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[125]Entertainment & Arts

Before the laptop came the mainframe. But did computers generate significant
new art?

Edward Kienholz, “The Friendly Grey Computer – Star Gauge Model #54,"
1965; mixed media
Edward Kienholz, “The Friendly Grey Computer – Star Gauge Model #54,”
1965; mixed media
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By [126]Christopher KnightArt Critic
May 6, 2023 8 AM PT
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I’m Times art critic Christopher Knight, filling in for newsletter
regular Carolina A. Miranda, who’s out sandbagging in preparation for
the Sierra snowmelt. As record winter blizzards give way to late-spring
thaw, that likely disaster is just now [134]getting underway. With
threats of epic flooding predicted in pockets of California, here’s
what’s happening in the arts avant le déluge:

The computer-themed “Coded” offers compelling social history without much
worthwhile art

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Your essential guide to the arts in L.A.

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Sometime in the late 1970s I did a studio visit at UC San Diego with
Harold Cohen. Still new to California, I had heard about an artist
working with computer programming to make experimental drawings and
paintings, and I was curious to see more.

Since corporations and the military were then the primary users of
computer technology, while personal computing was years away, the
conversation was especially fascinating. I knew little, but
British-born Cohen, self-taught in mainframe mysteries, knew a lot.
Refining a complex computer program that the university professor
invented with which to draw and paint seemed to represent a post-hippie
desire: Wrestle the machinery away from the exclusive province of the
military-industrial complex and instead put it to creative uses.
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The problem: Every example of computer art I saw in the studio was
unmemorable.
Harold Cohen, "Labelled Map — Plum, Ochre, Emerald, Silver Grey, and
Rust," 1969; oil on canvas
Harold Cohen, “Labelled Map — Plum, Ochre, Emerald, Silver Grey, and
Rust,” 1969; oil on canvas
(Christopher Knight / Los Angeles Times)

Cohen, who died at 87 in 2016, wasn’t able to produce machine-generated
work that was more than rote. Tech seemed a focused way to drain the
artist’s expressive self from a work of art, the subject of an
emotional inner life having been wrung dry by the narrow, droning
longevity of Abstract Expressionist painting. But that was a hurdle
more inventively overcome by earlier Pop, Minimal and Conceptual
strategies.
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A few examples of Cohen’s work are included in “Coded: Art Enters the
Computer Age, 1952–1982,” a puzzling and largely inert exhibition
currently at the Los Angeles County Museum of Art. Age has not improved
them. A painting that assigned color-shapes according to a
computer-coded schema is torpid, not ingenious. Visiting “Coded” was
often like being in his studio all over again, although this time the
context of a museum venue had the queasy effect of consecrating the
general mediocrity.

To be sure, there is some wonderful art in the exhibition — many by
artists well-known (Donald Judd, Edward Kienholz, Sol LeWitt, Bridget
Riley and more); and some are by artists who are less familiar. Yet,
the relationship between computers and these paintings, sculptures and
drawings is either reed-thin or, frankly, nonexistent. The theme
pursued in “Coded” is pretty much a shambles.

The closing date of 1982 represents the budding emergence of personal
computing. The opening date — 1952 — reflects the moment typically
identified as the start of digital art. Iowa mathematician Ben F.
Laposky, then 38, tinkered with a cathode ray oscilloscope to produce
black-and-white [135]photographs. Laposky manipulated the amplitude,
distortions and other properties of a lab machine’s electronic
waveforms to draw luminous linear abstractions that swoop and pirouette
across the sheet, their glow emerging from inky darkness. Permanent
visual form is given to fleeting electrical voltage in electron beams.

These abstractions can be formally lovely, although Laposky’s
repertoire of forms is rather limited. (Resembling a monochrome
screensaver on a laptop, they have a “seen one, seem them all”
quality.) The exhibition then immediately goes off the rails.
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June Harwood, "Untitled, from Network Series," 1968, acrylic on canvas
June Harwood, “Untitled, from Network Series,” 1968, acrylic on canvas
(Christopher Knight / Los Angeles Times)

A 1968 abstract painting, four feet square, by Los Angeles artist June
Harwood (1933-2015) layers curving sets of metallic-silver lines in two
different widths against a gray background to create a visually
rhythmic, light-reflective network of organic waves. Apparently, we’re
meant to think “oscilloscope screen.”

