Category: PST scene

PST, A to Z: ‘Cruising’ at ONE National Gay and Lesbian Archives

March 28, 2012 |  4:46 pm

Pacific Standard Time will explore the origins of the Los Angeles art world through museum exhibitions throughout Southern California over the next six months. Times art reviewer Sharon Mizota has set the goal of seeing all of them. This is her latest report.

"Lesbian Couple, Hollywood"

To see “Cruising the Archive: Queer Art and Culture in Los Angeles, 1945-1980,” you have to do some cruising yourself — not necessarily in a libidinal sense, but between three small venues: two in Exposition Park and one in West Hollywood. Consequently, the exhibition feels a bit fragmented, with a single artist’s work often spread across multiple spaces, but it’s very much in keeping with the sprawling structure of Pacific Standard Time and the diversity of the queer community itself.

Drawn from the collections of the ONE National Gay and Lesbian Archives, the materials on view are a mix of art and documentation from a spectrum of artists, from relatively well-known names — Don Bachardy, Gronk, Sister Mary Corita Kent — to those who remain completely anonymous. The show also encompasses a wide array of sexual identities and movements whose aims and attitudes weren’t always aligned. The result is an unruly history of queer culture in Los Angeles that is inspiring in its depth and vibrancy.

The ONE Archives began as ONE Magazine, founded in 1953, and the display at USC's Doheny Library is largely devoted to the history of queer publications including PRIDE (Personal Rights in Defense and Education, which later became The Advocate), The Ladder, The Lesbian Tide, and more obscure titles like Edith Eyde’s Vice Versa: America’s Gayest Magazine, hand-typed in editions of 10 from 1947-48, and Transvestia, dedicated to straight-identified male cross-dressers, published by Virginia Prince (born Arnold Lowman) starting in 1960. There’s also some fascinating early 20th century sheet music from the collection of Ralph W. Judd with titles like, “My Regular Girl is a Feller,” and “I Only Want a Buddy…Not a Sweetheart.”

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PST, A to Z: ‘Perpetual Conceptual’ at Los Angeles Nomadic Division

March 28, 2012 |  4:45 pm

Pacific Standard Time will explore the origins of the Los Angeles art world through museum exhibitions throughout Southern California over the next six months. Times art reviewer Sharon Mizota has set the goal of seeing all of them. This is her latest report.

EBGInstall_web
Setting out to see “Perpetual Conceptual: Echoes of Eugenia Butler,” I almost drove right past it. The exhibition is organized by Los Angeles Nomadic Division, a non-profit arts organization whose name reflects their lack of a permanent gallery space, and the show takes place in three storefronts in a nondescript strip mall in West Hollywood.

Having never set foot in Eugenia Butler Gallery, the late 60s-era space to which “Perpetual Conceptual” pays homage, I’m not sure whether these cold, roughly finished retail spots do it justice. However, they do seem a fitting place to show work that for many still stretches the boundaries of art.

Although it only operated from 1968 to 1971, the Eugenia Butler Gallery exhibited the work of a number of influential artists, including John Baldessari, Ed Kienholz, and Joseph Kosuth. Yet, like other women gallerists, Butler’s legacy has often been overshadowed by the attention paid to her male contemporaries over at the Ferus Gallery. The larger context female gallerists operated within was explored in the PST exhibition, “She Accepts the Proposition,” on view last fall at Crossroads School. It looked at the impact of five women gallery owners, including Butler.

The main part of “Perpetual Conceptual” is a group show of works by artists whom Butler championed. It’s up until April 21, but the works in the two adjoining spaces will change over the course of the exhibition, each one given over to a particular artist. When I visited, there were installations by Adam II, The Late Paul Cotton, and Butler’s daughter, Eugenia P. Butler.

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PST, A to Z: ‘Sight Specific’ and ‘In Focus’

March 19, 2012 |  9:05 am

Pacific Standard Time will explore the origins of the Los Angeles art world through museum exhibitions throughout Southern California over the next six months. Times art reviewer Sharon Mizota has set the goal of seeing all of them. This is her latest report.

Curran
Pacific Standard Time has included medium-specific exhibitions devoted to film, ceramics, music, and printmaking, so it’s only fitting that photography—nearly ubiquitous in contemporary art—should have its turn in the spotlight. Two exhibitions, “In Focus: Los Angeles, 1945-1980” at the Getty Center, and “Sight Specific: LACPS and the Politics of Community” at the University of Southern California’s Fisher Museum of Art paint somewhat different portraits of the medium’s role in the region. While the former is a small, tightly focused sampling of images created in L.A., the latter is a sprawling chronicle of an organization, the Los Angeles Center for Photographic Studies, which operated from 1974 to 1985.

