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Billy Al Bengston

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Billy Al Bengston

born in 1934 in Dodge City, Kansas, Billy Al Bengston is a contemporary American artist and sculptor. He lives and works in Venice, California. He has received grants from the National Endowment for the Arts, the Tamarind Lithography Workshop, and the John Simon Guggenheim Memorial Foundation. His work is found in many public and private collections, including the Centre Georges Pompidou (Paris), LACMA, MOCA (Los Angeles), MOMA (New York), Solomon R. Guggenheim Museum (New York), The Corcoran Gallery of Art (Washington, D.C.), and the Whitney Museum of American Art (New York)

His first solo exhibition was at the Ferus Gallery in 1958. He is the veteran of hundreds of group exhibitions in important museums and art galleries worldwide.

Education

1952 Attended Los Angeles City College Los Angeles, CA

1955 Attended California College of Arts & Crafts Oakland, CA

1956 Attended Otis Art Institute, Los Angeles, CA

Awards

  • 1968 Tamarind Fellow, Tamarind Lithography Workshop
  • 1982 Tamarind Fellow, Tamarind Lithography Workshop
  • 1987 Tamarind Fellow, Tamarind Lithography Workshop

Biographical reference

Otis College of Art Alumni Listing

Billy Al Bengston on ArtFacts.net

Smithsonian Institution, Archives of American Art

Billy Al Bengston in ArtForum

Bibliography

1962

  • Pacific Profile, Pasadena Art Museum, Pasadena, essay by Constance Perkins
  • Fifty California Artists, Whitney Museum of American Art, New York, essay by Lloyd Goodrich and George D. Culler

1963

  • Six More, Los Angeles County Museum of Art, Los Angeles, essay by Lawrence Alloway
  • Pop Art USA, Oakland Art Museum, Oakland, forward by Paul Mills, essay by John Coplans

1965

  • Pop Art and the American Tradition, Milwaukee Art Center, Milwaukee, essay by Tracy Atkinson
  • VIII Sao Paulo Bienal: United States of America, Museum de Arte Moderna, Sao Paulo, Brazil, preface and introduction by Walter Hopps

1966

  • Ten from Los Angeles, Seattle Art Museum Pavilion, Washington, introduction by John Coplans
  • Abstract Expressionist Ceramics, University of California at Irvine Art Gallery, Irvine, essay by John Coplans
  • Pop Art, Lucy Lippard, New York

1968

  • Transparency/Reflection, Art Gallery, California State College, essay by Kurt von Meyer
  • Late Fifties at the Ferus, Los Angeles County Museum of Art, Los Angeles, essay by James Monte
  • Billy Al Bengston, Los Angeles County Museum of Art, Los Angeles, essay by James Monte
  • Renderings: Critical Essay on a Century of Modern Art, Max Kozloff, New York
  • Business Cards, Billy Al Bengston and Edward Ruscha, Los Angeles

1969

  • Three Modern Masters: Billy Al Bengston, Edward Ruscha, Frank Lloyd Wright, Gallery Reese Palley, San Francisco, essay by Carol Linsley
  • Tamarind: Homage to Lithography, Museum of Modern Art, New York, preface by William S. Lieberman, introduction by Virginia Allen
  • Contemporary American Drawings, Fort Worth Art Center Museum, Fort Worth, essay by Peter Plagens
  • Kompas IV: West Coast USA, Stedelijk van Abbemuseum, Eindhoven, The Netherlands, foreward by Jean Leering, Eugen Thiemann and Zdenek Felix, introduction by Jean Leering
  • West Coast 1945-69, Pasadena Art Museum, Pasadena, essay by John Coplans

1970

  • The Highway, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, essays by Denise Scott Brown, Robert Venturi and John W. McCoubrey

1972

  • West Coast, Kenstverein Hamburg, Hamburg, Germany, essays by Helmut Heisenbuttel and Helene Winter
  • The State of California Painting, Govett-Brewster Art Gallery, New Plymouth, New Zealand, essay by Michael Walls
  • Four Artists: Ruscha, Bengston, Alexander, Moses, Akron Art Institute, Ohio, essay by Al Radloff

1974

  • Fifteen Abstract Artists: Los Angeles, Santa Barbara Museum of Art, Santa Barbara, essay by Ronald A. Kuchta
  • American Pop Art, Whitney Museum of American Art, New York, essay by Lawrence Alloway
  • Sunshine Museum: Contemporary Art on the West Coast, Peter Plagens, New York

1976

  • New Works in Clay: By Contemporary Painters and Sculptors, Everson Museum, Syracuse, New York, foreword by Ronald A. Kuchta, introduction by Margie Hughto
  • The Last Time I Saw Ferus, Newport Harbor Art Museum, Newport Beach, essay by Betty Turnbull

1977

  • Watercolors and Related Media by Contemporary Californians, Baxter Art Gallery, California Institute of Technology, Pasadena, preface by Michael Smith
  • Billy Al Bengston: The Puerto Escondido Watercolor Suite 1977, James Corcoran Gallery, Los Angeles
  • Painting and Sculpture in California: The Modern Era, San Francisco Museum of Modern Art, San Francisco, preface by Henry T. Hopkins

1978

  • Billy Al Bengston: Paintings of the Seventies, Security Pacific Bank, Los Angeles, essay by Fredericka Hunter
  • The Museum of Drawers, Kunsthaus Zurich, Zurich, Switzerland, essay by Herbert Distel

1979

  • The Decorative Impulse, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, essay by Janet Kardon
  • A Century of Ceramics in the United States 1878-1978, Everson Museum of Art, Syracuse, New York, foreword by Ronald A. Kuchta, preface by Margie Hughto, essay by Garth Clark

