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Space for Experimentation Around the time that the California Institute of the Arts (CalArts) was established, John Baldessari, the schoolâs chair of âPost-Studioâ practice, jotted down a set of notes outlining his ideal art college: âA watering hole, a flow of artists. Artists as ordinary people. Have artists as models. Create an environment where art can happen.â Adapting his phrasing, Where Art Might Happen: The Early Years of CalArts offers a bountiful history of the schoolâs formative decade, a companion to the eponymous 2019 exhibition at the Kestner Gesellschaft, Hannover. This volume partly aims to redress imbalances in previous critical coverage of CalArts, highlighting work by lesser-known figures and focusing on the legendary but long understudied Feminist Art Program. ....
Why had you stuck to smaller works until this point in your career? Lyles and King showed some of my early work from when I was a graduate student at Cal Arts. They were representational and narrative and personal and had a feminist impulse to them. But the fact that they were small gouache-on-paper [works] was a big issue. I did them against the art world’s concerted view that that was not painting. Painting was large, preferably abstract, on canvas that was it. And I kind of stuck to my guns. I devised a module for small paintings: 12 by 16 or 16 by 12, depending on how I oriented it. And I did make large works, including a work called ....