Leo Valledor Leo Valledor: The Bridge (To Sonny Rollins) The Bridge (To Sonny Rollins) June 5–August 10, 2019 June 5–August 10, 2019

In September 2006, Mitchell Algus Gallery in New York City In September 2006, Mitchell Algus Gallery in New York City presented an exhibition that traced the Philippine roots of presented an exhibition that traced the Philippine roots of minimalism through two painters: Mario Yrissary, who was born minimalism through two painters: Mario Yrissary, who was born in Manila in 1933, and Leo Valledor, born to Filipino parents in in Manila in 1933, and Leo Valledor, born to Filipino parents in San Francisco in 1936. Both artists were active in the New York San Francisco in 1936. Both artists were active in the New York art scene in the ’60s and ’70s but then subsequently disappeared. art scene in the ’60s and ’70s but then subsequently disappeared. Yrissary stopped painting in 1977 while Valledor moved back to his Yrissary stopped painting in 1977 while Valledor moved back to his native San Francisco, where he persisted with a largely unheralded native San Francisco, where he persisted with a largely unheralded career—one that is now rightfully being reconsidered—up until his career—one that is now rightfully being reconsidered—up until his death in 1989. death in 1989. My frst encounter with Valledor’s work, not realizing our shared My frst encounter with Valledor’s work, not realizing our shared heritage, was at the San Francisco Museum of Modern Art heritage, was at the San Francisco Museum of Modern Art (SFMOMA) last year, with his painting Skeedo (1965). The large, (SFMOMA) last year, with his painting Skeedo (1965). The large, irregularly shaped canvas of orange and blue-gray angles and irregularly shaped canvas of orange and blue-gray angles and yellow lines, exemplifed his fascination with hard-edged asymme- yellow lines, exemplifed his fascination with hard-edged asymme- try and his deft exploration of the spatial dimension of color, much try and his deft exploration of the spatial dimension of color, much like The Bridge (To Sonny Rollins) (1981) on view at KADIST. like The Bridge (To Sonny Rollins) (1981) on view at KADIST. Over multiple trips to San Francisco during the past year to re- Over multiple trips to San Francisco during the past year to re- search American narratives of empire and erasure, I have gained a search American narratives of empire and erasure, I have gained a deeper appreciation of Valledor’s work through his widow, Mary. deeper appreciation of Valledor’s work through his widow, Mary. His life and work place the mechanisms of empire squarely within His life and work place the mechanisms of empire squarely within the space of the avant-garde and its infuence on contemporary art. the space of the avant-garde and its infuence on contemporary art. Not unlike the artist David Medalla in London, Valledor was an Not unlike the artist David Medalla in London, Valledor was an omnipresent fgure at a time when diferent cultural expressions omnipresent fgure at a time when diferent cultural expressions occupied a singular social milieu—in this instance, jazz music, Beat occupied a singular social milieu—in this instance, jazz music, Beat poetry and abstract expressionism. Valledor had grown up in the poetry and abstract expressionism. Valledor had grown up in the Fillmore District of San Francisco in the ’40s and ’50s. After his Fillmore District of San Francisco in the ’40s and ’50s. After his mother’s early death and his father’s subsequent abandonment, mother’s early death and his father’s subsequent abandonment, Valledor was left as a twelve-year-old landlord for a house full of Valledor was left as a twelve-year-old landlord for a house full of errant bachelor manongs—recently immigrated Filipino men look- errant bachelor manongs—recently immigrated Filipino men look- ing for work, whose struggles are vividly and painfully portrayed ing for work, whose struggles are vividly and painfully portrayed in Carlos Bulosan’s novel America is in the Heart (1946). The in Carlos Bulosan’s novel America is in the Heart (1946). The Fillmore, at that time, was the epicenter of jazz on the West Coast, Fillmore, at that time, was the epicenter of jazz on the West Coast, its soundtrack providing respite for the young Valledor. This early its soundtrack providing respite for the young Valledor. This early immersion in jazz would shape Valledor’s obsession with the immersion in jazz would shape Valledor’s obsession with the kinship between music and color, as he referred to “harmonic kinship between music and color, as he referred to “harmonic ideas” as the basis for his visual explorations. ideas” as the basis for his visual explorations. Throughout his life, Valledor was present in key moments that have Throughout his life, Valledor was present in key moments that have since defned the American avant-garde. In 1953, he received a since defned the American avant-garde. In 1953, he received a scholarship to study at the California School of Fine Arts (now the scholarship to study at the California School of Fine Arts (now the San Francisco Art Institute). Two years later, at the age of nine- San Francisco Art Institute). Two years later, at the age of nine- teen, he had his frst solo exhibition at the Six Gallery, the legend- teen, he had his frst solo exhibition at the Six Gallery, the legend- ary space where Allan Ginsberg frst presented Howl at a poetry ary space where Allan Ginsberg frst presented Howl at a poetry reading that same year. In 1961, Valledor moved to New York City reading that same year. In 1961, Valledor moved to New York City where he became one of the founding members of the Park Place where he became one of the founding