The Hand of the Artist, the Missing Ingedient in Computer Graphics
conference presentation Oct 1990 reprinted in Proceedings, 1991
SOME IMPORTANT ANNOUNCEMENTS May 19 - June 22, 1985
A history of Southern California galleries from the fifties to the eighties in the form of posters and announcements. Many of these ephemeral publications are the only record of the exhibitions and the artists whose work was shown.
ART IN PRINT March 29 - May 18, 1985 A selection of prints that appeared in book or periodical forms such as:
THE TIME MACHINE June 18 - Sept 17, 1983 Outcast and underground artists of the l950's who made work of the romantically aged detritus of the affluent and insensitive American culture.
A privately funded experimental space created by Hal Glicksman
TOM EATHERTON November 20, 1981 - May 1982 A recreation of the lightspace environment RISE , with walls of radiant blue light. MOVE , a "painting" of three luminous panels of light, and POINT , a computerized painting made of arrays of light emitting diodes.
FOLK ART CHRISTMAS December 16 1981 - January 17, 1982 A collection of Folk Art Toys, Christmas Decorations, and a very special collection of toy robots.
LOUIS KAHN October 22 - November 22, 1981 Drawings of projects which Louis Kahn designed between 1950 and 1970. There were also travel sketches from his trips to Greece in 1951 and France in 1959. Illustrated Catalog.
PAINTINGS BY September 25 - October 18, 1981 Three New York painters and three from Los Angeles who utilize the human figure and familiar bold images. The works are lyrical, expressive and painterly. The announcement was a silk screen on canvas by Gary Hall that had the appearance of a miniature painting.
A SLICE OF L.A. August 9 - September 20, 1981 A documentation of the process of creating the bicentennial guidebook of Los Angeles, L.A. Access. The exhibition traces the evolution of the publication through concept drawings, studies of sites, final renderings, mechanicals, separations, negatives, plates, and press sheets for the publications. Sponsored by a grant from ARCO.
CAPACITOR July 3 - July 31, 1981 A film installation by George Stone. The Artist invented an elaborate projection apparatus that creates the image of a dancer who flies on the walls, floor, and ceiling of the gallery. The sound that controls the motors of the projector also provides "music" for the dancer, linking sound and motion in a surreal ballet. The project was sponsored by a grant from the Foundation for Art Resources.
ZANDRA RHODES April 30 - June 14, 1981 Fashions, posters, watercolors, and videotapes by London's leading designer of women's clothes. Ms. Rhodes designed a poster for the exhibition and painted a mural in the gallery that was subsequently placed in the permanent collection of the fashion department. The opening reception and fashion industry luncheon raised money for scholarships.
MICHAEL VOLLBRACHT April 1 - April 19, 1981 Vollbracht is a Coty award winner and Parsons graduate. He exhibited fashions, illustrations, and paintings. Opening events were the occasion for starting a fashion industry council for Otis/Parsons.
MARK CHECKA "Shadow" Installation April 3-May 17, 1981 A room painted with phosphorescent paint that captured your shadow if you stood against the wall for a few moments.
POETIC VISIONS January 24 - February 22, 1981 Six Artists whose work is narrative and poetic. Alexis Smith executed a major mural on the gallery walls based on Porgy and Bess , and designed a deck of playing cards combining quotes from Walt Whitman with patriotic American images. Other artist's work included sculpture, film, painting, and photography.
EXCEPTIONAL AMERICAN QUILTS December 17 - December 28, 1980 A selection of quilts chosen for formal and aesthetic quality as well as for historical interest. Most of the quilts had complete provenance, family histories, and names of makers.
TWENTIETH CENTURY FOLK ART November 6 - December 7, 1980 A very popular exhibition of so-called naive painters, wood carvers and assemblage makers. Some of the artists such as Archuleta and Seaburn Sutton are self conscious and popular, but Joseph Chalogian was an unknown visionary whose work was rescued from the trash after his death.
THE YOUNG / THE RESTLESS September 17 - October 26, 1980 An introduction of seven young Southern California artists with new sensibilities and attitudes. The works were chosen to reenforce each other without following any stylistic trend. A sense of excitement and quality were the only links. A color poster was published.
FURNISHINGS BY ARTISTS June 7 - July 13, 1980 An exhibition of twenty-six contemporary artists whose primary work is painting or sculpture. The furniture was mostly created for their own studios. The pieces were inventive, utilitarian, and matched the aesthetic direction of the artist's other work. A catalog with B&W illustrations was published.
