas, 96x112" Maxwell Hendler Lent by the artist 305 BeerbottJe, 1968-1969, oil on canvas, 9X10" Lent by the artist

181 The Visionaries Bill Martin Northern California: 311 /Autumn, 1974-1976, oil on Tom Akawie canvas, 55" diameter 308 Pyramid Sunset, 1974, Lent by Nancy Hoffman Gallery, New airbrushed acrylic on masonite, York, New York 9V2" diameter Norman Stiegelmeyer Lent by the artist 312 The Fluorescent Dancer Enters 309 PoIlyAnn Bakery, 1975, the Temple of the Golden Skull, 1967, airbrushed acrylic on masonite, acrylic on canvas, 65V2X67%" 7x11" Lent by the artist Lent by the artist Gage Taylor Nick Hyde 313 Holy Grove, 1975, oil on canvas, 310 Urp, 1972-1973, oil on canvas, 48" diameter 84x61 1/4" Lent by Gallery Rebecca Cooper, Lent by the artist Washington, D.C.

Southern California: ClififMcReynolds

314 A New Earth (11 Peter 3:13). 1976, oil on canvas, 40x40" Lent by Gallery Rebecca Cooper, Washington, D.C.

182 298 Robert Bechtle '60 T-Bird 1967-1968 300 Howard Hack Window #21, F. Uri Meal Co. 1!)()7

^S#^^!^jf'-^W-r-.-t

302 Joseph Kdll.i. I IVuter Painting (V 1973 iiiiiiiiili^^ 301 Richard McLean Stili Li/e with Black Jockey 1969

183 304 Robert Graham Single Figure 306 Paul Sarkisian Untitled 1970 1973-1976

305 Maxwell Hendler Beerbollle 1968-1969

307 James Valerio Sivan Lake and Signorelli's Lament 1974

184 311 Bill Martin Autumn 1974-1976 313 Gage Taylor Holy Grove 1975

312 Norman Stiegelmeyer The Fluorescent Dancer Enters the Temple of the Golden Skull 1967

310 Nick Hyde Urp 1972-1973

314 Cliff McReynolds A New Earth (JJ Peter 3;I3J 1976 185 16 Conceptual, Environmental and Performance

Conceptual art, performance art and environmental art, each have a quickly increasing group of practitioners and supporters in California

as they do in the rest of the world, for it is this aspect of California art, both Southern and Northern, which has been absorbed most completely into the international spectrum. Tom Marioni, founder of the Museum of Conceptual Art in San Francisco, Terry Fox, Bruce Nauman, Chris Burden, Michael Asher and others are probably better known in Italy, Germany and Yugoslavia than they are in California or the United States in general.

The seeds of the ideas now flowering in these movements were planted in the 1920's in Europe. They were seedlings when used by Rauschenberg, Dine, Oldenburg, Tinguely, Cage and Kienholz in the 1950's and 1960's. But, the harvesters, as participators and audiences, are the anti-object, post-museum generation of the 1970's. And, while

it is understandable and seemingly desirable that internationalism should dominate the thinking of this generation there is still visible the vestigal remains of a sense of place as evidenced in the following statement. (H.T.H)

"In the spaces created by Nauman, Orr, Wheeler, Asher, Irwin, Turrell

and Nordman it is not in fact possible to escape the identity of one's body. Everything is reduced to perceiving a phenomenon which swings from within to without and vice versa, without settling on any object or crystallized and quantified product. By reducing references to quantified images to a maximum and polarizing the sense upon simple events of sound and light, these artists want the body's periphery to cut down its attention to external objects and to 'convey' itself towards inward processes, so that the person's enteroceptive sensitivity will then exalt the visceral sensations and their ways of association and experience.

186 These spaces, unlike European ones which are laden with optical and visual complications, being permeated with emptiness and nothing- ness, immobility and non-images, do in fact bring on a state of concentration and inward meditation. They seem to take one into non-matter, but this sensation turns out to be 'full of things,' chief among which are initially the elementary and minimal presence of light and sound, and then oneself. After having felt and tested the minimum alterations of the effects of light and sound, one feels the need to be alone with oneself, to sit down quietly, without moving, and to wait for something to happen. In this way one attains what is called the 'alfa state' —a 'calm, watchful, relaxed state, open to every pleasant experience,' in which 'one remains watchful, widening one's attention in all directions.' In this state, the visitor draws the experience into his own orbit of attention, so that the space, in its within and in its without, is merged together and the experience rediscovers itself."

Source: Germano Celant, "Arte Ambientale Californiana," Domus, No. 547, June 1975. Translated from Italian.

187 ,

Checklist Northern California: Darryl Sapien Terry Fox 321 Sel/-Portrait, 1976, colored 315 Our li/e /lows 800 times slower pencil and graphite on acetate, two than a fly's /One minute for us is 12 drawings, 30y2X30V2"each hours/orthe/iy, 1971-1976, black and Lent by the artist photographs glass jar, white and 322 Studies for "Within the x 72" series of 54 photographs, 72 Nucleus," 1976, performance at San jar, 10x7" diameter overall; glass Francisco Museum of Modern Art, the artist Lent by California, March 27, 1976; Howard Fried performers: Darryl Sapien and 316 Synchromafic Baseball, Michael Hinton, colored pencil and 1971-1976, documentation of event, graphite on acetate, two drawings, San Francisco, California, September 5, 43X32" each 1971, black and w^hite photographs Lent by Austin Conkey, San and photostats, 46x53" Francisco, California Lent by the artist 323 Documentation of Within the Tom Marioni Nucleus, 1976, performance at San 317 Announcement of artist's Francisco Museum of Modern Art, appointment as Director of San California, March 27, 1976; Francisco Museum of Art, 1973, offset performers: Darryl Sapien and lithography on card, 3% x 5%" Michael Hinton, six color Lent anonymously photographs. 171/4x111/2" d) 11x14" Bruce Nauman a) b) 171/4x111/4" e) 171/8X113/8" 318 Untitled, 1965, fiberglass, 14X11" f) 171/8x111/4" 83 X 48x31/2" c) Lent by the artist Lent by Private Collection 319 Window orWall Sign, 1967, blue and peach neon tubing, 59x55" Lent by Leo Castelli Gallery, New York, New York 320 Untitled, 1974, pencil on paper, 28x41" Lent by Nicholas Wilder Gallery, Los Angeles, California

Southern California: John Baldessari Michael Asher 325 ...no ideas have entered this 324 Preliminary Drawing of work, 1966-1968, acrylic on canvas, Construction Detail for Documenta 5 671/2x561/2" 1972, pencil on paper, 22x30" Lent by Sonnabend Gallery, New Lent by The Claire Copley Gallery, York, New York Inc., Los Angeles, California

188 Chris Burden 332 Reading and Drawing Pages 326 Prelude to 220, or 110, 1971, 1-250, 1975, pencil on paper, series of documentation of performance at F five drawings with 50 sheets of paper Space, Los Angeles, California, behind each drawing, 22V2X 281/2" September 10-12, 1971, black and each white photographs, 4/5 and 5/5, two Lent by The Claire Copley Gallery, photographs, 13V8XlOV8"each Inc., Los Angeles, California Lent by Riko Mizuno Callery, Los DeWain Valentine Angeles, California 333 Catenary Light, 1970-1971, 327 Bed Piece, 1972, documentation documentation of installation in of performance on Market Street, artist's studio, Venice, California, Venice, California, February 18- color photograph, 39^x593/4" March 10, 1972, black and white Lent by the artist 1034x13%" photograph, 5/5, William Wegman Lent by Riko Mizuno Gallery, Los 334 Cotto, 1969, black and white Angeles, California photograph, 1/10, IO1/2XIO3/4" 328 7A7, 1973, documentation of Lent by Edward Ruscha, Los Angeles, performance near Los Angeles California International Airport, California, 335 Dog/Milk, 1970, black and white January 5, 1973, black and white photographs, 1/2, two photographs, photograph, 5/5, 133/4X1034" 131/2x101/2" each Lent by Riko Mizuno Gallery, Los Lent by Edward Ruscha, Los Angeles, Angeles, California California 329 Chris Burden 71-73, 1974, text 336 Bedroom, 1972, black and and 53 photographs in binder white photograph, 1/1, 14xll" documenting artist's events and Lent by Edward Ruscha, Los Angeles, performances from 1971 to 1973, California 36/50,115/8X111/4" Lent by Hansen Fuller Gallery, San 337 Bubbles, 1972, black and white Francisco, California photograph, 1/1, 14xll" Lent by Edward Ruscha, Los Angeles, Newton Harrison California 330 Outcome from Notations on the Ecosystem o]i\ie Western Salt Works 338 WaVi AvjokeWialj Asleep .V^Tl. (with the inclusion o/ brine shrimpj, black and white photographs, 1 /2, 1971, presented at Los Angeles two photographs, 14X11" each County Museum of Art, California, Lent by Edward Ruscha, Los Angeles, 1971, photographs, collage, graphite, California ink and oil on canvas, 73V2X55V2" 339 Sweater Writing, 1972, black and Lent by the artist white photograph, 1/1, 14xll" Allen Ruppersberg Lent by Edward Ruscha, Los Angeles, 331 Sel/-Portrait and Sculpture, California 1973, cardboard box and paper, Douglas Wheeler 13x121/2x91/2" 340 Un/inished Plan fLight and Lent by The Claire Copley Gallery, Soundless SpaceJ, 1973, graphite and Inc., Los Angeles, California colored pencil on graph paper, 19X34" San Francisco Museum of Modern Art, California, Anonymous Gift

189 316 Howard Fried Synchwmatic Baseball 1971-1976

Thr Bnnid of Tnttlrti of TAf San Fnnntttt Miurum of Art a'f plfMtd to nnitiiuntf llir appt'iilntm at Tlmmai •Vanoni 01 [t'ttnor, /dniMrt './•?'

317 Tom Marioni Announcement of artist's appointment as Directorof San Francisco Museum of Art 1973

3 1 5 Terry Fox Our Li/e Flows 800 Times Slower... 1971-1976

190 319 Bruce Nauman Window or Wall Sign 1967

IHJHTPh/ Miili.ii'l Aslu 1 lnst,ill,ilii)n shot, September 1974. The daire Copley Gallery. Inc.. Los Angeles. California (Not in exhibition)

EVERYTHING IS PURGED FROM THIS PAINTING BUT ART, NO IDEAS HAVE ENTERED THIS M/ORK.

this 32R Chris Burden Prelude lo 220. or 110 1971 325 lohn Baldessari . . no ideas hove entered work 1966-1968

192 330 Newton Harrison Outcome from Notations on the Ecosystem Maria Nordman Installation shot. Saddleback ofthe Western Saltworks 1971 Mountain. September 25-October 28. 1973. Art Gallery. University of California. Irvine (Not in exhibition)

lim Turrell Installation shot. Prado, 1967, Pasadena Art Museum. California (Not in exhibition)

331 Allen Ruppersberg SeI/-Porfrait and Sculpture 1973

193 333 DeVVain Valentine Catenary Light 1970-1971 334 William VVegman Cotto 1969

340 Douglas Wheeler Un/inished Plan (Light and Soundless Space) 1973

194

Biographies

Arlo Acton Born 1933, Knoxville, Iowa. Studied 1968; Esther Robles Gallery, Los at Washington State University, Angeles, 1969. Group exhibitions Pullman, B.A., 1958; California include Troisieme Biennale de Paris, School of Fine Arts (now San Musee d'Art Moderne de la Ville de Francisco Art Institute), M.F.A., 1959. Paris, 1963 (cat.); Funk, University Settled in San Francisco, 1958. Art Museum, University of Resides, North San Juan, California. California, Berkeley, 1967 (cat.); First one-man exhibition held at American Sculpture of the Sixties, Holies Gallery, San Francisco, 1962. Los Angeles County Museum of Art, Subsequent solo exhibitions include 1967 (cat.). Hansen Gallery, San Francisco, 1967,

Tom Akawie Born 1935, New York. Moved to Art Institute, 1968; California Los Angeles, 1937. Studied at Los Palace of the Legion of Honor, San Angeles City College, 1953-1956; Francisco, 1971. Group exhibitions Olympic Art Guild, Los Angeles, include Art '65: Lesser Known and 1955-1956; University of California, Unknown Painters, American Berkeley, B.A., 1959; M.A., 1963. Express Pavilion, New York World's Lived in Northern California except Fair, New York, 1965 (cat.); Spray, for 1965-1966, Los Angeles. Resides, Santa Barbara Museum of Art, Berkeley, California. First one-man California, 1971 (cat.); Alternative exhibition held at Comara Gallery, Realities, Museum of Contemporary Los Angeles, 1965. Subsequent solo Art, Chicago, 1976 (cat.). exhibitions include San Francisco

Peter Alexander Born 1939, Los Angeles. Studied 1969, 1970; Nicholas Wilder Gallery, at University of Pennsylvania, Los Angeles, 1970. Group exhibitions Philadelphia, 1957-1960; Architect's include 14 Sculptors: The Industrial Association, London, 1960-1962; Edge, Walker Art Center, University of California, Berkeley, Minneapolis, Minnesota, 1969 (cat.); 1962-1963; University of Southern Transparency, Reflection, Light, California, Los Angeles, 1963-1964; Space: Four Artists, UCLA Art University of California, Los Angeles, Galleries, University of California, B.A., 1965; M.F.A., 1968. Resides, Los Angeles, 1971 (cat.); Documenta 5, Malibu, California. First one-man Kassel, Germany, 1972 (cat.); A exhibition held at Bowers Museum, View Through. The Art Galleries, Santa Ana, California, 1964. California State University, Long Subsequent solo exhibitions include Beach, 1975 (cat.). Robert Elkon Gallery, New York, 1968,

Robert Alexander Born 1922, Chicago, Illinois. No Syndell Studio/Now Gallery, Los formal art training. Also works under Angeles, 1956. Group exhibitions names "alexander" and "baza". include Directions in Collage: Moved to Los Angeles, 1933. Lived in California, Pasadena Art Museum, San Francisco, 1957-1960. Resides, California, 1962; Late Fifties at the Venice. California. First one-man Ferus, Los Angeles County Museum exhibition held at Coronet-Louvre of Art, 1968 (cat.); Collage and Theatre, Los Angeles, 1955. Assemblage in Southern California, Subsequent solo exhibitions include The Los Angeles Institute of room environment for Action^, Contemporary Art, 1975.

196 .

William Allan Born 1936, Everett, Washington. Whitney Museum of American Art, Came to California, 1954. Studied at New York, 1974 (cat.). Group California School of Fine Arts (now exhibitions include Slant Step Show, San Francisco Art Institute), B.F.A., Berkeley Gallery, San Francisco, 1958. Left California, 1959; returned 1966; Funk, University Art Museum, 1966. Resides, Mill Valley, California. University of California, Berkeley, First one-man exhibition held at Scott 1967 (cat.); Separate Realities, Los Galleries, Seattle, Washington, 1964. Angeles Municipal Art Gallery, 1973 Subsequent solo exhibitions include (cat.); America 1976, United States San Francisco Museum of Art (SECA Department of the Interior, Grant Exhibition), 1970 (cat.); Washington, D.C., 1976 (cat.).

Terry Allen Born 1944, Wichita, Kansas. Spent Houston, Texas, 1975 (cat.). Group childhood and high school years in exhibitions include The Spirit of the Lubbock, Texas. Came to California, Comics, Institute of Contemporary 1961. Studied at Chouinard Art Art, University of Pennsylvania, Institute, Los Angeles, B.A., 1966. Philadelphia, 1969 (cat.); Surrealism Resides, Fresno, California. First is A Jive and Well in the West, Baxter one-man exhibition held at Michael Art Gallery, California Institute of Walls Gallery, San Francisco, 1968 Technology, Pasadena, 1972 (cat.); (also 1970, 1973 [Los Angeles], 1974 Extraordinary Realities, Whitney [New York]). Subsequent solo Museum of American Art, New York, exhibitions include Museum of 1973 (cat.); Great American Rodeo, Contemporary Art, Chicago, 1971 Fort Worth Art Museum, Texas, 1976 (cat.); Contemporary Arts Museum, (cat,).

John Altoon Born 1925, Los Angeles. Studied at Group exhibitions include American Otis Art Institute, Los Angeles, Drawings, The Solomon R. 1947-1949; Art Center School, Los Guggenheim Museum, New York, Angeles, 1949-1950; Chouinard Art 1964 (cat.); Late Fifties at the Ferus, Institute, Los Angeles, 1950. Died Los Angeles County Museum of Art, 1969, Los Angeles. First one-man 1968 (cat.); Spray, Santa Barbara exhibition held at Santa Barbara Museum of Art, California, 1971 Museum of Art, California, 1951 (cat.); Eight from California, National Subsequent solo exhibitions include Collection of Fine Arts, Smithsonian San Francisco Museum of Art, 1967 Institution, Washington, D.C., 1974 (cat.), 1969; Whitney Museum of (cat.). American Art, New York, 1971 (cat.).

Jeremy Anderson Born 1921, Palo Alto, California. (cat.). Group exhibitions include Studied at California School of Fine IVlobiJes and Articulated Sculpture, Arts (now San Francisco Art California Palace of the Legion of Institute), 1946-1950. Resides, Mill Honor, San Francisco, 1948 (cat.); Valley, California. First one-man American Sculpture of the Sixties, exhibition held at Metart Gallery, San Los Angeles County Museum of Art, Francisco, 1949. Subsequent solo California, 1967 (cat.); Continuing exhibitions include San Francisco Surrealism, La Jolla Museum of Art, Museum of Art, 1966 (cat.); Museum California, 1971 (cat.). of Contemporary Art, Chicago, 1975

197 Ruth Armer Born 1896, San Francisco. Studied at Museum of Art, 1936; Quay Gallery, California School of Fine Arts (now San Francisco, 1972, 1975. Group San Francisco Art Institute); The Art exhibitions include American Students League of New York; New Painting Today 1950, The York School of Fine and Applied Art. Metropolitan Museum of Art, New Resides, San Francisco. First York, 1950 (cat.); IIIBienaJ, Museu de one-woman exhibition held at Arte Moderna, Sao Paulo, Brazil, 1955 Vickery, Atkins and Torrey, San (cat.); Art: USA: 58, Madison Square Francisco, 1922. Subsequent solo Garden, New York, 1958 (cat.). exhibitions include San Francisco

Robert Arneson Born 1930, Benicia, California. Group exhibitions include Dada, Studied at California College of Arts Surrealism and Their Heritage, The and Crafts, Oakland, B.A., 1954; Mills Museum of Modern Art, New York, College, Oakland, M.F.A., 1958. 1968 (cat.); Contemporary Ceramic Resides, Davis, California. First Art: Canada, U.S.A., Mexico and one-man exhibition held at Oakland Japan, The National Museum of Art Museum, California, 1960. Modern Art, Kyoto, Japan, 1971, and Subsequent solo exhibitions include The National Museum of Modern Art, Hansen Fuller Gallery, San Francisco, Tokyo, Japan, 1972 (cat.); Clay, 1968, 1969, 1970, 1971, 1972, 1973, Whitney Museum of American Art, 1974, 1975, 1976; Museum of Downtown Branch, New York, 1974 Contemporary Art, Chicago, and San (cat.). Francisco Museum of Art, 1974 (cat.).

Charles Arnold! Born 1946, Dayton, Ohio. Came to Los 1974, 1975; Robert Elkon Gallery, New Angeles, 1965. Studied at Chouinard York, 1975. Group exhibitions include Art Institute, Los Angeles, 1968. Fifteen Los Angeles Artists, Pasadena Lived in New York, 1970. Resides, Art Museum, California, 1972 (cat.);

Venice, California. First one-man Documenta 5 , Kassel, Germany, 1972 exhibition held at Riko Mizuno (cat.); Fifteen Abstract Artists, The Gallery, Los Angeles, 1971. Santa Barbara Museum of Art, Subsequent solo exhibitions include California, 1974 (cat.). Nicholas Wilder Gallery, Los Angeles,

Ruth Asawa Born 1926, Norwalk, California. M.H. de Young Memorial Museum, Studied at Milwaukee State Teachers San Francisco, 1960; San Francisco College, Wisconsin, 1943-1945; Black Museum of Art, 1973 (cat.). Group Mountain College, North Carolina, exhibitions include Recent Sculpture

1946-1949. Settled in San Francisco, USA , The Museum of Modern Art, 1949. Resides, San Francisco. First New York, 1959 (cat.); Cookies and one-woman exhibition held at The Breads: The Baker's Art, Museum of Tin Angel Gallery, San Francisco, Contemporary Crafts, New York, 1965 1953 (with Jean Varda). Subsequent (cat.); Public Sculpture /Urban solo exhibitions include Peridot Environment, The Oakland Museum, Gallery, New York, 1954, 1956, 1958; California, 1974 (cat.).

198 Michael Asher Born 1943, Los Angeles. Studied at Institute Gallery, Los Angeles, 1975; University of California, Irvine, The Floating Museum, San B.F.A., 1966. Resides, Venice, Francisco, 1976. Group exhibitions California. First one-man exhibition include Spaces, The Museum of held at La Jolla Museum of Art, Modern Art, New York, 1969 (cat.); California, 1969. Subsequent solo Documenta 5, Kassel, Germany, 1972 exhibitions include Lisson Gallery, (cat.); XXXVm Biennale, Venice, London, England, 1973; Otis Art Italy, 1976 (cat.).

John Baldessari Born 1931, National City, California. Design, Halifax, 1971; Ileana Studied at University of California, Sonnabend, 1973 (Paris). 1974 (New Berkeley, 1954-1955; San Diego State York). Group exhibitions include College, California, B.A., 1953; M.A., Information, The Museum of Modern 1957; University of California, Los Art, New York, 1970 (cat.); Angeles, Otis Art Institute, Los Documenta 5, Kassel, Germany, 1972

Angeles, Chouinard Art Institute, Los (cat.); (photoj (photo)^. . . (photoj". Angeles, 1957-1959. Resides, Santa University of Maryland Art Gallery, Monica, California. First one-man College Park, 1975 (cat.); Southland exhibition held at Art Center in La Video Anthology, Long Beach Jolla, California, 1960 (also 1966). Museum of Art, California, 1975 Subsequent solo exhibitions include (cat.). Nova Scotia College of Art and

Matthew Barnes Born 1880, Kilmarnock, Scotland. exhibitions include Exhibition of Trained as an ornamental plasterer. American Painting, M.H. de Young Came to San Francisco, 1906. Died Memorial Museum and California 1951, San Francisco. First one-man Palace of the Legion of Honor, San exhibition held at The Modern Francisco, 1935 (cat.); Contemporary Gallery, San Francisco, 1928. Art, Golden Gate International Subsequent solo exhibitions include Exposition, San Francisco, 1939 Kleeman Gallery, New York, 1944; (cat.); Romantic Painting in America, San Francisco Museum of Art, 1944, The Museum of Modern Art, New 1952; Lucien Labaudt Art Gallery, San York, 1943 (cat.). Francisco, 1947 (cat.). Group

John Baxter Born 1912, San Francisco, California. Legion of Honor, San Francisco, 1963 Studied at University of California, (cat.). Group exhibitions include Los Angeles, A.B., 1933. Lived in San Abstract and Surrealist American Francisco Bay Area except 1951-1955 Art /Fifty-Eighth Annual Exhibition in Philadelphia, Pennsylvania. Died of American Paintings and Sculpture, 1966, Oakland, California. First The Art Institute of Chicago, 1947

one-man exhibition held at San (cat.); The Art of Assemblage , The Francisco Museum of Art, 1947 (also Museum of Modern Art, New York, 1967; cats.). Subsequent solo 1961 (cat.); Contemporary American exhibitions include M.H. de Young Painting and Sculpture, Krannert Art Memorial Museum, San Francisco, Museum, University of Illinois, 1961 (cat.); California Palace of the Urbana,1963 (cat.).

199 Paul Beattie Born 1924, Bay City, Michigan, Hansa Callery, New York, 1954. Studied at The Society of Arts and Subsequent solo exhibitions include Crafts, Detroit, Michigan, 1945-1947; 6 Gallery, San Francisco, 1955. Group Sonoma State University, Rohnert exhibitions include Batman Gallery, Park, California, B.A., 1973; San Francisco, 1963, 1964; Collage University of California, Berkeley, and Assemblage in Southern M.A., 1976. Came to San Francisco, California, The Los Angeles Institute 1955; moved to Healdsburg, of Contemporary Art, 1975 (cat.); The California, 1963. Resides, Healdsburg. Sky Show, Otis Art Institute, Los First one-man exhibition held at Angeles, 1975.

Robert Bechtle Born 1932, San Francisco, California. California, 1973 (cat.). Group Studied at California College of Arts exhibitions include Realism Now, and Crafts, Oakland, 1950-1954, Vassar College Art Gallery, 1956-1958, B.A., 1954; M.F.A., 1958. Poughkeepsie, New York, 1968 (cat.);

Resides, Berkeley, California. First Documenta 5 , Kassel, Germany, 1972 one-man exhibition held at Berkeley (cat.); Image, Color and Form, The Gallery, Berkeley, 1965. Subsequent Toledo Museum of Art, Ohio, 1975 solo exhibitions include O.K. Harris (cat.); America 1976, United States Gallery, New York, 1971, 1974; E.B. Department of the Interior, Crocker Art Gallery, Sacramento, Washington, D.C., 1976 (cat.).

Larry Bell Born 1939, Chicago, Illinois. Came to 1976 (cat: Santa Barbara Museum of California in 1945. Studied at Art). Group exhibitions include VIII Chouinard Art Institute, Los Angeles, BienaJ, Museu de Arte Moderna, Sao 1957-1959. Moved to Talpa, New Paulo, Brazil, 1965 (cat.); Mexico in 1973. Resides, Talpa, New Transparency, Reflection, Light, Mexico. First one-man exhibition Space: Four Artists, UCLA Art held at Ferus Gallery, Los Angeles, Galleries, University of California,

1962 (also 1963, 1965). Subsequent Los Angeles, 1971 (cat.); 1 1 Los solo exhibitions include Pasadena Art Angeles Artists, The Arts Council of Museum, California, 1972 (cat.); Great Britain, Hayward Gallery, Marlborough Gallery, Rome, Italy, London, 1971 (cat.); 200 Years of 1972 (cat.); Fort Worth Art Museum, American Sculpture, Whitney Texas, in cooperation with the Santa Museum of American Art, 1976 (cat.). Barbara Museum of Art, California,

Billy Al Bengston Born 1934, Dodge City, Kansas. 1968 (cat.); Galerie Neuendorf, 1970, Moved to Southern California, 1948. 1972 (Hamburg, Germany), 1970, Studied at Los Angeles City College, 1971 (Cologne, Germany). Group 1953, 1954; Los Angeles State exhibitions include VUIBienal, College, 1954-1955; California Museu de Arte Moderna, Sao Paulo, College of Arts and Crafts, Oakland, Brazil, 1965 (cat.); Ten From Los 1955-1956; Otis Art Institute, Los Angeles, Seattle Art Museum Angeles, 1957. Resides, Venice, Pavilion, 1966 (cat.); Abstract California. First one-man exhibition Expressionist Ceramics, Art Gallery, held at Ferus Gallery, Los Angeles, University of California, Irvine, 1966 1958 (also 1960, 1961, 1962). (cat.); Pop Art. Whitney Museum of Subsequent solo exhibitions include American Art. New York, 1974 (cat.). Los Angeles County Museum of Art,

200 Karl Benjamin Born 1925, Chicago, Illinois. Came Museum of Art, California, 1958; to California, 1946. Studied at Utah Museum of Fine Arts, Northwestern University, Evanston, University of Utah, Salt Lake City, Illinois, 1943; University of Redlands, 1970. Group exhibitions include Four Redlands, California, B.A., 1949; Abstract Classicists, Los Angeles Claremont Graduate School, County Museum of Art and San Claremont, California, M.A., 1960. Francisco Museum of Art, 1959 (cat.); Resides, Claremont, California. Geometric Abstraction in America, First one-man exhibition held at Whitney Museum of American University of Redlands, 1953 (also Art, New York, 1962 (cat.); The 1956, 1962). Subsequent solo Responsive Eye, The Museum of exhibitions include Long Beach Modern Art, New York, 1965 (cat.).

Fletcher Benton Born 1931, Jackson, Ohio. Studied Art '65: Young American ScuJpture- at Miami University, Oxford, Ohio, East to West, American Express B.A., 1956. Came to San Francisco Pavilion, New York World's Fair, New c. 1958. Resides, San Francisco. First York, 1965 (cat.); American Sculpture one-man exhibition held at The Attic, of the Sixties, Los Angeles County San Francisco, 1958. Subsequent solo Museum of Art, 1967 (cat.); Kinetics, exhibitions include San Francisco The Arts Council of Great Britain, Museum of Art, 1970 (cat.); The de Hayward Gallery, London, 1970 Saisset Art Gallery and Museum, (cat.); Public Sculpture /Urban University of Santa Clara, California, Environment, The Oakland Museum, 1975 (cat.). Group exhibitions include California, 1974 (cat.).

Ed Bereal Born 1937, Los Angeles. Studied at University of California, Los Angeles, Chouinard Art Institute, Los Angeles, 1966 (cat.); The Betty and Monte

1958-1962, B.FA., 1962. Resides, Los Factor Family Colection , Pasadena Angeles. Group exhibitions include Museum of Modern Art, California, The Objectmakers, Pomona College, 1973 (cat.); University of CaJi/ornia,

Claremont, California, 1961; War Irvine, 1965-1975 , La Jolla Museum of Babies, Huysman Gallery, Los Contemporary Art, California, 1975 Angeles, 1961; The Negro in (cat.). American Art, UCLA Art Galleries,

Tony Berlant Born 1941, New York. Came to New York, 1973 (cat.); Phyllis Kind California, 1946. Studied at Gallery, Chicago, 1974. Group University of Southern California, exhibitions include Pop Art USA, Los Angeles, 1959-1960; University of Oakland Art Museum, California, California, Los Angeles, M.A., 1963; 1963 (cat.); American Sculpture of M.F.A., 1964. Resides, Santa Monica, the Sixties, Los Angeles County California. First one-man exhibition Museum of Art, 1967 (cat); Human held at David Stuart Gallery, Los Concern /Personal Torment; The Angeles, 1963 (also 1965, 1967). Grotesque in American Art, Whitney Subsequent solo exhibitions include Museum of American Art, New York, Wichita Art Museum, Kansas, 1971; 1969 (cat.). Whitney Museum of American Art,

201 Ben Berlin Born 1887, Washington, D.C. Lived in (cat); Fifty Paintings by Thirty-Seven Los Angeles from c. 1914. Died 1939, Painters o/theLos AngeJes Area, Los Angeles. Group exhibitions UCLA Art Galleries, University of include Independent Artists of Los California, Los Angeles, 1961 (cat.); AngeJes, Taos Building, Los Angeles, Arts of Southern California -XIV: 1923 (cat.); Southern Cali/ornia Art Early Moderns, Long Beach Museum Project, Los Angeles Museum, 1939 of Art, California, 1964 (cat.).

Eugene Berman Born 1899, St. Petersburg, Russia. exhibitions include Neo-Romantic Studied with P.S. Naumoff and Exhibition (with Berard, Tchelitchew, S. Grusenberg, St. Petersburg, Leonide Berman, Therese Debains), 1915-1918; Academie Ranson, Paris, Druet Gallery, Paris, 1926; Salon 1920-1925. Moved to Paris, 1918. d'Automne, Paris, 1923; Milestones of Visited California, 1935; settled in American Painting in Our Century, California, 1940. Died 1972, Rome, The Institute of Contemporary Art, Italy. First one-man exhibition held Boston, 1949 (cat.); Human at Galerie Granoff, Paris, 1927. Concern /Personal Torment: The Subsequent solo exhibitions include Grotesque in American Art, Whitney Julien Levy Gallery, New York, 1932, Museum of American Art, New York, 1933, 1935, 1936. 1937, 1939, 1941, 1969 (cat.). Ref: Levy, Julien. Eugene 1943, 1946, 1947; The histitute of Berman. New York and London: Modern Art, Boston, Massachusetts, American Studio Books, n.d. 1941 (cat.); The Museum of Modern Art, New York, 1945 (cat.). Group

Wallace Berman Born 1926, Tompkinsville, New York. Art Gallery, University of California, No formal art training. Lived in Los Irvine, 1968 (cat.); Poets of the Angeles area except 1957 lived in San Cities INew York and San Francisco

Francisco. Died 1976, Los Angeles. 1950-1965 , Dallas Museum of Fine First one-man exhibition held at Arts and Pollock Galleries, Southern Ferus Gallery, Los Angeles, 1957. Methodist University, Dallas, Texas, Subsequent solo exhibitions include 1974 (cat.); Art as a Muscular Los Angeles County Museum of Art, Principle. John and Norah Warbeke 1968 (cat.); The Jewish Museum, New Gallery, Mount Holyoke College, York, 1968 (cat.). Group exhibitions South Hadley, Massachusetts, 1975 include Assemblage in Cali/ornia, (cat.).

