TWENTY FIVE YEARS

SUMMER 2019

PETER BLAKE GALLERY

| 435 OCEAN AVENUE LAGUNA BEACH CA 92647 | PETERBLAKEGALLERY.COM | (949) 376-9994 | “Light carries information” – Lita Albuquerque LITA ALBUQUERQUE Since the early 1970s, Lita Albuquerque (born 1946, Santa Monica, CA) has created an expansive body of work, ranging from sculpture, poetry, painting and multi-media performance to ambitious site-specific ephemeral projects in remote locations around the globe. Often associated with the Light and Space and Land Art movements, Albuquerque has developed a unique visual and conceptual vocabulary using the earth, color, the body, motion, and time to illuminate identity as part of the universal. She represented the United States at the Sixth International Cairo Biennale, where she was awarded the Biennale’s top prize. Albuquerque has also been the recipient of the National Science Foundation Artist Grant Program for the artwork, Stellar Axis: Antarctica, which culminated in the first and largest ephemeral artwork created on that continent, three NEA Art in Public Places awards, an NEA Individual Fellowship grant, a fellowship from the Civitella Ranieri Foundation and MOCA’s Distinguished Women in the Arts award. Her work is in the collections of the Metropolitan Museum of Art, the Getty Trust, the Whitney Museum of American Art, LACMA and MOCA, among others. She is on the core faculty of the Fine Art Graduate Program at Art Center College of Design and currently lives and works in Santa Monica, California.

PETER BLAKE GALLERY LITA ALBUQUERQUE UNTITLED 2018 24K Gold Leaf on Resin, Pigment on Panel 42 x 42 x 4 inches

$42,000 PETER BLAKE GALLERY Peter Alexander (b. 1939, Los Angeles) came to PETER ALEXANDER prominence during the Light and Space movement with a series of sculptures made of cast resin and colored pigment. A reflection of his early training in architecture, his work takes on forms ranging from cubes and pyramids to drips and bars, exploring the perceptual qualities of light, color, and optics. To achieve these effects materially, the artist developed a process to retain the liquid-like appearance of urethane during its solidification. Often situated between the West Coast artists focused on perceptual phenomena and the New York Minimalists of the 1960s, Alexander’s works retain their material objectivity while harnessing the immateriality of light through a combination of refraction and emanation. In 1980, he received a National Endowment for the Arts Fellowship. His first full-scale retrospective,In This Light, was organized by The Orange County Museum of Art in 1999. Work by Alexander is held in the permanent collections of the Getty Museum, Los Angeles; Solomon R. Guggenheim Museum, New York; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; The , New York; and , Minneapolis.

PETER BLAKE GALLERY PETER ALEXANDER 1/10/14 2014 Urethane 80.5 x 6.5 x 3.25 inches

$150,000 PETER BLAKE GALLERY Larry Bell is most commonly known for his Minimalist LARRY BELL sculptures—transparent cubes that thrive on the interplay of shape, light, and environment— that champion the ideas of the Light and Space Movement of the 1960s. Although Bell had early success with Abstract Expressionist painting, a side job at a frame shop led him to experiment with excess scraps of glass, thus beginning his fascination with the material’s interaction with light. Bell’s first series of cubes combined three-dimensional glass forms with transmitted light, creating illusions of perspective through angles, ellipses, and mirrors. His later purchase of industrial plating equipment allowed him to create sculptures with metallic-coated glass and, eventually, drawings on mylar-coated paper. At age 46, correction of a lifelong hearing disability brought depressive hallucinations, which Bell channeled into collages of coated materials for catharsis.

PETER BLAKE GALLERY LARRY BELL SMBKWDEN #6 c. 1993 Glass with Mirror Back, Black Matte Frame 30 x 30 x 5 inches

$95,000 PETER BLAKE GALLERY A flamboyant character and a key figure in the Ferus BILLY AL BENGSTON Gallery circle in Los Angeles, Billy Al Bengston is associated with West Coast Pop and best known for spray painting dented sheets of square aluminum with lacquer. These highly finished pieces often featured car and motorcycle motifs, such as the chevron symbol placed at the center of his works, and many include Bengston’s signature sergeant’s stripes, or abstracted images of hearts. His interest in car culture would inspire Judy Chicago, a student of Bengston’s, to attend auto body school and eventually use spray paint techniques.

