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Vija Celmins in California 1962-1981

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Vija Celmins in California 1962-1981 City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Winter 1-3-2020 Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 Jessie Lebowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/546 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 by Jessie Lebowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2019 December 19, 2019 Howard Singerman Date Thesis Sponsor December 19, 2019 Harper Montgomery Date Signature of Second Reader Table of Contents List of Illustrations ii Introduction 1 Chapter 1: The Southern California Renaissance 8 Chapter 2: 1970s Pluralism on the West Coast 29 Chapter 3: The Modern Landscape - Distant Voids, Intimate Details 47 Conclusion 61 Bibliography 64 Illustrations 68 i List of Illustrations All works are by Vija Celmins unless otherwise indicated Figure 1: Time Magazine Cover, 1965. Oil on canvas, Private collection, Switzerland. ​ ​ Figure 2: Ed Ruscha, Large Trademark with Eight Spotlights, 1962. Oil, house paint, ink, and ​ ​ graphite pencil on canvas, Whitney Museum of American Art, New York. Figure 3: Heater, 1964. Oil on canvas, Whitney Museum of American Art, New York. ​ ​ Figure 4: Giorgio Morandi, Still Life, 1949. Oil on canvas, Museum of Modern Art, New York. ​ ​ Figure 5: Bikini, 1968. Graphite on acrylic ground on paper, Museum of Modern Art, New York. ​ ​ Figure 6: Comb, 1970. Enamel on wood, Los Angeles County Museum of Art. ​ ​ Figure 7: House #1, 1965. Oil on canvas mounted on wood, fox fur, and metal, Museum of ​ ​ Modern Art, New York. Figure 8: Poster of Flying Fortress, 1966 for Vija Celmins exhibition at David Stuart Galleries ​ ​ in Los Angeles, February 28-March 26, 1966. Figure 9: Gerhard Richter, Bomber, 1963. Oil on canvas, Städtische Galerie Wolfsburg, ​ ​ Wolfsburg, Germany. Figure 10: Chuck Close, source image for Big Self-Portrait, 1968. Gelatin-silver print scored ​ ​ with ink, masking tape, and airbrush paint mounted on foamcore. Figure 11: Robert Irwin, Untitled, 1963-65. Oil on canvas, Hirshhorn Museum and Sculpture ​ ​ Garden, Smithsonian Institution, Washington, DC. Figure 12: Untitled (Ocean), 1970. Graphite on acrylic ground on paper, Museum of Modern ​ ​ Art, New York. Figure 13: James Turrell, Meeting Room, 1980. Light, Museum of Modern Art, New York. ​ ​ Figure 14: Doug Wheeler, PSAD Synthetic Desert III, 1971 (realized in 2017). Reinforced ​ ​ fiberglass, anechoic absorbers, neon, and sound equipment, Exhibited at the Solomon R. Guggenheim Museum, New York. Figure 15: Untitled (Large Desert), 1974-75. Graphite on acrylic ground on paper, The ​ ​ JPMorgan Chase Art Collection. ii Figure 16: Nancy Holt, Sun Tunnels, 1973–76. Concrete, Great Basin Desert, Utah, Dia Art ​ ​ Foundation. Figure 17: Untitled (Desert-Galaxy), 1974. Graphite on acrylic ground on paper, Tate and ​ ​ National Galleries of Scotland. Figure 18: To Fix the Image in Memory I-XI, 1977-82. Stones and painted bronze, eleven pairs, ​ ​ Museum of Modern Art, New York. Figure 19: Ocean: 7 Steps #2, 1973. Graphite on acrylic ground on paper, Museum of Modern ​ ​ Art, New York. Figure 20: Ansel Adams, Foam, Merced River, Yosemite Valley, California. Gelatin-silver print, ​ ​ Collection Center for Creative Photography, Phoenix. Figure 21: Ad Reinhardt, Abstract Painting, 1963. Oil on canvas, Museum of Modern Art, New ​ ​ York. Figure 22: Moon Surface (Surveyor I), 1971-72. Graphite on synthetic polymer ground on paper, ​ ​ Museum of Modern Art, New York. Figure 23: Untitled, 1988. Oil on canvas, Matthew Marks Gallery, New York. ​ ​ Figure 24: Untitled (Ochre), 2016. Oil on canvas, Matthew Marks Gallery, New York. ​ ​ iii Introduction: Vija Celmins and the L.A. Art Scene Observing the deep abyss of space, star-gazers’ vision adjusts to the faint twinkle of starlight distant in space and time. With necks craned upward, the night sky is both endless and ever-expanding. Deep space becomes accessible in the paintings and drawings of Vija Celmins with her finely articulated star clusters executed with a technical acumen upon the dark vacuum of galactic space. Viewers find themselves straddling a paradox with one foot grounded in reality and the other suspended in a perceptual void. Her starscapes encompass both present and absent, past and future, representation and abstraction. Before achieving these captivating deep space environs, Vija Celmins launched her artistic career in the evolving Los Angeles. During her nineteen year West Coast residence, Celmins witnessed the development