California

decade

0s

0

Announcement for Gladys Nilsson exhibition at the Candy Store Gallery. Courtesy of Parker Gallery, Los Angeles.
Announcement for Roy De Forest exhibition at the Candy Store Gallery. Courtesy of Parker Gallery, Los Angeles.
Exhibition announcement for the Candy Store Gallery, including artists Roy De Forest, Gladys Nilsson, and James (Jim) Nutt. Courtesy of Parker Gallery, Los Angeles.
Google Maps view of Fishburn Avenue in East Los Angeles.

decade

1940s

1940s 1941

1942

Ed Ruscha visits Los Angeles with his family as a teenager.

1945

Larry Bell’s family moves to Los Angeles.

1945

Lawrence and Anna Halprin move to San Francisco.

1948

Billy Al Bengston’s family moves to Los Angeles.

decade

1950s

1950

Carlos Almaraz’s family moves to Los Angeles.

1950–52 1950

Roy De Forest attends the California School of Fine Arts (now San Francisco Art Institute).

1951

Emory Douglas moves to San Francisco with his family for his health.

1951

Senga Nengudi’s family moves to California in search of a better life.

1953–55 1953

Billy Al Bengston studies at Los Angeles Junior College (now Los Angeles City College).

1953

Roy De Forest earns his BA from San Francisco State College.

1955

Anna Halprin founds the San Francisco Dancers’ Workshop.

1955

Billy Al Bengston moves to Oakland and enrolls at the California College of Arts and Crafts but moves back to Los Angeles within the year.

1956

Billy Al Bengston enrolls at the Los Angeles County Art Institute (now Otis College of Art and Design) and studies with Peter Voulkos but leaves after a year.

1956

Due to a relapse of tuberculosis, Charles White relocates from New York to Los Angeles in search of a better climate.

1956

After graduating high school, childhood friends Ed Ruscha and Mason Williams head to California on historic Route 66 in a 1950 Ford sedan.

1956

Ed Ruscha and Mason Williams share a room at Mrs. Steer’s Boarding House near downtown Los Angeles.

1956

Ed Ruscha plans on enrolling at ArtCenter College of Design in Los Angeles, but the student quota is full. Ruscha attends Chouinard Art Institute instead.

1956

Mason Williams attends Los Angeles City College but quits his major in math after spending more time at jazz clubs than studying. He decides to become a musician.

1957

Bruce Conner cutting the wedding cake with Jean Sandstedt Conner, Sep 1, 1957. © Conner Family Trust, San Francisco and Artists Rights Society (ARS), New York. Courtesy of Anastasia Aukeman.
Bruce and Jean Conner, in Omaha, boarding the airplane to San Francisco, Sep 1, 1957. © Conner Family Trust, San Francisco and Artists Rights Society (ARS), New York. Courtesy of Anastasia Aukeman.

late 1950s 1957

Barney’s Beanery, a popular West Hollywood bar, is an important source of community for Billy Al Bengston, Joe Goode, Jerry McMillan, and Ed Ruscha, as well as others who show at the Ferus Gallery.

1957

Bruce Conner marries Jean Sandstedt on September 1 in Lincoln, Nebraska (Sandstedt’s hometown). Together, Bruce and Jean Conner move to San Francisco that night.

1957

Judy Chicago moves to Los Angeles to attend UCLA.

1957–59 1957

Larry Bell attends Chouinard Art Institute in Los Angeles.

late 1950s 1958

Emory Douglas has his first lessons in graphic design at the Youth Training School, a juvenile detention center in Ontario, California. In their print shop he is introduced to typography, illustration, and logo design.

1958–60 1958

At Chouinard Art Institute in Los Angeles, Joe Goode, Jerry McMillan, and Ed Ruscha meet and befriend fellow Okies Patrick Blackwell and Don Moore. They refer to themselves as the “Students Five.”

1958

On a winter trip back from Los Angeles to Oklahoma City, Ed Ruscha convinces Jerry McMillan to come to Los Angeles for school, which then motivates Joe Goode to also head west and pursue his artistic career.

1958

Roy De Forest earns his MA from San Francisco State College.

1959

Artists outside the Ferus Gallery in Los Angeles, 1959. Pictured clockwise from top: Billy Al Bengston, Irving Blum, Ed Moses, and John Altoon. Gift of Irving Blum. Getty Research Institute, Los Angeles (2009.M.37). © Estate of William Claxton/Demont Photo Management LLC.

1959

Larry Bell moves to the Ocean Park area of Santa Monica, California, where several artists including Billy Al Bengston also have studios. Bell befriends Bengston through his teacher Robert Irwin.

1959

Larry Bell is included in Los Angeles County Museum of Art’s (LACMA) annual exhibition of Southern California painting and sculpture.

1959

Tom Marioni is drawn to San Francisco’s Beat poetry and jazz scenes, and moves there in 1959.

1959

Group oral history interview conducted by Andrew Perchuck and Rani Singh, featuring Jerry McMillan, Ed Ruscha, and Mason Williams, Jan 23, 2007. Part of "Modern Art in Los Angeles : Okies go west," Getty Research Institute, 2007.

decade

1960s

1960s–70s 1960

Anna Halprin devises City Dance, a daylong participatory event in which Halprin performs with members of her San Francisco Dancers’ Workshop and the people of San Francisco. City Dance is performed between 1960–69 and 1976–77.

1960s 1960

Joe Goode, Jerry McMillan, and Ed Ruscha participate in the La Cienega gallery walks on Monday nights. Afterwards, he and his friends hang out at Barney’s Beanery, a favorite watering hole for many young Los Angeles–based artists.

1960–61 1960

June Wayne, founder of the Tamarind Lithography Workshop in Los Angeles, invites Garo Antreasian to serve as the first technical director and master printer of Tamarind.

1959–61 1960

Patrick Blackwell, Joe Goode, Jerry McMillan, Don Moore, and Ed Ruscha (who refer to themselves as the Students Five) live with Wally Batterson in a house on Madison Avenue in Silver Lake, California; all attend Chouinard. They then move into a little house on New Hampshire Avenue in Hollywood.

1960

After having realized she had to go to Paris to have lithographs executed properly, June Wayne secures a Ford Foundation grant to open the Tamarind Lithography Workshop on Tamarind Avenue in Los Angeles. She hopes to revive the art of lithography through fellowships for artists.

1961

Poster for the exhibition War Babies at Huysman Gallery, May 29–June 17, 1961. Getty Research Institute, Los Angeles (2006.M.1). © Joe Goode. Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.

1960s 1961

Barbara Kasten goes to San Francisco to work as a stylist and display dresser for department stores.

1961

Jean Conner has solo exhibitions at the University of California, San Francisco Medical Center, where she works as a clerk in the women’s clinic, and City Lights bookstore in San Francisco—both of which her husband, Bruce Conner, helps organize.

1961

1962

Works by Joe Goode and Ed Ruscha are included in Walter Hopps’s New Painting of Common Objects exhibition at the Pasadena Art Museum.

