Wallace Berman
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Wallace Berman Aleph
“Art is Love is God”: Wallace Berman and the Transmission of Aleph, 1956-66 by Chelsea Ryanne Behle B.A. Art History, Emphasis in Public Art and Architecture University of San Diego, 2006 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2012 ©2012 Chelsea Ryanne Behle. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: __________________________________________________ Department of Architecture May 24, 2012 Certified by: __________________________________________________________ Caroline Jones, PhD Professor of the History of Art Thesis Supervisor Accepted by:__________________________________________________________ Takehiko Nagakura Associate Professor of Design and Computation Chair of the Department Committee on Graduate Students Thesis Supervisor: Caroline Jones, PhD Title: Professor of the History of Art Thesis Reader 1: Kristel Smentek, PhD Title: Class of 1958 Career Development Assistant Professor of the History of Art Thesis Reader 2: Rebecca Sheehan, PhD Title: College Fellow in Visual and Environmental Studies, Harvard University 2 “Art is Love is God”: Wallace Berman and the Transmission of Aleph, 1956-66 by Chelsea Ryanne Behle Submitted to the Department of Architecture on May 24, 2012 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies ABSTRACT In 1956 in Los Angeles, California, Wallace Berman, a Beat assemblage artist, poet and founder of Semina magazine, began to make a film. -
Dilexi Gallery: Disparate Ontologies “The 1960S Dilexi Gallery, Raw and Radical, Gets Brought Back to Life” by Leah Ollman 30 July 2019
Dilexi Gallery: Disparate Ontologies “The 1960s Dilexi Gallery, raw and radical, gets brought back to life” by Leah Ollman 30 July 2019 The Landing Gallery in L.A., which is part of a retrospective on the midcentury Dilexi Gallery.(Joshua White / The Landing) Retrospective exhibitions typically trace the career of an individual artist, but the format applies equally well to the lifespan of a gallery, as evidenced by “Dilexi Gallery: Disparate Ontologies” at the L.A. gallery the Landing. Organized by independent curator Laura Whitcomb, the show is part of a six-venue pro- gram examining the evolution and character of Dilexi, which operated in San Francisco from 1958 to 1969 as well as in Los Angeles briefly in the early ‘60s. The Landing’s show, like the project as a whole (a comprehensive catalog is forthcoming), is a vibrant lesson in art history-cum-astronomy, a tale of radiant bodies, constellations and orbits. 5118 w Jefferson Boulevard, Los Angeles, CA 90016, 323 272 3194 The first revelatory big bang came in 1950, when music student Jim Newman met fellow Stanford freshman Walter Hopps. Friendship and collaboration ensued. Hopps launched the legendary Ferus Gallery in L.A. in 1957, and the next year Newman (with poet, artist and activist Bob Alexander) opened Dilexi above a jazz club. Newman later described the venture as “performing more of a missionary or even maybe a political function” than a commercial one. He was drawn to artists — largely Californians — whom he perceived as radical in intent and bold with materials. A New York Times critic called the gallery “a springboard for the hairy avant-garde.” Professional nonconformism seems to have been the gallery’s ethos. -
Julian Wasser at Robert Berman/E6 Gallery
