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Billy Al BengstonSigned, 1968, Billy Al Bengston Artwork1968
1968
$42,000
£31,891.60
€36,470.42
CA$58,680.09
A$65,265.07
CHF 34,079.39
MX$794,206.48
NOK 435,245.83
SEK 408,183.80
DKK 272,192.72
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About the Item
A dramatic, lacquer-and-polyester-resin-on-aluminum, 1968 artwork from the Alamo series by important, West Coast American artist, Billy Al Bengston (b. 1934). The piece from an edition of 20. Initialed "A.B.". Unframed: 36"H x 24"W
Bengston had his first one-man show at age 24 at the legendary Ferus Gallery, a mecca for young artists in Los Angeles, where he won instant acclaim. Select public collections: Phoenix Art Museum; Whitney Museum of American Art; Guggenheim Museum; Museum of Modern Art; Los Angeles County Museum of Art; Contemporary Arts Museum, Houston; Art Gallery of Ontario; San Francisco Museum of Modern Art.
- Creator:Billy Al Bengston (1934, American)
- Creation Year:1968
- Dimensions:Height: 37.5 in (95.25 cm)Width: 35.5 in (90.17 cm)Depth: 2 in (5.08 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Los Angeles, CA
- Reference Number:1stDibs: LU2563212565922
Billy Al Bengston
Based in Venice, California, Billy Al Bengston burst onto the scene in the 1950s with his passion for motorcycle racing and art. Bengston was discharged from the California College of Arts and Crafts in 1955 for depleting the clay supply. Following this exit, he enrolled at the Otis Art Institute to study under Peter Voulkos whom he later named as a significant influence, along with Richard Diebenkorn. Bengston found immediate success in the Los Angeles art scene, enjoying multiple solo shows at Ferus Gallery and a 1968 exhibition at the Los Angeles County Museum of Art. His artistic output, mainly sculpture and painting, is informed by a variety of influences that range from his love of motorcycles and car-detailing techniques to recurring geometric shapes similar to those of Jasper Johns. Art historian Andrew Perchuck included Bengston among the "West Coast artists, including Robert Irwin and Ken Price, who were instrumental in redefining the terms of artistic identity in the early 60s by insisting that sub-cultural affinities and leisure-time activities (surfing, car customizing) were at the foundation of their artistic personas."
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