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Oral History Interview with Billy Al Bengston
Oral history interview with Billy Al Bengston Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. 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 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Billy Al Bengston AAA.bengst80 Collection Overview Repository: Archives of American Art Title: Oral history interview with Billy Al Bengston Identifier: -
California History Volume 90 Number 2 2013 the Journal of the California Historical Society Volume 90 / Number
californi a history california history volume 90 number 2 2013 The Journal of the California Historical Society volume 90 / number 2 / 2013 90_2_cover.indd 1 6/18/13 11:21 AM reviews Edited by James J. Rawls STATE OF MIND: NEW CALIFORNIA ART CIRCA 1970 By Constance M. Lewallen and Karen Moss, with essays by Julia Bryan-Wilson and Anne Rorimer (Berkeley: University of California Press, 2012, 296 pp., $39.95 cloth) tury. The success and significance of Conceptual Art and demonstrate that PHENOMENAL: the books is the degree to which they it foreshadowed much of the work CALIFORNIA LIGHT, enlighten readers about the collective being created by young artists today.” SPACE, AND SURFACE work and, even more important, the Contemporary art of the early years of Edited by Robin Clark with essays ways in which it can be seen as result- the twentieth century is unimaginable by Michael Auping, Robin Clark, ing from and contributing to not just without the rich history that goes back Stephanie Hanor, Adrian Kohn, California history but an expanded way to Marcel Duchamp (1887–1968) and and Dawna Schuld (Berkeley: of looking at art itself. his best-known historic beneficiary, Andy Warhol (1928–1987). The single University of California Press The books are considered here together basis for the Conceptual “movement,” with the assistance of the Getty for several reasons. First, they come if one agrees to that unified descrip- Foundation, 2012, 240 pp., from the same publisher at the same tion, is Duchamp’s oft-quoted dictum $39.95 cloth) time, the occasion of the hugely ambi- that the idea and process involved in REVIEWED BY PAUL J. -
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. -
Ken Price: a Career Survey, 1961 - 2008 Parrasch Heijnen, Los Angeles January 30 – March 8, 2016
KEN PRICE: A CAREER SURVEY, 1961 - 2008 PARRASCH HEIJNEN, LOS ANGELES JANUARY 30 – MARCH 8, 2016 SO I SAID KENNY, WHAT ARE YOU DOING HERE? HOW DO YOU EXPECT TO BE TAKEN SERIOUSLY? AND KENNY SAID “BILLY, I’M GOING FURTHEY DE OUT BY GOING FURTHEY DE IN.” I LOOKED IN DISMAY AND SAID: YOU KNOW WHAT YOU’RE DOING. KENNY SAID: UH HUH WITH THAT HE SHOWED ME. BILLY OCEAN PARK, CA IN OUR STUDIO, 1959 (Billy Al BeNgstoN, VeNice, CA, 2015) FraNklin Parrasch aNd Christopher HeijNen are pleased to present Ken Price: A Career Survey, 1961 - 2008, the inaugural exhibition at Parrasch Heijnen Gallery, Los Angeles. A legeNd amoNgst Los Angeles-based artists, Ken Price (1935-2012) is best known as a sculptor of abstract and sensual, biomorphic ceramic forms. The surfaces of Price’s objects, which iNvolved chromatic techNiques so complex aNd adroitly achieved that they exist oNly iN his sculptures, are so jarriNgly compelliNg aNd uniquely beautiful they challenge the viewer’s concepts of beauty itself. His surfaces read like skiNs impregNated with color, geNeratiNg chromatic teNdeNcies that hearkeN everythiNg from 1960s commercialism to otherworldly pheNomeNa. As late artist aNd former Artforum Editor JohN CoplaNs eloqueNtly commeNted on Price's eNigmatic use of color iN the March 20, 1964 issue of Art International: "Price introduces color with such an acute choice it seems almost to shape the form. He does Not follow aNy historical lines of logic ... but goes back into the deepest and most buried part of the humaN psyche iN much the same way that BraNcusi did, to iNveNt form. -
DILEXI GALLERY Multi-Venue Retrospective
DILEXI GALLERY Multi-Venue Retrospective Taking place at: Brian Gross Fine Art / San Francisco Crown Point Press / San Francisco Parker Gallery / Los Angeles Parrasch Heijnen Gallery / Los Angeles The Landing / Los Angeles with a related exhibition at: Marc Selwyn Fine Art / Los Angeles The Dilexi Multi-Venue Retrospective The Dilexi Gallery in San Francisco operated in the years and Southern Californian artists that had begun with his 1958-1969 and played a key role in the cultivation and friendship and tight relationship with well-known curator development of contemporary art in the Bay Area and Walter Hopps and the Ferus Gallery. beyond. The Dilexi’s young director Jim Newman had an implicit understanding of works that engaged paradigmatic Following the closure of its San Francisco venue, the Dilexi shifts, embraced new philosophical constructs, and served went on to become the Dilexi Foundation commissioning as vessels of sacred reverie for a new era. artist films, happenings, publications, and performances which sought to continue its objectives within a broader Dilexi presented artists who not only became some of the cultural sphere. most well-known in California and American art, but also notably distinguished itself by showcasing disparate artists This multi-venue exhibition, taking place in the summer of as a cohesive like-minded whole. It functioned much like 2019 at five galleries in both San Francisco and Los Angeles, a laboratory with variant chemical compounds that when rekindles the Dilexi’s original spirit of alliance. This staging combined offered a powerful philosophical formula that of multiple museum quality shows allows an exploration of actively transmuted the cultural landscape, allowing its the deeper philosophic underpinnings of the gallery’s role artists to find passage through the confining culture of the as a key vehicle in showcasing the breadth of ideas taking status quo toward a total liberation and mystical revolution. -