INTERNATIONAL ARTS AND CULTURE REVIEW MUCH ADO ABOUT MARCEL: JULIAN WASSER AT ROBERT BERMAN/E6 GALLERY JOHN HELD, JR. — AUGUST 24, 2015 SHARE ON: Installation view of JULIAN WASSER: DUCHAMP IN PASADENA REVISITED… (Summer 2015). image courtesy of Robert Berman/E6 Gallery. Julian Wasser: Duchamp in Pasadena Revisited… June 21 – September 23, 2015 Robert Berman/E6 Gallery 1632 Market St., San Francisco, CA 94102 Much came before and more was to follow, but a pivotal swing in the course of West Coast art history occurred during Marcel Duchamp’s first American museum retrospective at the Pasadena Art Museum in 1963. It was then he sat down to play chess with a naked Eve Babitz—an act that was documented by TIME Magazine-assigned photographer Julian Wasser. By leapfrogging the New York City institutional art establishment, California curatorial foresight provoked a future pregnant with conceptual possibilities escaping a purely “retinal” art. Julian Wasser. “Chess Match, Duchamp scratching nose,” Duchamp Retrospective, Pasadena Art Museum, 1963. Vintage gelatin silver print. 6.75 x 9.5”. Courtesy Robert Berman/E6 Gallery. The exhibition was the brainchild of Walter Hopps, previously associated with the legendary Ferus Gallery and recently installed as Acting Director of the Pasadena Art Museum. As a teenager, Hopps had cut his eyeteeth by pestering Walter Arensberg, and scavenging the collector’s library and key works of Modernism, which Duchamp’s key benefactor had assembled and relocated from New York City. It was there a younger Hopps met Duchamp for the first time. Ensconced in a position to offer Duchamp his first major retrospective, Hopps found that the normally- reluctant Duchamp was predisposed to accept his invitation, given the Arensberg connection and the relocation of important early friends Man Ray and Beatrice Wood to the Los Angeles area. -
Andy Warhol Who Later Became the Most
Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15. -
For Immediate Release Ed Moses
FOR IMMEDIATE RELEASE ED MOSES: GESTURE January 14 – March 13, 2021 Brian Gross Fine Art is proud to announce the opening of ED MOSES: GESTURE, on January 14, 2021. This exhibition will showcase Moses’ masterful expressionist painting for which he received much acclaim throughout his career. This is BGFA’s fourteenth exhibition of Ed Moses’ work and the second since his passing in 2018. It will run through March 13th. Ed Moses (1926-2018) is one of the original artists affiliated with the legendary Ferus Gallery in Los Angeles, where he had his first show of abstract paintings in 1958. Over the following 60 years of his career, the driving force behind the creation of his work was his intuitive process of painting, in which gesture, mark making, and painterly exploration of the picture plane was of ultimate importance. This exhibition explores a range of his gestural abstractions made in the 2000’s. Included in the exhibition are paintings like Gold Bach (2002), where sensual, iridescent purple is juxtaposed with patches of deep black. The smaller scale Uno (2008) is a vibrant radiating composition of fuschia and violet that glows with intensity. In Moses’ hands, the paint is poured, scraped and washed over to create richly layered surfaces and effects. In contrast to the bold color seen in most of these works, Rever-Sa #2 and Who-BART (both 2008) are complex linear works, painted with ‘whip line’ gestures in black with positive/negative reversals. In all of these works, Ed Moses’ command of the painted surface is unequivocal. Ed Moses was born in Long Beach and received his BA and MA from the University of California, Los Angeles. -
Armory 2019 the Estate of John Altoon & Jonathan Lyndon Chase
ARMORY 2019 THE ESTATE OF JOHN ALTOON & JONATHAN LYNDON CHASE detail: Jonathan Lyndon Chase, Pulpit 6, 2018 Acrylic, marker, chalk, pastel and glitter on muslin, 84 1/2 x 78 inches Jonathan Lyndon Chase, Pulpit 6, 2018 Acrylic, marker, chalk, pastel and glitter on muslin, 84 1/2 x 78 inches detail: John Altoon, Untitled (B&W-30), 1966, ink on board, 30 x 40 inches John Altoon, Untitled (B&W-30), 1966, ink on board, 30 x 40 inches detail: Jonathan Lyndon Chase, Hands hands hands hands hands hands 2 hoodies, 2018 Acrylic, marker and glitter on muslin, 96 x 72 inches Jonathan Lyndon Chase, Hands hands hands hands hands hands 2 hoodies, 2018 Acrylic, marker and glitter on muslin, 96 x 72 inches John Altoon, Untitled (F-80), 1966, airbrush and ink