Although the Getty is the flagship institution for Pacific Standard Time, its own PST exhibitions have been relatively modest. This holds especially true for “In Focus,” which includes just 31 images, all drawn from the Getty’s permanent collection. Organized into four rather conventional categories—experimental images, street photography, architecture, and the entertainment industry—they are pretty much the pictures you expect to see of Los Angeles: Judy Fiskin’s tiny, cameo-like portraits of stucco houses, miles of tract housing documented from the air by William A. Garnett, and a fabulous image by Garry Winogrand of two women, dressed to the nines, walking towards the swooping lines of the Encounter restaurant at LAX. The images are exceptional, but the show is a bit flat-footed.

Gm_05384201_webThere are a few pleasant surprises, however. Jo Ann Callis’ poetic, 1974 nudes, lying in the water like Ophelia, are partially obscured by mysterious layers of reflections—smoke, floral patterns, and other indeterminate shapes—making it hard to tell whether they’re “straight” photographs or composite images. And Robert Cumming’s 1977 photos of the awkward, behind-the-scenes spaces of Hollywood stage sets are simple but cogent exposés of the mechanics behind the illusion.

Anthony Friedkin, represented in both exhibitions, presents a similar, albeit more humorous image in “Sight Specific.” It’s a shot of a man who looks like he’s being swallowed as he works on the mechanical shark from “Jaws.” The image was featured in “L.A. Issue,” an exhibition organized by LACPS in 1979, one of its many wide-ranging shows.

“Sight Specific” presents groups of selected works from these exhibitions, which encompassed not only thematic shows of contemporary work, but historical ones featuring such luminaries as Edward Weston, James Van Der Zee, and Paul Outerbridge, Jr. Perhaps the most certifiably “L.A.” endeavor in this regard was 1981’s “Photoflexion: Photographs about Body Building,” It included images of the shiny, muscled bodies the world has come to associate with Southern California, as well as some curious older works, such as a turn of the century image by George Steckel that depicts a somewhat less emphatically muscled man sporting roman sandals and a pert fig leaf.

LACPS’s exhibitions of contemporary work were organized according to the artistic concerns of the day, only some of which were strictly photographic. There were shows on multiculturalism, theatricality, the relationship between word and image, expressions of time and duration, and “constructed” images, or scenes set up expressly to be photographed. In other words, LACPS artists were engaged with the same broad issues as their peers in other media.

As a consequence, “Sight Specific” feels a great deal more freewheeling than the buttoned up “In Focus.” As it turns out, post-war photography in L.A. was a much messier business than can be summed up with a handful of cool, black and whites.

Nettles Pack up“Sight Specific” does feature some stunning “straight” images, like Mark Klett’s dramatic shot from inside a snow tunnel—a vertigo-inducing swirl of textured light and shadow. But LACPS members, at least as sampled here, tended toward experimental and conceptual approaches, many of which did not necessarily involve traditional photographic skills. Bea Nettles used a pinhole camera to try to see everyday objects from the wonderous perspective of her small children. Bruce Yonemoto’s “Suspected Japanese Houses” from 1976 looks like a photocopy (it’s actually a diazo print, like a blueprint). With its whited-out ornamental shrubbery (many Japanese Americans worked as gardeners), it’s a subtle, darkly funny comment on stereotypes and racial profiling. And in “Construct XV” from 1982, Barbara Kasten photographed an arrangement of mirrors and colored plastic to create a geometric abstraction more commonly associated with painting.

To its credit, LACPS seems to have had no aesthetic agenda beyond the love and promotion of photography, in whatever form it appeared. And it filled a void in local support for such adventurous work between the demise of the forward-thinking Pasadena Art Museum in 1974, and the creation of a photography department at the Los Angeles County Museum of Art in the mid 1980s. In this regard, its greatest impact may have been in fostering a sense of community.

