It Happened at Pomona: Art at the Edge of Los Angeles 1969-1973
From 1969 to 1973, a series of radical art projects took place at the far eastern edge of Los Angeles county at the Pomona College Museum of Art. Here, Hal Glicksman, a pioneering curator of Light and Space art, and Helene Winer, later the director of Artists Space and Metro Pictures in New York, curated landmark exhibitions by young local artists who bridged the gap between post-Minimalism and Conceptual art and presaged the development of post-Minimalism in the later 1970s.
Artists such as Michael Asher, Lewis Baltz, Jack Goldstein, and Allen Ruppersberg, among others, formed the educational backdrop for a generation of artists who spent their formative years at Pomona College, including alumni Mowry Baden, Chris Burden, and James Turrell. Providing unprecedented and revelatory insight into the art history of postwar Los Angeles, “It Happened at Pomona” chronicles the activities of artists, scholars, students, and faculty associated with the College during this period. The project takes the form of a three-part exhibition, public events, and a substantial publication that document this era at Pomona College and a transformative moment for art history. The exhibition is curated by Rebecca McGrew, Senior Curator at Pomona College Museum of Art, and Glenn Phillips, Principal Project Specialist and Consulting Curator in the Department of Architecture and Contemporary Art of the Getty Research Institute. Support for the "It Happened at Pomona" exhibition, publication, and programming generously provided by the Getty Foundation.
The catalogue for the exhibition It Happened at Pomona: Art at the Edge of Los Angeles 1969-1973 chronicles the activities of artists, scholars, students, and faculty associated with the College during this period. The first exploration of a creative hotbed of 1960s and 1970s Southern California art, it provides new insight into the relationship between post-minimalism, Light and Space art and various strands of Conceptual art, performance art and photography in Southern California, while contributing substantial new information about interconnections between artistic developments in Los Angeles and New York. Featuring scholarly essays by Thomas Crow, Rebecca McGrew, Glenn Phillips and Marie Shurkus, new interviews with Hal Glicksman and Helene Winer, archival reprints, and eighteen new interviews with artists of the era, the book contains 280 images, many never before seen. The catalogue is available for purchase for $49.95 through D.A.P./Distributed Art Publishers and Artbook.com and is also available at Amazon.com
PART 1: Hal Glicksman at Pomona
August 30, 2011 to November 6, 2011
The first "It Happened at Pomona" exhibition focuses on the academic year of 1969-1970, when Hal Glicksman was the curator/director. Glicksman established one of the first museum residency programs in which artists used the museum gallery as a studio space and created unique environments directly in the museum.
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PART 2: Helene Winer at Pomona
December 3, 2011 to February 19, 2012
The second "It Happened at Pomona" exhibition focuses on the cutting edge curatorial programs that Helene Winer presented at the Pomona College Museum from 1970 through 1972. Winer championed a group of artists who were channeling the experiential qualities of Minimalism and post-Minimalist sculpture into performance art, video, and, conceptual photography.
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PART 3: At Pomona
March 10, 2012 to May 13, 2012
The extraordinary works championed by Glicksman and Winer were shown within an equally extraordinary community of arts faculty and students at Pomona College. The final “It Happened at Pomona” exhibition shows how the influence of these exhibitions contributed to a vibrant atmosphere in which artists and curators were feeding off of each other’s ideas and developing what would become some of the most important aesthetic concerns of the late twentieth century.
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Performance at Pomona
Saturday, January 21, 2012 - 4:30-6:30 p.m.
In conjunction with the “It Happened at Pomona” exhibition and as part of the Pacific Standard Time Performance and Public Art Festival, “Performance at Pomona” consists of a series of three performance pieces by artists represented in each of the three segments of the exhibition.
A Butterfly for Pomona
A new pyrotechnic performance by Judy Chicago (Merritt Football Field), based on her Atmosphere performances of the early 1970s.
A recreation of James Turrell's 1971 flare performance (Bridges Auditorium).
A 1971 performance by John White involving the Pomona College football team (Memorial Gymnasium, The Rains Center Athletic Complex).
View Pomona's campus map for performance locations.
“It Happened at Pomona: Art at the Edge of Los Angeles 1969-1973” is part of 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 AmericanL.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.