DOCSLIB.ORG

Birth of the Cool: California Art, Design, and Culture at Midcentury

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Birth of the Cool: California Art, Design, and Culture at Midcentury BIRTH OF THE COOL: CALIFORNIA ART, DESIGN, AND CULTURE AT MIDCENTURY WORKING CHECKLIST GALLERY D: PERIOD ART GALLERY KARL BENJAMIN Karl Benjamin, Black Karl Benjamin, Small Pillars, 1957, oil on Planes: White, Blue and canvas, 48 x 24 in. (121.9 Pink, 1957, oil on linen, x 61 cm), private collection 36 x 48 in. (91.4 x 121.9 cm), The Buck Collection, Laguna Beach, California Karl Benjamin, Easter, Karl Benjamin 1957, oil on canvas, 36 x F.S. #20, 1963 48 in. (91.4 x 121.9 cm), Oil on Canvas, 32 x 42 in. private collection (81.3 x 106.7 cm), Courtesy Louis Stern Fine Arts, West Hollywood Karl Benjamin, Totem Karl Benjamin, F.S. #1, Group IV, 1957, oil on 1961, oil on canvas, 42 x canvas, 40 x 50 in. (101.6 50 in. (106.7 x 127 cm), x 127 cm), San Jose Santa Barbara Museum of Museum of Art Art, Museum Purchase Karl Benjamin, Red, Blue, Karl Benjamin, Pink, 1958, oil on canvas, Interlocking Forms (Big 30 x 40 in. (76.2 x 101.6 Magenta with Green), cm), courtesy Louis Stern 1959, oil on canvas, 40 x Fine Arts, West Hollywood 50 in. (101.6 x 127 cm), private collection Karl Benjamin Karl Benjamin, I.F. I.F. (Violet, Burnt Umber), (Interlocking Forms), 1958, oil on canvas, 50 x 1958, oil on canvas, 22 x 30 in. (127 x 76.2 cm), 14 in. (55.9 x 35.6 cm), Collection John and Collection of Carol Phyllis Kleinberg Sharer, Avon, Colorado LORSER FEITELSON Lorser Feitelson, Magical Lorser Feitelson, Untitled Space Forms: Stripes, Dichotomic Organization, 1954, oil on canvas, 60 x 1959, oil on canvas, 50 x 50 in. (152.4 x 127 cm), 50 in. (127 x 127 cm), collection of Dr. Frank private collection Schneider, Las Vegas. Lorser Feitelson, Untitled, Feitelson, Dichotomic Magical Space Forms, Organization, 1959, oil on 1960, Oil on canvas, 40 x canvas, 60 x 60 in. (152.4 60 in. (101.6 x 152.4 cm), x 152.4 cm), Nora Eccles courtesy Louis Stern Fine Harrison Museum of Art, Arts Utah State University, Logan, Marie Eccles Caine Foundation Gift Lorser Feitelson, Dichotomic Organization: Lorser Feitelson, Magical Stripes, 1959, Oil on Space Forms, 1961 canvas, 50 x 60 in. (127 x oil on canvas, 60 x 50 in. 152.4 cm) courtesy Louis (152.4 x 127 cm) private Stern Fine Arts, West collection Hollywood Lorser Feitelson, Magical Space Forms, 1953, oil on canvas, 36 x 23 1/2 in. (91.4 x 59.7 cm), Orange County Museum of Art, Gift of Mr. and Mrs. John McLaughlin FREDERICK HAMMERSLEY Frederick Hammersley, Up Frederick Hammersley Within, 1957–58, oil on Sun Substance, 1958 linen, 48 x 36 in. (121.9 x oil on canvas, 50 x 40 in. 91.4 cm), Pomona College, (127 x 101.6 cm), Museum of Art, Claremont, Albuquerque Museum of California, Museum Art purchase with funds provided by the Estate of Walter and Elise Mosher Frederick Hammersley, Frederick Hammersley, Come, 1962–63, oil on Intro, 1958, oil on canvas, linen, 48 x 36 in., (121.9 x 30 x 24 in. (76.2 x 61 cm) 91.4 cm), Orange County Museum of Art, Gift of Bardene Allen Frederick Hammersley, Frederick Hammersley, Either Or, 1960, oil on Green Game Up, 1957, oil linen, 48 x 36 in. (121.9 x on linen, 38 x 18 in. (96.5 91.4 cm), collection of the x 45.7 cm), The Buck artist Collection, Laguna Beach, California Frederick Hammersley, Frederick Hammersley, Opposing #15, 1959, oil on Around #10, 1960, oil on linen, 30 x 24 in. (76.2 x 61 linen, 30 x 24 in. (76.2 x cm), collection of Jayne 61 cm), collection of Mark and Mark Murrel, Newport and Emily Goldstein Beach, California Helen Lundeberg Helen Lundeberg, Sloping Helen Lundeberg, A Quiet Horizon, 