{"id":4670,"date":"2025-05-16T18:11:00","date_gmt":"2025-05-16T18:11:00","guid":{"rendered":"https:\/\/www.lalouver.com\/journal\/?p=4670"},"modified":"2025-09-16T08:00:37","modified_gmt":"2025-09-16T15:00:37","slug":"in-focus-charles-garabedian","status":"publish","type":"post","link":"https:\/\/www.lalouver.com\/journal\/in-focus-charles-garabedian","title":{"rendered":"In Focus: Charles Garabedian"},"content":{"rendered":"\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;69d275a63957a&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"69d275a63957a\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1635\" height=\"1080\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/b205375d-e614-975e-c4c3-0ae75ccfe91f.jpg\" alt=\"\" class=\"wp-image-4671\" srcset=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/b205375d-e614-975e-c4c3-0ae75ccfe91f.jpg 1635w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/b205375d-e614-975e-c4c3-0ae75ccfe91f-300x198.jpg 300w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/b205375d-e614-975e-c4c3-0ae75ccfe91f-768x507.jpg 768w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/b205375d-e614-975e-c4c3-0ae75ccfe91f-1536x1015.jpg 1536w\" sizes=\"auto, (max-width: 1635px) 100vw, 1635px\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\taria-label=\"Enlarge\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.imageButtonRight\"\n\t\t\tdata-wp-style--top=\"state.imageButtonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Charles Garabedian,&nbsp;<em>Woman in the Bathroom<\/em>, 1973, resin, 88 1\/2 x 136 in. (224.8 x 345.4 cm)<\/figcaption><\/figure>\n\n\n\n<p>Two iconic works by Charles Garabedian are included in&nbsp;<em>L.A. Louver Celebrates 50 Years<\/em>. Garabedian\u2019s ambiguous, dream-like&nbsp;<em>Woman in the Bathroom&nbsp;<\/em>(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&nbsp;<em>Henry Inn<\/em>&nbsp;series. 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.&nbsp;<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;69d275a639f3b&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"69d275a639f3b\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1445\" height=\"1080\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/f3ac3a83-8237-3d9a-ab2c-93ae1453b8df.jpg\" alt=\"\" class=\"wp-image-4674\" srcset=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/f3ac3a83-8237-3d9a-ab2c-93ae1453b8df.jpg 1445w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/f3ac3a83-8237-3d9a-ab2c-93ae1453b8df-300x224.jpg 300w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/f3ac3a83-8237-3d9a-ab2c-93ae1453b8df-768x574.jpg 768w\" sizes=\"auto, (max-width: 1445px) 100vw, 1445px\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\taria-label=\"Enlarge\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.imageButtonRight\"\n\t\t\tdata-wp-style--top=\"state.imageButtonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Charles Garabedian,&nbsp;<em>Jean Harlow<\/em>, 1964, oil on canvas, 42 x 57 in. (106.7 x 144.8 cm)<\/figcaption><\/figure>\n\n\n\n<p>Created just after Garabedian completed his graduate degree in painting from UCLA, the languorously seductive oil painting&nbsp;<em>Jean Harlow&nbsp;<\/em>(1964)<em>&nbsp;<\/em>shows the artist turning from\u2014though not completely abandoning\u2014the scenic figurative narratives of his early classical training and moving toward a more abstract, allegorical form of figuration. Here we see the Golden Age actress as a serpentine reclining nude, elongated limbs curled in awkward grace within the frame of the painting. A dreamy landscape swirls around her, attenuated brushstrokes reflecting sinuous curves, twilight colors mirroring tones of skin, hair and eyes. Though its subject is a real person\u2014an icon of Garabedian\u2019s adopted hometown of Los Angeles\u2014the work nevertheless feels mythical. Here, as in many of the artist\u2019s works, particularly those from the 1970s onward, the landscape appears to arise from the figure, who reposes timelessly in an indifferent state of goddess-like dominion. At once erotic, carnal, and slightly ungainly, but also sovereign and transcendent, Garabedian\u2019s figure is an exemplar of what the artist continually strove to represent\u2014namely, something \u201cprimal, archetypal, and monumental.