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Full text of "Art in Los Angeles : the museum as site--sixteen projects : Los Angeles County Museum of Art, July 21-October 4, 1981 : [exhibition catalog]"

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A t i i ■! I. ■> 3 A ii -j o I 

The Museum 
as Site: Sixteen 
/ Projects 

The Museum as Site: Sixteen Projects 

Stephanie Barron 

Photographs by Robbert Flick 

Los Angeles County Museum of Art 
July 21-October 4, 1981 

Library of Congress This exhibition was made possible 

Cataloging in Publication Data by a grant from The James Irvine Foundation. 

Barron, Stephanie 
Art in Los Angeles. 

1 Environment i Art)— California — Los Angeles 
— Exhibitions. 2 Conceptual Art— California- 
Los Angeles — Exhibitions. 3. Art, Modern— 20th 
century— California — Los Angeles — Exhibitions, 
I Los Angeles County Museum of Art II Title 
111 Title Museum as site — sixteen projects 
N6535.L6B37 709 \794'93074019493 81-17161 
ISBN 0-87587-102-X AACR2 

Published by the 

Los Angeles County Museum of Art 

5905 Wilshire Boulevard 

Los Angeles, California 90036-9990 

Copyrighl | 1981 by 
Museum Associates, 
Los Angeles County Museum of Art 

Edited by Jeanne D\Andrea 
and Aleida Rodriguez 

I It-signed in Los Angeles 
by April Greiman 
Assisted by Cheri Gray 

Text set in Century Schoolbook 

and Helvetica typefaces 

by RSTypographicH, Los Angeles 

Printed in an edition of 6,200 on 
Mustang Vellum 50 lb offset book 
by Alan Lithograph Inc., Los Angele 

4 Director's Preface 

4 Acknowledgments 

5 The Project and Catalog 

6 Map 

9 The Museum as Site: Sixteen Projects 

1 1 Robert Irwin 

15 Lloyd Hamrol 

1 9 Terry Schoonhoven 

23 Karen Carson 

27 Jay McCafferty 

3i Robert Graham 

35 Michael Asher 

37 Michael Brewster 

41 John Baldessarl 

45 Roland Reiss 

49 Richard Jackson 

55 Michael C. McMillen 

61 Jonathan Borofsky 

65 Alexis Smith 

69 Chris Burden 

73 Eric Orr 

77 Exhibition Histories 

82 TVustees and Supervisors 

Director's Preface 

On the occasion of Los Angeles' Bicentennial, the 
Museum's Department of Modern Art presented a 
two-part exhibition, Art in Los Angeles. The first, 
Seventeen Artists in the Sixties, organized by Senior 
Curator of Modern Art Maurice Tuchman, explored 
particular aspects of work by a limited number of 
artists from a decade in which Los Angeles artists 
achieved national and international acclaim. The 
second, The Museum as Site: Sixteen Projects, orga- 
nized by Curator of Modern Art Stephanie Barron, 
focuses on two specific kinds of art that emerged in 
the last decade and continue to be practiced by 
many artists who live here: site-related art and in- 
stallation art. 

This is a period of growth for the Los Angeles 
County Museum of Art, with expansion planned to 
include a new building for twentieth-century art. 
Thus, it is particularly gratifying to celebrate Los 
Angeles and the high level of creativity that its art- 
ists continue to exemplify. We thank all of them 
for their efforts in making this part of the Museum's 
Bicentennial celebration a success. 

Earl A. Powell III 

By its very nature, the exhibition The Museum as 
Site: Sixteen Projects has been a collaborative ven- 
ture. I would like to thank each of the sixteen 
artists with whom I have worked during the past 
year to conceptualize, plan, and execute these 
works. It has been an exciting, rewarding venture 
and each of the artists has responded with ambition 
and excellence to the invitation to exhibit. 

Director Earl A. Powell III has been a vocal enthu- 
siast of this project from its inception and through 
the many months of installation as the artists 
"invaded" the Museum grounds. Assistant Director 
for Museum Programs Myrna Smoot balanced the 
budgeting aspects of the projects, responding 
with sensitivity to unexpected problems. Head 
of Technical Services James Kenion deserves 
special recognition for working with the artists to 
execute their pieces. Frequently solving seemingly 
insurmountable dilemmas, Mr. Kenion and the 
Technical Services, Construction and Maintenance 
staffs of the Museum responded with understanding 
and imagination time and again during the past 
year. Museum photographer Larry Reynolds col- 
laborated with John Baldessari in the execution of 
his photographic installation. 

In the Department of Modern Art, I would like to 
thank my colleague Maurice Tuchman, Senior 
Curator of Modern Art, for his unfailing encour- 
agement throughout this undertaking. He was 
always available to me and to the artists for con- 
sultation. Assistant Curator Katherine Hart and 
Departmental Assistant Lora Brown worked closely 
with me in all phases of the installation of the 
projects. Departmental secretary Donna Wong, with 
great skill, enthusiasm, and diplomacy, took on 
the additional responsibilities of navigating our 
department and the sixteen artists through the 
past year. 

This catalog is the result of the efforts of photog- 
rapher Robbert Flick and designer April Greiman. 
Mr. Flick worked with rigor, spirit, and zealous 
commitment to record the process of creation of 
each of these works. Rarely does one find a photog- 
rapher who responds so sympathetically and un- 
stintingly. My thanks also go to Curatorial Assistant 
Stella Paul, Head of Publication and Design Jeanne 
D'Andrea, Publications Associate Aleida Rodriguez, 
Museum Service Council volunteer Grace Spencer, 
and to Jack Brogan, Anne Jackson, Vija Celmins, 
Rosamund Felsen, Christopher Knight, and Lisa 
Lyons for their cooperation on this project. I would 
like to acknowledge the examples of Alanna Heiss, 
Executive Director, Institute for Art and Urban Re- 
sources, New York; and Mark Rosenthal, University 
Art Museum, University of California, Berkeley, 
whose exhibitions. Rooms P.S.I and Surface as 
Support, respectively, have been an inspiration. 

To each of the artists and to their assistants 
I extend my warmest thanks. Their enthusiasm, un- 
derstanding, imagination, and dedication to this 
exhibition have made the projects not only feasible, 
but an exciting collaboration for the Museum. 
Lastly, I thank The James Irvine Foundation for 
their support of the exhibition and this catalog. 

Stephanie Barron 
Curator of Modern Art 

The Project and Catalog 

Each artist in the exhibition received a participa- 
tion fee of seven hundred fifty dollars. The Museum 
assumed the costs of the materials for each project 
up to a pre-arranged amount. Each artist signed a 
contract which outlined the responsibilities and 
work schedule of the Museum and the artist Both 
parties also agreed that at the close of the exhibi- 
tion the materials would either be returned to the 
artist or dismantled. 

Since most of the works in this exhibition cannot 
impart their full meaning outside of the contexts of 
their particular sites, we must rely on documenta- 
tion to share these pieces with broader audiences. 
While each artist had a definite a priori idea about 
what the piece would look like, it is in the nature of 
many of these works that only during the final in- 
stallation did they take finished form. Thus, it was 
impossible to predict in advance the ultimate ap- 
pearance of some of the works in the show. For 
many artists, moving into the Museum space was 
the culminating step in a long process of prelimi- 
nary work in the studio. For this reason, the catalog 
has awaited the opening of the show. Photographer 
Robbert Flick assiduously documented the process 
of creation in the studio and in the Museum during 
the four months prior to the opening. These process 
photographs are an indispensable part of the record 
for a show of this nature. 

The Museum as Site: 

Sixteen Projects 

Ahmanson Gallery 

5905 W I I 

I V d 

v° ° 

Michael Ashenb 1943) 

Sign m the Park, 1981 

Outdoors On the path between the B G Cantor 
Sculpture Garden and the lake pit in Hancock Park 
h ii%m..w. 41%in..d. %in 

2 John Baldessari(b 1931) 

Alignment Series. Two Palms and Two Columns 

(lor Newman), 1981 

Photographic installation 

Two photographs (one color, one black-and- 

white),each 15x10 It. 

Ahmanson Gallery, third floor 

3 Jonathan Borofskyib 1942) 

/ Dreamed a Dog Was Walking a Tightrope 
at 2,715,346. 1981 

Mixed-media-and-video gallery installation 
Ahmanson Gallery, third floor 

Michael Brewster (b 1946) 

Attach and Decay, 1981 
Acoustic sculpture 

Outdoors. B G Cantor Sculpture Garden, i 
section, near circular 

5 Chris Burden (b 1946) 

A Tale of Two Cities. 1981 

Mixed-media gallery mslailatio 
Ahmanson Gallery, third lloor 

i Karen Carson (b. 1943) 

Rising Rings, 1981 

Acrylic on canvas 

h 52 ft.. w. 20 ft 

Outdoors: Ahmanson Gallery, south tacade 

7 Robert Graham (b 1938) 
Retrospective Column. Part One, 1981 

8 Lloyd Hamrolfb 1937) 

Squaredance, 1981 

Constructed wood sculpture (Douglas lir timbers) 

h 10ft, w 17 ft., d: 7ft. 

