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July 15, 2011
CALIFORNIA STATE OF MIND
Albuquerque Journal / Journal North
July 15, 2011

<B>CALIFORNIA STATE OF MIND</B><BR>
Albuquerque Journal / Journal North<BR>
July 15, 2011<BR><BR>
For the second year in a row, David Richard Contemporary is acting like a big-city gallery or art museum by presenting a curated exhibition of the multifaceted and dynamic innovations of contemporary art after World War II. “Southern California Painting, 1970s: Painting Per Se” follows last year’s “1960s Revisited” show of paintings from both East and West coasts. But this year is 2011, and it is the year for Southern California art. Unless you have just emerged from five or so years completely unplugged from the art world, you are sure to have heard about the upcoming Getty funded initiative that includes over 40 concurrent exhibitions under the rubric “Pacific Standard Time: Art in L.A. 1945-1980.”

Most major institutions are coordinating their programs to open Oct. 1. The work of many influential artists of the era, including many who have made their homes in New Mexico, will be featured in multiple exhibitions. Among these are Larry Bell, Judy Chicago, John McCracken, Bruce Nauman, and Ken Price.

The purpose of all these exhibitions, as well as the very eclectic and provocative exhibition at David Richard, is thoroughly revisionist. They intend to document the emergence of Los Angeles as an international nexus of contemporary art after the war and to rewrite a history that for decades has claimed New York as its center. With Getty taking the lead and providing support, scholars and institutions are fleshing out previously unexplored histories, and showcasing an overwhelming cascade of art that has not seen the light of day in the decades since it was made. Shows have been organized around such diverse themes as activist art collectives, black artists, Chicano artists, Chinese- American architects, crafts movements, Japanese- American artists and designers, photographers, video pioneers, and women artists.

The 1970s was known as the “Pluralist Decade,” and the show at David Richard is an enticing advance sampling of the wide-open nature of painting in L.A. then. Co-curator Peter Frank contends in his essay that since L.A. was not a “painting town” –– unlike New York, London, Berlin, and even San Francisco –– and, that with its abundance of art schools and art departments, L.A. was a place for exploration. He argues that there was an unusual degree of tolerance and “no blanket condemnation of any particular practice on the basis of any aesthetic ideology. ... More than most places, Los Angeles fostered an artistic community whose artists produced for one another rather than for cadres of collectors, curators, critics, or dealers.”

This seems right as far as it goes, but in a more fundamental way it was the ambiance of Los Angeles and New York that made for the most visibly evident differences. Popular television police shows are perfect examples of these hidden-in-plainsight essential differences. For example, New York cop shops are close-knit third generation insiders in a city where people live on top of one another, and L.A. cop shops are multiracial teams that cover a 350-square-mile mosaic of distinct geographies and communities.

Just look at two large-scale Judy Chicago pastel grid pieces from 1971 made by spraying acrylic on acrylic. They are unabashedly about the beautiful soft light in a place she nostalgically remembers as a warm and welcoming paradise, where an artist could live at the beach for $60 per month. Another real treat is also an exercise in beauty titled “Lavender Twins” from 1977 by Merion Estes, constructed of large, woozy, softly colored spheres painted on multiple sheets of clear vinyl draped in front of the wall. With a knowing nod to Jackson Pollock’s famous “Lavender Mist” action painting, the action in Estes’ painting is not about the process of flinging the paint but is the action of light and the phenomenology of perceiving the properties of this entirely new material object. Like Judy Chicago, Estes was among the first generation of artists who energized the feminist movement in this country and in L.A.’s Woman’s Building in particular. Also on view are elegant works by artist Helen Lundberg from an earlier generation, along with the always unexpected, consciously altered sensibilities of Karen Carson and Margaret Nielsen.

The mural-sized squeegee painting in saturated sunset colors by Jerry Burchman titled “Spectrum,” was also a reaction to Jackson Pollock’s canvasses that were painted on the floor. It marks Burchman’s turn away from the legacies of easel painting to shopping at the hardware store for his tools.

