Installation shot from A Re-creation of the Ferus Space (Not Exactly but Close to Scale).
Fifty years after the show of “Valentine” paintings by Billy Al Bengston opened at Ferus Gallery on La Cienaga Blvd., the historic gallery has been rebuilt within the walls of Samuel Freeman gallery to celebrate the anniversary. And that is just one part of a three-part show at Samuel Freeman, on view through March 12, 2010, representing 50 years of painting from Bengston. The second is a candle-lit recreation of his 1970 “Who’s Afraid of the Dark?” exhibition at Mizuno Gallery. And the final part of the show consists of the artist’s 2010 works alongside highlights from the past 20 years. Whitewall got to ask Samuel Freeman a few questions about the show, and about the choice to rebuild, almost to scale, Ferus Gallery.
WHITEWALL: What is the objective of bringing back to life this iconic L.A. gallery?
SAMUEL FREEMAN: What is the objective? To show just how important the artists of Ferus were and still are to the international art world. The gallery is not the focus, we are showing Billy Al Bengston's work from 50 years ago alongside work from last month. The timing worked out with the half-century anniversary (Golden Anniversary, if you must know) but we are not bringing life back to anything. We are showing how much is still alive.
WW: What influence or personal importance did the Ferus Gallery have on you?
SF: Directly, none. I was not born until 15 years after this show opened. Philosophically, aesthetically, Ferus was the flashpoint of Californian art. At Ferus was born the ability to paint conceptually honest paintings without meaning. Ferus was not for the New York establishment, it was not mired in the sucking mud of history, it was “Fer Us, not Fer You.” Ferus legitimized the spark of accepted joy that is California. Without it, I would personally still be stuck in Brooklyn trying to be an artist myself, stuck in the sucking sludge of February.
Install photo from Who's Afraid of the Dark - 1970 Mizuno Gallery Style.
WW: What is the reaction that you want to get from people who will visit the exhibition?
SF: Tightened Thighs and Loose Wallets. I want people to fall in love with the work on an individual basis, but overall recognize that Billy Al has always been the elephant in the room. He's provoked from on stage and behind the curtain, and had his fingers stirring the pot of every major wave of the California Art Swell.
Installation view of Since then Natural Light. All photos courtesy of Samuel Freeman.