1980

  • Billy Al Bengston, Archives of American Art, Smithsonian Institution, Washington, interview by Susan C. Larsen

1981

  • Art in Los Angeles: Seventeen Artists in the Sixties, Los Angeles County Museum of Art, Los Angeles, introduction by Maurice Tuchman, essays by Anne Bartlett Ayres, Susan C. Larsen, Christopher Knight and Michele D. De Angelus
  • Billy Al Bengston: Watercolors 1974-1980, The Corcoran Gallery of Art, Washington, essay by Jane Livingston
  • A Decade of Billy Al Bengston: The Seventies, San Diego State University, San Diego, essay by Jeff Perrone

1984

  • Artists Design Furniture, Denise Domergue, New York
  • The Art of California: Selected Works From The Collection of The Oakland Museum, The Oakland Museum Art Department, Oakland, introduction by Christina Orr-Cahall

1985

  • The Security Pacific Collection, 1970-1985: Selected Works, Security Pacific Corporation, Los Angeles
  • Frederick R. Weisman Foundation of Art: Volume Two, Frederick R. Weisman Foundation of Art, Los Angeles, foreword by Nora Halpern, introduction by Henry T. Hopkins
  • Chouinard: An Art Vision, Betrayed, Astra Publishing, Inc. Encinitas, California, Robert Perrine

1986

  • A Selected History of Contemporary Art: 1945-1986, The Museum of Contemporary Art, Los Angeles

1987

  • Pop Art: U.S.A. - U.K., Odakyu Grand Gallery, Tokyo, Japan, text by Marco Livingstone
  • Made in U.S.A. - An Americanization in Modern Art, the '50s & 60s. University of California Press, Berkeley, Sidra Stich.

1988

  • Billy Al Bengston, Paintings of Three Decades, Contemporary Arts Museum, Houston, essays by Jane Livingston, Karen Tsujimoto, Henry T. Hopkins, Maurice Tuchman

1989

  • Bengston, Alexander, Bell, Dill, Kauffman, Moses, Orr, Ruscha in Barcelona, Artgrafic Galeria d'Art, Barcelona, Spain, essay by Steve Afif
  • Daylight Savings, Galeria Joan Prats, Barcelona, Spain, essay by Dan Cameron
  • LA Pop in the Sixties, Newport Harbor Art Museum, Newport Beach, preface by Ann Ayres, essay by Karen Tsujimoto
  • California Painters: New Work, preface by Henry T. Hopkins
  • Art in Embasies, Twenty-Five Years at the U.S. Department of State, 1964-1989. Friends of Art and Preservation in Embassies, Washington D.C., Douglas McCreary Greenwood.

1990

  • Billy Al Bengston, Paintings for the '90's, James Corcoran Gallery, Santa Monica
  • The Ronald Reagan Building, Los Angeles, State of California, City of Los Angeles and The Los Angeles State Building Authority, essay by Jan Butterfield
  • The Art Collection of Pacific Enterprises, Pacific Enterprises, Los Angeles, essay by Jan Butterfield
  • Selections from the Permanent Collection, San Diego Museum of Contemporary Art, CA, essay by Ronald J. Onorato

1991

  • Pop Art, Royal Academy of Arts, London, essays by Marco Livingstone, Sarat Maharaj, Constance W. Glenn, Alfred Pacquement, Evelyn Weiss, Thomas Kellein, Dan Cameron

1992

  • In Artists' Homes: the Living Spaces of Contemporary Artists, by Roberta Kimmel

1993

  • Billy Al Bengston, Galerie Neuendorf, Frankfurt am Main, Germany

1996

  • American Images: The SBC Collection of Twentieth-Century American Art, SBC Communications, Inc., New York, preface by Laura Carey Martin, introduction by Walter Hopps

1997

  • Sunshine & Noir. Art in L.A. 1960-1997, Louisiana Museum of Modern Art, Humlebaek, Denmark

1998

  • California Art: 450 Years of Painting & Other Media, Nancy Dustin Wall Moure, Los Angeles
  • Selections from the Naomi Feldman Collection: Los Angeles Art 1962-1988, Feldman-Horn Center for the Arts, Harvard-Westlake School, CA, forward by Michelle Isenberg

1999

  • Radical Past: Contemporary Art & Music in Pasadena, 1960-1974, Armory Center for the Arts, Pasadena
  • The American Century: Art and Culture, 1950-2000, Whitney Museum of American Art, New York.

2000

2001

  • Phoenix Art Museum Collection Handbook, Phoenix Art Museum

2002

  • Surf Culture: The Art History of Surfing, Laguna Art Museum in association with Gingko Press Inc., essays by Bolton Colburn, Ben Finney, Tyler Stallings, Craig Stecyk, Deanne Stillman, Tom Wolfe

2003

  • American Art, Wilfred Davis Fletcher Collection, Boise Art Museum, ID
  • The Studio Book, Melba Levick (photographs), Kathleen Riquelme (text), New York
  • A Happening Place, The Gershman Y, Philadelphia, PA, essays by Constance W. Glenn and Sid Sachs

2005

  • Brian Wilson, An Art Book, London, edited by Alex Farquharson
  • Paint on Metal, modern and contemporary explorations and discoveries, Tuscon Museum of Art, AZ, essay by Julie Sasse
  • Art for Wine, Benziger and Imagery Estate Wineries, Glen Ellen, CA

2006

  • Otis L.A. , Nine Decades of Los Angeles Art, Otis College of Art and Design, essay by Barbara Isenberg
  • Los Angeles 1955-1985, Centre Pompidou, Paris, France, essays by Catherine Grenier and Howard N. Fox
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