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Lacma showcases fifty years of ken price's sculptures - Levitation Display - Floating Photo Frame by e55he swrzsnb
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Lacma showcases fifty years of ken price's sculptures - Levitation Display - Floating Photo Frame by E55HE SWRZSNB
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| Article Posted: 02/04/2013 |
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Lacma showcases fifty years of ken price's sculptures - Levitation Display - Floating Photo Frame |
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A student of Peter Voulkos at the L.A. County Institute of Art (nowOtis College of Art and Design), Price achieved amazing forms andcolor combinations during his 50-plus-year career. Unlike othersculptors, Price was obsessed with color, and would compose workswith multiple layers of fired and painted clay. Price spentcountless hours sandpapering down sections of his sculptures toreveal intriguing variations of color.
This practice is evident in the LACMA show, which appropriatelypositions Price and his work somewhere between sculpture andpainting. Stephanie Barron, LACMA senior curator of modern art,curated this retrospective. The exhibit was designed by friend and world-renowned architectFrank O. Gehry.
The man behind the elaborate Walt Disney ConcertHall took a pristine, clean and meditative approach with this show,sparsely spacing out the sculptures and allowing for plenty ofwhite space to surround the work. The retrospective is installed on the right third of the ResnickPavilion, whose distinctive roof panels let in plenty of naturallight to let the colorful sculptures shine. The show is generally arranged in reverse chronology, with the mostrecent works first. "Mountain Balls" (2006) is large, fun andplayful, and "Zizi" (2001) looks like a sacrificial Chac Mool from ancient Mayan culture.
In contrast to the gory, morbidallusion, "Zizi" is almost cheerful looking, glowing aqua blue withdark blue and orange dots. "Hunchback of Venice" (2000), in the first gallery is anotherexample of Price's experimentations with shape and color. Anundulating form is peppered with green, purple and orange spots,while a purple surprise underneath awaits those curious enough topeek. "Whitey" (2003) stands up vertically and shimmers off-white, whilethe related work, "Balls Congo" (2003) looks like some kind ofpurple cartoon character with multiple legs and balled feet. Many works resemble blobs, mounds, lumps, eggs and body parts, andmore than a few look like colorful turds.
Apparently, Price wasn'tafraid of the scatological, or the sexually suggestive. One canassume that the turds are meant to be humorous, similar in spiritto Paul McCarthy's plastic brown poops. The blob "Echo" (1997) is an amazing yellow-orange, while Price'seggs are garishly colored with automobile paints and luminousceramic glazes. The artist's holes and indentations sometimes givehis work a creepy, ominous feel.
"Cheeks" (1998) looks strange,like a large pink ear resting on its side. One wonders where thecrooked central canal leads. Price made frequent references to other artists, includingRené Magritte, Karl Benjamin, Joseph Cornell and the Russianavant-garde. His fired and painted clay sculpture, "Baby Blue"(1994), looks like Benjamin's geometric Totem Group paintings from1957. Similarly, Price's "Cup Constructions" (1960-62) are directreferences to Cornell, who had a similar collection on display atL.A.'s Ferus Gallery in 1962.
A few installations near the back of the exhibit are homages toMexican folk pottery and culture – obviously influenced byPrice's time in northern New Mexico. In the center of the show is a reading room that also containsPrice's acrylics and inks on paper. These works, primarilylandscapes, reveal that he had a deft drawing hand, and was againinspired by the sunsets and terrain of his beloved Taos. A few extra-large works completed this year represent the directionPrice was going during his final months and weeks.
Battling cancerat the end of his life, Price welcomed the help of his son and afew assistants, and was expanding into new territory even as hisphysical body was shutting down. Those works, including "Yogi"(2011-12), incorporate new materials such as polyurethane paint andbronze composite, and hint at what might have been. If there are any drawbacks to this impressive show, they areperipheral to the actual content inside Resnick Pavilion. Onenegative is the cost of the exhibition catalog – $75. Thehardcover book is otherwise lavishly illustrated and filled withilluminating essays, biographical material, photos and commentary.
Another drawback would be the new hours at LACMA, which is nowshutting its doors at 5 p.m. on weekdays. That makes the museumless accessible to the after-work crowd, as well as those drivingfrom Orange County and similar locales. If you happen to be on the LACMA campus past 5 p.m.
on weekdays,you can still enjoy Michael Heizer's enormous outdoor installation,"Levitated Mass," until sunset. Much hoopla was made in the mediaabout the giant rock's slow-motion transportation from the JurupaMountains quarry in Riverside County to Miracle Mile. The way it's installed – visitors approach the 340-tonboulder via a long, concrete walkway, then walk underneath it–
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