1960, oil on Place, 1950, oil on canvas, 40 x 40 in. (101.6 canvas, 16 x 20 in. (40.6 x x 101.6 cm), courtesy 50.8 cm), collection of Louis Stern Fine Arts, Brent R. Harris West Hollywood Helen Lundeberg, By the Helen Lundeberg, Arches Sea II, 1960, oil on board, III, 1962, oil on canvas, 50 50 x 50 in. (127 x 127 cm), x 60 in. (127 x 152.4 cm), courtesy Louis Stern Fine Orange County Museum Arts, West Hollywood of Art, Gift of Lorser Feitelson and Helen Lundeberg Feitelson Revocable Trust Helen Lundeberg, Helen Lundeberg Cimmerian Landscape, Landscape: White and 1960, oil on canvas, 36 x Orange, 1962, 20 in. (91.4 x 50.8 cm), oil on canvas, collection of Brent R. 24 x 30 in. (61 x 76.2 cm), Harris courtesy Louis Stern Fine Arts, West Hollywood Helen Lundeberg Evening View, 1964 acrylic on canvas, 60 x 40 in. (152.4 x 101.6 cm), courtesy Louis Stern Fine Arts, West Hollywood JOHN McLAUGHLIN John McLaughlin, untitled, John McLaughlin, Untitled 1952, oil and casein on Composition, May 1952, Masonite, 31 3/4 x 38 in. oil and casein on (80.7 x 96.5 cm), private Masonite, 32 x 38 in. collection (81.3 x 96.5 cm), courtesy Louis Stern Fine Arts, West Hollywood John McLaughlin, #4, John McLaughlin, 1969, oil on canvas, 48 x Unititled (July), 1953, oil 60 in. (121.9 x 152.4 cm), on board, 32 3/4 x 39 in. Orange County Museum of (83.2 x 99.1 cm), Art, Gift of the artist collection of Joni and Monte Gordon, Los Angeles John McLaughlin, Untitled John McLaughlin, Untitled (May), 1953, oil on board, Geometric Composition, 38 ½ x 32 1/2 in. (97.8 x 1956, oil on canvas, 48 x 82.6 cm), collection of Joni 32 in. (121.9 x 81.3 cm), and Monte Gordon, Los courtesy Louis Stern Fine Angeles Arts, West Hollywood John McLaughlin John McLaughlin #9, 1960, oil on canvas, #9, 1959, oil on canvas, 48 x 34 in. (121.9 x 86.4 60 x 38 in. (96.5 x 152.4 cm), private collection cm), Baltimore Museum of Art .
Load more

Recommended publications
  • D. Wigmore Fine Art, Inc
    OUR POSTWAR FOCUS: THE 1960 s-1970 s Richard Anuszkiewicz Frederick Hammersley Sam Gilliam The 22 works in this exhibition reflect the gallery’s focus on the artists of the 1960s-1970s who participated in the inter - national debate on the course of abstract painting after Abstract Expressionism. This debate was framed by two major exhibitions: Clement Greenberg’s 1964 exhibition Post-Painterly Abstraction at the Los Angeles County Museum of Art and William Seitz’s 1965 exhibition The Responsive Eye at the Museum of Modern Art. Post-Painterly Abstraction took from Abstract Expressionism its large format and added open compositions with expan - sive, flattened planes of color, or “color fields.” Clement Greenberg championed this style, favoring “staining” where artists use as little pigment as possible and let the unprepared canvas absorb the paint. Other artists within the Color Field style refused to sacrifice the even, smooth, and controlled surfaces achieved with prepared canvases. By preparing the ground of their paintings, these artists went against Greenberg’s theories. The two opposing approaches to Color Field painting are shown in our exhibition. Greenberg’s “staining” is represented by Sam Gilliam’s (b. 1933) Red Linger , 1972 and Paul Reed’s (b. 1919) 16I , 1963, while Paul Jenkins’ (1923-2012) Phenomena Maimonides Mantle , 1979 and Phenomena Sufi Procession , 1974 are examples of the free-flowing color achieved with primed canvases. In addition to Color Field painting, the 1960s saw groups of artists return to geometric compositions. In California one of these geometric groups was called the Abstract Classicists. They reacted against the emphasis Abstract Expressionism had placed on personal emotions.
