LOS ANGELES -- The exhibition titled Sex Politics Religion marks the first retrospective of California Beat artist Wally Hedrick in four decades, exploring themes that were once taboo during the 1950s and 60s. Hedrick, a key figure in San Francisco's countercultural movement, utilized these subjects to fuel his artistic expression, addressing profound philosophical questions while protesting against war and political strife.
This remarkable showcase spans two venues: Parker Gallery, known for celebrating Bay Area art history, and The Box, which emphasizes underrepresented and politically engaged artists. Visitors can expect to see early works that humorously critique Abstract Expressionism, alongside pieces that passionately denounce warfare and exalt the joy and spirituality of heterosexual love.
Hedrick's wit is evident in his rejection of Abstract Expressionism's conventions, as he crafted satirical works rich in sexual innuendo. His piece "A Harry Fallick Production" (1959) cleverly comments on the burgeoning influence of television in American life, depicting a studio corner with a large TV displaying the title of the artwork. This clever play on words reflects his homage to Marcel Duchamp, positioning Fallick as a playful alter ego.
As a Korean War veteran, Hedrick's perspective on conflict deepened during the Vietnam War. In 1957, he painted over existing works in black as a form of protest, symbolically withdrawing his contributions from a culture he opposed. A decade later, he created the immersive installation "War Room," which consists of eight large canvases, dubbed "wounded veterans," painted black to evoke contemplation about war's emotional toll.
In a 1974 interview, Hedrick articulated that art's essence lies in "art, love, and spirit." His work "Spirit + Idea #1" (1958) reflects this philosophy through its abstract forms, suggesting connections between love, sex, and spirituality. His co-founding of the Six Gallery, where Allen Ginsberg first recited "Howl," further underscores his commitment to intertwining artistic expression with profound themes of love and existence.
Hedrick's later works, such as "Danäe" (1980-81), explore mythological themes through bold imagery, while pieces like "1 Tube Super-Hetro Dame Receiver" (1978) and "Mojo: Electrosex Kit #10" (1979) fuse humor with serious commentary on sexuality. His approach defies stylistic confines, showcasing a variety of formats to express interconnected ideas.
One of his final works, "Peace Awakening/WWW.COM (Wiggy with Wings)" (2000), pays tribute to his partner and embodies the antiwar sentiment of "Make Love Not War." Even two decades after his passing, Hedrick's message of love and peace resonates, echoing in contemporary cultural expressions.
The exhibition Wally Hedrick: Sex Politics Religion is currently on display at Parker Gallery and The Box until April 4, offering a compelling insight into the artist's enduring legacy.