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Rebels in Paradise: The Los Angeles Art Scene and the 1960s, by Hunter Drohojowska-Philp
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The extraordinary story of the artists who propelled themselves to international fame in 1960s Los Angeles
Los Angeles, 1960: There was no modern art museum and there were few galleries, which is exactly what a number of daring young artists liked about it, among them Ed Ruscha, David Hockney, Robert Irwin, Bruce Nauman, Judy Chicago and John Baldessari. Freedom from an established way of seeing, making, and marketing art fueled their creativity, which in turn inspired the city. Today Los Angeles has four museums dedicated to contemporary art, around one hundred galleries, and thousands of artists. Here, at last, is the book that tells the saga of how the scene came into being, why a prevailing Los Angeles permissiveness, 1960s-style, spawned countless innovations, including Andy Warhol's first exhibition, Marcel Duchamp's first retrospective, Frank Gehry's mind-bending architecture, Rudi Gernreich's topless bathing suit, Dennis Hopper's Easy Rider, even the Beach Boys, the Byrds, the Doors, and other purveyors of a California style. In the 1960s, Los Angeles was the epicenter of cool.
- Sales Rank: #594264 in Books
- Published on: 2011-07-19
- Released on: 2011-07-19
- Original language: English
- Number of items: 1
- Dimensions: 9.55" h x 1.10" w x 6.49" l, 1.11 pounds
- Binding: Hardcover
- 288 pages
Review
“Rebels in Paradise recounts the story of how adventurous contemporary art developed in Los Angeles in the late 1950s, and how an ‘art scene' took off in the city during the '60s. Hunter Drohojowska-Philp is especially interested in the ‘scene' part--how little-known artists joined together to form a cool cohort. . . . 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.” ―Michael S. Roth, The Washington Post
“This snappy, gossipy book is…more about artists than art. This is as it should be…The People-magazine-meets-modern-art tone might be tedious if it weren't for Ms. Drohojowska-Philp's way with capsule descriptions.” ―Peter Plagens, The Wall Street Journal
“More Vanity Fair than standard art history, it's an affectionate, deliciously gossipy account of the decade when a convergence of renegade artists, entrepreneurs, curators, collectors and writers put Los Angeles on the art world's map. Hunter Drohojowska-Philp, a longtime observer of the scene and a biographer of artist Georgia O'Keeffe ... has conducted numerous interviews and pored over oral histories, exhibition catalogs, books and magazines to compile a scrapbook-like story of the period's leading personalities .... Who knew that Eve Babitz--the 19-year-old nude who played chess with Duchamp at the Pasadena Art Museum--wore a size 36 DDD bra? Or that Gehry participated in a rock band of makeshift instruments by ringing a bicycle bell and pumping a toilet plunger in a pail? ... An entertaining, often insightful guide to the spirit of the scene.” ―Suzanne Muchnic, L.A. Times
“Brilliantly illuminated .... Drohojowska-Philp skillfully interlinks the art movement with news events and cultural milestones in film, fashion, novels, theater, and music, from Frank Gehry's architecture to the Watts riots. Having interviewed many of the participants, she introduces David Hockney and others with in-depth profiles and colorful anecdotes. Recreating an electric era when the art world made an axis shift, Drohojowska-Philp successfully paints a Day-Glo image of those days when anything seemed possible.” ―PW, Starred Review
“Drohojowska-Philp has done massive research to compile this generous account of a movement and its movers--not just the artists (and their biographies) but many of the personalities and celebrities and hangers-on who enjoyed the decade-long whirlpool.... Comprehensive, educative and entertaining for eye, mind, imagination and libido.” ―Kirkus
“Rebels in Paradise has a light, almost breezy tone, but Drohojowska-Philp delves into thornier social issues as easily as she conveys the excitement of, say, the nearly simultaneous openings of Andy Warhol's show at Ferus and Marcel Duchamp's retrospective at the Pasadena Art Museum…Los Angeles was an exciting place in the '60s, and her book makes you wish you had been there.” ―Richard Kalina, Art in America
“Drohojowska-Philp's extensively researched, highly readable text details the skeins of tribal relationships that bound the major artists who emerged in L.A. in the 1950's, ‘60's and ‘70's: Ed Ruscha, Robert Irwin, John McCracken, Bruce Nauman, Vija Celmins, John Baldessari, Ed Moses, and others, all photo-documented by the very much on-the-scene Dennis Hopper and many represented by the legendary Ferus Gallery.” ―Interior Design