BARRY LE VA / ROBERT THERRIEN March 20 - April 13, 1980 Le Va created a site-specific installation consisting of pipes and pieces of lumber arranged by "walking" them a set number of times determined by their dimensions starting from a specific location unknown to the viewer. Robert Therrien selected a five year survey of his own work from 197S-1980. All of the objects were painted wood, some in relief and others in the full round. The shapes and surfaces suggested archaeological artifacts from an imaginary present and an invented past.
WESTWOOD CLAY NATIONAL 1980 January 20 - February 17, 1980 A juried competition open to all artists working in functional and non-functional ceramics. The exhibition was sponsored by a group of ceramic supply companies. The exhibition was sent on to the Parsons Exhibition Center in New York in April 1980.
DANIEL BUREN / FROST AND DEFROST January 28 - march 4, 1979 In this site specific work the ceiling panels in both gallery rooms were removed and covered with striped paper. The panels were reinstalled by units of seven per day per room to their original place in the ceiling. At the same time objects left in room B used for installation were put back a piece at a time in the storage room. The evolution of the work was documented in a catalog.
HECHO EN MEXICO December 14-21, 1978 Blankets woven by Zapotec indians of pueblo Teotitlan del Valle, Oaxaca, designed by Peter Alexander, Chuck Arnoldi, Karen Avila, Larry Bell, Laddie John Dill, Billy Al Bengston, Lionel Bevin, Tony Berlant,Todd Christianso, Richey Clifton, Ron Cooper, Boyd Elder, John Fleming, Jim Ganzer, Stuart Gentling, Joe Goode, Nancy Lamb, Joni Mitchell, Bobby Neuwirth, Ken Price, Ed Ruscha, Sandy Sussman, Robert Wade, Roscoe West, Phyllis Whital, and Tom Wudl.
WALLACE BERMAN RETROSPECTIVE October 25 - November 26, 1978 The first major retrospective of this pioneer Los Angeles artist. The exhibition was sponsored by the Fellows of Contemporary Art and the National Endowment for the Arts. The catalog is 120pp. with numerous color and B&W illustrations and essays by Robert Duncan, David Meltzer, and Walter Hopps. The exhibition traveled to Fort Worth, Seattle and Berkeley.
BEYOND REALISM September 13 - October 22, 1978 Several artists who were noted super-realists were pursuing new lines of development. This led to the idea of combining artists who were off in new directions "beyond realism". The work of 90 year old Eduardo Munoz was especially amazing. He painted historical scenes on the heads of pins. His Battle of Midway contained more than twenty separate ships and aircraft.
RICHARD MOCK YOUR PORTRAIT May 18 - June 11, 1978 Portrait painting as performance. Mock painted portraits in the gallery during half-hour appointments while conversing with the sitter and spectators. Sponsored by Some Serious Business.
FOUR INSTANTS A PERFORMANCE BY LAURIE ANDERSON March 17, 1978 A story telling performance utilizing the tape-bow, mouth microphone, movie shadowgrams, and other media of which Laurie Anderson is master. The performance was sponsored by Some Serious Business.
WILLIAM LUNDBERG / WILLIAM WEGMAN October 27 - December 2, 1979 Lundberg presented two film installations: Charades consisted of tiny persons projected into a water glass who acted out complex statements about art. Dread consisted of four huge faces who spoke soothing words to counteract anxiety. Wegman showed a survey of work from 1970-1979 consisting of altered photographs, drawings, and video tapes.
De COINTET, HERNANDEZ, HOLSTE, AND KAHN September 14 - October 14, 1979 Guy De Cointet showed sets from Ethiopia and edited a selection of scenes and solo art performances that were presented. Tom Holste showed multi-part wall reliefs that are constructivist in form but lyrical in their use of bright colors. Anthony Hernandez showed a series of photographs of outdoor sculpture that was a social commentary on the role of art in urban surroundings. Steve Kahn presented the Storm/Door series of large photographs that juxtaposed a door in a blank wall and a cloudbank over a low horizon.
LA PARKS AND WRECKS July 17 - August 19, 1979 The lake in MacArthur Park, across from the Otis Art Gallery, was drained in 1973 and 1978 to dredge accumulated debris. Artist John Woods made assemblages of objects from the lake bottom, creating a modern combination of archaeology, sociology and art. Echo Park was the inspiration for Charles Almaraz' paintings and pastels of life in that area, including many car crashes and shoot-outs. John Valadez created life-sized drawings of the "cholos" and "cholas" of the barrio.
ARTATTACK March 14 - April 15, 1979 Six artists who employed vibrant color, rich texture, expressive imagery, and experimental media. The selection and the title were intuitive, but the resulting exhibition justified the title.