Outdoors Upper Plaza, in front of Leo S. Bmg 


9 Robert Irwin (b 1928) 

An Exercise on Placement and Relation in Five 
Parts. 1981 
In each location 

One steel plate- h 13 It . 6 in , w 2 ft , d 1m 
One sleel bar-h: 4 ft . w 6 in.; d 6 in 
One stainless steel bar-h 13ft .,6 in .,w:1Y*in ,d 1 
a) Wilshire Boulevard entrance, b) Lower 
Plaza, in front of Founders' Wall, c) Upper 
Plaza, in front of Frances and Armand Ham- 
mer Wing, d) Upper Plaza, in front of Ahman- 
son Gallery, e) Ahmanson Gallery, third floor 

Richard Jackson (b 1939) 

The Big Idea. 2. 1981 
3,000 stacked canvases 
diam 16 ft 
Ahmanson Gallery Atrium 

11 Jay McCaHerty(b 1948) 

Between, 1981 

Painting in three panels 

h. of each panel 52 ft.; w of each panel: 8 ft 

Outdoors Ahmanson Gallery, east facade 

12 Michael C.McMillenlb 1946) 

• Central Meridian, 1981 
Mixed-media environment 
Ahmanson Gallery, third floor 

13 Eric Orr(b 1939) 

Prime Matter, 1981 

Column ot flame and fog 

h: 20 It 

Outdoors Upper Plaza, in front ol Ahmanson 


Roland Reiss (b 1929) 

Wew World Stoneworks, 1981 
Five objects on five pedestals 
a) Leo S. Bmg Theater, lobby, b) Ahmanson Gal- 
lery Atrium, under stairs, c) Ahmanson Gallery. 
Plaza level, near elevators, d) Ahmanson Gal- 
lery, third lloor, stairwell, e) Ahmanson Gallery, 
fourth lloor, near elevators 

15 Terry Schoonhoven (b 1945) 

Outdoors Ahmanson Gallery facade, north 

16 Alexis Smith (b 1949) 

Cathay, 1981 

Mixed-media gallery installation 

Ahmanson Gallery, third floor 

By the end of the 1960s, the art object qua object 
began to be de-emphasized as artists became in- 
creasingly interested in the processes by which art 
was made and the contexts in which new art could 
exist. To this end, the seventies has been described 
as a decade characterized not by one particular 
style but rather by pluralism, in which the way art 
looked assumed a myriad of guises. It was a dec- 
ade in which traditional painting and sculpture 
took a back seat to the mixed-media environment, 
massive-scale sculpture, earthworks, video, perfor- 
mance, site-related work, and experiments in sound 
and light. Recognizing the great diversity of new 
forms, it became evident that a survey of the seven- 
ties in Los Angeles would be an unwieldy and ulti- 
mately inconclusive endeavor. Instead, we decided 
to focus on two of the aforementioned ways of work- 
ing — the site-related work and the mixed-media 
environment or installation. These are two kinds of 
work that are generally difficult to exhibit in a 
museum context and by definition are not com- 
monly collectible. To link them, I conceived of the 
Museum itself as site and invited artists to create 
works specifically for indoor and outdoor spaces and 
locations. The works would remain on view only for 
the duration of the exhibition. There is an energy 
and intensity generated by a work made for a given 
temporal situation — a priori uncollectible, unre- 
tainable — that is captured in each of these examples. 

less frequently noticed aspects of the buildings or of 
the grounds. Curiously, this museum, the Temple of 
Culture on Wilshire Boulevard, which for so many 
years has been considered a white elephant, became 
in the context of this exhibition an aesthetic and 
intellectual challenge. The experience of encounter- 
ing a scattering of unusual and sometimes jarring, 
sometimes playful works of art, or of viewing in- 
stallations that employ non-art materials or unex- 
pected motifs in nontraditional art spaces, is an 
unfamiliar one to most museum visitors. 

Site-related or site-specific art is art conceived only 
in relation to a given location and related to it for 
its context and meaning. Works in this show by 
Michael Asher, John Baldessari, Michael Brewster, 
Karen Carson, Lloyd Hamrol, Robert Irwin, Jay 
McCafferty, and Terry Schoonhoven respond to the 
extant Museum architecture and landscape, which 
necessarily determined the physical boundaries of 
the pieces. While most of the artists responded to 
the building as a physical site, a few, Michael 
Asher, Richard Jackson, Michael C. McMillen, and 
Roland Reiss responded to the "museumness" of the 
site — the museum as a repository of the history of 
.art. These works vary greatly in their response to 
the challenge of creating site-related art; several of 
the artists invited had a history of such work, some 
did not. 

Since it opengd its doors in the mid-1960s the Los 
Angeles County Museum of Art has been consid- 
ered by many artists to be an architecturally awk- 
ward and unsympathetic space for contemporary 
art. Currently, the Museum is engaged in an exten- 
sive program of expansion, renovation, and replan- 
ning with the architectural firm Hardy Holzman 
Pfeiffer Associates. At a moment of such great 
change it seemed appropriate to use the Museum 
and its grounds to recognize a type of artmaking 
that has emerged here in the past decade. Several 
artists have taken the buildings and the grounds 
and treated them as formal objects which can be 
explored in a variety of ways. Many of the artists 
have talked about the desire to alert the viewers to 

The second aspect of the show is the environments 
that have been created within the Museum grounds 
by Jonathan Borofsky, Michael C. McMillen, Alexis 
Smith, and Chris Burden. These artists have 
created private worlds by using a variety of media 
and approaches — drawing directly on the wall, 
using sculpture, found objects, video, sound, light, 
and architecture to convey their meanings. 

Plaza Leve 

Third Floor 

Robert Irwin 

Attended Otis Art Institute, Los Angeles. 
1948-50; Jepson Art Institute. Los Angeles, 
1951, and Chouinard Art Institute, Los 
Angeles. 1952-54. 

In each location. 

One steel plate— h: 13 ft., 6 in.; w. 2 ft.; d: 1 in 
One steel bar— h* 4 ft., w 6 in . d 6 in 
One stainless steel bar — h 13 tt . 6 in , 

w; V/a in., d. 1V4 in 
a) Wilshire Boulevard entrance, b) Lower 
Plaza, in front of Founders' Wall; c) Upper 
Plaza, in front of Frances and Armand Ham- 
mer Wing; d) Upper Plaza, in front of Ahman- 
son Gallery, e) Ahmanson Gallery, third floor 

Robert Irwin is the only artist who has participated 
in both parts of the Art in Los Angeles show. For 
more than a decade he has been known as a pioneer 
of site-related work. Irwin's contribution to this 
part of the show is An Exercise in Placement and 
Relation in Five Parts, a didactic, clear example of 
site-related work. In each of five locations, begin- 
ning at the Wilshire Boulevard entrance to the 
Museum complex, continuing through three more 
outdoor sites, and ending in a gallery in the 
Ahmanson building, Irwin has arranged three steel 
elements in different configurations. Each location 
of Irwin's piece determines the formality or in- 
formality of the steel configuration. In one, the steel 
pieces lie casually on the ground as raw materials 
running the risk (intentionally, of course) of being 
confused with construction materials. In the stark, 
white-walled gallery, the warm modulation of the 
raw steel surface assumes a painterly quality; the 
steel elements are elegant, formal, and highly 
structured. This piece not only serves to bring to- 
gether the variety of indoor and outdoor spaces in- 
corporated by this show, but it also relates the two 
main buildings, thus linking the art of the sixties 
with the site-related show. Thus, by following the 
path of this particular work by Irwin, the viewer 
is introduced to the possibilities and intention 
of site-related art. 




Lloyd Hamrol 

Squaredance. 1981 

Constructed wood sculpture (Douglas fir timbers) 

h: 10 ft , w- 17 ft . d. 7 ft 

Outdoors Upper Plaza, in front of Leo S Bmg Center 

V^TT *f?J.X*x. SZfS-ao* 

Lloyd Hamrol's sculpture Squaredance is a wooden 
propylaeum located on the Plaza near the entrances 
to the three "Temples of the Museum": the Ahman- 
son Gallery, the Frances and Armand Hammer 
Wing, and the Leo S. Bing Center. Composed of 
sixty-eight interlocking Douglas fir timbers which 
are cut from twelve-inch by twelve-inch logs, the 
four-doored, open-roofed structure is seventeen feet 
square and nine feet high. Hamrol's sculpture intro- 
duces the notion of structure on the Plaza, relates 
to the three buildings, and yet is in striking contrast 
to them. Visually, texturally, and gesturally, the 
rough-hewn wood surfaces and playfulness of the 
concept set up a contradiction with the three other 
buildings. While the Museum buildings are verti- 
cal, rectilinear, and static, this piece is horizontal; 
and with the implication of movement made by the 
skewed doorways, Hamrol causes a disorientation 
in the viewer. The skewing of the entrances to 
Squaredance produces an unusual, discomforting ef- 
fect when the viewer is inside looking out at the 
Museum complex. From the inside, the work's ver- 
tical relationship to the Plaza seems reinforced; 
from the outside, the work appears unbalanced in 
its spatial orientation. Squaredance is a work that 
examines its site at the Museum, addresses the 
cumulative architecture of the three buildings, and 
attempts a dialogue with them. 


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I " 



Terry Schoonhoven 

h: 11 ft ;w 11ft 2 in 

Outdoors Ahmanson Gallery facade, north 

of entrance 

Muralist Terry Schoonhoven has created a painting 
that has as its subject the building facade. Alone, 
and as a member of an art group called the L.A. 
Fine Arts Squad, Schoonhoven in the past few years 
has created several large- and small-scale murals 
in the Los Angeles area, which respond to the envi- 
ronment in arresting, humorous, and critical ways. 
At the Museum, Schoonhoven painted Generator 
(A Study in Copper and Grey), a trompe Voeil scene, 
directly onto the east facade of the Ahmanson 
Gallery, immediately to the right of the entrance. 
The image he selected is what one would see if po- 
sitioned directly in front of the mural and then 
turned ninety degrees to the left toward Wilshire 
Boulevard. Schoonhoven responds directly to a 
given architectural site. Here, he takes the strong 
architectural detailing — rigorous columnation 
occurring at intervals — and uses it to his advantage. 
By subtly altering the viewer's perception of the 
space, in this instance by clever disorientation, 
Schoonhoven calls attention to an otherwise undis- 
tinguished part of the building. The eleven-foot- 
square acrylic mural shimmers with a luminescence 
partially caused by the layering of paint and the 
textured stucco surface provided by the wall. He in 
effect punches a hole through the monochromatic, 
otherwise bland, gallery wall with his loggia within 
a loggia. His mural bears a strong relation to those 
of the Renaissance masters — in both his traditional 
method of working and in his fascination with and 
concentration on the effects of perspective. 

