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The San Francisco Bay Area 1945 – 1965

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The San Francisco Bay Area 1945 – 1965 Subversive Art as Place, Identity and Bohemia: The San Francisco Bay Area 1945 – 1965 George Herms The Librarian, 1960. A text submitted in fulfillment of the requirements of The Glasgow School of Art For the degree of Master of Philosophy May 2015 © David Gracie 2015 i Abstract This thesis seeks evidence of time, place, and identity, as individualized artistic perspective impacting artists representing groups marginalized within dominant Western, specifically American culture, who lived in the San Francisco Bay Area between 1945–1965. Artists mirror the culture of the time in which they work. To examine this, I employ anthropological, sociological, ethnographic, and art historical pathways in my approach. Ethnic, racial, gender, class, sexual-orientation distinctions and inequities are examined via queer, and Marxist theory considerations, as well as a subjective/objective analysis of documented or existing artworks, philosophical, religious, and cultural theoretical concerns. I examine practice outputs by ethnic/immigrant, homosexual, and bohemian-positioned artists, exploring Saussurean interpretation of language or communicative roles in artwork and iconographic formation. I argue that varied and multiple Californian identities, as well as uniquely San Franciscan concerns, disseminated opposition to dominant United States cultural valuing and that these groups are often dismissed when produced by groups invisible within a dominant culture. I also argue that World War Two cultural upheaval induced Western societal reorganization enabling increased postmodern cultural inclusivity. Dominant societal repression resulted in ethnographic information being heavily coded by Bay Area artists when considering audiences. I examine alternative cultural support systems, art market accessibility, and attempt to decode product messages which reify enforced societal positioning. Study of subversive art tendencies, or critical expressions of alterity, are contrasted with a backdrop of general cultural period milieu. I utilize textual and California Bay Area archival resources, ethnocentric and other cultural repositories preserving documented period artistic activities. I am seeking personal and cultural histories clouded by temporality and marginalization, mirroring dominant societal dictates of the past and present. Revealed information sheds light on unacknowledged individuals, cultural totality; clarifying the presence of historic, hegemonic value systems, in unquestioned, yet illusory, art historiography. i Acknowledgements This project began as research for a PhD project but educational funding relationships became problematic and I was allowed to submit for the Masters of Philosophy Degree. I am indebted to the staff of the Research Department at the Glasgow School of Art, as well as that school’s Research Degrees Subcommittee, who have approved my transfer from one programme to the next. In particular, I would like to mention my appreciation for my supervisory team consisting of Dr. Sarah Lowndes and Susan Brind, who have patiently and constructively read my various drafts for differing iterations of this project’s written component and for suggesting possible avenues of research. Likewise, Dr. Nicky Bird has unfailingly been and remains, supportive of my efforts and has been a source of strength, providing guidance through difficult waters. I would also like to thank Dr. Laura Gonzalez, the head lecturer for the doctoral research programme, who has overseen my progress and has unfailingly offered support in any capacity possible. In California, I have endeavored to pursue the primary research and the resultant writing necessary to bring this project to its completion. I wish to express my appreciation to Jeff Gunderson of the Meyer Library at the San Francisco Art Institute, likewise, Marjorie Breyer at the San Francisco Lesbian, Gay, Bisexual, and Transgender History Center. Both queried me on my research project and responded with suggestions for research concerning the indicated period. Pam Wong, program coordinator of the San Francisco Chinese Historical Society and Museum was extremely helpful and exposed me to Chinese artists, I as a non-Chinese person was unfamiliar with. I feel gratitude towards the staff at the San Francisco Historical Society, who steered me into research avenues that ultimately furthered my inquiry. Most importantly, I am grateful to archivist Tim Wilson of the San Francisco Public Library for putting himself and his considerable resources at my disposal. Karen Sundheim of the same institution ii met with both myself and Mr. Wilson and discussed the James C. Hormel Center for Gay and Lesbian Studies. I was fortunate to meet Jim Van Buskirk, the former director of the Hormel Center and co- author of Gay by the Bay which recounts, as may be surmised, the nature of gay life in the historical Bay Area region. The Bancroft Library at the University of California in Berkeley possesses