SAM FRANCIS, WORK IN PROGRESS February 11 - April 2, 1978 The Otis gallery has two long rectangular rooms. The long walls are 16' high and 40' long. Sam Francis showed four recent works in the grid series that completely filled these walls. The viewer could only look at one work at a time, and was filled with the monumentality of the paintings.
DRAWING TOWARD A MORE MODERN ARCHITECTURE January 6 - February 5, 1978 The Otis Art Gallery was fortunate to be able to combine two excellent architecture exhibitions from New York, one from the Cooper-Hewett Museum and the other from the Drawing Center. The Otis exhibition combined new architectural ideas and imaginative, virtuoso drawing.
CHRISTMAS AT OTIS December 15 - December 30, 1977 One Hundred Flamingos by Rita Yokoi, A large fabric sculpture by Marilyn Anderson, and a Christmas tableau by Frank Romero served as light follow-up to a serious fall schedule.
ON KAWARA October 26 - December 4, 1977 The Today series of date paintings for 1967 and related documents. A major catalog with an essay by Lucy Lippard reproduces the entire documentation of the Today paintings. Supported by a grant from the National Endowment for the Arts.
REALLY, I'VE NEVER DONE ANYTHING LIKE THIS BEFORE November 12, 1977 A performance of T.R. Uthco, by Doug Hall, Diane Hall, and Jody Proctor. Sponsored by Some Serious Business.
HAP TIVEY / JOHN KNIGHT September 13 - October 16, 1977 Hap Tivey produced five installation pieces that utilized high intensity lights and translucent diffusion screens. His work combined the effects of light-spaces and painting. John Knight produced a conceptual work by dividing the number of Otis Art Associates by the number of days and minutes of the exhibition. Each member was assigned ten minutes of the exhibition. The names and the time assigned to each one were published as a book.
ANIMATED FILMS OF FAITH AND JOHN HUBLEY July, 1977 One gallery was filled with animation drawings, cells, and posters, while the other gallery became a movie theater for three hours of films by the pioneers of the U.P.A. studios. The exhibition was based on a Smithsonian traveling exhibition, augmented and sponsored by the International Animated Film Society, who provided the films and additional drawings.
CORPORATE ART COLLECTIONS March 9 - April 17, 1977 Eleven Los Angeles corporations provided an excellent cross section of contemporary art. Each had started its collection with a different premise and goals. This was one of the first exhibitions to focus attention on the combined impact of corporations as patrons of the arts. Poster by David Hockney.
CARL ANDRE January 19 - February 27, 1977 Andre created two large series of sculptures of steel plates, Prime Rectiles and Blue Equivalents . Five postcards, sent one per week, illustrated the concept and evolution of the work. Supported by a grant from the National Endowment for the Arts.
DAN FAVIN December 10, 1976 - January 16, 1977 Flavin created two corner installations composed of grids of fluorescent tubes. The colored tubes were transposed in the two pieces, and the resulting difference in the atmosphere of each gallery was remarkable. A catalog contained sketches and color photographs of the work. Supported by a grant from the National Endowment for the Arts.
ALICE AYCOCK AND JANE REYNOLDS October 13 - November 21, 1976 Alice Aycock created an environment called Heavy Roofed Building , a structure of concrete blocks with a small chamber at the base. The effect on the viewer was of oppressive mass. Recent work of Aycock was documented in photographs and drawings. Jane Reynolds created a site-specific analysis of the gallery space by removing a single nine inch floor tile and cutting a corresponding hole through the concrete floor. The pure "art" space of the empty gallery contrasted with a grisly boiler room seen and heard through the hole.
LITA ALBUQUERQUE, CHARLES ARNOLDI, LYNDA BENGLIS ROSEMARY CASTORO, PAT STEIR September 1 - October 3, 1976 Recent abstract painting and sculpture.
INTAGLIO PRINTS FROM PARASOL PRESS July 22 - August 22, 1976 These etchings by masters of Minimal art were of extraordinary quality. Perfect planes of aquatint are very hard to achieve and allow very small editions to be pulled.
NEW TOPOGRAPHICS March 3 - April 4, 1976 Photographs of the urban landscape. An exhibition organized by the International Museum of Photography. Eighty photographs by nine artists were shown.
RICHARD TUTTLE January 16 - February 29, 1976 A two part exhibition selected by the artist from his retrospective at the Whitney Museum. Most of the pieces were ephemeral works created directly on the gallery walls. The Otis exhibition is included as part of the Tuttle catalog published by the Whitney.
THE SKY SHOW November 5 - December 21, 1975 The theme of skys encompassed a broad range of painterly styles from velvet paintings to movie set backgrounds painted directly on the gallery wall. A calendar was printed by the Otis Art Associates using illustrations from the show .