Indeed, the first thing one sees upon entering “Sight Specific” is a wall papered with images of smiling people posing for pictures at art openings. In 1978, artist Daryl Curran began his series “L.A. Art Openings: 1978-79,” which evolved into “A Moment in Photo History,” in which he documented not just openings, but the lectures, parties and other events around which the L.A. photographic community coalesced. In each image he had someone hold a clipboard, like a Hollywood film clapper, detailing the name of the event, the location and the date. Sprinkled throughout the exhibition, these photos are a quiet undercurrent in this boisterous show, but in photographing the people behind the cameras, Curran was perhaps acknowledging LACPS’s greatest work of art.

--Sharon Mizota

Getty Center, 1200 Getty Center Dr., (310) 440-7330, through May 6. Closed Mondays. www.getty.edu

Fisher Museum of Art, University of Southern California, 823 Exposition Blvd., (213) 740-4561, through April 7. Closed Sundays and Mondays. www.fisher.usc.edu

Photos, from top: Darryl Curran, "Untitled," 1980, from the "Moment in Photo History" series. Credit: Collection of the artist. 

Garry Winogrand, "Los Angeles International Airport," 1964. Credit: The J. Paul Getty Museum, Los Angeles © 1984 The Estate of Garry Winogrand.

Bea Nettles, "Pack up your Troubles," 1981. Credit: Courtesy of the artist.

 

PST, A to Z: ''Round the Clock' at Vincent Price Art Museum

March 16, 2012 |  4:05 pm

Pacific Standard Time is exploring the origins of the Los Angeles art world with museum exhibitions throughout Southern California. Times art reviewer Sharon Mizota has set the goal of seeing all of them. This is her latest report.

"'Round the Clock: Chinese American Artists Working in Los Angeles" at the Vincent Price Art Museum is a thoroughly enjoyable, enlightening addition to the Pacific Standard Time project
A friend recently expressed frustration with Pacific Standard Time -- too big, too diffuse, too messy. The payoff, she felt, for driving all over the Southland was often underwhelming, with no "summing up" in sight. It's true, even if you have boundless amounts of time and energy (or, ahem, a blog project), you are bound to get only bits and pieces of the story.

Yet, this is also one of the virtues of PST. The scale, scope and rambling nature of the initiative allow for the exploration of corners of the Los Angeles art scene unlikely to surface in yet another grand survey.

All of this is a long way of saying that "'Round the Clock: Chinese American Artists Working in Los Angeles" at the Vincent Price Art Museum is a thoroughly enjoyable, enlightening addition to the PST constellation. Showcasing the works of five Chinese American artists who studied and worked in L.A. from the 1940s to the present, it might be seen as an unofficial companion to "Art Along the Hyphen: The Mexican American Generation," which features similarly under-known artists.

"'Round the Clock: Chinese American Artists Working in Los Angeles" at the Vincent Price Art Museum is a thoroughly enjoyable, enlightening addition to the Pacific Standard Time projectBesides bringing worthy figures to light, the two shows suggest that a segment of artists of color in L.A. were less concerned with avant-garde experimentation than with expressing themselves in established art media. When you have been shut out of the dominant culture, one response is to shore up your credentials (another is to buck them entirely, but that's another story). "'Round the Clock" complicates this narrative by focusing on artists (alas, all men), who balanced personal artistic projects with commercial work in the film, publishing and advertising industries. In this sense, the show disputes the primacy of traditional art media, not by eschewing them altogether, but by looking at works for hire (design, illustration, animation, etc.) as integral parts of artistic practice.

This mingling of art and commerce is most salient in the mid-century watercolor paintings of Jake Lee. Colorful, picturesque and chock-full of staccato details, they provide an unfailingly optimistic vision of downtown L.A., Chinatown and Chinese American history. It's no wonder Lee found work as an illustrator for the American Automobile Assn.'s "Westways" magazine and for the Air Force, documenting activities on military bases in the 1960s. His celebratory aesthetic dovetailed perfectly with post-World War II ebullience.

Milton Quon has also had a successful commercial career, with stints as an animator at Walt Disney Studios and as the first Chinese American art director at a national advertising firm (Batten, Barton, Durstine and Osborn, now known as BBDO). His watercolor street scenes and landscapes from the 1950s are stylistically similar to Lee's, although works from the 1980s and '90s reveal a looser hand and the subtle use of collage elements that provide some punch among otherwise conventional floral and leisure scenes. More interesting are his elegant, 1940's designs for Chinese restaurant menus that fuse calligraphic brushwork with clean, mid-century modernism.