Large-scale outdoor mural painting has recently 
attracted widespread interest in Los Angeles and 
throughout America. Often highly colorful anti- 
dotes to impersonal urban architecture, they appear 
on the sides of parking lots, banks, fences, and 
along roadsides. It has become a "people's art," 
sometimes involving scores of community partici- 
pants in a single project. Frequently, mural subjects 
are drawn from characters or incidents of con- 
temporary life. The murals are for the most part 
temporal, lasting only as long as the landlord, the 
painting material, or the neighborhood graffiti 
permit. In this exhibition, Schoonhoven creates his 
"public art" within the confines of the art museum. 
The success of his project show that it is not just the 
urban eyesore that can accommodate mural art, but 
that the sensitive merging of art and architecture 
can enhance the viewer's feeling for most buildings 
and spaces. 



LI IBi^r' 


1 iUfl 

Karen Carson 

Born in Corvallis 

B FA, University ol Oregon. Eugene. 19 
Claremont Graduate School. M FA , Uni 
sity ol California. Los Angeles, 1971 

Rising Rings 1981 

Acrylic on canvas 
h. 52 ft ,w: 20 ft. 

Outdoors: Ahmanson Gallery, 
south facade 

Painter Karen Carson's single fifty-two-foot-high by 
six teen -foot- wide canvas, Rising Rings, which 
hangs on the Wilshire Boulevard facade of the 
Ahmanson Gallery, is a bold and gestural abstract 
statement. For several years Carson has painted in 
a manner related to Abstract Expressionism, 
although for the most part her paintings have 
remained within a studio scale. In the mid-1970s, 
she executed a large billboard as part of a series of 
billboards displayed around Los Angeles sponsored 
by the Eyes and Ears Foundation. The opportunity 
to work again with an expansive canvas appealed 
to the artist, as such occasions are necessarily 
limited. The proposal to create a fifty-two-foot-high 
painting to be seen from a distance is a challenge 
for any artist unaccustomed to such scale, but even 
more so for one whose work is based on the careful, 
colorful, and gestural manipulations of surfaces. 
The fluorescent, saturated coloration that Carson 
employs in her painting at the Museum plays off 
the scale of the monochromatic building surface, 
and the emerging image — rising rings — stands in 
direct contrast to the austere, rectilinear figuration 
of the building. It is a remarkable feat that the 
intimacy of the brushstroke and the dripping paint, 
characteristic of action painting, have been main- 
tained in a work of this scale — an image to be seen 
from cars whizzing by on Wilshire Boulevard. Both 
Carson's and McCafferty's large outdoor paintings 
deal with the scale of their site and, along with 
Schoonhoven's mural, take their origin from the ar- 
chitecture and the detailing of the building surfaces. 





Jay McCafferty 

B A , California State University, Los 
Angeles, 1970, M F A., University of 
California, Irvine, 1973 

Patntmg in three panels 

h of each panel 52 ft., w of each panel 8 ft 

Outdoors Ahmanson Gallery, east facade 

The strong, architectonic detailing of the Museum 
buildings provided not only Schoonhoven but also 
painter Jay McCafferty with the impetus for his 
site-related work. The vigorous columnation that 
rises over sixty feet and repeats itself across the 
vast concrete expanses of the Museum could have 
been an impediment for artists. Instead, McCafferty 
chose to confront it and make the architecture work 
for him. His triptych Between hangs on the east 
facade of the Ahmanson Gallery. Each panel of the 
triptych is fifty-two feet high by eight feet wide, 
and is installed in alternate bays to the left of the 
entrance. The brightly colored surface of the three- 
part painting, rich in line and detailing, was 
achieved through carefully controlled solar burn- 
ing, painting, and patching of the immense canvas. 

For the past decade McCafferty has worked on 
paper, using the sun's rays as his medium. On the 
rooftop portion of his studio McCafferty uses the 
sun's rays to burn patches, holes, or large abstract 
areas in a single sheet or in layers of paper. His 
"automatic" way of making art, which became popu- 
lar with the Surrealists, has intrigued McCafferty 
for many years. This triptych is his first work on 
canvas and his most ambitious project to date. 









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Robert Graham 

Attended San Jose State College, California 
1961-63, and San Francisco Art Institute, 

Retrospective Column, Part One, 1981 


h: 15 ft, w 30in.d 30 in 

Ahmanson Gallery, Plaza level entrance 

Robert Graham's majestic fifteen-foot-high wax 
sculpture, Retrospective Column, Part One, is a pro- 
posal for one of two columns for the Los Angeles 
County Museum of Art. Part of the Museum's 
expansion will include a third-story link between 
the Frances and Armand Hammer Wing and the 
Ahmanson Gallery. Graham has proposed that two 
cast-bronze columns sheath the columns supporting 
this link; the wax column in this exhibition is the 
maquette for one of these columns. Recently, 
Graham has designed large-scale bronze doors and 
a series of wall panels, each covered with his 
characteristic figures in half-relief. This work com- 
bines an interest in the symbiotic relationship 
between art and architecture with a self-confident 
presentation of the body of images he has used 
in his sculpture during the past fifteen years. 
Graham's column is an audacious work, containing 
as it does in its vertical and horizontal registers the 
history of these images. For centuries, the column 
has been a fascinating bridge between art and ar- 
chitecture. Renaissance artists covered large-scale 
bronze doors with dazzling combinations of images. 
In the late nineteenth century Rodin created the 
magnificent Gates of Hell. For Rodin this magnum 
opus served for several years as a creative font as 
he continued to create full-scale sculptures from in- 
dividual details of the massive gates. For Graham, 
the Retrospective Column functions in reverse as it 
contains within a single work images that he has 
already used for many years. It is a strong sum- 
mary statement for him that merges sculpture and 

Photographer Larry Reynolds 

lichael Asher 

Sign in the Park, 1981 

Outdoors On the path between the B G Cantor 
Sculpture Garden and the lake pit in Hancock Park 
h 11% in , w 4144 in d % in 

One of the purest examples of site-related work in 
the exhibition is by Michael Asher, who for many 
years has done conceptual and site-related art that 
deals with subtly changing one's perception about 
familiar places and subjects. Asher's piece consists 
of two parts. The first is the reinstallation of a 
"Dogs must be kept on a leash" sign in Hancock 
Park. The second part of the piece is a printed 
poster, forty by thirty inches, which is on view on 
the lower Plaza. The poster depicts a scene in color 
and in black and white from the Hollywood movie 
The Kentuckian, starring Burt Lancaster. Pictured 
in the two stills are Lancaster and a young boy 
with a dog on a leash, which relate in a literal way 
to the sign in the park. On the poster Asher has 
written that 1) his piece for the exhibition was the 
reinstallation of a county sign, and 2) the painting 
The Kentuckian by Thomas Hart Benton is part of 
the Museum's permanent collection. When the 
Museum visitor reaches the American art galleries, 
he or she can find the The Kentuckian on exhibition. 

The painting The Kentuckian was created for the 
film and was owned by Lancaster until he donated 
it to the Museum in 1977. Asher's site-related piece 
deals with and calls to our attention the reasons for 
the creation of this painting and the fact that it 
now hangs as part of the permanent collection. He 
has used the Museum's site in a very specific way. 
His piece does not just deal with the architecture, or 
even with the institution's "museumness," but very 
specifically with the Los Angeles County Museum 
of Art, its own site in Los Angeles, and its relation 
to Hollywood. 


Michael Brewster 

B A , Pomona College, Claremont, California, 
1968, MFA, Claremont Graduate School. 
California, 1970 

Attack and Decay. 1981 

Acoustical sculpture 

Outdoors B. G Cantor Sculpture Garden, east 

section, near circular staircase 

Michael Brewster's acoustic sculpture Attack and 
Decay is an invisible work, free from any encumber- 
ing object. Through the medium of live synthetic 
sound, it describes and defines an outdoor area in 
the Museum's garden. For the past decade sculptor 
Brewster has used sound as his medium. While 
most sculpture is three-dimensional, the viewer is 
limited to perceiving it from a few aspects. Sound 
sculpture, by contrast, can be experienced from all 
directions. The viewer moves through Brewster's 
sculpture, through its volume, encountering dense 
and sparse aspects of a seemingly empty space. A 
distinction that Brewster draws between his acous- 
tic sculpture and contemporary or experimental 
music is primarily in the viewer's attitude. Brew- 
ster's sound sculptures are not meant to be listened 
to from a single, seated vantage point, as one listens 
to a concert, but rather they are intended to be 
experienced as the viewer moves about and through 
the sculpture. It is this viewer participation that is 
critical to Brewster. 

In Attack and Decay, Brewster has constructed a 
black box which hangs from a tree in the garden, a 
sound pulsating with an alternating frequency of 
1000-1020 Hz. is aimed at the path that traverses 
this garden. The sound lasts for a few seconds and 
is followed by a few seconds of silence; the cycle 
repeats itself continuously during the hours the 
exhibition is open. Brewster describes the experi- 
ence of encountering the piece: "It's like walking 
through swiss cheese, you come to pockets of density 
(sound) and then move to areas that are punctured 
(silence), and one can actually walk through this 
piece." Like light, sound exists spectrally, and each 
portion of the spectrum exhibits unique qualities. 
Low frequency sounds have long wave lengths, 
are volumetric and omnidirectional, and high 
frequency sounds are monodirectional and linear. 
Brewster's acoustic sculpture A Hack and Decay 
responds to the architectural and volumetric site it 
inhabits. The sculpture that results is a field of 
sound volumes of differing sizes, densities, and rates. 