Maybe. Except in the most superficial ways, however, Harwood’s work has
roughly zero to do with engaging the emerging computer age.
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Harwood is not widely known. She was a second-generation Light & Space
painter, a talented artist married to Jules Langsner, the estimable
L.A. critic who coined the term “hard-edge painting” in 1959 for
artists like John McLaughlin and Lorser Feitelson. In her deceptively
simple geometric abstractions, she was engaged in achieving complex
spatial effects while using only the spare optical properties of
composing with flat color.

That “Coded” doesn’t quite know what to make of Harwood’s art is
evident from the catalog. Her handsome untitled painting gets a full
page reproduction, but not a word is written about it in 272 pages of
text featuring 18 otherwise often interesting essays by 14 different
authors (including four by LACMA’s prints and drawings specialist
Leslie Jones, the show’s curator).

Celebrated British Op [136]artist Bridget Riley, on the other hand,
whose parallel bands of rippling color in the marvelous 1964 “Polarity”
are based on the curvy pattern of a sine wave, gets extensive catalog
consideration. Oddly, we are told at length that scientific data,
computation systems and mathematical theory are irrelevant to her work,
which is another way of saying Riley’s painting has next to nothing to
do with the “Coded” theme either. Nice painting — but why is it here?
Donald Judd, "Wall Progression," 1971, anodized aluminum
Donald Judd, “Wall Progression,” 1971, anodized aluminum
(Christopher Knight / Los Angeles Times)
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Minimalist artists who used mathematical principles in composition,
like Judd and LeWitt, do get included. The arrangement in Judd’s 1971
“Wall Progression” sculpture of rectangular, blue and yellow anodized
aluminum boxes — and the matching spaces flipped between them — derives
from the Fibonacci sequence, in which each digit is the sum of the
prior two: 0, 1, 1, 2, 3, 5, 8, 13, etc. LeWitt’s 1974 sculpture of
“Incomplete Open Cubes” compiles all the ways to make a free-standing,
three-dimensional form with sides of equal height, width and depth
without ever making a complete cube.

What’s their relationship to computer coding? Merely that they all use
mathematics, apparently. Well, so does the entire history of Western
painting that employs the graphic systems of one- and two-point
perspective — that choo-choo disappearing down railroad tracks or the
building corner thrust toward you. Like Cohen’s algorithmic painting,
the art of Judd, LeWitt and others labors against visual illusionism,
so “Coded” tosses them into the stew.

Ed Kienholz’s “The Friendly Grey Computer — Star Gauge Model #54,” one
of only a few to directly address the digital environment, went
straight for biting satire. The 1965 sculpture put a rusty workplace
model of computer and some battered desk equipment into a cozy rocking
chair, attaching instructions to give the poor overworked office
machinery a periodic rest. (Doll-baby feet protrude at the bottom.) The
computer age gets similarly overworked as the show’s theme.
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This is one of those odd exhibitions effectively relaying an
interesting social history that frankly produced almost no significant
art. (Picasso said that, for art, computers were “useless. They can
only give you answers.”) Last September, LACMA did something similar
with “[137]The Space Between: The Modern in Korean Art.” The critical
difference: The Korean show tracked what artists were up to, which made
it meaningful, while “Coded” tracks the general culture, then overlays
it on art.

Doesn’t work. Error404.

LACMA, 5905 Wilshire Blvd., (323) 857-6000, through July 2. Closed
Wednesday. [138]www.lacma.org

It’s Tony time

Broadway’s Tony Award [139]nominations were announced Tuesday, with
Jessica Gelt reporting that the musical version of the classic 1959
Billy Wilder movie “Some Like It Hot” took the lead with 13, while
three plays tied for six each (“A Doll’s House,” “Leopoldstat” and
“Ain’t No Mo’”). Scanning the lists, Times theater critic Charles
McNulty [140]observes that “the spirit of boldness that marked
Broadway’s reopening in the wake of a once-in-a-century pandemic and
widespread societal reckonings on equity, diversity and inclusion was
still apparent, though bottom-line realities aggressively reasserted
themselves.” Two steps forward, one step back. Among the forward steps,
[141]reports Ashley Lee, are nods for J. Harrison Ghee and Alex Newell,
the first nonbinary-identifying actors to be nominated for Tony Awards.
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Merle Dandridge and Michael Hayden in Pasadena Playhouse's production
of "A Little Night Music."
Merle Dandridge and Michael Hayden in Pasadena Playhouse’s production
of “A Little Night Music.”
(Jeff Lorch)

McNulty also caught David Lee’s production of Stephen Sondheim and Hugh
Wheeler’s “A Little Night Music” at the Pasadena Playhouse, and he has
just one question for star Merle Dandridge: “Where have you been all my
theatrical life?” Read about why McNulty dubs her performance “a
musical theater dream come true” [142]here.