PETER BLAKE GALLERY BILLY AL BENGSTON MESQUITE WESTERN SERIES 1969 Lacquer and Polyester Resin on Aluminum 23 x 22 inches

NFS PETER BLAKE GALLERY Ron Cooper is among the pioneering California- RON COOPER based Light and Space artists, so-called because they broke beyond the bounds of the physical object to experiment with the manipulation of light and space and their effects on perception. Cooper works with variously colored fluorescent lights, as well as materials like glass panels, resin, and fiberglass that hold, refract, and reflect light. Though his vocabulary is Minimalist—he crafts cubes, rectangles, and circles out of the interplay of light on the materials he uses— his works are luminous, insubstantial, devoid of mass and solidity.

PETER BLAKE GALLERY RON COOPER UNTITLED VERTICAL 1968 Acrylic Lacquer, Nacreous Pigment on Plexiglass 84 x 3.5 x 3.5 inches

NFS PETER BLAKE GALLERY Best known for her exploration of radiant and MARY CORSE interactive surfaces and her innovative technique of painting, Mary Corse first gained recognition for her involvement in the Light and Space movement in 1960s Southern California, along with , Robert Irwin, and Douglas Wheeler. Like many of these artists, Corse rejected Abstract Expressionist practices of using accident and relinquishing intention in the application of pigment, favoring instead the controlled formal geometry of . As the viewer moves or surrounding light conditions alter, Corse’s works seem to shift subtly, creating a complex spatial and temporal dynamic. As the artist herself eloquently said, “Where there is space, there is time.”

PETER BLAKE GALLERY MARY CORSE UNTITLED (WHITE MULTI INNER BANDS, FLAT SIDES, BEVELED CANVAS) 2011 Glass Microspheres in Acrylic on Canvas 96 x 96 inches

$625,000 PETER BLAKE GALLERY DeLap and John Coplans were founding faculty TONY DELAP members in the 1965 opening of the University of California at Irvine, where Tony taught in the Art Department until 1991. DeLap served as the project consultant for “Best Kept Secret, UCI and the Development of Contemporary Art in Southern California, 1964-1971” for the Getty Foundation’s “Pacific Standard Time: Art In LA 1945-1980,” held at the Laguna Art Museum.

As a pioneer artist of Abstractionism, Minimalism and Op Art on the West Coast, Tony participated in both the 1965 Responsive Eye at MOMA and the 1966 Primary Structures exhibition at the Jewish Museum. He has had retrospectives at the Oceanside Museum of Art in 2013, the Orange County Museum of Art in 2000, and the in 2001.

Major museum collections include the New York Museum of Modern Art, The Whitney Museum, the Guggenheim museum, the Tate Gallery in London, the LA County Museum of Art, Albright-Knox Art Galley in Buffalo, New York, and the Le Musee cantonal des beaux-arts in Lausanne, Switzerland.

PETER BLAKE GALLERY TONY DELAP PERPLEXITY 1988 Oil on Canvas on Wood 74 x 38.5 x 4.25 inches

$95,000 PETER BLAKE GALLERY A central figure in the California Light and Space LADDIE JOHN DILL movement, Laddie John Dill has been crafting light and earthy materials like concrete, glass, sand, and metal into luminous sculptures, wall pieces, and installations since the 1970s. Referring to his choice of materials, Dill explains: “I was influenced by [Robert] Rauschenberg, Keith Sonnier, Robert Smithson, Dennis Oppenheim, and Robert Irwin, who were working with earth materials, light, and space as an alternative to easel painting.” Among his most celebrated works is an untitled installation from 1971, for which Dill filled a gallery with mounds of pale sand, topped with precisely arranged glass panels illuminated by the soft, green glow of argon lighting set just beneath the surface. When he does use canvas, he paints with pigments derived from cement and natural oxides.