Calligraphy also figures prominently in the work of George Chann, who followed a more traditional artistic path, exhibiting widely in the U.S. and internationally before eventually opening his own gallery in L.A. In abstract paintings of the 1960s and '70s, he mined the similarities between calligraphic strokes and gestural abstraction, citing Jackson Pollock and Mark Tobey as influences. The path between Asian artistic and philosophical traditions and modern art is well trod, but for Asian American artists such as Chann, it had a slightly different resonance. His "American Calligraphy" from the 1970s is densely packed with brushy flourishes in sumi ink and oil, but the letters are all in English.

"'Round the Clock: Chinese American Artists Working in Los Angeles" at the Vincent Price Art Museum is a thoroughly enjoyable, enlightening addition to the Pacific Standard Time projectJohn Kwok worked as a freelance designer and portrait painter, but his abstract gouaches are easily the highlight of the show. Effortless and bold, in clear, high-keyed colors, they exude an astute feel for balance and gesture, infused with a sense of whimsy. An untitled work from the 1970s is a jumble of horseshoe shapes outlined against a clear blue field. Repeated, yet irregular, they create an unexpectedly complex space. In similar fashion, "Fugue," from 1968 features the intersection of two circles, rather like a Venn diagram, except that the collision has given birth, not only to a third, differently toned space in between, but to a burst of brushy black on one side and a series of hotly colored stripes on the other. The composition is at once inexplicable and immensely appealing, not unlike the interlocking layers of a piece of music.

Finally, there is Tyrus Wong, the best-known artist of the bunch, primarily for his concept work on Disney's "Bambi." Several of those early drawings are on view; they are surprisingly intimate (less than six inches wide) and achingly beautiful, as yet uncluttered with cloying, wide-eyed characters. In creating the mysterious, atmospheric scenes, Wong drew on his fascination with the ethereal landscapes of Sung dynasty painting. Like Quon and Chann, he injected Chinese aesthetics right into the heart of American pop culture. Wong went on to become a concept artist at Warner Bros., creating production designs and storyboards for movies such as "Rebel Without a Cause" and "The Wild Bunch." But his early work from the 1930s and '40s blends a really exquisite use of calligraphic line with the heft and chiaroscuro effects of Western painting. Since the 1970s, he has been designing and building snappy, elaborate animal kites, some of which are on view in the museum's atrium.

"'Round the Clock: Chinese American Artists Working in Los Angeles" at the Vincent Price Art Museum is a thoroughly enjoyable, enlightening addition to the Pacific Standard Time project"'Round the Clock" suggests that for Chinese American artists at mid-century, the artistic path was a negotiated one, a wavering line between personal interest and practicality. Of course, this is true for many artists -- it's the rare superstar who makes a living making art from the get-go. But the show's conceit -- that these artists made valuable contributions regardless of the venue in which their work appeared -- prompts us to look at the line between art and commerce more skeptically. After all, what we commonly think of as art is often just a pricier version of an everyday aesthetic experience: a magazine illustration, a menu, a movie. There's no reason such quotidian things can't be just as uplifting, edifying, inspiring or beautiful.

-- Sharon Mizota

Vincent Price Art Museum, East Los Angeles College, 1301 Avenida Cesar Chavez, Monterey Park, (323) 265-8841, through May 25. Closed Sundays and Mondays. www.vincentpriceartmuseum.org

Photos, from top: Jake Lee, "Olvera Street Gift Store Front," not dated, watercolor on paper, 19 x 26 inches. Courtesy of Chinese American Museum at El Pueblo Historical Monument, gift of Judy Deppman. © Jake Lee. Credit: Chinese American Museum at El Pueblo Historical Monument

George Chann, "Abstract in Green Field," early 1960s, oil and sumi ink on canvas, 72 x 49 1/2 inches. Courtesy of Janet Chann. © George Chann. Credit: Janet Chann

John Kwok, "Untitled," not dated, gouache on paperboard, 40 x 30 inches. Courtesy of the John Kwok family. © John Kwok. Credit: Vincent Price Art Museum at East Los Angeles College

Tyrus Wong, "Bambi (At the Edge of the Meadow)," c. 1939, concept art, watercolor on paper, 3 3/4 x 5 inches. Courtesy of the artist. © Disney. Credit: Pamela Tom

PST, A to Z: ‘Common Ground’ at AMOCA, ‘Clay’s Tectonic Shift,” at Scripps

March 16, 2012 |  9:00 am

Pacific Standard Time will explore the origins of the Los Angeles art world through museum exhibitions throughout Southern California over the next six months. Times art reviewer Sharon Mizota has set the goal of seeing all of them. This is her latest report.

