“Rebels in Paradise” has some interesting things to say about the development of a distinctive Los Angeles gallery world, with its connections to the entertainment industry and the burgeoning museum culture. It’s the 1960s, and genres aren’t the only things that are blurring. Rock and roll, art and movies often intersect, with the actor-photographer Dennis Hopper being the poster boy for what in hindsight might look like irrational exuberance. These were times when many Angelenos thought they might be in the center of the universe — unless they ventured off for too long to London or New York.
It was a glorious place to be young and rootless — or at least to act as if one were young and rootless. In addition to the beautiful, complacent movie stars, and the cool, aggressive artists, there was Jim Morrison trying out his chops and his look at clubs on Sunset Boulevard and Frank Zappa’s Mothers of Invention beginning to baffle their audience. We don’t learn very much about how this energy infused specific works of art, but we are told that when the Velvet Underground played on the Strip in 1966, “Sonny liked it but Cher left.”
“Rebels in Paradise” tells us about the drawing in Berman’s show that drew the obscenity charge and about some of his other “dustups with the authorities,” but the author says almost nothing of interest about Berman’s art. This is the rule in the book. We are told that the owner of Barney’s Beanery (the Ferus gang’s favorite watering hole) bought Larry Bell a drink after his first artistic triumph, but we never learn much about what in the work was triumphant. It’s amusing to read the tale of Kienholz’s revenge on a TWA worker’s desk after the airline broke a lamp the artist valued, but it would have been so much more interesting if the author managed to relate the rampage to the work. Kienholz wasn’t just an irate passenger, he was also an artist, and we want to know how rage fueled his installations and how the violence of his public gestures was related to his private struggles and his artistic practice. We are introduced to the young Frank Gehry as he begins to discover his aesthetic itinerary, but we learn more about his psychoanalyst and Gehry’s gangster uncle Willy’s trip to a brothel than we do about his architectural breakthrough.
Throughout the book we get good stories, the kind that artists often tell one another over drinks, and that they or their friends shared with Drohojowska-Philp. But in the author’s artless hands these seem more gossip than journalism — to say nothing of art history. Irwin and David Hockney are discussed at some length in the book, but the author does not do justice to either the ambitions of their work or to its critical reception. She does tell us that Irwin was “practicing phenomenology” and “questioning the purpose of painting,” but there is no extended discussion of what this meant to him or to others. We get gossip about Hockney’s portraits and are treated to his views of the clubs and of sex, but almost nothing about his understanding of composition and visual experience. Hockney is quoted as saying there were no ghosts in Los Angeles, which was true enough for him, since he was happily unaware of the city’s past. Unfortunately, Drohojowska-Philp embraces this naivete, doing little to show how her artists were actually part of the city’s ongoing history.
Drohojowska-Philp quotes the great critic Dave Hickey’s comment that Los Angeles developed a minimalism that “created a gracious social space. . . . It treated us amicably and made us even more beautiful by gathering us into the dance.” The promise of gathering us into beauty was and is part of Los Angeles’s persistent charm, part of its invitation and (sometimes) its disappointment. “Rebels in Paradise” tells us just enough to make the dance seem attractive, just enough to evoke reflections of its historical reality. As Dennis Hopper said: “This is our reality — the comic books and soup cans, man.”
Michael S. Roth is the president of Wesleyan University. His “Memory, Trauma and History: Essays on Living With the Past” will be published in the fall.
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