Elmer BischofF Born 1916, Berkeley, California. Group exhibitions include Abstract Studied at University of California, and Surrealist American Art /Fifty- Berkeley, 1934-1939, B.A., 1938; M.A., Eighth Annual Exhibition of 1939. Resides, Berkeley, California. American Painting and Sculpture, First one-man exhibition held at The Art histitute of Chicago, 1947 California Palace of the Legion of (cat.); Contemporary Bay Area Honor, San Francisco, 1947. Figurative Painting, The Oakland Art Subsequent solo exhibitions include Museum, California, 1957 (cat.); A Staempfli Gallery, New York, 1960, Period of Exploration, San Francisco 1962, 1964, 1969 (cats.); The Oakland 1945-1950, The Oakland Museum, Museum, California, 1975 (cat.). California, 1973 (cat.).

202 William Brice Born 1921, New York. Studied at The Group exhibitions include Art Students League of New York; Americans Under 36, The Chouinard Art Institute, Los Angeles. Metropolitan Museum of Art, New

Resides, Los Angeles. First one-man York, 1950; III Bienal , Museu de Arte exhibition held at Santa Barbara Moderna, Sao Paulo, Brazil, 1955 Museum of Art, 1947 (also 1958; cat.). (cat.); American Painting 1966, Subsequent solo exhibitions include Virginia Museum of Fine Arts, Downtown Gallery, New York, 1949; Richmond, 1966 (cat.); Selected The Art Gallery, University of Artists-'67, Des Moines Art Center, California, San Diego, 1967 (cat.). Iowa, 1967 (cat.).

Nick Brigante Born 1895, PaduUa, Italy. Came to Angeles, 1974 (cat.). Group Southern California, 1897. Studied at exhibitions include Independent Art Students League, Los Angeles, Artists o/ Los Angeles, Taos Building, 1913-c. 1917. Resides, Hollywood, Los Angeles, 1923 (cat.); Then and California. First one-man exhibition Now. Los Angeles Art Association,

held at Stendahl Galleries, Los 1950; Watercolor USA , The Angeles, 1937 (cat.). Subsequent solo Springfield Art Museum, Springfield, exhibitions include Los Angeles Art Missouri, 1964 (cat.); Nine Senior Association, 1963; PacifiCulture Southern California Painters, The Los Foundation, Pasadena, California, Angeles Institute of Contemporary 1971; Silvan Simone Gallery, Los Art, Los Angeles, 1974 (cat.).

Ernest Briggs Born 1923, San Diego, California. Gallery, New York, 1960, 1962, 1963. Studied at Rudolph Schaeffer School Group exhibitions include Vanguard of Design, San Francisco, 1946-1947; 1955, The Walker Art Center, California School of Fine Arts (now Minneapolis, 1955 (cat.); 12 San Francisco Art Institute), Americans, The Museum of Modern 1947-1951. Left California for New Art, New York, 1956 (cat.); Large York, 1953. Resides, New York. First Scale American Paintings, The one-man exhibition held at Metart Jewish Museum, New York, 1967; A Gallery, San Francisco, 1949. Period of Exploration, San Francisco Subsequent solo exhibitions include 1945-1950, The Oakland Museum, California School of Fine Arts, San California, 1973 (cat.). Francisco, 1956 (cat.); Howard Wise

Richard Brodney Born 1925, New York. Came to Roy De Forest, RelfCase, Richard San Francisco, 1944. Studied at Brodney, California School of Fine University of Wisconsin, Madison; Arts, San Francisco, 1952; From San University of California, Berkeley; Francisco; A New Language in California School of Fine Arts (now Painting, Kaufmann Art Gallery, San Francisco Art Institute), YM-YWHA, New York, 1954; Action, 1951-1952. Moved to New York, 1956. Merry-go-round Building, Santa Resides, Berkeley Heights, New Monica Pier, Santa Monica, Jersey. One-man exhibition held at California, 1955 (cat.); group Stryke Gallery, New York, 1963. exhibition. Summit Art Center, Group exhibitions include Bart Perry, Summit, New Jersey, 1976.

203 Joan Brown Born 1938, San Francisco. Studied at University of California, Berkeley, California School of Fine Arts (now 1974 (cat.). Group exhibitions include San Francisco Art Institute), Young America 1960, Whitney 1955-1960, B.FA., 1959; M.RA., 1960. Museum of American Art, New York, Resides, San Francisco. First 1960 (cat.); Funk, University Art one-woman exhibition held at 6 Museum, University of California, Gallery, San Francisco, 1957 (with Berkeley, 1967 (cat.); Art as a Mike Nathan). Subsequent solo Muscular Principle, )ohn and Norah exhibitions include Staempfli Warbeke Gallery. Mount Holyoke Gallery, New York, 1960, 1961, 1964 College, South Hadley, (cats.); San Francisco Museum of Art, Massachusetts, 1975 (cat.). 1971 (cat.); University Art Museum,

Beniamino Bufano Born 1898, San Fale, Italy. Studied at Academy of Sciences, San Francisco, The Art Students League of New 1974. Group exhibitions include York, 1913-1915. Came to San SaJon d'Automne, Paris, 1927; Francisco, 1915. Travelled in Europe CaJi/ornia Art Today, Golden Gate and China, 1916-1921. Settled in San International Exposition, San Francisco, 1921. Died 1970, San Francisco, 1940 (cat.); Public Francisco. First one-man exhibition Sculpture /Urban Environment, The held at Arden Galleries, New York, Oakland Museum, California, 1974 1925. Subsequent solo exhibitions (cat.). Ref: Fry, Roger, Henry Miller include San Francisco Museum of and others. Bufano. Florence, Italy, Art, 1935, 1936, 1937; California 1936.

Chris Burden Born 1946, Boston, Massachusetts. 1974, 1975, 1976. Group exhibitions Studied at Pomona College, include Southland Video Anthology, Claremont, California, B.A., 1969; Long Beach Museum of Art, University of California, Irvine, California, 1975 (cat.); University of M.F.A., 1971. Resides, Venice, California, Irvine, 1965-1975, La )olla California. First one-man exhibition, Museum of Contemporary Art,

5-Day Locker Piece , held at California, 1975 (cat.); Bodyworks, University of California, Irvine, 1971. Museum of Contemporary Art, Subsequent solo exhibitions include Chicago, 1975 (cat.). Ref: Burden, Bed Piece, Market Street Program, Chris, designer and publisher. Chris Venice, California, 1972; Riko Mizuno Burden. Venice, California: privately Gallery, Los Angeles, 1973, 1975; printed, 1974. Ronald Feldman Fine Arts, New York,

Hans Burkhardt Born 1904, Basel, Switzerland. Art, California, 1972 (cat.). Group Studied at Cooper Union School of exhibitions include Abstract and Art and Architecture, New York, Surrealist American Art /Fifty-Eighth 1925-1928; Grand Central School of Annual Exhibition of American Art, New York, 1928-1929; Arshile Painting and Sculpture, The Art Gorky Studio, New York, 1929-1936. Institute of Chicago, 1947 (cat.); Came to California, 1937. Resides, Los American Painting Today 1950, The Angeles. First one-man exhibition Metropolitan Museum of Art, New held at Stendahl Galleries, Los York, 1950 (cat.); Nine Senior Angeles, 1939. Subsequent solo Southern California Painters, The Los exhibitions include The San Diego Angeles Institute of Contemporary Art Institute, San Diego, California, Art, 1974 (cat.). 1966 (cat.); Long Beach Museum of

204 ,

Vija Celmins Born 1939, Riga, Latvia. Came to 1970, 1973; Whitney Museum of California, 1963. Studied at lohn American Art, New York, 1973 (cat.). Herron Art Institute, Indianapolis, Group exhibitions include 24 Young Indiana, B.F.A., 1962; University of Los Angeles Artists, Los Angeles California, Irvine, M.F.A., 1965. County Museum of Art, 1971 (cat.); Resides, Venice, California. First American Drawings 1963-1973 one-woman exhibition held at Whitney Museum of American Art, Dickson Art Center, University of New York, 1973 (cat.); University of California, Los Angeles, 1965. California, Irvine, 1965-1975, La )olla Subsequent solo exhibitions include Museum of Contemporary Art, Riko Mizuno Gallery, Los Angeles, California, 1975 (cat.).

Judy Chicago Born 1939, Chicago, Illinois. Moved Chicago). Group exhibitions include to Southern California, 1957. Studied Primary Structures, The Jewish at University of California, Los Museum, New York, 1966 (cat.); Angeles, B.A., 1962; M.A., 1964. American Sculpture o/the Sixties, Resides, Santa Monica, California. Los Angeles County Museum of Art, First one-woman exhibition held at 1967 (cat.); Womanhouse, Los Art Center in La Jolla, California, Angeles, 1972 (made in collaboration 1961. Subsequent solo exhibitions with members of the Feminist Art include Rolf Nelson Gallery, Los Program, California Institute of Angeles, 1966, 1967; Pasadena Art the Arts, Valencia; cat.); Public Museum, California, 1969 (cat.); Sculpture /Urban Environment, The California State University, Fullerton, Oakland Museum, California, 1974 1970 (at which time the artist (cat.). changed her name from Gerowitz to

William Clapp Born 1879, Montreal, Quebec. Came 1923-1928; Art Exhibition by to California, 1885. Studied with California Artists, California William Brymner, Montreal, Building, Golden Gate International 1900-1904; at Academie )ulian, Exposition, San Francisco, 1939 Academie Colarossi, Academie de la (cat.); Society of Six, The Oakland Grande Chaumiere, Paris. Returned to Museum, California, 1972 (cat.); Oakland, California, 1917. Died 1954, Impressionism in Canada 1895-1935, Oakland. Group exhibitions include Art Gallery of Ontario, Toronto, 1973 annual exhibitions of the "Society of (cat.). Six", Oakland Art Gallery, California,

Grace Clements Born 1905, Oakland, California. Art, 1935; Southern California Art Studied in New York, 1925-1930. Project, Los Angeles Museum, 1939 Settled in Los Angeles, 1931. First (cat.); Between Two Wars, Whitney one-woman exhibition held at Los Museum of American Art, New York, Angeles Museum, 1931 (cat.). Group 1942 (cat.); 3rd Group Show, Los exhibitions include Post-Surrealist Angeles Museum, 1944. Exhibition, San Francisco Museum of

205 Robert Colescott Born 1925. Oakland, California. exhibitions include Portland Art Studied at University of California, Museum, Oregon, 1958. 1966; Razor Berkeley, A.B., 1929; M.A.. 1952; Gallery, New York. 1975. Group Atelier Fernand Leger. Paris, exhibitions include Le Salon de Mai, 1949-1950. In Pacific Northwest. Musee d'Art Moderne de la Ville de 1952-1964; Egypt, 1964-1967; France, Paris, 1950 (cat.); American Painting 1967-1969. Settled in California, 1970. Today, Grand Rapids Art Gallery, Resides. Oakland. California. First Grand Rapids, Michigan, 1961 (cat.); one-man exhibition held at A Third World Painting/Sculpture Miller-Pollard, Seattle, Washington, Exhibition, San Francisco Museum of 1953 (also 1954). Subsequent solo Art, 1974 (cat.).

Bruce Conner Born 1933, McPherson, Kansas. University of Pennsylvania, Studied at University of Wichita. Philadelphia. 1967 (cat.); The Fine Kansas. 1951-1952; University of Arts Museums of San Francisco: M.H. Nebraska, Lincoln, 1952-1956, B.RA., de Young Memorial Museum, 1974 1956; Brooklyn Museum Art School, (cat.). Group exhibitions include The 1956; University of Colorado, Art o/Assemblage, The Museum of Boulder, 1957. Came to San Modern Art, New York, 1961 (cat.); Francisco, 1957. Resides, San American Sculpture of the Sixties, Francisco. First one-man exhibition Los Angeles County Museum of Art, held at East & West Gallery, San 1967 (cat.); Poets of the Cities INew Francisco. 1958. Subsequent solo York and San Francisco 1950-1965, exhibitions include The Rose Art Dallas Museum of Fine Arts and Museum, Brandeis University, Pollock Galleries, Southern Methodist Waltham, Massachusetts. 1965 (cat.); University. Dallas. Texas, 1974 (cat.). Institute of Contemporary Art,

Edward Corbett Born 1919, Chicago, Illinois. Studied 1973 (cat.). Group exhibitions include at California School of Fine Arts (now Abstract and Surrealist American San Francisco Art Institute), 1937- Art/Fi/ty-Eighth Annual Exhibition 1941. Left San Francisco, 1951. Died of American Painting and Sculpture, 1971, Provincetown, Massachusetts. The Art Institute of Chicago, 1947 First one-man exhibition held at Pat (cat.); 15 Americans. The Museum of Wall Gallery, Monterey, California. Modern Art, New York, 1952 (cat.); 1948. Subsequent solo exhibitions American Landscape: A Changing include Grace Borgenicht Gallery, Frontier, National Collection of Fine New York. 1956. 1959, 1961, 1962, Arts, Smithsonian Institution, 1964, 1967, 1970, 1973; San Francisco Washington, D.C, 1966 (cat.). Museum of Art. 1969 (cat.); The Phillips Collection, Washington, D.C.

206 Robert Cremean Bom 1932, Toledo, Ohio. Studied at Francisco, 1961; The California Arts Alfred University, Alfred, New York, Commission (circulating exhibition), 1950-1952; Cranbrook Academy of Sacramento, 1966 (cat.); The Fine Art Art, Bloomfield Hills, Michigan, Museums of San Francisco: M.H. de B.A., 1954; M.F.A., 1956. Lived in Young Memorial Museum, 1976 Southern California, 1956-1958; (cat.). Group exhibitions include moved to Northern California, 1958; Pacemakers, Contemporary Arts in Europe, 1969-1972. Resides, Museum, Houston, Texas, 1957 (cat.); Tomales, California. First one-man Annual Exhibition o/ Contemporary exhibition held at Toledo Museum American Sculpture, Whitney of Art, Ohio, 1955. Subsequent solo Museum of American Art, New York, exhibitions include California Palace 1960, 1964 (cats.); XXXA^BiennaJe, of the Legion of Honor, San Venice, Italy, 1968 (cat.).

Ronald Davis Born 1937, Santa Monica, Califorrna. 1969, 1971, 1974, 1975; Los Angeles Studied at University of Wyoming, Municipal Art Gallery, 1975 (with Laramie, 1955-1956; California Tom Holland; cat.); The Oakland School of Fine Arts (now San Museum, California, 1976 (cat.). Francisco Art Institute), 1960-1964; Group exhibitions include A New Yale University-Norfolk School of Aesthetic, Washington Gallery of Music and Art, Norfolk, Connecticut, Modern Art, Washington, D.C., 1967 1962 (summer). Settled in Southern (cat.); 4. Documenta, Kassel, California, 1965. Resides, Los Germany, 1968 (cat.); Painting, New

Angeles. First one-man exhibition Options , Walker Art Center, held at Nicholas Wilder Gallery, Los Minneapolis, Minnesota, 1972 (cat.); Angeles, 1965 (also 1967, 1969, 1973). American Art; Third Quarter Subsequent solo exhibitions include Century, Seattle Art Museum Leo Castelli Gallery, New York, 1968, Pavilion, Washington, 1973 (cat.).

Jay DeFeo Born 1929, Hanover, New Hampshire. 1969 (cat.). Group exhibitions include

Came to California c. 1931. Studied at Sixteen Americans , The Museum of University of California, Berkeley, Modern Art, New York, 1959 (cat.); 1946-1951, B.A., 1950; M.A., 1951. New Works /Seven Bay Area Artists, Resides, Larkspur, California. First The Oakland Museum, California, one-woman exhibition held at Dilexi 1971; Poets of the Cities /New York Gallery, San Francisco, 1959. and San Francisco 1950-1965, Dallas Subsequent solo exhibitions include Museum of Fine Arts and Pollock Ferus Gallery, Los Angeles, 1960; Galleries, Southern Methodist Pasadena Art Museum, California, University, Dallas, Texas, 1974 (cat.).

Roy De Forest Born 1930, North Platte, Nebraska. Allan Frumkin Gallery, New York, Came to San Francisco, 1950. Studied 1966, 1972, 1975; San Francisco at California School of Fine Arts (now Museum of Art, 1974 (cat.). Group San Francisco Art Institute), 1950- exhibitions include IIIBienal, Museu 1952; San Francisco State College, de Arte Moderna, Sao Paulo, Brazil, 1952-1953, 1956-1958, B.A., 1953; 1955 (cat.); The Spirit of the Comics, M.A., 1958. Resides, Port Costa, Institute of Contemporary Art, California. First one-man exhibition University of Pennsylvania, held at East & West Gallery, San Philadelphia, 1969 (cat.); Francisco, 1955. Subsequent solo Extraordinary Realities, Whitney exhibitions include Dilexi Gallery, Museum of American Art, New York, San Francisco, 1960, 1963, 1966, 1967; 1973 (cat.).

207 Tony DeLap Born 1927, Oakland, California. exhibitions include Art Gallery, Studied at California College of Arts University of California, Irvine, 1969 and Crafts, Oakland, 1946, 1947 (cat.); Art Galleries, California State (summers); Academy of Advertising University, Long Beach, 1974 (cat.). Art, San Francisco, 1948; Claremont Group exhibitions include The Graduate School, Claremont, Responsive Eye, The Museum of California, 1949-1950. In San Modern Art, New York, 1965 (cat.); Francisco Bay Area 1951-1965; moved American Sculpture of the Sixties, to Southern California, 1965. Resides, Los Angeles County Museum of Art, Corona del Mar, California. First 1967 (cat.); Public Sculpture /Urban one-man exhibition held at Gump's Environment, The Oakland Museum, Gallery, San Francisco, 1954 (with California, 1974 (cat.). Paul Darrow). Subsequent solo

Richard Diebenkom Born 1922, Portland, Oregon. Studied Modern Art, Washington, D.C., 1964 at Stanford University, Stanford, (cat.); San Francisco Museum of Art, California, 1940-1943, 1949, B.A., 1954, 1972 (cat.); Marlborough Fine 1949; University of California, Art (London) Ltd., London, 1973 Berkeley, 1943; California School of (cat.). Group exhibitions include Fine Arts (now San Francisco Art Younger American Painters, The Institute), 1946; University of New Solomon R. Guggenheim Museum, Mexico, Albuquerque, 1950-1951, New York, 1954; Contemporary Bay M.A., 1951. Returned to San Area Figurative Painting, The Francisco Bay Area in 1953. Moved to Oakland Art Museum, California, Santa Monica, California, 1966. 1957 (cat.); Abstract Painting in the Resides, Santa Monica. First one-man 70's, Museum of Fine Arts, Boston, exhibition held at California Palace of 1972 (cat.); Twenty-five Years of the Legion of Honor, San Francisco, American Painting, 1948-1973, Des 1948. Subsequent solo exhibitions Moines Art Center, Iowa, 1973 (cat.). include Washington Gallery of

Laddie John Dill Born 1943, Long Beach, California. 1975. Group exhibitions include New

Studied at Chouinard Art Institute, Works for New Spaces , Walker Art Los Angeles, 1964-1968, B.F.A., 1968. Center, Minneapolis, Minnesota, Resides, Venice, California. FirSt 1971 (cat.); Fifteen Abstract Artists, one-man exhibition held at The Santa Barbara Museum of Art, Sonnabend Gallery, New York, 1971 California, 1974 (cat.); A View (also 1972). Subsequent solo Through, The Art Galleries, exhibitions include Riko Mizuno California State University, Long Gallery, Los Angeles, 1973; )ames Beach, 1975 (cat.). Corcoran Gallery, Los Angeles, 1974,

208 James Budd Dixon Born 1900, San Francisco. Studied at include 3rd Annual Exhibition of University of California, Berkeley; Painting. California Palace of the Mark Hopkins Institute, San Legion of Honor, San Francisco, 1949 Francisco; California School of Fine (cat.); Action. Merry-go-round Arts (now San Francisco Art Building, Santa Monica Pier, Santa Institute), 1945-1947. Died 1967, San Monica, California, 1955 (cat.); San Francisco. First one-man exhibition Francisco 9, Contemporary Arts held at San Francisco Museum of Art, Museum, Houston, Texas, 1962 (cat.); 1939. Subsequent solo exhibitions A Period of Exploration, San include Area Arts Gallery, San Francisco 1945-1950, The Oakland Francisco, 1953. Group exhibitions Museum, California, 1973 (cat.).

Maynard Dixon Born 1875, Fresno, California. Came Center, California, 1975 (cat.). Group to San Francisco Bay Area, 1893. exhibitions include Panama-Pacific Studied at California School of International Exposition, San Design, San Francisco, briefly in Francisco, 1915 (cat.). Exhibition of 1893; otherwise self-taught. Lived in American Painting, M.H. de Young San Francisco and the Southwest, Memorial Museum and California except for a period in New York, Palace of the Legion of Honor, San 1907-1912. Died 1946, Tucson, Francisco, 1935 (cat.); Western Scene, Arizona. Began exhibiting c. 1895. Los Angeles County Museum of Art, One-man exhibitions include 1975 (cat.). Ref: Burnside, Wesley Macbeth Galleries, New York, 1923, Maynard Dixon. Provo, Utah: 1924; M.H. de Young Memorial Brigham Young University Press, Museum, 1956, 1968; The Fresno Art 1974.

William Dole Born 1917, Angola, Indiana. Studied Santa Barbara, 1965 (cat.); Los at Olivet College, Olivet, Michigan, Angeles Municipal Art Gallery, 1976 A.B., 1938; University of California, (cat.). Group exhibitions include Berkeley, M.A., 1947. Stayed in Directions in Collage: California, Berkeley until 1949. Settled in Santa Pasadena Art Museum, California, Barbara, California, 1949. In Florence, 1962; Contemporary American Italy 1955-1957. Resides, Santa Painting and Sculpture, Krannert Art Barbara, California. First one-man Museum, University of Illinois, exhibition held at Santa Barbara Champaign-Urbana, 1965, 1967 (cat.); Museum of Art, California, 1951 (also Collage and Assemblage in Southern 1954, 1958 [cat.], 1962, 1968). California, The Los Angeles Institute Subsequent solo exhibitions include of Contemporary Art, 1975 (cat.). Art Gallery, University of California,

Edward Dugmore Born 1915, Hartford, Connecticut. New York, 1953, 1954, 1956; Green Came to San Francisco, 1948. Studied Mountain Gallery, New York, 1971, at Hartford Art School, Hartford, 1973. Group exhibitions include

Connecticut, 1934-1938; California Vanguard 1955 , Walker Art Center, School of Fine Arts (now San Minneapolis, Minnesota, 1955 (cat.); Francisco Art histitute), 1948-1950; American Abstract Expressionists University of Guadalajara, Mexico, and Imagists, The Solomon R. 1951-1952. Moved to New York, 1952. Guggenheim Museum, New York, Resides, New York. First one-man 1961 (cat.); A Period of Exploration, exhibition held at Metart Gallery, San San Francisco 1945-1950, The Francisco, 1949. Subsequent solo Oakland Museum, California, 1973 exhibitions include Stable Gallery, (cat.).

209 Leonard Edmondson Born 191R, Sacramento, California. Francisco Museum of Art, 1967 (cat.). Studied at University of California, Group exhibitions include Younger Berkeley, A.B., 1940; M.A., 1942. American Painters, The Solomon R. Settled in Pasadena, California, 1947. Guggenheim Museum, New York, Resides, Pasadena. First one-man 1954 (cat.); IIIBienal, Museu de Arte exhibition held at Landau Gallery, Moderna, Sao Paulo, Brazil, 1955 Los Angeles, 1950 (also 1953, 1955, (cat.); Graphics '71 West Coast 1958, 1960). Subsequent solo U.S.A., University of Kentucky Art exhibitions include The Pasadena Art Gallery, Lexington, Kentucky, 1970 Institute, California, 1953; San (cat.). lames Eller Born 1943, Hollywood, California. Southern California, The Los Angeles Group exhibitions include Pop Art Institute of Contemporary Art, 1975 (cat.). USA , Oakland Art Museum, 1963 (cat,); Collage and Assemblage in

Frederick Eversley Born 1941, Brooklyn, New York. New York, 1970 (cat.); Santa Barbara Studied at Carnegie Institute Museum of Art, California, 1976 of Technology, Pittsburgh, (cat.). Group exhibitions include A Pennsylvania, B.S., Electrical Plastic Presence, Milwaukee Art Engineering,1963; Institute Allende, Center, Wisconsin, 1970 (cat.); San Miguel de Allende, Mexico, Contemporary Black Artists in 1963. Came to California in 1963. America, Whitney Museum of Resides, Venice, California. First American Art, New York, 1971 (cat.); one-man exhibition held at Phyllis 8 Artistes A/ro-Americains, Musee Kind Gallery, Chicago, 1970. Rath, Geneva, Switzerland, Subsequent solo exhibitions include 1971 (cat.). Whitney Museum of American Art,

Claire Falkenstein Born 1908, Coos Bay, Oregon. Studied California, 1969 (cat.). Group at University of California, Berkeley; exhibitions include Abstract and California School of Fine Arts (now Surrealist American Art /Fifty-Eighth San Francisco Art histitute), 1939. Exhibition of American Painting and Came to California c. 1922. Resides, Sculpture, The Art Institute of Venice, California. First one-woman Chicago, 1947 (cat.); Mobiles and exhibition held at San Francisco Articulated Sculpture, California Museum of Art, 1940 (also 1941, 1942, Palace of the Legion of Honor, San 1949). Subsequent solo exhibitions Francisco, 1948 (cat.); Etats-Unis include Institute of Contemporary Sculpture de XX'Siecle, Musee Arts, London, 1953; Fondation Rodin, Paris, 1965 (cat.); Public Maeght, St. Paul de Vence, France, Sculpture /Urban Environment, The 1968; The Fresno Art Center, Oakland Museum, California, 1974 (cat.

Faralla Born 1916, Brooklyn, New York. Francisco Museum of Art, 1966, 1975 Came to C^alifornia, 1934. Studied at (cats.). Group exhibitions include California School of Fine Arts (now Contemporary California Sculpture, San Francisco Art Institute), B.F.A., Oakland Art Museum/Kaiser Center, 1955; San Francisco State College, California, 1963; White on White, 1956. Resides, San Francisco. First De Cordova Museum. Lincoln, one-man exhibition held at Pasadena Massachusetts, 1965 (cat.); Art Institute, California, 1947. Monotypes in California, The Subsequent solo exhibitions include Oakland Museum, California, M.H. de Young Memorial Museum, 1972 (cat.). San Francisco, 1963 (cat.); San 210 Lorser Feitelson Born 1898, Savannah, Georgia. Museum of Modern Art, New York, Studied with Karl Teft, 1913. Settled 1936 (cat.); Four Abstract Classicists, in Southern California, 1927. Resides, Los Angeles County Museum of Art Los Angeles. First one-man and San Francisco Museum of Art, exhibition held at Daniel Gallery, 1959 (cat.); Geometric Abstraction in New York, 1924. Subsequent solo America, Whitney Museum of exhibitions include The Pasadena Art American Art, New York, 1962 (cat.); Institute, California, 1952; Los Avant-Garde: Painting and Sculpture Angeles Municipal Art Gallery, 1972 in America 1910-1925, Delaware Art (cat.). Group exhibitions include Museum, Wilmington, Delaware, Fantastic Art, Dada, Surrealism, The 1975 (cat.).

Oskar Fischinger Born 1900, Gelnhausen, Germany. Art in Cinema (avant-garde film Came to Hollywood to make films, series), San Francisco Museum of Art, 1936. Began painting, 1936. Died 1947 (cat.); Abstract and Surrealist 1967, Los Angeles. First one-man American Art /Fifty-Eighth Annual exhibition held at Karl Nierendorf Exhibition of American Painting and Gallery, New York, 1938. Subsequent Sculpture, The Art Institute of solo exhibitions include San Chicago, 1947 (cat.); Arts of Southern Francisco Museum of Art, 1953; Long California-XrV: Early Moderns, Long Beach Museum of Art, California, Beach Museum of Art, California, 1970 (cat.). Group exhibitions include 1964 (cat.).

Llyn Foulkes Born 1934, Yakima, Washington. Harbor Art Museum, Newport Beach, Studied at Central Washington California, 1974 (cat.). Group College of Education, EUensburg, exhibitions include United States of Washington, 1953; University of America IV Paris Biennale, Musee Washington, Seattle, 1954; Chouinard d'Art Moderne de la Ville de Paris, Art Institute, Los Angeles, 1957-1959. 1967 (cat.); Separate Realities, Los Came to California, 1957. Resides, Los Angeles Municipal Art Gallery, 1973 Angeles. First one-man exhibition (cat.); Seventy-First American held at Ferus Gallery, Los Angeles, Exhibition, The Art Institute of 1961. Subsequent solo exhibitions Chicago, 1974 (cat.); Current include Pasadena Art Museum, Concerns, The Los Angeles Institute California, 1962; Galerie Darthea of Contemporary Art, 1975 (cat.). Speyer, Paris, 1970, 1975; Newport

Terry Fox Born 1943, Seattle, Washington. of California, Berkeley, 1972 (cat.). Self-taught. Came to San Francisco, Group exhibitions include Sound 1963. Lived in Paris, 1967. Returned Sculpture As, Museum of Conceptual to San Francisco, 1968; resides, San Art, San Francisco, 1970; Project: Pier Francisco. First one-man exhibition 18, The Museum of Modern Art, New held at Gallery Reese Palley, San York, 1971; Prospect 71: Projections, Francisco, 1970 (also 1971). Kunsthalle, Dusseldorf, Germany, Subsequent solo exhibitions include 1971; Video Art, Institute of Gallery Reese Palley, New York, 1971, Contemporary Art, University of 1972; Ileana Sonnabend, Paris, 1972; Pennsylvania, Philadelphia, 1975 University Art Museum, University (cat.).