    [Show full text]
  • A Finding Aid to the Lorser Feitelson and Helen Lundeberg Papers, Circa 1890S-2002, in the Archives of American Art
    A Finding Aid to the Lorser Feitelson and Helen Lundeberg Papers, circa 1890s-2002, in the Archives of American Art Michael Yates and Jayna Josefson Funding for the processing of this collection was provided by the Getty Foundation; funding for the digitization of the collection was provided by the Terra Foundation for American Art. September 12, 2007 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Materials, 1922-1995........................................................... 6 Series 2: Correspondence, 1932-1998...................................................................
    [Show full text]
  • The AIC Paintings Specialty Group POSTPRINTS VOLUME TWENTY
    FM.indd Page 1 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The AIC Painting Specialty Group POSTPRINTS VOLUME TWENTY-FIVE 2012 The American Institute for Conservation of Historic and Artistic Works AIC AMERICAN INSTITUTE FOR CONSERVATIO N OF HISTORIC AND ARTISTIC WORKS FM.indd Page 1 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The AIC Painting Specialty Group POSTPRINTS VOLUME TWENTY-FIVE 2012 The American Institute for Conservation of Historic and Artistic Works AIC AMERICAN INSTITUTE FOR CONSERVATIO N OF HISTORIC AND ARTISTIC WORKS FM.indd Page 2 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The Paintings Specialty Group of the American Institute for Conservation of Historic and Artistic Works 2011-2012 Officers Chair LAURA RIVERS Program Chair KATRINA BARTLETT RUSH Assistant Program Chair MATTHEW CUSHMAN Secretary/Treasurer DAWN ROGALA Nominating Committee NICHOLAS DORMAN, Chair JOANNA DUNN, AND MARY MCGINN Listserv Moderator CHRIS STAVROUDIS Publications Chair BARBARA BUCKLEY Painting Conservation Catalog, Interim Project Director JUDY DION Web Editor CHRISTINA MILTON O’CONNELL Wiki Editor ERICA JAMES FM.indd Page 3 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The AIC Paintings Specialty Group POSTPRINTS V O L U M E T W E N T Y - F I V E 2 0 1 2 Papers Presented at the 40th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works Albuquerque, New Mexico May 8-11, 2012 Compiled by Barbara Buckley AIC AMERICAN INSTITUTE FOR CONSERVATIO N OF HISTORIC AND ARTISTIC WORKS Copyright © 2015 by the Paintings Specialty Group of the American Institute for Conservation of Historic and Artistic Works, 1156 15th St., NW, Suite 320, Washington DC 20005.
    [Show full text]
  • Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
    HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd.
    [Show full text]
  • Frederick Hammersley Paintings and Works on Paper 26 April – 24 June 2017
    FOR IMMEDIATE RELEASE April 2017 Media Contact: Christina Carlos Telephone: 310-822-4955 Email: [email protected] FREDERICK HAMMERSLEY PAINTINGS AND WORKS ON PAPER 26 APRIL – 24 JUNE 2017 OPENING RECEPTION: WEDNESDAY, 26 APRIL, 6-8 PM VALET PARKING Self portrait & canvas, 1950, oil on cotton in artist-made frame panel 19 x 15 in. (48.3 x 38.1 cm), frame: 20 x 16 in. (50.8 x 40.6 cm) Venice, CA -- L.A. Louver is pleased to present Frederick Hammersley: Paintings and Works on Paper, our most comprehensive exhibition of the artist’s works to date. Featuring nearly 100 works produced by Hammersley, on view are paintings, works on paper, computer drawings, prints and photographs. Spanning the six decades in which Hammersley actively produced art, this exhibition provides the rare opportunity to view the full scope of his life’s work. Hallmarks from the artist’s career are well represented -- from an early still life painting titled First still-life (FT Hall, ID), 1937, and a selection of lithographs from 1949/50; to an early “hunch” painting, Four, 1954, and his first ever collage “cut up” painting from 1964. A number of 1969 computer generated drawings are on view, along with organic and geometric paintings dating from the ‘60s to the ‘90s, and prints he created with Tamarind Institue in the ‘80s. Also included are Hammersley’s black and white photographs from his WWII army days to his domestic life in Albuquerque, New Mexico; as well as a complete range of drawings he made throughout his lifetime.