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John Baldessari 

Photographic installation 
Two photographs (one color, one black-and- 
white) each 15x10 ft 

Ahmanson Gallery, third floor 

John Baldessari's photographic installation Align- 
ment Series: Two Palms and Two Columns (For 
Newman) is a witty and effective example of site- 
related art. The site Baldessari selected is in the 
Ahmanson Gallery, a building which houses the 
permanent collection of the Museum. In the center 
of the building a large atrium creates a perimeter 
of gallery spaces on each of three upper levels. On 
the third floor, Baldessari has chosen a gallery that 
is seen across the Atrium from the elevator access 
to the floor and that also can be viewed at intimate 
range. The gallery is punctuated by two floor-to- 
ceiling columns. Baldessari chose an architecturally 
disparate and awkward space, confronting these 
elements with his piece. He has installed two 
fifteen-foot-high photographic blowups, one black- 
and-white, one color, of a single palm tree. From the 
first vista, the viewer sees a floor-to-ceiling gray 
rectangle and a blue rectangle, each punctuated or 
bisected by a white column of the building. This 
zip-like division of the color field recalls the 
abstract paintings of Barnett Newman, to whom 
Baldessari refers in his title. As one moves six feet 
to the right or left, and ultimately around the gal- 
lery to the photographs themselves, these two 
stark but whimsical trees assume increasing pres- 
ence. Conceptual artist Baldessari conceived the 
idea for this piece and then worked with profes- 
sional photographers, enlargers, and mounters to 
execute his work. He has said that he is much more 
concerned with the idea than with the physical 
process of executing that idea. Although he super- 
vises every stage of the project, he does not become 
physically involved as a craftsman or technician. 
With a single gesture, Baldessari has effectively 
activated an otherwise awkward, difficult space 
within the Museum. 


Roland Reiss 

New World Stonewc ■'- 1981 

Five objects on 
a) Leo S. Bmg Theater, lobby; b) Ahmanson Gal- 
lery Atrium, under stairs, c) Ahmanson Gallery, 
Plaza level, near elevators, d) Ahmanson Gal- 
lery, third floor, stairwell, e) Ahmanson Gallery. 
fourth floor 

Roland Reiss deals with the idea of the "museum- 
ness" of his site. In New World Stoneworks, Reiss 
has created five sets of small-scale simulated stone 
artifacts which he placed in traditional museum 
pedestal cases and then located in five disparate 
sites throughout the Museum. Encountering a case 
containing odd-looking, stonelike palm trees, 
people, animals, and tract house sliding-glass doors 
"buried" in the Chinese art galleries next to pedes- 
tals containing ancient ritual bronzes is a confound- 
ing, humorous, and engaging experience. Reiss' New 
World Stoneworks are a kind of ancient relic of the 
future; coming upon them in the lobby, stairwell, or 
among the art of true ancient cultures posits ques- 
tions in the minds of viewers about the historicity 
of objects and their context in a museum setting. 

Reiss' sculpture employs a variety of contemporary 
icons that by their juxtaposition within each dis- 
play case comment on aspects of the culture of the 
seventies and eighties, As artists in earlier eras had 
"memorialized" objects and symbols of their cul- 
tures, Reiss' sculptures are humorous commentaries 
on the transitoriness of our lives. The distillation of 
cultures into selected images or objects has intrigued 
artists throughout history, and here it becomes 
the subject of Reiss' work. 


. . . 

Richard Jackson 

The B/g Idea 2 1981 

3,000 stacked c 

diam 16 ft 

Ahmanson Gallery Atrn 

Painter Richard Jackson has created a single monu- 
mental painting called The Big Idea 2, a sphere 
constructed of almost 3,000 painted and stacked 
canvases. Jackson meticulously stretched, primed, 
and painted each of these canvases, and then 
stacked each one face down to form a gigantic 
sphere, sixteen feet in diameter, which is located 
in the middle of the Ahmanson Gallery Atrium. 
Initially, The Big Idea 2 looks like a Magritte come 
to life, and for many years Jackson has professed 
a fascination with the Surrealists. For Jackson, as 
for the Surrealists, the process is an essential part 
of the creation of a work of art. Looking down at 
The Big Idea 2 the viewer sees the sphere's platform 
covered with the paint drips built up in the four 
weeks it took to assemble the work. Curiously, Jack- 
son approached this painting in a very traditional 
manner. He stretched each canvas himself and 
covered each with gesso, even though they were inev- 
itably buried within the mass of the piece. When 
asked why he works this way, Jackson responds, 
"That's the only way I know to make a painting!" 

Jackson's work suggests a variety of concerns: that 
all artists make the same painting over and over 
again, that the museum is the ultimate warehouse, 
and that art is process. He affirms, too, the attrac- 
tion the "grand machine" has traditionally held for 
artists. Jackson's colorful, painterly work is an 
awesome accomplishment that totally disarms the 
viewer and provides a humorous and arresting 
counterpoint to the bland architectonics of the sur- 
rounding spaces. 






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lichael C McMillen 

B A , San Fernando Valley Slate College, 
California. 1969, M A , University of Califor- 
nia, Los Angeles. 1972. M.F.A., 1973 

Central Meridian, 1981 

Four of the artists who have chosen to work in- 
doors have created environments or private worlds 
within the Museum. Generally custom-built to the 
artists' architectural specifications, these rooms of 
Jonathan Borofsky, Chris Burden, Alexis Smith, 
and Michael C. McMillen differ greatly from each 
other. Installations of this type are normally tem- 
poral and charged with the energy of working 
intensely and directly in a given space and a specific 
time frame. 

In McMillen's Central Meridian we experience the 
analogy between a mid-twentieth-century Ameri- 
can garage and cultural tomb. In the garage thirty 
by sixteen feet that McMillen has had constructed 
in the Museum, the viewer encounters, first 
through the dusty, cracked window and then in per- 
son, a 1964 Dodge Dart, resting on a bier-like plat- 
form. McMillen sees a direct relation between this 
work and aspects of ancient Egyptian or Chinese 
culture. Surrounding the car, the garage is filled to 
the point of bursting with relics, newspapers, and 
detritus, all carefully selected and positioned. The 
immediate impression is one of intruding into the 
garage of a neighbor, perhaps of an eccentric, but 
then quickly one begins to recognize familiar ob- 
jects. Yet this environment is more than an engag- 
ing recreation of a garage. As ancient tombs were 
aimed at the afterlife, twentieth-century man, bred 
in technology, saves and stores remnants of his own 
culture. Entering McMillen's garage one has the 
feeling of entering a modern tomb. The artist car- 
ries his metaphor throughout; the chariot buried in 
the tomb is now an American car of the sixties. The 
icon — the car — is a centering element in the piece 
which we, who live in an automotive city, instantly 
recognize. While the ancients were buried with tab- 
lets covered with writing depicting their family life, 
our modern tomb is crammed with lawn mowers, 
old radiators, bowling trophies, scientific laboratory 
materials, a 1950s Sylvania "halo lite" television 
set, old newspapers and magazines, phonographs — 
all "stored" and buried in this dimly lit, musty 
garage. Within the actual museum, McMillen has 
transformed a gallery space into a veritable 
museum of collectable objects — personal, evocative, 
and mysterious. 

McMillen sees his environment as a portrait of one 
aspect of American culture after the Second World 
War. He hopes the viewer will enter this timeless 
garage as he would a tomb that has been sealed for 
a long time. The detritus, cas toffs, and found ob- 
jects that fill the garage are cumulative clues which 
help to evoke the personality of the owner. The per- 
son whom this garage represents is complex — some- 
one at home in a mini-laboratory, who gathers both 
right-wing political and religious material, and sur- 
rounds himself with relics of our technological era. 

For several years McMillen's work has been evolv- 
ing from small-scale environments toward more 
complicated, full-scale tableaux. Central Meridian 
is his first large-scale work in several years. Tab- 
leaux have a special history in Los Angeles. In the 
1960s Edward Kienholz executed a series of well- 
known environments: Roxys, The Beanery, and 
The Back Seat Dodge '38. McMillen's environment, 
while lacking the biting social commentary of 
Kienholz' pieces, is heir to those now historic tab- 
leaux of the sixties. 







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Jonathan Borofsky 

B.F A , Carnegie-Mellon University, 
Pittsburgh. Pennsylvania. 1964; 
M.F A . Yale School of Art and Architecture, 
New Haven, Connecticut, 1966 

Painter Jonathan Borofsky has created an environ- 
ment, / Dreamed a Dog Was Walking a Tightrope 
at 2,715,346, consisting of words and multi-scaled 
images and objects that cover the floor, walls, and 
ceilings. Like the Surrealists, he draws his imagery 
from his dreams. Because Borofsky fills the room 
completely with a whorl-like covering, the viewer 
feels he has entered the mind of the artist. Borofsky 
covers his walls with his own iconographic vocabu- 
lary — the running man, a videotape with a dog who 
endlessly walks back and forth on a tightrope, a 
cutout large-scale automaton who hammers end- 
lessly, a ping-pong table complete with paddles and 
balls inviting viewer participation, a ceiling-wall- 
floor bug-eyed, rabbit-eared character with a pul- 
sating strobe light, and whirling, twirling rubies, 
fish, and other seemingly unrelated figures. The ef- 
fect of these images, combined with political, social, 
and economic slogans, graffiti, and phrases scat- 
tered throughout the room, is both one of total dis- 
orientation and of being wholly within a space 
conceived of and "programmed" by the artist. 
Borofsky's piece attends three of our senses in an 
arresting way. 

Borofsky's painting method — working directly on 
the wall and filling the space in a horror vacuii 
manner — puts very little between the viewer and 
the psyche of the artist. His working method carries 
through his critical intentions. Armed with several 
boxes filled with over a hundred eight-by-ten-inch 
black-and-white drawings on acetate, Borofsky uses 
an opaque projector in an attempt to decide which 
images best fit particular sections of the room. As 
he selects an appropriate drawing he then paints or 
draws the image directly on the wall, filling in de- 
tails free-hand. Occasionally, images will emerge 
during the development of the piece. In this in- 
stallation, for example, Borofsky used a large lad- 
der and scaffolding. While he was working, the 
scaffolding cast a particularly haunting shadow on 
the wall which he then incorporated into the fin- 
ished work. Similarly, Borofsky's interaction with 
the staff and crew involved in his installation can 
also evolve into an image or phrase in the finished 
work; here the phrase, "The most powerful thing in 
the world is your mind. R. Lockhart " comes from a 
Museum painter assigned to work on this installa- 
tion. The striking images and the unmistakable 
signs of process convey in a compelling and forceful 
way the energy of Borofsky's attitude toward art. 