The Early Works of Maria Nordman by Laura Margaret
In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Associate Professor Julia Bryan-Wilson, Chair Professor Whitney Davis Professor Shannon Jackson Associate Professor Jeffrey Skoller Summer 2015 Abstract In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies University of California, Berkeley Associate Professor Julia Bryan-Wilson, Chair This dissertation begins with Maria Nordman’s early forays into capturing time and space through photography, film, and performance and it arrives at the dozen important room works she constructed between 1969 and 1979. For these spaces in Southern California, the San Francisco Bay Area, Italy, and Germany, the artist manipulated architecture to train sunshine into specific spatial effects. Hard to describe and even harder to illustrate, Nordman’s works elude definition and definitiveness, yet they remain very specific in their conception and depend on precision for their execution. Many of these rooms were constructed within museums, but just as many took place in her studio and in other storefronts in the working-class neighborhoods of Los Angeles, San Francisco, Milan, Genoa, Kassel, and Düsseldorf. If not truly outside of the art system then at least on its fringes, these works were premised physically and conceptually on their location in the city. -
A Finding Aid to the Jan Butterfield Papers, 1950-1997, in the Archives of American Art
A Finding Aid to the Jan Butterfield Papers, 1950-1997, in the Archives of American Art Megan McShea Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program. 2012 June 27 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 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Interviews and Lectures, 1959-1997......................................................... 6 Series 2: Writings, 1962-1997................................................................................ 21 Series 3: Project -
Knight, Christopher. "A Storied Art Collection Shrouded in Mystery Will
A storied art collection shrouded in mystery will anchor new UC Irvine museum By Christopher Knight Art Critic Contact Reporter When real estate developer Gerald Buck was selling a rural farm near San Luis Obispo, land he bought in a failed oil-drilling scheme, a prospective buyer offered him an elegant Old Master painting by Anthony van Dyck in lieu of cash. Buck had no interest in art, but neither did he have any other buyers in sight. So Buck plunged into researching the painting’s authenticity, history of ownership and market value — then agreed to the trade. And he was off. The Van Dyck is long gone, but now, four decades later, the Gerald E. Buck Collection has grown to more than 3,200 paintings, sculptures and works on paper. Not only is the vast trove the finest holding of its kind in private hands, the collection is poised to anchor an ambitious new museum being launched at UC Irvine. Chancellor Howard Gillman is expected to announce Wednesday the formation of the UCI Museum and Institute for California Art, or MICA, with the Buck Collection as its core. The collection, much coveted by other museums, focuses on artists who emerged in California between World War II and 1980. In addition to his art-filled home, where numerous major works were kept, a nondescript, unmarked former post office building a few blocks from the beach in Laguna provided a private place for Buck to study his collection. Few have ever been inside. When Stephen Barker, dean of UCI’s Claire Trevor School of the Arts, recently opened the building for The Times, about 80 works were on display in several large galleries plus offices, a small kitchen, a bathroom and hallways. -
Craig Kauffman
CRAIG KAUFFMAN 1932 Born, Los Angeles, CA EDUCATION 1955 B.A. University of California, Los Angeles, CA 1956 M.A. University of California, Los Angeles, CA SOLO EXHIBITIONS 2004 Craig Kauffman: Works from the 1960s, Franklin Parrasch Gallery, New York, NY 2003 Sandra Gering Gallery, New York, NY 2001 Sandra Gering Gallery, New York, NY 1999 Bubbles, Patricia Faure Gallery, Santa Monica, CA 1998 Painted Drawings, Patricia Faure Gallery, Santa Monica, CA. 1995 New Work, Patricia Faure Gallery, Santa Monica, CA 1992 The Works Gallery South, Costa Mesa, CA 1990 The Works Gallery South, Costa Mesa, CA 1988 The Works Gallery, Long Beach, CA Asher/Faure Gallery, Los Angeles, CA Craig Kauffman: Wall Reliefs, 1967-69, Santa Barbara Contemporary Arts Forum, CA 1987 Craig Kauffman: Wall Reliefs, 1967-69, Whitney Museum of American Art, New York, NY 1985 Asher/Faure Gallery, Los Angeles, CA Fuller Goldeen Gallery, San Francisco, CA 1983 Asher/Faure Gallery, Los Angeles, CA Craig Kauffman, Faith and Charity in Hope Gallery, Hope, ID 1982 Thomas Segal Gallery, Boston, MA Blum Helman, New York, NY Cirrus Gallery, Los Angeles, CA 1981 Craig Kauffman: A Comprehensive Exhibition, 1957-1980, organized by the La Jolla Museum of Contemporary Art; traveled to the Elvehjem Museum of Art, Madison; the Anderson Gallery at Virginia Commonwealth University, Richmond; and the Oakland Museum (1982) Asher/Faure Gallery, Los Angeles, CA 1979 Grapestake Gallery, San Francisco, CA Janus Gallery, Venice, CA Blum Helman, New York, NY 1978 Arco Center for Visual Art, Los -