MOWRY BADEN AND DAN GRAHAM September 17 - October 26, 1975 Baden built a room within the gallery that was experienced by walking around a wooden pathway inside the room. The viewer experienced a subtle disjunction of the visual and kinetic perception of the space. Dan Graham presented Yesterday Today and Present Continuous Past , both interactive video installations with strong sociological insights. The catalog, For Publication , was a compendium of Graham's published conceptual work.
THE DRAWINGS OF BRUCE CONNER July 1975 A ten year survey of Conner's work organized by the De Young Memorial Museum . Conner's films were shown as part of the exhibition
COLLAGE AND ASSEMBLAGE June 1975 An open invitation exhibition. Over 400 works by 208 artists were included . Most of the important L.A . artists such as Bengston, Moses, and Vija Celmins managed to find a collage among their early works. A strong historical section based on Herms, Berman, and Kienholz, provided a background for the younger artists. An entire room was built for McMillan's Mystery Mummy Museum . A video tape interview was made of each artist as s/he brought work to the gallery.
OLIVER ANDREWS SUMMER SOLSTICE, A CEREMONIAL SPACE July - October 1975 A combination of garden, reflecting pool, and wooden structures transformed the ground in back of the gallery into a place of calm and meditation.
JOHN BALDESSARI / SONGS January 7 - February 9, 1975 Two of the "Songs" series of 1973:
GEORGE KETTERAL November 19 - December 1, 1974 A video installation utilizing four monitors and loop tape playback systems to present a continuous ambiance of ocean waves.
PETER ALEXANDER / SUNSETS November 3 - December 8, 1974 Three years of work based on the sunset in photography, pastel, canvas, and velvet. Three lithographs were created for this show by the artist. A part of the edition was bound into a catalog with an essay by Hal Glicksman and a reprint of an essay by Oscar Wilde.
CHANNA DAVIS HORWITZ November 3 - November 17, 1984 New Work in Time and Space, carefully plotted and delineated charts for dance performances.
THE CARTOON SHOW September 27 - October 27, 1974 250 original cartoon drawings from the Jerome K. Muller collection. The catalog contained essays by Ray Bradbury, Hal Glicksman, and Jerome K. Muller.
GUY DeCOINTET June 5, 1974 A performance of At Sunset a Cry Was Heard or The Halved Painting
ELEANOR ANTIN May 21 - May 26, 1974 Black is Beautiful , a videotape and photographic narrative.
TOM EATHERTON GUIDE April 2 - April 28, 1974 A Light Space composed of vertical lines of light evenly spaced around the walls of a dark, cylindrical space.
BARBARA SMITH April 8 & 9, 1974 A performance and presentation of her xerox artworks and books.
JOHN KNIGHT March 11 - March 17, 1974 5 X 7 = 12 x 9 A small gallery, 12 x 9 feet was used as an "Information Gallery" for video and concept art. The announcement for Knight's exhibition was a postcard 5 x 7 inches. This postcard was the only thing displayed in the gallery, hence 5 x 7 = 12 x 9.
LARRY BELL February 15 - March 17, 1974 An experiment in the use of sound to modify the perception of space. Bell spent two weeks working with elaborate equipment in the gallery, but removed all the equipment and left the final work with only the slightest modifications to the gallery space. Artist Eric Orr and UCI physicist Dr. Richard Ballard made scientific measurements of the sound levels and mapped the gallery space on a computer. Bell drew an original poster for the exhibition.
LOS FOUR November 10 - December 9, 1973 Los Four is a group of Chicano artists who first came together for this exhibition at UC Irvine. The show traveled to the Los Angeles County Museum of Art, and the group exhibited together for years afterward. The catalog folds out to a six foot band printed in "split-fountain" color.
LOWELL DARLING November 12 - November 18, 1973 The Fat City School of Finds Art : Mounds of FILE magazine and other "Fluxus" type detritus was deposited in the gallery. Darling presented a "Master of Finds Art" degree to any visitor who waded through the material.
ALLAN RUPPERSBERG November 12 - November 18, 1973 Ruppersberg initiated a series of "Information Gallery" exhibitions intended to bring conceptual and performance artists on campus at frequent intervals. He presented Houdini, a lecture on the life of the magician, accompanied by a videotape of Ruppersberg attempting to escape from a straight jacket.
MARIA NORDMAN September - October 1973 Saddleback Mountain A narrow floor-to-ceiling mirror cast a beam of light diagonally across the gallery space. Saddleback Mpountain was framed in the entrance.