“From the opening chapter. . . [Rebels in Paradise] defines that legendary space as the epicenter of SoCal cool. Hunter Drohojowska-Philp, who has written about the scene for decades, works in all the key figures, from the artists John Baldessari, Ed Kieholz, and Ed Ruscha to the crucial dealer Irving Blum, a seemingly omnipresent Dennis Hopper, and countless supporting collectors. This action-packed tome is the perfect preparation for next fall's Pacific Standard Time festival of museum shows celebrating the Southland art scene in the postwar years.” ―Art + Auction
“An entertaining page-turner, and I couldn't set it down. Drohojowska-Philp wanted to make sure these stories were not lost, and thanks to her research and smooth narrative, an earlier time is effectively brought to life. Anyone wishing to write a period history should read this book to see how it is meant to be done.” ―James Croak, ArtNet
“An affectionate account of how artists such as Ed Ruscha, John Baldessari and David Hockney transformed the city by igniting a quest for artistic freedom that spread from L.A. to all of America. Drohojowska-Philp's new book is filled with art history that provides thoughtful insight into Marcel Duchamp's first retrospective, Andy Warhol's first exposition, even the Doors and Dennis Hopper's Easy Rider. Plus, Rebels in Paradise takes a page from TMZ and includes the juicy gossip of the artists' sex lives, love affairs and crumbling marriages.” ―Joe Lapin, LA Weekly
“Hunter's vivid and breezy drive through the brimming LA art scene of the Sixties will come as a revelation to those who as yet know nothing of that marvelous era, but perhaps even more so to those who figure they knew pretty much knew it all. As one of the latter, I kept on being visited by hunh! and ha! moments as Hunter merrily connected dots and filled in back story, generously lavishing both wide context and wry insight.” ―Lawrence Weschler, author of Seeing is Forgetting the Name of the Thing One Sees
“You should read Hunter Drohojowska-Philp's Rebels in Paradise if you are interested in the art scene in Los Angeles in the Sixties, or if you are interested in any art scene for that matter (since they are all too mystifyingly similar). Ms. Drohojowska-Philp fleshes out the blank spaces, the back stories, the black stories and the vendettas accurately, but with benign confidence. In another tone, this would be an exposé. In Hunter's tone, it is well-meant reminder that the legend was, well, just that.” ―Dave Hickey, author of Air Guitar and The Invisible Dragon
“Hunter Drohojowska-Philp's breezy, fast-paced new book Rebels in Paradise brings to life many of the main characters in [Los Angeles'] art history, including Billy Al Bengston, Ed Ruscha, David Hockney, Larry Bell, Craig Kaufman, Dennis Hopper and Robert Irwin, among others…The accounts veer toward the gossipy, moving from intriguing detail to surprising revelation, without quite being lurid or lascivious. Indeed, despite the often humorous anecdotal accounts of the private lives of artists, curators and girlfriends, the book conjures both the sweep of history and its vicissitudes while grounding all of the stories in very specific places, from Brentwood to Pasadena, from the hills of Topanga to the beaches of Malibu in a way that makes you see parts of the city anew.” ―Holly Willis, KCET.org
About the Author
Hunter Drohojowska-Philp is the author of Full Bloom: The Art and Life of Georgia O'Keeffe, considered the most definitive biography of the popular artist. She lives in Los Angeles, where she is a journalist and art critic for Artnet, ARTnews and the Los Angeles Times.
Excerpt. © Reprinted by permission. All rights reserved.
Chapter One
1963: Andy and Marcel
The seven-foot Elvis in the Ferus Gallery window was startling, even by Los Angeles standards. In the gallery's back room, paintings of Elizabeth Taylor, with her outsized red lips and slashes of bright blue eye shadow, greeted visitors. Andy Warhol was fixated on celebrities and it wouldn't be long before he would become one himself.
A feeling of excitement charged the balmy evening air outside, and North La Cienega Boulevard traffic slowed as drivers gawked at the scene. Inside, stylishly coifed women in sleeveless dresses mingled with Los Angeles artists, awkward young men outfitted in thrift-store splendor. Warhol entered the filled-to-capacity gallery wearing a carnation in the lapel of his Brooks Brothers blazer.
In 1963 Los Angeles became a mecca for those who rejected the old and embraced the new in art, film, fashion, and music. For many artists, the city's tenuous attachment to history and tradition translated as openness to fresh ideas. Warhol's show contributed to the dawning realization that Los Angeles itself could be the next big thing.
