So we bumbled around the Norton Simon this weekend, which by the way, is a fantastic little museum, if you’ve never been (just don’t high-five the outdoor sculptures- they don’t like that).
The whole of the downstairs floor has been dedicated to Proof: the rise of printmaking in Southern California, part of the Pacific Standard Time exhibition, which is currently popping up in museums all over Southern California and is an amazing look at the Los Angeles Art Scene from 1945- 1970 in all its facets.
Proof, just one small section of PST, is an amazing collection of the experiments of many of the artists from the 50s to 70s. From the breath of artists, we couldn’t quite work out whether they were actually living in LA, or whether they had come visiting people and ended up messing around in the studio- the studio being Tamarind Lithography Workshop. Tamarind opened in 1960 and was run by June Wayne, a fantastic print artist in her own right.
There’s pieces from Rauschenberg, Litchenstein, Albers, Oldenburg, Hockney and Sam Francis, as well as many others, but what was interesting was for a lot of these artists printmaking was not their chosen medium, or at least the medium they are now recognized for: Claus Oldenburg, for example is known mostly for his large scale sculptures. So the prints are experiments, working through of themes, the seeds of ideas for later works, and weekend fun, as well as standalone pieces.
I also found a new artist, which I really love. Ynez Johnston, who created lithographs, often with her partner John Berry, a poet. The images and text aren’t necessarily designed to go to together, but the juxtaposition is really nice.
for more pictures of Ynes Johnston’s work see Here
for more about the Norton Simon’s exhibition see Here
and for more about Pacific Standard Time, happening all across LA, including an awesome video of Ice Cube talking about the Eames’ see Here