1962

Terry Allen moves to Los Angeles to attend Chouinard Art Institute.

1962

1962

William T. Wiley begins teaching at the University of California, Davis, alongside Roy De Forest.

1963

Billy Al Bengston, Joe Goode, and Ed Ruscha are included in the group exhibition Six More at the Los Angeles County Museum of Art, Los Angeles.

1963

Joe Goode and Ed Ruscha hitchhike from Los Angeles to New York.

1963

John Outterbridge and his new wife, Beverly McKissick, leave Chicago for Los Angeles’s warmer weather and bigger art scene.

1963

Lynn Hershman Leeson moves to the Bay Area to study painting at the University of California, Berkeley, but drops out before the semester even begins.

1963–66 1963

Stephen Kaltenbach attends the University of California, Davis, where William T. Wiley and Roy De Forest are teaching.

1964

Jerry McMillan, Mason Williams, Sunrise, Downtown Los Angeles, 1964. Gelatin silver print; 8 × 10 in. (20.3 × 25.4 cm). Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.

1964

David Hammons transfers to Los Angeles Trade and Technical College to study advertising.

mid-1960s 1964

Judy Chicago enrolls in auto body school to learn airbrushing techniques. She begins to make works inspired by the car culture of California, much like the finish fetish school that includes Billy Al Bengston.

1964

After leaving the Navy in 1963, Mason Williams returns to Los Angeles and lives with Ed Ruscha.

1964

Miriam Schapiro receives a Ford Foundation Grant to hold a lithography workshop at Tamarind in Los Angeles.

1965

Jerry McMillan, Joe Goode in front of his studio on Western Avenue, Los Angeles, CA, c. 1965. Gelatin silver print; 8 × 10 in. (20.3 × 25.4 cm). Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.

1965

Bruce Nauman enrolls in the relatively new art department at the University of California, Davis. William T. Wiley becomes an important teacher and eventually friend of Nauman’s.

1960s 1965

Because of Charles White’s frail condition, John Outterbridge drives him around Los Angeles.

1965

Ed Ruscha moves into a large studio on Western Avenue in Los Angeles. He stays there for almost 20 years.

1965–69 1965

Under the pseudonym Eddie Russia, Ruscha assumes the role of art director for Artforum, which moves from San Francisco to Los Angeles in 1965 and rents a space above the Ferus Gallery. Ruscha remains the art director two years after the publication moves to New York from Los Angeles.

1960s 1965

Emory Douglas studies commercial art at San Francisco City College. There he is inspired by the works of Elizabeth Catlett, Aaron Douglas, and Charles White, and becomes involved in the Black Arts Movement.

1965

Bruce Conner and Jean Conner return to San Francisco and live in the Haight-Ashbury district.

1965

Judithe Hernández receives the first Future Masters Scholarship from the Los Angeles County Museum of Art (LACMA), which allows her to attend Otis Art Institute.

1965

Larry Bell is included in the traveling group exhibition The Responsive Eye, which is on view at the Pasadena Art Museum from September 25 through November 7.

1965

Feingarten Galleries in Los Angeles organizes Lynn Hershman Leeson’s first solo exhibition.

1965–92 1965

Roy De Forest teaches alongside William T. Wiley at the University of California, Davis.

1960s 1965

While at CalState, Senga Nengudi works as an assistant teacher at the Pasadena Art Museum.

1966

Anna Halprin and Lawrence Halprin, “Driftwood City,” Sea Ranch, CA. Halprin Summer Workshop, day eight, July 4, 1966. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
Anna Halprin and Lawrence Halprin, “Walk In the Woods, Meeting on Dance Deck,” Kentfield, CA. Halprin Summer Workshop, day fifteen, July 11, 1966. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
Bruce Nauman, Mold for a Modernized Slant Step,1966. Plaster; installed: 18 ¼ x 14 ½ x 13 3/8 in. (46.4 × 36.8 × 34 cm). Collection Museum of Contemporary Art Chicago, Gerald S. Elliott Collection, 1995.70.a–b. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Photo: Nathan Keay, © MCA Chicago.
Bruce Nauman, Self-Portrait as a Fountain (from the portfolio Eleven Color Photographs), 1966–67/1970/2007. Ink-jet print exhibition copy (originally chromogenic development print); image: 19 7/8 × 23 ¾ in. (50.9 × 60.3 cm). Collection Museum of Contemporary Art Chicago, Gerald S. Elliott Collection, 1994.11.k. Photo: Nathan Keay, © MCA Chicago.
Jean Conner, FORMAL GARDEN, 1966. Paper collage; image: 12 ¾ x 9 in; framed: 21 × 16 ¼ in. Collection of the artist. © Conner Family Trust, San Francisco and Artists Rights Society (ARS), New York. Courtesy of Anglim Gilbert Gallery, San Francisco, CA.

1966–71 1966

Lawrence Halprin and Anna Halprin lead “Experiments in Environment” workshops largely in and near their home in Kentfield, California.

1966

Senga Nengudi earns her BA from California State University, Los Angeles (Cal State LA).

1966

Suzanne Jackson graduates from San Francisco State University having majored in painting and minored in theater.

1966–67 1966

Suzanne Jackson tours Mexico and South America with the modern dance troupe Sacramento Music Circus.

1966

Terry Allen, Allen Ruppersberg, and a group of friends from Chouinard cofound Gallery 66, a cooperative gallery in Los Angeles that operates for one year.

1967

Ed Ruscha, Mason Williams, and Patrick Blackwell, Royal Road Test, 1980. Offset printing; spiral bound with color card-stock. 3 copies: 9 9/16 × 6 ½ in (24.2 × 16.5 cm), 60 pp. Collection Museum of Contemporary Art Chicago, National Endowment for the Arts Purchase Grant and gift of the MCA Men’s Council, 2012.94. © Ed Ruscha. Photo: Nathan Keay, © MCA Chicago.

1967

Allen Ruppersberg participates in his first group exhibition, New Directions, at the Westside Jewish Community Center in Los Angeles. The show also includes Bruce Nauman and Ed Ruscha.

1967

The Nauman family moves into William T. Wiley’s house and studio in Mill Valley (north of San Francisco) for the summer while Wiley traveled through Europe.

1967–74 1967

John Outterbridge works at the Pasadena Art Museum as a preparator.

1967

Miriam Schapiro and her family move to California after her husband Paul Brach is offered a job as chair of a new art department at the University of California, San Diego. Schapiro is offered a position as lecturer. While at the university, Schapiro meets physicist David Nabilof, with whom she collaborates on computer-aided sketches for her paintings, including the Computer Series.