PETER BLAKE GALLERY LADDIE JOHN DILL UNTITLED 1969 Tempered 1/4” Plate Glass, Kiln Dried Redwood, Natural Colored Cement, Stainless Steel, Argon Tubing with Mercury Transformer 100 x 6.5 x 6.5 inches

$40,000 PETER BLAKE GALLERY Joe Goode was born in Oklahoma City, OK in 1937. JOE GOODE In 1959, he moved to Los Angeles, CA, where he attended the Chouinard Art Institute until 1961. First recognized for his “Pop Art” milk bottle paintings and cloud imagery, Goode’s work was included along with Roy Lichtenstein, Andy Warhol, Jim Dine, Phillip Hefferton, Robert Dowd, Edward Ruscha, and Wayne Thiebaud, in the 1962 historically important and ground-breaking exhibition New Painting of Common Objects, curated by Walter Hopps at the Pasadena Art Museum (now Norton Simon Museum). This historical exhibition was the first “Pop Art” museum exhibition in the United States.

Through the years, Joe Goode has combined various traditional and non-traditional media in the creation of his artwork. He has explored images which project a way of seeing “in and out” and “up and down” as well as things that can be seen through: milk bottles, oceans, waterfalls, clouds and torn skies. While his subject matter has remained relatively consistent over the years, he has revisited each theme using different media, aiding him in finding unique ways in which he continues to work.

Over the past fifty years, Goode’s work has been shown in hundreds of gallery and museum exhibitions worldwide. His work is included in many major museum collections including the Los Angeles County Museum of Art, The Museum of Contemporary Art Los Angeles, the Menil Collection, The Smithsonian Institution, The Whitney Museum of American Art, and the Museum of Modern Art, New York.

PETER BLAKE GALLERY JOE GOODE MOON RIVER (MNmm 01) 1997 Oil on Canvas on Wood 79 x 60 x 21.5 inches (Overall) 36 x 34 inches (Painting) | 42 x 43 x 21.5 inches (Staircase)

$75,000 PETER BLAKE GALLERY The large-scale abstract paintings of James Hayward have JAMES HAYWARD been described by the critic Dave Hickey as “stepping into liquid.” Hayward’s monochromatic canvases display the fluid and malleable properties of oil paint, and present a rich, undulating yet unified field. Hayward’s work has been exhibited extensively throughout the U.S. James Hayward was born in San Francisco in 1943. He received his Bachelor of Fine Arts at San Diego State, and then studied at the University of California, Los Angeles and the University of Washington, where he received his Master of Fine Arts in 1972.

Hayward has exhibited extensively, particularly in California, since his first show solo show in 1976. He has exhibited at historically significant galleries such as Claire S. Copley Gallery, Riko Mizuno Gallery and Rosamund Felsen Gallery in Los Angeles and Sidney Janis Gallery in New York, and his work has been included in museum exhibitions in institutions such as the Museum of Contemporary Art, Los Angeles, Los Angeles County Museum of Art, San Francisco Museum of Modern Art, Hirschorn Museum, Washington D.C., The Renaissance Society At The University Of Chicago, and the Institute of Contemporary Art (ICA) in London, U.K. among others. Through the 1990s and 2000s he exhibited extensively at Modernism, San Francisco and Ace Contemporary Exhibitions in Los Angeles. Artist Mike Kelley curated a solo exhibition of his work in 2005 at the Cue Art Foundation in New York calling Hayward “one of the few truly important West Coast Painters.” Also in 2005, critic and educator Dave Hickey included his work in a curated show entitled “Step into Liquid,” at the Ben Maltz Gallery, Otis College of Art and Design, Los Angeles.

Recently Hayward’s work has been included in “Under the Big Black Sun” at the Museum of Contemporary Art, Los Angeles, curated by Paul Schimmel in 2011, a solo exhibition at Richard Telles Fine Art, Los Angeles James Hayward Paintings from the ‘70s in conjunction with the Getty’s Pacific Standard Time exhibition in 2011 and his Annunciation paintings have been shown in the solo exhibition “Variations on the Annunciation” at Meliksetian | Briggs in Los Angeles in 2013.

