Diebenkorn In New Mexico, Taos Mountain in the background, Taos, New Mexico, July 2007, photo © 2007 by QuoinMonkey. All rights reserved.
When I was in Taos in July, we carpooled over to the Harwood Museum of Art to see Diebenkorn In New Mexico. When I was looking through my Taos photos last night, I realized I had wanted to do a post on Richard Diebenkorn after I got back. Time has rolled on without me.
The exhibit is moving to the San Jose Museum of Art and will open there Sunday, October 14th, 2007. If you are in the area, it’s worth checking out this period of Diebenkorn’s life (1950 – 1952).
Playing Favorites, Diebenkorn In New Mexico Exhibit, Harwood Museum, Taos, New Mexico, July 2007, photos by QuoinMonkey, all rights reserved.
It was in 1950 that Diebenkorn enrolled in the Masters of Fine Arts program at the University of New Mexico, leaving behind a teaching position at the California School of Fine Arts (now known as the San Francisco Arts Institute). It had been at the California School of Fine Arts that Diebenkorn crossed paths with artist, David Park, who became his mentor and friend.
Natalie wrote about Diebenkorn in her book about painting, Living Color: A Writer Paints Her World. (It’s one of my favorites. Read Chapter 1, How I Paint at this link.) So she was thrilled to take the class of 50+ students to the Harwood to see his work. In preparation for the visit, she told stories about her chance meeting with Helen Park Bigelow and a series of strange twists and turns that led her to learn that Helen was David Park’s daughter.
Though I missed Helen’s August lecture at the Harwood last summer, her introduction explains:
After the Diebenkorns returned to the Bay Area from New Mexico, they and my parents became best friends. I was married and living nearby, and it was during those years, the fifties, that my three children were born. I was in and out of my parent’s house, where I saw Dick and Phyllis often, and got to know them and love them and also got to know and love Dick’s works. Through my father, Dick and the third player in that important friendship, the painter Elmer Bischof, those years gave us what became known as Bay Figurative Painting, and the emergence into national recognition of David, Dick and Elmer. As I observed the three young painters, Dick and Elmer in their thirties and David in his forties, their passion for work left deep impressions. For my Harwood Talk I will share stories and insights from those years, with a focus on the friendship, competition and recognition the three painters shared.
The last few times I have visited museums with Natalie’s classes, she has had each person slow walk around the exhibit and view the work (it was O’Keeffe last December in Santa Fe). When she rings the bell, we stop – and choose our favorite painting, the one we would love to take home, by standing directly in front of it. Then we describe what we like about the piece.
It’s another form of practice that Natalie teaches, to slow down and take in each piece of art in silence. I call it museum walking. Other people viewing the exhibit usually join in with the class. It’s a great exercise in seeing.
And, for me, I find that the painting I like the most is not necessarily the same painting I could stand to live with for the rest of my life! There are many things to consider when choosing art for one’s walls.
The exhibition brings together 50 paintings, works on paper, and sculpture that have never been seen together before.
We’d love to know which piece you’d take home. But be prepared. Museum walking makes the guards quite nervous.
-posted on red Ravine, Tuesday, September 25th, 2007
Continues Upstairs, Diebenkorn In New Mexico Exhibit, Harwood Museum, Taos, New Mexico, July 2007, photo by QuoinMonkey, all rights reserved.