\u201d<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;69d275a63a70a&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"69d275a63a70a\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1635\" height=\"1080\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/8fac18a0-ed4f-8913-bc7f-74a5d507d2a9.jpg\" alt=\"\" class=\"wp-image-4676\" srcset=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/8fac18a0-ed4f-8913-bc7f-74a5d507d2a9.jpg 1635w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/8fac18a0-ed4f-8913-bc7f-74a5d507d2a9-300x198.jpg 300w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/8fac18a0-ed4f-8913-bc7f-74a5d507d2a9-768x507.jpg 768w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/8fac18a0-ed4f-8913-bc7f-74a5d507d2a9-1536x1015.jpg 1536w\" sizes=\"auto, (max-width: 1635px) 100vw, 1635px\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\taria-label=\"Enlarge\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.imageButtonRight\"\n\t\t\tdata-wp-style--top=\"state.imageButtonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Charles Garabedian in the studio, ca. 1985<\/figcaption><\/figure>\n\n\n\n<p>Charles Garabedian came to painting at age 32 and was almost 40 before he had his first solo exhibition. His career as an artist followed his service as a staff sergeant and gunner during World War II, and positions working for the tire company B.F. Goodrich, assembling cars for Chrysler, and clerking for the railroad. Garabedian studied literature and history at USC, and encouraged by his friend Ed Moses, he took art classes with Howard Warshaw, which led him to UCLA. Upon graduating with an MA in 1961, he stayed on to teach at the university. He also taught at the College of Creative Studies at UC Santa Barbara, and other established art institutions throughout the 1960s, \u201970s, and \u201980s. In 1978, Marcia Tucker, former Senior Curator at the Whitney Museum of American Art, included Garabedian\u2019s work in the exhibition,&nbsp;<em>\u201cBad\u201d Painting<\/em>&nbsp;at the New Museum in New York, which she had founded just a year prior. Numerous solo and group gallery and museum shows followed, culminating in a survey exhibition curated by Julie Joyce at the Santa Barbara Museum of Art in 2011, which drew widespread critical acclaim.&nbsp;<\/p>\n\n\n\n<p>In 1979, Garabedian joined L.A. Louver. Over 36 years of representing Garabedian, L.A. Louver mounted 17 solo exhibitions, including his last,&nbsp;<em>Sacrifice for the Fleet<\/em>&nbsp;in October-November 2015, which featured 18 works that Garabedian created over the last two years of his life. L.A. Louver's last interview with Garabedian in his studio can be found&nbsp;<a href=\"https:\/\/youtu.be\/2tl9gPwZhAI?si=FxcJ0U7O0qQ-8Q9P\" target=\"_blank\" rel=\"noreferrer noopener\">online here<\/a>.&nbsp;<\/p>\n\n\n\n<p>We invite you to experience Charles Garabedian\u2019s&nbsp;<em>Jean Harlow<\/em>&nbsp;and&nbsp;<em>Woman in the Bathroom<\/em>&nbsp;in&nbsp;<em>L.A. Louver Celebrates 50 Years<\/em>, on view through 14 June.<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;69d275a63af5d&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"69d275a63af5d\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1635\" height=\"1080\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/d611f521-55d0-e1ef-d0a5-77831d4d09d4.jpg\" alt=\"\" class=\"wp-image-4677\" srcset=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/d611f521-55d0-e1ef-d0a5-77831d4d09d4.jpg 1635w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/d611f521-55d0-e1ef-d0a5-77831d4d09d4-300x198.jpg 300w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/d611f521-55d0-e1ef-d0a5-77831d4d09d4-768x507.jpg 768w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2025\/09\/d611f521-55d0-e1ef-d0a5-77831d4d09d4-1536x1015.jpg 1536w\" sizes=\"auto, (max-width: 1635px) 100vw, 1635px\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\taria-label=\"Enlarge\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.imageButtonRight\"\n\t\t\tdata-wp-style--top=\"state.imageButtonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Charles&nbsp;Garabedian&nbsp;with his bird Ajax in the studio, late 1980s<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>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<\/p>\n","protected":false},"author":1,"featured_media":6957,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4670","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\r\n<title>In Focus: Charles Garabedian - L.A. Louver - Journal<\/title>\r\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\r\n<link rel=\"canonical\" href=\"https:\/\/www.lalouver.com\/journal\/in-focus-charles-garabedian\" \/>\r\n<meta property=\"og:locale\" content=\"en_US\" \/>\r\n<meta property=\"og:type\" content=\"article\" \/>\r\n<meta property=\"og:title\" content=\"In Focus: Charles Garabedian - L.A. Louver - Journal\" \/>\r\n<meta property=\"og:description\" content=\"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\" \/>\r\n<meta property=\"og:url\" content=\"https:\/\/www.lalouver.com\/journal\/in-focus-charles-garabedian\" \/>\r\n<meta property=\"og:site_name\" content=\"L.A. 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