Warhol was nervous as his exhibition opened on the evening of September 30. He had had just two previous exhibitions, the first held the previous summer at Ferus. Though Warhol today is considered the quintessential New York artist, he received his first break in Los Angeles when the suave—some would say fawning—Irving Blum and the perspicacious but flighty Walter Hopps took a chance on the young artist. Warhol's paintings of Campbell's soup cans, thirty-two to be exact, each painstakingly lettered with the appropriate flavor, were arranged on a shelf that girdled the walls, turning the gallery into a grocery store of sorts. Hopps's wife, Shirley, recalled, "It was one of those times when we knew we were onto something."1
Not everyone agreed. The show was ridiculed in a Los Angeles Times cartoon of two barefoot beatniks in the "Farout Art Gallery" looking at the paintings of soup cans and musing, "Frankly, the cream of asparagus does nothing for me, but the terrifying intensity of the chicken noodle gives me a real Zen feeling." Nearby, David Stuart mocked Ferus by arranging a pyramid of Campbell's soup in the window of his gallery with a sign: "Get the real thing for only 29 cents a can."2
Blum convinced some collectors to purchase Warhol's soup-can paintings for $100 apiece. After a chat with art critic John Coplans, one of the first to recognize the importance of serial imagery, Blum agreed that Warhol's everyday Pop art signaled the end of the individual masterpiece; he was determined that the pictures remain together as a set. He persuaded collectors to return the half-dozen soup-can paintings that he had managed to sell. Then he asked Warhol if he could buy all of them on a layaway plan: $1,000 for the entire set to be paid over the next year.3
Warhol didn't need the money. For years, he had been one of the most successful illustrators in New York City, known for his shoe drawings for I. Miller, easily making around $50,000 a year. But this was different. This was art. Warhol was sufficiently pleased to agree to the deal and sign up for another show with Ferus. He also silk-screened four portraits of the energetic entrepreneurial owner.
What a difference a year could make in the 1960s, a decade of seismic shifts. In August 1962, Warhol, working with studio assistant Gerard Malanga, abandoned the paintbrush for the silk screen. His first silk-screened canvas was turquoise and covered by rows of Troy Donahue head shots, each face of the Hollywood heartthrob framed in a yearbook-style oval. Four months later, due to an unexpected gap in her schedule, Eleanor Ward gave Warhol his first New York show at the Stable Gallery, where Robert Rauschenberg and Cy Twombly had had their first shows. It sold out.
Pop was gaining momentum as a movement of sorts by the time Warhol, to save on shipping, sent a roll of silvered canvas to Ferus with instructions to cut out as many images of Elvis as needed. Shirley Hopps remembered that Warhol sent no directions so she, Blum, and the gallery artists spent an evening cutting them into twos or threes in a rather haphazard manner, not unlike the assembly line technique at Warhol's East Forty-seventh Street studio, the Factory, in New York.
To get to the opening, Warhol and Malanga, along with Taylor Mead and Wynn Chamberlain, drove across country for three days in a station wagon with a mattress in the back and the radio blaring songs by Leslie Gore, the Ronettes, and Bobby Vinton. Everything along the highway looked like Pop art to them. "We were seeing the future and we knew it for sure," Warhol observed.4
They never suspected that Los Angeles could be booked. Because of the World Series, most hotels were full so Warhol called actors Dennis Hopper and his wife Brooke Hayward. She, in turn, called her father in New York, producer Leland Hayward, and convinced him to give them his suite at the Beverly Hills Hotel. Los Angeles started to look promising.
Warhol had met Hopper in New York through Metropolitan Museum of Art curator Henry Geldzahler. Warhol once said, "Henry gave me all of my ideas" and made a film consisting only of Geldzahler smoking a cigar for ninety minutes. Impressed by this duo, Hopper immediately bought one of Warhol's double silk screens of the Mona Lisa and invited him to come with Geldzahler to the soundstage to watch his guest-star performance on the TV show The Defenders. Not long after, Hopper flew to New York and went with Hopps and Blum to the studio of Roy Lichtenstein, where he immediately bought the artist's comic book–style sunset painting for $750. "Everybody was talking about the return to reality," Hopper recalled. "This is our reality—the comic books and soup cans, man."5
Lean and edgy in appearance, Hopper was drawn to advanced art from the day he saw his first Jackson Pollock painting at the home of actor Vincent Price, who had used his profits from scary movies to amass an impressive collection. "When I saw that, I got it immediately," Hopper said.6 His instincts would prove impeccable. A former poor boy from Dodge City, Kansas, Hopper was the only collector to wind up with one of Warhol's soup-can paintings because, in an effort to save $25, he managed to buy one for $75 from the Westwood gallery owned by Virginia Dwan.
