My first encounter with John Altoon's artwork was in 1984 at the now-closed Edward Thorp Gallery. Since that moment, I have delved deeply into his artistic journey, engaging with his pieces and conversing with individuals who knew him, notably poet Robert Creeley, who partnered with Altoon on the artist's book titled About Women (1966), and dealer Nicholas Wilder, who showcased his work in 1965. It has always intrigued me why Altoon, a remarkable and cherished figure in the Los Angeles art scene during the 1950s and 1960s, has not received wider recognition beyond California.
A recent exhibition titled John Altoon: Drawings at Franklin Parrasch Gallery provided some insights. Although he spent time in New York during the early 1950s and interacted with Abstract Expressionists, he ultimately returned to Los Angeles, shifting his focus from abstraction to captivating, dreamlike drawings infused with sexual energy. Altoon notably rejected the formalist notion that drawing stifled the progression of modern art, which was a prevailing sentiment of his time. He distinguished himself by embracing imagination and dreams in his work.
The exhibition features seven pieces created between 1963 and 1968, showcasing the diversity of Altoon's drawing techniques and materials. His feverish, linear figure drawings, rendered in ink and graphite, continue to provoke reactions among some viewers and institutions.
In these drawings, women often appear larger than men, exuding confidence rather than seeking male validation, while the men are depicted as indistinct figures, seemingly powerless. Altoon's lack of contextual clues invites viewers to engage with the imagery on a deeper level. His dynamic line work creates images that challenge immediate comprehension, prompting us to reflect on our own gaze and voyeurism, a theme that resonates with today's digital interactions. The infusion of humor into his erotic themes adds a layer of absurdity to his creations.
In one of his notable works, titled Untitled (ABS-81A) (1966), Altoon presents a whimsical form resembling the lower half of an ostrich set against a backdrop of soft blue and green circles. Three rounded plumes emerge from the central figure, which features a square that displays a red, linear nude reminiscent of iconic works by Courbet and Duchamp, provoking a playful tension between the overall image and the nude itself.
Another piece, Untitled (ABS-52) (1965), utilizes airbrush, pastel, and ink to create overlapping shapes outlined in red and khaki green, layered over a sunburst of blue and yellow rays. Each shape contains an abstract element that is tangible yet elusive, showcasing Altoon's inventive spirit.
Tragically, Altoon passed away at the peak of his creative prowess, having honed his skills in drawing and color, and experimented across various media. His willingness to embrace dreams and imagination rendered his work unpredictable, affirming his belief that drawing could remain innovative long after the likes of Picasso and Miró. It is a testament to his artistic vision that continues to inspire.
The exhibition John Altoon: Drawings runs at Franklin Parrasch Gallery until February 27, offering a rare glimpse into the genius of an artist who dared to dream through his art.