on board, 30 x 40 inches John Altoon, Untitled (F-5), 1968, airbrush and ink on board, 30 x 40 inches detail: Jonathan Lyndon Chase, Run away with me, 2018 Acrylic, marker and glitter on muslin, 78 x 84 1/2 inches Jonathan Lyndon Chase, Run away with me, 2018 Acrylic, marker and glitter on muslin, 78 x 84 1/2 inches John Altoon, Untitled (ANI-65), 1968, airbrush and ink on board, 30 x 40 inches detail: Jonathan Lyndon Chase, They got a crush on him, 2019 Acrylic, marker, spray paint, oil and glitter on muslin, 72 x 60 inches Jonathan Lyndon Chase, They got a crush on him, 2019 Acrylic, marker, spray paint, oil and glitter on muslin, 72 x 60 inches detail: John Altoon, Untitled (F-74), 1966, ink on board, 30 x 40 inches John Altoon, Untitled (F-74), 1966, ink on board, 30 x 40 inches detail: Jonathan -
View Prospectus
Archive from “A Secret Location” Small Press / Mimeograph Revolution, 1940s–1970s We are pleased to offer for sale a captivating and important research collection of little magazines and other printed materials that represent, chronicle, and document the proliferation of avant-garde, underground small press publications from the forties to the seventies. The starting point for this collection, “A Secret Location on the Lower East Side,” is the acclaimed New York Public Library exhibition and catalog from 1998, curated by Steve Clay and Rodney Phillips, which documented a period of intense innovation and experimentation in American writing and literary publishing by exploring the small press and mimeograph revolutions. The present collection came into being after the owner “became obsessed with the secretive nature of the works contained in the exhibition’s catalog.” Using the book as a guide, he assembled a singular library that contains many of the rare and fragile little magazines featured in the NYPL exhibition while adding important ancillary material, much of it from a West Coast perspective. Left to right: Bill Margolis, Eileen Kaufman, Bob Kaufman, and unidentified man printing the first issue of Beatitude. [Ref SL p. 81]. George Herms letter ca. late 90s relating to collecting and archiving magazines and documents from the period of the Mimeograph Revolution. Small press publications from the forties through the seventies have increasingly captured the interest of scholars, archivists, curators, poets and collectors over the past two decades. They provide bedrock primary source information for research, analysis, and exhibition and reveal little known aspects of recent cultural activity. The Archive from “A Secret Location” was collected by a reclusive New Jersey inventor and offers a rare glimpse into the diversity of poetic doings and material production that is the Small Press Revolution. -
The Rat Bastard Protective Association Was Founded in 1957 by the Artist Bruce Conner and the Poet Michael Mcclure
The Rat Bastard Protective Association was founded in 1957 by the artist Bruce Conner and the poet Michael McClure. As Conner told it to Peter Boswell, a seasoned curator, the association was “for people who were making things with the detritus of society, who themselves were ostracized or alienated from full involvement with society.” This community of artists and poets lived and worked together in and around 2322 Fillmore Street (San Francisco), which they dubbed “Painterland." The idiosyncratic group included Wallace Berman, Bruce Conner, Jean Conner, George Herms, Wally Hedrick and Jay DeFeo. © 2018 The Jay DeFeo Foundation / Artist Rights Society (ARS), New York. Courtesy of The Jay DeFeo Foundation and Mitchell-Innes & Nash, NY. Jay DeFeo. Untitled. 