The daughter of Margaret Sullavan, Brooke Hayward was a classic beauty. As Hollywood royalty, she should have been out of Hopper's league. Hayward had grown up in Greenwich, Connecticut, with Henry Fonda's children and had even been kicked out of Girl Scouts with her friend Jane. But Dennis Hopper was more than just another actor. He was wildly creative, and his charisma was undeniable in movies such as Giant. Together, the Hoppers were considered glittering examples of the new Hollywood, perfect hosts for a party for Warhol and friends. The very night of the artist's arrival, they invited the Ferus contingent and other young actors to their West Hollywood home at 1712 North Crescent Heights, where they had moved after losing their mansion in the 1961 fires that destroyed their Bel Air neighborhood. Their Mediterranean-style home was bohemian and furnished with circus posters, a Mexican clown sculpture, and Hopper's own collages. The Mona Lisa silk screen hung next to the Lichtenstein sunset. Warhol met Hopper's colleagues Robert Dean Stockwell, Russ Tamblyn, and Sal Mineo, who was Hopper's costar in Rebel Without a Cause, as well as actors Suzanne Pleshette, Peter Fonda, who looked like a "preppy mathematician," and Troy Donahue. Joints were passed and people danced. Artist Craig Kauffman was a little shocked by the Warhol crowd. "They were all giggling and pouring sugar on the backs of each other's hands. I thought this was a little far-out."7 Whether or not this was really sugar, Kauffman never discovered.
"This party was the most exciting thing that had ever happened to me," Warhol said.8 He only regretted that he had left his Bolex movie camera in his hotel room. Warhol embraced everything about Los Angeles that tended to irritate the intellectual, the cultured, or the well-bred. "Vacant, vacuous Hollywood was everything I ever wanted to mold my life into. Plastic. White-on-white. I wanted to live my life at the level of the script of The Carpetbaggers."9
The opening on September 30, 1963, was less star-studded than his party, but Warhol was philosophical. "Anyway, movies were pure fun, art was work."10 Still, he was amazed by the impact of all the Elvises in the front room and the Liz Taylors in the back, as he'd never seen them all together. He made a four-minute movie of his installation. Los Angeles rising art stars attended the opening, some of whom were involved in their own versions of Pop: Ed Ruscha, Joe Goode, and Billy Al Bengston, as well as those developing their own versions of what, in a few years, would be termed "Minimalism": Larry Bell, Craig Kauffman, and Robert Irwin.
The short, slight Warhol had a congenital skin condition that he covered with pale makeup. He wore an outlandish silvery white toupee atop his own mousy brown hair, which he had been losing since 1953. His pasty face and skinny frame contrasted dramatically with the virile physiques of the L.A. artists in their twenties, all of them golden and muscular from surfing, swimming, or simply driving around in convertibles. He was slightly awed by their backslapping, cajoling, and sarcastic humor and though he was quite obviously gay, he felt completely at ease in their macho company, an artist among artists. They embraced his art as though it were both welcome and inevitable. Ruscha immediately felt "a great kinship. . . . It was like a logical departure from the kind of painting that was happening at that time."11 Warhol, in turn, supported their totally synthetic aesthetic. "The artificial fascinates me, the bright and shiny."12
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20 of 23 people found the following review helpful.
An Illuminating Recreation of a Past History in Art
By Grady Harp
Hunter Drohojowska-Philp has long been one of the most reliable and articulate sources of art history in Southern California. Not that her purview is limited to Los Angeles and environs: she has written extensively for the best art journals in the country as well as the books 'Full Bloom: The Art and Life of Georgia O'Keeffe' (the definitive biography of this enigmatic artist) and 'Modernism Rediscovered: The Architectural Photography of Julius Shulman'. There probably is no better or no more reliable art historian about the emergence of the West Coast prominence in American art.
In this fascinating book the author not only interviews or reflects on those artists from the 1960s who made art in somewhat of a visual art wasteland - artists such as Ed Ruscha, Joe Goode, Jerry McMillan, Larry Bell, David Hockney, John Baldessari, Robert Irwin, Bruce Nauman, Judy Chicago among others - but she also sets the stage for understanding that particular fermenting period in Los Angeles. She shares both the artistic trends coupled with the growth of galleries and the eventual rise of the major museums of our current time (MOCA, LACMA, Geffen Contemporary, Armand Hammer, Japanese American Museum, etc) as well as the clangorous and notorious atmosphere that could only be described as Los Angeles' gestation phase.
