card. the forty my husband and i which to new york my parents give us a $100 we were supposed to buy some glasses and go to our favorite restaurants and to go here to look. and other dilates and we did have a wonderful time. and then finally there's a card that i will mention that we can't find. i hope someday we will but my mother needed and wanted a suit. and so my father knew this and got her that for her birthday - he took a square of plywood and

paint a suit and put a little handwriting on the top and said good for one suit so i hope we find the citizen i like it a lot. when i was little just what his profession was confused me. he referred to himself as a painter but he also painted houses occasionally. additionally he tailgate paints. the fathers of my friends didn't have paint under their fingernails and explaining this father of mine who was definitely not he'll carding was tough. those next 23 photos were taken

for the open museum they hired him to do a study a document of my parents' house just before they moved to los angeles. the way our varies houses looked inside was different the furniture wasn't conventional. he particle liked old wooden desk chairs. my parents and i resisted curtains and drapes because of the resulting loss of light. so the couch in our living room and i don't mean soft if a usually had our dog valentine sleeping on that. our dishes didn't match but this

is the 50s. in an era where everything was to be matched purse and shoes furniture and cups and sawsers nothing matched anything believe me it was wonderful but it was confusing to me. my father changed which was hanging on the walls. new works were in and out of the house. my father would hang one then another. there were drawings on every available he ledge and frames leaned against walls. and then on the walls. in my recall years they were

hung with abstract work. my friends would eventually point out they could make something as good. we are we were astonished not to find objective things in the pictures. this began to get k345ik9d as he began exploring configuration. i didn't know how to react to this painting. how would i talk about it. it clearly was a horse and the horse clearly had a rider. i was ultimately confounded. also during this time there were drawing of nude men and women and, of course, those drawings resulted in awe averted eyes but only in very rare instances

appreciation or understanding. my mother told me i lodged to live in an older house that was a simple variation of the house next door but in our house everything had a visual instance. this was in al r a bit can you we would gather the beer bottles and stare listed the bottles. then when the beer was brewed we'd label them whatever the batch number was. my mother is an excellent cook. when i was griping the males were delicious and there was no

eating in front of the television expect on wednesday night. hired a model or sometimes two and drew until all hours of the night. one of the most interesting drawings was from the artists that had been grouped to the particular night. it was a little bit like hearing from 3 different observers. expect for those drawing nights he always worked alone. i worked as secretary later and he received letters with resumes

attached. i was instructed to write and say that he worked alone and he only allowed his dog amy. see amy very patiently. there she was. his studios shared certain characters. there was tools and, of course, all sorts of paint and materials that were in an order only known to him. in the figure active years there were indian bed spreads and until late in his life a large very fill ashtray.

there would be things talked up on the wall some of which had to do with what i was interested in. the chair where he sat when he was thinking and looking was consistent in later years a hide chair that he build. because it was too low to the ground there was also a black folding chair that. an old large chair here. that appears in many of the paintings and drawings including one i showed you earlier. there was a lot of sure enough

on the floors. the studio was never cleaned out in any conventional sense it didn't feel dirty. the following slides are paintings that he did and this is from one of his studios in berkley which is now the station. you can see he got a red and white checked floor which is one of the ways we can date those pictures. there it is again. and the next picture - oh, i was going to say that's that black folding chair it never had that lovely design on it but it looks great. this is also in that same studio

in the corner of the studio. this next picture is out of the window of the second studio in ocean park in los angeles. the first one was just a windowless room quite small. the second one had wonderful windows that you put a stick in to keep open. i have always believed that something about that imagine give him a shove in the decision of some of the things he was dealing with in the ocean park picture. we'll see an example of that from 1970 a year after that one i just showed you. and, yes it's still the same studio window by it's getting more a bit tracked.

i do remember seeing him working. he was very physically involved in the paints and canvas. there would be a lot of aggression. his hands were strong and he used the strength to express his ideas. he often drew at home and i remember the same connection to paper which was attached to a board. sometimes he was so involved he'd go through the paper. then an elaborate portion of the paper he would glue on the extensions in various places. sometimes, it seems like this expectation was as important as the drawing itself.

the next picture is lock one which was one of the firngz he did in hillsborough. this is a bunch of pictures of all the things he found on his walk. this is a juice top and tinfoil who knows whatever he found he brought back to the studio and made the picture. he liked the things that had a past. he didn't erase much but left things to contemplate. he had to add an estimation in height. the neighbor didn't understand

why the extension was on paper. this next photo is one by a gentleman of my father drawing my mother. he would say would you hold that position while someone was smoking or taking a drink of something and she would hold it in a lifelike way. i'm still in > there are many drawings of this same position in the backyard in santa monica. and this is ethics it's downstairs but it resides at the

national gallery. i wasn't a good model. there aren't a lot of picture of me he said i became dead when posing and furthermore i hated it. this work on paper was originally purchased by the late pianist. i'm fascinated it reminds me of music and a layers of music it seems like the perfect choose. all artists share certain issues concerning the process. although my father wasn't trained as a musician he had -

he and my husband discussed many things. my father and i had conversations comparing my actress to his work. particularly after work was sent off to a show an interruption started and it was time to start again. it was helpful for me to know it wasn't easy for him he preceded to paint by his will and drive. he actually liked mistakes. perfection wasn't high on his list to one - that one should aspire. he wrote a lot of notes that had

particular meaning to me. do search to find other things. mistakes can't be erased but they move you to your present pay attention and finally chaos should be regarded as extremely good news (laughter) i have some comments about may fathers work. his subject were from memory. there are a few things that are landscapes and their mostly from his minded influenced greatly by his mind. i almost never did preparing for drawings but was informed by drawings or parts of drawings.