members of the Park Place Group, the Lower Manhattan gallery credited for establishing the Group, the Lower Manhattan gallery credited for establishing the SoHo art gallery scene and launching the careers of pioneering SoHo art gallery scene and launching the careers of pioneering artists such as Sol Lewitt, Eva Hesse and Mark di Suvero, as well as artists such as Sol Lewitt, Eva Hesse and Mark di Suvero, as well as the gallerist Paula Cooper. It was in this company that Valledor was the gallerist Paula Cooper. It was in this company that Valledor was able to defne his artistic voice and visual style. able to defne his artistic voice and visual style. In the ongoing choreography of omission and retrieval that has In the ongoing choreography of omission and retrieval that has defned art history, I kept wondering how someone ever-present at defned art history, I kept wondering how someone ever-present at such defning moments in the history of the avant-garde could be such defning moments in the history of the avant-garde could be overlooked. It is a narrative that—as we all know too well—isn’t overlooked. It is a narrative that—as we all know too well—isn’t uncommon for artists of color. Race, inevitably, would have played uncommon for artists of color. Race, inevitably, would have played a part in this erasure. As the art critic Jim Long points out in a a part in this erasure. As the art critic Jim Long points out in a Brooklyn Rail review of the Mitchell Algus exhibition, Valledor Brooklyn Rail review of the Mitchell Algus exhibition, Valledor was well aware that, as a Filipino, he would never be fully assimi- was well aware that, as a Filipino, he would never be fully assimi- lated into the New York art scene, where abstraction was consid- lated into the New York art scene, where abstraction was consid- ered the purview of white artists. This gave him a certain freedom ered the purview of white artists. This gave him a certain freedom to experiment, allowing him to absorb radical ideas of painting to experiment, allowing him to absorb radical ideas of painting without subscribing to the agendas set out by Clement Greenberg without subscribing to the agendas set out by Clement Greenberg or Donald Judd, but it also lead him to fall into the cracks between or Donald Judd, but it also lead him to fall into the cracks between these delineated trajectories of abstract painting and minimalism. these delineated trajectories of abstract painting and minimalism. His muted presence in Filipino American and Asian American His muted presence in Filipino American and Asian American scholarship might also be explained by way of analogy with the scholarship might also be explained by way of analogy with the marginalization experienced by African American abstract painters marginalization experienced by African American abstract painters from the same era. These artists were not just neglected by the from the same era. These artists were not just neglected by the white establishment, but also criticized by fellow African American white establishment, but also criticized by fellow African American artists who accused them of evading issues of political representa- artists who accused them of evading issues of political representa- tion. In the case of artists from the Philippine diaspora, an explo- tion. In the case of artists from the Philippine diaspora, an explo- ration of indigeneity as a way of dealing with conficting cultural ration of indigeneity as a way of dealing with conficting cultural identities, remains the privileged form of discourse. identities, remains the privileged form of discourse. Valledor’s artistic path also provides an interesting counterpoint to Valledor’s artistic path also provides an interesting counterpoint to the conficted history of minimalism and conceptualism in the the conficted history of minimalism and conceptualism in the Philippines. Around the same time that Valledor was exhibiting in a Philippines. Around the same time that Valledor was exhibiting in a three-person group show at Park Place Gallery with Sol Lewitt and three-person group show at Park Place Gallery with Sol Lewitt and Robert Smithson, Filipino artists Arturo Luz and Roberto Chabet Robert Smithson, Filipino artists Arturo Luz and Roberto Chabet were laying the artistic foundations of Philippine avant-garde at were laying the artistic foundations of Philippine avant-garde at the Cultural Center of the Philippines in Manila—a site where the the Cultural Center of the Philippines in Manila—a site where the vernaculars of modernity were being cannily co-opted by Imelda vernaculars of modernity were being cannily co-opted by Imelda Marcos to resemble internationalism in the midst of an oppressive Marcos to resemble internationalism in the midst of an oppressive regime. regime. In order to map a more compassionate transnational history of the In order to map a more compassionate transnational history of the avant-garde, Leo Valledor’s role bears further elaboration. As an avant-garde, Leo Valledor’s role bears further elaboration. As an artist navigating postwar America, he simultaneously experienced artist navigating postwar America, he simultaneously experienced the artistic freedom that this new era enabled and the marginal- the artistic freedom that this new era enabled and the marginal- ization that came with being a Filipino American in a white man’s ization that came with being a Filipino American in a white man’s milieu. His art encapsulates those cruel and beautiful paradoxes. milieu. His art encapsulates those cruel and beautiful paradoxes.

—Pio Abad —Pio Abad

Special thanks to Mary Valledor. Special thanks to Mary Valledor.

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