1968

Anna Halprin and Lawrence Halprin, “Blindfold Walk,” Kentfield, CA. Halprin Summer Workshop, day two, July 2, 1968. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
Anna Halprin and Lawrence Halprin, “Driftwood Village Rebuilt,” Sea Ranch, CA. Halprin Summer Workshop, day six, July 6, 1968. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
Anna Halprin and Lawrence Halprin, “Driftwood Village,” Sea Ranch, CA. Halprin Summer Workshop, day five, July 5, 1968. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
Anna Halprin and Lawrence Halprin, “Ritual Celebration,” Kentfield, CA. Halprin Summer Workshop, day thirteen, July 13, 1968. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
A black-and-white photograph of two men shaking hands is mounted to a light-colored piece of wood.
Ed Ruscha and Billy Al Bengston, Business Cards, 1968. Offset on paper with business card and gold-backed paper stapled on final page; punched and tied with leather cord with silver gelatin print and photo corners adhered to wood-grained Bristol board; 7 1/16 × 5 9/16 in. (18 × 14 cm). Collection Museum of Contemporary Art Chicago, gift of Robert L. Mollers, 2012.95. © Ed Ruscha and Billy Al Bengston. Photo: Nathan Keay, © MCA Chicago.
Exhibition announcement for the Candy Store Gallery, including artists Roy De Forest, Gladys Nilsson, and James (Jim) Nutt. Courtesy of Parker Gallery, Los Angeles.

1968

Barbara Kasten returns to Northern California to work on her MFA at San Francisco State University.

1968

Billy Al Bengston has a solo exhibition at the San Francisco Museum of Modern Art titled Motel Dracula.

1968

The Los Angeles County Museum of Art (LACMA) organizes a Billy Al Bengston retrospective that includes furniture from Larry Bell and Ed Ruscha, with installation design by a young Frank Gehry. Ruscha designs the cover for the catalogue, which is made of sandpaper.

1968

Billy Al Bengston and Ed Ruscha collaborate on Business Cards (1968), an artist book in the MCA’s collection.

1968

Bruce Nauman has a solo exhibition at Sacramento State College Art Gallery.

1968

Jim Nutt is offered an assistant professor of art job at Sacramento State College (now California State University, Sacramento). Gladys Nilsson and Nutt agree to move to California for two years.

1968

Gladys Nilsson, Jim Nutt, and Karl Wirsum are included in the exhibition Now! Hairy Who Makes You Smell Good at the Hyde Park Art Center. It travels to the San Francisco Art Institute.

1968–75 1968

John Outterbridge teaches at California State University, Dominguez Hills, and Pasadena City College.

mid-1960s 1968

John Outterbridge begins teaching at the Compton Communicative Arts Academy (CCAA).

1968

Larry Bell is included in the group exhibition Serial Imagery, which travels to the Pasadena Art Museum and the University of California, San Diego’s art gallery.

late 1960s 1968

Roy De Forest congregates at the Rainbow House at 908 Steiner Street in San Francisco. The house was a place where Davis–Sacramento artists like Bruce Conner and De Forest could mingle with their peers.

1968–69 1968

While living in New York, Stephen Kaltenbach makes his version of the slant step, an object found in a Northern California salvage shop and brought back to UC Davis. There it became an unlikely source of inspiration for students and faculty.

1969

Ed Ruscha, Twentysix Gasoline Stations, 1969. Offset print on paper; perfect bound, softcover; 7 1/16 x 5 9/16 in. (18 x 14 cm). Collection Museum of Contemporary Art Chicago, National Endowment for the Arts Museum Purchase Grant and gift of the Men’s Council, 2012.84. © Ed Ruscha. Photo: Nathan Keay, © MCA Chicago.
Stephen Kaltenbach, Slant Step 2, c. 1969. Fiberglass and rubber mat; 14 ¾ x 16 × 14 in. (37.47 × 40.64 × 35.56 cm). Collection The Museum of Contemporary Art, Los Angeles, gift of Michael Asher and Pamela Allen.

1969

Barbara Kasten transfers to the California College of Arts and Crafts in Oakland.

1969

Billy Al Bengston has a solo exhibition at the Pasadena Art Museum titled Motel Dracula.

1969

Emory Douglas is briefly roommates with Kathleen and Eldridge Cleaver. The home is a hub for the Black Panther Party’s San Francisco chapter.

1969

Emory Douglas has a solo exhibition at Suzanne Jackson’s Gallery 32 in Los Angeles. The exhibition serves as a fundraiser for Black Panther Party programs, including free breakfast for children, free health clinics, and freeing political prisoners.

1969

Gladys Nilsson has a solo exhibition at the San Francisco Art Institute's Clay Street Gallery.

1960s–70s 1969

Adeliza McHugh’s Candy Store Gallery (1962–92) in Folsom, California, becomes an important place for Gladys Nilsson and Jim Nutt to show and mingle with Funk artists like Roy De Forest.

1969

Judy Chicago has a solo exhibition at the Pasadena Museum of Art.

1960s 1969

Judy Chicago lives in Pasadena, California, around the corner from Bruce Nauman’s studio.

1969

Billy Al Bengston establishes the Artist Studio in his quarters on Mildred Avenue in Venice, California, as a way to get around the commercial gallery system. The space shows brief exhibitions of works by friends, including Larry Bell, Joe Goode, and Ed Ruscha, and the artists are able to keep all profits.

1969

Roy De Forest has a solo exhibition at the San Francisco Art Institute.

1969

Terry Allen sells his first record, Going to California, as a “side dish” at Al’s Cafe.

decade

1970s

1970

Barbara Kasten earns her MFA from the California College of Arts and Crafts.

1970

Immediately after graduating from the California College of Arts and Crafts, Barbara Kasten moves to Los Angeles to be a substitute teacher for Bernard Kester’s fiber arts course at UCLA.

1970

Art in America publishes Billy Al Bengston‘s “Los Angeles Artists’ Studios,” a photo essay featuring his own studio along with Larry Bell’s, Joe Goode’s, and Ed Ruscha’s, among others.

1970

Bruce Nauman becomes a professor at the University of California, Irvine.

1970

Carlos Almaraz is included in the group exhibition Four Chicano Artists at CalState, Los Angeles.

1970

Gladys Nilsson and Karl Wirsum are included in the group exhibition Surplus Slop from the Windy City at the San Francisco Art Institute. Wirsum creates a poster for the exhibition.

1970

John Outterbridge becomes director of the CCAA.

1970

Judy Chicago has a solo exhibition at California State University, Fullerton, which is run by Dextra Frankel. Chicago has a name-changing ceremony as part of the exhibition.

1970

Judy Chicago creates Campus White Atmosphere for California State University, Fullerton.

1970

Judy Chicago founds the Feminist Art Project, a collaborative educational experiment, at Fresno State College (now California State University, Fresno) along with 15 aspiring women artists known as the California Girls.

1970

Tamarind Lithography Workshop, founded by June Wayne, moves to Albuquerque, New Mexico, from Los Angeles and becomes the Tamarind Institute, a division of the College of Fine Arts of the University of New Mexico.

1970

Robert Cumming moves to California to teach at California State University, Fullerton.

1970–2005 1970

Stephen Kaltenbach teaches at California State University, Sacramento, where Jim Nutt and Karl Wirsum also teach.

1970

Gallery 32 hosts Sapphire Show: You’ve come a long way, baby, an exhibition of work by six black women artists including Suzanne Jackson and Senga Nengudi. It is the first survey of black women artists in Los Angeles.