Among the noteworthy paintings in the exhibition are the high-contrast, truncated circles of artistturned- art-critic Peter Plagens, the suave twists and turns in Tony DeLap’s black-and-white “The Whim of Tituba,” the incendiary fierceness of Scott Grieger’s “Match Man” and “Past History” canvasses, and, the oddly airless watercolor still lifes that verge on the surreal by Max Hendler, who for the last 25 years has made luminous monochromatic squares. During a panel of the artists talking last Saturday, Hendler tentatively ventured that while making these early painstaking still lifes, he was confined to working while sitting down in a small trailer, but when he got a studio and could move back and forth while standing, he began painting monochromes, a transition he characterized as “painting himself out of the canvas.”

There is a bit of overdue boosterism in the assertion that in the face of the silly 1960s declaration of painting’s demise that painting was not as restricted in L.A. as in other art centers. In fact, not only are most of the works in this exhibition fairly standard flat works made in ways common to other centers across the U.S. and Europe, but what painting’s expansion and the experimentation with new materials had in common was the rupture of culture in the wake of the great social and political upheaval of the late 1960s. What is indisputable is that Los Angeles artists did live in very different conditions of light and space, and it shows.

Northern New Mexico could also benefit greatly from an initiative that investigates the history of artists, fills in the blanks, and fleshes out the diversity while documenting the give and take nationally and internationally. What foundation can lead the way and initiate such a major endeavor? It’s about time. It’s about place.

MaLin Wilson-Powell

 

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DAVID RICHARD GALLERY NEWSLETTER
Newsletter Vol. 4, No. 1
January, 2013
January 16, 2013
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ERIC ZAMMITT
Visual Art Source
January 2013
Iris McLister
January 01, 2013
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Susan Woodruff
Making the World
Huffington Post
2013
Shana Nys Damboryt
January 01, 2013
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Suzan Woodruff - Echo Maker
Huffington Post
2013
Anthony Miller
December 18, 2012
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NEW AMERICAN PAINTINGS #103
November 30, 2012
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FRED EVERSLEY at David Richard Gallery
ARTnews
December 2012
Ann Landi
October 16, 2012
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THE MARKET'S HOTTEST ARTISTS
Bloomberg.com
October 16, 2012
Ben Steverman
October 15, 2012
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BEVERLY FISHMAN NONFUNCTIONAL FRAGILITY
September 29, 2012
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THE DAVID RICHARD GALLERY EXHIBITS BILLY AL BENGSTON
Art Media Agency
September 29, 2012
September 26, 2012
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FOURTH FRIDAYS FOR FRIENDS
September 01, 2012
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DEBORAH REMINGTON / JUDY CHICAGO
Huffington Post
Peter Frank
September 1, 2012
August 31, 2012
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DIA GETS DOSE OF BIG PHARMA
Huffpost Detroit
John Corso
August 31, 2012
August 30, 2012
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PUSSYRIOT: WOMEN STILL A POTENT FORCE, SAYS FEMINIST ART FOUNDER JUDY CHICAGO
International Business Times
Gianluca Mezzofiore
August 30, 2012
August 20, 2012
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A SERIES OF JUDY CHICAGO EXHIBITIONS AND EVENTS IN THE UK FOR THE FIRST TIME SINCE 1985
ArtDaily.org
August 20, 2012

August 08, 2012
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DEBORAH REMINGTON: SELECTED WORKS FROM 1964 to 1975
Pasatiempo
Michael Abatemarco
July 20, 2012
August 08, 2012
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Judy Chicago: Reviewing Powerplay

ArtInfo.com
August 8, 2012
August 01, 2012
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JUDY CHICAGO: REVIEWING POWERPLAY
THE Magazine
Susan Wilder
August 1, 2012
July 12, 2012
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Interrogating Heroic-Ness – and Judy Chicago’s Cultural Powers
Adobe Airstream
July 12, 2012
Ellen Berkovitch
June 30, 2012
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A TAOS MODERNIST EXHIBITION CELEBRATES BEATRICE MANDELMAN, FOUNDER OF THE TAOS VALLEY ART SCHOOL
Albuquerque Journal/Journal Santa Fe/Journal North
Kathleen Roberts
June 29,2012
May 31, 2012
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Pod Cast
May 18, 2012
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FIVE FROM FIVE "A SAMPLING OF PAINTING IN NEW YORK CITY
dArt Internatioanl
John Mendelsohn
Summer 2012
May 14, 2012
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ROBERT SWAIN "COLOR AFFECT" AT DAVID RICHARD GALLERY
Eyes In
May 14, 2012