211 Sam Francis Born 1923, San Mateo, California. Gallery, Buffalo, New York, 1972 Studied with David Park, San (cat.). Group exhibitions include 12 Francisco, 1945-1946; University of Americans, The Museum of Modern California, Berkeley, B.A., 1949; M.A., Art, New York, 1956 (cat.); New 1950. Lived in San Francisco Bay American Painting, The Museum of Area, 1946-1950; in Europe and the Modern Art, New York, 1958 (cat.); Orient, 1950-1961. Moved to Santa First International Print Exhibition, Monica in 1962 where he has resided National Museum of Modern Art, up to the present time, with the Tokyo, Japan, 1962; Post-Painterly exception of one year in Japan, Abstraction, Los Angeles County 1973-1974. First one-man exhibition Museum of Art, 1964 (cat.); American held at Galerie du Dragon, Paris, Art: Third Quarter Century, Seattle 1952. Subsequent solo exhibitions Art Museum Pavilion, Washington, include Kornfeld and Klipstein, Bern, 1973 (cat.). Ref: Selz, Peter. Sam Switzerland, 1959, 1966, 1973 (cats.); Francis. New York: Harry N. Abrams, Museum of Fine Arts, Houston, Inc., 1975. Texas, 1967 (cat.); Albright-Knox Art

Howard Fried Born 1946, Cleveland, Ohio. Studied California, 1972; San Jose State at Syracuse University, Syracuse, University Art Gallery, California, New York, 1964-1967; San Francisco 1974 (with Paul Kos). Group Art Institute, B.F.A., 1968; University exhibitions include Documenta 5, of California, Davis, M.FA., 1970. Kassel, Germany, 1972 (cat.); Video Resides, San Francisco. First Art, Institute of Contemporary Art, one-man exhibition held at The Art University of Pennsylvania, Company, Sacramento, California, Philadelphia, 1975 (cat.); Exchange 1969. Subsequent solo exhibitions DFW/SFO, San Francisco Museum of include de Saisset Museum and Art Modern Art, 1976 (cat.). Gallery, University of Santa Clara,

Charles Garabedian Born 1923, Detroit, Michigan. Came Museum of American Art, New York, to Los Angeles, 1933. Studied at 1976 (cat.). Group exhibitions include

University of California, Santa 6 Painters of the Rear Guard , Ceeje Barbara, 1947-1948; University of Gallery, Los Angeles, 1964; 1975 Southern California, Los Angeles, Biennial Exhibition; Contemporary 1949-1950, B.A., 1950; University of American Art, Whitney Museum of California, Los Angeles, 1957-1961, American Art, New York, 1975 (cat.); M.A., 1961. Resides, Santa Monica, Critical Perspectives in American California. First one-man exhibition Art, Fine Arts Center Gallery, held at Ceeje Gallery, Los Angeles, University of Massachusetts, 1965 (also 1967). Subsequent solo Amherst (United States exhibitions include Fine Arts Gallery, Representation, XXXVIIIBiennale, California State University, Venice, Italy), 1976 (cat.). Northridge, 1974 (cat.); Whitney

212 August Gay Born 1891, Rabou, France. Came to 1923-1928; The Monterey Group, Alameda, California, 1900. Studied at Beaux Arts Galerie, San Francisco, California School of Fine Arts (now 1927; Opening Exhibition /Fifty-Fifth San Francisco Art Institute), Annual Exhibition of the San 1918-1919. Settled in Monterey, Francisco Art Association, San California, 1919. Died 1949, Carmel, Francisco Museum of Art, 1935 (cat.); California. Group exhibitions include Society o/Six, The Oakland annual exhibitions of the "Society of Museum, California, 1972 (cat.). Six", Oakland Art Gallery, California,

Sonia GechtofF Born 1926. Philadelphia, Penn- Poindexter Gallery, New York, 1959, sylvania. Studied at Philadelphia 1960; Gallery One, Montclair State Museum School of Art, 1946-1950, College, Upper Montclair, New B.F.A., 1950. Came to San Francisco, Jersey, 1974 (cat.). Group exhibitions 1951. Studied at California School of include Younger American Painters, Fine Arts (now San Francisco Art The Solomon R. Guggenheim histitute), 1952. Left California, 1958. Museum, New York, 1954 (cat.); VI Resides, New York. First one-woman Bienal, Museu de Arte Moderna, Sao exhibition held at Dubin Gallery, Paulo, Brazil, 1961 (cat.); Women Philadelphia, c. 1948. Subsequent Choose Women, The New York solo exhibitions include Ferus Cultural Center, New York, 1973 Gallery, Los Angeles, 1957, 1959; (cat.).

William Geis Born 1940, Salina, Kansas. Came to Center, California, 1976 (with Marty California, 1955. Studied at California Keane). Group exhibitions include School of Fine Arts (now San Funk, University Art Museum, Francisco Art Institute), 1959-1963, University of California, Berkeley, B.F.A., M.F.A., 1963. Resides, 1967 (cat.); American Sculpture of Woodacre, California. First one-man the Sixties, Los Angeles County exhibition held at BoUes Gallery, San Museum of Art, 1967 (cat.); 1973 Francisco, 1962 (with Carlos Villa). Biennial Exhibition: Contemporary Subsequent solo exhibitions include American Art, Whitney Museum of San Francisco Art Institute, 1966 American Art, New York, 1973 (cat.); (with Bruce Nauman), 1970 (with Public Sculpture /Urban Environ- Manuel Neri); Nancy Hoffman ment, The Oakland Museum, Gallery, New York, 1973; Berkeley Art California, 1974 (cat.).

Selden Gile Born 1877, Stowe, Maine. Came to 1975, 1976. Group exhibitions California, 1903. Lived in Oakland include annual exhibitions of the and Belvedere, California. Studied "Society of Six", Oakland Art Gallery, briefly at California School of Arts California, 1923-1928; Opening and Crafts, Berkeley. Died 1947, Exhibition /Fifty-fifth Annual Marin County, California. One-man Exhibition of the San Francisco Art exhibitions include Beaux Arts Association, San Francisco Museum Galerie, San Francisco, 1928 (with of Art, 1935 (cat.); Society of Six, The Amy D. Flemming); Charles Oakland Museum, California, 1972 Campbell Gallery, San Francisco, (cat.).

213 David Gilhooly Born 1943, Auburn, California. Funk, University Art Museum, Studied at University of California, University of California, Berkeley. Davis, B.A., 1965; M.A., 1967. Moved 1967 (cat.); Clayuorks; 20 to Canada, 1969. Resides, Aurora, Americans, Museum of Contempo- Ontario. First one-man exhibition rary Crafts, New York, 1971 (cat.); held at Richmond Art Center, Contemporary' Ceramic Art: Canada. California, 1965. Subsequent solo U.S.A., Me.xico and Japan, The exhibitions include San Francisco National Museum of Art, Kyoto,

Museum of Art, 1967; Hansen Fuller [apan, 1971 , and The National Gallery, San Francisco. 1971, 1972, Museum of Modern Art, Tokyo, 1972 1973, i974, 1976; Art Gallery, York (cat.); Clay. Whitney Museum of University, Toronto, Ontario, 1972 American Art, Downtown Branch, (cat.). Group exhibitions include New York, 1974 (cat.).

Ralph Goings Born 1928. Corning. California. California, 1966; O.K. Harris Works of Studied at California College of Arts Art. New York, 1970, 1973. Group and Crafts, Oakland, 1950-1953, exhibitions include The Highway, B.FA., 1953; Sacramento State Institute of Contemporary Art, College, California, 1956. Lived in University of Pennsylvania, Phila- Sacramento until 1975. Resides, delphia, 1970 (cat.); Documenta 5, Charlottesville, New York. First Kassel, Germany, 1972 (cat.); one-man exhibition held at Artists' Photo-Realism, The Arts Council of Cooperative Gallery, Sacramento, Great Britain. Serpentine Gallery, California, 1960 (also 1962, 1968). London, 1973 (cat.); Super Realism, Subsequent solo exhibitions include The Baltimore Museum of Art, Candy Store Gallery, Folsom, Maryland, 1975 (cat.).

Joe Goode Born 1937, Oklahoma City, Group exhibitions include Six More. Oklahoma. Came to California, 1958. Los Angeles County Museum of Art, Studied at Chouinard Art Institute, 1963 (cat.); Ten From Los Angeles, Los Angeles, 1959-1961. Resides, Seattle Art Museum Pavilion, Hollywood, California. First one-man Washington, 1966 (cat.); Surrealism exhibition held at Dilexi Gallery, San is Alive and Well in the West. Baxter Francisco, 1962. Subsequent solo Art Gallery, California Institute of exhibitions include The Fine Arts Technology. Pasadena. 1972 (cat.); Patrons of Newport Harbor, Pavilion American Pop Art, Whitney Museum Gallery, Balboa, California, 1968 (with of American Art, New York, 1974 Ed Ruscha; cat.); Fort Worth Art (cat.). Center Museum, Texas, 1972 (cat.).

Robert Graham Born 1938, Mexico City, Mexico. 1966, 1967, 1968, 1974, 1975 (cat.); Came to California, 1950. Studied at Dallas Museum of Fine Arts, Texas, San lose State College, California, 1972 (cat.). Group exhibitions include 1961-1963; San Francisco Art Annual Exhibition o/ Con temporary Institute, 1963-1964. Moved to American Art. Whitney Museum of Southern C^alifornia. 1965; lived in American Art. New York, 1966. 1969, England and New York. 1967-1972. 1971 (cats.); Three Americans. Resides, Venice, California. First Victoria and Albert Museum. one-man exhibition held at Lanyon London, 1971 (cat.); Separate Gallery. Palo Alto, California, 1964. Realities, Los Angeles Municipal Art Subsequent solo exhibitions include Gallery, 1973 (cat.). Nicholas Wilder Gallery, Los Angeles,

214 Howard Hack Born 1932, Cheyenne, Wyoming. Barbara Museum of Art, California, Studied at Mills College. Oakland, 1972. Group exhibitions include California, 1949; California College of Third Winter Invitational, California Arts and Crafts, Oakland, 1956-1957; Palace of the Legion of Honor, San University of San Francisco, B.S., Francisco, 1961 (cat.); Annual 1962. Resides, San Francisco. First Exhibition o/Contemporary one-man exhibition held at Holies American Painting, Whitney Gallery, San Francisco, 1962 [also Museum of American Art, New York, 1963). Subsequent solo exhibitions 1965, 1967 (cats.); Howard Hack/ include M.H. de Young Memorial Sylvia Lark /Leonard Sussman, San Museum, San Francisco, 1967; Santa Francisco Museum of Art, 1975 (cat.).

Lloyd Hamrol Born 1934, San Francisco. Studied at include American Sculpture of the University of California, Los Angeles, Sixties, Los Angeles County Museum B.A., 1959; M.A., 1963. Resides, Santa of Art, 1967 (cat.); Invisible Painting Monica. First one-man exhibition and Sculpture, Richmond Art Center, held at Rolf Nelson Gallery, Los California, 1969 (cat.); Public Angeles, 1966. Subsequent solo Sculpture /Urban Environment, The exhibitions include La Jolla Museum Oakland Museum, California, 1974 of Art, California, 1968; Pomona (cat.); Three L.A. Sculptors, The Los College Art Gallery, Claremont, Angeles Institute of Contemporary California, 1970. Group exhibitions Art, 1975 (cat.).

Newton Harrison Born 1932, New York. Studied at Yale and Technology, Los Angeles County University, New Haven, Connecticut, Museum of Art, 1971 (cat.); B.RA., 1964; Yale University, Exhibition 10, Contemporary Arts Graduate School of Fine Arts, M.F. A., Museum, Houston, Texas, 1972 (cat.); 1965. Came to California, 1967. Earth Air Fire Water: Elements of Art, Resides, Lalolla, California. First Museum of Fine Arts, Boston,

one-man exhibition held at 10/4 Massachusetts, 1974 (cat.); 1 1 Los Group Gallery, New York, 1961. Angeles Artists, The Arts Council of Subsequent solo exhibitions include Great Britain, Hayward Gallery, Ronald Feldman Gallery, New York, London, 1971 (cat.). 1975. Group exhibitions include Art

Jidius Hatofsky Born 1922, Ellenville, New York. San Francisco Art Institute, 1970; Studied at The Art Students League Smith Andersen Gallery, San of New York, 1946-1950; Academie de Francisco, 1976. Group exhibitions la Grande Chaumiere, Paris, include Annual Exhibition of 1950-1951; The Hans Hofmann Contemporary American Painting, School of Fine Arts, New York, Whitney Museum of American Art, 1951-1952. In New York until 1961, New York. 1958 (cat.); Contemporary when settled in San Francisco. American Painting and Sculpture, Resides, San Francisco. First Krannert Art Museum, University of one-man exhibition held at Illinois, Champaign-Urbana, 1965 Avant-Garde Gallery, New York, 1957. (cat.); Painting as Painting, Subsequent solo exhibitions include University Art Museum, University Egan Gallery, New York, 1960, 1963; of Texas, Austin, 1968 (cat.).

215 Wally Hedrick Born 1928, Pasadena, California. Arts Patrons of Newport Harbor, Studied at Otis Art Institute, Los Pavilion Gallery, Balboa, California, Angeles; California College of Arts 1967 (with Sam Tchakalian; cat.). and Crafts, Oakland; California Group exhibitions include Sixteen School of Fine Arts (now San Americans, The Museum of Modern Francisco Art Institute), 1951-1955; Art, New York, 1959 (cat.); The San Francisco State College, M.A., Construction as an Object of Illusion, 1957. Resides, San Geronimo, San Francisco Art Institute, 1962; California. First one-man exhibition Poets of the Cities INew York and San held at Pasadena Art Center, Francisco 1950-1965, Dallas Museum California, 1950. Subsequent solo of Fine Arts and Pollock Galleries, exhibitions include California School Southern Methodist University, of Fine Arts, 1956 (cat.], 1967 (then Dallas, Texas, 1974 (cat.). San Francisco Art Institute); The Fine

Phillip Hefferton Born 1933, Detroit, Michigan. Group exhibitions include The New Studied at the Society of Arts and Painting of Common Objects, Crafts, Detroit, 1955-1957. Came to Pasadena Art Museum, California, Los Angeles, c. 1960. Resides, 1962; Six More, Los Angeles County Davenport, California. One-man Museum of Art, 1963 (cat.); American exhibitions include Rolf Nelson Pop Art, Whitney Museum of Gallery, Los Angeles, 1964; Eugenia American Art, New York, 1974 (cat.). Butler Gallery, Los Angeles, 1971.

Gilbert Henderson Born 1925, Los Angeles, California. Angeles, 1957; Grippi Gallery, New Studied at California School of Fine York, 1965; Molly Barnes Gallery, Los Arts (now San Francisco Art Angeles, 1969. Group exhibitions Institute), 1949-1950; Otis Art include Action, Merry-go-round Institute, Los Angeles, 1951; Jepson Building, Santa Monica Pier, Santa Art Institute, Los Angeles, 1951. Monica, California, 1955; Artists of Resides, Los Angeles. First one-man Los Angeles and Vicinity (Annual exhibition held at Associated Exhibition), Los Angeles County American Galleries, Beverly Hills, Museum, 1953 (cat.); Focus on Light, California, 1949. Subsequent solo New Jersey State Museum Cultural exhibitions include Ferus Gallery, Los Center, Trenton, 1967 (cat.).

Maxwell Hendler Born 1938, St. Louis, Missouri. 22 Realists, Whitney Museum of Studied at University of California, American Art, New York, 1970 (cat.); Los Angeles, M.F.A., 1962. Resides, 1 1 Los Angeles Artists, The Arts Venice, California. First one-man Council of Great Britain, Hayward exhibition held at Ceeje Gallery, Los Gallery, London, 1971 (cat.); Separate Angeles, 1962 (with Arleen Goldberg; Realities, Los Angeles Municipal Art also 1965). Subsequent solo Gallery, 1973 (cat.); America as Art, exhibitions include Eugenia Butler National Collection of Fine Arts, Gallery, Los Angeles, 1969; The Smithsonian Institution, Washington, Metropolitan Museum of Art, New D.C., 1976 (cat.). York, 1974. Group exhibitions include

216 George Harms Born 1935, Woodland, California. Memorial Union Art Gallery, Lived in Southern California: University of California, Davis, 1973 Hermosa Beach, 1956-1957; Topanga, (cat.). Group exhibitions include The 1962, 1965-1973; Los Angeles from Art of Assemblage, The Museum of 1973. Lived in Northern California: Modern Art, New^ York, 1961 (cat.); Larkspur, 1958-1962; Mill Creek (near Assemblage in California, Art Healdsburg), 1963-1965. Resides, Los Gallery, University of California, Angeles. First one-man exhibition Irvine, 1968 (cat.); Art as a Muscular held at Hermosa Beach, California Principle, )ohn and Norah Warbeke ("Secret Exhibition"), 1957. Gallery, Mount Holyoke College, Subsequent solo exhibitions include South Hadley, Massachusetts, 1975 Batman Gallery, San Francisco, 1961; (cat.).

Tom Holland Born 1936, Seattle, Washington. California, 1975 (cat.); Los Angeles Studied at Willamette University, Municipal Art Gallery, 1975 (with Salem, Oregon, 1954-1956; University Ron Davis; cat.). Group exhibitions of California, Santa Barbara, 1957; include Off the Stretcher, The University of California, Berkeley, Oakland Museum, California, 1971 1957-1959. Resides, Berkeley, (cat.); Painting: New Options, Walker California. First one-man exhibition Art Center, Minneapolis, Minnesota, held at Universidad Catolica de 1972 (cat.); 34th Biennial of Chile, Santiago, Chile, 1969. Contemporary American Painting, Subsequent solo exhibitions include The Corcoran Gallery of Art, San Francisco Museum of Art, 1972 Washington, D.C., 1975 (cat.). (cat.); Richmond Art Center,

Arthur Holman Born 1926, Bartlesville, Oklahoma. Sawyer Gallery, San Francisco, 1971, Studied at University of New Mexico, 1972, 1974, 1975, 1976. Group B.F.A., 1951; The Hans Hofmann exhibitions include Paintings by Art School of Fine Arts, New York, 1951; Holman and David Simpson; California School of Fine Arts (now Sculpture by John R. Baxter, San San Francisco Art Institute), 1953. Francisco Museum of Art, 1959; Settled in San Francisco, 1953; Contemporary American Painting resides, Lagunitas, California. First and Sculpture, Krannert Art one-man exhibition held at Esther Museum, University of Illinois, Robles Gallery, Los Angeles, 1960. Champaign-Urbana, 1963 (cat.); Art Subsequent solo exhibitions include on Paper, Weatherspoon Art Gallery, M.H. de Young Memorial Museum, University of North Carolina, Chapel San Francisco, 1963 (cat.); William Hill, 1965.

Charles Howard Born 1899, Montclair, New )ersey. 1956 (cat.); McRoberts and Tunnard Came to Berkeley, California, 1902. Limited, London, 1963 (cat.). Group Studied at University of California, exhibitions include International Berkeley, B.A., 1921. Lived in New Surrealist Exhibition, New York and Europe, 1922-1940. In San Burlington Galleries, London, 1936; Francisco 1940-1946, then returned to Abstract Painting and Sculpture in England. Resides, Italy. First one-man America, The Museum of Modern exhibition held at the Whitney Studio Art, New York, 1951 (cat.); British Art Club, New York, 1926. Subsequent and the Modern Movement solo exhibitions include California 1930-1940, The Welsh Committee of Palace of the Legion of Honor, San the Arts Council of Great Britain, The Francisco, 1946 (cat.), 1953; National Museum of Wales, Cardiff, Whitechapel Art Gallery, London, 1962 (cat.).

217 Robert B. Howard Born 1896, New York. Came to Arts), 1973 (cat.). Group exhibitions Berkeley, California, 1902. Studied at include Abstract and Surrealist California School of Arts and Crafts, American Art /Fifty-Eighth Annual Berkeley, 1915-1916; The Art Exhibition of American Painting and Students League of New York, Sculpture, The Art Institute of 1916-1917. Resides, San Francisco. Chicago, 1947 (cat.); IBienal, Museu First one-man exhibition held at The de Arte Moderna, Sao Paulo, Brazil, Print Rooms, San Francisco, 1922. 1951, and III Bienal, 1955 (cats.); Subsequent solo exhibitions include Public Sculpture /Urban San Francisco Museum of Art, 1963 Environment, The Oakland Museum, (cat.); San Francisco Art histitute, California, 1974 (cat.). 1956 (then California School of Fine

Robert Hudson Born 1938, Salt Lake City, Utah. Came (with Richard Shaw; cat.). Group to San Francisco, 1957. Studied at exhibitions include Funk, University San Francisco Art histitute, B.F.A., Art Museum, University of 1961; M.KA., 1963. Resides, California, Berkeley, 1967 (cat.); 14 Sausalito, California. First one-man Sculptors: The Industrial Edge, exhibition held at Richmond Art Walker Art Center, Minneapolis, Center, California, 1961. Subsequent Minnesota, 1969 (cat.); The Condition solo exhibitions include San of Sculpture, The Arts Council of Francisco Art Institute, 1965; San Great Britain, Hayward Gallery, Francisco Museum of Art, 1973 London, 1975 (cat.).

John Hultberg Born 1922, San Francisco. Studied Gallery, New York, since 1955; The at Fresno State College, California, Roswell Museum and Art Center, 1939-1943; California School of Fine Roswell, New Mexico, 1963 (cat.). Arts (now San Francisco Art Group exhibitions include XXVIII Institute), 1947-1949; The Art Biennale, Venice, Italy, 1956 (cat.); Students League of New York, Contemporary Urban Visions, New 1949-1951. Resides, New York. School Art Center, New York, 1966 First one-man exhibition held at (cat.); American Painting 1970, Contemporary Gallery, Sausalito, Virginia Museum, Richmond, 1970 California, 1949. Subsequent solo (cat.). exhibitions include Martha Jackson

Nick Hyde Born 1943, San Francisco, California. Landscapes and Shadow Land, Studied at San Francisco Academy of University of Southern California Art Art, B.A., 1967; San Francisco Art Galleries, Los Angeles, 1971 (cat.); Institute, M.F.A., 1971. Resides, San Imaginary Painting from San Francisco. First one-man exhibition Francisco, California State held at Sun Gallery, San Francisco, University, San Jose, 1973 (cat.); 1969 (with Dena Petit). Group Phantasmal Visions, Gallery Rebecca exhibitions include Other Cooper, Washington, D.C., 1975.

218 Robert Irwin Born 1928, Long Beach, California. Wheeler; cat.); Museum of Studied at Otis Art Institute, Los Contemporary Art, Chicago, 1975 Angeles, 1948-1950; Jepson Art (cat.). Group exhibitions include The Institute, Los Angeles, 1951; Responsive Eye, The Museum of Chouinard Art Institute, Los Angeles, Modern Art, New York, 1965 (cat.); 1951-1952. Lived in Europe in 1954 Transparency, Reflection, Light, and 1958. Resides, Westwood, Space; Four Artists, UCLA Art California. First one-man exhibition Galleries, University of California, held at Felix Landau Gallery, Los Los Angeles, 1971 (cat.); 200 Years of Angeles, 1957. Subsequent solo American Sculpture, Whitney exhibitions include Ferus Gallery, Los Museum of American Art, New York, Angeles, 1959, 1960, 1962, 1964; Fort 1976 (cat.); Critical Perspectives in Worth Art Center Museum, Texas (in American Art, Fine Arts Gallery, cooperation with The Corcoran University of Massachusetts, Gallery of Art, Washington, D.C., and Amherst (United States the Stedelijk Museum, Amsterdam, Representation, XXXVIIIRiennaJe, Netherlands], 1969 (with Doug Venice, Italy), 1976 (cat.).

Richard Jackson Born 1939, Sacramento, California. Contemporary American Painting, Studied at Sacramento State College, The Corcoran Gallery of Art, California, 1959-1961. Resides, Washington, D.C., 1971 (cat.); John Pasadena, California. First one-man BaJdessari /Frances Barth IRichard

exhibition held at E.B. Crocker Art fackson I Barbara Munger IGary Gallery, Sacramento, California, 1961. Stephan, Contemporary Arts Subsequent solo exhibitions include Museum, Houston, Texas, 1972 (cat.); Bykert Gallery, New York, 1973; Riko Both Kinds; Contemporary Art from Mizuno Gallery, Los Angeles, 1974, Los AngeJes, University Art Museum, 1975. Group exhibitions include University of California, Berkeley, Thirty-second Biennial Exhibition of 1975 (cat).

Jack Jefferson Born 1921, Lead, South Dakota. Francisco, 1976. Group exhibitions Studied at University of Iowa, Iowa include Large Scale Drawings by City, 1940-1942; California School of Modern Artists, California Palace of Fine Arts (now San Francisco Art the Legion of Honor, San Francisco, Institute), 1946-1950. Settled in San 1950 (cat.); A Period o/ Exploration, Francisco, 1946. Resides, San San Francisco 1945-1950, The Francisco. First one-man exhibition Oakland Museum, California, 1973 held at Metart Gallery, San Francisco, (cat.); 1975 Biennial Exhibition; 1949. Subsequent solo exhibitions Contemporary American Art, include M.H. de Young Memorial Whitney Museum of American Art, Museum, San Francisco, 1960, 1962 New York, 1975 (cat.). (cat.); Smith Andersen Gallery, San

219 Jess Born 1923, Long Beach, California. New York, 1974. Group exhibitions Studied at California Institute of include The Art o/AssembJage, The Technology, Pasadena, B.S., Museum of Modern Art, New York, Chemistry, 1948; California School of 1961 (cat.); The Spirit of the Comics, Fine Arts (now San Francisco Art Institute of Contemporary Art, Institute), 1949-1951. Resides, San University of Pennsylvania, Francisco. First one-man exhibition Philadelphia, 1969 (cat.); Poets of the held at "The Place", San Francisco, Cities INew York and San Francisco 1954. Subsequent solo exhibitions 1950-1965, Dallas Museum of Fine include San Francisco Museum of Arts and Pollock Galleries, Southern Art, 1968 (cat.); Museum of Methodist University, Dallas, Texas, Contemporary Art, Chicago, 1972 1974 (cat.). (cat.); The Museum of Modern Art,

Daniel La Rue Johnson Born 1938, Los Angeles. Studied at in CoJJage: California, Pasadena Art Chouinard Art Institute, B.F.A.; with Museum, California, 1962; Boxes, Alberto Giacometti in Paris. Resides, Dwan Gallery, Los Angeles, 1964 Los Angeles. First one-man (cat.); The Negro in American Art, exhibition held at Pasadena UCLA Art Galleries, University of Community Center, California, 1953. California, Los Angeles, 1966 (cat.); Subsequent solo exhibitions include Dimensions of Black, La )olla Chouinard Art Institute, 1956; Rolf Museum of Art, California, 1966 Nelson Gallery, Los Angeles, 1964. (cat.). Group exhibitions include Directions

Sargent Johnson Born 1888, Boston, Massachusetts. Exposition, San Francisco, 1940 Studied at California School of Fine (cat.); The Negro in American Art, Arts (now San Francisco Art UCLA Art Galleries, University of Institute), 1919-1923 (with Ralph California, Los Angeles, 1966 (cat.); Stackpole and Beniamino Bufano), Dimensions of Black. La Jolla 1940-1942, 1958 (summer). Died 1967, Museum of Art, La Jolla, California, San Francisco. One-man exhibition 1970 (cat.); New Deal Art: California, held at The Oakland Museum, de Saisset Art Gallery and Museum, California, 1971 (cat.). Group University of Santa Clara, California, exhibitions include California Art 1976 (cat.). Today, Golden Gate International

Ynez Johnston Born 1920, Berkeley, California. 1976. Group exhibitions include Studied at University of California, Bunce /Johnston IMundt: New Talent

Berkeley, B.F A., 1941 ; M.F A., 1946. Exhibition, The Museum of Modern Settled in Southern California, 1953. Art, New York, 1950 (cat.); Ill Bienal, Resides, Los Angeles. First one- Museu de Arte Moderna, Sao Paulo, woman exhibition held at San Brazil, 1955 (cat.); Graphics '71 West Francisco Museum of Art, 1943 Coast, U.S.A., University of Kentucky (also 1967; cat.). Subsequent solo Art Gallery, Lexington, 1970 (cat.); exhibitions include California American Artists '76; A Celebration, Palace of the Legion of Honor, San Marion Koogler McNay Art Institute. Francisco, 1956 (cat.); )odi Scully San Antonio, Texas, 1976 (cat.). Gallery, Los Angeles, 1971, 1973,

220 David Jones Born 1948, Columbus, Ohio. Came Grant 1974], 1974 (cat.); Michael to San Francisco, 1970. Studied at Walls Gallery, New York, 1975. Croup Kansas City Art Institute, B.F.A., exhibitions include The MetaJ 1970; University of California, Experience, The Oakland Museum, Berkeley, M.A., 1971; M.F.A., 1973. California, 1971 (cat,); Market Street Resides, San Francisco. First Program , Pasadena Museum of one-man exhibition held at San Jose Modern Art, California, 1973; 1975 State University, California, 1971. Biennial Exhibition; Contemporary Subsequent solo exhibitions include American Art, Whitney Museum of San Francisco Museum of Art (SECA American Art, New York, 1975 (cat.). Craig Kaufi&nan Born 1932, Los Angeles. Studied at (cat.), 1973; Pasadena Art Museum, University of Southern California, California, 1970 (cat.). Group School of Architecture, Los Angeles, exhibitions include United States of 1950-1952; University of California, America /V Paris Biennale, Musee Los Angeles, 1952-1956, M.A., 1956. d'Art Moderne de la Ville de Paris, Extended stays in San Francisco, 1967 (cat.); Los AngeJes 6, Vancouver 1959-1960; New York, 1970-1971; and Art Gallery, British Columbia, 1968 Europe, 1956, 1960-1961, 1975 and (cat.); 14 Sculptors: The Industrial 1976. Resides, Laguna Beach, Edge, Walker Art Center, California. First one-man exhibition Minneapolis, Minnesota, 1969 (cat.); held at Felix Landau Gallery, Los Transparency, Reflection, Light, Angeles, 1953. Subsequent solo Space: Four Artists, UCLA Art exhibitions include Pace Gallery, Galleries, University of California, New York, 1965, 1966, 1967, 1970 Los Angeles, 1971 (cat.). James Kelly Born 1915, Philadelphia, Gallery, New York, 1963; East Pennsylvania. Studied at Hampton Gallery, 1965, 1968 (with Pennsylvania Academy of Fine Arts, Sonia Gechtoff). Group exhibitions Philadelphia, 1938; Barnes include Action, Merry-go-round Foundation, Merion, Pennsylvania, Building, Santa Monica Pier, Santa

1941 ; California School of Fine Arts Monica, California, 1955 (cat.); (now San Francisco Art Institute), American Paintings 1945-1957, The 1951-1954. Left California, 1958. Minneapolis Institute of Arts, Resides, New York. First one-man Minnesota, 1957 (cat.); The Last Time exhibition held at "The Place", San I Saw Ferus, Newport Harbor Art Francisco, 1954. Subsequent solo Museum, Newport Beach, California, exhibitions include The Stryke 1976 (cat.). Adaline Kent Born 1900, Kentfield, California. include Mobiles and Articulated Studied at Vassar College, Sculpture, California Palace of the Poughkeepsie, New York, B.A., 1923; Legion of Honor, San Francisco, California School of Fine Arts (now 1948 (cat.); Abstract Painting and San Francisco Art Institute), Sculpture in America, The Museum 1923-1924; with Antoine Bourdelle, of Modern Art, New York, 1951 (cat.); Paris, 1924. Died 1957, Marin County, Le Dessin Confemporain aux California. First one-woman Etats-Unis, Musee National d'Art exhibition held at the Art Center, Moderne, Paris, 1954 (cat.). Ref: San Francisco, 1934 (with Harriet MacAgy, Jermayne, Alice C. Kent Whedon). Subsequent solo and Robert B. Howard, eds. Auto- exhibitions include San Francisco biography from the Notebooks and Museum of Art, 1948, 1958 (cat.); Sculpture of Adaline Kent. Houston, Betty Parsons Gallery, New York, Texas: privately printed, 1958. 1949, 1953, 1956. Group exhibitions 221 Edward Kienholz Born 1927, Fairfield, Washington. Stockholm, Sweden, 1971 (cat.). Studied at Eastern Washington Croup exhibitions include The Art of College of Education, Cheney; Assemblage, The Museum of Modern Whitworth College, Spokane, Art, New York, 1961 (cat.); American Washington. Resides Hope, Idaho, Sculpture of the Sixties, Los Angeles and Germany. First one-man County Museum of Art, 1967 (cat.); exhibition held at Syndell Studio, Dada, Surrealism and Their Los Angeles, 1956. Subsequent solo Heritage, The Museum of Modern exhibitions include Los Angeles Art, New York, 1968 (cat.); 200 Years County Museum of Art, 1966 (cat.); 11 of American Sculpture, Whitney Tableaux, organized by the Institute Museum of American Art, New York, of Contemporary Arts, Nash House, 1976 (cat.). London, for the Moderna Museet,

Robert Kinmont Born 1937, Los Angeles. Studied Berkeley Gallery, San Francisco, Japanese calligraphy, Sumi-e, and oil 1966; Idea-Document, Paula Cooper painting, privately in Los Angeles; Gallery, New York, 1969; Extra- San Francisco Art Institute, B.F.A., ordinary Realities, Whitney Museum 1970; University of California, Davis, of American Art, New York, 1973 M.FA., 1971. Lived in Seattle, (cat.); Robert Bogan /Robert Washington, 1962-1964. Came to San Kinmont //ock Reynolds, San Francisco, 1965. Resides, Bishop, Francisco Art Institute, 1974 (cat.); California. First one-man exhibition Word Works, Too, Art Gallery, San held at Gallery Reese Palley, San Jose State University, California, 1975 Francisco, 1971 (cat.). Group (cat.). exhibitions include Slant Step Show,

Peter Krasnow Born 1890, Ukraine, Russia. Studied (cat.); Los Angeles Municipal Art at The School of The Art Institute of Gallery, 1975 (cat.). Group exhibitions

Chicago to 1916. Came to Los include III Bienal , Museu de Arte Angeles, 1922. Resides, Los Angeles. Moderna, Sao Paulo, Brazil, 1955 First one-man exhibition held at (cat.); Peter Krasnow, Max Band, Whitney Studio Club, New York, Boris Deutsch, Westside Jewish 1922. Subsequent solo exhibitions Community Center, Los Angeles, include California Palace of the 1965; Nine Senior Southern Legion of Honor, San Francisco, 1931 California Painters, The Los Angeles (cat.); Lang Galleries, Scripps Institute of Contemporary Art, 1974 College, Claremont, California, 1964 (cat.).

