Tag Archives: Pacific Standard Time

De Wain Valentine

Two polyester resin works by De Wain Valentine are coming up for auction on the 9th of October, as part of the auction of The Collection of Richard Dorso, one-owner auction with no reserves.

 

Minimalist artist De Wain Valentine (born 1936) draws inspiration from the Southern California landscape to create translucent glass, acrylic, and polyester resin sculptures. During his childhood in Colorado, Valentine was introduced to various industrial processes including mining, car repair, and fiberglass molding. His fascination with the interplay of color and light progressed under the instruction of Richard Diebenkorn at the University of Colorado. After he completed his studies at the Yale School of Art, Valentine moved to Los Angeles to teach Plastics at UCLA. Beginning in 1965, he achieved considerable success at gallery shows around Los Angeles with his precise forms created using highly toxic industrial materials. In addition to an upcoming show at the Getty Museum, Valentine’s work is displayed at the Los Angeles County Museum of Art, the Museum of Contemporary Art, the Whitney Museum of Art, and the Museum of Modern Art in New York.

 

The Pacific Standard Time exhibition at the J. Paul Getty Museum, From Start to Finish: De Wain Valentine’s Gray Column is NOW OPEN through March 11, 2012.

– Paul Des Marais, Contributing Writer

Lot Information

Lot 220
De Wain Valentine
Circle    
c. 1970  
Polyester resin    
17.25″ diameter x 1.75″ width
Estimate $3,000 – 5,000
To be offered in the October 9, 2011
Auction of The Collection of Richard Dorso

Lot 221
De Wain Valentine
Irregular Shape    
c. 1970-80  
Polyester resin    
18″ x 14″ x 3.5″  
Estimate $3,000 – 5,000
To be offered in the October 9, 2011
Auction of The Collection of Richard Dorso

 

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The House That Sam Built

Stop what you are doing and get thee to The Huntington.

The openings of Pacific Standard Time are now happening fast and furious and you may be trying to decide which events to go see.  “The House That Sam Built”, which opened last night at the Huntington in San Marino, should be at the top of the list.  Exquisitely presented by curator Harold Nelson, the show brings together works by Sam Maloof and many of his contemporary craftspeople and artists.  The title of the show not only proposes that this group of artists created a stand alone structure within the mid-century modern community, but also makes a sly reference to Maloof’s own personal residence where nearly all of these artists’ works found a harmonious setting over the last half century.

For anyone who has even casually paid attention to this period, you will recognize many greatest hits. There is Sam’s iconic rocking chair, of course; ceramics by the Natzlers, Macintosh, and Andreson; paintings by Karl Benjamin, Millard Sheets, and Milford Zornes.  But, even more interesting is the lesser known artists and craftspeople that have been included, which previously have not received the proper attention and here are given a world-class venue to prove themselves. James Strombotne’s “Recognition” from 1958 clearly embodies the best elements of color, form and emotion found in figurative works of this period.  Arthur Ames’ “Origin” from 1970 does for enamel what artists like Craig Kaufman did for plastic.  And John Svenson’s “Sea Sprite” from 1967 is a monumental carving in wood that begs the question, ‘Where can I see other works by this artist?’.

One place to learn more about all the artists in the show is the beautiful catalogue of the exhibition.  Elegantly designed by Ron Shore, this book, titled The House That Sam Built,  is a valuable resource for any mid-century collector. It is loaded with photographs by John Sullivan and has informative essays by Nelson, Jerry Adamson, Jason T. Busch, Jonathan Leo Fairbanks, and Tia Vasiliou.

The exhibition runs through the end of January, but, trust me, don’t wait till later. Go see this show now.

– Peter Loughrey, Director of LAMA

For more information on the exhibit please visit The Huntington’s website. For images of the installation click here.

John Baldessari, Top Pacific Standard Time Artist

Jori Finkel of the Los Angeles Times wrote a recent article outlining the top 20 artists that will be featured the most in Pacific Standard Time exhibitions.

Top of the list: John Baldessari

(whose work will be shown in 11 Pacific Standard Time exhibitions)

LAMA is offering two John Baldessari phototext paintings for sale in the October 9, 2011 Auction of The Collection of Richard Dorso.  Unlike at the museums, you can actually take one of these home. 