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Alexis Smith 

B A , University of California, I 

i t e 

Alexis Smith's mixed-media environment Cathay, 
through a combination of words, images, and ar- 
chitecture, calls into question aspects of "old China" 
and "new China" cultures. In the past. Smith has 
executed multipartite narratives by linking to- 
gether a series of eight-by-ten-inch sheets of paper 
with sequential lines from a particular literary 
work typed at the bottom, with suggestive or com- 
patible collages on the same page. Thus, Raymond 
Chandlers Los Angeles, Thomas Mann's Magic 
Mountain,, "Sinbad," or George Gershwin's Porgy 
and Bess have become the subjects of her work. 
Confining her work at first to individual sheets, 
Smith progressed to series of several pages, then to 
entire walls, and finally, here, to four walls, floor, 
and ceiling. This installation is a breakthrough for 
Smith. Instead of texts which read sequentially 
around the room. Smith has intricately woven sev- 
eral "strands" of ancient Chinese philosophy, 
Charlie Chan, "Chinatown," contemporary Chinese 
politics, and oriental film culture into a richly tex- 
tured series of collages that envelop the room. This 
non-linearity first appeared in a recent performance 
Smith created, Stardust, a recitation based on lines 
from several sources of American literature, song, 
and film. 

Smith has had constructed a room with a portal and 
window inspired by ancient Chinese architecture. 
Circular and square holes have been cut in the sur- 
face to expose an understructure — a bright red, 
interlocking structure, giving the viewer the idea 
that this runs throughout the room. Inside, the 
walls have been painted a pale pink and the joints 
have been painted a pale green — an underpainting 
done as if it were a primer coat with the green 
"mud" left spotted across the walls. On top of 
this Smith has painted, on each of three walls, a 
large image — a bright red firecracker, a tiger's 
head, and a green chalkboard. As the final layer. 
Smith has affixed various collages, each with a 
typed phrase on the bottom edge of the paper. The 
groups of collages usually are punctuated by the 
addition of a China plate, which functions visually 
to divide the groupings of collages. Scattered 
around the floor in the four corners and hanging 
from the ceiling are everyday objects — a shopping 
cart, a broom, a rose, and an iron — each trans- 
formed by bright-colored paint. Smith's installation, 
her most ambitious to date, is about the layering of 
surfaces, literally, philosophically, and texturally, 
embodied within Chinese culture. Smith uses the 
visual objects in the room to interpret the text that 
she has created. The complexity and ambitiousness 
of this environment extends a finite narrative to 
the entire ambient field of the room. All of the 
"clues" which Smith employs together evoke the 
feeling of "China." It is a tour-de-force piece charac- 
terized by an immediacy of texture, color, and image. 


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Chris Burden 

A Tale of Two Cities, 1981 

A Tale ofTivo Cities is a fantasy environment 
created by Chris Burden which uses hundreds of 
small toys. Burden's environment is made up of two 
miniature cities at war. Each city is nestled be- 
tween six- to eight-inch formations and full-scale 
rich foliage, all set on a sand-filled desert land- 
scape. Visually and texturally this is a beautiful 
and rich piece, but these qualities belie its sinister 
implications. Burden has been known nationally 
and internationally for some years for his provoca- 
tive and often newsmaking performances that de- 
pend for their tension on the artist's relation to his 
audience. In one piece. White Light/White Heat, of 
1975, created in a New York gallery, Burden con- 
structed a corner shelf above the viewer's sight 
level. The viewer could walk into the otherwise 
empty gallery and see the shelf but not see all the 
way into the corner. The implication of the piece 
was that Burden was living in the gallery, on the 
shelf, for the duration of the exhibition. Gallery 
goers never were quite sure if Burden was there 
(observing them) or if the whole piece was a hoax. A 
mystery and tension emerged. Recently, Burden has 
been interested in exploring social systems (money, 
banking, and power) and aspects of international 
affairs and global warfare. Here, working within 
the confines of a Jungian room-size sand tray. Bur- 
den has assembled two warring cities in miniature. 

Initially, the viewer is enchanted with the execu- 
tion of a childlike fantasy of hundreds of toys in a 
sand box. But quickly a kind of tension sets in 
as the viewer cannot really see in detail what is 
going on since the tableau is on a sand base and 
the viewer is kept at arm's length. Details do emerge 
— the "city walls" are actually dozens of bullets 
standing on end; hundreds of small soldiers and 
tanks continue to literally emerge from the back- 
ground. The only way the viewer can actually 
see the piece in detail is through the binoculars sup- 
plied by the artist. Again, that tension of the artist 
erecting an invisible barrier between himself and 
the audience emerges. The war games that Burden 
enacts transcend a particular time or place; the 
environment is filled with creatures from the an- 
cient past, relics of our contemporary society, as well 
as inhabitants and weaponry of a futuristic society. 




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Eric Orr 

Attended University of California. Berkeley. 
University ol Mexico, New School tor 
Social Research, New York. Ecole de 
Pataphysiques, Paris, and University of 
Cincinnati. Ohio 

Prime Matter, 1981 

Column of flame and fog 

h 20 ft 

Outdoors Upper Plaza, in front of 

Ahmanson Gallery 

Eric Orr's twenty-foot-high column of fog and flame. 
Prime Matter, rises majestically in front of the 
Ahmanson Gallery. Set on a six-foot-high pedestal, 
this thin column has a constant line of flame rising 
the length of its shaft; the flame then disappears 
into a thick cloud of vapor. The force and direction 
of the wind, of course, directly affect the sculpture, 
which becomes omnipresent for the Museum 
viewer. For many years, Orr has executed pieces 
that deal with the elements and with phenomenol- 
ogy. Air, fire, water, and the properties of certain 
metals le.g., gold) have become both subject and 
material for his art. Orr is always concerned with 
bringing these elements together in a way that is 
extremely beautiful and often enigmatic or mysti- 
cal. The interest of the ancients in these elements 
and their properties is shared by Orr. This column 
of fog and flame is ethereally beautiful and engag- 
ing. Technologically, it is an ambitious endeavor, yet 
fortunately the simplicity of the two elements 
belies the sophistication of the systems necessary 
to make it work within the public setting of the 

Positioned directly across the upper Museum Plaza 
from Lloyd Hamrol's Squaredance and next to one 
part of Irwin's installation, Orr's piece deals, too, 
with its relationship to its site. While Hamrol has 
emphasized the horizontal in his work, Irwin and 
Orr both choose to reinforce the verticality and col- 
umnation of the buildings' structure. 

The cloud of steam emitted by Orr's column inevi- 
tably touches the nearby viewer to create an 
awesome, even spiritual, feeling not unlike that pro- 
duced by a splendid natural wonder. That Orr 
accomplishes this amidst the concrete and steel of 
the Museum is all the more remarkable. 


Photographer: Larry Reynolds 

Michael Asher 

Selected One-Person Exhibitions 

1977 Siedelijk van Abbemuseum. Eindhoven, 
the Netherlands 

Claire Copley Gallery Inc., Los Angeles and 
Morgan Thomas Gallery. Santa Monica, 

1975 Otis Art Institute Gallery, Los Angeles 

1974 Claire S Copley Gallery, Los Angeles 

1969 La Jolla Museum of Art, California 

Selected Group Exhibitions 
1981 Westkunst, Cologne. West Germany 

1977 Los Angeles in the Seventies, Fort Worth Art 
Museum, Texas, (traveled to Joslyn Art 
Museum, Omaha, Nebraska) 
Faculty Exhibition, California Institute of the 
Arts. Valencia 

Skulptur, Weslfalisches Landesmuseum fur 
Kunst und Kulturgeschichte, Munster. Wesl 

Michael Asher, David Askevold, Richard 
Long, Los Angeles Institute of Contemporary 

1976 Ambiente, Venice Biennale. Italy 

Painting and Sculpture in California: The 
Modern Era. San Francisco Museum of 
Modern Art, (traveled to National Collection 
of Fine Arts, Smithsonian Institution, 
Washington. D C ) 

Via Los Angeles, Portland Cenfer for the 
Visual Arts, Oregon 

1975 University of California, Irvine. 1965-75. 
La Jolla Museum ol Contemporary Art, 

1972 Documenta 5, Kassel, Wesl Germany 

1969 Spaces, The Museum ol Modern Art, 
New York 

Anti-Illusion Procedures I Materials. Whitney 
Museum of American Art. New York. 

John Bafdessari 

Selected One-Person Exhibitions 

1981 The New Museum, New York 

1980 Folkwang Museum. Essen. West Germany 
Sonnabend Gallery, New York (Also in 1978, 
1975. and 1973) 

1979 New Work. Installation with Photographs, Ink. 
Halle fur Internationale Neue Kunst, Zurich, 

1978 Portland Center for the Visual Arts. 

Baldessan New Films, Whitney Museum of 
American Art, New York. 

1977 Julian Pretto Gallery, New York 

Matrix, Wadsworth Atheneum. Hartford, 

1976 James Corcoran Gallery, Los Angeles. 
Cirrus Gallery. Los Angeles. 
Ohio State University, Columbus 
Ewmg and George Paton Galleries, 
Melbourne, Australia 

1975 University of California, Irvine 
The Kitchen, New York 
Stedehjk Museum, Gemeentemusea, 
Amsterdam, the Netherlands 

1971 Nova Scotia College of Art and Design, 

Art and Proiect, Amsterdam, the 

1968 Molly Barnes Gallery, Los Angeles 

1962 Southwestern College, Chula Vista. 

1960 La Jolla Museum of Art, California 

Selected Group Exhibitions 

1981 Westkunst. Cologne, West Germany 

1980 The Photograph Transformed, Touchstone 
Gallery, New York 

Pier and Ocean, Arts Council ol Great 
Britain, London. 

