In the late 1970s, I was introduced to sculptor Ken Price by Betty Asher, then curatorial assistant in the department of modern art. Betty was an avid collector and a close friend of Ken and his wife, Happy. Fellow curator Maurice Tuchman and I were preparing a show of Price’s decade-long endeavor Happy’s Curios—which consisted of individual wooden units filled with exuberantly colored cups, vessels, and objects that celebrated and honored Mexican folk art.
I traveled to Taos then to see Price in the studio and to work with him on the catalogue and presentation.
More than thirty years passed since that initial visit. In 2009 I traveled to Taos again to visit with Ken in his new home and studio to discuss plans for this retrospective. He was already ill, and pretty much confined to his home and studio. But instead of limiting him, he turned the last three years of his life into some of the most productive of his career, creating hundreds of sculptures in the studio by painstakingly painting them up layer-by-layer, and then judiciously sanding down the surfaces to reveal astonishing layers of color.
The journey of preparing this show and the accompanying catalogue has been an unforgettable adventure and privilege. Our amazing team—architect Frank Gehry, who immediately accepted my invitation to design the show of his old friend Ken; catalogue designer Lorraine Wild, who had the great idea to invite Fredrik Nilsen to photograph the works; and assistant curator Lauren Bergman—made several trips to Taos to meet with Ken.
He was involved with us in everything, including the selection of works, how they were reproduced, and how they would be installed. Sadly, he died in February 2012, just months before the show opened. I’ve had the chance to work together with Frank Gehry on five shows since 1980. This may be the most beautiful combination of works of art and installation design imaginable. Even though Ken never got the chance to walk among his retrospective of fifty-three years of work, I hope that we have given him the show his work deserves.
Stephanie Barron, Senior Curator and Department Head, Modern Art
Looking forward to seeing Ken’s historic show this Sunday. Ken is a true “artist’s artist” Working with one’s hands in a material he loved. A true artisan of the last century and through his passing earlier this year. Hooray to Ken and all his artist friends and supporters.
Was interested in checking out Ken’s work. The detail and color to his work is wonderful. Had a charming gate keeper tell me to step away from the art – I was too close. I approached a table of Mr. Price’s smaller work and before I even stopped at the edge I once again got scolded with “Step away from the table”. I told the fine employee that I was checking out the detail – he told me to watch the video in the other room or look at the coffee table book about Ken’s sculptures. Really? I can google images at home….I wanted to enjoy Price’s art without being hassled by the art illiterate at the door. I stated that the work should be roped off or under glass if standing too close was an issue. The man rolled his eyes and stated Stephanie thought about it but didn’t want to display it that way. I got the gist of the art and left after a prolonged stare down by the art goon (who followed me from one end of the installation to the front door.) Sad. I now can’t look at Ken Price’s work without having a hate filled reaction due to the rather selfish concept of “if you want to appreciate the sculpture – go buy the book and look at the pictures.” Nice work LACMA.
Saw the show the Sunday it opened. Had a few “Goon Guard” encounters myself, ignored them or gave them the stare back.
Hi Ken, I’m so sorry to hear about your experience in our gallery. I will forward this comment to the appropriate museum staff and will be in touch with you again via email. Thank you for coming to LACMA and for letting us know about your experience.
Director of Executive Communications