ED MOSES Through the Looking Glass January 26–March 30, 2019
FOR IMMEDIATE RELEASE Media Relations December 11, 2018 Lyn Winter, Inc. Contact: Livia Mandoul, [email protected] WILLIAM TURNER GALLERY ED MOSES Through The Looking Glass January 26–March 30, 2019 Opening Reception Saturday, January 26, 2019, 6-8pm William Turner Gallery, 2525 Michigan Ave E-1, Santa Monica, CA 90404 Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. - Dylan Thomas And rage against the dying of the light he did. Ed Moses charged into his late career with a vengeance, battling mightily against the tolls of time. This last hurrah became an incredibly productive and successful crescendo to a long, legendary career. Through the Looking Glass presents an overview of this last period, with a selection of work Moses produced over the last five years of his life. The work is ambitious and adventurous, and is marked by the artist’s spontaneity and expansive visual vocabulary. The exhibition reveals an artist fully engaged, working in the moment, embracing a career’s worth of stylistic approaches, while incorporating new ones, as Moses boldly entered the labyrinths of the creative process. The works are dramatic in scope and exemplify the breadth of his reach. The title of the exhibition is from Lewis Carroll, one of Moses’s favorite writers, and refers to one of the artist’s fundamental beliefs - that art, at its best, is a portal to the unknown, through which one is transported to magical realms. Moses did not paint to express; he painted to discover. -
Jay Defeo: the Language of Gesture Craig Kauffman: Drawings from 1958-9
Jay DeFeo: The Language of Gesture Craig Kauffman: Drawings from 1958-9 July 13 – September 14, 2019 Marc Selwyn Fine Art is pleased to present Jay DeFeo: The Language of Gesture and Craig Kauffman: Drawings from 1958-9. The exhibition is contemporaneous with the multivenue Dilexi Gallery retrospective in San Francisco and Los Angeles (see below). Jay DeFeo (1929-1989) continues to inspire generations of artists with her astonishingly diverse and innovative range of works, including paintings, collages, drawings and photographs. The exhibition features a rich selection of paintings on paper that traces Jay DeFeo’s revelatory art-making of the early 1950s. Beginning with her arrival in Paris on a post-graduate grant in the fall of 1951, through her extended stay in Florence in 1952 where she produced an astounding body of energized Abstract Expressionist works, to her return to her Berkeley studio in 1953, these works track the creation of DeFeo’s palette and visual vocabulary that would inform her work for decades to come. After time on the road in France, London, Morocco, Spain and Italy, including her crawling through prehistoric caves along the way, DeFeo settled for six months in Florence, where the pent-up visual experiences of historic and post-war Europe bloomed in an extraordinary burst of works. Working in a rented apartment in the Pensione Bertolini in Florence for six months and making her own tempera, DeFeo came alive with the full sense of herself as an artist, stating that “It was during the Florence period, and it started in Paris, that I really came into my own…” The large-scale works on paper in this exhibition have all the energy and immediacy of DeFeo’s canvases. -
CHICAGO and POINTS WEST - the State Capitol in Tallahassee
-erpiece of nearly 20 feet in width [fig. 9.30], sums up, as multiple levels of experience simultaneously. T he red lipstick "This is Love in 1971 ": a roll of adding machine tape, and flesh tones of a woman's fa ce seem to slice across m billfold, and nostalgic memories from the late thirties alternating wavelengths in and around the x - ra~· - like images fa ther's Mobil station in Atwater, Mim1esota (the flying of the brain in its cradle, portrayed as a kind of nex'Us of aorse was Mobil's corporate symbol), all tenuously held information and agency. _::ther with a paper clip. Ji the mid-seventies Rosenquist settled permanently ;lorida, near Tampa, and began a major commission CHICAGO AND POINTS WEST - the state capitol in Tallahassee. A new self-confidence renewed productivity burgeoned in his work, and an H. C. Westermann ··ated level of ambition also emerged as the scale of some -;,:s increased over the next decade to extraordinary H. C. ("Cliff') Westermann inaugurated a tendency in ensions. Through the Eye of the Needle to the Anvil [fig. Chicago in the mid-fifties to turn away from the psycho .], a work of ilie late eighties, measures 46 feet in width. logical introspection of the Monster Roster toward the - increasing number of high-tech allusions appeared in complex simultaneity of popular culture. Contemporary ·enquist's painting at this time along with cosmic themes with Rauschenberg and Johns in New York and with the a more exaggerated manipulation of the images into a Independent Group in London, Westermann combined an -::-am of common objects gone wild.