los-angeles

Tom Eatherton, Rise, 1970/2011, incandescent bulbs, nylon, wooden support structure, 8' 6" x 36'. From “It Happened at Pomona: Art at the Edge of Los Angeles 1969–1973.”

“It Happened at Pomona: Art at the Edge of Los Angeles 1969–1973”

Pomona College Museum of Art

Tom Eatherton, Rise, 1970/2011, incandescent bulbs, nylon, wooden support structure, 8' 6" x 36'. From “It Happened at Pomona: Art at the Edge of Los Angeles 1969–1973.”

Once upon a time, in a far-flung suburban hamlet of Los Angeles, it came to pass that an inordinate amount of the most radical art in the world took shape on the otherwise socially conservative campus of Pomona College. The stars first aligned in 1969, when Hal Glicksman became curator of the college’s museum, instituting an experimental studio-residency program dubbed the Artist’s Gallery for the duration of his yearlong term. The stars reconfigured and aligned anew as Helene Winer (of subsequent Artists Space and Metro Pictures renown) took over the post and held it until 1972, presciently championing key new conceptual strategies being developed by then-emerging Los Angeles giants such as Bas Jan Ader, Chris Burden, Ger van Elk, Jack Goldstein, Allen Ruppersberg, William Leavitt, and William Wegman.

So goes the proud story that gets told and retold at every turn and on every

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