Contemporary Art m Southern California, The 
High Museum of Art, Atlanta, Georgia 

1979 Attitudes. Santa Barbara Museum of Art. 

Words, Museum Bochum-Kunstsammlung, 
West Germany 

Concept, Narrative, Document, Museum of 
Contemporary Art, Chicago, (traveled to Los 
Angeles County Museum ol Art) 

1978 Artworks and Bookworks. Los Angeles Insti- 
tute of Contemporary Art 
Art about Art. Whilney Museum ot American 
Art, New York 

Narration, Institute of Contemporary Art, 

1976 Painting and Sculpture in California: The 
Modern Era, San Francisco Museum of 
Modern Art, (traveled to National Collection 
of Fine Arts, Smithsonian Institution, 
Washington, DC) 

Rooms, PS t. The Institute for Art and Urban 
Resources, Long Island City, New York. 

1974 Profekt 74. Cologne. West Germany 

1972 Documenta 5, Kassel, West Germany. 
Whitney Biennial, Whitney Museum of 
American Art, New York (Also Whitney 
Biennial, 1969) 

1970 Information, The Museum of Modern Art, 
New York 

Software, The Jewish Museum, New York 

Jonathan Borotsky 

Selected One-Person Exhibitions 

1978 Corps de Garde. Groningen, the Nether- 

University Art Museum, University of Califor- 
nia, Berkeley 

1976 Wadsworth Atheneum, Hartford. Connecticut 

Selected Group Exhibitions 

1981 Twenty Artists, Yale University Art Gallery. 
New Haven. Connecticut 
Westkunst. Cologne, West Germany 
Whitney Biennial. Whitney Museum of 
American Art, New York 

1980 Visions and Figurations. Art Gallery, Califor- 
nia State University. Fullerton 
Dame il tempo di guardare, Padiglione 
d'Arte Contemporanea, Milan, Italy, 
Drawings. The Pluralist Decade, American 
Pavilion. Venice Biennale, Italy 

1979 Sixth Anniversary Exhibition, Artists Space. 
New York 

Tendencies in American Drawing of the Late 
Sevenf/es. Sladtische Galene im Lenbach- 
haus, Munich, Wesl Germany 
Born in Boston, De Cordova and Dana 
Museum, Lincoln, Massachusetts. 
Ten Artists I Artists Space, Neuberger 
Museum, State University of New York, 

1978 Minimal Image. Protech-Mclntosh Gallery. 
Washington, DC 

1977 Surrogates /Sell-Portraits, Holly Solomon 
Gallery, New York 

Critics' Choice. Lowe Art Gallery, Syracuse 
University, New York 

1976 Soho, Akademie der Kunsle, Berlin. Wesl 
Germany (traveled to Louisiana Museum, 
Humlebaek. Denmark). 
International Tendencies '72-76. Venice 
Biennale, Italy 

1975 Lives, Fine Arts Building, New York. 


1973 Artists Space, New York. 

1970 557,087, Seattle Art Museum, Washington 
(traveled to Vancouver Art Gallery. British 
Columbia. Canada ) 

1969 No 7. Paula Cooper Gallery, New York 

1966 Wadsworth Alheneum, Hartford, Connecticut 


Michael Brewster 

Selected One-Person Exhibitions 

1980 Slow Step S>de Shuttle. Tyler School of Art. 
Philadelphia, Pennsylvania 
The Air in the Skyway. Minneapolis College 
of Art and Design Gallery. Minnesota 

1979 Clue Blear, Art Gallery, California State 
University, Long Beach 
Floating in Coincidence. Four Phasing, and 
Pulsing Overlap. Gallena del Cavallino, 
Venice, llaly 

Sfop Gap. Modern An Gallene, Vienna, 

Hit and Run. Lauwersmeer Bij Oostmahorn, 
Fnesland (produced by Corps de Garde, 
Gronmgen, the Netherlands) 
Surrounded Sharp Point Ringing. Cirrus 
Gallery, Los Angeles 

1978 Concrete Two Tone. Marum Overpass-Kw 
IX A (produced by Corps de Garde, 
Gronmgen, the Netherlands) 

1977 Synchromesh. Meyer Gallery. La Jolla 

Museum of Contemporary An, California. 
Inside. Outside. Down and Soliloquies. 
Baxter Art Gallery. California Institute of 
Technology, Pasadena, California 
An Acoustic Sculpture and a Clicker 
Drawing. Artists Space, New York 

1971 Standing Wave. Space F, Santa Ana, 
California (Also Fixed Frequency and 
Number 013) 

Selected Group Exhibitions 

1979 Sound atPS.1, The Institute for Art and 
Urban Resources, Long Island City, 
New York 

Sound, Los Angeles Institute of Contem- 
porary Art 

1977 Los Angeles m the Seventies. Fort Worth Art 
Museum, Texas (traveled to Joslyn Art 

Museum, Omaha. Nebraska) 

1976 Sounds, Newport Harbor Art Museum, New- 
port Beach, California {Also New Art in 
Orange County, 1972) 

Selected Performances 

1978 In Venice Money Grows on Trees, California 
C B TV Jo Einstein. Air France SST Concorde 
Flight between Pans and Washington, DC 

1977 CBTV . Documenta 6, Kassel, West 

Germany (Also at Ronald Feldman Fine Arts 
New York, 1977) 

1976 Shadow, Ohio Stale University, Columbus. 
Do You Believe m Television'?. Alberta 
College of Art, Calgary, Canada 
Natural Habitat (with Alexis Smith), Portland 
Center lor the Visual Arts, Oregon 

1975 Yankee Ingenuity. Stadler Gallery, Pans 

Art and Technology, De Appel, Amsterdam, 

the Netherlands 

Oracle. Schema Gallery, Florence, Italy. 

La Chiaraficazione. Gallena Alessandra 

Castelli. Milan, Italy 

Doomed, Museum of Contemporary Art, 


White Light/White Heat, Ronald Feldman 

Fine Arts, New York 

1974 The Visitation, Hamillon College, New York. 
Velvet Water. School of the Art Institute of 

Trans-Fixed. Venice, California 
Back to You, 112 Greene Street, New York 

1973 Through the Night Softly, Mam Street, Los 

Fire Roll, Museum of Conceptual Art, San 
Francisco (Also / Became a Secret Hippy, 

1972 Deadman, Riko Mizuno Gallery, Los Angeles. 
Jaizu. Newport Harbor An Museum, Newport 
Beach, California 

1971 Shoot, Space F, Santa Ana, California (Also 
220. 1971; Prelude to 220, or 110, 1971. 
Shout Piece. 1971) 

Five Day Locker Piece. University of Califor- 
nia, Irvine (Also Bicycle Piece. 1971) 

Selected Exhibitions/Installations 

1980 Chns Burden— C B TV. and The B-Car, 

Whitney Museum of American Art, New York 

Southern California Drawings. Joselotf 

Gallery, Hanford An School, University of 

Hanford. Connecticut 

The Big Wheel, Devil Drawings, and 

Sculptures, Ronald Feldman Fine Arts, New 

York (Also at Rosamund Felsen Gallery, Los 

Angeles, 1979) 

First Person Singular Recent Self -Portraiture, 

Pratt Institute, Brooklyn, New York. 

1979 Video Artists, Books, and Guest Performers, 
Kansas City An Institute. Missouri 
Born in Boston, De Cordova and Dana 
Museum, Lincoln, Massachusetts, 
The Reason for the Neutron Bomb. Ronald 
Feldman Fine Arts, New York (Also CB TV . 
1977; The B-Car. 1977. and in 1975, 1974) 

1975 Bodyworks, The Museum o( Contemporary 
Art, Chicago 

Projects Video, The Museum of Modern An, 
New York 

Galene Stadler, Pans (Also in L'Art 
Corporel, 1974) 

De Appel, Amsterdam, the Netherlands 
Gallena Schema, Florence, Italy. 
Gallena Alessandra Castelli, Milan, Italy 
Riko Mizuno Gallery, Los Angeles (Also in 

Karen Carson 

Selected One-Person Exhibitions 

Selected Group Exhibitions 

Decade Los Angeles Painting in the 
Seventies, Art Center College of Design, 
Pasadena. California 
Abstractions, San Francisco An Institute 


LA Women Narrations. Mandeville An 
Gallery. University of California. San Diego 
A Point of View, Los Angeles Institute of 
Contemporary Art 

1975 Drawings. Newport Harbor Art Museum. 
Newport Beach, California 

1972 California Women Painters. Lang An Gallery, 
Scnpps College, Claremont, California 
The Wall Object. La Jolla Museum of 
Contemporary Art, California 
15 Los Angeles Artists, Pasadena Art 
Museum, California 

Robert Graham 

Selected One-Person Exhibitions 

1981 Walker Art Center, Minneapolis. Minnesota 
Gallery Six, Robert Graham. Five Statues, 
Los Angeles Counly Museum of An (Also in 


1979 Dag Hammarskjold Plaza. New York 

Galene Neuendorf, Hamburg and Cologne, 

West Germany (Also in 1976. 1974, 1970. 

and 1968) 

Robert Miller Gallery, New York (Also in 


Gimpel & Hanover Galene. Zurich. Switzer- 
land (Also in Basel. Switzerland, and in 
Zurich. 1974) 

Felicity Samuel Gallery, London (Also in 




Texas Gallery, Houston 

Kunsfverem Hamburg, V 

Sonnabend Gallery, Nev 

Whitechapel Art Gallery, London 
Kornblee Gallery, New York (Also in H 
Lanyon Gallery, Palo Alto, California 
Selected Group Exhibitions 

Whitney Biennial. Whitney Museum of 
American Art, New York {Also in 1971, 1969, 
and 1966) 

Painting and Sculpture in California The 
Modern Era, San Francisco Museum of 
Modern Art, California (traveled fo National 
Collection of Fine Arts. Smithsonian Institu- 
tion, Washington, D.C.) 
L.A.8. Painting and Sculpture 76, Los 
Angeles County Museum of Art. 

