Posts tagged painting
Pop Goes the Easel
Options, Not Solutions by Michael Ned Holte
In the November 2000 issue of Artforum, Richard Hawkins concluded his ‘Top Ten’ list — which included everything from Robert Altman’s 1977 film Three Women (number 6) to ‘Good stuff on TV this summer’ (number 2) — with a rave for ‘Any painting made without using masking tape’, immediately followed by this zinger: ‘If the masking tape factory burned down, there’d be no painting in LA for at least a season.’ If you were cruising the galleries in southern California circa Y2K, you’d know he was hitting below the belt. Ouch.
Institutional Whitewash by Thomas Lawson
In downtown Los Angeles, the history of whitewashing controversial public murals is persistent and oddly echoic. After a half-finished mural by Italian street artist Blu was erased from MOCA’s Geffen Contemporary in 2010, Thomas Lawson revisited the troubled saga of América Tropical, David Alfaro Siqueiros's 1932 commission on Olvera Street.
Lost Opportunities: The Early Work of Don Dudley by Saul Ostrow
Last spring I went to a dinner in New York at the loft of the artist Don Dudley. In the seventies he made some great Minimalist works that literalized flatness as structure as well as surface, and he exhibited a modular piece at the Whitney Museum of American Art in 1972. By the eighties he was exploring the space between painting, sculpture, and design by producing object-like works that embodied a sense of imminent functionality. I’m not sure how, but the conversation that night drifted around to the subject of Dudley’s having come east in 1968 from LA. This was perhaps a strange time for a young artist to leave, just at the moment when Southern California was emerging with an art-world identity of its own.
The Art Lover: Galka Scheyer’s Higher Calling by Darcy Tell
In 1920s Germany, Galka Scheyer began championing recent painting by artists she dubbed The Blue Four: Alexej Jawlensky, Paul Klee, Lyonel Feininger, and Wassily Kandinsky. A decade later, Scheyer was settled in Los Angeles, a Weimar Auntie Mame tirelessly promoting modern art and its capacity to alter lives and transform attitudes. Her collection, the first important collection of German modernism in Southern California, is now known around the world.