1970

Tom Marioni founds the Museum of Conceptual Art, an alternative art space in San Francisco. The museum continues operating until 1984.

1970

The Oakland Museum of California organizes Tom Marioni’s first museum exhibition, The Act of Drinking Beer with Friends Is the Highest Form of Art. For the exhibition, Marioni invites 16 friends to the museum on a Monday (when it is normally closed) and leaves the detritus for the installation. The work, which is an example of social sculpture, has been repeated in institutions all over the world.

1970

William Wegman moves to California to teach at California State University, Long Beach.

1971

Allen Ruppersberg, Al’s Grand Hotel brochure, 1971. One brochure with promotional description of the Hotel; 3 9/10 × 9 in. (10 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel brochure, 1971. One brochure with promotional description of the Hotel; 3 9/10 × 9 in. (10 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel brochure, 1971. One brochure with promotional description of the Hotel; 3 9/10 × 9 in. (10 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel ephemera, 1971. One typewritten letter; 7 ½ x 10 3/5 in. (19 × 27 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel ephemera, 1971. Two blank sheets of stationary and one envelope; each: 7 ½ x 10 3/5 in. (19 × 27 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel, 1971. Lithograph on Starwhite Vellum paper, edition 22/100; sheet: 15 × 19 7/8 in. (38.1 × 50.5 cm), image: 15 × 19 7/8 in. (38.1 × 50.5 cm). Los Angeles County Museum of Art, Purchased with funds provided by the Ducommun and Gross Endowment Income Fund, and gift of Cirrus Editions (AC1994.114.15).
Announcement for Gladys Nilsson exhibition at the Candy Store Gallery. Courtesy of Parker Gallery, Los Angeles.
Announcement for Roy De Forest exhibition at the Candy Store Gallery. Courtesy of Parker Gallery, Los Angeles.
Jerry McMillan, “24 Young L.A. Artists”, Los Angeles County Museum of Art, 1971. Gelatin silver print; 10 × 8 in. (25.4 × 20.3 cm). Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.
Jim Nutt, She Seams Up Set, 1971. Acrylic on paper; sheet: 7 ¾ × 7 in. (19.7 × 17.8 cm). Collection Museum of Contemporary Art Chicago, gift of Gerald S. Elliott, 1989.1. Photo: Nathan Keay, © MCA Chicago.
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco. Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco.
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco. Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco.
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco. Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco.
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco. Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco.
Judy Chicago, Sky Sun from the Flesh Gardens series, 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco. Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco.
Roy De Forest, The Dual Life of a Horse Girl, 1971. Acrylic and varnish on canvas; 64 × 63 7/8 in. (162.6 × 162.2 cm). Collection Museum of Contemporary Art Chicago, gift of Joseph and Jory Shapiro, 1992.59. Photo: Nathan Keay, © MCA Chicago.

1971

Allen Ruppersberg proposes Al’s Grand Hotel for the Los Angeles County Museum of Art’s exhibition 24 Young Los Angeles Artists, which also includes Vija Celmins, Robert Cumming, and William Wegman.

1971–73 1971

Bruce Conner uses the Dennis Hopper collages as source material for a series of photo etchings produced at Crown Point Press in Oakland, with founding Director Kathan Brown. They are published in three volumes as The Dennis Hopper One Man Show. Conner originally proposed the collages for an exhibition of the same name at the Nicholas Wilder Gallery in Los Angeles in 1967, but Wilder rejected the proposal given the false attribution.

1971

David Hammons, Timothy Washington, and Charles White participate in the exhibition Three Graphic Artists at the Los Angeles County Museum of Art (LACMA).

1971

Judy Chicago creates Pink Atmosphere for California State University, Fullerton.

1971

Karl Wirsum moves to the West to escape the Chicago Imagists’ newfound fame. During this time he teaches at Sacramento State College.

1970s 1971

Karl Wirsum meets Roy De Forest in California and feels an “affinity” for his work.

1971

Vija Celmins, Robert Cumming, Allen Ruppersberg, and William Wegman participate in 24 Young Los Angeles Artists at the Los Angeles County Museum of Art (LACMA).

1971

In a clip from the documentary Judy Chicago & the California Girls, Judy Chicago explains the importance of women determining their own identities.

1972

Announcement for the exhibition Grup Shrow at the Mizuno Gallery in Los Angeles, 1972. Featuring Larry Bell, Billy Al Bengston, and Vija Celmins. Gift of Riko Mizuno. Getty Research Institute, Los Angeles (2010.M.84).
Cover of the Womanhouse exhibition catalogue, 1972. Pictured from left: Judy Chicago and Miriam Schapiro. California Institute of the Arts Institute Archives: Feminist Art Materials Collection.
Gladys Nilsson, The Big Green Man, 1972. Acrylic on canvas; canvas: 84 7/8 × 72 7/8 in. (215.6 × 185.1 cm). Collection Museum of Contemporary Art Chicago, gift of Dr. and Mrs. Peter W. Broido, 1985.29. Courtesy of the artist and Garth Greenan Gallery, New York. Photo: Nathan Keay, © MCA Chicago.

1972

1972

Bruce Conner and Jean Conner organize A Conner Family Show at the Quay Gallery in San Francisco. It also includes works by their nine-year-old son Robert.

1972

The Los Angeles County Museum of Art organizes the traveling exhibition Bruce Nauman: Work from 1965 to 1972, which travels to the San Francisco Museum of Art in 1974.

1972–74 1972

Carlos Almaraz and Judithe Hernández are friends and classmates at Otis Art Institute, Los Angeles. Almaraz graduates with an MFA in 1974.

1972

Gladys Nilsson, Jim Nutt, and Karl Wirsum are included in the group exhibition Chicago Imagist Art at MCA Chicago.

1972

In January and February, Judy Chicago, Miriam Schapiro, and 21 other women artists, many from the Feminist Art Program, participate in Womanhouse, a collaborative art installation staged in an abandoned Hollywood mansion.

1972

Larry Bell has a solo exhibition at the Pasadena Art Museum.

1972

A year after Al Ruppersberg’s Al’s Grand Hotel takes place, Lynn Hershman Leeson and Eleanor Coppola decide to transform two rooms in the Dante Hotel, a transient hotel in the North Beach neighborhood of San Francisco. On Halloween 1973, Hershman Leeson places two life-size wax cast figures, one black and one white, under rumpled bed sheets, surrounded by her belongings. For nine months, visitors in the know are allowed to sign in at the front desk and view the installation for free. The installation ends when someone visits the room at 3 am, mistakes the wax figures for corpses, and calls the police, who collect all the objects and take them back to the station.

1972

Lynn Hershman Leeson earns her MA in art criticism from San Francisco State University.

1972

Robert Cumming and Roy De Forest participate in the Nut Art exhibition at the University Art Gallery of California State University, Hayward.

1973

The Dennis Hopper One Man Show opens at the James Willis Gallery in San Francisco.

1973

Tom Marioni begins hosting Wednesday night salons in his San Francisco studio as a social gathering of friends and artists.