nor did he work from photograph although i have found some newspapers or photos he cut out some part of the photo may no where a gesture in a painting. in 1970 he went on a plane flight. now this the one on the left is a photograph he took and think one on the right is the work on paper. and then the next one this is his photograph from the trip and then those are some things it relates to. all artists change things we know this because we've seen x

rays that appear to be a confident choice. my father was interested in the evidence of the change, as it evolved. i learned about his values as a painter over time. when i had my first lead in the play the director sent me a but can of roses. i asked him to paint them for me. he explained he didn't paint what others wanted him to paint only what he felt moved to paint. i was disappointed but i understand because of the way he presented it. imagine my surprises when he did paint them. i suppose because i understood

he can't be expected to paint it my roses became an instrument afterward. people knew he loved cigars. he always stored things in the boxes and the dollhouse painting were presented to my daughter in a cigar box that was decorated. he always stored things and in the 70s he painted on cigar box lids. they were only given to fame and close friends. for a man that appreciated the continuum and the history of art as highly as anyone i've ever met my father valued his own

ideas very much. he resisted being a member of this and that movement. this very labeling caused him to explore some variant or new way of looking. although it seems in some way that the bay area became visually tiresome he would be many different individual painter rather than a member of the bay area figure active school. he thought of himself as a pa t painter. he was a very opinionated man.

he was not very good at compromise and i mean that in a positive way as well as the negative sense. he was a combination of judgemental and concerning that was complex. i announced no one night at dinner that was a matter of opinion he said not really (laughter) we once had a conversations about what was nude and naked. i choose a woman who was naked and he pointed out that out she was naked not nude. nude was impressing on the photograph there was a spifrt.

when was the work finished he was very clear on this subject. sometimes those would be released but a bit of doubt remained. my mother kept in the house this picture this was hers my facility was making noises it was unfinished. sometimes he worked on a picture and a became less satisfied and destroyed it. every time my father saw this picture then one christmas the roost beef was out of the oven he asked my son to take the frame off the picture and cut

out a shape in the paper quite small really. right here. painted it the lighter color he wanted it to be it used to be black. so it formed this parallel that's not parallel suddenly it's gone but glued in this the upper left hand quadrant of the work. my son put the frame back together and he never brought it up again and the picture was better. the first time i saw one of the ocean park pictures was quite a shock (laughter) in 1968 my husband and i were investing my parents and my father wanted to go to the

studio. the last work was represental. it was terrifying to me so comprehended what was being there. i'm really referring to the mental, visual vocabulary that is unexpected and unimagined. i was so patient he enjoyed our shock. gradually as we worked and stopped trying to place this work we a began to appreciate is enormously. as - those photos were taken by my husband.

there were certain themes he was taken with the golden section. the smaller is to the larger as the larger is to the sum of the two. some of the symbols like the diagonal quadrants i fascinated him. those are related to clubs. then in the 80s he worked on the more recognized ocean park paintings. this last slide here is a print that he did at crown white press during this time in the 80s. he worked with captain brown and her team when this was in the basement all the way up until

actually, the time he died. he was very comfortable there. it was great and i love - he did a whole series of those clubs. the next slide is an egg an easter egg and if you role it you'll see the spade on the egg. 3 are 3 pictures. a book he showed me was an examination of the various themes. an early work of his marine jacket relates to some of his drawings of coats in the 60s and to the latter each otherizing

that were print in the armenian that was published shortly before he died. some of you may know the yates - the imagine of the coat has to do with approaching death and this was one of the things he worked on. my father painted 3 hundred and 65 days of the year. he was also looking and noticing. recreation was basically uninteresting to him so the ski trips and the trips to hawaii were not a part of our life. i was well traveled because we drove across the country and my father took jobs in colorado and where we render houses. but he rented the studio daily

as usual. he and my mother took several trips to europe to invest friends but even on trips he looked in his particular way and sketched and sometimes painted. i have a hard time with tenss when talking about my father. i continue to find my father very present in my life. i think of my father's work as a series of unlimited spades. there is a sense of order even in emphasis chaotic works that pleas me on a level. when he died someone i wish i could remember who said he had a

sense that my father that entered into the place that is represented in the paintings. his last work is a drawing he gave me on my 30th birthday. i've seen it every morning. very much for your attention. thank you (clapping) i'm happy to answer questions. i'm not sure how much time we have but someone will tell me. yes jim. any questions if the audience. the music he listened to and the

way he - >> the obvious parallel has to do with how he believed in - for president of a - the history of siefgs. so he listened to really, really early music and contemporary music. he listened to everything. he listened to a lot of jazz when he was connected with the art institute and had a lot of good recordings of jazz. he listened to bach and mozart and others. i mean everything. he particularly liked quite spare music he