 

Lot 160
John Baldessari
8th and D, National City
1966-68
Photographic emulsion and acrylic on canvas
Retains Molly Barnes Gallery label verso
14” x 14”
Provenance: Molly Barnes Gallery, Los Angeles
Literature: Forthcoming catalogue raisonne, #1968.5
John Baldessari: National City, Museum of Contemporary Art, San Diego, 1996, pg. 105.
Exhibited: “John Baldessari: Pure Beauty”, Molly Barnes Gallery, Los Angeles, October 6 – 28, 1968
Estimate: $80,000-120,000

 

Lot 161
John Baldessari
Sleep While You Grow Rich
1966-67
Ink on canvas
Signed and dated “Baldessari 67” recto; Molly Barnes Gallery label verso
12” x 12”
Provenance: Molly Barnes Gallery, Los Angeles
Literature: Forthcoming catalogue raisonne, #1967.5
Exhibited: “John Baldessari: Pure Beauty”, Molly Barnes Gallery, Los Angeles, October 6 – 28, 1968
Estimate: $80,000-120,000

In 1959 John Baldessari emerged from his post-graduate studies at the Otis Art Institute and Chouinard Institute a painter, though he was supremely frustrated and discouraged by his experiences in Los Angeles. While there, he lacked gallery space, was confused about what kind of artist he wanted to become, and he felt himself fading into irrelevance. He decided it was time to return to his hometown. Baldessari’s homecoming to National City, a working-class suburb between San Diego and the Mexican border, would be considered a poor decision by most. At the time, the town was known for little more than its “Mile of Cars”, a stretch of highway crowded with new and used car lots. He made his living teaching public school art courses, and with the help of his father, a real estate agent, he found a tiny studio space at the rear of a Laundromat. After searching for inspiration to paint, he abstained from traditional landscapes and overwrought contemporary variations in favor of photographs that document his hometown. He initially used his photos as “a sort of note-taking” and soon concluded, “‘Why do I have to translate this into a painting? What’s wrong with a photograph?’”

It was in 1966 that Baldessari created a new form that emerged from what art critic and historian Jan Avgikos calls “a void characterized by cultural isolation, boredom, and estrangement.” From 1966 to 1970, Baldessari created phototext paintings that blur the distinction between painting and photography, the result of his existence in National City sequestered from any major art scene. Although his images are more snapshots with distracting obstructions and newspaper-style graininess, they depict with stark realism an understanding of National City as it really is. For his phototexts, including 8th and D, National City (1966-68), Baldessari “hired a commercial sign painter who was instructed to use as straightforward a lettering style as possible.”

At the Molly Barnes Gallery on La Cienega in 1968, Baldessari, with assistance from artist David Antin, somehow convinced Barnes to host a one-week show between two already scheduled artists. She agreed, but Baldessari had to pay the cost of the U-Haul truck to carry his works from National City. Instead of cash, he gave Barnes A Painting That Is Its Own Documentation (1968). This show was his first in Los Angeles, the city he fled a decade earlier in response to dissatisfaction with his own incessant figure drawings and abstract expressionist recreations. Paintings from the show, including Wrong (1967), now housed in the Los Angeles County Museum of Art, reveal an artist leading with a singular vision of art and nothing to lose. Sleep While You Grow Rich (1966-67) was also exhibited, which Richard Dorso bought on a quiet October afternoon.

– Paul DesMarais, Contributing Writer

Literature:
Avgikos, Jan. “Stating the Obvious.” John Baldessari: National City. Ed. Hugh M. Davies and Andrea Hales. San Diego: Museum of Contemporary Art, San Diego, 1996. 18-21. Print.
Hales, Andrea. “National City Revisited.” John Baldessari: National City. Ed. Hugh M. Davies and Andrea Hales. San Diego: Museum of Contemporary Art, San Diego, 1996. 10-13. Print.
Plagens, Peter. “First Break: Peter Plagens on John Baldessari.” ArtForum Feb. 2002. Print.