1973. DeFeo, a New Hampshire native, grew up in the Bay area, and attended the University of California, Berkeley, where she earned both her bachelor’s and master’s degrees in the early 1950’s. After traveling to Europe and North Africa, DeFeo settled permanently in Northern California. It was a propitious moment in American culture. In 1953, Lawrence Ferlinghetti, the poet, and Peter D. Martin, a sociologist, had opened City Lights booksellers. San Francisco became the quasi-West Coast capital of Beat culture, the home of “new bohemian hedonists who celebrated non- conformity and spontaneous creativity.” This was the cultural milieu for DeFeo. DeFeo worked almost exclusively on The Rose from 1958 to 1966. (This painting may have been a true monomaniacal obsession. Monomaniacs are defined as rational people whose rationality is applied to a specific object, branch of knowledge or activity.) The Rose is DeFeo’s Meisterstück bar none, and it always has to be mentioned. -
Ed Moses 1926 Born in Long Beach, California Lives and Works In
2525 Michigan Ave., Unit B2, Santa Monica, CA USA 90404 T/ 310 264 5988 F/ 310 453 6354 www.patrickpainter.com Ed Moses 1926 Born in Long Beach, California Lives and works in Venice, California Education 1955 B.A., University Of California, Los Angeles, CA 1958 M.A., University Of California, Los Angeles, CA Selected Solo Exhibitions: 2012 Phase I - Garden Of Forking Tongues (Bifurcated”, Ace Gallery, Los Angeles, CA Phase II - Garden Of Forking Tongues (Bifurcated”, Ace Gallery, Los Angeles, CA 2011 Shatterheads And Gwynn, Ernie Wolfe Gallery, Los Angeles, CA ASAP & Friends, Charlotte Jackson Fine Art, Santa Fe, NM. Lite, Imago Galleries, Palm Desert, CA Through The Looking Glass With Ed Moses, Art Link, Seoul, Korea. 2010 Wic Wack, Brian Gross Fine Art, San Francisco, CA Paintings 2007-2009, Robert Green Fine Arts, Mill Valley, CA Brain Band, Ferus Gallery/Nyehaus, Los Angeles, CA Ed Moses Paintings, Frank Lloyd Gallery, Greenfield Sacks Gallery. Santa Monica, CA 2009 Ed Moses: Mutator, Frank Lloyd Gallery, Greenfield Sacks Gallery. Santa Monica, CA Ed Moses, Peter Blake Gallery, Laguna Beach, CA 2008 Owlbo, Brian Gross Fine Art, San Francisco, CA No Works, Seiler + Mosseri-Marlio Galerie, Zurich, Switzerland. Ed Moses: Paintings, Frank Lloyd Gallery, Santa Monica, CA 2007 Past, Here & Now Part 2, Robert Green Fine Arts, Mill Valley, CA Ed Moses: Primal And Primary Paintings 1975, Charlotte Jackson Fine Art Past, Here & Now Part 1, Robert Green Fine Arts, Mill Valley, CA Ed Moses Paintings, Frank Lloyd & Bobbie Greenfield Galleries, -
Wallace Berman, Self-Portrait, Topanga Canyon, 1974 Topanga Berman, Self-Portrait, Wallace (Printed 2004), Gelatin Silver Print, 16 X 20 In
NGOV-DECA2006/JLLAN 2007 Ewww.galleryandstudiomagazine.comRY&ST U VOL. 9D NO. 2 I NewO York The World of the Working Artist B N WALLACE ERMA THE GREAT UNKNOWN a bohemian rhapsody by Ed McCormack page 18 Wallace Berman, Self-Portrait, Topanga Canyon, 1974 Topanga Berman, Self-Portrait, Wallace (printed 2004), Gelatin silver print, 16 x 20 in. Berman Estate Courtesy Wallace Bruce A. Dumas “Spell Bound” 16"x20" Acrylic on canvas November 30, 2006-January 13, 2007 Patrick’s Fine Art 21 East 62nd Street, New York, NY 10021 By appointment: 917-743-9704 or 212-591-1918 THE BROOME STREET GALLERY Ground floor, 1,300 sq. ft. Exhibition space rental available 498 Broome Street, New York, NY 10013 Tel: (212) 941-0130 GALLERY&STUDIO NOV-DEC 2006/JAN 2007 Nancy Staub Laughlin Pastels and Photographs January 9 - February 17, 2007 530 West 25th St., 4th Fl. NYC, 10001 Tues - Sat 11 - 6pm 212 367 7063 Sun. by appt. www.nohogallery.com Catalog available at the show, with introduction by Art Critic and Historian Sam Hunter. For more information please visit www.nancystaublaughlin.com “Pink Diamond and Sequin” 36" x 27" G&S Truman Marquez, page 4 Highlights On the Cover: An underground legend in Venice, California, in the late 1950s, Wallace Berman was a magnet for serious artists, errant movie stars and “bedbug beatniks.” “SEMINA CULTURE: Nancy Staub Laughlin, page 25 Wallace Berman & His Circle” coming to N.Y.U.’s Grey Gallery in January, positions him as a precursor of postmodernism.–Page 18 SM Lewis, page 34 David Tobey, page 28 Sheila Finnigan, page 9 Personal Belongings, page 11 Drew Tal, page 32 Phyllis Smith, page 33 Peg McCreary, Bruce A. -