Walter Kuhlman Born 1918, St. Paul, Minnesota. Saisset Art Gallery, University of Studied at St. Paul School of Art, Santa Clara, California, 1969 (cat.). 1936-1939; University of Minnesota, Group exhibitions include Iff Bienal, Minneapolis, B.A., 1941; California Museu de Arte Moderna, Sao Paulo, School of Fine Arts (now San Brazil, 1955 (cat.); Pacemakers, Francisco Art Institute), 1947-1950; Contemporary Arts Museum, Academie de la Grande Chaumiere, Houston, Texas, 1957 (cat.); Recent Paris, 1950-1951. Resides, Sausalito, American Paintings, University Art California. First one-man exhibition Museum, University of Texas, Austin, held at Walker Art Center, 1964 (cat.); A Period of Exploration, Minneapolis, Minnesota, 1940. San Francisco 1945-1950, The Subsequent solo exhibitions include Oakland Museum, California, 1973 California Palace of the Legion of (cat.). Honor, San Francisco, 1956, 1964; de 222 Lucien Labaudt Born 1880, Paris, France. Studied in (annually; cats.); Painting and London, 1901-1904. Settled in San Sculpture from 16 American Cities, Francisco, 1911. Died 1943, India. The Museum of Modern Art, New One-man exhibitions include York, 1933 (cat.); Post-Surrealist California Palace of the Legion of Exhibition, San Francisco Museum of Honor, San Francisco, 1933; San Art, 1935; Contemporary Art, Golden Francisco Museum of Art, 1944 (cat.). Gate International Exposition, San Group exhibitions include Salon des Francisco, 1939 (cat.). Independents, Paris, 1921-1926

Rico Lebrun Born 1900, Naples, Italy. Studied at (cat.); Santa Barbara Museum of Art, National Technical School, Naples, California, 1971 (cat.). Group 1910-1917; National Technical exhibitions include Americans 1942, Institute, Academy of Fine Arts, The Museum of Modern Art, New Naples, 1919-1921. Settled in York, 1942 (cat.); Abstract and Southern California in 1938. Died Surrealist American Art /Fi/ty-Eighth 1964, Malibu, California. First Annual Exhibition of American one-man exhibition held at Faulkner Painting and Sculpture, The Art Memorial Art Gallery, Santa Barbara, Institute of Chicago, 1947 (cat.); XXV California, 1941. Subsequent solo BiennaJe, American Painting Today, exhibitions include San Francisco Venice, Italy, 1950 (cat.); Master- Museum of Art, 1940; Los Angeles pieces o/ReJigious Art, The Art County Museum of Art, 1950, 1967 Institute of Chicago, 1954 (cat.).

Alvin Light Born 1931, Concord, New Hampshire. Francisco Art Institute, 1971. Group Came to San Francisco, 1951. Studied exhibitions include American at California School of Fine Arts Sculpture of the Sixties, Los Angeles (now San Francisco Art Institute), County Museum of Art, 1967 (cat.); 1951-1953, 1956-1961, B.F.A., 1959; Public Sculpture /Urban Environ- M.F.A., 1961. Resides, San Francisco. ment, The Oakland Museum, First one-man exhibition held at California, 1974 (cat.); 1975 Biennial Spatsa Gallery, San Francisco, 1959. Exhibition: Contemporary American

Subsequent solo exhibitions include Art , Whitney Museum of American M.H. de Young Memorial Museum, Art, New York, 1975 (cat.). San Francisco, 1965 (cat.); San

Frank Lobdell Born 1921, Kansas City, Missouri. Angeles, 1962; Pasadena Art Moved to Sausalito, California, 1946. Museum, California, 1966 (cat.); San Studied at St. Paul School of Fine Francisco Museum of Art, 1969 (cat.). Arts, St. Paul, Minnesota, 1938-1939; Group exhibitions include IIIBienal, California School of Fine Arts (now Museu de Arte Moderna, Sao Paulo, San Francisco Art Institute), Brazil, 1955 (cat.); Kompas 4, 1947-1950; Academie de la Grande Stedelijk van Abbemuseum, Chaumiere, Paris, 1950. Resides, Palo Eindhoven, The Netherlands, 1969 Alto, California. First one-man (cat.); Contemporary American exhibition held at Lucien Labaudt Painting and Sculpture 1974, Gallery, San Francisco, 1949 (with Krannert Art Museum, University of George Stillman). Subsequent solo Illinois, Champaign-Urbana, 1974 exhibitions include Ferus Gallery, Los (cat.).

223 ,

Seymour Locks Born 1919, Chicago, Illinois, (lame to (with William Wiley); San Francisco California, 1931. Studied at San |ose Art Institute, 1974. Group exhibitions State College, California, A.B.; include From San Francisco: A New Stanford University, Stanford, Language in Painting, Kaufmann Art California, M.A., 1946. Resides, San Gallery, YM-YWHA, New York, 1954; Francisco. First one-man exhibition The Art of Assemblage. The Museum held at Lucien Labaudt Gallery, of Modern Art, New York, 1961 (cat.); San Francisco, 1955 (also 1957). A Period o/ExpJoration, San Subsequent solo exhibitions include Francisco 1945-1950, The Oakland San Francisco Museum of Art, 1960 Museum, California, 1973 (cat.).

Maurice Logan Born 1886, San Francisco. Studied Francisco, 1957. Group exhibitions at The Partington Art School, San include Impressionistic Paintings Francisco; Mark Hopkins kistitute of by Western Artists, Los Angeles Art, San Francisco, c. 1907-1914; The Museum, 1924; 200 Years of Water-

School of The Art Institute of color Painting in America , The Chicago; California School of Arts Metropolitan Museum of Art, New and Crafts, Berkeley. Resides, York, 1966 (cat.); Society of Six. The Oakland, California, One-man Oakland Museum, California, 1972 exhibitions include San Francisco (cat.); California White Paper Museum of Art, 1940; Oakland Art Painters /1930's-1970's, Art Gallery, Gallery, California, 1944; M,H. de California State University, Fullerton, Young Memorial Museum, San 1976 (cat.).

Helen Lundeberg Born 1908, Chicago, Illinois. Came to Dada, Surrealism , The Museum of Pasadena, California, 1912. Studied Modern Art, New York, 1936 (cat.); with Lorser Feitelson, 1930-1933. Geometric Abstraction in America Resides, Los Angeles. First Whitney Museum of American Art, one-woman exhibition held at New York, 1962 (cat.); Nine Senior Stanley Rose Gallery, Hollywood, Southern California Painters, The Los California, 1933. Subsequent solo Angeles Institute of Contemporary exhibitions include The Pasadena Art Art, 1974 (cat.); American Artists '76: Institute, California, 1953; La JoUa A Celebration. Marion Koogler Museum of Contemporary Art, McNay Art Institute, San Antonio, California, 1971 (cat.). Group Texas, 1976 (cat.). exhibitions include Fantastic Art,

Stanton Macdonald-Wright Born 1890, Charlottesville, Virginia. Art Galleries/The Grunwald Graphic Came to Santa Monica, California, Arts Foundation, University of 1900. Studied at Art Students League, California, Los Angeles, 1970 (cat.). Los Angeles, 1904-1905; La Sorbonne, Group exhibitions include Pioneers Paris, 1907-1909; and briefly at of IVfodern Art in America, Whitney Academic Colarossi, Academie Julian Museum of American Art, New York, and Ecole des Beaux Arts, Paris. Died 1946 (cat.); Roots of Abstract Art in 1973, Los Angeles. First one-man America 1910-1930. National exhibition held at Neue Kunstsalon, Collection of Fine Arts, Smithsonian Munich, Germany, 1913 (first Institution, Washington, D.C.. 1965 Synchromist exhibition, with Morgan (cat.); Avant-Garde: Painting and Russell). Subsequent solo exhibitions Sculpture in America 1910-1925. include National Collection of Fine Delaware Art Museum, Wilmington, Arts, Smithsonian Institution, 1975 (cat.). Washington, D.C., 1967 (cat.); UCLA

224 ,

Tom Marioni Born 1937, Cincinnati, Ohio. Studied Center, California, 1968 (cat.); The at Cincinnati Conservatory of Music, Oakland Museum, California, 1970; 1954-1955; Cincinnati Art Academy, and/or, Seattle, Washington, 1976. Ohio, 1955-1959. Settled in San Group exhibitions include Sound

Francisco, 1959. Founder and Sculpture As , Museum of Conceptual Director of Museum of Conceptual Art, San Francisco, 1970; Fish, Fox, Art, San Francisco, 1970 to present. Kos, de Saisset Art Gallery and Resides, Berkeley, California. First Museum, University of Santa Clara,

one-man exhibition held at Bradley Santa Clara, California, 1971 ; South Memorial Museum of Art, Columbus, of the Slot, 63 Bluxome Street, San Georgia, 1963. Subsequent solo Francisco, 1974 (cat.). exhibitions include Richmond Art

Bill Martin Born 1943, South San Francisco, 1976. Group exhibitions include California. Studied at San Francisco Other Landscapes and Shadow Land Art Institute, B.FA., 1968; M.F.A., University of Southern California Art 1970. Resides, Woodacre, California. Galleries, Los Angeles, 1971 (cat.); First one-man exhibition held at San Baja, San Francisco Museum of Art, Francisco Museum of Art, 1973 (cat.). 1974 (cat.); Alternative Realities, Subsequent solo exhibition held at Museum of Contemporary Art, Nancy Hoffman Gallery, New York, Chicago, 1976 (cat.).

Fred Martin Born 1927, San Francisco. Studied at 1966, 1968, 1970; San Francisco University of California, Berkeley, Museum of Art, 1973 (cat.). Group B.A., 1949; California Secondary exhibitions include The Construction Teaching Credential, 1951; M. A., as an Object of Illusion, San 1954; California School of Fine Arts Francisco Art Institute, 1962; (now San Francisco Art Institute), Extraordinary Realities, Whitney 1949-1950. Resides, Oakland, Museum of American Art, New York, California. First one-man exhibition 1973 (cat.); Art as a Muscular held at Contemporary Gallery, Principle, lohn and Norah Warbeke Sausalito, California, 1949. Gallery, Mount Holyoke College, Subsequent solo exhibitions include South Hadley, Massachusetts, 1975 Royal Marks Gallery, New York, 1965, (cat.).

Xavier Martinez Born 1869, Guadalajara, Mexico. Museum, California, 1974 (cat.). Came to San Francisco, 1893. Studied Group exhibitions include at California School of Design, San Panama-Pacific International Francisco, 1893-1897; Ecole des Exposition, San Francisco, 1915 Beaux Arts, Atelier Gerome, Paris, (cat.); Opening Exhibition IFifty-Fifth 1897-1899; Academy of Eugene Annual Exhibition of the San

Carriere, Paris, 1900-1901. Returned Francisco Art Association , San to San Francisco, 1901. Lived in San Francisco Museum of Art, 1935 (cat.); Francisco Bay Area until 1942 when The Color of Mood: American he moved to Carmel, California. Died Tonalism 1880-1910, M.H. de Young 1943, Carmel. One-man exhibitions Memorial Museum and California include Vickery Gallery, San Palace of the Legion of Honor, San Francisco, 1905, 1909; The Print Francisco, 1972 (cat.); California Rooms, San Francisco, 1922; Design 1910, Pasadena Center, California College of Arts and Crafts, California, 1974 (cat.). Oakland, 1941, 1967; The Oakland

225 ,

Fred Mason Born 1938, El Monte, California. Object, Los Angeles County Museum Studied at Immaculate Heart College, of Art, 1966; Assemblage in

Los Angeles, 1955-1958. Resides, California , Art Gallery, University of Venice, California. Group exhibitions California, Irvine, 1968 (cat.); Collage include Directions in Collage; and Assemblage in Southern

California, Pasadena Art Museum, California , The Los Angeles Institute California, 1962; The Contained of Contemporary Art, 1975 (cat.).

John Mason Born 1927, Madrid, Nebraska. Came County Museum of Art, 1966 (cat.). to Los Angeles, 1949. Studied at Otis Group exhibitions include Abstract Art histitute, Los Angeles, 1949-1951 Expressionist Ceramics, Art Gallery, 1954; Chouinard Art Institute, Los University of California, Irvine, 1966 Angeles, 1951-1954. Resides, Los (cat.); American Sculpture of the Angeles. First one-man exhibition Sixties, Los Angeles County Museum held at Gump's Gallery, San of Art, 1967 (cat.); Sculpture Off the Francisco, 1956. Subsequent solo Pedestal, Grand Rapids Art Museum, exhibitions include Ferus Gallery, Los Grand Rapids, Michigan, 1973 (cat.); Angeles, 1958, 1959, 1961, 1963; 200 Years of American Sculpture, Pasadena Art Museum, California, Whitney Museum of American Art, 1960, 1974 (then Pasadena Museum of New York, 1976 (cat.). Modern Art; cat.); Los Angeles

Arthur Mathews Born 1860, Markesan, Wisconsin. Francisco, 1898; The Oakland Settled in Oakland, California, 1867. Museum, California, 1972 (with Lucia Studied with Henry Bruen, Oakland, Mathews; cat.). Group exhibitions 1875-1880; Academie Julian with include the Salon, Paris, 1887, 1888, Gustave Boulanger and Jules 1889 (cats.); Panama-Pacific Lefebvre, Paris, 1885-1886. Returned International Exposition, San to San Francisco, 1889. Died 1945, Francisco, 1915 (cat.); California Art San Francisco. First one-man in Retrospect: 1850-1915, Golden exhibition held at Vickery Gallery, Gate International Exposition, San San Francisco, 1890 (also 1905). Francisco, 1940 (cat.); California Subsequent solo exhibitions include Design 1910, Pasadena Center, Mark Hopkins Institute of Art, San California, 1974 (cat.).

Lucia Mathews Born 1870, San Francisco. Studied at Group exhibitions include Spring Mills College, Oakland, California, Exhibition, Mark Hopkins Institute 1892-1893; Mark Hopkins histitute of Art, San Francisco, 1896, 1906; of Art, San Francisco, 1893-1894; Panama-Pacific International Academie Carmen, Paris, 1899. Lived Exposition, San Francisco, 1915 in San Francisco until 1951 when (cat.); California Art in Retrospect; moved to Los Angeles. Died 1955, Los 1850-1915, Golden Gate International Angeles. Retrospective exhibition of Exposition, San Francisco, 1940 the work of Arthur and Lucia (cat.); California Design 1910, Mathews held at The Oakland Pasadena Center, California, 1974 Museum, California, 1972 (cat.). (cat.).

226 Robert McChesney Born 1913, Marshall, Missouri. (cat.); Capricorn Asunder, San Studied at Washington University, St. Francisco Art Commission Gallery, Louis, Missouri, 1933-1934; Otis Art 1974 (cat.). Group exhibitions include Institute, Los Angeles, 1936. Came to Abstract and Surrealist American San Francisco c. 1938. Resides, Art /Fifty-Eighth Annual Exhibition Petaluma, California. First one-man of American Painting and Sculpture, exhibition held at Raymond & The Art histitute of Chicago, 1947 Raymond, San Francisco, 1944. (cat.); niBienal, Museude Arte Subsequent solo exhibitions include Moderna, Sao Paulo, Brazil, 1955 San Francisco Museum of Art, 1949; (cat.); A Period o/Exploration, San California School of Fine Arts (now Francisco 1945-1950, The Oakland San Francisco Art Institute), 1957 Museum, California, 1973 (cat.).

John McCracken Born 1934, Berkeley, California. 1972, 1973; Ileana Sonnabend, Paris, Studied at California College of Arts 1969, 1970. Group exhibitions and Crafts, Oakland, 1958-1965, include Primary Structures, The B.F.A., 1962. Moved to Venice, Jewish Museum, New York, 1966 California, 1965; moved to New York, (cat.); Ten From Los Angeles, Seattle 1968. Resides, Venice, California. Art Museum Pavilion, Washington, First one-man exhibition held at 1966 (cat.); A New Aesthetic, Nicholas Wilder Gallery, Los Angeles, Washington Gallery of Modern Art, 1965 (also 1967, 1968). Subsequent Washington, D.C., 1967 (cat.); Unitary solo exhibitions include Robert Elkon Forms, San Francisco Museum of Art, Gallery, New York, 1966, 1967, 1968, 1970 (cat.).

James McCray Born 1912, Niles, California. Studied and Surrealist American Art / at University of California, Berkeley, Fifty-Eighth Annual Exhibition of B.A., 1934; M.A., 1935; Barnes American Painting and Sculpture, Foundation, Merion, Pennsylvania, The Art Institute of Chicago, 1947 1937-1939. Resides, Walnut Creek, (cat.); New Works by Ruth Armer, California. One-man exhibitions held Leah Rinne Hamilton, James McCray, at California School of Fine Arts (now San Francisco Museum of Art, 1950; San Francisco Art Institute), 1955 American Water Colors, Drawings (cat.); Berkeley Rotary Art and and Prints, The Metropolitan Garden Center, California, 1968 (cat.). Museum of Art, New York, 1952 (cat.). Group exhibitions include Abstract

John McLaughlin Born 1898, Sharon, Massachusetts. Classicists, Los Angeles County Self-taught. Settled in Dana Point, Museum of Art and San Francisco California, 1946. Died 1976, Dana Museum of Art, 1959 (cat.); Point. First one-man exhibition held Geometric Abstraction in America, at Landau Gallery, Los Angeles, 1952. Whitney Museum of American Art, Subsequent solo exhibitions include New York, 1962 (cat.); 1 1 Los Angeles The Pasadena Art histitute, 1956, Artists, The Arts Coimcil of Great 1963 (then Pasadena Art Museum; Britain, Hayward Gallery, London, cat.); The Corcoran Gallery of Art, 1971 (cat.); Nine Senior Southern Washington, D.C., 1968 (cat.); Art California Painters, The Los Angeles Gallery, California State University, Institute of Contemporary Art, 1974 Fullerton, 1975 (cat.). Group (cat.). exhibitions include Four Abstract

227 Richard McLean Born 1934, Hoquiam, Washington. moved to San Francisco, February, Studied at California College of Arts 1966); O.K. Harris Works of Art, New

and Crafts, Oakland, 1955, 1958, York, 1971 , 1973. Group exhibitions B.F.A., 1958; Mills College, Oakland, include 22 Realists, Whitney 1960-1962, M.F.A., 1962. Resides, Museum of American Art, New York, Oakland, California. First one-man 1970 (cat.); Documenta 5, Kassel, exhibition held at Lucien Labaudt Germany, 1972 (cat.); Photo-Realism, Gallery, San Francisco, 1957. The Arts Council of Great Britain, Subsequent solo exhibitions include Serpentine Gallery, London, 1973

Berkeley Gallery, Berkeley, California, (cat.); Super ReaJism , The Baltimore 1964, 1966, 1968 (Berkeley Gallery Museum of Art, Maryland, 1975 (cat.).

Jerry McMillan Born 1936, Oklahoma City, Photography into Sculpture, The Oklahoma. Came to California, 1958. Museum of Modern Art, New York, Studied at Chouinard Art histitute, 1970; Surrealism is Alive and WeJJ in Los Angeles, 1958-1960. Resides, ihe West, Baxter Art Gallery, Pasadena, California. First one-man California Institute of Technology, exhibition held at Pasadena Art Pasadena, 1972 (cat.); A Drawing Museum, California, 1966. Show, Newport Harbor Art Museum, Subsequent solo exhibitions include Balboa, California, 1975 (cat.); Des Moines Art Center, Des Moines, Collage and Assemblage in Southern

Iowa, 1970 (cat.); Newport Harbor Art California , The Los Angeles Institute Museum, Balboa, California, 1972 of Contemporary Art, 1975 (cat.). (cat.). Group exhibitions include

Cliff McReynolds Born 1933, Amarillo, Texas. Studied Group exhibitions include Drawings at San Diego State College, California, USA 75, Minnesota Museum of Art, B.A., 1959; M.A., 1960. First one-man Saint Paul, 1975 (cat.); AhevvxaXive exhibition held at Art Center in La Realities, Museum of Contemporary JoUa, California, 1959 (also 1967, then Art, Chicago, 1976 (cat.); Mind- La )olla Museum of Art). Subsequent scapes —5 Cali/ornia Artists, solo exhibitions include San Diego Oshkosh Public Museum, Wisconsin, City College, California, 1971; Gallery 1976 (cat.). Rebecca Cooper, New York, 1976.

Jim Melchert Born 1930, New Bremen, Ohio. exhibitions include San Francisco Studied at Princeton University, A.B. Art Institute, 1970; San Francisco 1952; University of Chicago, M.F.A., Museum of Art, 1975 (cat.). Group 1957; Montana State University, exhibitions include Abstract Missoula, 1958, 1959 (summers); Expressionist Ceramics, Art Gallery, University of California, Berkeley, University of California, Irvine, 1966

M. A., 1961 . Came to Berkeley, (cat.); Documenta 5, Kassel, California, 1959. Resides, Oakland, Germany, 1972 (cat.); Public California. First one-man exhibition Sculpture /Urban Environment, The held at Richmond Art Center, Oakland Museum, California, 1974 California, 1961. Subsequent solo (cat.).

228 ,

Knud Merrild Born 1894, Island of Jutland, California, 1935 (cat.); Modern Denmark. Studied at Arts and Crafts Institute of Art, Beverly Hills, School, Copenhagen, 1914-1916; California, 1948 (cat.); Los Angeles briefly at Royal Academy of Fine County Museum of Art, 1965 (cat.). Arts, Copenhagen, 1917. Settled in Group exhibitions include Los Angeles, 1923. Returned to Post-Surrealist Exhibition, San Copenhagen, 1954. Died 1954, Francisco Museum of Art, 1935; Copenhagen. First one-man Fantastic Art, Dada, and Surrealism exhibition in United States held at The Museum of Modern Art, New Santa Fe Museum, New Mexico, 1923. York, 1936 (cat.); Americans 1942, Subsequent solo exhibitions include The Museum of Modern Art, New Hollywood Gallery of Modern Art, York, 1942 (cat.).

Edward Moses Born 1926, Long Beach, California. Art, 1976 (cat.). Group exhibitions Studied at University of California, include Documenta 5, Kassel, Los Angeles, B.A., 1956; M.A., 1958. Germany, 1972 (cat.); American Art: Resides, Venice, California. First Third Quarter Century, Seattle Art one-man exhibition held at Ferus Museum Pavilion, Washington, 1973 Gallery, 1958 (also 1959, 1961, 1963). (cat.); Current Concerns, The Los Subsequent solo exhibitions include Angeles Institute of Contemporary Pomona College Art Gallery, Art, 1975 (cat.); 18 UCLA Faculty Montgomery Art Center, Claremont, Artists, Frederick S. Wight Art California, 1971 (cat.); Andre Gallery, University of California, Los Emmerich Gallery, New York, 1974, Angeles, 1975 (cat.). 1975; Los Angeles County Museum of

Lee Mullican Born 1919, Chickasha, Oklahoma. California, Los Angeles, 1969 (cat.); Studied at Abilene Christian College, Rose Rabow Galleries, San Francisco, Abilene, Texas, 1937; University of 1955, 1962, 1964, 1965, 1970, 1974. Oklahoma, Norman, 1939-1942; Group exhibitions include A New Kansas City Art Institute, Missouri, Vision, (Dynaton group), San 1942. Moved to San Francisco in Francisco Museum of Art, 1951 (cat.); 1947; moved to Southern California in American Painting Today 1950, The 1951. Resides, Arroyo Seco, New Metropolitan Museum of Art, New Mexico. First one-man exhibition York, 1950 (cat.); IIIBienal, Museu de held at San Francisco Museum of Art, Arte Moderna, Sao Paulo, Brazil, 1955 1949 (also 1965; cats.). Subsequent (cat.); The Institute o/ Creative Arts, solo exhibitions include Willard Art Galleries, University of Gallery, New York, 1950, 1952 (cat.); California, Santa Barbara, 1969 (cat.). UCLA Art Galleries, University of

Bruce Nauman Born 1941, Fort Wayne, Indiana. 1970, 1971, 1973, 1975; Los Angeles Studied at University of Wisconsin, County Museum of Art in cooperation Madison, B.S., 1964; University of with the Whitney Museum of California, Davis, M.FA., 1966. Came American Art, New York, 1973 (cat.). to California, 1964; lived in Northern Group exhibitions include Eccentric California, 1964-1968. Moved to Abstraction, Fischbach Gallery, New

Pasadena, California, 1969, where he York, 1966; Documenta 5 , Kassel, currently resides. First one-man Germany, 1972 (cat.); When Attitudes exhibition held at Nicholas Wilder Become Form, Kunsthalle, Bern, Gallery, Los Angeles, 1966 (also 1969, Switzerland, 1969 (cat.); 200 Years of 1970, 1974). Subsequent solo American Sculpture, Whitney exhibitions include Leo Castelli Museum of American Art, New York, Gallery, New York, 1968 (cat.), 1969, 1976 (cat.). 229 Manuel Neri Born 1930, Sanger, California. exhibitions include San Francisco Studied at San Francisco City Museum of Art, 1971 (cat.); The

College, 1950-1951 ; University of Oakland Museum, California, 1976 California, Berkeley, 1951-1952; (cat.). Group exhibitions include California College of Arts and Crafts, Abstract Expressionist Ceramics, Art Oakland, 1952-1953, 1955-1957; Gallery, University of California, Archie Bray Foundation, Helena, h-vine, 1966 (cat.); Funk, University Montana, 1953 (summer); California Art Museum, University of School of Fine Arts (now San California, Berkeley, 1967; 1970 Francisco Art Institute), 1957-1959. Annua) Exhibition: Contemporary Resides, Benicia, California. First American Sculpture, Whitney one-man exhibition held at 6 Gallery, Museum of American Art, New York, San Francisco, 1957. Subsequent solo 1970 (cat.).

Maria Nordman Born 1943, Goerlitz, Silesia, Germany, Howard Streets, San Francisco, 1975. Came to California, 1961. Studied at Group exhibitions include 15 Los University of California, Los Angeles, Angeles Artists, Pasadena Art 1961-1967, B.F.A., M.F.A. Currently Museum, California, 1972 (cat.); resides, Santa Monica, California. Art /Environment 1915-1976, Italian One-woman exhibitions include Pavilion, XXXVIIIBiennale, Venice, University of California, Irvine, 1973 Italy, 1976 (cat.). (cat.); piece executed at 4th and

Nathan Oliveira Born 1928, Oakland, California. Los Angeles, 1963 (cat.); San Studied at California College of Arts Francisco Museum of Art, 1969 (cat.); and Crafts, Oakland, 1947-1952, The Oakland Museum, California,

M.F.A. , 1952; Mills College, Oakland 1973 (cat.). Group exhibitions include

(with Max Beckmann), 1950 New Images of Man , The Museum of (summer). Resides, Stanford, Modern Art, New York, 1959 (cat.); California. First one-man exhibition Art Since 1950, Seattle World's Fair, held at Eric Locke Gallery, San Seattle, Washington, 1962 (cat.); Francisco, 1957. Subsequent solo Pioneering Printmakers, Fine Arts exhibitions include UCLA Art Gallery of San Diego, California, 1974 Galleries, University of California, (cat.).

Gordon Onslow Ford Born 1912, Wendover, England. British Columbia, 1971 (cat.); Studied at Dragon School, Oxford; Pyramid Galleries, Ltd., Washington, Royal Naval College, Dartmouth; D.C., 1975 (cat.). Group exhibitions Royal Naval College, Greenwich. include A New Vision (Dynaton Associated with the Surrealist group group), San Francisco Museum of in Paris, London, and New York, Art, 1951 (cat.); Dada, Surrealism 1938-1943. Came to San Francisco, and Their Heritage, The Museum of 1947. Resides near Inverness, Modern Art, New York, 1968 (cat.); California. First one-man exhibition Surrealitdt-BiJdrealitdt 1924-1974 , held at Karl Nierendorf Gallery, New Stadtische Kunsthalle, Diisseldorf, York, 1946. Subsequent solo Germany, 1974 (cat.). Ref: Onslow- exhibitions include San Francisco Ford, Gordon. Painting in the Instant. Museum of Art, 1948 (cat.), 1959 New York: Harry N. Abrams, Inc., (with Richard Bowman), 1964, 1970; 1964. The Art Gallery of Greater Victoria,

230 Harold Paris Born 1925, Edgemere, Long Island, Brussels, Belgium, 1970 (cat.); New York. Studied at Atelier 17, New University Art Museum, University York, 1949; Creative Lithographic of California, Berkeley, 1972 (cat.). Workshop, New York, 1951-1952; Group exhibitions include Creative Akademie der Bildenden Kunste, Casting, Museum of Contemporary Munich, Germany, 1955-1956. Moved Crafts, New York, 1963 (cat.); to Northern California, 1960. Resides, American Sculpture of the Sixties, Oakland, California. First one-man Los Angeles County Museum of Art, exhibition held at Argent Gallery, 1967 (cat.); Transparent and New York, 1951. Subsequent solo Translucent Art, The Museum of Fine exhibitions include Galerie Withofs, Arts, St. Petersburg, Florida, 1971 (cat.)

David Park Born 1911, Boston, Massachusetts. Gallery, University of California, Studied at Otis Art Institute, Los Berkeley, 1964 (cat.); Maxwell Angeles, 1928-1929. Moved to San Galleries, Ltd., San Francisco, 1970 Francisco, 1929. Lived in Boston, (cat.), 1973 (cat.), 1975, 1976. Group 1936-1941. Returned to Bay Area, exhibitions include IIIBienaJ, Museu 1941. Died 1960, Berkeley, California. de Arte Moderna, Sao Paulo, Brazil, First one-man exhibition held at San 1955 (cat.); Contemporary Bay Area Francisco Museum of Art, 1936 (also Figurative Painting, The Oakland Art 1939, 1940). Subsequent solo Museum, California, 1957 (cat.); exhibitions include Staempfli American Paintings 1945-1957, The Gallery, New York, 1959 (cat.), 1960, Minneapolis Institute of Arts, 1961 (cat.), 1963, 1966; University Art Minnesota, 1957 (cat.).

Agnes Pelton Born 1881, Stuttgart, Germany. Francisco Museum of Art, 1943. Studied at Pratt Institute, Brooklyn, Group exhibitions include New York; and with Arthur W. Dow, International Exposition o/ Modern W.L. Lathrop and Hamilton E. Field Art (The Armory Show), 69th in Rome and Ogunquit, Maine. Regiment Armory, New York, 1913 Moved to Cathedral City, California, (cat.); The Palace of Fine Arts, 1931. One-woman exhibitions California Pacific International include Grace Nicholson Galleries, Exposition, San Diego, California, Pasadena, California, 1929; Argent 1935 (cat.); Contemporary Art, Galleries, New York, 1931; The Desert Golden Gate International Inn Gallery, Palm Springs, California, Exposition, San Francisco, 1939 1936, 1938, 1939, 1940 (cat.); San (cat.).