1975 Sculpture American Directions, 1945-1975, 
National Collection of Fine Arts, Smithsonian 
Institution, Washington, DC 

1974 71st American Exhibition, Chicago Art Institute 

1972 USA West Coast, Kunstverem Hamburg. 

West Germany (Also traveled to Kunstverem 
Hannover; Kd'lnischer Kunstverem, Cologne, 
Wurttembergischer Kunstverem. Stuttgart) 

Lloyd Hamrol 

Selected One-Person Exhibitions 

1969 Installation, Pomona College, California 

Selected Group Exhibitions 

1980 Across the Nation Fine Art tor Federal Build- 
ings, 1972-79, National Collection ol Fine 
Arts, Smithsonian Institution, Washington. 
DC (traveled to Hunter Museum of Art, 
Chattanooga. Tennessee) 
Architectural Sculpture, Los Angeles Institute 
of Contemporary Art 

Sculpture in California. 1975-80. San Diego 
Museum of Art 

XI International Sculpture Conterence, 
Washington, DC. 

Urban Encounters I Art Architecture Audi- 
ence, Institute ot Contemporary Art, Univer- 
sity of Pennsylvania. Philadelphia 

1977 Los Angeles m the Seventies, Fort Worth Art 
Museum, Texas (traveled to Joslyn Art 
Museum, Omaha, Nebraska) 

1976 Painting and Sculpture m California. The 
Modern Era, San Francisco Museum of 
Modern Art (traveled to National Collection 
ot Fine Arts, Smithsonian Institution, 

Washington. DC) 
Artpark, Lewiston, New York 

1975 Three LA. Sculptors, Los Angeles Institute 
of Contemporary Art 
Site Sculpture. Zabriskie Gallery. New York. 

1968 West Coast Now. Portland Museum of Art, 
Oregon (traveled to Seattle Museum ot Art. 
Washington, San Francisco Museum ot 
Modern Art, and Los Angeles Municipal Art 

1967 American Sculpture of the Sixties, Los 

Angeles County Museum of Art (traveled to 
Philadelphia Museum ot Art, Pennsylvania) 

Selected One-Person Exhibitions 

1977 Whitney Museum of American Art, New York 

1976 Walker Art Center. Minneapolis. Minnesota 
Riko Mizuno Gallery, Los Angeles (Also in 
1974 and 1972) 

1968 Pasadena Art Museum, California (Alsi 

Selected Group Exhibitions 

Contemporary Art in Southern California, The 
High Museum of Art, Atlanta. Georgia. 

Andre. Buren, Irwin, Nordman: Space as 
Support. University Art Museum, University 
of California. Berkeley 

Painting and Sculpture in California: The 
Modern Era. San Francisco Museum of 
Modern Art (traveled to National Collection 
of Fine Arts. Smithsonian Institution, 
Washington, D C ) 

The Last Time I Saw Ferus 1957-1966, New- 
port Harbor Art Museum, Newport Beach. 

Projects for PCA, Philadelphia College of Art. 


Venice Biennate. Italy 

200 Years of American Sculpture. Whitney 

Museum of American Art, New York 

1972 USA West Coast, Kunstverem Hamburg, 
West Germany (traveled to Kunstverem 
Hannover, Ko'lnischer Kunstverem. Cologne. 
and Wurttembergisher Kunstverein, 

1971 11 Los Angeles Artists. Hayward Gallery. 
London (traveled to Musees Royaux de 
Beaux-Arts, Brussels; Akademie der Kunste, 
Berlin, West Germany) 
Art and Technology, Los Angeles County 
Museum of Art, 

1970 Permutations Light and Color. Museum of 
Contemporary Art, Chicago 
Bell /Irwin /Wheeler, The Tate Gallery. London. 

1969 Kompas 4 West Coast USA, Stedelijk van 
Abbemuseum, Eindhoven, the Netherlands 
(traveled to Pasadena Art Museum, Califor- 
nia, City Art Museum of St Louis, Missouri; 
Art Gallery of Ontario, Toronto, Fort Worth Art 
Center Museum, Texas) 

1968 Late Fifties at the Ferus. Los Angeles County 
Museum of Art 

Documenta 4, Kassel, West Germany 
6 Artists, 6 Exhibitions. Walker Art Center. 
Minneapolis, Minnesota 

1965 VIII Bienal de Sao Paulo, Brazil 

The Responsive Eye, The Museum of 
Modern Art, New York (traveled to Pasadena 
Art Museum). 

Richard Jackson 

Selected One-Person Exhibitions 

1980 Rosamund Felsen Gallery, Los Angeles 
(Also in 1978) 

Galene Maeght, Pans (Also m Zurich, 

Switzerland, 1979) 

Forum Kunst. Roitweil, West Germany 

1979 D A A D Gallery, Berlin, West Germany 

1977 Fine Arts Gallery, University of California, Irvine 

1976 Riko Mizuno Gallery, Los Angeles (Also in 
University of California, Davis. 

1974 Bykert Gallery, New York 

1970 Eugenia Butler Gallery, Los Angeles (Als< 
in 1969) 

1968 Gallery 669, Los Angeles 

Selected Group Exhibitions 

1976 Painting and Sculpture in California. The 
Modern Era, San Francisco Museum of 
Modern Art (traveled to National Collection 
of Fine Arts, Smithsonian Institution. 
Washington, DC ) 

1975 Current Concerns, Part I, Los Angeles Insti- 
tute of Contemporary Art 
Both Kinds: Contemporary Art from Los 
Angeles, University Art Museum, University 
of California, Berkeley 

1974 Fundamental Painting. Stedelijk Museum. 
Gemeentemusea, Amsterdam, 
the Netherlands 
Margo Leavm Gallery, Los Angeles 

1972 Los Angeles 72. Sidney Jams Gallery, 
New York 

John Baldessan /Francis Barth /Richard 
Jackson /Barbara MungerlGary Stephan, 
Contemporary Arts Museum, Houston, 

15 Los Angeles Artists, Pasadena Art 
Museum, California 


Richard Jackson 

1971 The 32nd Biennial Exhibition of. Contempo- 
rary American Art, Corcoran Gallery of Art. 
Washington. D C. 

24 Young Los Angeles Artists. Los Angeles 
County Museum of Art 

Jay McCafferty 

Selected One-Person Exhibitions 

1980 Baudom Lebon Gallery, Pans 

Cirrus Gallery, Los Angeles (Also in 1979, 
1977, and 1975) 

Grapestake Gallery. San Francisco (Also ir 
1978 and 1976) 

1976 Galene Krebs. Bern, Swilzerland. 

1973 Fine Art Gallery, University of California 

Selected Group Exhibitions 

1976 New Selections: New Talent Award Winners. 
Los Angeles County Museum of Art 
Basel Art Fair, Switzerland. 
Bologna Art Fair, Italy. 

1975 University of California. Irvine, '965-T975, 
La Jolla Museum of Contemporary Art, 

Southland Video Anthology Traveling Show, 
Long Beach Museum ol Art, California 
DeLapMcCatlerty Baxter Art Gallery, 
California Institute of Technology. Pasadena, 

1973 Festival of Contemporary Arts, Allen Art 
Museum, Oberlm College, Ohio. 

1971 Fiber as Line. California State 
College, Los Angeles (Also 
Small Images Exhibition) 

Michael C McMillen 

Selected One-Person Exhibitions 

1980 Asher/Faure Gallery, Los Angeles 

Project 29 Michael McMillen. An" Gallery of 
New South Wales, Sydney, Australia 

1977 Inner City. Los Angeles County Museum of 
Art (traveled to Whitney Museum of Ameri- 
can Art, New York. 1978) 

Selected Group Exhibitions 

1980 Architectural Sculpture, Mount St. Mary's 
College Fine Arts Gallery, Los Angeles 
(produced by Los Angeles Institute of 
Contemporary Art) 

Sculpture in Southern California 1975-80, 
San Diego Art Museum. California 
In a Major and Minor Scale, Los Angeles 
Municipal Art Gallery (Also The Artist As 
Social Critic— 1979; and Other Things That 
Artists Make. 1978) 

Tableau, Los Angeles Institute of Contempo- 
rary An (Also in Art Words and Bookworks, 
1978, 100+ Current Directions in Southern 
California Art, 1978; Imagination, 1976; and 
Collage and Assemblage, 1975) 

1978 Artists Books —Bookworks. Ewmg and 
George Paton Galleries. Melbourne. 
Australia (traveled to Institute of Modern Art, 
Brisbane. Queen Victoria Museum and Art 
Gallery, Launceston, Experimental Art Foun- 
dation, Adelaide, Undercroft Gallery. Perth, 
and Geelong Art Gallery, The Sculpture 
Center, Sydney) 

Eccentric Los Angeles Art, Arco Center for 
the Visual Arts. Los Angeles 
A Proposal for a Children's Museum, Baxter 
Art Gallery, California Institute of Technology, 
Pasadena (Also in two-person show, 1975) 
Seyond Realism, Otis An Institute, Los 

1977 Miniature. California State University. Los 

Los Angeles in the Seventies. Fon Worth An 
Museum, Texas (traveled to Joslyn An 
Museum, Omaha, Nebraska, 1979) 

1975 Sounds: Audio-Visual Environments by Four 
L A Artists. Newport Harbor An Museum, 
Newport Beach, California 
Eight Artists from Los Angeles. San Fran- 
cisco Art Institute 

Crucifixes, Betty Gold,' Fine Modern Prints. 
Los Angeles 

1974 First Annual California Sculpture Exhibition. 
California State University, Northndge 

Selected One-Person Exhibitions 

1981 Neil G Ovsey Gallery. Los Angeles 

1980 Silence and the Ion Wind, Los Angeles 
County Museum of Art 
Infinite Gold Void. Los Angeles institute of 
Contemporary Art 

1979 Chemical Light. Janus Gallery. Los Angeles. 

1978 Drawings for the Gold Room, Cirrus Gallery. 
Los Angeles (Also Sunrise. 1976, and in 

Seasons of the Fountain. Larry Bell/Enc Orr, 
Delahunty Gallery, Dallas, Texas (traveled 
to Marion Goodman Gallery, New York) 

Salvatore Ala Gallery, Milan, Italy 
University of California, Irvine. 
Eugenia Butler Gallery, Los Angele 
Selected Group Exhibitions 



1980 Nothing Special. PS 1. The Institute for Art 

and Urban Resources, Long Island City. 
New York 

Fire as Prime Matter. Libra Gallery, 
Claremont Graduate School, California 
Lead/Gold Reliefs and Season of the Foun- 
tain, Neil G Ovsey Gallery. Los Angeles 

1979 California. University of Hartford, Connec- 

1977 Los Angeles of the Seventies. Fort Worth An 
Museum, Texas (traveled to Joslyn An 
Museum, Omaha, Nebraska) 

1975 Transparency Exhibition, Long Beach 
Museum of Art, California 
Newport Harbor Art Museum, Newport 
Beach, California 

Sound Tunnel, Los Angeles Municipal Art 
Gallery (traveled to University of Southern 
California, Los Angeles). 