1974

Bruce Conner, 10/15/74, 1974. Ink on paper; sheet: 22 × 20 ¼ in. (55.9 × 51.4 cm). Collection Museum of Contemporary Art Chicago, gift of Baxter Travenol Laboratories, Inc., Deerfield, IL, 1983.25. © 2018 Conner Family Trust, San Francisco/Artists Rights Society (ARS), New York. Photo: Nathan Keay, © MCA Chicago.
Bruce Conner, 7/29/74, 1974. Ink on paper; sheet: 21 13/16 × 20 ¼ in. (55.4 × 51.4 cm). Collection Museum of Contemporary Art Chicago, gift of Baxter Travenol Laboratories, Inc., Deerfield, IL, 1983.23. © 2018 Conner Family Trust, San Francisco/Artists Rights Society (ARS), New York. Photo: Nathan Keay, © MCA Chicago.
Bruce Conner, 8/16/74, 1974. Ink on paper; sheet: 21 7/8 × 20 ¼ in. (55.6 × 51.4 cm). Collection Museum of Contemporary Art Chicago, gift of Baxter Travenol Laboratories, Inc., Deerfield, IL, 1983.24. © 2018 Conner Family Trust, San Francisco/Artists Rights Society (ARS), New York. Photo: Nathan Keay, © MCA Chicago.
Group photo of the artists in the exhibition Los Four: Almaraz/ de la Rocha/ Lujan/ Romero at the Los Angeles County Museum of Art, Feb 26–Mar 24, 1974. Los Angeles County Museum of Art, Balch Art Research Library.
Suzanne Jackson, Sundown, 1974. Acrylic wash on canvas; 9 ¼ x 12 ¼ in. (23.5 × 31.1 cm). Collection of Marguerite Ray, Los Angeles. Photo: Ed Glendinning.

1974

Bruce Conner designs a poster for Anna Halprin‘s San Francisco Dancers’ Workshop. It is projected onto the wall of the rotunda of the San Francisco Museum of Modern Art (SFMOMA) during a performance.

1974

Judith Barry moves to the San Francisco Bay Area to work at an architecture firm.

late 1970s 1974

Judith Barry pursues studies with Bertrand Augst at the University of California, Berkeley, and the San Francisco Art Institute.

1974

The Oakland Museum of California commissions A Butterfly for Oakland, one of Judy Chicago’s Atmosphere works.

1974–78 1974

Lynn Hershman Leeson operates The Floating Museum, a project that commissions, organizes, and exhibits site-specific, public art in unconventional spaces. The project begins in the San Francisco Bay Area and eventually occurs across the globe.

1975

Barbara Kasten, Untitled 75/36 from the series Photogenic Painting, 1975. Cyanotype; 30 × 40 in. (76.2 × 101.6 cm). Collection Museum of Contemporary Art Chicago, gift of Mary and Earle Ludgin by exchange, 2011.44. Photo: Nathan Keay, © MCA Chicago.
Bruce Conner, poster for San Francisco Dancers’ Workshop’s “A Workshop for San Francisco,” 1975. Poster. Anna Halprin Papers, Elyse Eng Dance Collection, Museum of Performance + Design. © 2018 Conner Family Trust, San Francisco/Artists Rights Society (ARS), New York.

1975

Barbara Kasten begins teaching at Orange Coast College in Costa Mesa, California.

1975

Carlos Almaraz and Judithe Hernández form Concilio de Arte Popular (CAP), an organization that unites Chicano artists throughout California.

1975

Hal Fischer moves to San Francisco for graduate school at San Francisco State University; he receives his MA in photography in 1976.

1975

Jim Nutt has a solo exhibition at the San Francisco Art Institute.

1975

Judithe Hernández and Carlos Almaraz codesign the United Farmworkers Mural at the 2nd Constitutional Convention in La Paz, California.

1976

Judithe Hernández and Carlos Almaraz, La Mujer de Aztlán, 1976. Acrylic; 16 × 26 ft. University of Southern California Digital Library. Photo: Robin Dunitz.

1970s 1976

Carlos Almaraz and Judithe Hernández produce several murals in Los Angeles.

1976

Mike Kelley and Jim Shaw leave Ann Arbor for California to attend CalArts for their MFAs.

1976

Mechicano Art Center invites Judithe Hernández and Carlos Almaraz to create murals at the Ramona Gardens housing project in the Boyle Heights neighborhood of Los Angeles. What results are two joint mural projects, La Adelita and Homenaje a las mujeres de Aztlán.

1976

Larry Bell is included in the group exhibition Painting and Sculpture in California: The Modern Era at the San Francisco Museum of Modern Art.

1976

Mike Kelley moves to California to attend CalArts. Douglas Huebler is one of his teachers.

1977

Carlos Almaraz cofounds Centro de Arte Público on 56th and Figueroa in Los Angeles. Judithe Hernández and other artists share a collective studio there.

1977

Carlos Almaraz is included in the group exhibition The Aesthetic of Graffiti at the San Francisco Museum of Modern Art.

1970s 1977

Judith Barry often performs at the Woman’s Building in Los Angeles.

1977

Judith Barry organizes Seven Sundays After the Fall at La Mamelle, an alternative art space in San Francisco. This series of performances by women includes women from the Woman’s Building in Los Angeles. Barry conducts discussion groups with over 80 women performance artists in the region.

1978

Karl Wirsum, Icabod Cranes His Neck in Plumb Thumb Bumper Tag, 1978. Airbrushed acrylic on canvas; canvas: 35 × 25 7/8 × ¾ in. (91.4 × 65.7 × 1.9 cm). Collection Museum of Contemporary Art Chicago, gift of The Robert A. Lewis Fund in honor of William and Polly Levey, 1982.9. Photo: Nathan Keay, © MCA Chicago.

1978–79 1978

The Contemporary Arts Museum, Houston, organizes the exhibition Billy Al Bengston: Paintings of Three Decades, which travels to the Oakland Museum and the Los Angeles County Museum of Art.

1978

Lynn Hershman Leeson invites Motion to be a part of her Global Space Phase Invasion II project through the Floating Museum at the San Francisco Museum of Modern Art, out of which comes Judith Barry’s Kaleidoscope performance and subsequent video.

1978

Senga Nengudi organizes the performance Ceremony for Freeway Fets underneath a freeway overpass on Pico Boulevard near the Los Angeles Convention Center. The performance is supported by a Comprehensive Employment and Training Act (CETA) grant and sponsored by Brockman Gallery Productions and the California Department of Transportation. As a part of Studio Z, David Hammons participates.

1978

Stephen Prina moves to Los Angeles to attend CalArts. He was drawn to the school due to the number of conceptual artists among the faculty, including John Baldessari and Douglas Huebler.

1979

William T. Wiley, Bad Balance, 1979. Acrylic, and ink and charcoal on canvas; 94 ½ × 130 ½ in. (240 × 331.5 cm). Collection Museum of Contemporary Art Chicago, gift from the Collection of Kay and Craig Tuber, 2012.15.a-b. Photo: Nathan Keay, © MCA Chicago.

