Surveying thirty years of Henry Taylor’s work in painting, sculpture, and installation, this retrospective will celebrate a Los Angeles artist widely appreciated for his unique aesthetic, social vision, and freewheeling experimentation. Taylor’s portraits and allegorical tableaux—populated by friends, family members, strangers on the street, athletic stars, and entertainers—display flashes of familiarity in their seemingly brash compositions, which nonetheless linger in the imagination with uncanny detail. In his paintings on cigarette packs, cereal boxes and other found supports, Taylor brings his primary medium into the realm of common culture. Similarly, the artist’s installations often re-code the forms and symbolisms of found materials (bleach bottles, push brooms) to play upon art historical tropes and modernism’s appropriations of African or African-American culture. Taken together, the various strands of Taylor’s practice display a deep observation of Black life in America at the turn of the century, while also inviting a humanist fellowship that pushes outward from the particular. This will be the first large-scale museum exhibition in Taylor’s hometown.
Henry Taylor: B Side
1964
Philip Johnson commissioned Warhol to make a large-scale work for the exterior for his pavilion for the New York World’s Fair, along with other artists. Warhol’s provocative response, a multiple portrait of ‘Most Wanted Men’ was installed a few days before the opening but was deemed too inflammatory and contrary to the upbeat image of the World’s Fair and the work was taken down.