1970 Sound in Shape of Pear, Museum of Con- 
temporary Crafts, New York 

1969 357 Magnum, Dusseldort, West Germany, 

Search Light Sky Shapes, Baxter Art Gallery, 
California Institute ol Technology, Pasadena 
Volumetric Sound, San Francisco Art 

1968 Dry ice. University of California. San Diego 

1967 Fresh Air Space, Los Angeles Municipal 
Art Gallery 

Roland Reiss 

Selected One-Person Exhibitions 

1980 Ace Gallery, Venice. California (traveled lo 
Ace Gallery, Vancouver, British Columbia, 

1978 South Alberta Art Gallery. Lelhbndge, 
Alberta, Canada 
Calgary Museum, Alberta, Canada 

1977 Cirrus Gallery, Los Angeles 

The Dancing Lessons/12 Sculptures, Los 
Angeles County Museum ot Art 

Selected Group Exhibitions 

1980 Architectural Sculpture, Mount St. Mary's 
College Fine Arts Gallery. Los Angeles 
(produced by Los Angeles Institute of Con- 
temporary Art) 

Roland Reiss and Sam Richardson, Santa 
Barbara Museum of Art, California. 
Los Angeles Art, The High Museum of Art, 
Atlanta, Georgia 

1978 Rooms, Moments Remembered. Newport 
Harbor Art Museum, Newport Beach, 

Miniature Narratives, University of California, 
San Diego. 

1977 Private Images Photographs by Sculptors, 
Los Angeles County Museum of Art. 
Los Angeles in the Seventies, Fort Worth Art 
Museum, Texas (traveled to Joslyn Art 
Museum. Omaha, Nebraska, 1979) 

1976 Painting and Sculpture in California: The 
Modern Era, San Francisco Museum ot 
Modern Art, California (traveled to National 
Collection of Fine Art, Smithsonian Institu- 
tion, Washington, D C ) 
Attitudes, California State University, Los 

Imagination, Los Angeles institute ot Con- 
temporary Art 

1975 Whitney Biennial. Whitney Museum ot 
American Art, New York. 
Masterworks in Wood, Portland Museum of 
Art. Oregon 
Private Spaces, University ol California, Irvine 

Terry Schoonhoven 

Selected One-Person Exhibitions 

1980 Hogarth Gallery, Sydney, Australia 

Downtown Los Angeles Underwater and 
Other Proposals, ARCO Center for the Visual 
Arts, Los Angeles 

1975 Terry Schoonhoven Paints a Mural for the 
Newport Harbor Art Museum, Newport Har- 
bor Art Museum. Newport Beach, California 
(traveled to Colorado Springs Art Center, 
1976, University Art Gallery, Arizona State 
University, Tempe, 1976, E B Crocker Art 
Center. Sacramento, California, 1977, and 
California State University Art Gallery, Chico. 

Wall Paintings Executed Alone 

1979 Study in Silver. Century City Mall. CaliforniE 

1976 No River, Walker Art Center c 
Minneapolis, Minnesota 

Adobe Gillis, Thousand Oaks Shopping Mall. 


Study in Chrome and Gray, Rose Avenue 

and Lincoln Boulevard, Venice, California. 

1975 Sons of the Desert, Newport Harbor Art 
Museum. Newport Beach, California 
SPQR , Bunche Hall, University of Califor- 
nia, Los Angeles 

Selected Group Exhibitions and 
Wall Paintings 
1981 California — The State of Landscape. New- 
port Harbor Art Museum, Newport Beach. 
California (Also in A Drawing Show, 1975, 
and New Painting m Los Angeles, 1971) 
LA. Seen by LA Artists, Los Angeles 
Municipal Art Gallery 

1977 illusion and Reality. Australian Council 

1971 Hippie Know How, Biennale de Pans 

Isle of California, Butler Avenue and Santa 
Monica Boulevard, West Los Angeles 

Alexis Smith 

Selected One-Person Exhibitions and 

1981 USA, Holly Solomon Gallery, New York 
(Also window mslallation, 1980, The Magic 
Mountain, 1979, and in 1978 and 1977) 

1980 Raymond Chandler's LA, Rosamund Felsen 
Gallery. Los Angeles (Also Medium and The 
Magic Mountain, 1978) 

1979 Stairway to Heaven. Steirescher Herbst. 
Graz. Austria 

Through the Looking Glass, De Appel, 
Amsterdam, the Netherlands 
Autumn Sonata. Los Angeles Institute of 
Contemporary Art (downtown window) 

1978 The Art of Magic. Close-up (with Tony 

DeLap), Baxter Art Gallery, California Institute 

ot Technology, Pasadena 

Nicholas Wilder Gallery, Los Angeles. 

1976 Scheherezade the Storyteller. CARP, Los 

1974 Riko Mizuno Gallery, Los Angeles. 

Selected Group Exhibitions and 

1981 Stardust, Los Angeles Contemporary 

Exhibitions (LACE) (Also performed at Los 
Angeles County Museum of Art). 
Whitney Biennial, Whitney Museum of 
American Art, New York (Also in 1979 and 

1980 Tableau, Los Angeles Institute of Contempo- 
rary Art (Also in Narrative Themes I Audio 
Works. 1977 and Autobiographical Fan- 
tasies, 1976) 

Southern California Drawings. Art School, 
University of Hartford, Connecticut 

1979 Words and Images, Philadelphia College of 
Art. Pennsylvania 

Paper on Paper, San Francisco Museum ot 
Modern Art 

Decade in Review, Whitney Museum of 
American Art, New York 

1978 Narration, Institute of Contemporary Art, 


Southern California Styles of the 60s and 
70s. La Jolla Museum of Contemporary Art. 
California (Also m University of California, 
Irvine, 1965-75, 1975). 

1978 American Narrative IStory Art, 1968-78, Con- 
temporary Arts Museum, Houston, Texas 
(traveled to Contemporary Art Center, New 
Orleans. Louisiana. Winnipeg Art Gallery, 
Manitoba, Canada, and University Art 
Museum, University of California, Berkeley) 

1977 The American Section of the Pans Biennale, 
Hudson River Museum, Yonkers, New York 
Pans Biennale. Musee d'Art Moderne de la 
Ville de Pans 

Contemporary Miniatures. Fme Arts Gallery. 
California State University, Los Angeles 
AnVsfs' Books. Mills College. Oakland. 

1976 New Selections. 'New Talent Award Winners. 
Los Angeles County Museum of Art (Also in 
Margaret Lowe, Barbara Munger. Alexis 
Smith, Margaret Wilson, 1972) 
Los Angeles. The Museum of Modern Art, 
New York 

Via Los Angeles, Portland Center for the 
Visual Arts, Oregon 

1975 Both Kmds: Contemporary Art from Los 

Angeles, University Art Museum, University 
of California. Berkeley 
Four Los Angeles Artists Foutkes, Goode, 
Smith. Wheeler, Visual Arts Museum, New 
York (traveled to Corcoran Gallery of Ameri- 
can Art, Washington, DC, and Wadsworth 
Atheneum, Hartford, Connecticut) 


Board of Trustees 

Mrs. Howard Ahmanson 
William H. Ahmanson 
Howard P. Allen 
Robert O. Anderson 
Mrs. Anna Bing Arnold, 
R. Stanton Avery 
Norman Barker, Jr., 
Vice President 
Daniel N. Belin 
Mrs. Lionel Bell 
Michael Blankfort 
Sidney F. Brody 
B. Gerald Cantor 
Edward W. Carter 
Herbert R. Cole 
Justin Dart 
Joseph P. Downer 
Charles E. Ducommun, 
Vice President 
Richard J. Flamson III 
Mrs. F. Daniel Frost, 
Julian Ganz, Jr. 
Arthur Gilbert 
Stanley Grinstein 
Dr. Armand Hammer 
Felix Juda 
Hoyt B. Leisure, 
Vice President 

Harry Lenart 

Eric Lidow 

Robert F. Maguire III 

Mrs. David H. Murdock 

Dr. Franklin D. Murphv 

Mrs. Edwin W. Pauley 

Daniel H. Ridder, 


Henry C. Rogers 

Richard E. Sherwood, 


Nathan Smooke 

Ray Stark 

Hal B. Wallis 

Mrs. Herman Weiner 

Frederick R. Weisman 

Mrs. Harry W. Wetzel 

Dr. Charles Z. Wilson, Jr. 

Robert Wilson 

Honorary Life Trustees 

Mrs. Freeman Gates 
Mrs. Alice Heeramaneck 
Joseph B. Koepfli 
Mrs. Rudolph Liebig 
Mrs. Lucille Ellis Simon 
John Walker 

Edmund D. Edelman, 

Michael D. Antonovich 

Deane Dana 

Kenneth Hahn 

Peter F. Schabarum 

Harry L. Hufford, 

Chief Administrative Officer