And writing from New York, McNulty took in “[143]Prima Facie,” the
one-woman Broadway play starring Jodie Comer that charts the way the
judicial system puts rape survivors through the wringer. He notes:
“It’s an ideal guide for understanding what E. Jean Carroll is up
against in the civil trial [144]against Donald Trump, whom she has
accused of raping her in the mid-1990s in a New York department store.”
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Mediation, please

When multiple artists work as a collective, deciding who did what, when
and where, who controls the legacy and — not least — who holds the
copyright can be a tad thorny. ASCO, the important Chicano artists
collective that helped to define art in 1970s Los Angeles, has tussled
over those issues for years. And they still are, as Times art and
design columnist Carolina A. Miranda discovered when she discussed it
with Harry Gamboa Jr., Gronk (Glugio Nicandro), Willie Herrón III and
Patssi Valdez. The [145]infighting continues.

The subject as artist

Spanish court painter Diego Velázquez’s brilliant, circa 1650 portrait
of his enslaved studio assistant Juan de Pareja is one of the great
treasures of European painting in the collection of New York’s
Metropolitan Museum of Art. Pareja — a Morisco man from southern Spain,
and an artist in his own right — is currently the subject of an
unprecedented Met exhibition of his life and art. David Pullins,
co-curator with biographer Vanessa K. Valdés of “[146]Juan de Pareja:
Afro-Hispanic Painter in the Age of Velázquez,” has a lot to say in an
interview with historian Tyler Green for the Modern Art Notes
[147]podcast.

Exploitation of enslaved studio workers was common in 17th century
Spain — which raises an intriguing question: As an artist, to what
degree might Pareja have been engaged in the workshop aspects of
painting Velázquez canvases? Don’t miss the commentary on Pareja’s own
monumental 1667 painting, “The Baptism of Christ,” which the curator
astutely describes as frankly “wild.”
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Diego Velazquez, "Juan de Pareja," circa 1650, oil on canvas
Diego Velazquez, “Juan de Pareja,” circa 1650, oil on canvas
(Metropolitan Museum of Art)

The book bag

Just announced in the Getty Museum’s ongoing [148]Illuminating Women
Artists series of monographs, publishing in partnership with the UK’s
[149]Lund Humphries, is the June release of books on Italian Baroque
painter Elisabetta Sirani (1638-1665) and Venetian portraitist Rosalba
Carriera (1673-1757). They’re the first English-language publications
on two artists not widely known now but famous in their day.

If you forgot to buy advance tickets for “Vermeer,” the pack-’em-in
exhibition of the hugely famous Dutch painter, winding up in a month at
Amsterdam’s [150]Rijksmuseum, you are flat out of luck. Unless you can
track down a trustworthy scalper — a contradiction in terms? — they
cannot be had anywhere, online or at the museum. Next best is the
catalog by Pieter Roelofs and Gregor J.M. Weber, its English edition
arriving in about a week from [151]Thames & Hudson. Synthesized recent
scholarship meets extensively detailed photographs (200 of them!) of
all 28 paintings in the show, seven more than were in the 1995
Washington, D.C., blockbuster at the National Gallery of Art. (Only
about 35 Vermeers are thought to exist.) Nice.
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"Vermeer" is the catalog to Amsterdam's Rijksmuseum exhibition
“Vermeer” is the catalog to Amsterdam’s Rijksmuseum exhibition
(Thames & Hudson)

Enjoying this newsletter? Consider subscribing to the Los Angeles Times

Your support helps us deliver the news that matters most. [152]Become a
subscriber.