PETER BLAKE GALLERY JAMES HAYWARD ABSTRACT #152 2009 Oil on Canvas on Wood Panel 24 x 21 inches

$13,000 PETER BLAKE GALLERY Born in 1951 in Los Angeles, Scot Heywood has pursued a SCOT HEYWOOD course of non-representational, geometric abstract painting for more than 30 years. A self-taught artist, Heywood’s works are indebted to the origins of in such artists as Kasimir Malevich and Piet Mondrian, though he has crafted a thoroughly personal interpretation. The artist’s exquisite attention to detail and presentation are evident in the careful placement of individual panels, as well as the refined diagonal layering of paint.

A viewer would be mistaken to consider Heywood’s paintings to be standard examples of the minimalist monochrome. His work invites extended contemplation, and engages with viewers on visual, physical and conceptual levels. David Pagel of the Los Angeles Times has written on the experience of regarding Heywood’s work, explaining that, “To stand before one of these paintings, each of which is the size of a generously scaled doorway, is to find your whole body involuntarily adjusting itself to the subtly out-of-whack geometry of Heywood’s art.”

It is this disorienting geometry that characterizes Scot Heywood’s art. Small but unexpected asymmetries and careful “notches” disrupt the smooth rectangularity of his wood and canvas surfaces, creating a dialogue between form and color that implicates the space of the gallery. Daniella Walsh for THE Magazine described the sophisticated game being played here when she wrote that Heywood’s works “establish a new perceptual reality, incorporating the wall as negative space.”

In this way, the walls of the gallery become part of the work, functioning as more than a passive backdrop for the paintings. The relationship between the walls, the works, and the viewers are all held up for examination. In this atmosphere, the works take on architectural qualities. According to Jody Zellen of Artweek, they then allow for an exploration of “the relationships between presence and absence with respect to a given architectural space.”

Scot has shown frequently in Southern California since the late 1970s. His work has been featured in over a dozen solo shows, and is often included in significant group exhibitions such as “Marks and Movement: Five Painters” at the Santa Monica College Barrett Gallery in 2011. His paintings are also represented in numerous collections, including the Frederick Weisman Foundation.

PETER BLAKE GALLERY SCOT HEYWOOD COMPRESSION - WHITE, BLACK, CANVAS 2017 Acrylic on Canvas 60 x 62 inches

$23,000 PETER BLAKE GALLERY Best known for his lozenge-shaped plastic wall reliefs, or “bubbles,” Craig Kauffman was a major figure in the Southern Californian art world of the 1950s and ’60s and part of the original stable of artists associated with the renowned Ferus Gallery. Kauffman painted atop (and sometimes behind) translucent, vacuum-formed plastics, and was the first contemporary artist to use this commercial technology. Influenced by Minimalism, as well as a wide range of European and Asian art movements, Kauffman worked in a clean-lined aesthetic that was by turns gestural and evocatively sensual. His approach—aligned with the practices of his Californian contemporaries Larry Bell and De Wain Valentine, among others—was described by art historians as the “L.A. finish fetish.”

PETER BLAKE GALLERY CRAIG KAUFFMAN UNTITLED 2001 Acrylic Lacquer on Vacuum-Foamed Plastic 36 x 32 x 6.5 inches

NFS PETER BLAKE GALLERY JOHN MCCRACKEN Working with what he called “planks,” John McCracken created Minimalist sculptures that bridge the material world with the metaphysical. By leaning the planks against the wall, McCracken’s intention was to connect the spheres of two-dimensional painting and three-dimensional sculpture. His method involved a laborious process of painting, sanding, and polishing the polyester resin on each plywood board to achieve a flawless patina that looks machine-made, bringing to mind the 1960s West Coast “Finish Fetish Art” aesthetic. The most dramatic effect of his glossy surfaces is the way they become as reflective as mirrors and oftentimes seem to disappear altogether, such as in his 1985 work Akitanai. “My tendency,” McCracken once said, “is to reduce or develop everything to ‘single things’—things which refer to nothing outside [themselves] but which at the same time possibly refer, or relate, to everything.”