Richard Pettibone Born 1938, Alhambra, California. include Directions in Collage: Studied at Otis Art Institute, Los California, Pasadena Art Museum,

Angeles, M.F.A., 1962. Moved to New California, 1962; Pop Art USA , The York, 1969. Resides, Charlottesville, Oakland Art Museum, California New York. First one-man exhibition 1963 (cat.); The Betty and Monte

held at Aura Gallery, Pasadena, Factor Family Collection , Pasadena California, 1963. Subsequent solo Art Museum, California, 1973 (cat.); exhibitions include Ferus Gallery, Los The Small Scale in Contemporary Angeles, 1965, 1966; O.K. Harris Art, The Art Institute of Chicago, Works of Art, New York, 1970, 1971, 1975 (cat.). 1973, 1974. Group exhibitions

231 Gottardo Piazzoni Born 1872, Intragna, Switzerland. San Francisco, 1959. Group Came to California, 1886. Studied at exhibitions include Salon de Ja California School of Design, San Societe Nationaie des Beaux Arts, Francisco, 1891-C.1893; Academie Paris, 1907; Panama-Pacific Julian, Paris, 1895; ficole des Beaux International Exposition, San Arts, Paris, 1895-1898. Settled in San Francisco, 1915 (cat.); Exhibition of Francisco, 1898, but made several American Painting, M.H. de Young trips to Europe thereafter. Died 1945, Memorial Museum and California Carmel Valley, California. One-man Palace of the Legion of Honor, San exhibitions include Paul Elder Francisco, 1935 (cat.); California Gallery, San Francisco, 1914; Adams- Design 1910. Pasadena Center, Danysh Galleries, San Francisco, California, 1974 (cat.). 1933; California Historical Society,

Peter Plagens Born 1941, Dayton, Ohio. Studied at 1973; Nancy Hoffman Gallery, New University of Southern California, York, 1975, 1976. Group exhibitions Los Angeles, B.F.A., 1962; University include 24 Young Los Angeles of Syracuse, New York, M.K A., 1964. Artists, Los Angeles County Museum Settled in Los Angeles, 1965. Resides, of Art, 1971 (cat.); O/f the Stretcher, Los Angeles. One-man exhibition The Oakland Museum, California, held at Riko Mizuno Gallery, Los 1971 (cat.); Continuing Abstraction Angeles, 1971. Subsequent solo in American Art, Whitney Museum exhibitions include Museum of Art, of American Art, Downtown Branch, University of Oklahoma, Norman, New York, 1974 (cat.).

Don Potts Born 1936, San Francisco. Studied Newport Harbor Art Museum, at San Jose State College, San Jose, Newport Beach, California, 1972 California, B.A., 1963; M.A., 1965; (cat.). Group exhibitions include State University of Iowa, Iowa City, Young American Sculpture-East to 1963 (graduate work). Resides, West, American Express Pavilion, Nicasio, California. First one-man New York World's Fair, 1965 (cat.); exhibition held at Art Unlimited Funk, University Art Museum, Gallery, San Francisco, 1964. University of California, Berkeley, Subsequent solo exhibitions include 1967 (cat.); Statements, The Oakland San Francisco Art Institute, 1970; Museum, California, 1973 (cat.).

Clayton S. Price Born 1874, Bedford, Iowa. Studied The Fine Arts Patrons of Newport at St. Louis School of Fine Art, Harbor, Pavilion Gallery, Balboa, Missouri, 1905-1906. Visited San California, 1967 (cat.). Group Francisco, 1915; lived in Monterey, exhibitions include Frontiers of California, 1918-1929. Moved to American Art, M.H. de Young Portland, Oregon, 1929. Died 1950, Memorial Museum, San Francisco, Portland. First one-man exhibition 1939 (cat.); Romantic Painting in held at Beaux Arts Galerie, San America. The Museum of Modern Francisco, 1925. Subsequent solo Art, New York, 1943 (cat.); Fourteen exhibitions include Portland Art Americans. The Museum of Modern Museum, Oregon, 1942, 1951 (cats.); Art, New York, 1946 (cat.).

232 Kenneth Price Born 1935, Los Angeles, California. (cat.). Group exhibitions include Studied at Chouinard Art Institute, Abstract Expressionist Ceramics, Art Los Angeles; Otis Art Institute, Gallery, University of California, Los Angeles; University of Southern Irvine, 1969 (cat.); 11 Los Angelas California, Los Angeles, B.F.A., 1956; Artists, The Arts Council of Great State University of New York at Britain, Hayward Gallery, London, Alfred, M.F.A., 1959. Moved to Taos, 1971 (cat.); Contemporary Ceramic New Mexico, 1972; resides, Taos. Art: Canada, U.S.A., Mexico, and First one-man exhibition held at Japan, National Museum of Modern Ferus Gallery, Los Angeles, 1960 (also Art, Kyoto, Japan, 1971, and The 1961,1964). Subsequent solo National Museum of Modern Art, exhibitions include Los Angeles Tokyo, 1972 (cat.).; Joe Goode/ County Museum of Art, 1966 (with Kenneth Price /Edward Ruscha, Robert Irwin; cat.); Whitney Museum Museum Boymans Van Beuningen, of American Art, New York, 1969 Rotterdam, Netherlands, 1972 (cat.).

Joseph Ratfael Born 1933, Brooklyn, New York. of California, Berkeley, 1973 (cat.). Studied at Cooper Union School of Group exhibitions include DC Bienal , Art and Architecture, New York, Museu de Arte Moderna, Sao Paulo, 1951-1954; Yale School of Fine Arts, Brazil, 1967 (cat.); Human New Haven, Connecticut, 1954-1956, Concern /Personal Torment: The B.F.A., 1956. Lived in California, Grotesque in American Art, Whitney 1966; moved to California Museum of American Art, New York, permanently, 1969. Resides, San 1969 (cat.); Three Realists, Close, Geronimo, California. First one-man Estes, Raffael, Worcester Art exhibition held at Stable Gallery, New Museum, Massachusetts, 1974 (cat.); York, 1965. Subsequent solo America 1976, United States exhibitions include Nancy Hoffman Department of the Interior, Gallery, New York, 1972, 1973, 1974; Washington, D.C., 1976 (cat.). University Art Museum, University

Mel Ramos Born 1935, Sacramento, California. California, 1968 (cat.); Museum Haus Studied at Sacramento City College, Lange, Krefeld, Germany, 1975 (cat.). California, 1954-1955; San Jose State Group exhibitions include Six More, College, California, 1955-1956; Los Angeles County Museum, 1963 Sacramento State College, California, (cat.); Pop Art, The Arts Council of 1956-1958, A.B., 1957; M.A., 1958. Great Britain, Hayward Gallery, Resides, Oakland, California. First London, 1969 (cat.); Kunst um 1970, one-man exhibition held at Bianchini Neue Galerie der Stadt Aachen, Gallery, New York, 1964 (also 1965). Aachen, Germany, 1972 (cat.). Ref: Subsequent solo exhibitions include Claridge, Elizabeth. The Girls of Mel San Francisco Museum of Art, 1967; Ramos. Chicago: Playboy Press, 1975. Mills College Art Gallery, Oakland,

233 ,

Roland Reiss Born 1929, Chicago, Illinois. Came to Kentucky, Lexington, 1969; Denver California, 1941. Lived in Boulder, Center, University of Colorado, 1970. Colorado, 1957-1971. Resides, Venice, Group exhibitions include 1975 California. Studied at American Biennial Exhibition: Contemporary

Academy of Art, Chicago, 1948; Mt. American Art , Whitney Museum of San Antonio College, Walnut, American Art, New York, 1975 (cat.); California, A. A., 1950; University of Masterworks in Wood: The Twentieth California, Los Angeles, B.A., 1955; Century, The Portland Art Museum, M.A., 1957. First one-man exhibition Oregon, 1975 (cat.); Word Works, Too, held at Casa Manana, Carmel, San lose State University, California, California, 1956. Subsequent solo 1975 (cat.). exhibitions include University of

Deborah Remington Born 1930, Haddonfield, New Jersey. San Francisco, 1962, 1965; Galerie Studied at California School of Fine Darthea Speyer, Paris, 1968, 1971, Arts (now San Francisco Art 1973. Group exhibitions include Institute), 1949-1952, 1953-1955, L'Art Vivant aux Etats-Unis, B.F.A., 1955. Lived in San Francisco Fondation Maeght, St. Paul de Vence, except 1955-1958 in Far East. Moved France, 1970 (cat.); Image, Color and

to New York, 1965. Resides, New Form , The Toledo Museum of Art, York. First one-woman exhibition Toledo, Ohio, 1975 (cat.); Painting held at King Ubu Gallery, San Endures, Institute of Contemporary Francisco, 1953. Subsequent solo Art, Boston, Massachusetts, 1975 exhibitions include Dilexi Gallery, (cat.).

Gregg Renfrow Born 1948, San Francisco. Studied San Francisco Art Institute, 1974; at San Francisco State College, 1975 Biennial Exhibition: 1966-1969; San Francisco Art Contemporary American Art Institute, B.F.A., 1972; Skowhegan Whitney Museum of American Art, School of Painting and Sculpture, New York, 1975 (cat.); Contemporary

Skowhegan, Maine, 1972. Resides, California Artists , Utah Museum of San Francisco. First one-man Fine Arts, University of Utah, Salt exhibition held at William Sawyer Lake City, 1975 (cat.); Exchange Gallery, San Francisco, 1975. Group DFW/SFO, San Francisco Museum of exhibitions include Three Painters, Modern Art, 1976 (cat.).

Sam Richardson Born 1934, Oakland, California. exhibitions include A Plastic Studied at California College of Arts Presence, Milwaukee Art Center, and Crafts, Oakland, B.A., 1956; Wisconsin, 1969 (cat.); The M.FA., 1960. In New York, 1961-1963. Topography of Nature, Institute of Resides, Oakland, California. First Contemporary Art, University of one-man exhibition held at Art Pennsylvania, Philadelphia, 1972 Unlimited, San Francisco, 1961. (cat.); Public Sculpture /Urban Subsequent solo exhibitions include Environment, The Oakland Museum, San Francisco Museum of Art, 1970 California, 1974 (cat.); The Small (cat.); Akron Art Institute, Akron, Scale in Contemporary Art, The Art Ohio, 1972 (cat.); Dallas Museum of Institute of Chicago, 1975 (cat.). Fine Arts, Texas, 1976 (cat.). Group

234 Arthur Richer Bom c. 1928, New York. Moved to 1961. Group exhibitions include California, c. 1950. Studied at Elevated Underground: The North Finch-Warshaw College, Los Angeles. Beach Period, Cellini Gallery, San Died 1965, Healdsburg, California. Francisco, 1968 (cat.]; Late Fifties at First one-man exhibition held at the Ferus, Los Angeles County Syndell Studio, Los Angeles, 1955. Museum of Art, 1968 (cat.); The Last Subsequent solo exhibitions include Time I Saw Ferus 1957-1966, Newport Ferus Gallery, Los Angeles, 1959; Harbor Art Museum, Newport Beach, Semina Gallery, Larkspur, California, California, 1976 (cat.).

Philip Roeber Born 1913, Delta County, Colorado. Gallery, New York, 1965, 1967; Moved to San Francisco, 1946. Krannert Drawing Room, Purdue Studied at California School of Fine University, Lafayette, kidiana, 1971. Arts (now San Francisco Art Group exhibitions include Action, Institute), 1948-1952. Moved to New Merry-go-round Building, Santa York, 1960. Resides, Provincetown, Monica Pier, Santa Monica, Massachusetts. One-man exhibitions California, 1955 (cat.); A Period of include East & West Gallery, San Exploration, San Francisco Francisco, 1955, 1956, 1957; Dilexi 1945-1950. The Oakland Museum, Gallery, San Francisco. 1959; Westerly California, 1973 (cat.).

Richards Ruben Born 1925, Los Angeles. Studied at Group exhibitions include Younger Chouinard Art Institute, Los Angeles, American Painters, The Solomon R. 1944-1946, 1950-1951. Moved to New Guggenheim Museum, New York, York, 1963. Resides, New York. First 1954 (cat.); Premiere BiennaJe de one-man exhibition held at Arts Paris, Musee d'Art Moderne de la and Crafts Center, Pittsburgh, Ville de Paris, 1959 (cat.); The Last

Pennsylvania, 1949. Subsequent solo Time I Saw Ferus 1957-1966, Newport exhibitions include Pasadena Art Harbor Art Museum, Newport Beach, Museum, California, 1955, 1961 (cat.); California, 1976 (cat.). San Francisco Museum of Art, 1970.

Allen Ruppersberg Born 1944, Cleveland, Ohio. Came 1972 (cat.); Stedelijk Museum, to California, 1962. Studied at Amsterdam, 1973 (cat.). Group Chouinard Art Institute, Los Angeles, exhibitions include 24 Young Los B.F.A., 1966. Resides, Santa Monica, Angeles Artists, Los Angeles County California. First one-man exhibition Museumof Art, 1971 (cat.); held at Eugenia Butler Gallery, Los Documenta 5, Kassel, Germany, 1972 Angeles, 1969. Subsequent solo (cat.); Southland Video Anthology, exhibitions include Pomona College Long Beach Museum of Art, Art Gallery, Claremont, California, California, 1975 (cat.).

235 Edward Ruscha Born 1937, Omaha, Nebraska. (cat.). Group exhibitions include DC Came to California, 1956. Studied at Bienal, Museu de Arte Moderna, Sao Chouinard Art Institute, Los Angeles, Paulo, Brazil, 1967 (cat.); 1 1 Los

1956-1960. Resides, Hollywood, Angeles Artists , The Arts Council of California. First one-man exhibition Great Britain, Hayward Gallery, held at Ferus Gallery, Los Angeles, London, 1971 (cat.); American Pop 1963 (also 1964, 1965). Subsequent Art, Whitney Museum of American solo exhibitions include The Fine Art, New York, 1974 (cat.); Critical Arts Patrons of Newport Harbor, Perspectives in American Art, Fine Pavilion Gallery, Balboa, California, Arts Center Gallery, University of 1968 (with Joe Goode; cat.); Leo Massachusetts, Amherst (United Castelli Gallery, New York, 1973, States Representation, XXXVlll 1974, 1975; Albright-Knox Art BiennaJe, Venice, Italy), 1976 (cat.). Gallery, Buffalo, New York, 1976

Betye Saar Born 1926, Los Angeles. Studied Gallery, California State University, at University of California, Los Los Angeles, 1973 (cat.). Group Angeles, B.A., 1949; California State exhibitions include The Negro in University, Long Beach, 1958-1962; American Art, UCLA Art Galleries, University of Southern California, University of California, Los Angeles, Los Angeles, 1962; California State 1966 (cat.); 30 Contemporary Black University, Northridge, 1966; Artists, The Minneapolis Institute of Pasadena School of Fine Arts Arts, Minnesota, with Ruder and (Filmmaking Department), 1970; Finn Fine Arts, New York, 1969 (cat.); American Film Institute, 1972. Dimensions of Black, La Jolla Resides, Los Angeles. First one- Museum of Art, California, 1970 woman exhibition held at Multi-cul (cat.); West Coast '74lThe Black Gallery, Los Angeles, 1972. Image, E.B. Crocker Art Gallery, Subsequent solo exhibitions include Sacramento, California, 1974 (cat.). Whitney Museum of American Art, New York, 1973 (cat.); Fine Arts

John Saccaro Born 1913, San Francisco. Studied California, 1958; BoUes Gallery, New at California School of Fine Arts York, 1962. Group exhibitions include

(now San Francisco Art Institute), Iff Bienal , Museu de Arte Moderna, 1951-1954. Resides, San Francisco. Sao Paulo, Brazil, 1955 (cat.); First one-man exhibition held at San American Painting 1958, Virginia Francisco Museum of Art, 1939 (also Museum of Fine Arts, Richmond, 1959). Subsequent solo exhibitions 1958 (cat.); A Period o/ Exploration, include M.H. de Young Memorial San Francisco 1945-1950, The Museum, San Francisco, 1946, 1956, Oakland Museum, California, 1973 1960; Oakland Art Museum, (cat.).

236 Darryl Sapien Born 1950, Los Angeles. Studied at Michael Hinton), Sutro Baths ruins Los Angeles Valley College, 1967; at Point Lobos, San Francisco, Fullerton Junior College, California, September 24, 1974; Splitting the 1969-1971; San Francisco Art Axis (with Michael Hinton), Institute, B.F.A., 1972; M.F.A., 1976. University Art Museum, Berkeley, Resides, San Francisco. Performances August 26, 1975; Within the Nucleus include Synthetic Ritual (with (with Michael Hinton), San Francisco Michael Hinton), San Francisco Art Museum of Modern Art, March 27, Institute, December 21, 1971; 1976 (part of exhibition, Video Art; Split-Man Bisects the Pacific (with An Overview; cat.).

Paul Sarkisian Born 1928, Chicago, Illinois. Studied Barbara Museum of Art, California, at The School of The Art Institute of 1970 (cat.); Museum of Contemporary Chicago, 1945-1948; Otis Art Art, Chicago, 1972 (cat.). Group Institute, Los Angeles, 1953, 1954; exhibitions include Late Fifties at the Mexico City College, Mexico City, Ferus, Los Angeles County Museum 1955-1956. Lived in California, of Art, 1968 (cat.); Documenta 5, 1948-1954; 1959-1970. Resides, Kassel, Germany, 1972 (cat.); Cerrillos, New Mexico. One-man Separate Realities, Los Angeles exhibitions include Aura Gallery, Municipal Art Gallery, 1973 (cat.). Pasadena, California, 1962; Santa

Pbter Saul Born 1934, San Francisco, California. Gallery, New York, 1962, 1963, 1964 Studied at California School of Fine (cat.), 1966, 1968, 1971, 1973, 1975 Arts (now San Francisco Art (cat.); Galerie Darthea Speyer, Paris, Institute); Stanford University, 1969, 1972. Group exhibitions

Stanford, California, 1950-1952; include Nieuwe ReaJisten , Haags Washington University, St. Louis, Gemeentemuseum, The Hague, The Missouri, 1952-1956, B.FA., 1956. Netherlands, 1964 (cat.); Funk, Lived in Europe, 1956-1964; returned University Art Museum, University to Northern California, 1964. Resides, of California, Berkeley, 1967 (cat.); Port Costa, California. First one-man Human Concern /Personal Torment: exhibition held at Allan Frumkin The Grotesque in American Art, Gallery, Chicago, 1961 (also 1966, Whitney Museum of American Art, 1969, 1972, 1974). Subsequent solo New York, 1969 (cat.). exhibitions include Allan Frumkin

Ursula Schneider Born 1943, Zurich, Switzerland. Percy West Gallery, California College Studied at Ceramic School, Bern, of Arts and Crafts, Oakland, 1976. Switzerland, 1961-1964, B.FA., 1964; Group exhibitions include Six San Francisco Art Institute, Painters, San Francisco Art Institute, 1968-1972, M.FA., 1972. Came to 1973 (cat.); 1975 Biennial Exhibition; California, 1968. Resides, San Contemporary American Art, Francisco. First one-woman Whitney Museum of American Art, exhibition held at Quay Gallery, San New York, 1975 (cat.); Exchange Francisco, 1974. Subsequent solo DFW/SFO, San Francisco Museum of exhibitions include The Oakland Modern Art, 1976 (cat.). Museum, California, 1975; Isabelle

237 ,

Richard Shaw Born 1941, Hollywood, California. Hudson; cat.); Braunstein/Quay Studied at Orange Coast College, Gallery, New York, 1976. Group Costa Mesa, California, 1961-1963; exhibitions include CJayworks; 20 San Francisco Art Institute, B.F.A., Americans, Museum of 1965; State University of New York at Contemporary Crafts, New York, 1971 Alfred, 1965; University of California, (cat.); A Decade of Ceramic Art: Davis, M.A., 1968. Resides, Stinson 1962-1972, from the Collection of Beach, California. First one-man Pro/essor and Mrs. R. Joseph Monsen exhibition held at San Francisco Art San Francisco Museum of Art, 1972 Institute, 1967. Subsequent solo (cat.); CJay, Whitney Museum of exhibitions include San Francisco American Art, Downtown Branch, Museum of Art, 1973 (with Robert New York, 1974 (cat.).

Millard Sheets Born 1907, Pomona, California. Artists, Whitney Museum of Studied at Chouinard School of Art, American Art, New York, 1939 (cat.); Los Angeles, 1925-1929. Resides, Two Hundred Years of Watercolor Gualala, California. First one-man Painting in America, The exhibition held at Dalzell Hatfield Metropolitan Museum of Art, New Galleries, Los Angeles, 1929. York, 1966 (cat.); Los Angeles Painters Subsequent solo exhibitions include of the Nineteen-Twenties, Pomona The Pasadena Art Institute, College Gallery, Montgomery Art California, 1950 (cat.); Lang Art Center, Claremont, California, 1972 Gallery, Scripps College, Claremont, (cat.). Ref: Millier, Arthur and others. California, 1976 (cat.). Group MiJJard Sheets. Los Angeles: Dalzell exhibitions include 20th Century Hatfield, 1935.

Louis Siegriest Born 1899, Oakland, California. Museum, California, 1972 (cat.). Studied at California School of Arts Group exhibitions include The and Crafts, Berkeley, 1914-1916; Twenty-second Biennial Exhibition, California School of Fine Arts (now The Corcoran Gallery of Art, San Francisco Art Institute), Washington, D.C., 1951 (cat.); Society 1917-1918. Resides, Oakland, of Six, The Oakland Museum, California. First one-man exhibition California, 1972 (cat.); 1973 Biennial held at Gump's Gallery, San Exhibition: Contemporary American Francisco, 1933. Subsequent solo Art, Whitney Museum of American exhibitions include San Francisco Art, New York, 1973 (cat.). Art Institute, 1965 (cat.); The Oakland

David Simpson Born 1928, Pasadena, California. San Francisco Museum of Art, 1967 Studied at Pasadena City College, (cat.); Saint Mary's College Art 1942-1943; California School of Fine Gallery, Moraga, California, 1974. Arts (now San Francisco Art Group exhibitions include Institute), 1949-1951, 1955-1956, Americans 1963, The Museum of B.FA., 1956; San Francisco State Modern Art, New York, 1963 (cat.); College, 1956-1958, M.A., 1958. Post Painterly Abstraction. Los Resides, Pt. Richmond, California. Angeles County Museum of Art, 1964 First one-man exhibition held at San (cat.); Our Land, Our Sky, Our Water, Francisco Art Institute, 1958. International Exposition 1974, Subsequent solo exhibitions include Spokane, Washington, 1974 (cat.).

238 Nell Sinton Born 1910, San Francisco. Studied at exhibitions include California Art California School of Fine Arts (now Today, Golden Gate International San Francisco Art Institute], Exposition, San Francisco, 1940 (cat.); 1926-1928; apprentice to Maurice American Water Colors, Drawings Sterne, San Francisco, 1938-1939. and Prints, The Metropolitan Resides, San Francisco. First Museum of Art, New York, 1952 (cat.); one-woman exhibition held at Small Collages, Constructions and Raymond & Raymond, San Francisco, WatercoJors by Martin, De Forest, 1947. Subsequent solo exhibitions DeLap and Sinton, San Francisco include Santa Barbara Museum of Museum of Art, 1962; Three Bay Area Art, California, 1950; San Francisco Painters, Santa Rosa Junior College Museum of Art, 1957 (with William T. Art Gallery, California, 1976 (cat.). Brown), 1970 (cat.). Group

Rex Slinkard Born 1887, Bicknell, Indiana. Studied Knoedler & Co., New York, 1920 (cat.); at Judson Art School, Los Angeles; Stanford Art Gallery, Stanford Art Students League, Los Angeles; University, Stanford, California, 1975. with Robert Henri, New York, Group exhibitions include Inde- 1908-1910. Returned to Los Angeles, pendent Artists of Los AngeJes, Taos

1910. Served in World War I. Died Building, Los Angeles, 1923 (cat.); 1918, New York. One-man exhibitions Arts of Southern CaJi/ornia-

include The Palace of Fine Arts, San XA^: Early Moderns , Long Beach Francisco, 1919 (cat.); Los Angeles Museum of Art, California, 1964 County Museum, 1919, 1929 (cats.); (cat.).

Hassel Smith Born 1915, Sturgis, Michigan. Francisco Museum of Art, 1975 (cat.). Studied at Northwestern University, Group exhibitions include Four Evanston, Illinois, B.S., 1936; Contemporary Artists, California California School of Fine Arts (now Palace of the Legion of Honor, San San Francisco Art Institute), Francisco, 1953; The Current Moment 1936-1938. Moved to Great Britain, in Art, San Francisco Art Institute, 1966. Resides, Bristol, England. First 1966 (cat.); Late Fifties at the Ferus, one-man exhibition held at San Los Angeles County Museum of Art, Francisco Museum of Art, 1941 (with 1968 (cat.); A Period o/ExpJoration,

Lloyd Wulf ). Subsequent solo San Francisco 1945-1950, The exhibitions include Pasadena Art Oakland Museum, California, 1973 Museum, California, 1961 (cat.); San (cat.).

Clay Spohn Born 1898, San Francisco, California. (Fantastic War Machines and Studied at University of California, Guerragraphs), 1942; The Oakland

Berkeley, 1918-1921 ; California Museum, California, 1974 (cat.). School of Fine Arts (now San Group exhibitions include Mobiles Francisco Art Institute), 1921; The and Articulated Sculpture, California Art Students League of New York, Palace of the Legion of Honor, San 1922-1925; Academie Moderne (with Francisco, 1948 (cat.); The Museum Othon Frieze), Paris, 1926-1927. of Unknown and Little Known Returned to San Francisco, 1927. Left Objects (organized by Spohn), California, 1952. Resides, New York. California School of Fine Arts, San First one-man exhibition held at the Francisco, 1949; A Period of Art Center, San Francisco, 1931. Exploration, San Francisco Subsequent solo exhibitions include 1945-1950, The Oakland Museum, San Francisco Museum of Art California, 1973 (cat.).

239 Ralph Stackpole Born 1885, Williams, Oregon. Came Cultural Americaine, Paris. 1959. to San Francisco, 1901. Studied at Group exhibitions include First Mark Hopkins Institute of Art, San Exhibition of Selected Paintings by Francisco, 1901-1902; Ecole des American Artists, California Palace of Beaux Arts, Paris, 1906-1908; with the Legion of Honor, San Francisco, Robert Henri, New York, 1911. Settled 1926 (cat.); Painting and Sculpture in San Francisco, 1914. Left from 16 American Cities, The California, 1949. Died 1973, Chauriat Museum of Modern Art, New York, Puy-de-Dome, France. First one-man 1933 (cat.);£tats-L/nis Sculptures du exhibition held at Gump's Gallery, XX'' Siecle, Musee Rodin, Paris, 1965 San Francisco, c. 1905. Subsequent (cat.). solo exhibition held at Centre

Norman Stiegelmeyer Born 1937, Denver, Colorado. Came 1966; California Palace of the Legion to California, 1959. Studied at of Honor, San Francisco, 1970. Group Pasadena City College, California, exhibitions include Human 1959-1961; San Francisco Art Concern /Personal Torment; The Institute, B.F.A., 1963; M.F.A., 1964; Grotesque in American Art, Whitney Academy of Art, Nuremberg, Museum of American Art, New York, Germany, 1964-1965. Resides, Walnut 1969 (cat.); Other Landscapes and

Creek, California. First one-man Shadow Land , University of Southern exhibition held at New Mission California Art Galleries, Los Angeles, Gallery, San Francisco, 1964. 1971 (cat.); Archetypal Images, Civic Subsequent solo exhibitions include Arts Gallery, Walnut Creek, Richmond Art Center, California, California, 1976 (cat.).

Clyfford Still Born 1904, Grandin, North Dakota. Art Gallery; cats.); Institute of Studied at Spokane University, Contemporary Art, University of Spokane, Washington, B.A., 1933; Pennsylvania, Philadelphia, 1963 Washington State College, Pullman, (cat.); San Francisco Museum of Washington, M.A., 1935. Lived in San Modern Art, 1976 (cat.). Group Francisco Bay Area, 1941-1943, exhibitions include 15 Americans, 1946-1950. Moved to New York, 1950. The Museum of Modern Art, New Resides, New Windsor, Maryland. York, 1952 (cat.); New York School:

First one-man exhibition held at San The First Generation , Los Angeles Francisco Museum of Art, 1943. County Museum of Art, 1965 (cat.); Subsequent solo exhibitions include American Art: Third Quarter Albright Art Gallery, Buffalo, New Century. Seattle Art Museum York, 1959, 1966 (then Albright-Knox Pavilion, Washington, 1973 (cat.).

James Strombotne Born 1934, Watertown, South Dakota. Gallery, Los Angeles, 1972, 1974. Came to California, 1952. Studied at Group exhibitions include Young Pomona College, Claremont, America I960, Whitney Museum of California, B.A., 1956; Claremont American Art, New York, 1960 (cat.);

Graduate School, Claremont, The Painter and the Photograph , The California, M.FA., 1959. Resides, Art Gallery, The University of New Laguna Beach, California. First Mexico, Albuquerque, 1964 (cat.); one-man exhibition held at Studio 44. Graphics '71 IWest Coast. U.S.A., San Francisco, 1956. Subsequent solo University of Kentucky Art Gallery, exhibitions include Pasadena Art Lexington, 1970 (cat.). Museum, California, 1961; Jodi Scully

240 Ben Talbert Born 1933. Los Angeles. Studied at California, 1975. Croup exhibitions Texas A & M, College Station; include Object Makers, Pomona University of California, Los Angeles, College, Claremont, California, 1961; 1957-1958, B.A., 1957. Died 1975, Directions in Collage; California. Venice, California. First one-man Pasadena Art Museum, California, exhibition held at Pasadena Art 1962; Arena of Love, Dwan Gallery

Museum, 1961 . Subsequent solo Los Angeles, 1965; Assemblage in exhibitions include Ten Years of California, Art Callery, LIniversity of Erotic Art, Mermaid Tavern, Topanga, California, Irvine, 1968 (cat.).

Gage Taylor Born 1942, Fort Worth, Texas. Studied Fine Arts, Santiago, Chile, 1972. at University of Texas, Austin, B.F. A., Group exhibitions include Other 1965; Michigan State University, East Landscapes and Shadow Land, Lansing, M.F.A., 1967. Came to University of Southern California Art California, 1969. Resides, Woodacre, Galleries, Los Angeles, 1971 (cat.); California. First one-man exhibition Baja, San Francisco Museum of Art, held at San Francisco Art Institute, 1974 (cat.); Alternative Realities, 1970. Subsequent solo exhibitions Museum of Contemporary Art, include Berkeley Gallery, San Chicago, 1976 (cat.). Francisco, 1971; National Museum of

Sam Tchakalian Born 1929, Shanghai, China. Came to Wally Hedrick; cat.); San Francisco San Francisco, 1947. Studied at San Museum of Art, 1967; Braunstein/ Francisco State College. B.A., 1952; Quay Gallery, New York, 1975. Group Special Secondary Credential in Art, exhibitions include Directions in 1957; Junior College Credential in Collage: California, Pasadena Art Art, 1958; M.A., 1958. Resides, San Museum, California, 1962; The Francisco. First one-man exhibition Structure of Color, Whitney Museum held at Dilexi Gallery, San Francisco, of American Art, New York, 1971 1960 (also 1963). Subsequent solo (cat.); Fourteen Abstract Painters, exhibitions include The Fine Arts Frederick S. Wight Art Gallery, Patrons of New^port Harbor, Pavilion University of California, Los Angeles, Gallery, Balboa, California, 1967 (with 1975 (cat.).

Wayne Thiebaud Born 1920, Mesa, Arizona. Came to Colorado, 1975. Group exhibitions

California, 1939. Studied at San Jose include Pop Art , The Arts Council of State College, California, 1949; Great Britain, Hayward Gallery, Sacramento State College, California, London, 1969 (cat.); Documenfa 5, 1949-1952, B.A., M. Kassel, Germany, (cat.) 1951; A., 1952. 1972 ; Resides, Sacramento, California. First American Art: Third Quarter one-man exhibition held at E.B. Century, Seattle Art Museum Crocker Art Gallery, Sacramento, Pavilion, Washington, 1973 (cat.); 1952. Subsequent solo exhibitions Aspects of the Figure, The Cleveland include Pasadena Art Museum, Museum of Art, Ohio, 1974 (cat.); California, 1968 (cat.); California America 1976, United States State University, Long Beach, 1972 Department of the Interior, (cat.); The Denver Art Museum, Washington, D.C., 1976 (cat.).

241 Michael Todd Born 1935. Omaha, Nebraska. Galleries, University of California, Studied at University of Notre Dame, Los Angeles and The Salk Institute, Notre Dame, Indiana, B.F.A., 1957; La lolla, California, 1969 (cat.); Fine University of California, Los Angeles, Arts Gallery of San Diego, California, M.A., 1959. Lived in Southern 1972 (cat.). Group exhibitions include

California, 1957-1961 ; Paris, 1961- Primary Structures, The Jewish 1963; New York, 1968. Returned to Museum, New York, 1966 (cat.); Southern California 1968. Resides, American Sculpture o/ the Sixties. Encinitas, California. First one-man Los Angeles County Museum of Art, exhibition held at Hanover Gallery, 1967 (cat.); Public Sculpture/Urban London, 1964. Subsequent solo Environment, The Oakland Museum, exhibitions include UCLA Art California, 1974 (cat.).