1979

Judy Chicago debuts The Dinner Party in March at the San Francisco Museum of Modern Art (SFMOMA) and travels to Chicago in December 1981.

1979

Larry Bell is included in the group exhibition Caliornia Perceptions: Light and Space at California State University, Fullerton.

decade

1980s

1980

Ed Ruscha, Mason Williams, and Patrick Blackwell, Royal Road Test, 1980. Offset printing; spiral bound with color card-stock. 3 copies: 9 9/16 × 6 ½ in (24.2 × 16.5 cm), 60 pp. Collection Museum of Contemporary Art Chicago, National Endowment for the Arts Purchase Grant and gift of the MCA Men’s Council, 2012.94. © Ed Ruscha. Photo: Nathan Keay, © MCA Chicago.
Robert Cumming, Four Corrugated Boxes in One (from the portfolio Five Still Lifes), 1980. Internal dye diffusion transfer process print; 20 × 24 in. (50.8 × 61 cm). Collection Museum of Contemporary Art Chicago, gift of Mr. and Mrs. Myron J. Hokin, 1981.10.1. Photo: Nathan Keay, © MCA Chicago.

1980

Hal Fischer has a solo exhibition at ASUC Studio, University of California, Berkeley, titled Sommerpause – European Snapshots.

1970s–90s 1980

José Antonio Aguirre creates several murals in Chicago, Los Angeles, and elsewhere.

1980–2003 1980

Stephen Prina teaches at the ArtCenter College of Design in Pasadena.

1981

Terry Allen, Angel Whispers, 1981/82. Lithograph on paper, edition 7 of 30; 22 × 30 in. (55.9 × 76.2 cm). Collection Museum of Contemporary Art Chicago, gift of Jeanne Marienthal-Weislow, 1986.47. Photo: Nathan Keay, © MCA Chicago.
William Wegman, Airedale Sitting, 1981. Internal dye diffusion transfer process print; 24 × 20 in. (61 × 50.8 cm). Collection Museum of Contemporary Art Chicago, gift of William J. Hokin, 1985.37. Photo: Nathan Keay, © MCA Chicago.

1981

Carlos Almaraz and Judithe Hernández participate in Murals of Aztlán: The Street Painters of East Los Angeles at the Craft and Folk Art Museum of Los Angeles with other Los Four members.

1981

Larry Bell, Billy Al Bengston, Joe Goode, Bruce Nauman, and Ed Ruscha are included in the group exhibition Art in Los Angeles: Seventeen Artists in the Sixties at the Los Angeles County Museum of Art.

1983

Judithe Hernández, El Encuentro/The Encounter, 1983. Pastel on paper; paper: 30 × 39 ¾ in. National Museum of Mexican Art Permanent Collection, gift of Judithe Hernández in memory of Mr. and Mrs. Peter C. Hernández, 2011.5. Photo: Nathan Keay, © MCA Chicago.

1983

Carlos Almaraz and Joe Goode are included in the group exhibition L.A. Seen at the University Galleries, University of Southern California.

1984

Carlos Almaraz is included in the group exhibition Automobile and Culture at the Museum of Contemporary Art, Los Angeles (MOCA).

1984–88 1984

Jorge Pardo attends the ArtCenter College of Design in Pasadena, where Mike Kelley and Stephen Prina are his teachers.

1985

Allen Ruppersberg, The Impossible Girl, 1985. Wood; three parts, part a: 20 ¾ in. (52.7 cm) length; 9 ½ in. (24.1 cm) diameter; part b: 61 ½ in. (156.2 cm) length; 9 ½ in. (24.1 cm) diameter; part c: 24 ¼ in. (62.2 cm) length; 14 ½ in. (36.8 cm) diameter. Collection Museum of Contemporary Art Chicago, gift of Hudson, 1997.11.a–c. Photo: Nathan Keay, © MCA Chicago.

1985

1985

José Antonio Aguirre meets Sister Karen Boccalero, director and founder of Self Help Graphics & Art in Los Angeles.

1985

Larry Bell has a solo exhibition at the Museum of Contemporary Art, Los Angeles (MOCA), titled Chairs in Space: The Game.

1986

Ed Ruscha, Words Without Thoughts, 1986. Acrylic on canvas; 54 × 60 in. (137.2 × 152.4 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.49. © Ed Ruscha. Photo: Nathan Keay, © MCA Chicago.
Jim Isermann, Flower Painting, 1986. Enamel on wood; 48 × 48 × 2 in. (121.9 × 121.9 × 5.1 cm). Collection Museum of Contemporary Art Chicago, gift of Hudson, 1997.5. © 1986 Jim Isermann. Photo: Nathan Keay, © MCA Chicago.

1986–88 1986

The Museum of Contemporary Art, Los Angeles, and the University Art Museum, University of California, Berkeley, host the traveling exhibition Bruce Nauman: Drawings/Zeichnungen, 1965–1986.

1986

José Antonio Aguirre moves to Los Angeles and, at Sister Karen Boccalero’s invitation, he becomes an artist in residence at Self Help Graphics & Art, where he produces serigraphs and starts an intaglio and linocut printmaking studio.

1986

Larry Bell installs The Leaning Room at MOCA.

1987

Hal Fischer earns his MFA from the University of California, San Diego.

1988

Stephen Prina, Exquisite Corpse: The Complete Paintings of Manet, No. 95 of 556, 1988–present. Ink wash on rag, barrier paper, and offset lithography on paper; overall dimensions variable. Collection Museum of Contemporary Art Chicago, gift of the William J. Hokin Family, 2014.14.a–b. Photo: Nathan Keay, © MCA Chicago.

1988

Bruce Nauman has a solo exhibition at the Museum of Contemporary Art, Los Angeles, titled Bruce Nauman: Video, 1965–1986.

1989

Joe Goode, Cuquenan (Waterfall #4), 1989. Oil on board; 90 × 21 in. (228.6 × 50.8 cm). Collection Museum of Contemporary Art Chicago, restricted gift of Angela and Rudolf Rossmann, 1992.102. Photo © MCA Chicago.

decade

1990s

1990

Andrea Bowers moves to Los Angeles to attend CalArts, where Lane Relyea becomes an important teacher to her.

1990–93 1990

Carlos Almaraz’s work is included in the exhibition Axis Mundo: Queer Networks in Chicano LA at MOCA.

1990

Jorge Pardo has a solo exhibition at The Garage, Thomas Solomon’s gallery in West Hollywood, after being introduced to Solomon by Stephen Prina.

1991

Jim Shaw, Untitled (2 Figures in Teargas) from the aestheticized disaster series, 1991. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.6. Photo: Nathan Keay, © MCA Chicago.
Mike Kelley, Craft Morphology Flow Chart, 1991. Dolls and figures, gelatin silver prints, acrylic on paper, folding banquet tables, and folding card tables; overall dimensions variable. Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.41. Photo: Nathan Keay, © MCA Chicago.

