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Billy Al BengstonTrail Beyond, Polyurethane & Lacquer on Aluminum Art by Billy Al Bengston, 19691969
1969
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Trail Beyond, Polyurethane & Lacquer on Aluminum Art by Billy Al Bengston, 1969
A flamboyant character and a key figure in the Ferus Gallery circle in Los Angeles, Billy Al Bengston is associated with West Coast Pop and best known for spray painting dented sheets of square aluminum with lacquer. These highly finished pieces often featured car and motorcycle motifs, such as the chevron symbol placed at the center of his works, and many include Bengston’s signature sergeant’s stripes, or abstracted images of hearts. His interest in car culture would inspire Judy Chicago, a student of Bengston’s, to attend auto body school and eventually use spray paint techniques.
Additional information:
Medium: Polyurethane and lacquer on dented aluminum
Condition: Excellent
Frame: Not included
Dimensions: 34 × 35 in 86.4 × 88.9 cm
About artist: Billy Al Bengston (June 7, 1934 – October 8, 2022), the quintessential LA “bad boy,” is best known for his Chevron paintings of the 1960s. Bengston was born in Dodge City, Kansas, in 1934, and his family moved to Los Angeles in 1948, where he attended Manual Arts High School. The chevrons placed in the center of the painting, sometimes described as sergeant stripes, conjure the look and feel of heraldic imagery, reflecting militaristic overtones and a distinct male sensibility. What has been overlooked in Bengston’s art is the overt female imagery and references in his iris paintings from the Dracula series.
The IRIS was a central motif in Bengston's art of the 1970s. Its use was inspired by his fascination with the logo on sugar packets produced by the Iris Sugar Company. When a fellow artist saw the works, he commented that the fully extended petals of the flower resembled bat wings and recalled the figure of Count Dracula. It is because of this association that Bengston's renditions of the iris are called "dracula." The images of the iris fluctuate between familiarity and abstraction in the viewer's consciousness, confirming Bengston's lifelong adherence to art derived from reality, as well as his conviction that "the mystery of art is real."
Working in both painting and sculpture, Billy Al Bengston is known for his psychedelically colorful works. He is also a motorcycle racer, surfer, and has a penchant for the sublime rather than perfection.
He studied at the California College of Arts and Crafts where he developed a radical aesthetic, which, combined with his already highly developed skills, taxed the faculty to such an extent that they asked him to leave after only one year. After moving to Los Angeles, Bengston began showing at the famed Ferus Gallery and established himself as part of a group that rejected the stereotype of the artist as a tormented individual.
Bengston is represented in many important public collections including The Museum of Modern Art, NY; Solomon R. Guggenheim Museum, New York; the National Gallery of Art in Washington D.C.; Whitney Museum of American Art in New York; the Art Institute of Chicago; the Los Angeles County Museum of Art; and the Centre Pompidou in Paris, France.
- Creator:Billy Al Bengston (1934, American)
- Creation Year:1969
- Dimensions:Height: 35 in (88.9 cm)Width: 34 in (86.36 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Orange, CA
- Reference Number:1stDibs: LU2793216070112
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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