Glen-Lukens_web
Two PST shows on the rich history of ceramic art in Southern California together form a single narrative. “Common Ground: Ceramics in Southern California 1945-1975” at the American Museum of Ceramic Art in Pomona, and “Clay’s Tectonic Shift: John Mason, Ken Price, and Peter Voulkos, 1956-1968” at Scripps College in Claremont overlap in time period but are actually more like bookends, charting “before” and “after” states. The pivotal moment they bracket is the “tectonic shift” referred to in the title of the Scripps show, when ceramics expanded beyond the realm of craft and became a full-fledged fine art medium.

“Common Ground” is obviously the “before” show, whose narrative leads from Bauhaus-influenced potters to the early Abstract Expressionist leanings of artists like Voulkos, Paul Soldner, and even Billy Al Bengston (who seems to have made work in just about every medium). The exhibition is organized around the central figure of Millard Sheets, an important artist, but also an influential administrator who founded the ceramics departments at Scripps and later at the Los Angeles County Art Institute (now Otis College of Art and Design). All of the 53 artists in the AMOCA show had some connection to Sheets; many of them were hired by him as instructors, or as artists for the manufacturer Interpace Ceramics, where he served as corporate design advisor.

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PST, A to Z: ‘It Happened at Pomona Part 2: Helene Winer at Pomona’

February 8, 2012 |  8:30 am

Pacific Standard Time will explore the origins of the Los Angeles art world through museum exhibitions throughout Southern California over the next six months. Times art reviewer Sharon Mizota has set the goal of seeing all of them. This is her latest report.

The Pomona College Museum of Art has another contribution to Pacific Standard Time: "Part 2: Helene Winer at Pomona," which looks at the two short but influential years that the adventurous curator helmed the museum, from 1970 to 1972

If there were an award for stamina in the marathon that is Pacific Standard Time, it would have to go to the Pomona College Museum of Art. The first of its three-part "It Happened at Pomona" exhibition was among the first to open in late August; the third will be nearly the last to close in May. In between is "Part 2: Helene Winer at Pomona," which looks at the two short but influential years that the adventurous curator helmed the museum, from 1970 to 1972.

After stints at the Los Angeles County Museum of Art and the Whitechapel Gallery in London, Winer arrived at Pomona with an interest in then-cutting-edge work in performance, video, and photography. Much of this art centered around the body of the artist, fleeting experiences and the vagaries of narrative -- it sought to jolt audiences out of their preconceptions about art and, indeed, reality itself. Winer's exhibitions attracted the interest of at least one key L.A. conceptualist: John Baldessari regularly took his CalArts students all the way from Valencia to Pomona to see her shows.

In fact, "Part 2" opens with a sort of collaboration between the artist and Winer. "Evidence: Bowl Handed to Helene Winer Dec. 1, 70" is a black-and-white photograph of a plain white bowl that Baldessari handed to Winer at a dinner party and then had dusted for fingerprints. Marred with incriminating black smudges, the bowl wryly flips the curator-artist relationship, with the latter "framing" the marks made by the former.

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PST, A to Z: ‘The House That Sam Built,’ ‘In Words and Wood’

January 27, 2012 |  5:03 pm

Pacific Standard Time will explore the origins of the Los Angeles art world through museum exhibitions throughout Southern California over the next six months. Times art reviewer Sharon Mizota has set the goal of seeing all of them. This is her latest report.

Karl Benjamin’s "Abstraction"
Charles and Ray Eames may be the most celebrated PST designers, but two exhibitions centered on midcentury woodworker Sam Maloof give them a run for their money. “The House That Sam Built: Sam Maloof and Art in the Pomona Valley, 1945-1985” at the Huntington, and “In Words and Wood: Sam Maloof, Bob Stocksdale and Ed Moulthrop,” at the Sam and Alfreda Maloof Foundation, both look at Maloof’s work in relation to the remarkable community of artists and craftspeople who gathered around him.

Like the Eameses, Maloof was a magnet for talent and creativity, but unlike them, he never embraced mass production. Instead, a piece of his furniture — always made by hand, to order — could be seen as a highly personal dialogue between its maker and its recipient. This stance might seem too rarefied, even elitist, but it’s also evidence of Maloof’s intense focus on personal relationships.

