The Huysman Gallery was an art gallery in Los Angeles, California that operated from December 1960 to summer 1961.[2][3][note 1] It was located at 740 North La Cienega Boulevard, across the street from the noted Ferus Gallery.[1][5] Curator Henry Hopkins,[6] who founded the gallery, named it after the French decadent novelist Joris-Karl Huysmans.[7] The gallery showcased the works of several young artists who later had great success, including Joe Goode, Ed Ruscha, and Larry Bell.[5]
  Location in Los Angeles metropolitan area | |
| Established | December 1960[2][3] |
|---|---|
| Dissolved | Summer 1961[3] |
| Location | 740 N. La Cienega Blvd. Los Angeles, California[1] |
| Coordinates | 34°05′05″N 118°22′34″W / 34.0848°N 118.3761°W |
| Type | Art gallery |
| Founder | Henry Hopkins |
War Babies exhibition
editThe gallery's most famous exhibition, War Babies, ran from May 29, 1961 to June 17, 1961.[3] It showed the work of Goode, Bell, Ed Bereal, and Ron Miyashiro, all of whom were born in the late 1930s and experienced World War II in their early childhood.[5] According to Hopkins, "the exhibition title was selected by Goode to establish a birth point in time and to indicate a sense of post-war internationalism."[8] War Babies was one of the earliest racially integrated exhibitions[8] and "was a daring challenge to the prevailing norms and mores of postwar America and its underlying racial stereotypes and identity politics."[5] The participating artists played off the work of the nearby Ferus artists.[9] Goode contributed thickly painted images of stars along with a cardboard box nailed to the gallery wall, Miyashiro contributed paintings suggestive of sinister eroticism, Bereal contributed leather pouches that stank of oil, and Bell contributed a "saddle painting".[9] The mix of styles present in the exhibition was indicative of the fluidity of the Los Angeles art scene in the early 1960s.[9]
The exhibition's poster, created by Jerry McMillan and Joe Goode, ultimately attracted more attention than the exhibition itself.[9] It depicted the four participating artists seated at a table covered with an American flag as a tablecloth.[5][8] Each of the artists was posed with a prop playing off an ethnic or religious stereotype: Bell (Jewish) held a bagel, Bereal (African American) held a watermelon, Miyashiro (Japanese American) held chopsticks, and Goode (Catholic) held a mackerel.[5][8] Liberals and conservatives alike criticized the poster; the John Birch Society denounced the gallery for flag desecration.[1][5][8] Following the controversy surrounding War Babies, the gallery's backers—a group of three lawyers—withdrew their support for the gallery.[4][9] The gallery closed in summer 1961, soon after the close of the War Babies exhibition.[3][1]
Notes
editReferences
edit- ^ a b c d "Poster for 'War Babies' Exhibition". Getty Center. Retrieved June 21, 2014.
- ^ a b Kristine McKenna (2009). The Ferus Gallery: a place to begin. Steidl. ISBN 978-3-86521-610-6.[page needed]
- ^ a b c d e "Huysman Gallery". Getty Center. Retrieved June 21, 2014.
- ^ a b Hopkins, Henry. "Museum Director, Educator: Henry Hopkins". In Hertz, Richard (2011). The Beat and the Buzz: Inside the L.A. Art World. Hol Art Books. pp. 126, 128. ISBN 978-1-936102-20-4.
- ^ a b c d e f g Willick, Damon (Spring 2010). "L.A.'s Art Historian: Henry T. Hopkins, 1928–2009". X-TRA. 2 (3). Retrieved June 21, 2014.
- ^ "Henry Hopkins papers (1950-2005)". Getty Research Institute. hdl:10020/cifa2006m1. Retrieved November 27, 2020.
- ^ Bradnock, Lucy. "Name Games". In Rebecca Peabody; Lucy Bradnock (2011). Pacific Standard Time: Los Angeles Art, 1945–1980. Getty Research Institute and the J. Paul Getty Museum. p. 75. ISBN 978-1-60606-072-8.
- ^ a b c d e Whiting, Cecile (2010). "California War Babies: Picturing World War Two in the 1960s". Art Journal. 69 (3): 41. doi:10.1080/00043249.2010.10791383.
- ^ a b c d e Bradnock, Lucy and Rani Singh. "Papa's Got a Brand New Bag". In Rebecca Peabody; Lucy Bradnock (2011). Pacific Standard Time: Los Angeles Art, 1945–1980. Getty Research Institute and the J. Paul Getty Museum. pp. 110–12. ISBN 978-1-60606-072-8.