Humble Earthen Vessels

Detail of Teapot Peddlers (2011) by Gerit Grimm

I recently visited the Long Beach Museum of Art and saw an excellent ceramic exhibit, featuring the works of Gerit Grimm. The show, entitled "Beyond the Figurine", is comprised of these contemporary works that were inspired by the museum's collection of classic British and French figurines, with styles varying from the Rococo to Victorian bric-a-brac, which are also on display upon the nearby walls.

It's interesting to see how Grimm reinterprets the implied narrative of the figurine style. Her works capture the light-hearted feel of the traditional pieces, but convey a deeper sense of mystery or weirdness. The strange cat-faced heraldry, the diverse peddlers, and the circular gatherings, these elements create the feeling that Grimm has developed her own fantasy world. It's an interesting vision.

Detail of Monument (2011) by Gerit Grimm


This show will be ending on July 8. I definitely recommend checking it out before it closes.

Sights to Delight

Sculpture of a Feathered Serpent from the Mayan civilization at Chichen Itza, AD 850-1100, on view in LACMA's "Children of the Plumed Serpent" exhibit.

I have been fortunate over the past few weeks in being able to visit various art venues, museums and galleries. Although I plan on writing about a few of them individually, I figured that sharing a few images would make for a fun post.

So, I have recently gone viewing in four of the city's cultural centers: the Miracle Mile, Culver City, Bergamot Station, and Long Beach. It's been a great start to the Summer.

Midnight Ride (2006) by Deborah Kupinsky, on view at the Long Beach Museum of Art


Lots on interesting works on display. I'm especially happy to have visited some venues down in Long Beach, an area that I enjoy but rarely visit.

To Find a Matching Teapot

Doubled Handled Bowl (1987) by Beatrice Wood


For much of the history of western art, the "lowly" potter's craft has been overlooked, dismissed as mere decoration, as if ceramics were little more than playing with mud, expressing no "higher" aesthetic values.

American pottery of the mid-20th century challenged that ignorant and elitist frame of mind. And no place was more trendsetting and innovative than Southern California. One of the most distinctive ceramic artists was Beatrice Wood, who amazingly had learned the craft in her late 40s!!! According to the story, she was looking for a teapot to match a pair of lusterware plates, but couldn't find one. So, she decided to learn how to craft one for herself, beginning six decades of amazing luster glaze ceramic masterpieces.

Currently, the Santa Monica Museum of Art is exhibiting "Beatrice Wood: Career Woman - Drawings, Paintings, Vessels, and Objects" as part of the Pacific Standard Time event. It is a comprehensive display covering a wide selection of styles and themes that Wood had developed over the decades. Moreover, there are some really obscure works on display, such as her drawings or journals, which rarely receive viewings, providing rich insights into her creative process.

Luster Chalice with Ten Handles (1982) by Beatrice Wood

But the main draw for me were the alluring lusterware vessels. They have a dazzling faerie glamour that catches the eye, bringing to mind tales of magic and high heroics.

Domestic Designs to Adore and Delight

Horn Back Chair with Spindles and Low Curving Arms (c.1960) by Sam Maloof


When discussing the development of the Los Angeles Art scene, the avant-garde of conceptual art or the emergence of minority artists rightfully command significant attention, but there was a quieter innovation underway out in the Pomona Valley.

"The House That Sam Built" is an exhibit at the Huntington Museum featuring the creativity of the Pomona school in developing a modern sensibility to those art forms frequently classified as the "decorative" arts, such as furniture design or ceramics. This movement was led by Sam Maloof, the great furniture designer, who brought a strong aesthetic of lyric modernism to functional craftsmanship. His influence dominated Los Angeles decorative design and spread out becoming a distinctive late-20th century style.

I always get a laugh when I see the Pomona school being distinguished from the LA scenes, as if it were someplace off among the redwoods or in the remote Sierras. Sure, if you take your Southern California geography directions from Bugs Bunny and make an ill-advised turn at Rancho Cucamonga. ;-)

Chair after Hans Wegner (1952) by Sam Maloof

I'm pleased that the Huntington has put together a strong exhibit to showcase this very influential school of design. Maloof and his students are just as much a part of the LA aesthetic as anything turned out of the Ferus Gallery in the 1960s. It's a fine part of the Pacific Standard Time exhibition.