Stunned by Beauty
The Enduring Legacy of Joni Gordon
I try to keep that innocence and capacity to be moved by art every day. —Joni Gordon
Celebrated for nurturing the careers of emerging artists, Joni Gordon left an indelible mark on the LA art scene through her commitment as gallerist, collector, and co-founder the Los Angeles Institute of Contemporary Art. LAMA is proud to present a selection of 30 works from the personal collection she built along with her husband Monte, many by artists whose careers Gordon personally championed, among them Martha Alf, Tony Berlant, Llyn Foulkes, Joe Goode, and Ed Ruscha.
In lieu of any formal training, Gordon was equipped with the steadfast conviction that she needed to live a life surrounded by art. In the fall of 1975, she renewed a failing storefront gallery on Melrose Ave. practically overnight. On the eve of her 39th birthday, Gordon purchased Newspace (named for its original location in Newport Beach) from painter Jean St. Pierre, a UC Irvine student who opened the collectively run gallery several years before. The rent was $200. “People were stunned,” Gordon recalled of her decision, “I mean, absolutely stunned.”
After first mounting a show of St. Pierre’s white paintings and selling them all, Gordon continued to transform Newspace into a reputable resource for artists and collectors alike, later dubbed “an incubator for Los Angeles’ contemporary art scene.” As Los Angeles County Museum of Art curator Carol S. Eliel remembers, “[Gordon] had quite an eye, and was able to pick [artists] out of a crowd when others hadn’t started focusing on them yet.”
While Gordon’s role as a dealer may have initially seemed unexpected, she had in fact been honing her vocation since childhood. “I was kind of stunned by beauty at a very, very early age,” she remembered, “I would even, as a child, feel the sensation of beauty or art.” As a teenager, Gordon scraped together her money from working at summer camps to make a pilgrimage to New York after reading the 1950 LIFE Magazine featuring Jackson Pollock and Betty Parsons. Years later, Gordon would meet her “all-time hero” Parsons in-person and represent the artist-gallerist in Los Angeles.
It wasn’t until Gordon’s studies at the University of California, Los Angeles that her predilection for art was given the space to grow into a profession. She found herself drawn over and over to the university’s art building where she could observe emerging artists — Vija Celmins and Richard Diebenkorn among them — first-hand. Part-time positions at both Esther Robles and Felix Landau galleries further familiarized her with the city’s art landscape, and Gordon just kept going deeper. A chance encounter with Robert Smith led to their founding of the Los Angeles Institute of Contemporary Art, and a subsequent errand for LAICA brought Gordon to Jean St. Pierre’s doorstep, making for Newspace.
As a gallerist, Gordon’s “first devotion was to Los Angeles painting and sculpture.” It was Newspace where now-renowned artists including Chris Burden and Paul McCarthy had some of their earliest shows. Describing her own taste, Gordon explained “I look at art intuitively, with a bias on beauty, classicism, clarity, skills, and originality. I am independent.” Gordon’s independence and fearless efforts to push the envelope helped define the creative spirit of Los Angeles for decades to come. Gordon herself put it simply: “My task is to keep inventing possibilities and potential in art.”
Hans J. Wegner was born in Tønder, Denmark in 1914. As a teenager, Wegner apprenticed with master cabinetmaker H.F. Stahlberg before enrolling at the Danish School of Arts and Crafts in 1936. In 1940, Wegner teamed with Arne Jacobson and Erik Møller to design furniture for the newly built City Hall building in Aarhus, Denmark. In 1943, Wegner opened his own drafting studio. Wegner insisted on the highest standard of craftsmanship for his furniture, and his chairs often feature traditional mortise and tenon joints and unique materials such as paper cord.
Wegner’s famed China series (inspired by the imperial Chinese chairs from the Ming dynasty) was designed in 1949. That same year he introduce what is probably his most iconic seating design, The Chair at the Cabinetmakers Guild exhibition in Copenhagen. In 1951, his chairs were featured in the Museum of Modern Art’s famous Good Design exhibit. His chairs reached a national audience in 1960 when John F. Kennedy and Richard Nixon sat in them during the televised presidential debate. In 1971, Wegner was awarded the Diploma di Collaborazione at the Milano Triennale. Wegner created his innovative three-legged stacking chair known as the PP58 in 1988. In 1992, he retired from his firm and his daughter Marianne took over his practice. Wegner died in 2007.
In 2014, the Design Museum of Denmark honored Wegner with a retrospective of his work. Wegner’s furniture designs are held in the collections across the globe and can be found in the Museum of Modern Art, New York, the Victoria and Albert in London, and the Vitra Design Museum in Germany, among many others.
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