Tag Archives: Frank Gehry


A survey of Judy Chicago’s work from 1965 to 1972—made in Los Angeles and Fresno State College, where, in 1970, she developed the first feminist art program in the United States—is now on view at Jeffrey Deitch.

This [exhibition, JUDY CHICAGO—LOS ANGELES,] has enormous meaning to me because we’re not only doing a comprehensive show of different aspects of my early work—painting, sculpture, fireworks, installations—and all of that has never really been put together before, but you’re also doing it in a Frank Gehry-designed building. Gehry was my first landlord in Santa Monica, and his sister married my first gallerist. Frank was not particularly interested in women artists at that time—I don’t know if he ever was…

And, as you know, I had a really difficult time in the first two decades of my career. Some of the sculptures that are going to be in the show are being reconstructed because I had to destroy them: I just couldn’t afford to store that much work. I stored some early work, fortunately, which the Getty curators unearthed for Pacific Standard Time—that began the process of people looking at my early work…

Even though I had a really difficult time in the L.A. arts scene—which was very inhospitable to women—still, L.A. nurtured me, and I feel like the foundations of my work are in what I did in that first decade and a half of professional practice in California: the development of my formal language, my color systems, my approach to and interest in a wide variety of materials…

Also, doing this show is bringing a lot of memories back, some of which were simply too painful for me to deal with at the time. Had I really acknowledged them or dealt with them, I probably would have given up. I had such a hard time and faced so much rejection and misunderstanding. Still, when I went to auto-body school, I learned for the first time that making art involved making physical objects, and I learned a sense of craft that I never had—about how you do things. I had a teacher at the auto-body school who said to me: “Judy, there’s no such thing as perfection. There’s only the illusion of perfection, and I’m going to teach you how to achieve that.”Judy Chicago, interview with Jeffrey Deitch, Purple 32


Through November 2.

Jeffrey Deitch

925 North Orange Drive, Los Angeles.

Judy Chicago, from top: Immolation, 1972, from Women and Smoke, photograph by Donald WoodmanARS, New York, printed 2019, ChromaLuxe metal print on aluminum; Birth Hood, 1965-2011, spray paint on hood of Corvair, courtesy of Salon 94 Gallery, New York, ADAGP 2018; Trinity, 1965/2019, Matthews polyurethane paint on stainless steel; Orange Atmosphere, 1968, courtesy of Through the Flower Archives; Pale Green Domes with Solid Core, 1968, sprayed acrylic lacquer on successive formed clear acrylic domes, courtesy of Salon 94 Gallery and the Jessica Silverman Gallery, San Francisco, photograph by Woodman, ARS, New York; Sky Flesh, 1971, sprayed acrylic lacquer on acrylic; Pink Atmosphere, 1971, Cal State Fullerton, photograph by Woodman, ARS, New York, printed 2019, ChromaLuxe metal print on aluminum; Pasadena Lifesavers Red Series #2, 1969–1970, sprayed acrylic lacquer on acrylic, photograph by Woodman, ARS, New York; Flight Hood, 1965/2011, spray paint on hood of Corvair, courtesy of Salon 94 Gallery, ADAGP 2018. Images courtesy and © the artist, the photographers, the publishers, and Jeffrey Deitch, Los Angeles.


The Youth Orchestra Los Angeles (YOLA) is getting a new, permanent home in Inglewood, and its architect Frank Gehry will join Gustavo Dudamel, Inglewood mayor James T. Butts, Jr., and CEO Simon Woods this week for the unveiling of the project’s design.

Under the leadership of Dudamel and the L.A. Phil, YOLA provides young people with free, high-quality music education and academic support.

Gehry’s design will transform an existing 17,000 sq. ft. structure at Manchester and La Brea into a purpose-built facility. This project is made possible through a gift from Judith and Thomas L. Beckmen.


FRANK GEHRY and GUSTAVO DUDAMEL, Wednesday, August 15, at 10:30 am.

JUDITH AND THOMAS L. BECKMEN YOLA CENTER, 111 South La Brea Avenue, Inglewood.

See: la.curbed.com/frank-gehry-youth-orchestra-inglewood


Gustavo Dudamel in rehearsal.



A proposed collaboration between architect Frank Gehry and restaurateur Wolfgang Puck in Pacific Palisades has been given the go-ahead by the Los Angeles County Board of Supervisors.

The new restaurant will replace Gladstone’s, which has been operating on the county-owed site at Will Rogers State Beach for fifty years. The Gladstone lease isn’t up until the end of 2019, so construction on the Gehry design would not begin until 2020 at the earliest.

Image credit: Frank Gehry.

Supervisors favor Wolfgang Puck-Frank Gehry project to replace Gladstones on PCH



“Joe the Lion”—David Bowie’s song about Chris Burden—is a tribute to the seminal performance artist’s early days, when his body was a laboratory and canvas for bullets, nails, starvation, and potential electrocution. As a student at UC Irvine, Burden didn’t wait around for the bullies; he stuffed himself into a locker. Hitting his heyday during the rise of video art, his pieces have been well-documented, and today his Urban Light sculpture is the number one selfie spot in Los Angeles.

Join Richard Dewey and Timothy Marrinan at the LACMA screening of their 2016 documentary BURDEN, followed by a conversation with the directors.

BURDEN features interviews with Marina Abramovic, Ed Moses, Alexis Smith, Larry Bell, Billy Al Benston, Robert Irwin, Barbara Smith, Peter Schjeldahl, Jonathan Gold, Ed Ruscha, Paul Schimmel, Frank Gehry, Christopher Knight, and the late Vito Acconci.

BURDEN, Thursday, May 4, at 7:30 pm.

BING THEATER, LACMA, 5905 Wilshire Boulevard, Los Angeles.


Chris Burden, post-performance Image credit: Lewright

Chris Burden, post-performance
Image credit: Lewright


The Gehry Residence in Santa Monica is home to deconstructivist starchitect Frank Gehry and was one of his first finished projects when he completed it in 1978.


In 1977, Frank and Berta Gehry purchased a 1920s bungalow for themselves. Over the course of the following year, Gehry wrapped and extended the façade with disjointed chainlink fences, raw plywood, corrugated metal, and reinforced glass.


The home is a testament to Frank Gehry’s former “bad boy” style, and his rebellious play with the materials of commercial and industrial construction still stands out in this charming neighborhood of colonial, craftsman, and Spanish revival homes.


A far cry from Gehry’s fluid, silver-plated “BLOB” buildings, the Gehry Residence is a testament to the depth of the architect’s long career.

1002 22nd Street
Santa Monica, California