May 10, 2012
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TOM HOLLAND: “PAINTINGS PAST AND PRESENT” AT DAVID RICHARD CONTEMPORARY
Art LTD
Michael Abatemarco
May 2012

May 04, 2012
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“A PAINTING SURVEY”, MICHAEL WRIGHT AT THE DAVID RICHARD CONTEMPORARY
Art Media Agency
May 4, 2012

May 01, 2012
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An Interview with Artist Julian Stanczak
GeoForm
May 2012
Julie Karabenick
May 01, 2012
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An Interview with Artist Julian Stanczak
GeoForm
May 2012
Julie Karabenick
April 23, 2012
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DANIELLE SHELLEY AT DAVID RICHARD CONTEMPORARY
Art Media Agency
April 23, 2012

March 30, 2012
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DAVID RICHARD TO MOVE TO SANTA FE RAILYARD
Adobe Airstream
March 30, 2012

March 03, 2012
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THE CROCKER ART MUSEUM OPENS A SURVEY OF GROUNDBREAKING ARTIST JUDY CHICAGO
Art Knowledge News
March 3, 2012

February 29, 2012
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WARD JACKSON
Huffington Post
Peter Frank
February 29, 2012

February 26, 2012
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DAVID RICHARD CONTEMPORARY - PALM SPRINGS FINE ART FAIR - 2012
Argot & Ochre
February 26, 2012

February 24, 2012
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30 ARTISTS TO WATCH IN 2012
NYArts Magazine
February 24, 2012

February 23, 2012
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THE INAUGURAL PALM SPRINGS FINE ART FAIR FEATURES MORE THAN 2,000 POST-WAR & CONTEMPORARY WORKS
Art Knowledge News
February 15, 2012

January 25, 2012
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DAVID SOLOMON AT DAVID RICHARD CONTEMPORARY
Art In America
February 2012
Jan Ernst Adlmann

January 06, 2012
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SANTA FE GALLERY PLANS MANDELMAN EXHIBITION
The Taos News
December 29, 2011

January 05, 2012
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TOM HOLLAND AT SANCHEZ ART CENTER

January 03, 2012
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Beverly Fishman
DECEPTIVE PLEASURES
by Donald Kuspit on ArtNet

December 30, 2011
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HOLLAND'S WORK WILL BE PRESENTED BY DAVID RICHARD CONTEMPORARY FROM SANTA FE, NM

December 24, 2011
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ART LTD REVIEW OF DAVID SOLOMON AT DAVID RICHARD CONTEMPORARY
Art LTD
Jon Carver
December 24, 2011

December 17, 2011
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BAY AREA ABSTRACTION: 1945 - 1965
Visual Art Source
December 17, 2011

December 17, 2011
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THE BAY WINDOW - SAN FRANCISCO'S INFLUENCE CAN BE SEEN THROUGH ARTISTS' WORKS
Albuquerque Journal / Journal Santa Fe / Journal North
Harmony Hammond
December 16, 2011

December 13, 2011
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DON MORRIS: THE ART OF DECONSTRUCTION
Artweek.LA
December 21, 2011

December 13, 2011
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JULIAN STANCZAK: GREAT COLORIST OF THE 20TH CENTURY
Cleveland Institute of Art
December 13, 2011

December 12, 2011
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JUDY CHICAGO TO RECEIVE THE PALM SPRINGS FINE ART FAIR'S LIFETIME ACHIEVEMENT AWARD
Visual Art Source
December 12, 2011

December 12, 2011
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DEMYSTIFYING PROCESS
Studio Spoken
December 12, 2011

November 30, 2011
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BAY AREA ABSTRACTION 1945 - 1965
THE Magazine
November 30, 2011

November 25, 2011
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DAVID SOLOMON AT DAVID RICHARD CONTEMPORARY
New Mexican's Pasatiempo
Michael Abatemarco
November 25, 2011

November 11, 2011
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'BAY AREA ABSTRACTION: 1945-1965' AT DAVID RICHARD CONTEMPORARY'
Antiques and The Arts Weekly
November 11, 2011

