Tag: Getty
Richard Wyatt, Jr.: A Blessed Life of Art and Music
In February 2023, Dr. Bridget Cooks and I had the pleasure of interviewing the Los Angeles-based visual artist and songwriter Richard Wyatt, Jr., for the Getty Research Institute’s African American Art History Initiative. Wyatt was a joy to interview, making us laugh constantly and sharing what he called Forrest Gump moments, where he was in the right place at the right time to meet and collaborate with celebrities of all stripes.
A little over a year after this delightful interview, Bridget and I were saddened to hear that Richard had passed away in May 2024. The world has lost a kind and funny man, as well as an talented artist, musician, educator, and thinker.
While I continue to mourn Richard’s passing, I also want to celebrate his life by highlighting the wonderful stories he shared in his oral history about life, art, music, and seeking new challenges.
Richard Wyatt, Jr., was an artist whose work includes drawings, paintings, installations, and public art. Wyatt was born in Lynwood, California, in 1955, and lived in the Los Angeles area his whole life. He began his art career early, winning the Watts Chalk-In at twelve years old, and then studying at the Watts Towers Art Center, the Chouinard Art Institute, and the Tutor/Art Program with artist Charles White. Wyatt attended the University of California, Los Angeles, where he earned a BFA in art. Some of his best-known work in Los Angeles includes the mural Hollywood Jazz: 1945-1972 on the Capitol Records Building; the mural City of Dreams, River of History in Union Station; and the installation Ripple of Hope at Robert F. Kennedy Inspiration Park. Wyatt taught drawing and painting at the University of California, Irvine; the Otis Art Institute; and the Watts Towers Art Center. He also had a career as a songwriter, writing songs for musicians like The Miracles, The Sylvers, and New Edition.
One thing that continues to strike me about Richard is the indelible mark he has left on the world—and I mean that literally. Some of Richard’s best-known work was his public art, which adorned buildings and other public places in the Los Angeles area and beyond. For this reason, Bridget found interviewing Richard almost surreal. In the oral history, she explained, “…your work is part of my Los Angeles,” for indeed, Richard’s public art shaped the city in which she grew up. After our first day of interviews, Cooks and I drove around Downtown Los Angeles, pointing out and visiting sites where Richard’s work dotted the landscape: Union Station, Robert F. Kennedy Inspiration Park, the Capitol Records Building, and on and on.
One of Richard’s most famous murals, Hollywood Jazz: 1945-1972, remains on the Capitol Records Building, although he later replaced the paint on this south-facing exterior wall with ceramic tile to combat the ravages of the sun. When Richard accepted the commission for this work, it was the perfect blend of his love of visual art and his passion for music. In this mural, he memorialized jazz greats, such as Billie Holiday, Ella Fitzgerald, Miles Davis, and Nat King Cole. And in one of those Forrest Gump moments, Richard met musician Bonnie Raitt on site at the Capitol Records Building during his original installation. Listen as Richard recounted this moment:
Richard also mused about the role of an artist after unveiling a work of public art, sharing his thoughts on the impact of his public work: “…you can’t control it…Once it’s out there, it’s out there. People are going to interpret it and take pictures.” And while we spoke about the joys of creating art for wide public consumption, Richard also acknowledged some of the challenges inherent in this work. Listen as Richard shared about some of his public art work with collaborator and fellow artist May Sun:
Richard’s talent also extended to music, and resulted in a prolific career as a songwriter for musical artists such as The Miracles, The Sylvers, Peaches & Herb, Tavares, Johnny Gill, and New Edition. Richard wrote his first song, “Keep on Keepin’ On (Doin’ What You Do)” for The Miracles when he was just eighteen years old. But for Richard, visual art and music were always intertwined, as he experienced synesthesia, a sensory condition in which, among other things, allows some people see colors when they hear music. Richard explained his synesthesia this way:
“I didn’t even know that term until somebody else told me…When I’m writing, that’s one thing. But once I start arranging it and getting the bass and guitar, and then you get strings and horns, there are certain sounds that have a color associated with them. I can’t explain it, but…I see colors once I hear a certain sound, you know? And when I’m creating the arrangements, or even mixing or whatever, and I’m going for a certain effect, it’s like once you get mixing, to me it’s like glazing in oil. That’s the easiest way I can explain it.”
Richard was a child prodigy who burst into the art world when he was twelve years old, rubbing elbows with more experienced art world talents like Charles White, John Riddle, George Evans, and Bill Pajaud. Yet, Richard carved out a career all his own. And while he left us too soon, Richard’s art lives on. To celebrate this remarkable man and artist, I suggest spending time in Downtown Los Angeles and experiencing the work of Richard Wyatt, Jr., for yourself.
To learn more about Richard Wyatt, Jr.’s, extraordinary life and work, explore his oral history!