1992

Jim Shaw, Untitled (Bikini H-Bomb Test) from the aesheticized disaster series, 1992. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.4. Photo: Nathan Keay, © MCA Chicago.
Jim Shaw, Untitled (Tickertape Parade for Nixon & Eisenhower) from the aestheticized disaster series, 1992. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.12. Courtesy of the artist. Photo: Nathan Keay, © MCA Chicago.
Jim Shaw, Untitled (Woodstock Garbage Heap) from the aestheticized disaster series, 1992. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.13. Photo: Nathan Keay, © MCA Chicago.
Mary Kelly, Untitled, 1992. Graphite on paper; 42 × 34 in. (106.6 × 86.4 cm). Collection Museum of Contemporary Art Chicago, anonymous gift, 1997.113. Photo: Nathan Keay, © MCA Chicago.
Poster for Beat of the Traps, performance by artists Mike Kelley, Anita Pace, and Stephen Prina, 1992. Gindi Auditorium, University of Judaism, Los Angeles. Image courtesy of Track 16.

1992

The Los Angeles County Museum of Art (LACMA) organizes the exhibition A Tribute to Carlos Almaraz.

1992

Joe Goode has a solo exhibition at the Los Angeles County Museum of Art titled Laboratory: Joe Goode Tornado Triptych.

1992

Joe Goode is included in the group exhibition War Babies: Prints of the Sixties from the Collection at the Los Angeles County Museum of Art.

1992

Mike Kelley and Jim Shaw are both included in Helter Skelter: L.A. Art in the 1990s, an important exhibition at the Museum of Contemporary Art, Los Angeles (MOCA).

1992

Mike Kelley accepts a teaching position at the ArtCenter College of Design in Pasadena alongside Richard Hawkins and Stephen Prina.

1992

Mike Kelley, Anita Pace, and Stephen Prina collaborate on the performance piece Beat of the Traps, which premieres at Gindi Auditorium, University of Judaism, Los Angeles.

1993

The Museum of Contemporary Art, Los Angeles, hosts the traveling exhibition Bruce Nauman (Retrospective.

1993–2004 1993

Lynn Hershman Leeson is a professor of electronic arts at the University of California, Davis.

1994

After Skowhegan, Laura Owens finds a studio space in Eagle Rock, California.

1996

Judy Chicago’s Birth Project is exhibited at the Museum of Contemporary Art, Los Angeles.

1997

Jorge Pardo, Vince Robbins, 1997. Plastic, steel, lightbulb, and electric wire; overall dimensions variable; plastic shade: 20 in. diameter, 17 in. height. Collection Museum of Contemporary Art Chicago, restricted gift of Carlos and Rosa de la Cruz, 1998.29. Photo: James Isberner, © MCA Chicago.

1997

Jim Isermann and Jorge Pardo collaborate on a two-person project at the Richard Telles Fine Art gallery in Los Angeles.

1997

Kori Newkirk earns his MFA from the University of California, Irvine.

1998

Laura Owens, Untitled, 1998. Acrylic and oil on canvas; 168 × 132 in. (426.7 × 335.3 cm). Collection Museum of Contemporary Art Chicago, restricted gift of Andrea and Jim Gordon, 2000.4. Photo: Nathan Keay, © MCA Chicago.

1998

When Rebecca Morris first moves to Los Angeles, she rents a studio in the Eagle Rock building where Laura Owens and many other artists have studios.

1999

Jim Nutt has a solo exhibition at MCA Chicago titled Jim Nutt: Portraits.

decade

2000s

2000

Catherine Opie, Ron Athey seated smoking, 2000. Color Polaroid; framed: 107 ¼ × 43 ½ in. (272.4 × 110.5 cm). Collection Museum of Contemporary Art Chicago, gift of Gary Heiferman, Chip Tom and Michael W. Rabkin, C. Bradford Smith, and Donald L.Davis, in honor of the birth of Oliver Hill Opie; and gift in memory of John S. Baran, 2003.2. Photo: Michael David Rose, © MCA Chicago.

2000

Mike Kelley donates three works by fellow artists, including Jim Isermann, to the Museum of Contemporary Art, Los Angeles (MOCA).

2000

Rodney McMillian moves to California to attend CalArts.

2001

Carlos Almaraz is included in the group exhibition Made in California: Art, Image, and Identity, 1900–2000 at LACMA.

2002

Kori Newkirk, Suggett, 2002. Nickel-plated basketball hoops, pony beads, and synthetic hair; overall: 108 × 18 × 23 in. (274.3 × 45.7 × 58.4 cm). Collection Museum of Contemporary Art Chicago, gift of Howard and Donna Stone, 2013.27. Photo: Nathan Keay, © MCA Chicago.

2000s 2003

Sterling Ruby encourages Amanda Ross-Ho to apply to the University of Southern California (USC) in Los Angeles.

2003

Aaron Curry and Sterling Ruby move to California to get their MFAs at the ArtCenter College of Design in Pasadena, where Richard Hawkins and Mike Kelley are teachers. Ruby cites Kelley and the exhibition Helter Skelter as reasons he moved to California.

2004

Catherine Opie, Fall, Winter, Spring, Summer (Lake Michigan), 2004–5. Chromogenic development prints; 4 prints, each: 49 ¼ × 39 ¼ in. (125.1 × 99.7 cm); framed: 51 × 41 × 2 in. (129.5 × 104.1 × 5.1 cm). Collection Museum of Contemporary Art Chicago, Joseph and Jory Shapiro Fund by exchange, 2006.1.a–d. Photo: Nathan Keay, © MCA Chicago.
Rebecca Morris, Untitled (#04-04), 2004. Oil and spray paint on canvas; 82 5/8 × 73 ½ × 2 5/8 in. (209.8 × 186.7 × 6.8 cm). Collection Museum of Contemporary Art Chicago, gift of Burt Aaron in honor of Shane Campbell Gallery, 2005.3. © 2004 Rebecca Morris. Photo: Nathan Keay, © MCA Chicago.

2004

Amanda Ross-Ho moves to Los Angeles for graduate school and lives with Sterling Ruby.

2004

Larry Bell, Judy Chicago, Douglas Huebler, and Bruce Nauman are included in the group exhibition A Minimal Future? Art as Object 1958–1968 at the Museum of Contemporary Art, Los Angeles.

2005

After a fire in his studio, Joe Goode temporarily moves in and uses Ed Ruscha’s studio in Culver City, California.

mid-2000s 2005

After graduate school, Sterling Ruby moves to Los Angeles and leases an old warehouse on Fishburn Avenue near Hazard Park in Boyle Heights to use as studio space for himself and other artist friends, including Aaron Curry and Amanda Ross-Ho.

2006

Melanie Schiff, Spit Rainbow, 2006. Chromogenic development print; 29 × 39 ½ in. (73.7 × 100.3 cm). Collection Museum of Contemporary Art, restricted gift of Kay and Malcolm Kamin and Kay Torshen in honor of the MCA’s 40th Anniversary, 2007.34. © 2006 Melanie Schiff. Photo: Nathan Keay, © MCA Chicago.