    [Show full text]
  • FREDERICK HAMMERSLEY Organics and Cut-Ups, 1963-1965
    FOR IMMEDIATE RELEASE September 2014 Media Contacts: Christina Carlos Elizabeth East Telephone: 310-822-4955 Email: [email protected] [email protected] FREDERICK HAMMERSLEY Organics and Cut-ups, 1963-1965 12 September – 18 October 2014 Opening reception: Friday, 12 September, 6-8 pm Valet parking Bernice, #10c 1965 oil on cb panel, 21 5/8 x 17 5/8 in. (54.9 x 44.8 cm) framed Venice, CA – L.A. Louver is pleased to present an exhibition of paintings by Frederick Hammersley (1919-2009). The exhibition includes organic abstractions, as well as rarely seen collage paintings, known as “cut-ups,” made by Hammersley between 1963 and 1965. During the early 1960s, Hammersley primarily pursued an intuitive approach to his work, creating small-scale curvilinear abstractions that he painted in oil on linen, Masonite or chipboard. These organic paintings largely pre-date the planned formality of Hammersley’s geometric compositions that he painted with a palette knife, and with which he became identified in the 1970s. Concurrent with the organic paintings, Hammersley made collages, beginning 21 February 1964. He titled his first collage work Cut-up, and the title now serves to descibe these works. To make a “cut-up,” Hammersley took a completed abstract painting, cut it into squares or oblong forms, rearranged the parts, and mounted it in its re-formed composition. Whereas the organic abstractions are primarily horizontal in orientation, the cut-ups have a vertical format. Hammersley pursued this collage activity during two brief periods, the first in February 1964, and the second almost exactly a year later.
    [Show full text]
  • The Body, the Brain and Modern Art
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2001 Making Sense of the Senses: The Body, the Brain and Modern Art Will South Curator of Collections, Weatherspoon Art Museum, University of North Carolina at Greensboro Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons South, Will, "Making Sense of the Senses: The Body, the Brain and Modern Art" (2001). Sheldon Museum of Art Catalogues and Publications. 43. https://digitalcommons.unl.edu/sheldonpubs/43 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Making Sense of the Senses: The BoCiYL the Brain and Modern Art The barking of dogs Is deepening the yellow Of the sunflowers. -Richard Wright (1908-1960)1 magine, as so many artists, musicians, writers, as none of us actually ever sees a collapsed lung. I poets and dreamers have tried to do so many Yet, all of us, including the most reasonable among times in so many ways, a universal Ian - us, use metaphor constantly. guage-one that could be understood by anyone And, apparently for good, unavoidable and in any place at any time. However implausible such wholly natural reasons. What both contemporary a language may seem, however romantic, naIve, or linguists and cognitive neuroscientists are now flatly impossible, its creation in visual terms was a telling us about the brain is that metaphors are not common pursuit of early modern painters, those dispensable decorations.
    [Show full text]
  • 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.
    [Show full text]
  • John Mclaughlin
    John McLaughlin Born 1898 in Sharon, MA Died 1976 in Los Angeles, CA Education 1962 San Francisco Art Institute, San Francisco, CA, M.F.A. 1961 San Francisco Art Institute, San Francisco, CA, B.F.A. Selected Solo Exhibitions 2017 John McLaughlin: Marvelous Void, Van Doren Waxter, New York, NY 2016 John McLaughlin Paintings: Total Abstraction, Los Angeles County Museum of Art, Los A Angeles, CA Baltimore Museum of Art, MD John McLaughlin, Museum of New Art, Detroit, MI 2014 John McLaughlin, Galerie Thomas Zander, Cologne, Germany 2013 John McLaughlin: Paintings 1947-1974, Van Doren Waxter, New York, NY 2012 Frieze Masters Spotlight: John McLaughlin, Franklin Parrasch Gallery, New York, NY 2010 Hard Edge Classicist: Paintings from the 1950s to the 1970s, Greenberg Van Doren Gallery, New York, NY 2007 John McLaughlin: The Tamarind Prints, Palm Springs Art Museum, Palm Springs, CA 2006 John McLaughlin: The Complete Prints, Susan Sheehan Gallery, New York, NY 2005 John McLaughlin: Paintings from the Estate of the Artist, Ameringer Yohe Fine Art, New York, NY California Modern, Orange County Museum of Art, Newport Beach, CA 1999 John McLaughlin: Paintings and Prints, Inverleith House, Edinburgh, Scotland John McLaughlin: Paintings, PACE Gallery, Beverly Hills, CA 1998 John McLaughlin: Paintings, Paula Cooper Gallery, New York, NY 1997 John McLaughlin: Western Modernism/Eastern Thought, Laguna Art Museum, Laguna, CA; Museum of Fine Arts, Houston, TX; Baltimore Museum of Art, Baltimore, MD; Joslyn Museum, Omaha, NE 1996 John McLaughlin, Orange
    [Show full text]
  • Jules Langsner Papers, 1941-1967
    http://oac.cdlib.org/findaid/ark:/13030/kt5v19r00h No online items Finding Aid for the Jules Langsner papers, 1941-1967 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2007 The Regents of the University of California. All rights reserved. Finding Aid for the Jules Langsner 1748 1 papers, 1941-1967 Descriptive Summary Title: Jules Langsner papers Date (inclusive): 1941-1967 Collection number: 1748 Creator: Jules Langsner, 1911-1967. Extent: 26 boxes (13 linear feet)1 oversize box. Abstract: Jules Langsner was born on May 5, 1911, in New York, New York and died in Los Angeles, California, on September 29, 1967. Langsner was surrounded by intellectuals and artists from a young age, and became a celebrated art writer, critic and curator. The collection consists of correspondence, manuscripts, ephemera, and photographs related to Langsner's writing, research and curatorial work. Language: English Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections.