PETER BLAKE GALLERY JOHN MCCRACKEN KANOON 2000 Lacquer, Polyester Resin, Fiberglass on Plywood 4.5 x 96 x 5.5 inches

NFS PETER BLAKE GALLERY John M. Miller was born in Lebanon, Pennsylvania in 1939. He received JOHN M. MILLER a BFA in 1967 from San Diego State University in San Diego, CA and received his MFA from Claremont Graduate School in Claremont, CA. He has had numerous solo exhibitions including:“Sanctum” at Barrett Gallery, Santa Monica College, CA (2016); 2015 and 2014 exhibits at Peter Blake Gallery, Laguna Beach, CA; “John M. Miller: Yesterdays” and “Now and Then” at Margo Leavin Gallery in Los Angeles, CA; “Path,” “Edit,” “Ritual” and “Passage” at Patricia Faure Gallery in Santa Monica, CA along with exhibitions at Fred Hoffman Gallery, Rico Mizuno Gallery, Watts Tower Art Center and Broxton Gallery, among others.

Recent group exhibitions include “California Abstract Painting: 1962- 2012” at Nan Rae Gallery at Woodbury University in Burbank, CA; “Edith Baumann, James Hayward, Scot Heywood, John M. Miller, & Ed Moses” at Pete and Susan Barrett Art Gallery in Santa Monica, CA; “Under the Big Black Sun: California Art 1974-1981” at The Geffen Contemporary at MOCA; “Reading Standing Up” at Margo Leavin Gallery in Los Angeles, CA; “A Little So Cal Abstraction” at Mandarin Gallery in Los Angeles; “Driven to Abstraction: Southern California and the Non-Objective World 1950-1980” at Riverside Art Museum in Riverside, CA; “Oceans” at Western Project in Culver City, CA; “Structure” at Patricia Faure Gallery in Santa Monica, CA; “Departures: 11 Artists at the Getty” at the Getty Center in Los Angeles, CA; “Starting with McLaughlin” at Patricia Faure Gallery in Santa Monica, CA; “Selected Paintings and Works on Paper” at Modernism in San Francisco, CA; “In Plain Sight: Abstract Paintings in Los Angeles” at Blue Start Art Space in San Antonio, TX; “Percept/Image/Object” at Lannan Foundation in Los Angeles, CA; “Changing Trends – Content and Style” in Los Angeles Institute of Contemporary Art in Los Angeles, CA and “Coming Unraveled: LAX Biennial at Otis Gallery” at the Otis School of Art and Design in Los Angeles, CA, among others.

His work is included in many permanent collections across the country including the Carnegie Museum of Art, Pittsburgh, PA; Creative Artists Agency, Beverly Hills, CA; The J. Paul Getty Museum, Los Angeles, CA; Lannan Foundation, Los Angeles, CA; Los Angeles County Museum of Art, Los Angeles, CA; McNay Art Museum, San Antonio, TX; Museum of Contemporary Art, Los Angeles, CA; Museum of Art, San Diego, CA; San Francisco Museum of Modern Art, San Francisco, CA and San Jose Museum of Art, San Jose, CA.

Miller has spent time teaching at the University of California, Los Angeles and at the Minneapolis College of Art and Design. He has also been the recipient of grants from the Adolph and Esther Gottlieb Foundation as well as fellowships with the National Endowment for the Arts.

PETER BLAKE GALLERY JOHN M. MILLER UNTITLED (BK3D) 1995 Acrylic Resin on Raw Canvas 77.5 x 190 inches overall (4 panels)

$175,000 PETER BLAKE GALLERY Since the 1970s, Marcia Hafif has been committed MARCIA HAFIF to process-oriented monochrome painting, working in a range of hues on serialized colored canvases that continue the medium-specific advances made by such forebears as Robert Rauschenberg, Alexander Rodchenko, and Robert Ryman. Based in Southern California, Hafif seeks to highlight the essential qualities of both paint and color, favoring an approach that is more exploratory and deconstructive than reductionist. Hafif contends that she is not breeding sameness but similarity, as she attempts to answer questions through repetition. The artist mixes her own oil paints, which are less consistent than commercial versions and enable her to create subtle gradients and tensions among hues. Although she is best known for her monochromes, a steady observational style also permeates her photographs, videos, and text-based work.