Phenomenal California Light, Space, Surface
PHENOMENAL CALIFORNIA LIGHT, SPACE, SURFACE EDITED BY ROBIN CLARK ESSAYS BY MICHAEL AUPING, ROBIN CLARK, StePHANie HANOR, AdriAN KOHN FOREWORD BY HUGH M. DAVIES AND DAWNA SCHULD MUSEUM OF CONTEMPORARY ART SAN DIEGO UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON PUBLISHED WITH THE ASSISTANCE OF THE GETTY FOUNDATION WORK AND WORDS the wall behind an Irwin disc. Something like illuminated shadows, maybe. And the right prepositions and verbs are tough to pick out when saying what Bell’s glass does. As you look at or into or through a panel, it both reflects and trans- mits light and obscures the distinction implied there. Such phenomena strain Work and Words the language, and the resulting verbal muddle offers the chance to see, for a Adrian Kohn change, without reading or reading into. LEARNING ESOTERICA It is hard to keep clear how words work as you hold forth on strange art. Meta- Making an art object provides new knowledge about the piece itself, of course, phor, analogy, and other abstract conceits tend to treat a piece under examination but also to some extent about the world in which it exists—about, attested Larry as already well enough understood that it can be tellingly likened to something Bell, “light, physics, matter in general.”1 “As I look back on the early pieces,” he else, another artwork perhaps or a theoretical concept, that is itself regarded as wrote years later, “the thing that is most dramatic about them to me is how much well enough understood to anchor the suggested correlation. Such a structure I learned from them, how much I learned on my own about things that I never presupposes considerable knowledge of both entities to be compared and, for before even considered relevant.”2 That realization prompted another in turn, a that reason, seems unpromising if you are just beginning to learn about either of broader claim on behalf of both his own creations and creative activity at large. -
Dennis Hopper, Photographs 1961–1967, Edited by Dennis Hopper and Tony Shafrazi
Dennis Hopper, Photographs 1961–1967, edited by Dennis Hopper and Tony Shafrazi. Taschen, 2018 (484 pages). Joanna Elena Batsakis For fans of the prolific Hollywood artist Dennis Hopper, the re-release of Dennis Hopper, Photographs 1961–1967 is a sensational addition to the growing Hopper canon within Western film scholarship. Originally, the book was published as a limited-edition collector’s item in 2011, with a small run of 1,500 copies. Each copy was signed by Hopper himself, and there was an alternative option to purchase its even more prestigious version entitled Photographs 1961–1967 Art Edition, which included a gelatine print of Hopper’s infamous photograph Biker Couple (1961). In collaboration between The Hopper Art Trust, gallerist Tony Shafrazi, and Dennis Hopper, this original volume was massive in size: with 544 pages, its hardcover measured 30 centimetres in height by 33 centimetres in length and weighed 5.5 kilograms. The volume displayed dozens of black-and-white photographs Hopper had taken between 1961 and 1967, all on his Nikon Tri-X camera which was gifted to him by his first wife Brooke Hayward. The book also included introductory essays by Hopper’s long-time friends, such as Shafrazi and West Coast art pioneer Walter Hopps, as well as an extensive photographic biography authored by filmmaker and journalist Jessica Hundley. In 2018, Taschen and The Hopper Art Trust have co-operated to release a slightly smaller, unlimited trade edition of the same book, which is the subject of this review. Even though this year’s edition of has now been reduced to 484 pages and weighs 3.5 kilograms, the book is still an extremely ambitious project and integral to the Dennis Hopper canon.