GLORIA KISCH's new body of work is unique. Her bandage wrapped geometric forms are now dramatized by the addition of black pigment. The work continues to develop with increasing power, and accessibility to the viewer. They are icons of sympathy, embodying physical strength and human secrets emerging from her unconscious. Her recent abstract icons are poetic entrances into places of meditation and quiet reverent feeling, the religious experience without the guilt. The new works differ only in that the black pigment reinforces the poetic nuances of her earlier work…

–Diana Zlotnick, Newsletter on the Arts December 1975/January 1976

Hungry Eyes

Diana Zlotnick and Post-War Art in Los Angeles

Diana Zlotnick arranging artworks at home, accompanied by her family Photo: Los Angeles Times Photographic Archive, Library Special Collections, Charles E. Young Research Library, UCLA

A voracious collector, comm­­unity builder, and champion of emergent contemporary artists, Diana Zlotnick tapped into the Los Angeles art world at a particularly charged moment of post-war creative ferment. Today, the art milieu of the late 1950s, 1960s, and 1970s Los Angeles has taken on nearly mythic qualities, conjuring Bohemian fetes in canyons, the experimental openness of CalArts, Venice Beach warehouse studios, and, broadly, an explosion of material and conceptual inquiry through performance, sculpture, video, painting, publication, and more. Zlotnick immersed herself wholeheartedly in this atmosphere, led by fearless curiosity, dedication, and deeply felt connections to the works that she brought home.

Collect art that cancels out the rest of the world…—Diana Zlotnick, Newsletter on the Arts, 2013

Born in 1927 and raised in Los Angeles, Diana Zlotnick (née Shirley) attended Fairfax High School and would later support herself as a schoolteacher. She met Harry Zlotnick at a USO dance, and, after a whirlwind romance, the couple married on July 3, 1955. Being a schoolteacher was decidedly not Ms. Zlotnick’s calling, nor was being a dental hygienist (she flunked the program). Encouraged by her husband, who was able to support the family as a veterinarian, Zlotnick stopped working—and started collecting. With determination, savvy, and a healthy dose of chutzpah, she went on to amass an extensive collection from major artists as their stars were rising – among those who most captivated her were Wallace Berman, Chris Burden, Llyn Foulkes, George Herms, Channa Horwitz, Gloria Kisch, Ed Ruscha, and Richard and Shirley Pettibone.

There aren't many collectors like Diana Zlotnick, though there ought to be...Not content to play the passive art consumer, she quickly began circumventing the gallery system, approaching artists directly — visiting studios, exploring work in depth and developing real relationships.

Doug Harvey, L.A. Weekly, October 27, 2005