- OCT 02 SUN
Now Dig This!
- David Hammons Bag Lady in Flight ca. 1970s (reconstructed 1990) Shopping bags, grease, hair. 42 1/2 x 116 1/2 x 3 1/2 in. Collection Eileen Norton, Los Angeles.
- Betye Saar Black Girl's Window 1969 Assemblage. 35 3/4 x 18 1/8 x 2 1/2 in. Courtesy of Michael Rosenfield Gallery, NY.
- Noah Purifoy Untitled (Assemblage) 1967 Mixed media. 66 x 39 x 8 in. Corcoran Gallery of Art, Washington, DC. Museum purchase, the William A. Clark Fund and Gift of Dr. Samella Lewis. 1993.3. Courtesy the Noah Purifoy Foundation.
- David Hammons America the Beautiful 1968 Lithograph and body print. Overall: 39 x 29 1/2 in. (99.1 x 74.9 cm). Collection Oakland Museum of California.
- John Riddle Ghetto Merchant ca. 1965 Mixed media. Collection Claude and Anne Booker, Los Angeles.
- William Pajaud Holy Family c. 1965 Watercolor, pen, and ink on paper. 15 x 20 in. (38.1 x 50.8 cm). Welton Jones, WAJ Collectibles.
- Suzanne Jackson Apparitional Visitations 1973 Acrylic wash on canvas. 54 x 72 in. (137.2 x 182.9 cm). Collection of Vaugh C. Payne Jr., M.D.
- Charles White Love Letter #1 1971 Lithograph with documents. 22 3/16 x 30 in. (56.4 x 76.2 cm). Private collection.
- Dale Brockman Davis Viet Nam Game 1969 Clay and metal. 48 x 48 in. (121.9 x 121.9 cm). Collection of the artist.
Now Dig This!
Now Dig This! Art and Black Los Angeles 1960–1980 chronicles the vital legacy of the city’s African American artists. The work of these practitioners was animated to an extent by the civil rights and Black Power movements, reflecting the changing sense of what constituted African American identity and American culture. The power of the black community strengthened nationwide as racial discrimination began to lessen as a result of new legislation and changing social norms. As there were plentiful opportunities for African Americans to make a livelihood in Southern California, Los Angeles soon had a substantial black population, and social, political, and economic changes drew transplants from around the country. Galvanized by these transformations, black artists worked to form a cultural community that became an important part of the city’s thriving arts scene.
Now Dig This! examines a pioneering group of African American artists whose work, connections, and friendships with other artists of varied ethnic backgrounds influenced the creative community and artistic practices that developed in Los Angeles during this historic period. The exhibition presents 140 artworks by these artists and the friends who influenced and supported them during this period and explores and celebrates the significant contributions of African Americans to the canon of Los Angeles–based art.
“The artists that have been included in Now Dig This! represent a vibrant group whose work is critical to a more complete and dynamic understanding of twentieth century American art. Their influence goes beyond their immediate creative circles and their legacy is something we are only now beginning to fully understand,” says exhibition curator Kellie Jones.
During the 1960s and 1970s, artists in Southern California developed an aesthetic language that reflected their West Coast surroundings and explored various approaches to art making, including assemblage, “finish fetish,” California pop, installation, and performance. Several prominent black artists began their careers in the Los Angeles area, including Melvin Edwards, David Hammons, Maren Hassinger, Senga Nengudi, John Outterbridge, Noah Purifoy, and Betye Saar. They were part of a unique support system that involved a confluence of artists, curators, scholars, and gallerists in Southern California. Samella Lewis, Suzanne Jackson, and Dale Brockman Davis and Alonzo Davis opened galleries that became important outlets and gathering places for black artists. Lewis, a noted art historian, also wrote books and articles that established a benchmark for the documentation and analysis of the work of contemporary African American artists.
