Post/Minimalism and Performance

During the late 1960s and 1970s several artists retreated from using blatant narratives in their work and embraced minimal and conceptual practices, which were in some cases performance- or multimedia-based. By experimenting with these visual realms, artists were able to transcend preconceived notions of a "black aesthetic." The work featured in this section is eclectic, reflecting the myriad styles, materials, and forms of the period. Fred Eversley, a Brooklyn-born engineer turned artist, was at the forefront of California minimalism with sculptures made from plastic resin that reflected the vibrant Venice Beach environment in which he was living. Eversley's use of slick, often transparent or vibrantly colored industrial materials allied him with the Southern California "finish fetish" movement. David Hammons arrived in Los Angeles in the 1960s, studied with Charles White at the Otis Art Institute, and had his first solo exhibition at Brockman Gallery in 1971. As Hammons's practice evolved, he began to explore issues of spatial aesthetics through both performance and multimedia. His critically acclaimed "body prints" were created by coating his body in oil or margarine, pressing it against a sheet of paper, and then covering the resulting mark with pigmented powder.

In the early 1970s Los Angeles–based artists Senga Nengudi and Maren Hassinger (both trained as dancers) began experimenting with performance art and often collaborated on projects. Their exploration of organic and industrial materials marked a shift toward postminimalism in California sculpture. Their works of this period challenged the traditional roles of both artists and institutions, and as a result, few of their artworks exist today. For Now Dig This!, Nengudi and Hassinger present new installations that also incorporate performance and reflect their relationship to the city of Los Angeles in the 1970s. Ulysses Jenkins, whose work often combined video and performance, has collaborated with Nengudi and Hassinger since the 1980s. Jenkins also sought alternative spaces in which to show his work, eventually founding Othervisions Studio.