los-angeles

Robert Watts, BLT, 1965, black-and-white photo transparency embedded in Lucite, 6 x 5 3/5 x 1 1/4". From “Photography into Sculpture.”

“Photography into Sculpture”

Cherry and Martin

Robert Watts, BLT, 1965, black-and-white photo transparency embedded in Lucite, 6 x 5 3/5 x 1 1/4". From “Photography into Sculpture.”

Among the most ambitious gallery shows coinciding with the J. Paul Getty Musuem–instigated “Pacific Standard Time” initiative—a sprawling self-study of Southern California’s emergence as a significant art hub—is a restaging of an exhibition that originated in New York: Peter Bunnell’s “Photography into Sculpture,” which first appeared the Museum of Modern Art in 1970 and traveled to seven other venues before eventually landing at Otis College of Art and Design in Los Angeles in 1972. (Most of the original objects or similar works by a given artist are included here; a few have been remade for the occasion.) When it was initially presented, the curator claimed the exhibition to be the “first comprehensive survey of photographically formed images used in a sculptural or fully dimensional manner.” Indeed, it framed a noteworthy tendency toward photographic applications for

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