Art Talk
Gods and Monsters of Lee Bontecou's Art
Art reviews from art critics Edward Goldman and Hunter Drohojowska-Philp.
By Edward Goldman • • 4m ListenGODS AND MONSTERS OF LEE BONTECOU'S ART
Twice in my lifetime, a museum exhibition threw me into turmoil. The first time, it was the Max Beckmann Retrospective at LACMA eighteen years ago, which I simply hated. It made me so uncomfortable, I went to see it again and again, obsessed with a desire to understand why it held such sway over me. Luckily, the uncompromising ugly beauty of Beckmann's artistic vision revealed itself to me at last. It was sort of a breakthrough. Now I count Beckmann among the great artists of the 20th century.
Frankenstein movies, or the clanking vehicles made of scrap parts in Mad Max movies.
After her legendary first show at Leo Castelli Gallery in 1960, Lee Bontecou's art was widely shown, admired and written about. Then, ten years later, critics lambasted her 1971 exhibition, which resulted in the artist's withdrawal from public life for the next 30 years. Reportedly, the Hammer retrospective of her works came about only as a result of much persuasion and cajoling. The artist was reluctant to show her art to the public. Luckily for us, Lee Bontecou overcame her fears.
But the good news is that the last decade was very good for Lee Bontecou's art. She continues to be prolific, but the apocalyptic vision of her early work gave way to more relaxed, almost lyrical sculptural compositions, consisting of many small parts strung on wires, like the notes of a musical score. I wouldn't be surprised if some clever musician finds a way to play the cosmic tune encoded in Lee Bontecou's latest works.
LEE BONTECOU
October 5, 2003 - January 11, 2004
10899 Wilshire Blvd.
Los Angeles, CA 90024
(310) 443-7000