VITO ACCONCI May 1973 The videotapes of Vito Acconci from Castelli video.
SAM GILLIAM April 10 - May 6, 1973 Gilliam's paintings are huge canvases of color-field painting that are installed by draping the canvas from several points on the walls and ceiling of the gallery.
DITER ROT - LITHOGRAPHS AND CHEESE April 10 - April 22, 1973 In 1968 Diter Rot shocked the L.A. art world by displaying suitcases filled with rotting cheese at the Eugenia Butler Gallery. By 1973 the cheeses hardly smelled at all, and were covered with exquisite mold.
DAVID R. THOMPSON January 26 - May 28, 1973 An outdoor sculpture constructed in the earth adjacent to the gallery. The sculpture consisted of wood set into the earth so that nothing projected above the surface of the ground. The effect was that of a drawing in wood on earth.
WORLD WAR II February 25 - April 1, 1973 The final effort of the WPA painters and the "American Scene" school was a massive documentation of the war effort. 150 works were selected from over 4,000 pieces reviewed in military archives and the Library of Congress.
BRUCE NAUMAN THE FLOATING ROOM January 12 - February 18, 1973 The light spaces of Nauman have a chilling and disquieting effect on the viewer. He uses the same means as the other light- space artists, but gets a totally opposite effect. Nauman designed the poster for the exhibition and displayed drawings for other space projects.
JOYCE HAYASHI November 10 - December 10, 1972 Primary structure sculptures in painted wood.
ERIC ORR ZERO MASS October 3 - October 29, 1972 Zero Mass is the simplest light-space in construction and in principle, but has ample reason to be considered the most profound. After its first showing at Irvine, it was purchased by Dr. Guiseppe Panza di Biumo, and shown in numerous museums.
LEWIS BALTZ July 1970 The first exhibition by this important photographer. His work,The Tract Houses , was the beginning of a long series of photographs that are very formal while also serving as penetrating social comment.
MICHAEL BREWSTER June 1970 Configuration 010 Audial Activity was Brewster's first piece in a gallery space. Small clickers were placed in the gallery walls to create a random spatial pattern.
TOM EATHERTON RISE May 1970 A room with luminous sky-blue walls. Glicksman provided most of the engineering, research into materials, and construction that made this work possible.
CHICANO GRAFFITI May 1970 Documentary photographs of graffiti by Glicksman, his students, and other collectors. Chicano youth groups lettered poster boards while visiting the exhibition. Artists Frank Romero and Charles Almaraz decided to pursue Chicano imagery after seeing this presentation.
MICHAEL ASHER February - March 1970 The doors of the gallery were removed, allowing 24 hour access to a space transformed by Asher. This work is his most beautiful light-space, and has been documented in many publications.
ROBERT IRWIN January - June 1970 A small gallery was devoted to a single disk painting for half a year. The space was used as a quiet meditation area for many of the students of the college.
RON COOPER December 1969 A series of carefully mounted broken car windows were lit to reveal the rainbows and sparkles that occur. A piece of plate glass was placed on the floor and broken by a huge ball bearing. The breaking of the glass was filmed by a super high speed movie camera.
THREE MASTER PHOTOGRAPHERS February 1970 Photographs by Wynn Bullock, William Current, and Brett Weston
JUDY (GEROWITZ) CHICAGO February 1969 An outdoor performance using flares and smoke canisters to fill a snow covered canyon with translucent smoke. This was the last of Judy's work as a licensed pyrotechnician, and her last work under the name Gerowitz.
MOVIE PALACE MODERN December - January 1969-70 Delicate water color renderings of decorative schemes for movie theaters and other major buildings of the 20's and 30's.The renderings were by A.B. Heinsbergen, and represented his murals and painted decorations for dozens of noted architects. Vintage photographs by Bernard Merge documented the completed work. The exhibition was subsequently shown at UC Riverside and the Pasadena Museum of Modern Art. It was then accepted by the Smithsonian Institution Traveling Exhibition Service and scheduled by them through 1975.
LLOYD HAMROL October 1969 A highly illusionistic but surreal tableau of clouds, rain and sunlight, created with balloons, lights, color filters, water, and lead wires. The viewer stood behind a glass partition to increase the sense of unreality of the work.
ART AND TECHNOLOGY 1969-70 As acting assistant curator, Glicksman was responsible for several of the corporate match-ups in the exhibition.
ASSEMBLAGE IN CALIFORNIA October 15 - November 24, 1968 (As guest curator) A survey of six California artists, focusing on work done from 1957-63. The catalog contained color plates and an essay on each artist, two by Glicksman, and reprints of articles by John Coplans, Walter Hopps, and Philip Leider.