Moves

* California Arts Council’s [153]Individual Artist Fellowships
provide unrestricted funding in support of artistic practice.
Applications for three fellowship categories — emerging ($5,000);
established ($10,000); and legacy ($50,000) — are due June 2.
* The juries for the [154]Herb Alpert Award in the Arts have
announced 10 prizes to 11 artists for 2023 in dance, theater,
music, film and video, as well as visual arts — the last to the
pseudonymous [155]American Artist and [156]Park McArthur. Each
award carries an unrestricted prize of $75,000.
* The [157]Ellsworth Kelly Foundation has awarded $2.75 million in
grants to 50 American [158]museums in honor of the artist’s
centennial (Kelly died at 92 in 2015). The artist’s widower,
photographer and foundation president Jack Shear, also made
targeted donations of Kelly’s works on paper from his collection to
amplify museums’ existing holdings. Southern California recipients
of the largesse are the Broad museum, Los Angeles County Museum of
Art, Museum of Contemporary Art in San Diego and Norton Simon
Museum. Locally, centennial exhibitions are planned of Kelly’s
lithographs at Gemini G.E.L. and photographs at the Santa Barbara
Museum of Art.

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Passages

Aerial landscape painter [159]Yvonne Jacquette died of a heart attack
on April 23 at her home in New York City. She was 88.

Thomas Kong, a Chicago collage artist who filled his Rogers Park
convenience store with work pieced together from package wrappers and
shopping bags, has [160]died at 73.

L.A.’s Fountain Theater co-founder Deborah Lawlor has [161]died at 83.
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Ellsworth Kelly in his studio in Spencertown, N.Y.
Ellsworth Kelly in his studio in Spencertown, N.Y.
(Jack Shear/© Ellsworth Kelly Foundation)

Essential happenings

In the L.A. Goes Out [162]newsletter, Steven Vargas recommends Thornton
Dial’s first major solo exhibition in Los Angeles, at Blum & Poe — plus
lots more.

And Matt Cooper, fresh off rigorous Cinco de Mayo duty, maps the
culture guide to theater, movies, dance, classical music, museums and
[163]more.
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In the news

* A production assistant on the HBO Max drag series “We’re Here” has
[164]accused reality star Darius Jeremy (DJ) Pierce, who goes by
the stage name Shangela, of sexual assault. Pierce has strongly
denied the accusation.
* Vienna’s Kunsthistorisches Museum is reportedly considering
[165]loans of two Parthenon fragments in its collection to the
Acropolis Museum in Athens. One depicts two young riders, and the
other shows heads of two processional figures with olive branches,
known as thallophores.
* Is the Conglomerado Atelier do Centro, an art school in São Paulo,
Brazil, actually [166]a cult? Some students say yes.
* The Alice L. Walton Foundation, Ford Foundation, Mellon Foundation
and Pilot House Philanthropy have joined forces to commit $11
million over the next five years to increase racial equity in
leadership positions in 19 museums, including L.A.’s Museum of
Contemporary Art and the Riverside Art Museum. Participants have
pledged to make positions permanent when [167]the initiative’s
five-year funding cycle ends.

And last but not least ...

New York’s Met Gala fashion fundraiser jumped the shark eight years
ago, when the massive train on Rihanna’s fur-trimmed, canary-yellow
[168]Guo Pei gown became a social media meme-a-palooza — the most
memorable being a digital image merging it with a giant [169]pepperoni
pizza. This week saw assemblage artist [170]Willie Cole expressing
reasonable Twitter fury at the 2023 Gala set design’s chandeliers made
from recycled plastic bottles — a near-signature motif the New
Jersey-based sculptor has been using for a decade. (A “blatant
rip-off,” he said, with some [171]justification.)

But the social media fan favorite had to be the actual [172]cockroach
photographed among the glamazons climbing the august museum’s grand
staircase. Maybe it was looking for pizza? Whatever, when a fundraiser
snags $17 million, as the schlocky Met Gala did last year, what are a
few bugs?
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A cockroach slays on the Met Gala red carpet
[173]pic.twitter.com/eN2CdtGIIE
— Vulture (@vulture) [174]May 2, 2023

[175]Entertainment & Arts[176]Arts[177]Museums &
Art[178]Theater[179]Classical Music[180]Architecture and Design
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[181]Christopher Knight

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Los Angeles Times art critic Christopher Knight won the 2020
[186]Pulitzer Prize for criticism (he was a finalist for the prize in
1991, 2001 and 2007). In 2020, he also received the Lifetime
Achievement Award in Art Journalism from the Rabkin Foundation.

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https://www.latimes.com/entertainment-arts/newsletter/2023-05-06/essential-arts-newsletter-computers-making-art-lacma-exhibit-essential-arts-arts-culture

A new LACMA show takes on art in the computer age, the Tony Award nominations, and an influential artist L.A. collective grapples with copyright disputes in this week's newsletter.
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