    [Show full text]
  • Helen Lundeberg (1908-1999)
    HELEN LUNDEBERG (1908-1999) SELECTED CHRONOLOGY 1908 Born Chicago, June 24th 1912 Moves with her family to Pasadena CA 1921 Enters Pasadena High School Enrolled in Stanford University “Gifted Children Study” 1927 Attends Pasadena Junior College 1930-33 Stickney Memorial School of Art, Pasadena. Teacher:Lorser Feitelson. 1931 Moves to Los Angeles; joins Federal Public Works Art Project(PWAP) Formulates Post-Surrealism/Subjective Classicism with Lorser Feitelson 1933 Begins attempting to reconcile subjective, introspective material with the logical and rational conscious mind in her artwork 1933-41 Becomes easel painter and muralist for the southern California Federal Art Project 1934 Writes manifesto 'New Classicism' (Post-Surrealism) Association of Post-Surrealist Artists formed: Lorser Feitelson, Lundeberg, Lucian Labaudt, Ben Berlin, Knud Merrild, Grace Clements, Philip Guston and Reuben Kadish. 1936 Paints two murals at Los Angeles County Hall of Records for WPA/FAP 1937 For the FAP, assists Feitelson on murals for Thomas A. Edison High School, L.A. Four lithographs at FAP/WPA Print Division: Enigma, The Planets, Arabesque and Ruins. 1938-1942 Designs and paints murals for WAP/FAP at Los Angeles Patriotic Hall, Venice High School, Gge Washington School, Fullerton Civic Center, and petrachrome mural walls at Canoga Park High School, “History of Transportation” in Centinela Park, Inglewood, CA 1940s Works in Post-surrealist explorations 1946 New York to visit Dorothy Miller and Holger Cahill; invited to a party by Peggy Guggenheim. 1948 Creates Moonrise at Lynton Kistler's Lithography Studio Workshop. 1950s Work shifted toward “mindscapes” 1950 $1000 First Purchase Award 1957 $400 prize for Selma. 1987 Helen Lundeberg-American Painter Video: 56 minutes, Atmosphere Productions 1990 Honorary Doctorate Degree: Otis-Parsons College of Art, Los Angeles Receives grant from the Richard A.
    [Show full text]
  • Mclaughlin LA Times 2011
    Greenberg Van Doren Gallery N E W Y O R K October 2, 2011 Pacific Standard Time: Open your eyes to John McLaughlin John McLaughlin’s “#26” (1961) works against our natural binocular vision. (John McLaughlin) Rico Lebrun was probably the most famous Modern American artist working in Los Angeles in the decade following World War II. Yet, when the J. Paul Getty Museum opened "Crosscurrents in L.A. Painting and Sculpture, 1950-1970" on Saturday, kicking off the mammoth, region-wide survey of Los Angeles art dubbed Pacific Standard Time, Lebrun's paintings were nowhere to be seen. Reputations rise and fall. Lebrun arrived in L.A. in 1938, worked at the old Chouinard Art Institute and got a job teaching Disney animators how to draw convincing animal motion for "Bambi." The same year that the movie was released, New York's Museum of Modern Art selected him for "Americans 1942: 18 Artists From 9 States." It was the first of six legendary survey exhibitions organized by Dorothy C. Miller, the nation's most influential curator, to introduce adventurous Modern American art to a cautious public. But Lebrun turns out not to be the artist who deserves the stellar ranking as L.A.'s first artist of authentically international stature. That accolade goes to John McLaughlin (1898-1976). He was mostly self-taught, but McLaughlin's unprecedented work marks the beginning of great postwar art in Los Angeles. The Crown Building 212-445-0444 TELEPHONE 730 Fifth Avenue, at 57th St. 212-445-0442 FAX New York, NY 10019 [email protected] EMAIL Greenberg Van Doren Gallery N E W Y O R K Three paintings are in the Getty show.
    [Show full text]