{"version":"1.0","provider_name":"L.A. Louver - Journal","provider_url":"https:\/\/www.lalouver.com\/journal","author_name":"L.A. Louver","author_url":"https:\/\/www.lalouver.com\/journal\/author\/50percentopacity","title":"In Focus: Charles Garabedian - L.A. Louver - Journal","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"EBaVTYcFw8\"><a href=\"https:\/\/www.lalouver.com\/journal\/in-focus-charles-garabedian\">In Focus: Charles Garabedian<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.lalouver.com\/journal\/in-focus-charles-garabedian\/embed#?secret=EBaVTYcFw8\" width=\"600\" height=\"338\" title=\"&#8220;In Focus: Charles Garabedian&#8221; &#8212; L.A. Louver - Journal\" data-secret=\"EBaVTYcFw8\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.lalouver.com\/journal\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/05\/In-Focus-Charles-Garabedian.jpg","thumbnail_width":1414,"thumbnail_height":1010,"description":"Two iconic works by Charles Garabedian are included in\u00a0L.A. Louver Celebrates 50 Years. Garabedian\u2019s ambiguous, dream-like\u00a0Woman in the Bathroom\u00a0(1973) coalesces many concerns that are central to the artist\u2019s oeuvre: namely, abstract figuration, architectural framing, references to Greco-Roman sculpture, fragmented human forms, and an intermingling of the epic and the intimate. One of a series of resin works from this era produced in tableau-like format, the work shows a marble-white female figure in an easy Classical contrapposto, posed powerfully, even slightly violently, over a scattering of human bones and bathroom fixtures. Behind her, an ambiguous, possibly maritime, landscape peaks through a circular portal, a reference to Chinese architecture also present in Garabedian\u2019s contemporaneous\u00a0Henry Inn\u00a0series. Rendered in resin, a common material among the artist\u2019s Light and Space and Minimalist peers, the intimate scene exudes a dark sensuous tactility, the figure commanding the respect Garabedian often confers upon his female subjects. The work marks a critical inflection point in the artist\u2019s career, a moment beyond the descriptive, detailed figurative works of his early career\u2014inspired by classically trained tutors like William Brice\u2014past the architectural works of 1960s and 1970s, and toward the less fixed and more abstract iconic figures of his work of the late 1970s and beyond.\u00a0"}