Charts TVacy Born 1881, Columbus, Ohio. Studied Contemporary Galleries, Pasadena at Columbus Art School, Ohio, and in Art Museum, California, 1959 (cat.); Tahiti and Mexico. Lived in Southern Fifty Paintings by Thirty-Seven California. Died 1951, Arcadia, Painters o/theLos Angeles Area, California. One-man exhibitions UCLA Art Galleries, University of include The Pasadena Art Institute, California, Los Angeles, 1961 (cat.); California, 1951; San Francisco Arts of Southern California—XIV:

Museum of Art, 1951 (with Marion Early Moderns , Long Beach Museum Messinger). Group exhibitions of Art, California, 1964 (cat.). include 1949-1959 A Decade in the

Jim Turrell Born 1943, Los Angeles. Studied exhibitions include Art and at Pomona College, Claremont, Technology, Los Angeles County California, B.A., 1965; University of Museum of Art, 1971 (cat.); California, Irvine, 1965-1967. Resides, University o/CaJi/ornia, Irvine Santa Monica, California, One-man 1965-1975, La Jolla Museum of exhibitions include Pasadena Art Contemporary Art, California, 1975 Museum, California, 1967 (cat.); (cat.); Art /Environment 1915-1976, Stedelijk Museum, Amsterdam, Italian Pavilion, XXXVIIIBiennaie, Netherlands, 1976 (cat.). Group Venice, Italy, 1976 (cat.).

DeWain Valentine Born 1936, Fort Collins, Colorado. Beach Museum of Art, California, Studied at University of Colorado, 1975 (cat.). Group exhibitions include Boulder, B.F.A., 1958; M,F.A., 1960; Fourteen Sculptors: The Industrial Yale University-Norfolk School of Edge, Walker Art Center, Music and Art, Norfolk, Connecticut, Minneapolis, Minnesota, 1969 (cat.); 1958. Moved to Venice, California, in A Plastic Presence, The Jewish 1965. Resides, Venice. First one-man Museum, New York, 1969 (cat.); exhibition held at The Gallery, American Art: Third Quarter Denver, Colorado, 1964. Subsequent Century, Seattle Art Museum solo exhibitions include Pasadena Art Pavilion, Washington, 1973 (cat.). Museum, California, 1970 (cat.); Long

242 ,

James Valerio Born 1938, Chicago, Illinois. Studied Painters and the Human Figure /8 at The School of The Art histitute of Painters in "Documenta 5", Santa Chicago, B.F.A., 1966; M.F.A., 1968. Barbara Museum of Art, California, Moved to Los Angeles, 1970. Resides, 1973; Separate Realities, Los Angeles Encino, California. First one-man Municipal Art Gallery, 1973 (cat.); exhibition held at Gerard )ohn Hayes The Super-Realist Vision, DeCordova Gallery, Los Angeles, 1971. Museum, Lincoln, Massachusetts,

Subsequent solo exhibitions include 1973; Current Concerns (Part II), The Michael Walls Gallery, New York, Los Angeles Institute of Contemporary 1974. Group exhibitions include 12 Art, 1975 (cat.).

Carlos Villa Born 1936, San Francisco. Studied at Hoffman Gallery, New York, 1973, San Francisco Art Institute, B.F.A., 1975. Group exhibitions include 1961; Mills College, Oakland, Rafbastards, Spatsa Gallery, San California, M.FA., 1963. Lived in Francisco, 1958; Of/the Stretcher, New York, 1963-1969. Resides, San The Oakland Museum, 1971 (cat.); Francisco. First one-man exhibition Contemporary American Painting held at Poindexter Gallery, New York, and Sculpture 1974, Krannert Art 1967. Subsequent solo exhibitions Museum, University of Illinois, include Hansen Fuller Gallery, San Champaign-Urbana, 1974 (cat.). Francisco, 1971, 1974; Nancy

Bernard von Eichman Born 1899, San Francisco. Lived in Exhibition of the San Francisco Art San Francisco until the 1930's when Association, California School of moved to New York. Returned to San Fine Arts, San Francisco, 1929 (cat.); Francisco Bay Area c. 1942. Died Fifty- Fourth Annual Exhibition of the 1970, Santa Rosa, California. Group San Francisco Art Association exhibitions include annual California Palace of the Legion of exhibitions of the "Society of Six", Honor, San Francisco, 1932 (cat.); Oakland Art Gallery, California, Society of Six, The Oakland 1923-1928; Fifty-First Annual Museum, California, 1972 (cat.).

Stephan von Huene Born 1932, Los Angeles. Studied at (cat.). Group exhibitions include Chouinard Art Institute, Los Angeles, American Sculpture of the Sixties, 1959; University of California, Los Los Angeles County Museum of Art, Angeles, M.A., 1965. Resides, Los 1967 (cat.); Elecfromagica, )apan Angeles. First one-man exhibition Electric Arts Association, Tokyo, held at Los Angeles County Museum 1969; Surrealism is Alive and Well in of Art, 1969 (cat.). Subsequent solo the West. Baxter Art Gallery, exhibitions include San Francisco California Institute of Technology, Museum of Art, 1970; Museum of Pasadena, 1972 (cat.). Contemporary Art, Chicago, 1974

243 Peter Voulkos Born 1924. Bozeman, Montana. 1965 (cat.); San Francisco Museum of Studied at Montana State College, Art, 1972 (cat.). Group exhibitions Bozeman, 1946-1951, B.S., 1951; include Sculpture in the Open Air. California College of Arts and Crafts, Battersea Park, London, 1963 (cat.); Oakland, 1951-1952, M.F.A., 1952. Abstract Expressionist Ceramics, Art Lived in Los Angeles, 1954-1959; Gallery, University of California, moved to Berkeley, 1959. Resides, Irvine, 1966 (cat.); American Berkeley, California. First one-man Sculpture of the Sixties, Los Angeles exhibition held at University of County Museum of Art, 1967 (cat.); Florida, Gainesville, 1953. Public Sculpture /L/rban Environ- Subsequent solo exhibitions include ment, The Oakland Museum, Los Angeles County Museum of Art, California, 1974 (cat.).

Howard Warshaw Born 1920, New York. Came to 1968, 1970, 1973; University of California in 1942. Studied at Pratt California, Santa Barbara, 1964 (cat.); Institute, Brooklyn, New York; Bowdoin College Museum of Art, National Academy of Design School, Brunswick, Maine, 1972 (cat.). Group New York; The Art Students League exhibitions include III BienaJ, Museu of New York, 1938-1942. Resides, de Arte Moderna, Sao Paulo, Brazil, Carpinteria, California. First one-man 1955 (cat.); American Paintings exhibition held at Little Gallery, 1945-1957, The Minneapolis Institute Beverly Hills, California, 1944. of Arts, 1957 (cat.); The Institute o/ Subsequent solo exhibitions include Creative Arts, University of Esther Bear Gallery, Santa Barbara, California, Santa Barbara, 1969 (cat.). California, 1961, 1963, 1964, 1966,

Julius Wasserstein Born 1924, Providence, Rhode Island. 1962, 1964. Group exhibitions Came to San Francisco, 1925. Studied include /eremy Anderson, WaJJy

at California School of Fine Arts (now Hedrick, /uJius Wasserstein , M.H. de San Francisco Art Institute), Young Memorial Museum, San 1950-1953; San Francisco State Francisco, 1955; Art; USA: 58. College, 1955-1958. Resides, San Madison Square Garden, New York, Francisco. First one-man exhibition 1958 (cat.); Contemporary Prints held at King Ubu Gallery, San from Northern California. Oakland Francisco, 1953. Subsequent solo Art Museum/Kaiser Center, exhibitions include Ferus Gallery, Los California, 1967 (cat.); The Last Time Angeles, 1957; Rose Rabow Galleries, 1 Saw Ferus, 1957-1966, Newport San Francisco, 1959, 1961, 1968, 1973, Harbor Art Museum, Newport Beach, 1975; San Francisco Museum of Art, California, 1976 (cat.).

James Weeks Born 1922, Oakland, California. exhibitions include San Francisco Studied at California School of Fine Museum of Art, 1965 (cat.); Arts (now San Francisco Art Boston University Art Gallery, Institute), 1940-1942, 1946-1948; Massachusetts, 1971 (cat.). Group Hartwell School of Design, San exhibitions include Contemporary Francisco, 1946-1947; EscuUa de Bay Area Figurative Painting, The Pintura y Escultura, Mexico City, Oakland Art Museum, California, 1951. Lived in San Francisco Bay 1957 (cat.); The Seashore: Paintings Area until 1967 and in Los Angeles, of the 19th and 20th Centuries. 1967-1970. Moved to Boston, 1970. Museum of Art, Carnegie Institute, Resides, Bedford, Massachusetts. Pittsburgh, Pennsylvania, 1965 (cat.); First one-man exhibition held at America 1976, United States Lucien Labaudt Gallery, San Department of the Interior, Francisco, 1951. Subsequent solo Washington, D.C., 1976 (cat.). 244 William Wegman Born 1943, Holyoke. Massachusetts. Angeles County Museum of Art, 1973 Studied at Massachusetts College of (cat.). Group exhibitions include Art, Boston, B.F.A., 1965; University When Attitudes Become Form, of Illinois, Champaign-Urbana, Kunsthalle, Bern, Switzerland, 1969 M.F.A., 1967. Came to Southern (cat.]; Video Art, Institute of California in 1970. Resides, New Contemporary Art, University of York. First one-man exhibition held Pennsylvania, Philadelphia, 1975 at Pomona College Art Gallery, (cat.); Southland Video Anthology, Claremont, California, 1971. Long Beach Museum of Art. Subsequent solo exhibitions include California, 1975 (cat.); Bodyworks, Ileana Sonnabend, New York, 1972, Museum of Contemporary Art, 1974; Galerie Konrad Fischer, Chicago, 1975 (cat.). Diisseldorf, Germany, 1972; Los

Douglas Wheeler Born 1939, Globe, Arizona. Studied at Mizuno Gallery, Los Angeles, 1974. Chouinard Art Institute, Los Angeles, Group exhibitions include Prospect 1960-1964. Resides, Santa Monica, '69, Stadtische Kunsthalle, California. First one-man exhibition Diisseldorf, Germany, 1969 (cat.); held at Pasadena Art Museum, Larry Bell, Robert Irwin, Doug California, 1968 (cat.). Subsequent Wheeler, Tate Gallery, London, 1970 solo exhibitions include Fort Worth (cat.); 71st American Exhibition, The Art Center Museum, Texas, 1969 Art Institute of Chicago, 1974 (cat.). (with Robert Irwin; cat.); Riko

William T. Wiley Born 1937, Bedford, Indiana. Studied Abbemuseum, Eindhoven, at California School of Fine Arts (now Netherlands, 1973 (cat.). Group San Francisco Art Institute), 1956- exhibitions include When Attitudes 1962, B.F.A., 1960; M.FA., 1962. Become Form, Kunsthalle, Bern, Resides, Forest Knolls, California. Switzerland, 1969 (cat.); Documenta First one-man exhibition held at San 5, Kassel, Germany, 1972 (cat.); Francisco Museum of Art, 1960 (with American Art: Third Quarter Seymour Locks). Subsequent solo Century, Seattle Art Museum exhibitions include University Art Pavilion, Washington, 1973 (cat.); Museum, University of California. Image, Color and Form, The Toledo Berkeley, 1971 (cat.); Stedelijk van Museum of Art, Ohio, 1975 (cat.).

Guy Williams Born 1932, San Diego, California. Poughkeepsie, New York, 1972. Group Studied at Chouinard Art Institute, exhibitions include Southern Los Angeles. Resides, Santa Monica, CaJi/ornia: Attitudes 1972, Pasadena California. First one-man exhibition Art Museum, California, 1972 (cat.);

held at La Jolla Museum of 1 5 Abstract Artists , The Santa Contemporary Art, California, 1961. Barbara Museum of Art, California, Subsequent solo exhibitions include 1974 (cat.); Both Kinds, University Pomona College, Claremont, Art Museum, University of California, 1971; Vassar College, California, Berkeley, 1975 (cat.).

245 .

Paul Wonner Born 1920, Tucson, Arizona. Studied Marion Koogler Mc:Nay Art Institute, at California College of Arts and San Antonio, Texas, 1965; The Art Crafts, Oakland, B. A., 1942; The Art Calleries, California State University, Students League of New York, 1947; Long Beach, 1975 (with Walter Askin; University of California, Berkeley, cat.). Group exhibitions include B.A., 1952; M.A., 1953; M.L.S., 1955. Younger American Painters, The Lived in Northern California from Solomon R. Guggenheim Museum, 1937-1963 except 1946-1950 in New New York, 1954 (cat.); Contemporary York. Settled in Southern California, Bay Area Figurative Painting, The 1963. Resides, San Francisco, Oakland Art Museum, California, California. First one-man exhibition 1957 (cat.); Surrealism is Alive and held at M.H. de Young Memorial Well in the West, Baxter Art Gallery, Museum, San Francisco, 1956. California Institute of Technology, Subsequent solo exhibitions include Pasadena, 1972 (cat.).

Tom Wudl Born 1948, Cochabamba, Bolivia. York, 1973; Dayton Gallery 12, Came to California, 1958. Studied at Minneapolis, Minnesota, 1974. Group California Institute of the Arts, Los exhibitions include Of/the Stretcher, Angeles, 1967-1970, B.F.A., 1970. The Oakland Museum, California, Resides, Venice, California. First 1971 (cat.); Documenta 5, Kassel, one-man exhibition held at Eugenia Germany, 1972 (cat.); 15 Abstract Butler Gallery, Los Angeles, 1971 Artists, The Santa Barbara Museum of Subsequent solo exhibitions include Art, California, 1974 (cat.). Ronald Feldman Gallery, New

Richard Yokomi Born 1944, Denver, Colorado. Studied 1973. Group exhibitions include at Chouinard Art Institute, Los Color and Scale, The Oakland Angeles, 1962-1965. Resides, Los Museum, California, 1971 (cat.); Angeles. First one-man exhibition Southern California; Attitudes

held at Nicholas Wilder Gallery, Los 1972 , Pasadena Art Museum,

Angeles, 1969 (also 1971 , 1974). California, 1972 (cat.); 15 Abstract Subsequent solo exhibitions include Artists, The Santa Barbara Museum of Kornblee Gallery, New York, 1971; Art, California, 1974 (cat.). Felicity Samuel Gallery, London,

Jack Zajac Born 1929, Youngstown, Ohio. Came California, 1965 (cat.); Fine Arts to California, 1945. Studied at Scripps Gallery of San Diego, California, 1975 College, Claremont, California, (cat.). Group exhibitions include

1949-1953. Divided time between Recent Sculpture USA , The Museum Southern California and Rome, Italy. of Modern Art, New York, 1959 (cat.); Resides, Rome. First one-man Recent Painting USA: The Figure, exhibition held at The Pasadena The Museum of Modern Art, New Art Institute, California, 1951. York, 1962 (cat.); Pioneering Subsequent solo exhibitions include Printmakers, Fine Arts Galley of San The Fine Arts Patrons of Newport Diego, California, 1974 (cat.). Harbor, Pavilion Gallery, Balboa,

246

Selected General Bibliography

The references in this bibliography have been compiled to give interested students sources to use for further investigation into the art of California. The books, catalogs and articles listed here either deal with California art of the twentieth century in general or with specific aspects of it, i.e., assemblage. Bay Area Figurative Painting, ceramic sculpture, etc. Annotations for each entry describe the subject of the book or article or the content and extent of the exhibition documented. Catalogs giving information on individual artists are noted in the biographies. In both the biographies and the bibliography a concerted effort has been made to cite those sources which contain extensive documentation or record historically significant events or exhibitions.

Katherine Church Holland

248 Books Andersen, Wayne. American Modern Artists in America. First Sculpture in Process: 1930/1970. series. Editorial associates: Robert Boston, Massachusetts: New York Motherwell, Ad Reinhardt. Pho- Graphic Society, 1975. Chapter tography: Aaron Siskind. Docu- entitled "California Sculpture," (pp. mentation: Bernard Karpel. New 145-178) traces sculptural activity in York: Wittenborn, Schultz, Inc., Los Angeles and San Francisco, 1951. San Francisco artists figure especially since 1950. importantly in section illustrating works exhibited in galleries and Art in California. San Francisco: museums during the 1949-1950 R.L. Bernier, 1916. 185 pp.; 332 b/w season (pp. 40-97). ills. Contains twenty-two essays by various authors on California Moure, Nancy Dustin Wall and painting, sculpture, architecture and Phyllis Moure. Artists' CJubs and institutions, with special reference to Exhibitions in Los Angeles Be/ore the works represented in the Panama- 1930. Los Angeles: privately printed, Pacific International Exposition. Brief 1975. (Publications in Southern biographies for 106 artists. California Art, Number 2). 162 pp. Index of Southern California Hailey, Gene, editor. California Art artists' clubs active before 1930 and Research. San Francisco: Works the exhibitors and works in the Progress Administration [Project No. annuals held at the Los Angeles 2874), 1937. 21 volumes. Mono- Museum of History, Science and graphs on eighty-eight 19th and 20th Art from 1914 to 1939. century artists of the San Francisco Bay Region. One black and white Moure, Nancy Dustin Wall. The illustration for each artist, excerpts of California Water Color Society; contemporary criticism of the artist's Prize Winners 1931-1954; Index to work, lists of representative works, Exhibitions 1921-1954. Los Angeles: exhibitions and bibliographies. privately printed, 1973. (Publications in Southern California Art, Number McChesney, Mary Fuller. A Period of 1). 82 pp. Includes a discussion of Exploration, San Francisco 1945- the history of the California Water 1950. Oakland, California: The Oak- Color Society; bibliography; checklist land Museum, 1973. 108 pp.; 65 b/w of the California Water Color Society ills. Based on interviews with people Collection in the Los Angeles County associated with the California School Museum of Art; chronologies of of Fine Arts (now San Francisco Art artists of the above list, with brief Institute) during the intensely active biographies; list of California Water MacAgy period of 1945-1950, this Color Society exhibitions, and an book not only explores that seminal index of these exhibitions by period in California art history participating artist. but also compares the Abstract Expressionism going on here with its counterpart in New York. Also included are biographies of those interviewed and a partial listing of the artists and students at C.S.F.A. between 1945 and 1951.

249 Moure. Nancy Dustin Wall. Paalen, Wolfgang and others. Southern California Creates. Los Dictionary of Art and Artists in Dynaton 1951. San Francisco: San Angeles: Southern California Art Southern California Before 1930. Los Francisco Museum of Art, 1951. 64 Project, Work Projects Administra- Angeles: privately printed, 1975. pp.; 19 b/w ills.; 3 color plates. tion. 1939. 27 unnumbered sheets; (Publications in Southern California Essays by members of this Surrealist- 55 b/w ills. Mimeographed bro- Art, Number 3). 306 pp.: 32 b/w oriented group active in the San chure describing units of WPA ills. Biographies, bibliographies Francisco Bay Area. Book accom- activity in Southern California. Fore- and illustration listings fore. 3000 panied Dynaton group exhibition, word by Stanton Macdonald-Wright;

Southern California artists active A New Vision , shown at the San essays on murals, petrachrome, before 1930. Contains reproductions Francisco Museum of Art, January 23- mosaic, sculpture, lithography, of works by selected artists from the March4,1951. photography, models, information, collection of the Los Angeles County children's education, Index of Painting and Sculpture: The San Museum of Art, biographical listing American Design.

Francisco Art Association . Berkeley, of early historic artists and a general California: University of California Todd, Frank Morton. The Story of bibliography. Press, 1952. 114 pp.; 96 b/w ills. the Exposition. New York: G.P. Neuhaus, Eugen. The Art of the Contains three essays: Erie Loran, Putnam's Sons for The Panama- Exposition. San Francisco: Paul Elder "California Artists of the San Pacific International Exposition, and Company, 1915. 89 pp.; 33 b/w Francisco Art Association"; Weldon 1921. 5 vols. Every aspect of the ills. The sculpture, architecture, Kees, "A Note on Climate and Panama-Pacific International landscape design and murals of the Culture"; Ernest Mundt, "Three Exposition is discussed in this Panama-Pacific International Aspects of Contemporary Art." Also official history, from organization Exposition are discussed with an includes extensive section illus- through wrecking and salvage. appended listing of sculpture and trating the work of members of the biographical notes. San Francisco Art Association.

Neuhaus, Eugen. The Art o/ Treasure Plagens, Peter. Sunshine Muse. New Island. Berkeley, California: Univer- York: Praeger Publishers, 1974. 200 sity of California Press, 1939. 189 pp.; pp.; 150 b/w ills.; 8 color plates. 51 b/w ills. Commentary on the ar- History of modern art on the West chitecture, sculpture, landscape, Coast including Vancouver, B.C. murals, etc., of the Golden Gate Inter- Concentrates on period after 1945 in national Exposition, 1939. Biograph- San Francisco; from mid-fifties in Los ical notes on the architects, painters Angeles. Bibliography. and sculptors involved. Snipper, Martin. A Survey of Art Neuhaus, Eugen. The Galleries of the Work in the City and County of Exposition. San Francisco: Paul Elder San Francisco. San Francisco: Art and Company, 1915. 96 pp.; 31 b/w Commission, City and County of San ills. A chronological investigation Francisco, revised edition, 1975. 122 into the works of art exhibited at the pp. Each piece of public art in San Palace of Fine Arts of the Panama- Francisco is listed with artist, Pacific International Exposition. medium, size, acquisition Bibliography. information and location noted. Brief biographies for relevant artists. Index.

250 Catalogs Auckland, New Zealand. Auckland and 1967, by 26 Bay Area artists. City Art Gallery. Painting from the Biographies; photo of each artist; Pacific. May, 1961. 48 pp.; 20 b/w some statements by the artists. ills. Includes paintings from Pacific Berkeley, California. University Art Basin nations: Japan, United States, Museum, University of California. Australia, New Zealand. Introduction Both Kinds: Contemporary Art from to American section by George Culler Los Angeles. April 1-May 18, 1975. 16 who divides the work into three West pp.; 6 b/w ills. Introduction by Peter Coast centers: Pacific Northwest, Plagens who selected the exhibition. Northern California (San Francisco Exhibition consists of 16 works, dated Bay Area) and Southern California 1973-1975, by six Los Angeles artists. (Los Angeles). Very brief biography Biographies. for each of the 26 West Coast artists. Brooklyn, New York. Brooklyn Balboa, California. See also Newport Museum. Oil Paintings and Wafer Beach, California. Colors by California Artists. April Balboa, California. The Fine Arts 24 through the summer, 1936. 5 pp. Patrons of Newport Harbor, Pavilion Mimeographed brochure covers both Gallery. California Hard-Edge Paint- Post-Surrealist exhibition organized ing. March 11-April 12, 1964. 30 pp.; by Lorser Feitelson (same exhibition 22 b/w ills. Introductory essay by shown at San Francisco Museum of Jules Langsner defines hard-edge Art, December 4, 1935-January 4, painting. Eleven Southern California 1936) and watercolor show by artists participated in this exhibition members of the California Water which consists of 59 paintings dated Color Society. 1960 to 1964. Brief biographies; photo Chicago, Illinois. The Art Institute of each artist. of Chicago. Abstract and Surrealist Balboa, California. Newport Harbor American Art /Fifty-Eighth Annual Art Museum. Directly Seen: New Exhibition of American Painting and Realism in California. March 11- Sculpture. November 6, 1947-Ianuary April 12, 1970. 16 pp.; 12 b/w ills. 11,1948. 64 pp.; 51 b/w ills. This Introduction by Thomas H. Carver. national exhibition explores the ab- Exhibition contains 39 works by 12 stract and surreal strains in American "new realist" artists, including art and points up the importance of Robert Bechtle, Robert Graham, these tendencies on the West Coast. Joseph Raffael. Very brief Essays by Frederick A. Sweet and biographies. Katherine Kuh trace the history of these trends and their present Berkeley, California. University Art importance. One work each by 256 Museum, University of California. Funk. April 18-May 29, 1967. 60 pp.; 35 b/w ills.; 9 color plates. Text by Peter Selz. Exhibition includes 58 works, nearly all dated between 1960

251 artists, 41 from California. Prizes Holmes deal with underground verein, Cologne; Wiirttembergischer awarded to Rico Lebrun, Eugene poetry, music and art during this Kunstverein, Stuttgart.) 150 pp.; 39 Berman, Knud Merrild. Robert B. fifteen-year period. Exhibition b/w ills.; 16 color plates. Essays by Howard, among others. consists of 66 objects by artists such Helmut Heissenbiittel ("West Coast as Wallace Berman, Bruce Conner, und Neue Asthetik," text in German) Claremont, California. Lang Gallery, Jess. Numerous photographs of the and Helene Winer ("The Los Angeles Scripps College. Trends of Art of the artists; biographies; extensive 'Look'," text in English and German Bay Area. January 17-February 16, bibliography. translation). Exhibition includes 18 1961.4 pp. Introduction by Herschel artists, all but two from Southern B. Chipp. List of 35 participating Bay Eindhoven, Netherlands. Van California. Nearly all works date from Area artists with very brief bio- Abbemuseum Eindhoven. Kompas 1965 to 1971. Brief biographies for graphical notes. No checklist. 4 West Coast USA. November 21, artists. 1969-January 4, 1970. 50 pp.; 74 b/w Claremont, California. Pomona ills.; 4 color plates. Text in Dutch Hayward, California. California State College Gallery, Montgomery Art and English; introduction by Jan University, Hayward, Art Gallery. Nut Center. Los Angeles Painters of the Leering. Text is organized into six Art. 1972. 40 pp.; 24 b/w ills. Some Nineteen-Twenties. April 5-May 3, areas: first generation, clay, assem- statements by the artists; works by 18 1972.40 pp.; 12 b/w ills. Organized blage, light, new media, pop image. Northern California artists, many of by Nancy Dustin Wall Moure; essay Exhibition includes 19 artists from them ceramic sculptors; no checklist; by Arthur Millier, Art Critic for the California; works span period 1945 to "Nut Art Bibliography" by David Los Angeles Times, 1926-1958. 1969. Individual biographies and Zack. Exhibition comprised of 51 works brief general bibliography, all in plus photographs of murals in the Houston, Texas. Contemporary Arts Dutch. Los Angeles City Library. Individual Museum. San Francisco 9. No date biographies with bibliographies; Fort Worth, Texas. The Amon Carter [1962]. 8 pp.; 10 b/w ills. Brief photo-portraits of the exhibiting Museumof Western Art. The Artist's introduction by James Boynton. artists. Extensive bibliography Environment; West Coast. 1962. (Also Exhibition includes 28 paintings, includes listing of magazines shown at UCLA Art Galleries, Univer- collages and sculpture by nine Bay relevant to the period, art critics and sity of California, Los Angeles, and Area artists. Works date from 1960 to active art institutions and galleries. Oakland Art Museum.) 132 pp.; 46 1962. Checklist; no biographies. b/w ills. Introduction by Frederick Dallas, Texas. Dallas Museum of Fine Irvine, California. Art Gallery, S. Wight discusses history of art on Arts and Pollock Galleries, Southern University of California, Irvine. Five West Coast. Exhibition contains 49 Methodist University. Poets of the Los Angeles Sculptors and Sculptors works by 43 artists from Washington, Cities New York and San Francisco Drawings Los AngeJes /New York. Oregon and California. Catalog 1950-1965. November 30-December January 7-February 6, 1966. 36 pp.; includes a biography for each artist. 29, 1974. (Also shown at San Fran- 13 b/w ills.; 6 color plates. Two cisco Museum of Art and Wadsworth Hamburg, Germany. Kunstverein. separate exhibitions are documented Atheneum, Hartford, Connecticut.) USA West Coast. 1972. (Also shown by this catalog. A single introduction, Catalog published by E.P. Dutton & at Kunstverein, Hannover; Kunst- by John Coplans, deals mainly with Co., Inc., 1974. 175 pp.; 59 b/w ills.; 8 the Los Angeles sculptors. Biogra- color plates. Essays by Neil A. phies for the five sculptors; none Chassman, Robert M. Murdock, Lana for the four additional artists in the Davis, Robert Creeley, John Clellon drawing show. Fifteen sculptures; 17 drawings.