fabulous holdings concerning the art and history of the state of California which were put at my disposal, and the staff took exceptional amounts of time familiarizing me with their archival records and facilities. I am grateful to staff at the Oakland Public Library’s Main branch for guiding me through the maze of library holdings, as well as the staff in the Oakland History room (same institution) who put their microfilmed holdings at my disposal. Lastly, I would like to thank friends and relatives who were unfailingly supportive of my decisions and who have endeavored to further my research by suggesting potential avenues of pursuit, and provided potential introduction to persons whose interests corresponded to my inquiries. iii Illustration List Title Page George Herms: The Librarian, 1960. Stool, wood box, papers, brass bell, and books, 57 x 63 x 21 inches. Photo courtesy Norton Simon Museum of Art. Gift of Molly Barnes. See: <http://intermediamuse.blogspot.com/2011/02/assemblage-george-herms.html> - accessed 14/June/2013. Introduction 1. pg. 1 San Francisco Bay Area cities. See: <http://www.bayareacareers.com/bay_area.php> - accessed 12/May/2011. 2. pg. 3 Asian, Beat, and Gay San Francisco Artists: (L-R) Jade Snow Wong in San Francisco. 2002. No dimensions. Photo courtesy Kenneth Mar. See: Poon, et al., 2002: ii. Manuel Neri and Joan Brown in Venice, Italy. c. 1961. No dimensions. Photo courtesy Joan Brown. See: Jones, 1990: 141. Robert Duncan and Jess (Collins). c. 1959. No dimensions. Photo courtesy Jess Collins trust. See: <https://www.poetrysociety.org/psa/poetry/crossroads/tributes/jess/> - accessed 20/August/2014. Chapter One Literature Review 3. pg. 11 Bernard Zakheim: Library. 1930s. Coit Tower mural, San Francisco, 10 x 10 ft. Photo courtesy Lee W. Nelson. See: <http://www.inetours.com/Pages/SFNbrhds/Coit_Tower.html> - accessed 7/March/2012. 4. pg. 15 Paul Wonner: Two Men at the Shore. 1960. Oil and charcoal on canvas, 50 x 40 in. The Lobell Family Collection, New York. Jones, 1990: 91. 5. pg. 16 Wally Hedrick: Fred's TV. 1956. Oil on canvas, 127 x 78 in. No photo credit. Private Collection. See: <http://www.wallyhedrick.com/html/selectworks-wh.html> - accessed 07/August/2014. 6. pg. 17 Jose Ramon Lerma: Mendocino Storm. 1956. Oil on canvas, 50 x 24 in. Photo courtesy Crocker Art Museum. See: Shields, S., A., et al., 2004: 127. 7. pg. 19 Sonia Gechtoff: Death of a Child. 1957. Oil on canvas, 66 × 97 in. (167.6 × 246.4 cm). No photo credit. See: <https://artsy.net/artwork/sonia-gechtoff-ghost> - accessed 07/August/2014. 8. pg. 21 John Mason: Orange Cross. 1963. Ceramic with glaze, 64 x 49 x 16 in. Photo by Roxanne Hall Morganti. Collection of Vernita Mason. See: <http://www.getty.edu/pacificstandardtime/explore- the-era/worksofart/orange-cross/> - accessed 20/April/2012. 9. pg. 23 Jess (Collins):The Enamored Mage: Translation #6. 1965. Oil on canvas over wood, 45 7/8 x 48 1/8 in. No photo credit. Collection of the M. H. DeYoung Memorial Museum/Fine Arts Museums of iv San Francisco. See: <http://hyperallergic.com/107301/enamored-magicians-the-hermetic-world-of-jess- and-robert-duncan/> - accessed 07/August/2014. 10. pg. 24 Bernice Bing: Velasquez Family. 1961. Oil on canvas, 71 x 68 inches. Promised to Crocker Art Museum. No photo credits. See: <https://crockerartmuseum.org/learn-do-listing/event/5794-lunch- learn> - accessed 08/August/2014. 11. pg. 25 Keith Sanzenbach: Mandala. 1960. Oil and Lacquer on burlap, 86 x 69 in. Photo courtesy Oakland Museum. Gift of Reider Wennesland. See Albright, 1985: 106. 12. pg. 27 Dorr Bothwell: Sierra Waterfall. 1955. Oil on canvas, 18 x 13 in. Photo courtesy Crocker Art Museum. See: Shields, S. A., et al., 2004: 49. 13. pg. 28 Robert McChesney: S4. 1951. Serigraph and graphite, 13.25 x 23.25 in. Photo courtesy Annex Galleries. See:< http://www.annexgalleries.com/inventory/artist/1545/Robert-Pearson- McChesney.html> - accessed 03/September/2014. 14. pg. 31 Jess (Collins): Seventy XXth Success Story. 1953. Poster paint on Japanese grass paper with magazine print, 59 x 42.5 in. University Art Museum, Berkeley. Photo courtesy Nathan Rabin. See: Albright, 1985: 87. 15. pg. 33 Wally Hedrick: ANGER, 1953–63. Oil on canvas, 65 x 65 in. Photo courtesy San Jose Museum of Art. See: <http://www.wallyhedrick.com/html/selectworks-wh.html> - accessed 08/August/2014. Chapter Two: Methodologies 16. pg. 46 Family watching TV. c. 1958. No Dimensions. No photo credit. See: <http://aboutfacts.net/Else413.html> - accessed 7/March/2012. Chapter Three: Empirical Investigations Part One 17. pg. 47 Wallace Berman in a Rowboat. Postcard sent from Larkspur, CA. 1961. No dimensions. No photo credit. See: Berman, 1992: 157. 18. pg. 49 Postwar appliances: (L-R) ‘A modern kitchen’: No dimensions. No photo credit. See: Hine, 1987: 7. ‘The Age of the Tailfin’: No dimensions. No photo credit. See: Ibid: 102-3. ‘Lawnmower’: No Dimensions. No photo credit. See: Ibid: 33. 19. pg. 49 New Jersey suburb. c. 1957. No dimensions. Photo courtesy Philadelphia Enquirer. See Hine, 1987: 45. v 20. pg. 50 Lucille Ball and Desi Arnaz.
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