Delve into the postwar Los Angeles art world in this online archive, which provides additional material related to the exhibitions on view at the Getty Center. Learn about hipsters and happenings, and the venues across the city where all the action took place through images from the archives and first-hand accounts with the artists.
BG Red, 1963, Ken Price. Fired clay with acrylic and lacquer on wooden base. 10 in. high. Collection of Mr. & Mrs. Gifford Phillips. Permission courtesy Ken Price Studio. Photo by Taylor Sherill
Exhibition announcement for Broxton Sequences: Sequential Imagery in Photography, at Broxton Gallery, 1976. The Getty Research Institute, Gift of Hal Glicksman, 2009.M.5.5. Courtesy of Gagosian Gallery
Business-card box for Charles Brittin, 1957, Robert Alexander. Collaged box with medicine cap affixed. 2 1/2 x 6 3/8 x 3 7/8 in. The Getty Research Institute, Charles Brittin Papers, 2005.M.11.27. Courtesy of the Temple of Man, Inc.
Business-card box for Charles Brittin, ca. 1950s, Robert Alexander. Collaged box with key affixed. 2 1/4 x 4 5/16 x 3 15/16 in. The Getty Research Institute, Charles Brittin Papers, 2005.M.11.28. Courtesy of the Temple of Man, Inc.
Womanhouse installation in Los Angeles, featuring Robin Weltsch’s Kitchen and Vicki Hodgetts’s Eggs to Breasts (Sponsored by Feminist Art Program at CalArts), 1972. The Getty Research Institute, 2000.M.43.1. Photo courtesy Lloyd Hamrol
Card to Betty Asher, ca. 1965, Wallace Berman. Photomontage and ink on board. 4 x 2 15/16 in. The Getty Research Institute, Gift of Michael Asher, 2009.M.30.25. Courtesy of the Estate of Wallace Berman and Michael Kohn Gallery, Los Angeles
Card to George Herms, 1970, Wallace Berman. Letterpress, ink, and gelatin silver print on board. 6 1/4 x 4 in. The Getty Research Institute, Gift of George Herms, 2009.M.20.9. Courtesy of the Estate of Wallace Berman and Michael Kohn Gallery, Los Angeles
Explore the Era
Delve into the postwar Los Angeles art world in this online archive, which provides additional material related to the exhibitions on view at the Getty Center. Learn about hipsters and happenings, and the venues across the city where all the action took place through images from the archives and first-hand accounts with the artists.
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BG Red, 1963, Ken Price. Fired clay with acrylic and lacquer on wooden base. 10 in. high. Collection of Mr. & Mrs. Gifford Phillips. Permission courtesy Ken Price Studio. Photo by Taylor Sherill
Big Blue Pink from the Flesh Gardens series, 1971, Judy Chicago. Sprayed acrylic lacquer on acrylic. 96 in x 96 in. Tom Jancar Gallery, Los Angeles. © Judy Chicago, 1971. Photo © Donald Woodman
Big Jim McLain, 1967, Billy Al Bengston. Polyurethane and laquer on aluminum. 60 x 58 in. Collection of Joan and Jack Quinn. © Billy Al Bengston
Black on White, 2011, Robert Irwin. Granite. 60 x 36 x 392 in. This work was commissioned by the J. Paul Getty Trust in honor of James N. Wood. © Robert Irwin
These images show a model of the installation, the quarry in India where the granite was sourced, and the piece after delivery to the fabricator.
Black Tear, 1969, Ronald Davis. Molded polyester resin and fiberglass. 60 ½ x 136 in. The Robert A. Rowan Collection, Pasadena, California. © Ronald Davis
Blue Planet, 1965, Helen Lundeberg. Acrylic on canvas. 60 x 60 in. The Marilynn and Carl Thoma Collection. © Feitelson Arts Foundation, courtesy Louis Stern Fine Arts
Blue Wall, 1959, John Mason. Ceramic. 96 x 252 x 8 in. Collection of the artist. © John Mason. Photo by Anthony Cuñha
Book 1, ca. 1960s, Russel Tamblyn. Letterpress and photocollage. Skyline Press, ca. 1960s 5 7/16 x 4 1/4 in. The Getty Research Institute, Gift of George Herms, 2009.M.20.8. © Russel Tamblyn
Exhibition announcement for Broxton Sequences: Sequential Imagery in Photography, at Broxton Gallery, 1976. The Getty Research Institute, Gift of Hal Glicksman, 2009.M.5.5. Courtesy of Gagosian Gallery
Business-card box for Charles Brittin, 1957, Robert Alexander. Collaged box with medicine cap affixed. 2 1/2 x 6 3/8 x 3 7/8 in. The Getty Research Institute, Charles Brittin Papers, 2005.M.11.27. Courtesy of the Temple of Man, Inc.
Business-card box for Charles Brittin, ca. 1950s, Robert Alexander. Collaged box with key affixed. 2 1/4 x 4 5/16 x 3 15/16 in. The Getty Research Institute, Charles Brittin Papers, 2005.M.11.28. Courtesy of the Temple of Man, Inc.
Womanhouse installation in Los Angeles, featuring Robin Weltsch’s Kitchen and Vicki Hodgetts’s Eggs to Breasts (Sponsored by Feminist Art Program at CalArts), 1972. The Getty Research Institute, 2000.M.43.1. Photo courtesy Lloyd Hamrol
Car Hood, 1964, Judy Chicago. Sprayed acrylic lacquer on Corvair car hood. 42 15/16 x 49 3/16 x 4 5/16 in. Moderna Museet, Stockholm. Acquired 2007 with means from The Second Museum of our Wishes. © Judy Chicago, 1964. Photo © Donald Woodman
Card to Betty Asher, ca. 1965, Wallace Berman. Photomontage and ink on board. 4 x 2 15/16 in. The Getty Research Institute, Gift of Michael Asher, 2009.M.30.25. Courtesy of the Estate of Wallace Berman and Michael Kohn Gallery, Los Angeles
Card to George Herms, 1970, Wallace Berman. Letterpress, ink, and gelatin silver print on board. 6 1/4 x 4 in. The Getty Research Institute, Gift of George Herms, 2009.M.20.9. Courtesy of the Estate of Wallace Berman and Michael Kohn Gallery, Los Angeles