PETER BLAKE GALLERY MARCIA HAFIF PACIFIC OCEAN PAINTING - PAYNE’S GREY (REMBRANDT) 2000 Oil on Canvas 30 x 28 inches

$50,000 PETER BLAKE GALLERY Intimate in scale, bold in color, and immaculate in RON NAGLE finish, the ceramic sculptures by San Francisco-based artist Ron Nagle look like surrealistic dream objects. Early in his career, Nagle apprenticed with fellow Abstract Expressionist ceramicist Peter Voulkos, and he cites Ken Price and Giorgio Morandi as significant influences. His small vessels and abstract sculptures often have puckered surfaces and gradual color fades; slabs melt into hard right angles, and monochromatic parts are given finely grained texture. While clearly handmade, to the sleekness of Nagle’s works lends them an air more alien than human.

PETER BLAKE GALLERY RON NAGLE TEENS OF AUGUST 2009 Ceramic 4 x 5.5 x 4 inches

NFS PETER BLAKE GALLERY Helen Pashgian is a pioneer and pre-eminent member HELEN PASHGIAN of the Light and Space movement. Her signature forms include columns, discs and spheres in delicate and rich coloration, often with an isolate element appearing suspended, embedded or encased within. Developed through innovative applications of industrial epoxies, plastics and resins, Pashgian’s semi-translucent surfaces seem to filter and contain illumination. Activated by light, these sculptures resonate in form and spatiality both inner and outer. Helen Pashgian was an artist in residence at the California Institute of Technology from 1970-71. She received a National Endowment of the Arts Individual Artist Grant in 1986. In 2013, she was a recipient of the MOCA’s Award to Distinguished Women in the Arts.

She was included in Pacific Standard Time: Cross Currents in L.A. Painting and Sculpture, 1950-1970 at The Getty Center, the related Pacific Standard Time exhibition Phenomenal: California Light, Space, Surface at The Museum of Contemporary Art, San Diego, and was the subject of a major solo exhibition, Helen Pashgian: Light Invisible, at the Los Angeles County Museum of Art during the spring of 2014.

PETER BLAKE GALLERY HELEN PASHGIAN UNTITLED (GR14) 2016 Formed Acrylic 12 x 18.25 x 13 inches

NFS PETER BLAKE GALLERY Hadi Tabatabai is known for his delicate, meticulously HADI TABATABAI executed pattern-based works in mixed media. Tabatabai, who holds degrees in industrial technology and painting, is known for exploring the form of the line as a physical space—now a 15-year-long exercise. “I view the ‘line’ as empty space without an agenda or allegiance,” he says. He makes drawings, paintings, and sculptures from materials like wood, thread, and acrylic paint, but Tabatabai states that his choice of material is ultimately arbitrary and constantly changing. His methods are based on repetition and layering of certain marks, with the main intention of filling a surface.

PETER BLAKE GALLERY HADI TABATABAI THREAD PAINTING 2018-3 (TETRAPTYCH) 2018 Thread, Acrylic Paint, ABS on Dibond Panel 17.125 x 16 x 1 inches

$16,000 PETER BLAKE GALLERY De Wain Valentine was born in Colorado and DE WAIN VALENTINE arrived in L.A. in 1965 to teach a course in plastics technology at the University of California, Los Angeles (UCLA). He is regarded today among the earliest pioneers in the use of industrial plastics and resins to execute monumental sculptures that reflect the light and engage the surrounding space through its mesmerizingly translucent surfaces that arrest one’s gaze. [...] This technical knowledge, combined with his subsequent experience working with fiberglass- reinforced plastic in boat building shops and painting automobiles, air planes—and even, according to some, UFOs—led to his fascination and artistic involvement with sculptures made out of colored plastic and polyester resin, all materials evoking a futurist era.

PETER BLAKE GALLERY DE WAIN VALENTINE CONCAVE CIRCLE ROSE 1968 - 2014 Cast Polyester Resin 24 x 24 x 9 inches

NFS PETER BLAKE GALLERY