of new art practices and new technological advances specific to the region which she incorporated into her early formative work. Once Celmins honed her technical dexterity, she shifted her focus outside the city in order to analyze the spatial and optical facets of desert, sea, and sky – environments she would continue to simulate throughout her long artistic career. Born in 1938 in Riga, Latvia, Vija Celmins’ early life was defined by chaos and uncertainty as the invading Soviet and Nazi armies fought for control of her small Baltic homeland. The young Vija, along with her parents and sister, fled to Germany with thousands of Latvians in 1944. After searching for safety during the heavy bombing of the last few months of World War II, the Celmins found relative stability in a Latvian community in Esslingen, 1 Germany. Enduring four years as refugees, Vija and her family were granted passage to New York, and four months later, they finally settled in Indianapolis, Indiana where the young Vija 1 Garrels, Gary, et al. Vija Celmins - to Fix the Image in Memory. San Francisco Museum of Modern Art, 2018, p. ​ ​ 237. 1 learned English. Enrollment in elementary drawing classes fostered an early appreciation for the arts, and eventually motivated Celmins to pursue an undergraduate degree in art from the nearby John Herron Institute of Art. After receiving her undergraduate degree, Vija Celmins enrolled in the graduate program at the University of California, Los Angeles. Attracted by a sense of freedom from the prescribed methods of making, viewing, and selling art, postwar L.A. encountered a steady stream of immigrants and outsiders who forged their own paths as artists, and consequently, established 2 multidisciplinary practices that elevated the city to a successfully functioning art scene. Artists’ commitment to Los Angeles strengthened the city’s art scene and, by the time Celmins arrived in 1962, the city manifested its own “cool” visual identity. California’s favorable climate and laid-back attitude generated a cool ethos that attracted Europeans fleeing from the anxieties and atrocities of war. Newcomers, both domestic and from abroad, brought with them fresh perspectives to contribute to the incipient intellectual 3 renaissance and were responsible for a doubling of the Los Angeles population. The geographic location of Los Angeles was a contributing element to what art critic Peter Plagens defines as the 4 L.A. Look. New industrial technologies, car and surf culture, and the sunset inspired palette ​ generated a geographic caricature specific to the region; however, Celmins neither adopted the popular candy-color scheme nor synthetic materials. Instead, she was motivated by the dazzling 2 Drohojowska-Philp, Hunter. Rebels In Paradise: the Los Angeles Art Scene and the 1960s. A John Macrae Book/Henry Holt and Company, 2012, p. xxiv. 3 Armstrong, Elizabeth, Boyd, Michael, Brouwer, Anna, Trent, Mary, and Orange County Museum of Art. Birth of ​ the Cool : California Art, Design, and Culture at Midcentury. Newport Beach : Munich ; New York: Orange County ​ Museum of Art ; Prestel Art, 2007, p. 195. 4 Coined by Peter Plagens, the L.A. Look was a broad aesthetic term employed when referring to the freedom and ​ ​ variety of practices in Los Angeles rendering it difficult to differentiate styles. Peabody, Rebecca., Bradnock, Lucy, ​ J. Paul Getty Museum, Martin-Gropius-Bau, and Pacific Standard Time. Pacific Standard Time : Los Angeles Art, ​ 1945-1980. Los Angeles: Getty Research Institute and the J. Paul Getty Museum, 2011, p. 128. ​ ​ 2 California sun with its shifting optical effects when contemplating her early arranged still lifes 5 within her light-infused Venice studio. These 1964 compositions concentrated on singular quotidien objects upon ambiguously vacant backgrounds. Eventually exhausting her practice in oil paint around 1968, Celmins shifted from rendering accessible objects to simulating printed source images. The new reproduced subject matter sparked a decade-long dedication to studying the properties of graphite. While gaining an intimate understanding of graphite in 1968, Vija Celmins introduced a new photographic subject matter depicting one of L.A.’s adjacent natural landscapes – the ocean. The Venice Beach pier allowed the young Celmins to photograph ocean waves at a near 45 degree angle while cropping the composition to exclude any notion of a horizon. With the 1969 moon landing and the introduction of a new space program in Pasadena, Celmins again experimented with new subject matter and employed the same compositional measures
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