November 06, 2011
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Cleveland Institute of Art touts its own history in shows on Robert Mangold, Julian Stanczak and Ed Mieczkowski
Cleveland.com
November 6, 2011
Steven Litt
October 30, 2011
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Q&A: JUDY CHICAGO
Los Angeles Times
Jori Finkel
October 30, 2011

October 26, 2011
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JUDY CHICAGO'S UPCOMING DISAPPEARING ENVIRONMENTS: HOW DO YOU MAKE ART OUT OF GIGANTIC PYRAMIDS OF DRY ICE? LA Weekly
October 26, 2011

October 06, 2011
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ART PLATFORM L.A.
ArtNet
October 6, 2011

September 26, 2011
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MICHAEL COOK: VENETIAN
THE Magazine
Diane Armitage
October 2011

September 23, 2011
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JUDY CHICAGO: WHAT I LEARNED FROM MALE CHAUVINISTS
LA Weekly
September 23, 2011

September 21, 2011
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CLEVELAND MUSEUM OF ART OPTICAL ART EXHIBIT A TEST FOR THE EYES
WEWS
September 21, 2011

September 18, 2011
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Charles Hinman exhibition at The Butler Institute of American Art
August 27, 2011
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MICHAEL COOK
Visual Art Source
August 27, 2011
August 16, 2011
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PILL SPILL OFFERS LATE-SUMMER THRILL AT TMA
Toledo Free Press
August 16, 2011

August 11, 2011
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WTVG-TV'S INTERVIEW WITH AMY GILMAN ABOUT PILL SPILL
WTVG-TV
August 11, 2011

August 09, 2011
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JOURNEY IN A LIFE BOAT
Santa Fe Reporter
August 09, 2011

July 06, 2011
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ARTISTS OF THE MONTH: PHILIP BALDWIN AND MONICA GUGGISBERG
Art Alliance for Contemporary Glass
July 2011

June 30, 2011
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TOOTS ZYNSKY ON COVER OF GLASS ART MAGAZINE
Glass Art
July/August 2011

June 20, 2011
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JUDY CHICAGO

June 17, 2011
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WOMAN'S HOUR - JUDY CHICAGO
BBC Radio
June 17, 2011

March 11, 2011
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A.K.A. ZEN
Visual Art Source
March 3, 2011

March 10, 2011
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OVERGROWN ZEN GARDEN
Santa Fe Reporter
March 10, 2011

February 28, 2011
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JEAN WELLS "RE-POP"
Glass
Spring 2011

December 23, 2010
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PAINT BY THE NUMBERS
Santa Fe Reporter
December 23, 2010

November 05, 2010
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ART REVIEW: 1960S REVISITED (IN SANTA FE)
Adobe Airstream
November 5, 2010

November 01, 2010
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The New Criterion review of "Julian Stanczak: Color - Grid"
Gallery Chronicle
James Panero
Published November 2010
July 01, 2010
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THE ART OF GLASS: TRANSCENDING FROM CRAFT TO ART
Uploaded Magazine
July 01, 2010

June 28, 2010
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FAIR CITY - SANTA FE GEARS UP FOR SUMMER
Art & Antiques
July 2010

June 28, 2010
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TRADITION AND TRANSGRESSION - IN SANTA FE, CONTEMPORARY ART MOVES FORWARD IN CONVERSATION WITH THE PAST.
Art & Antiques
June 2010

June 14, 2010
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FORMER OPERA THEATRE OF ST. LOUIS DIRECTOR OPENS ART GALLERY IN SANTA FE
STL Today
June 14, 2010

June 13, 2010
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SANTA FE TURNS 400
Art In America
June/July 2010

June 12, 2010
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PAUL HENRY RAMIREZ - PRESS RELEASE

June 12, 2010
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BEVERLY FISHMAN "FUTURE NATURAL"

May 19, 2010
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SOFA WEST: SANTA FE 2010

February 01, 2010
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Terri Roland
Art In America
February 2010
Harmony Hammond
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David Richard Gallery, LLC | 1570 Pacheco Street, A1, Santa Fe, NM 87505 | p (505) 983-9555 | f (505) 983-1284


10:00 a.m. - 5:00 p.m. Tuesday - Saturday, or by appointment


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