ART ABOUT TOWN WITH PETER FRANK
MUSEUM VIEWS PASADENA MUSEUM OF CALIFORNIA ART L.A. Raw: Abject Expressionism in Los Angeles, 1945-1980 THROUGH MAY 20 One of Pacific Standard Time’s last hurrahs is also one of its most remarkable, as it examines a tendency in southern California art that few have acknowledged but keeps erupting to the surface. Indeed, many of the artists featured in this survey, as well as the post-PST artists they influenced, are among L.A.’s best known, precisely for the harrowing view of humanity they proffer. From Hans Burkhardt to Paul McCarthy (and beyond), “L.A. Raw” avers, a funky, corrosive, highly critical and yet highly spiritual – in sum, highly existential – impulse has coursed through artistic practice here, bespeaking a streak of moral challenge, even fury, that entirely belies California’s laid-back reputation. It manifested in a number of “movements,” such as the mid-century cubo-expressionism of Rico
Warshaw; the “Watts renaissance” assemblage of Betye Saar, John Outterbridge, and David Hammons; the deliberately clumsy figuration of artists
Garabedian, Roberto Chavez, and other painters associated with the CeeJe Gallery; the Pop-adjacent symbol-signage
WILLIAM BRICE UNTITLED (MALIBU FIGURE), 1968 OIL ON CANVAS, 69 1/2 X 59 IN. COURTESY OF L.A. LOUVER, VENICE, CALIFORNIA © ESTATE OF WILLIAM BRICE.
of Wallace Berman, James Gill, and Llyn Foulkes; and the body-focused performance art of McCarthy, Barbara Smith, Chris Burden, and Nancy Buchanan. One of the exhibition’s most surprising and illuminating positions, in fact, is the continuity of spirit and practice
Celebrating MOPLA (Month of Photography Los Angeles), Issue 16 of Fabrik concentrates on Photography with profiles of the inimitable Catheri...