252 Irvine, California. Art Gallery, La Jolla, California. La Jolla Museum statements by the 40 Northern and University of California, Irvine. of Art. New Modes in California Southern California artists. Abstract Expressionist Ceramics. Painting and Sculpture. May 20-June Long Beach, California. Long Beach October 28-November 27, 1966. (Also 26, 1966. 32 pp.; 20 b/w ills. Brief Museum of Art. Fifteen American of shown at San Francisco Museum introduction by Donald J. Brewer. Painters. May 3-31, 1957. 16 pp.; 15 Art.) 54 pp.; 44 b/w ills.; 8 color Exhibition consists of 70 works, nearly b/w ills. One undated work each for plates. Text by John Coplans all dated 1965 and 1966, by 20 artists. 15 Southern California artists, all explores the activity in ceramics in Majority of the artists are from from the stable of the Landau Gallery, California, especially between 1956 Southern California; no biographies. Los Angeles. Biographies; photos of and 1958. Checklist; no biographies; La Jolla, California. La Jolla the artists. selected general bibliography. Museum of Contemporary Art. University of Eighty-four works by ten artists. Long Beach, California. Long Beach California, Irvine, 1965-1975. Museum of Art. Arts of Southern Irvine, California. Art Gallery, November 7-December 14, 1975. 96 California -XIV: Early Moderns . 1964. University of California, Irvine. A pp.; 66 b/w ills. Text by Melinda 40 pp.; 16 b/w ills. Brief intro- Selection o/ Paintings and Sculptures Wortz traces the history of the duction by H.J. Weeks. Exhibition From The CoJJections of Mr. and Mrs. art department of University of catalog documents works by 16 artists Robert Rowan. May 2-May 21, 1967. California, Irvine, and analyzes active in the 1920's and 1930's, many (Also shown at San Francisco Museum its impact on contemporary art, of whom are undocumented of Art.) 8 pp.; 3 color plates. One particularly in Southern California. elsewhere. Individual biographies. hundred and fourteen works selected The 74 artists (with one work each) California. from a major Southern California included in the exhibition have all Long Beach, Long of Invisible private collection. Checklist only. either studied or taught at Irvine. Beach Museum Art. /21 Artists /Visible. 26-April Statements by the artists; list of March 23, Irvine, California. Art Gallery, 1972. ills. exhibitions held at the art gallery; 60 pp.; 21 b/w Exhibition University of California, Irvine. extensive general bibliography. includes 52 works, dated 1969 to Assemblage in California. October 1972, by 21 women artists, all from 15-November 24, 1968. 60 pp.; 33 b/w London, England. The Arts Council Southern California. Introduction by ills.; 4 color plates. Six assembla- of Great Britain, Hayward Gallery. 13 Dextra Frankel and Judy Chicago. gists are discussed in individual Los AngeJes Artists. September 30- Biographies. essays by John Coplans, organizer of November 7, 1971. 64 pp.; 35 b/w ills.; the exhibition, Hal Glicksman, Walter 6 color plates. Essay by Maurice Long Beach, California. Long Beach of Art. Hopps, and Phil Leider. Each essay is Tuchman and Jane Livingston divides Museum Southland Video followed by brief biographical notes. the eleven participating artists into Anthology. June 8-September 7, 1975. (Also shown at Francisco The exhibition includes 36 works first, second and third generations, San of Art.) dating from 1955 to 1963. then discusses each artist individu- Museum 44 pp.; 72 b/w ills. Essay by David A. Ross ally. Includes 98 works dating from Kassel, Germany. Documenta 5. 1964 to 1971. Detailed biographies includes discussion of the medium, June 30-October 8, 1972. Monumen- brief video in and bibliographies for each artist. history of Southern tal international exhibition includes California and notes on the artists in numerous California artists. Detailed Long Beach, California. The the exhibition. Exhibition consists of biography, individual bibliography Municipal Art Center. California videotapes produced by 65 artists in and illustration of work for each Painting 40 Painters. 1956. 80 pp.; 40 Southern California between 1968 artist. Some statements by the artists. b/w ills. Forty works selected by and 1975. Samuel Heavenrich and Grace L. McCann Morley. Biographies and

253 Los Angeles, California. Biltmore mosaics, drawings, easel paintings, Los Angeles, California. Los Angeles Salon, Los Angeles Art Association. watercolors, models, sculpture, County Museum and San Francisco First Annual AJI-Cali/ornia Art prints; 267 works by 99 artists. Museum of Art. Four Abstract Exhibition 1934. May 15-Iune 15, Classicists. 1959. 70 pp.; 37 b/w ills.; Los Angeles, California, Los Angeles 1934. 16 pp.; 24 b/w ills. One work 4 color plates. Introduction by Jules County Museum. Artists of Los each by 93 artists from Northern and Langsner. Biographies of the artists. Angeles and Vicinity. Exhibitions Southern California. Selected by local Includes 10 "hard-edge" paintings by held annually from 1939 to 1961. committees, then juried by Los each of four artists: Karl Benjamin, Catalogs published. Annual juried Angeles Art Association committee. Lorser Feitelson, Fred Hammersley, exhibitions open to artists living Short biography for each artist. John McLaughlin. within 125-mile radius of downtown Los Angeles, California. Crocker- Los Angeles. Los Angeles, California. Los Angeles Citizens National Bank. A Century of County Museum of Art. Late Fifties at Los Angeles, California. Los Angeles California Painting 1870-1970. June the Ferus. November 12-December 17, County Museum. California Centen- 1-30, 1970. (Also shown at Fresno Art 1968. 8 pp.; 4 b/w ills. Introduction nials Exhibition of Art. September 30- Center, Fresno. California; Santa by james Monte deals with the early November 13, 1949. 148 pp.; 78 b/w Barbara Museum of Art; California years of the Ferus Gallery. Exhibition ills. Two-part exhibition: "Historic Palace of the Legion of Honor, San includes 19 works by 19 artists. California" covers work from 1840 Francisco; de Saisset Art Gallery, Checklist; no biographies. through 1870 with introduction by University of Santa Clara, Santa Arthur Woodword and biographies of Los Angeles, California. The Los Clara, California; E.B. Crocker Art selected artists; "Artists of California, Angeles Institute of Contempo- Gallery, Sacramento, California; 1949" is an exhibition juried by Dr. rary Art. Nine Senior Southern The Oakland Museum, Oakland, Lester A. Longman, Perry T. Rathbone California Painters. Published in California.) 24 pp.; 8 b/w ills.; 6 color and Dr. Andrew C. Ritchie, with journal (The Los Angeles Institute plates. Introduction by Kent L. introduction by james B. Byrnes, of Contemporary Art), Number 3, Seavey; historical essays on periods hicluded are 207 paintings, sculp- December, 1974, pp. 45-54; 9 b/w within the century by )oseph A. Baird tures, prints and drawings by 187 ills. Organized by Fidel Danieli; (1870-1890), Paul Mills (1890-1910), artists. Biographies of award winners. catalog essay published in the Kent L. Seavey (1910-1930), Mary /ournal. Number 2, October. 1974, Fuller McChesnev (1930-1950), Los Angeles, California. Los Angeles pp. 32-34. Exhibition includes 23 Alfred Frankenstein (1950-1970). County Museum. 1951 Annual Ex- paintings by these nine artists who Exhibition includes 51 works by 50 hibition /Contemporary Painting in have played important roles in the artists, nearly all from Northern the United States. )une 2-luly 22, development of Southern California California. Checklist; no biographies. 1951. 64 70 b/w ills. Intro- pp,; modernism. Individual biographies. duction by lames B. Byrnes. Two-part Los Angeles, California. Los Angeles exhibition includes invited section of Los Angeles, California. Los Angeles Museum of History, Science and Art. paintings by artists of the United Municipal Art Gallery. Separate Southern California Art Project. States and jury-selected group by Realities. September 19-October 21, September 1-October 8, 1939. 16 pp.; Southern California artists. Combined 1973. 62 pp.; 39 b/w ills.; 8 color 6 b/w ills. Brief forward by Stanton checklist reflects 140 works in plates. Text by Laurence Dreiband. Macdonald-Wright, State Supervisor exhibition; no dates given for works. Exhibition consists of 87 works by 27 of the Southern California Art Project, Northern and Southern California WPA. Checklist groups works by artists working in a representational media including mural decoration, mode. Exhibition listings for each artist.

254 Los Angeles, California. Los Angeles 75 paintings and sculpture by 67 Los Angeles, California. University Municipal Art Gallery. 24 From Los artists from Northern and Southern of Southern California Art Galleries. AngeJes. October 30-December 1, California. All works were borrowed Other Landscapes and Shadow Land. 1974. 52 pp.; 24 b/w ills. Brief from American museums outside November 10-December 3, 1971. 32 introduction by Virginia Ernst Kazor. California. Works date from 1920 to pp.; 19 b/w ills. Exhibition docu- Seventy works by 24 Southern Cali- 1967 with the majority dated in the ments the work often visionary fornia artists; individual biographies. 1960's. painters active in the San Francisco Bay Area. In an introductory essay, Los Angeles, California. Los Angeles Los Angeles, California. Art Galleries, Donald Brewer discusses the Municipal Art Gallery. Winners Dickson Art Center, University of J. sources of this style and the indivi- 1953-1974. May 7-June 1, 1975. 20 California, Los Angeles. California dual artists. Checklist of 53 works, pp.; 11 b/w ills.; color cover. Brief Painters and Sculptors, Thirty-Five dated 1968-1971; artists' biographies. introduction by Curt Opliger traces and Under. January 19-February 22, the history of Los Angeles' All City 1959. 4 pp. Unillustrated brochure New Plymouth, New Zealand. Outdoor Art Festival. The 86 works in contains introduction by Jules Govett-Brewster Art Gallery. The the exhibition were Festival purchase Langsner, who also selected the State o/CaJi/ornia Painting. May award winners by Los Angeles artists exhibition. Exhibition includes work 23-June 15, 1972. (Also shown at from the collection of Home Savings by 40 young artists from Northern Waikato Museum, Hamilton; City and Loan Association. Also contains and Southern California with stated of Auckland Art Gallery, Auckland; list of festival jurors. purpose of comparing and bringing National Art Gallery, Wellington; together contemporary works by Robert McDougall Art Gallery, Los Angeles, California. Lytton artists from both parts of the state. Christchurch; Dunedin Public Art Center of the Visual Arts. Contempo- Gallery, Dunedin. J 84 pp.; 29 b/w rary California Art from the Lytton Los Angeles, California. UCLA Art ills.; 4 color plates. Introduction Collection. Summer, 1966. (Also Galleries, University of California, by Michael Walls gives historical shown at Stanford Art Museum, Los Angeles. Fifty Paintings by outlines of contemporary art in Stanford University, Stanford, Thirty-Seven Painters the Los of California; statements by Billy Al California; Occidental College, Eagle Angeles Area. 1961. 20 5 b/w pp.; Bengston and Jack Barth. Works in Rock, California, and extended ills. Introduction by Henry T. the exhibition date from 1967 to 1971; college tour through 1969.) 8 pp.; 4 Hopkins puts works into historical section on group exhibitions of b/w ills. Brief introductory notes by context. Exhibition includes 37 California art with listings of the Andrea S. Andersen and Bart Lytton. painters with works dating from artists in these shows who are also in Exhibition consists of one work each 1912 to 1960. "The State of California Painting". by 23 artists. Checklist; list of Cali- One-man exhibitions listed for each fornia artists in Lytton Collection. Los Angeles, California. UCLA Art Galleries, University of California, of the 34 participating artists. Los Angeles, California. Lytton Los Angeles. Transparency, Reflec- Newport Beach, California. Newport Center of the Visual Arts. California tion, Light, Space: Four Artists. Harbor Art Museum. The Last Time I Art Festival. October 1 -November 30, 11-February 14, 1971. 144 January pp.; SawFerus 1957-1966. March 7-April 1967. (Also shown at Lytton Center, 27 b/w ills. Interviews by Frederick 17, 1976. 80 pp.; 54 b/w ills. Intro- Palo Alto; Lytton Center, Oakland.) S. Wight with Peter Alexander, Larry duction by Betty TurnbuU traces the 28 pp.; 15 b/w ills. Introduction by Bell, Robert Irwin, Craig Kauffman history of the Ferus Gallery, Los Irving Stone. Exhibition includes constitute text. Exhibition consists of Angeles. Exhibition consists of 62 four works, each done by the artist in works by the California artists who response to the space alloted to him. exhibited there. Catalog contains full Detailed biographies; extensive individual bibliographies; photos of the artists.

255 .

list of gallery exhibitions as well as County Museum of Art for the Omaha, Nebraska. )oslyn Art Mu- photographs documenting the gallery Whitney Museum of American Art, seum. Looking West 1970. October 18- and reproductions of exhibition this exhibition of 114 works takes a November 29, 1970. 81 pp.; 60 b/w announcements/ posters. non-historical approach and includes ills.; 5 color plates. Introduction by only works dating from 1958 to 1962. LeRoy Butler. Includes 74 artists; New York, New York. Gotham Book Brief biography for each artist. about half from Northern California, Mart Gallery. San Francisco Renais- half from Southern; detailed biog- sance/Photographs of the '50s and Oakland, California. Oakland Art raphy for each artist. With very few '60s. November 24-December 20, Museum. Contemporary Bay Area exceptions, works dated 1968-1970. 1975. 20 pp.; 27 b/w ills. Organized Figurative Painting. September, by Robert E. Johnson; introduction by 1957. 24 pp.; 13 b/w ills.; 1 color Paris, France. Musee d'art moderne Merril Greene. A photography cover. Exhibitionof 33 works brings de la ville de Paris. Onze Sculpteurs exhibition documenting the "beat" together the expressionistic figure Americains de J'Universite de era in San Francisco. Includes 130 painters of the San Francisco Bay CaJifornie, Berkeley. September 28- photographs by 14 photographers. Area. The essay, which incorporates November 3, 1963. 18 pp.; 11 b/w biographies of the twelve participat- ills. Introduction by Herschel B. New York, New York. Sidney Janis ing artists, is by Paul C. Mills. Chipp. Catalog documents the United Gallery. Los Angeles '72. May ll-June 3, States section of the Biennale de 1972. 12 pp.; 10 b/w ills. Introduc- Oakland, California. Oakland Art Paris, 1963. Exhibition includes 15 tion by Maurice Tuchman and )ane Museum and California College of works by 11 sculptors, all connected Livingston. Twenty-three works, Arts and Crafts. Pop Art USA with University of California, Berke- including video, by 12 artists; works September 7-29, 1963. 64 pp.; 39 b/w ley; brief biography for each artist. dated 1970 to 1972. Checklist; no ills.; 8 color plates. Introduction by biographies. John Coplans. Exhibition includes Pasadena, California. Baxter Art works, nearly all dated 1960 to 1963, Gallery, California Institute of Tech- New York, New York. The Pace by 49 artists, 23 from California. nology. Surrealism is Alive and Well Gallery. A Decade of California Color in the West. February 25- April 14, 1960-1970. 13 loose-leaf pp.; 10 b/w Oakland, California. The Oakland 1972. 48 pp.; 33 b/w ills.; 8 color ills. Includes 13 Southern California Museum. Society of Six. October 3- plates. Unsigned, extensive text artists whose primary concern is November 12, 1972. 64 21 b/w pp.; gives a brief history of surrealism, color. No introductory essay; biog- ills.; 5 color plates. Exhibition then deals with the various forms the raphy for each artist. Works date from documenting a group of Bay Area surreal strain takes in California art. 1962 to 1970. artists active from 1918 to 1941. Thirty-two artists are included in this Extensive essay and biographies by New York, New York. Whitney 78-work show. Checklist; no Terry St. John. Bibliography. Museum of American Art. Fifty Cali- biographies. fornia Artists. October 23-December 2, Oakland, California. The Oakland Pasadena, California. California 1962. (Also shown at Walker Art Museum. Public Sculpture /Urban Design, Pasadena Center. California Center, Minneapolis, Minnesota; Environment. September 29-Decem- Design 1910. October 15-December 1, Albright-Knox Art Gallery, Buffalo, ber 29, 1974. 71 pp.; 42 b/w ills.; 4 1974. 148 pp.; 306 b/w ills. Reflect- New York; Des Moines Art Center, color plates. Introduction by George ing the influence of the Arts and Iowa.) 114 pp.; 49 b/w ills. Organized W. Neubert. Exhibition includes 20 Crafts Movement on California art by the San Francisco Museum of Art works from the museum's permanent between 1890 and 1920, this exhibi- with the assistance of the Los Angeles collection plus outdoor sculpture by tion includes architecture, pottery, 30 invited California artists. metalwork, book printing and bind- Individual biographies. ing and education, as well as painting and sculpture. The beautifully designed and well-documented catalog includes biographies of the artists and general historical information.

Edited by Timothy ). Andersen, Eudorah M. Moore, Robert W. Winter.

256 Pasadena, California. Pasadena Art Pasadena, California. Pasadena Art dated 1968-1972, by 18 artists are Museum. A Pacific Profile of Young Museum. Southern California: included. Brief biographies; photo of West Coast Painters. 1961. Circu- Attitudes 1972. September 19- each artist. lated by Western Association of Art November 5, 1972. 40 pp.; 21 b/w Sacramento, California. E.B. Crocker Museums. 36 pp.; 8 b/w ills. Forty ills. Brief preface by Barbara Art Gallery. Sacramento Sampler 11. paintings dated 1959 to 1961 by 40 Haskell notes the diversity within January 27-February 25, 1973. 36 pp.; young artists from California, Oregon the artistic activity of Southern 32 b/w ills.; 4 color plates. Second and Washington. Introduction by California. Biography for each artist; exhibition surveying the work of Constance Perkins. Brief biography some photos of the artists. Sacramento area artists. Includes 36 and photograph for each artist. Portland, Oregon. Portland Art works, nearly all dated 1971 to 1973, Pasadena. California. Pasadena Art Museum. The West Coast Now. by 18 artists. Brief biographies; photo Museum. West Coast 1945-1969. February 8-March 6, 1968. (Also of each artist. November 24, 1969-January 18, 1970. shown at Seattle Art Museum, San Antonio, Texas. Witte Memorial (Also shown at City Art Museum of Seattle, Washington; M.H. de Young Museum. Selections from the Work St. Louis; Art Gallery of Ontario, Memorial Museum, San Francisco; o/Cali/ornia Artists. October 10- Toronto; Fort Worth Art Center, Los Angeles Municipal Art Gallery.) November 14, 1965. 16 pp.; 26 b/w Texas.) 25 loose-leaf pp.; 24 b/w 168 pp.; 62 b/w ills. Selection by ills. Thirty-eight artists included; ills. Introduction by John Coplans. committees in each of the major cities 27 from Northern California. Brief Includes 25 California artists, mostly of the West Coast: Vancouver, B.C., introduction. Small section of from Southern California. Concen- Seattle, Portland, San Francisco, Los ceramics included. Checklist only; trates on Los Angeles art of the sixties Angeles. Contains recent works (one no biographies. with less emphasis on Abstract Ex- by each artist) by 62 artists, 43 of pressionist work from San Francisco. them from California. Introduction to San Francisco, California. California Despite exhibition title, works date Southern California section by Henry Palace of the Legion of Honor. First from 1956-1969; 3 from the fifties, 22 T. Hopkins; essay for Northern Cali- Spring Annual Exhibition. April 3- from the sixties. Catalog contains fornia by Gerald Nordland. Emphasis May 5, 1946. 36 pp.; 14 b/w ills. individual biographies and on young, lesser-known artists. Juried exhibition of contemporary bibliographies. American painting. Introduction by Portland, Oregon. Reed College. Alfred Frankenstein. Two hundred Pasadena, California. Pasadena Art California Ceramic Sculpture. and four works by 180 artists, mostly Museum. 15 Los Angeles Artists. November 16-December 10, 1966. 16 from California. Checklist; no February 22-March 29, 1972. 40 pp.; pp.; 6 b/w ills. Twenty-one works biographies. 26 b/w ills. Forty-three works, by six Northern California ceramic including conceptual pieces, sculptors are included in this San Francisco, California. California sculpture, paintings, video, dated exhibition. Introduction by Erik Palace of the Legion of Honor. 2nd 1971 to 1973, by 15 artists living in Gronborg. Biographies. Annual Exhibition of Painting. the Los Angeles area. Biographies. November 19, 1947-January 4, 1948. Sacramento, California. E.B. Crocker 47 pp.; 31 b/w ills. Introduction by Art Gallery. Sacramento Sampler L Jermayne MacAgy with special April 1-May 7, 1972. (Also shown at emphasis on Clyfford Still and Mark The Oakland Museum.) 36 pp.; 32 Rothko. This part-juried, part-invited b/w ills.; 4 color plates. Introduc- exhibition consists of 239 works by tion by Roger D. Clisby discusses the 239 artists from the United States, intense artistic activity in the many from New York such as William Sacramento area of Northern California. Thirty-six works, mostly

257 Baziotes, Arshile Gorky, Adolph San Francisco, California. California San Francisco, California. Golden Gottlieb, Ad Reinhardt, Mark Rothko. Palace of the Legion of Honor. 4th Gate International Exposition, De- Checklist, no biographies. Annual Exhibition ofContemporary partment of Fine Arts. Contemporary American Painting. November 25, Art. 1939. 82 pp.; 147 b/w ills. The San Francisco, California. California 1950-Ianuary 1, 1951. 72 pp.; 37 b/w United States section of this exhibi- Palace of the Legion of Honor. ills. Essays by Thomas Carr Howe, tion includes work by 71 California Mobiles and Articulated Sculpture. Jr.; Jermayne MacAgy; Frederick S. artists. Checklist; no biographies. October 2-November 21, 1948. Bartlett. Part-invited, part-juried Catalog published as Bulletin the San Francisco, California. Golden of exhibition includes one work each California Palace of the Legion of Gate International Exposition, Palace by 141 artists. Checklist only; no Honor, vol. Six, no. Seven, November, of Fine Arts. California Art in Retro- biographies. 1948. 8 pp.: 9 b/w ills. First spect-1850-1915. 1940. (Contained in exhibition dealing with moving San Francisco, California. California general catalog, Art, Palace of Fine sculpture. Introductory essay by Palace of the Legion of Honor. 5th Arts, Golden Gate International lermayne MacAgy. Exhibition Annual Exhibition of Contemporary Exposition, San Francisco, pp.

includes 15 artists, among them American Painting. January 24- 150-156; 6 b/w ills. 1 Historical [eremy Anderson, Alexander Calder, March 2, 1952. 48 pp.; 51 b/w ills. view of California art includes 102 Marcel Duchamp, Robert Howard, All-invited exhibition with emphasis paintings and sculpture by 97 Clay Spohn. Checklist; no on West Coast painters. Short artists, among them Matthew Barnes, biographies. foreword by Thomas Carr Howe, Jr. William Clapp, Maynard Dixon, and Exhibition includes 150 works by 150 others. Checklist; no biographies. San Francisco, California. California artists. Checklist; no biographies. Palace of the Legion of Honor. 3rd San Francisco, California. Golden Annual Exhibition of Painting. San Francisco, California. California Gate International Exposition, Palace December 1, 1948-January 16, 1949. Palace of the Legion of Honor. of Fine Arts. California Art Today. 47 pp.; 44 b/w ills. Essay, "Variety Painters Behind Painters. May 1940. (Contained in general catalog, and Exploration," by Jermayne 13-June 25, 1967. 80 pp.; 60 b/w ills.; Art, Palace of Fine Arts, Golden Gate MacAgy. Exhibition was part-invited, 6 color plates. Introduction by International Exposition, San Fran- part-juried. Consists of 150 works Thomas C. Howe describes the com- cisco, pp. 160-170; 8 b/w ills.) by 150 national artists. Checklist; mon thread of the 66 participating Brief introduction by Stephen Pepper. no biographies. artists as their college teaching in Juried exhibition consists of 458 central and northern California. works by contemporary artists from San Francisco, California. California Biography for each artist; 66 works in Northern and Southern California. Palace of the Legion of Honor. Large the exhibition. Checklist; no biographies. Scale Drawings by Modern Artists. February 17-April 9, 1950. 14 pp.; 11 San Francisco, California. Golden San Francisco, California. Hansen b/w ills. Introduction by Jermayne Gate International Exposition, Gallery. Plastics West Coast. October 30- MacAgy discusses history of drawing California Building. Art Exhibition November 29, 1967. 7 pp.; 5 b/w and importance of large scale to by California Artists. February 18- ills. Exhibition includes works in contemporary artists. The 17 December 2, 1939. 44 pp.; 49 b/w various synthetic media by 22 Cali- drawings were executed by San ills. Organized by the California fornia artists. Extremely informative Francisco Bay Area artists. Commission, this exhibition of 554 press release contains information on works by contemporary California media and techniques. Organized artists includes oil paintings, and text by Carol Lindsley. watercolors, pastels, miniatures, sculpture, prints and pictorial photography. Checklist; no biographies. I

258 i San Francisco, California. Inter- San Francisco, California. San San Francisco, California. San section and Glide Urban Center. Francisco Art Association. Annual Francisco Museum of Modern Art. RoJJing Renaissance: San Francisco Exhibition of the San Francisco Art Exchange DFW/SFO. January Underground Art in Celebration: Association. Exhibitions held 23-March 7, 1976. Folder; 25 b/w 1945-1968. Summer, 1968; 2nd annually (with a few exceptions) ills. Introduction by Suzanne Foley. edition, 1975. 64 pp.; 55 b/w from 1876 to 1966. Catalogs pub- An exchange exhibition of 122 ills. Essays on the underground arts lished. Juried national exhibitions current works by 25 artists from the of San Francisco — visual arts, poetry, of varying sizes held at San Francisco San Francisco Bay Area and the dance, music, drama — by Thomas Museum of Art from 1935 to 1966. In Dallas/Fort Worth area, Texas. Albright, Philip Elwood, Mary Fuller addition to the central exhibitions Includes painting, sculpture, McChesney, James Broughton and which included painting and graphics, photography, video, events, others. This publication documents a sculpture, auxiliary annuals of concerts and films. series of exhibitions which took place watercolors and drawings and prints San Jose, California. Student Union, in San Francisco galleries and were held from 1935 to 1961. California State University at San museums during the summer of 1968. San Francisco, California. San Jose. Imaginary Painting from San No checklists; no biographies. Francisco Museum of Art. Molten Francisco. F'ebruary 28-March 20, Second edition contains additional Image: 7 Sculptors. June 8, 1973. 30 10 b/w ills. Exhibition essays by John Williams and Thomas 9-July pp.; 1962. 18 15 b/w ills. Intro- of 10 works, dated 1971-1972, by 10 Albright. pp.; duction by John Humphrey. The Bay Area "visionary" artists. Intro- San Francisco, California. Panama- surge of activity in cast sculpture duction by Phil Linhares; brief Pacific International Exposition, centering around foundries in biographical notes on each artist. Departmentof Fine Arts. 1915. 256 Berkeley, California, is documented Santa Barbara, California. Santa pp. Complete listing of works in the in this exhibition of 21 works by Barbara Museum of Art. Second Palace of Fine Arts, Panama-Pacific seven sculptors. Biographical notes. Pacific Coast Biennial Exhibition of International Exposition, plus San Francisco, California. San Paintings and Watercolors. Septem- biographical index for artists Francisco Museum of Art. A Decade ber 10-October 13, 1957. (Also shown included in the United States section. of Ceramic Art: 1962-1972, from the at California Palace of the Legion of San Francisco, California. Panama- Collection of Professor and Mrs. R. Honor, San Francisco; Seattle Art Pacific International Exposition, Joseph Monsen. October 14-December Museum, Washington; Portland Art Department of Fine Arts. 3, 1972. 60 pp.; 53 b/w ills.; 3 color Museum, Oregon.) 17 pp.; 5 b/w Post-Exposition Exhibition. January plates. Introductory essay ills. Introduction by Ala Story. 1-May 1, 1916. 112 pp.; 64 b/w by Suzanne Foley discusses the West Invitational exhibition comprised of ills. Published by the San Francisco Coast activity in ceramic sculpture 76 works by 76 artists from Art Association, catalog documents from 1962 to 1972. Exhibition Washington, Oregon and California. exhibition of 7023 works including includes 140 works by 47 artists, 25 Biographies for award winners only. those by numerous California artists. from California. Brief biographies; Santa Barbara, California. Santa Section at the back contains two selected general bibliography. Barbara Museum of Art. Third Pacific essays by Michael William: "Western San Francisco, California. San Coast Biennial. October 9-November Art at the Exposition" and "Art in Francisco Museum of Art. A Third 8.1959. 42 pp.; 48 b/w ills. Intro- California. A Brief Review of a World Painting /Sculpture Exhibition. duction by Hilton Kramer. A survey Monumental Book." Checklist; no 1974. 36 loose-leaf of recent developments in the work of biographies. June 8-July 28, pp.; 60 b/w ills. Juried exhibition of 104 artists from Washington, Oregon and paintings and sculpture by 60 artists. California; 118 works; 109 artists. Jury: Rolando Castellon (organizer of the exhibitionj, Raymond Saunders, Ruth Tamura. Checklist; no biographies.

259 Santa Barbara, California. Santa Approx. 200 pp.; 30 ills. Essays by biographical material by Alix Meier Barbara Museum of Art. Pacific Coast Francis V. O'Connor, Steven M. and Merril Greene. Documents ten Jnvitritionfil. November 30-December Gelber, Lydia Modi-Vitale, Charles artists active in San Francisco 30, U)B2. (Also shown at F-'ine Arts Shere, George Boiling and Paul between 1950 and 1965. 110 works Ciallery of San Diego; Municipal Hoffman deal with many facets of the dating from 1952 to 1973. Gallery, Los Angeles; San P'rancisco federal art projects in California. Stanford, California. Stanford Museum of Art; Seattle Art Museum; Biographies; bibliography. Museum, Stanford University. Portland Art Museum, Oregon.) 56 Sao Paulo, Brazil. Museu de Arte Current Painting and Sculpture of the pp.; 24 ills. Four works each by Moderna. IIIBienaJ. July-October, Bay Area. October 8-November 29, painters and sculptors from Wash- 1955. United States Section: Ill- 1964. 34 23 b/w ills. Brief ington, Oregon and California pp. pp.; ISO; 4 b/w ills.: 306-309. The introduction by Joanna Magloff. scilected by regional committees. pp. first foreign showing of a selection of Cross-section of painting and Nearly all works dated 1960-1962. West Coast Art as such. Included sculpture by Northern California Biography for each artist. representation from Washington, artists between 1962 and 1964. Short Santa Barbara, California. Santa Oregon and California. A portion of biography for each artist. Barbara Museum of Art. Spray. April the United States section was cir- Stanford, California. Stanford 24-May 30, 1971. 32 pp.; 27 b/w culated in 1956 by the San Francisco University Art Gallery. Some Points ills. Text by Paul C. Mills traces the Museum of Art under the title. ofView-'62. October 30-November historical development of the use of Pacific Coast Art (catalog published). 20,1962.52 pp.; 47 b/w ills. Fore- the spray technique and discusses its Selected by local representatives words by Robert Richardson Sears importance in contemporary art, under the guidance of Grace L. and George D. Culler. Forty-seven especially in Southern California. McCann Morley, San Francisco works by 47 artists give a survey of Exhibition consists of 55 works by 36 Museum of Art. 88 artists; 98 works. prevalent trends in the Bay Area in arti.sts, 20 of them from California. Checklist only; no biographies. 1962. Brief biographies; artists' Checklist; no biographies. some Seattle, Washington. Ten from Los statements. Santa Barbara, California. Santa Angeles. July 15-September 5, 1966. Tampa, Florida. The Tampa Bay Art Barbara Museum of Art. 15 Abstract 72 pp.; 13 b/w ills.; 9 color plates. Center. 40 Now California Painters. Artists. January 19-March 10, 1974. 24 Introduction by John Coplans draws April 8-May 14, 1968. (Also shown at pp.; 14 b/w ills. Thirty paintings by the common element of these artists The John & Mable Ringling Museum 15 Los Angeles artists working with as a sense of craft. Exhibition of Art, Sarasota, and the Galleries of abstract forms. Interview by a includes 45 works by ten artists; Florida State University.) 48 21 "famous Los Angeles collector" with works dated 1961-1966. Individual pp.; b/w ills.; 2 color plates. Preface a "Los Angeles artist" who states his essay, biography and bibliography for by Henry T. Hopkins gives brief views on the work of the artists each artist. summary of historical development included in the exhibition. Intro- South Hadley, Massachusetts. John of modern art in California; introduction by Ronald A. Kuchta. and Norah Warbeke Gallery, Mount duction by Jan Von Adlmann and Santa Clara, California, de Saisset Art Holyoke College. Art as a Muscular Karl M. Nickel discusses the works in Gallery and Museum, University of Principle. February 28-March 20, the exhibition, all executed between Santa Clara. New DeaMrt; Cali- 1975. 98 pp.; 25 b/w ills. Intro- 1963 and 1968. Checklist only; no fornia. January 17-Iune 18, 1976. ductory essays by Merril Greene; biographies. individual essays including

260 .

Vancouver, British Columbia. The Vancouver Art Gallery. Los Angeles 6 March 31-May 5, 1968. 44 pp.; 6 b/w ills.; 6 color plates. John Coplans discusses the Los Angeles scene as exemplified by the six participating artists. Individual essays, statements or interviews for each artist; detailed biographies; extensive bibliography. Twenty-two works included.

Walnut Creek, California. Civic Arts Gallery. Archetypal Images. March 9-April 21, 1976. 20 pp.; 16 b/w ills. Foreword by )eanne Brubaker Howard, essay by Norman Stiegelmeyer, co-curators of the exhibition. Includes 67 paintings and sculpture by 16 Bay Area artists working with special archetypal symbols. Works date from 1949 to 1976, with the majority dating in the 1970's.

Washington, D.C. National Collection of Fine Arts, Smithsonian Institution. Eight from California. November 29, 1974-February 9, 1975. 18 pp.; 8 b/w ills. Essay by Janet A. Flint discusses printmaking in California. Exhibition includes 36 prints by eight artists best known for their work in other media. Biographical notes and brief bibliography for each artist.

261 Articles Albright, Thomas. "Looking Back Baker, Elizabeth C. "Los Angeles, on Bay Area Art," This World, San 1971," Art News, vol. 70, no. 5, Francisco Sunday Examiner and September 1971, pp. 27-39 (ill.). Ex- ChronicJe, August 18, 1968 (ilL). tensive article on the contemporary Extensive review of On Looking Los Angeles art scene with short

Back: Bay Area 1945-1962 , an looks at many individual artists. exhibition organized by the San Brown, Richard F., Clair Wolfe and Francisco Museum of Art which others. "A Museum Portfolio," covered the major currents of artistic Arf/orum, vol. II, no. 12, Summer endeavor during 17 years of Bay 1964, pp. 19-36 (ill.). Brief essays by Region art history. staff members on exhibiting insti- -. "Mythmakers,"The Art Gallery, tutions in Southern California with voL XVIII, no. 5, February 1975, pp. reproductions of works from their 12-17,44-45 (ill). Discussion of collections. the regional character of Northern Caldwell, Katherine Field. California art with short sketches on "An Patron," individual artists. American Magazine of Art, vol. 31, no. 8, August 1938, pp. Alloway, Lawrence. "Classicism or 444-449 (ill.). The great contri- Hard-Edge?," Art International, vol. bution of Albert M. Bender, important IV, no. 2, February-March 1960, p. 60 Bay Area collector and patron, is (ill.). Extended review of exhibition, assessed. West Coast Hard-Edge, held at Celant, Germane. Institute of Contemporary Art, "Arte Ambientale London. Californiana," Domus, no. 547, June 1975, pp. 52-53,1(111.). The art of "Artists: Assemblage at the Frontier," Michael Asher, Bruce Nauman, Time, vol. 86, no. 16, October 15, Robert Irwin, Eric Orr. Jim Turrell, 1965, pp. 106-108(111.). The Maria Nordman and Doug Wheeler, California tradition of assemblage and their common concern with and the object is discussed with perceptive spaces is explored. In special emphasis on William Wiley, Italian and English. Edward Kienholz and Simon Rodia. Chase, Linda, Nancy Foote, Ted "Artists: Place in the Sun," Time, vol. McBurnett, Brian O'Doherty. "The 92, no. 9, August 30, 1968, pp. 38-41 Photo-Realists: 12 Interviews," Art in (ill.). Brief survey of Southern America, vol. 60, no. 6, November- California artists with short December 1972, pp. 73-89 (ill.). paragraphs on Craig Kauffman, Doug Interviews with 12 artists including Wheeler, Robert Graham, Billy Al Robert Bechtle, Don Eddy, Richard Bengston, William Fettet. McLean, Ralph Goings. Ashton, Dore. "An Eastern View of the San Francisco School," Evergeen Review, vol. 1, no. 2, 1957, pp. 148- 159. New York critic discusses the artists emanating from the California School of Fine Arts, San Francisco, from 1945-1952 with special focus on Clyfford Still.