2006

Dolphin Explosion performs "Boogie Man" at High Energy Constructs in Los Angeles, 2006.

2007

Andrea Bowers, Nonviolent Civil Disobedience Drawing–Elvira Arellano in Sanctuary at Adalberto United Methodist Church in Chicago as Protest Against Deportation, 2007, 2007. Colored pencil on paper; 30 × 22 ¼ in. (76.2 × 56.52 cm). Hammer Museum. Los Angeles. Purchase. Image courtesy of the artist and Andrew Kreps Gallery, New York.

2007

The University of California, Berkeley Art Museum & Pacific Film Archive, organizes the traveling exhibition A Rose Has No Teeth: Bruce Nauman in the 1960s.

2007

The Museum of Contemporary Art, Los Angeles, organizes the exhibition Black Panther: The Revolutionary Art of Emory Douglas.

2007

Lynn Hershman Leeson becomes chair of the Film Department at the San Francisco Art Institute.

2007

Judy Chicago, Mary Kelly, Lynn Hershman Leeson, Sheila Levrant de Bretteville, Senga Nengudi, Miriam Schapiro, and June Wayne are included in the traveling exhibition WACK! Art and the Feminist Revolution organized by the Museum of Contemporary Art, Los Angeles.

2009

Aaron Curry, Figure Drawing, 2009. Wood, spray paint, acrylic, colored pencil, paper, painter’s tape, and steel base; 122 × 38 × 39 in. (310 × 97 × 99 cm). Collection Museum of Contemporary Art Chicago, gift of Helen and Sam Zell, 2013.1. Photo: Nathan Keay, © MCA Chicago.

decade

2010s

2010

2011

Aaron Curry and Richard Hawkins, Trophy, brown, 2011. Acrylic on rubber mask with wire on board, and silkscreen on cardboard; installation: 144 × 132 × 3 in. (365.8 × 335.3 × 7.6 cm); collage: 37 × 26 ½ × 3 in. (94 × 67.3 × 7.6 cm). Collection Museum of Contemporary Art Chicago, gift of Mrs. E.A. Bergman by exchange, 2012.3. Photo: Nathan Keay, © MCA Chicago.

2011

Aaron Curry and Richard Hawkins collaborate to produce Trophy, brown (2011). The piece is included in Cornfabulation, a collective exhibition between Curry and Hawkins at David Kordansky Gallery in Los Angeles.

2011

Jim Nutt has a solo exhibition at MCA Chicago titled Jim Nutt: Coming Into Character. It is accompanied by Seeing Is a Kind of Thinking: A Jim Nutt Companion, which included works by Nutt, Aaron Curry, Mike Kelley, Bruce Nauman, Gladys Nilsson, and Karl Wirsum.

2011

Joe Goode, Stephen Kaltenbach, Mike Kelley, Tom Marioni, Bruce Nauman, Senga Nengudi, Allen Ruppersberg, and Ed Ruscha are included in the group exhibition Under the Big Black Sun: California Art 1974–1981 at the Museum of Contemporary Art, Los Angeles.

2012

Artist unknown, The Slant Step, 20th century. Wood, linoleum, rubber, and nails; 18 7/8 × 15 × 11 in. The Fine Arts Collection, Jan Shrem and Maria Manetti Shrem Museum of Art, University of California. Gift of The New York Society for the Perservation of the Slant Step. 2012.027.20S. Photo courtesy of The Fine Arts Collection, Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis.

2012

Aaron Curry and Sterling Ruby are included in the group exhibition Phantom Limb: Approaches to Painting Today at MCA Chicago.

2012

Laura Owens, Wendy Yao (founder of the bookstore Ooga Booga), and Owens’s dealer Gavin Brown found 356 Mission in Boyle Heights, Los Angeles. It begins as Owen’s studio.

2010s 2012

Melanie Schiff sets up her studio in Sterling Ruby’s studio warehouse complex in East Los Angeles.

2014

Judy Chicago has a solo exhibition at the Oakland Museum of California titled Judy Chicago: A Butterfly for Oakland.

2014

The Museum of Contempoary Art, Los Angeles, hosts the traveling exhibition Mike Kelley.

2015

Aaron Curry, Gladys Nilsson, and Jim Nutt are included in the group exhibition Surrealism: The Conjured Life at MCA Chicago.

2016

Catherine Opie has a solo exhibition at the Los Angeles County Museum of Art titled Catherine Opie: O.

2016

Catherine Opie has a solo exhibition at the MOCA Pacific Design Center titled 700 Nimes Road, which travels to the University of Michigan Museum of Art, Ann Arbor.

2016

Emory Douglas is included in the group exhibition All Power to the People: Black Panthers at 50 at the Oakland Museum of California.

2016

Kori Newkirk joins the Roski School of Art and Design at University of Southern California as a visiting assistant professor of art.

2017

Aaron Curry organizes the group exhibition Press your space face close to mine, featuring Karl Wirsum, at The PIT in Los Angeles.

2017

Carlos Almaraz is included in the group exhibition Axis Mundo: Queer Networks in Chicano LA at MOCA.

2017

Judy Chicago creates Be No More, a dry-ice installation, at the San Francisco Museum of Modern Art as part of their new building’s opening celebrations.

2017

Mary Kelly joins the faculty of University of Southern California’s Roski School of Art and Design in Los Angeles, where Kori Newkirk is a visiting assistant professor.

2017

Roy De Forest has a solo exhibition at the Oakland Museum of California titled Of Dogs and Other People: The Art of Roy De Forest.

2018

Roy De Forest, Gladys Nilsson, and Jim Nutt are included in the group exhibition The Candy Store at Parker Gallery in Los Angeles.

2018

Judy Chicago’s Birth Project: Born Again travels to the Pasadena Museum of California Art.

2018

THE PIT, an artist-run space in Los Angeles, hosts a two-person exhibition of Jessica Jackson Hutchins and Rebecca Morris.

2018

The University of Southern California Fischer Museum of Art hosts the traveling exhibition Senga Nengudi: Improvisational Gestures.

2019

David Hammons, Judithe Hernández, and Suzanne Jackson are included in the group exhibition Life Model: Charles White and His Students at the Los Angeles County Museum of Art.

Cover of the Womanhouse exhibition catalogue, 1972. Pictured from left: Judy Chicago and Miriam Schapiro. California Institute of the Arts Institute Archives: Feminist Art Materials Collection.

West by Midwest

Stories

Consciousness-Raising and Collaboration

Text

Text

Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick “Quaku” Young.

West by Midwest

Stories

Studio Z’s Constellation

Text

Text

Photo of God’s Oasis in The Ann Arbor News, Wednesday, June 23, 1976. Pictured from left: Marju Nemvaltz, Rick Greenvald, and Jim Shaw on the porch; David Owen and Mike Kelley on lawn. Photo: Larry E. Wright. Image courtesy of the Ann Arbor District Library.

West by Midwest

Stories

From God’s Oasis to the City of Angels

Text

Text

Text