Some of the daring events and artists that she discusses with great elan include the Andy Warhol premiere exhibition, the magical wildness of Frank Gehry, the 'guys' of 'Easy Rider' fame and their influence on both the development and the subsequent important collections of their confreres, and many sidebars of the spirit of the times that resulted in Los Angeles becoming one of the more important epicenters of art in the world. It is a fast and at times noisy ride, but Drohojowska-Philp writes with such infectious style that this book in addition to a fine art history book becomes a memoir for a period that will always be imitated but never reproduced. This book will likely become a best seller! Hunter Drohojowska-Philp shares more secrets and scandals and treasureable information than any book in the recent past. Copiously illustrated! Grady Harp, July 11
26 of 34 people found the following review helpful.
A fawning look at a few male artists.
By las cosas
This book centers on the Los Angeles art scene around the Ferus Gallery, with a shorter discussion of the Light and Space artists. And `scene' it certainly was. The Ferus artists socialized around the N La Cienega gallery, renting studios and housing in Venice and partied in the fringes of Hollywood. We are given short physical descriptions of each artist, his background and art. Then each is added to the social structure, or scene, of the ever enlarging cast of characters. We see them dancing in clubs on the Strip, drinking and generally carrying on. They fight, surf and have a great old time with their always `pretty' girlfriends who they marry and divorce. And the divorces are always very, very painful for these macho men. How all of this impacts the pretty women and their children they abandon is never mentioned. And we are told numerous times that their favorite topic of conversation is a derogatory term for women that Amazon doesn't want me to include in a review.
It is hard to separate my dislike for the glib and gossipy writing that never, once attempts to analyze the art from the unlikeable Ferus artists and their scene. No, this is solely a book about the scene, not the art. And for this reader, the scene, and the artists making that scene, is deeply repugnant. To take just the most flagrant example, the bar of choice for the featured artists and their scene is Barney's Beanery notorious for a large sign over the bar saying "f..gots stay out." [Again, Amazon doesn't want me to use the term, however used]. While this sign is mentioned more than once and even appears in a photo, there is no discussion of what it meant that the favorite hang-out was a notoriously homophobic establishment later serving as a potent symbol for the local gay rights movement. In fact there is zero analysis of the racism, sexism and deep homophobia permeating every corner of the 60s LA supposedly the subject of this book. None.
These artists were studs defying the big art machine in New York. That is a much narrower story than the author purports to tell, but given that narrow story, she could at least include a thoughtful analysis of that narrow scene. Nope.
This is a gossipy dictionary of a large number of mostly unknown and forgotten people from the world of the Ferus Gallery.
2 of 2 people found the following review helpful.
An Illuminating Recreation of a Past History in Art
By Grady Harp
Hunter Drohojowska-Philp has long been one of the most reliable and articulate sources of art history in Southern California. Not that her purview is limited to Los Angeles and environs: she has written extensively for the best art journals in the country as well as the books 'Full Bloom: The Art and Life of Georgia O'Keeffe' (the definitive biography of this enigmatic artist) and 'Modernism Rediscovered: The Architectural Photography of Julius Shulman'. There probably is no better or no more reliable art historian about the emergence of the West Coast prominence in American art.
In this fascinating book the author not only interviews or reflects on those artists from the 1960s who made art in somewhat of a visual art wasteland - artists such as Ed Ruscha, Joe Goode, Jerry McMillan, Larry Bell, David Hockney, John Baldessari, Robert Irwin, Bruce Nauman, Judy Chicago among others - but she also sets the stage for understanding that particular fermenting period in Los Angeles. She shares both the artistic trends coupled with the growth of galleries and the eventual rise of the major museums of our current time (MOCA, LACMA, Geffen Contemporary, Armand Hammer, Japanese American Museum, etc) as well as the clangorous and notorious atmosphere that could only be described as Los Angeles' gestation phase.
Some of the daring events and artists that she discusses with great elan include the Andy Warhol premiere exhibition, the magical wildness of Frank Gehry, the 'guys' of 'Easy Rider' fame and their influence on both the development and the subsequent important collections of their confreres, and many sidebars of the spirit of the times that resulted in Los Angeles becoming one of the more important epicenters of art in the world. It is a fast and at times noisy ride, but Drohojowska-Philp writes with such infectious style that this book in addition to a fine art history book becomes a memoir for a period that will always be imitated but never reproduced. This book will likely become a best seller! Hunter Drohojowska-Philp shares more secrets and scandals and treasureable information than any book in the recent past. Copiously illustrated! Grady Harp, September 11
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