262 Coffelt, Beth. "End of The Game," ."Los Angeles: The Scene," Art . "Nine Senior Southern California Living, San Francisco News, vol. 64, no. 1, March 1965, California Painters," Journal (The Los Sunday Examiners- Chronicle, May pp. 28-29, 56-58(111.). The emer- Angeles Institute of Contemporary 18,1975(111.). The strange story of gence of Los Angeles as a center of Art), no. 2, October 1974, pp. 32-34 Dr. Samuel West, Bay Area collector serious art activity is discussed in (111.). In discussing LAICA's opening extraordinaire. terms of a new museum, new exhibition, Danlell asserts that Los collectors, new dealers, new artists. Angeles does have an artistic history -. "The Big Wave Was Rising," and promotes the need for research in California Living, San Francisco . "The New Abstraction on the this field. Sunday Examiner & Chronicle, West Coast U.S.A.," Studio Inter- November 9, 1975 (ill.). The history national, vol. 169, no. 865, May 1965, Danysh, Joseph A. "The Federal Art of the San Francisco Art Institute pp. 192-199 (ill.). Commentary on Project," San Francisco Art Associa- with special emphasis on the the rectilinear abstraction In the tion Bulletin, vol. 3, no. 1, May 1936, MacAgy years, 1945-1950. painting and sculpture of, particu- pp. 2,4. Main points of the Bay larly, Los Angeles. Area Federal Art Project are outlined Coplans, )ohn. "Sculpture in by the Regional Advisor. California," Art/orum, vol. II, no. 2, Cravens, Junius. "Work at Museum August 1963, pp. 3-6 (ill.). Survey of Called BestThree-Dimensional Art Davis, Claudia. "The Western Artist developments in California in the Done in Northern Area in 30 Years," East of the Rockies," San Francisco early 1960's with specific comments San Francisco News, August 24, Art Association Bulletin, vol. Ill, no. on various movements and 1935. Sculpture exhibition at San 3, August 1936, pp. 3-5. Report on institutions. Francisco Museum of Art provides how the work of West Coast artists is impetus for survey of Bay Area received by institutions and the -. "Out of Clay," Art in America, sculpture. public in the Middle West and East. vol. 51, No. 6, December 1963, pp. 40-43 (ill.). Evaluation of the West Crehan, Hubert. "Is There a California Factor, Donald. "A Portfolio of Coast ceramic sculpture movement School?," Art News, vol. 54, no. 9, Contemporary Los Angeles Art: with an emphasis on the Southern January 1956, pp. 32-35, 64-65 (ill.). Assemblage," Art/orum, vol. II, no. California artists working in clay. Asserts that there is not a California 12, Summer 1964, pp. 38-41 (ill). school, then assesses the Influence of After a brief historical introduction, -. "Circle of Styles on the West Clyfford Still at the California School the work of artists active in Coast," Art in America, vol. 52, no. 3, ofFlne Arts, 1945-1950. assembled sculpture is explored. June 1964, pp. 24-41 (ill). Impor- tant article deals with art activity in 'Art Schools Smell Alike,' Farber, Manny. "Art," The Nation,

San Francisco and Los Angeles, This World, San Francisco Sunday vol. 172, no. 1, January 6, 1951, p. 19. especially during postwar years. Examiner and Chronicle, October 4, Discusses painting In the Bay Area Highly critical of San Francisco's 1970 (ill.). Discusses California with emphasis on Clyfford Still and milieu. School of Fine Arts during the Edward Corbett. post-World War II years. "A Portfolio of Contemporary Ferling, Lawrence. "Expressionism in Los Angeles Art: Formal Art,' Danieli, Fidel. "A Portfolio of San Francisco Today," Counterpoint,

Art/orum, vol. II, no. 12, Summer Contemporary Los Angeles Art: January 1952, pp. 16-19 (ill). Short 1964, pp. 42-46 (ill.). Three groups Figurative," Art/orum, vol. II, no. 12, glimpses of the work of several of artists, all primarily concerned Summerl964, pp. 53-58 (ill.). The contemporary Bay Area artists. with formal means in their work, are Los Angeles figurative painters are discussed as a three-armed unit. grouped around three poles: the influence of Rico Lebrun, the realistic tradition, and the use of flat, diagram- matic image components.

263 ,

FitzGibbon, John. "Sacramento!," Art Geldzahler, Henry. "Los Angeles: The Cuilbaut, Serge. "The Bongo-Bingo in America, vol. 59, no. 6, November- Second City of Art," Vogue , vol. 144, Art Scene," Journal (The Los Angeles IJecember 1971. pp. 78-83 (ill.). A no. 5, September 15, 1964, pp. 42, 56, Institute of Contemporary Art), no. 5, full-scalf! (sxploration into the 62,64. Reasons for the shift of April-May 1975, pp. 22-27 (ill.). The extremely active art community in artistic activity from San Francisco to "beat" scene in Los Angeles, espe- Sacramento nnd the work done there. Los Angeles with short discussions of cially the artists and the gathering major Los Angeles artists, collectors, places. Frankenstein, Alfred. "A Roof Garden museums and recent visitors. of Sculpture," This World, San Hopkins, Henry T. "A Portfolio of Francisco Sunday Glironicle, August Giambruni, Helen. "At the University Contemporary Los Angeles Art:

25, 1963 (ill.). Review of the monu- of California, Irvine: Abstract Expres- Abstract Expressionism," Art/orum, mental exhibition of Galifornia sionist Ceramics," Craft Horizons, vol. II, no. 12, Summer 1964, pp. sculpture, organized by The Oakland vol. XXVI, no. 6, November- 59-63 (ill.). A discussion of the role Art Museum and exhibited at Kaiser December 1966, pp. 26-35, 61 (ill.). of abstract expressionism in the early Center, Oakland, for which no catalog Extended review of exhibition. work of Los Angeles' younger artists, was published. Abstract Expressionist Ceramics, the influence on L.A. artists by work organized by Art Gallery, University of San Francisco's expressionists, and Fuller, Mary. "Emblems of Sorrow," of California, Irvine, includes the mature abstract expressionist Artforum. vol. II, no. 5, November background of ceramic sculpture in painting of Woelffer, Ruben and, 1963, pp. 34-37(111.). Survey of California. especially, Altoon. federally-funded New Deal art projects in San Francisco. Includes Glueck, Grace. "Art is Alive and Well "West Coast Style," Art Voices, list of artists who worked on the in the Bay Area," This World, San vol. IV, no. 4, Fall 1966, pp. 60-70 various projects. Francisco Sunday Examiner and (ill.). Discussion of Los Angeles art Chronicle, April 13, 1969 (ill.). First with statements by the artists on the "San Francisco Sculptors," Art printed in The New York Times, this effect the environment of Los Angeles in America, vol. 52, no. 3, June 1964, article reviews positively the art has had on their work. pp. 52-59 (ill.). Examination of the activity in the Bay Area. burst of sculptural activity which Kozloff, Max. "West Coast Art: Vital occurred in the Bay Area in the early . "Los Angeles Regains Vigor as Pathology," The Nation, vol. 199, no. sixties. an Art Center," The New York Times, 4, August 24, 1964, pp. 76-79. June 2, 1969 (ill.). A look at the Recent California art divided into two . "Was There a San Francisco reasons behind the revitalization of strains, the "Sterilized" and the School?," Art/orum, vol. IX, no. 5, Los Angeles with special emphasis "Sweaty". Discussion of the artists January 1971, pp. 46-53 (ill.). on museums. and their relationship to, especially, Excerpts from interviews with artists the Los Angeles environment. active at the California School of Fine Gordon, Joni. "Artfrom," Journal Arts during the MacAgy years, (The Los Angeles Institute of Con- Kramer, Hilton. "Month in Review," 1945-1950. temporary Art), no. 1, June 1974, pp. Arts IVfagazine, vol. 34, no. 4, January 24-25. Achart of Los Angeles 1960, pp. 42-45 (ill.). The figure vs. Gelber, Steven M. "The Irony of San galleries showing their periods of abstract expressionism is explored in Francisco's 'Commie Art'," City of activity between 1963 and 1974. terms of the Bay Area figurative San Francisco, February 4, 1976, pp. movement. 24-28,37(111.). Appraisal of the "A Guide to the Galleries," Art/orum political sociological ideas and put vol. II, no. 12, Summer 1964, pp. forth in the murals produced in 75-80 (ill.). This article traces the California under the New Deal. history of galleries in Los Angeles and lists current galleries and their stables.

264 . "Los Angeles, Now the 'In' Art Leider, Philip and John Coplans. "MacDonald Wright [sic] Feature of Scene," The New York Times, June 1, "West Coast Art: Three Images," Show by 10 Pacific Coast Artists," 1971 (ill.]. Extended review of 24 Art/orum, vol. I, no. 12, June 1963, The Art Digest, vol. X, no. 12, March

Young Los AngeJes Artists , Los pp. 21-25 (ill.). Extended review of 15,1936, p. 34 (ill.). Review of show Angeles County Museum of Art. three exhibitions of West Coast art. held at Carl Fisher Gallery, New York, which included work by 10 West Labaudt, Lucien. "An American Licka, C.E. "A Prima Facie Clay Coast artists; emphasis on Stanton Renaissance," San Francisco Art Sampler: A Case for Popular Macdonald-Wright. Association Bulletin, vol. 4, no. 3, Ceramics," Currant (San Francisco).

Octoberl937,p. 2 (ill.). A promi- Part I: vol. 1, no. 3, August-September Macdonald-Wright, S. (tanton). "Art

nent San Francisco artist's positive 1975, pp. 30-34, 60 (ill.); Part II: vol. 1, News from Los Angeles," Art News, reaction to the Federal Art Project. no. 4, October-November 1975, pp. vol. 54, no. 6, October 1955, pp. 8, 8-13,50-53(111.). A new strain of 59-60(111.). Brief but important Langsner, Jules. "America's Second ceramics has developed in two major history of the development of the arts Art City," Art in America, vol. 51, no. centers: Seattle and the San Francisco in Southern California. 2, April 1963, pp. 127-131 (ill.). Dis- Bay Area. This movement is discussion of art activity in Los Angeles, Marioni, Tom. "Out Front," Vision cussed and assessed. especially galleries, museums. (Oakland), no. One, September 1975, Tamarind Lithography Workshop, Loran, Erie. "San Francisco," Art pp. 8-11 (ill.). A discussion of and a survey of trends among major News, vol. XLVIII, no. 5, September several artists in San Francisco and artists. 1949, pp. 45, 52-53 (ill.). A survey of Los Angeles with special emphasis the styles currently prevalent in the on performance sculptors. Lavrova, Nadia. "Forty-Six Bay Area. Artists —One Palette." Christian Martin, Fred. "The Birth of The

Science Monitor, August 1 , 1934 Louchheim, Aline. "San Francisco: Thing, Or, Some Recent Develop- (ill.). Contemporary discussion of Division and Vitality," The New York ments in the Art of the San Francisco the murals in San Francisco's Coit Times , October 24, 1948. An Bay Area," unpublished ms., 12 pp., Tower and the federally-funded easterner's view of the San Francisco 1956. Typed manuscript growing artists who painted them. art scene, particularly the activity at out of a panel held at the Oakland Art California School of Fine Arts. Museum, 1956, entitled, "California Leider, Philip. "California After the School —Yes or No?". Discusses Figure," Art in America, vol. 51, no. McClellan, Douglas. "A Portfolio of post-Still art in San Francisco. 5, October 1963, pp. 73-83 (ill.). Contemporary Los Angeles Art:

Author views the California Sculpture," , vol. II, Northern Art/orum no. 12, . "Art in The San Francisco Bay figurative style as disappearing and a Summer 1964, pp. 69-74(111.). Com- Area, Early Winter 1965," Art Inter- new art emerging in Southern mentary on trends in Southern national, vol. X, no. 2, February 1966, California. California sculpture. pp. 76, 78-79, 81-83 (ill). Report on the current art scene in the Bay Area. . "A Portfolio of Contemporary MacAgy, Douglas. "A Note on the Los Angeles Art: The Cool School," Western Round Table on Modern "Remembering The School," vol. II, Art," Art/orum, no. 12, Summer San Francisco Art Association Artweek (Oakland). Part I: November 1964, pp. 47-52(111.). An explora- Bulletin, vol. 15, no. 4, April-May 1, 1975; Part II: November 8, 1975; Part tion 1-3 into the work of the Los Angeles 1949, pp. (ill.). The director of III: November 15, 1975 (ill.). Remi- avant-garde, with its precise surface, the California School of Fine Arts niscences of the San Francisco Art oft-times pop-derived images, use of looks back on this historic meeting of Institute by its former director. These parody and compressed statement. artistic minds. articles were written to coincide with a three-part exhibition, A Tribute to

265 the San Francisco Art Institute, held . "Boom. Boom, Boom," Frontier, Phillips, Gifford. "Culture on the at the Hansen Fuller Gallery, San vol. 14, no. 11. September 1963, pp. Coast," Art in America, vol. 52, no. 3, Francisco, October 20-November 29, 19-21 (ill.). A look at the collecting )une 1964, pp. 22-23. Examination 1975. and exhibiting policies of the Los of the "art boom" in California, Angeles County Museum of Art. especially collecting and the museum Maxwell, Everett C. "Approach to situation in Los Angeles. California Art," California Arts and "Collecting in Los Angeles,"

Architecture . vol. LV, no. 2, February Artforum. vol. II, no. 12, Summer Pierre, )ose. "Funk Art," J'Oeil, no. 1939, p. 7 (ill.). Brief general look at 1964, pp. 12-18(111.). A survey of 190, October 1970, pp. 18-27, 68 the state of painting in California. Southern California collectors with (ill.). Extensive and well-illustrated special emphasis on Mr. and Mrs. article in French explores the "funk" Millier, Arthur. "New Developments Gifford Phillips, Dr. and Mrs. Leonard style of the San Francisco Bay Area. in Southern California Fainting," Asher, Robert Rowan, David E. Bright American Magazine Art, vol. 27, Plagens, Peter. "Before What Flower- of and Mr. and Mrs. Frederick Weisman. May 1934, pp. 241-247 (ill.]. Empha- ing? Thoughts on West Coast Art," sizes landscape painters. 'A Portfolio of Contemporary Artforum, vol. 12, no. 1, September Los Angeles Art: A Succession of 1973, pp. 33-37(111.). West Coast . "The Pacific Coast: Artists are Visitors,"Art/orum, vol. II, no. 12, artists outside the "mainstream" of Stimulated by Its Diverse Climates," Summer 1964, pp. 64-68 (ill.). The art: a survey of California art in the The Art Digest, vol. 26, no. 3, incidence and impact of visits to twentieth century extracted from November 1, 1951, pp. 30-31 (ill.). Southern California by influential, Plagen's book. Sunshine Muse. Historical discussion of West Coast mature artists is explored. art with special emphasis on "The Soft Touch of Hard Edge,'

institutions. . "Pioneer Moderns," Frontier, Journal (The Los Angeles Institute of vol. 15, no. 4, February 1964, pp. Contemporary Art), no. 5, April-May Mills, Paul. "Bay Area Figurative," 22-24 (ill.). Extended critical review 1975, pp. 16-19 (ill.). A commentary Art in America, vol. 52, no. 3, )une of Arts of Southern CaJi/ornia-XIV: on hard-edge painting with emphasis 1964, pp. 42-45 (ill.). Lively defense Early iVfoderns , held at the Long on Karl Benjamin, Lorser Feitelson, of figurative painting movement in Beach Museum of Art. John McLaughlin. San Francisco by its most vocal proponent. Overend, William. "Behind Scenes at "A Portfolio of California Sculptors," Bohemia-by-the-Beach," Los AngeJes Artforum, vol. II, no. 2, August 1963, Munro, Eleanor. "Figures to the Times, )uly 20, 1976 (ill.). Venice as pp. 15-59 (ill.). A brief biography, Fore," Horizon, vol. II, no. 6, luly an "art community" with emphasis black and white illustration and, 1960, pp. 16-24, 114-116 (ill.). on three artist-residents: Alexis rarely, a statement for each of 76 Detailed investigation into Bay Area Smith, Robert Graham, Billy Al California sculptors. Figurative painting. Bengston. Pugliese, Joseph A. "Casting in the Nordland, Gerald. "The Regional Perkins, Constance. "Los Angeles: Bay Area," Artforum, vol. II, no. 2, Exhibitions," Frontier, vol. 13, no. 12, The Way You Look At It," Art in August 1963, pp. 11-14(111.). The October 1962, pp. 23-25 (ill.). An America, vol. 54, no. 2, March-April rapid development of bronze casting evaluation of the regional exhibitions 1966, pp. 112-118 (ill.). Historical and foundries around San Francisco in Southern California. survey of the art of Los Angeles with is explored. discussion of a few contemporary artists.

266 ,

. "At Museum West: Ceramics Salinger, Jehanne Bietry. "The Sharp, Willoughby. "Los Angeles

from Davis," Craft Horizons, vol. Monterey Group," The Argus, vol. I, Galleries," Arts Magazine, vol. 44, XXVI, no. 6, November-December no. 3, June 1927 (ill.). Review of no. 8, Summer 1970, p. 50 (ill.). 1966, pp. 26-29 [ill.). Extended exhibition held at Beaux Arts Galerie Historical survey of galleries in Los review of ceramic sculpture San Francisco, of the work of artists, Angeles. exhibition by artists connected with especially C.S. Price, who worked in . "New Directions in Southern the University of California, Davis. the Monterey area. California Sculpture," Arts Richardson, Brenda. "Bay Area Schjeldahl, Peter. "L.A. Art? 'hiterest- Magazine, vol. 44, no. 8, Summer " Galleries," Arts Magazine, vol. 44, ing —But Painful', The New York 1970, pp. 35-38(111.). A look at the no. 8, Summer 1970, pp. 51-52 Times,May 21,1972 (ill.). Condes- major Los Angeles sculptors of the (ill.). Survey of galleries in the Bay cending look at contemporary art in sixties and the new movements Area with particular attention paid to Los Angeles. emanating from them, especially Hansen Fuller Gallery and Gallery artists such as Jim Turrell, Michael Seitz, William C. "The Real and Reese Palley. Asher, David Deutsch. the Artificial: Painting of the New "Bay Area Survey: The Myth of Environment," Art in America, vol. "Willoughby Sharp Interviews Neo-Dada," Arts Magazine, vol. 44, 60, no. 6, November-December 1972, John Coplans," Arts Magazine, vol. no. 8. Summer 1970, pp. 46-49 (ill.). pp. 58-72 (ill.). Full examination of 44, no. 8, Summer 1970, pp. Bay Area artists do not adhere to a Photo-Realist movement with pages 39-41. Interviewed shortly after his single style; Richardson discusses 68-71 devoted to California's resignation from Pasadena Art some of the trends in their art. contribution. Museum, John Coplans voices his opinions on the Southern California Rose, Barbara. "Los Angeles: The Seldis, Henry J. "Pasadena's Lopsided art scene and, in particular, the Second City," Art in America , vol. 54, West Coast Survey," Los Angeles Pasadena Art Museum. no. 1, January-February 1966, pp. Times, November 30, 1969. Review 110-115(111.). Report on "L.A. of West Coast 1945-1969, Pasadena Slivka, Rose. "The New Ceramic Sensibility" with discussion of its Art Museum's opening exhibition at Presence," Craft Horizons, vol. XXI, sources. its new building. Also discusses no. 4, July-August 1961, pp. 30-37 Pasadena's role as a modern art (ill. J. The beginnings of the ceramic . "California, Here It Comes," museum. sculpture movement are herein dis- New York, vol. 5, no. 23, June 5, 1972, cussed and evaluated. p. 66 (ill.). Extended review of Los . "The Pioneer Modernists: A '72 Angeles . exhibition shown at Sure Cure for Amnesia," Los Angeles Solomon, Alan. "They Know What Sidney Janis Gallery, New York, Times, December 8, 1974 (ill.). They Want," The New York Times, underlines differences Extended review of Senior between New Nine July 4, 1965. Particular emphasis is York and California art. Southern California Painters, the placed on institutions and collecting inaugural exhibition held at The Los in this easterner's Ryan, Beatrice Judd. "The Rise of view of San Angeles Institute of Contem- Francisco and Modern Art in the Bay Area," Los Angeles. porary Art. California Historical Society . "Is California Art the Equal Quarterly, vol. XXXVIII, no. 1, March Selz, Peter with Jane Livingston. of Eastern Art?," This World, San 1959(111.). An historical view of "Two Generations in L.A.," Art in Francisco-Sunday Examiner &- vol. modern art in San Francisco from America, 57, no. 1, January- Chronicle, July 18, 1965 (reprinted 1915 to 1935 by the director of two February 1969, pp. 92-97 (ill.). from The New York Times). Los San Francisco galleries, Beaux Arts Along with the first generation of Galerie and the Rotunda Gallery, successful sixties Los Angeles artists, City of Paris. new talent has emerged and is here evaluated.

267 Angeles' relationship to New York: its . "San Francisco: The Aloof irrelevance for artists, importance for Community," Arts Magazine, vol. 39, collectors. Brief look at the work of no. 7, April 1965, pp. 70-73 (ill.). several Southern California artists. The problem of community support in San Francisco and a look at the San Temko, Allan. "The Flowering of San Francisco Art Institute and the art Francisco," Horizon, vol. I, no. 3, department of University of January 1959, pp. 4-23 (ill.). San California, Berkeley. Francisco abounds in things cultural. The fine arts, architecture, literature Wilder, Mitchell. "A Stirring in the and the performing arts of the Bay Pacific Paint Pot," Saturday Review, Region are all explored in this richly vol. XLV, no. 42, October 20, 1962, pp. illustrated article. 56-59(111.). Art on the West Coast with emphasis on state universities, Tarshis, Jerome. "Letter from San the art market, publications. Francisco," Studio International, vol. 186, no. 960, November 1973, pp. 192- Wilson, William. "The Explosion 193 (ill.). Commentary on Northern That Never Went Boom," Saturday California's contribution to the use of Review, vol. L, no. 38, September 23, clay as a sculptural medium. 1967, pp. 54-56(111.). The flowering of Los Angeles, discussed and van der Marck, "The Califor- Jan. reasoned. nians," Art International, vol. VII, no.

5, May 25, 1963, pp. 28-31 (ill.). . "Figurative to Funk at Barnsdall Short survey of California art in the Park Exhibit," Los AngeJes Times, sixties, prompted by the exhibition September 8, 1968 (ill.). Review of Fifty California Artists, with brief exhibition. The West Coast Now, with look at California's contribution to special concern about the objectivity the art of the day. of California art displayed therein.

Ventura, Anita. "The Prospect Over the Bay," Arts Magazine, vol. 37, no. 9, May-June 1963, pp. 19-21 (ill.). Incisive and extensive look at state of Bay Area art, prompted by the 82nd Annual Exhibition of the San Francisco Art Institute.

, "Field Day for Sculptors," Arts

Magazine, vol. 38, no. 1, October 1963,pp. 62-65 (ill.). Survey of developments in California sculpture as exemplified by three exhibitions and one magazine issue, all devoted to sculpture.

268 Major Sources of Archives of American Art, Archival Material on California Art Smithsonian Institution, Washington, D.C. Offices: Washington, D.C; San Francisco; New York; Detroit, Michigan; Boston

San Francisco Museum of Modern Art, Louise Sloss Ackerman Fine Arts Library, San Francisco

The Oakland Museum, Archives of California Art, Oakland, California

National Collection of Fine Arts Library, Smithsonian Institution, Ferdinand Ferret Research Library, Washington, D.C.

Los Angeles County Museum of Art, Art Research Library, Los Angeles

California State Library, Sacramento

California Historical Society, Schubert Hall Library, San Francisco

University of California, Berkeley, Bancroft Library, Berkeley, California

269 Photography Credits

Except in those cases listed below, all William H. Grand, Portland, Oregon, The Oakland Museum, California, 1, photographs of works of art 22 5, 6, 8, 9, 11, 13, 16, 17, 20, 55, 64, 99, reproduced have 105, 120, 126, 130, 138, 142, been supplied by Hansen Fuller Gallery, San Francisco, 230 their owners or custodians. The 147, 164, 186 Karl Obert, Santa Barbara, California, numbers listed refer to checklist courtesy Santa Barbara Museum of numbers. Helen Harrison, La Jolla, California, 330 Art, 74 Eric H. Anderson, Mill Valley, Paul A. Hassel, San Francisco, 104 San Antonio Museum Association, California, 101 Texas, 279 Herrington & Olson, Oakland. Rudy Bender, San Francisco, 98, 181 California, courtesy The Oakland San Francisco Museum of Modern Brigham Young University, Provo, Museum, 2 Art, 47, 50, 52, 57, 63, 65, 69, 92, 93, Utah, 7, 56 106, 107, 111, 119, 137, 143, 149, 156, Hirshhorn Museum and Sculpture 194, 340 Rudolph Burckhardt, New York, Garden, Smithsonian Institution, courtesy Leo Castelli Gallery, New Washington, D.C., 75, 131 Santa Barbara Museum of Art, York, 319 California, 76, 170 Isha, Sebastopol, California, 125 Geoffrey Clements, Staten Island, Schopplein Studio, San Francisco, 4, Ute Klophaus, Wuppertal, Germany, New York, courtesy The Museum of 33, 36, 51, 53, 59, 62, 85, 109. 116, 315 Modern Art, New York, 151, 225; 128, 132, 144, 145, 152, 153, 159, 172, courtesy Whitney Museum of Gary Krueger, Los Angeles, courtesy 174, 175, 176, 178, 184, 185, 188, 189, American Art, New York, 301 The Claire Copley Gallery, Inc., Los 192, 200, 202, 213, 244, 254, 262, 266, Angeles, 324, 331 272, 287, 295, 296, 299, 302, 308, Gallery Rebecca Cooper, Washington, 310,312,314,334 D.C.,313 La Jolla Museum of Contemporary

Art, California, 268, 275 Robert I. Shankar, Emeryville, James Corcoran Gallery, Los Angeles, California, 280 T.S. Leong, Oakland, California, 154 81, 112, 115, 129, 135, 139, 196, 216, 223, 263, 300, 326 Edward Cornachio, Pasadena, Long Beach Museum of Art, Edmund Shea, San Francisco, 199 California, 157 California, 264 Stanford University Museum of Art, Liam Cutchins, Ross, California, 177 Los Angeles County Museum of Art, Stanford, California, 37, 54,61, 88, 140, 161, 227,288 168 Bevan Davies, New York, courtesy Frank Thomas, Los Angeles, 42, 79, Nancy Hoffman Gallery, New York, A.F. Madeira, Sacramento, California, J. 80, 82, 86, 122, 141, 162, 169, 195, 291, 311 courtesy E.B. Crocker Art Gallery, Sacramento, 203 201, 208, 209, 214, 231, 232, 234, 243, Eeva-Inkeri, New York, courtesy 245, 248, 249, 251, 256, courtesy Galleries, Ltd., San Allan Frumkin Gallery, New York, Maxwell Monique Knowlton Gallery, New 198 Francisco, 71 York: 258, 259, 270, 277, 281, 282, The Fine Arts Museums of San Colin McRae, Berkeley, courtesy 289, 290, 297, 305 Francisco: California Palace of the University Art Museum, University Jann & John Thomson, Los Angeles, Legion of Honor, 60 of California, Berkeley, 183, 229, 269, 246 298 The Fort Worth Art Museum, Texas, Bob Wharton, Fort Worth, Texas, 219, 215,265 Alfred Monner, Portland, Oregon, 221 23-32 Larry Fox, San Francisco, 316 National Collection of Fine Arts, Phillip Galgiani, San Francisco, 72, Smithsonian Institution, Washington, 77. 78, 210, 267, 306. 317, 322 D.C., courtesy Gallery M, Washington, D.C., 113

270 San Francisco Museum of San Francisco Museum of Modem Art Modern Art Board of Trustees Staff

Eugene E. Trefethen, Jr., President Henry T Hopkins Constance Goldsmith

Mrs. Walter A. Haas, Jr., Executive Director Modern Art Council Secretary Vice-President Michael McCone Katherine Church Holland A. Hunter Land, II, Secretary Deputy Director Research Associate Alan L. Stein, Treasurer S.C. St. John Philip Jessie Controller Gallery Technician Mrs. John L. Bradley Suzanne Foley Chris Johns Mrs. Rena Bransten Curator Bookshop Assistant Robert W. Cahill John Humphrey Toby Kahn Richard P. Cooley Curator Assistant Manager, Bookshop E. Morris Cox Vernon A. DeMars Rolando Castellon Debbie Lande George Gund Curator Bookshop Assistant Mrs. Walter A. Haas Kenneth DeRoux Karen Lee Frank O. Hamilton Film Curator Secretary for Film and Education Harold Haynes J. Karen Tsujimoto Lee Loomis Mrs. Randolph A. Hearst Assistant Curator Bookshop Assistant Mrs. Wellington S. Henderson Eugenie Candau Dorothy Martinson Mrs. Francis V. Keesling, Jr. Moses Lasky Librarian Membership Assistant Mrs. Philip E. Lilienthal Inge-Lise Eckmann Alberta Mayo Edmund W Nash Chief Conservator, Paper Secretary to the Director AlvinC. Rice Phillip Goddard George Milligan C. David Robinson Bookshop Manager Mailing William M. Roth Bonita Hughes Pauline Mohr Robert A. Rowan Membership Secretary Conservator Mrs. Madeleine Haas Russell Susan King Nancy Morrison Daniel G. Volkmann, Jr. Registrar Conservation Administrator Mrs. Brooks Walker Mrs. Paul Wattis Thornton Rockwell Dennis O'Leary Chief Conservator, Paintings Supervisor of Museum School Ex-Officio: Mary Miles Ryan Cherie Pinsky Publicity Director Bookshop Assistant Jaquelin H. Hume Trustee Emeritus Julius Wasserstein Nancy Rolf Gallery Supervisor Secretary to the Controller Mrs. Francis F. Owen Trustee Emeritus Robert Whyte Adrian Schafgans Education Supervisor Museum Technician Mrs. Nicholas G.K. Boyd, Jr. Mauritz Schauer President, Modern Art Council Ed Bartlett Conservation Assistant Dr. William R. Fielder Assistant Gallery Supervisor Joseph Shields Chairman, SECA James Bernstein Gallery Attendant Conservator Ferd Von Schlafke Jan Butterfield Gallery Technician Research Associate Loretta Wilcher Didi Codre Curatorial Secretary Admissions Shelley Diekman Research Assistant Shirley Eng Assistant to the Controller

271 National Collection of Fine Arts, Smithsonian Institution Sta£F for the Exhibition

Dr. Joshua C. Taylor, Director Harry Lowe, Assistant Director, Operations Harry )ordan, Administrative Officer

Department of Twentieth Century Painting and Sculpture: Walter Hopps, Curator [oyce C. Kaminski Florine E. Lyons Lynda C. Roscoe Elizabeth A. Stack

Office of Exhibition and Design: David B. Keeler, Chief Oliver Anderson Carole Ann Broadus Frank Caldwell John Fleming Ralph Logan James Maynor Breton B. Morse George Nairn Gervis Perkins Georgine Reed Anton ia Ropa

Office of the Registrar: W. Robert Johnston, Registrar Andrea Brown

Burgess A. Coleman, Jr. Joshua Ewing Deborah Jensen Martha Russell

Office of Public Affairs: C Margery Byers, Chief

Sidney Lawrence, III Theresa O'Brien

Catalog Design: Ross San Francisco Museum of Modern Art Typography: CTS Typography Inc. Van Ness at McAllister Photolithography: Phelps /Schaefer San Francisco, California 94102 Litho-CraphicsCo. (4151863-8800 272