In the Huntington show, which closes Monday, this value comes across even in relatively early works. The basic shape of a 1952 chair created for the office of industrial designer Henry Dreyfuss was inspired by Danish modern design, but Maloof added an extra bar across the back, which actually made the chair less comfortable. As it turns out, this change came out of discussions with Dreyfuss, who hoped that less accommodating chairs would encourage shorter meetings.

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PST, A to Z: ‘Civic Virtue’ at LA Municipal Art Gallery and Watts Towers Arts Center

January 25, 2012 |  5:00 pm

Pacific Standard Time will explore the origins of the Los Angeles art world through museum exhibitions throughout Southern California over the next six months. Times art reviewer Sharon Mizota has set the goal of seeing all of them. This is her latest report.

W202_ProcessionEdited_web
When Josine Ianco Starrels became the director of the Los Angeles Municipal Art Gallery (LAMAG) in 1975, she had a clear vision for the space: “It’s City money. City money comes from L.A. citizens. And I think it should support L.A. artists…where are local artists going to cut their teeth? And who is going to show them?”  

Although Pacific Standard Time has told us much about who was indeed showing local artists, Starrels’ point about the city’s money supporting the city’s artists is a key idea behind “Civic Virtue: The Impact of the Los Angeles Municipal Art Gallery and the Watts Towers Arts Center.” Split between the two venues, with each institution emphasizing its own history, this sweeping exhibition provides a much-needed vision of art created and presented, not for art’s sake or for profit, but for the public good.

Commercial galleries, no matter how adventurous, are still businesses, and non-profit museums and art spaces, with few exceptions, are beholden to wealthy donors and benefactors. It’s tempting to imagine that government-run institutions, funded by taxpayers, might truly reflect the tastes of the people. The convoluted histories of LAMAG and the Watts Towers Arts Center (WTAC) prove that reality is more complex than that, but “Civic Virtue” still succeeds in reminding us of that original, idealistic impulse: that art should be a central part of civic life.

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PST: The young artists' perspective

January 21, 2012 |  9:00 am

 

  Liz

The intimate connection between then and now becomes only more clear as the Pacific Standard Time Performance Festival kicks off this weekend and seminal works from the late 20th century are recreated all over town, often by or with the help of artists at the forefront of the 21st: the students, protégés and fans of the Judy Chicagos, Suzanne Lacys and Richard Jacksons of the PST world.

Sculptor and performance artist Liz Glynn immersed herself in archived documentation of L.A.’s first major performance art festival, Public Spirit, in 1980, for her project Spirit Resurrection, which established an open source, Web-based platform to encourage and facilitate the recreation of many of the original works (www.spiritresurrection.org).

“One thing I thought was really interesting working on that archive was how similar it felt to how my friends organize things,” she says. “There’s a letter to the artists: ‘You’ve got to take care of your own stuff. If you want money, charge a couple bucks at the door. We love you, we’re stretched really thin, so we can’t do too much for you but it’s great that you’re doing this.’ Not unlike a lot of things I’ve been involved with here. It was artists asking other artists asking their friends, a lot of things happening really last minute.”

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PST, A to Z: ‘She Accepts,’ ‘It Happened’

January 6, 2012 |  6:00 am

Pacific Standard Time will explore the origins of the Los Angeles art world through museum exhibitions throughout Southern California over the next six months. Times art reviewer Sharon Mizota has set the goal of seeing all of them. This is her latest report.

Leavitt-Wind-Sound-press_web
“She Accepts the Proposition: Women Gallerists and the Redefinition of Art in Los Angeles, 1967-1978,” and “It Happened at Pomona: Art at the Edge of Los Angeles, 1969-1973, Part 1: Hal Glicksman at Pomona,” had more in common than the fact that their unwieldy titles began with complete sentences. Although they took place at opposite ends of the region—at Crossroads School in Santa Monica and Pomona College Museum of Art, respectively—they both documented what art critic Lucy Lippard described in 1973 as “the dematerialization of the art object,” or the rise of conceptual, post-Minimal and Light and Space art. They also both focused on gallerists or curators as champions of this sometimes challenging work, and they were both hosted by educational institutions. (Unfortunately, both exhibitions have now closed, although "Part 2: Helene Winer at Pomona" of the 3-part "It Happened at Pomona" is now on view.) But as it happens, on the days I visited, each exhibition was filled with the voices of young people.

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