About the Oral History Center
The Oral History Center of The Bancroft Library preserves voices of people from all walks of life, with varying political perspectives, national origins, and ethnic backgrounds. We are committed to open access and our oral histories and interpretive materials are available online at no cost to scholars and the public. You can find our oral histories from the search feature on our home page. Search by name, keyword, and several other criteria. Sign up for our monthly newsletter featuring think pieces, new releases, podcasts, Q&As, and everything oral history. Access the most recent articles from our home page or go straight to our blog home.
David Lamelas: A Pioneer in Conceptual Art
New Transcript Release: David Lamelas
In 2017, the Getty Center initiated the exhibit Pacific Standard Time: LA / LA, a multi-gallery art exhibition throughout the Los Angeles area that showcased the interconnections between Latin America and the Los Angeles. In its continuing partnership with the OHC, the Getty Trust sponsored oral histories with a few of the artists featured in the year-long exhibition. David Lamelas was one of the selected artists.
Born in Buenos Aires in 1946, Lamelas would earn international recognition over his career as one of the leading pioneers of conceptual art. He graduated from the Academia Nacional de Bellas Artes in 1963 and soon became a key member of the Instituto Torcuatro di Tella, a group that stood at the center of Argentina’s avant-garde scene. With political turmoil on the rise, he left Argentina in 1968 to study at Saint Martin’s School of Art in London, stopping along the way to represent his home country at the famed Venice Biennial. There his installation, The Office of Information about the Vietnam War at Three Levels, garnered wide praise and attention, introducing Europe to the themes of time, communication, and media that Lamelas would explore in much of his work in the decades to come.
Over the next fifty years, Lamelas continued to push the boundaries of conceptual art. From photography and installations to an impressive array of films, he continually found new ways to explore the topics of media and popular culture, as well as his favorite themes of time and space. He also has continued to be a “citizen of the world,” often splitting his time between Los Angeles, Buenos Aires, and Europe. Indeed, such travel offered ample inspiration for his work. It also made him a fitting choice for the Getty’s Pacific Standard Time: LA / LA exhibition.
For Lamelas’ full oral history transcript, please visit our website.
Lecture: Rembrandt and the Mughals
Rembrandt and the Mughals
Dr. Stephanie Schrader
10 Stephens Hall, UC Berkeley
April 30, 2018, 12:30-2:30
Dr. Stephanie Schrader, Curator, Department of Drawings, J. Paul Getty Museum, Los Angeles will be speaking at UC Berkeley on April 30, from 12:30-2:30 at 10 Stephens Hall. Dr. Stephanie Schrader is the editor of the catalog, and curator of the exhibit, Rembrandt and the Inspiration of India, currently on at the Getty Center through June 24, 2018.
The exhibition catalog can be found in our library: ISBN 9781606065525
Stephanie Schrader will address the 23 drawings Rembrandt made late in his career after Indian paintings that were imported into Amsterdam from Dutch trading post in Surat. Rembrandt’s portraits of Mughal rulers, princes, and courtiers demonstrate how his contact with Indian art inspired him to draw in a different style on Asian paper. Schrader argues that the Mughal compositions Rembrandt copied were not merely foreign curiosities, but carried with them specific associations of empire, trade, luxury, and exceptional artifice.
A reception will follow the talk.
Speaker Bio: Stephanie Schrader is curator at the Department of Drawings at the J. Paul Getty Museum, specialising in 16th to 18th century Dutch and Flemish art. Her interest in cross cultural exchanges include exhibitions, publications, lectures and classes on artists including Jan Gossaert, Maria Sibylla Merian and Peter Paul Rubens.
Sponsors: Department of History of Art Stoddard Lecture Series, Institute for South Asia Studies, Sarah Kailath Chair of India Studies, Department of History of Art.
Ed Ruscha: A New Oral History with the Artist
In partnership with the Getty Trust, we are pleased to release a new oral history with the famed artist Ed Ruscha. Ruscha is an American artist who has specialized in painting, drawing, photography, and books. Born in 1937, Ruscha moved to Los Angeles to attend school at Chouinard Art Institute in 1956. In the early 1960s, he contributed to the birth of “pop art” and his work was featured in the famed 1962 exhibition “New Painting of Common Objects.” In the 1960s, he painted canvases that have since become iconic, including Large Trademark with Eight Spotlights (1961), Standard Station (1963), and Los Angeles County Museum of Art on Fire (1965?68). A signature of his work has been the use of words and phrases, such as in the paintings Optics (1967), Brave Men Run In My Family (1988), and many more. Ruscha also produced an influential series of books based on his photography of the built landscape of Los Angeles, and his continues to document vernacular Los Angeles through photography to this day. He was represented by the Leo Castelli Gallery beginning in the 1970s and then moved to the Gagosian Gallery, which continues to show the artist today. In this interview, Ruscha discusses his art education and influences and his introduction to the burgeoning art world of 1960s Los Angeles. He reflects on the transformation of art after the 1960s with the rise of conceptual and political art and his continuing interest in painting during that era. Finally, Ruscha discusses changes in the art world in the 1980s and 1990s, retrospective exhibitions of his art, the transformation of Los Angeles, and how artists might think about their legacy.