In the fall of 1966 UCLA’s Dickson Art Center inaugurated its new building with the exhibition The Negro in American Art. Although the exhibition was national in scope, a significant portion of the artists were from Los Angeles and were part of a group working with Noah Purifoy and the Watts Towers Arts Center to reclaim the remains of the Watts uprising, which had taken place just one year earlier, by using them to make art. Seven artists in the current exhibition—Melvin Edwards, Daniel LaRue Johnson, Noah Purifoy, Betye Saar, Raymond Saunders, Ruth G. Waddy, and Charles White—were among the more than forty who participated in the 1966 show. Moreover, three of the works presented in the earlier exhibition—Edwards’s The Lifted X and August the Squared Fire, along with Johnson’s Big Red, all from 1965—are on view here. Now Dig This! expands on this legacy and considers the activities of African American artists in Los Angeles during these pivotal years through a broader lens. —Kellie Jones, Guest Curator
Now Dig This! is presented as part of Pacific Standard Time, a collaboration of more than sixty cultural institutions across Southern California, coming together for six months beginning in October 2011 to tell the story of the birth of the Los Angeles art scene and how it became a new force in the art world. Organized by the Hammer and curated by Columbia University professor Kellie Jones, Now Dig This! will chronicle and celebrate this nuanced and multicultural history of Los Angeles.
“Pacific Standard Time is a very significant event for the city of Los Angeles. The deep and remarkable history it explores serves as a foundation for the thriving creative community of artists living and working here today,” remarks Hammer director Ann Philbin. “Now Dig This! reveals a specific moment when a group of African American artists, gallerists, writers, and collectors generated a nexus of creativity and influence that is largely unknown to the general public.”
Sister Karen Boccalero/Self Help Graphics
Marie Johnson Calloway
Dale Brockman Davis
Sheila Levrant de Bretteville
Mark di Suvero
Daniel LaRue Johnson
John T. Riddle Jr.
Ruth G. Waddy
Andrew Zermeño/Mechicano Art Center
Catalogue & Public Programs
The exhibition is accompanied by a 350 page, full-color catalogue co-published by Prestel. The publication includes reproductions of works included in the exhibition supplemented with other illustrations, excerpts from interviews with artists, scholarly essays, a comprehensive bibliography, and reproductions of archival materials, including posters, invitations, documentary photographs, and other items recently uncovered. The exhibition is accompanied by several public programs, including performances, film screenings, lectures, and symposia.
About Pacific Standard Time: Art in L.A. 1945 – 1980
Pacific Standard Time is a collaboration of more than sixty cultural institutions across Southern California, coming together for six months beginning in October 2011 to tell the story of the birth of the Los Angeles art scene and how it became a major new force in the art world. Each institution will make its own contribution to this grand-scale story of artistic innovation and social change, told through a multitude of simultaneous exhibitions and programs. Exploring and celebrating the significance of the crucial post-World War II years through the tumultuous period of the 1960s and 70s, Pacific Standard Time encompasses developments from L.A. Pop to post-minimalism; from modernist architecture and design to multi-media installations; from the films of the African American L.A. Rebellion to the feminist activities of the Woman’s Building; from ceramics to Chicano performance art; and from Japanese American design to the pioneering work of artists’ collectives. Initiated through $10 million in grants from the Getty Foundation, Pacific Standard Time involves cultural institutions of every size and character across Southern California, from Greater Los Angeles to San Diego and Santa Barbara to Palm Springs.
Now Dig This! Art and Black Los Angeles 1960-1980 has been made possible by major grants from the Getty Foundation.
Generous support has been provided by the Henry Luce Foundation; the National Endowment for the Arts, a federal agency; The Andy Warhol Foundation for the Visual Arts, which funded a Curatorial Research Fellowship; and The Broad Art Foundation. Additional support has been provided by the Eileen Harris Norton Foundation, The Kenneth T. and Eileen L. Norris Foundation, Ina Coleman and Alan Wilson, and V. Joy Simmons, M.D. In-kind support has been provided by InterfaceFLOR.
PACIFIC STANDARD TIME SPONSORS
Generous Support Provided By
South Coast Plaza, The Coffee Bean & Tea Leaf, Tiffany & Co.
John and Louise Bryson, David and Marianna Fisher, The Mohn Family Foundation, Anne and Jim Rothenberg, Elizabeth and Henry Segerstrom, Christina and Mark Siegel, Maria Hummer-Tuttle and Robert Holmes Tuttle
Additional Support Provided By
The Ahmanson Foundation, The Broad Art Foundation, California Community Foundation, The James Irvine Foundation, W. M. Keck Foundation, The Ralph M. Parsons Foundation, Sotheby’s