1976

1976 (1975) (1977) (1970-1980) (1980-1990Table of Contents

Sources

Joseph Byrd Yankee Transcendoodle: Electronic Fantasies for Patriotic Synthesizer, Takoma Records, Inc., C-1051, 1976, See Entry

Richard Diebenkorn: Paintings and Drawings, 1943-1976, with essays by Robert T. Buck, Jr., Linda L. Cathcart, Gerald Nordland, and Maurice Tuchman. Albright-Knox Art Gallery: Buffalo, NY, 1976, 1970, 1967, 1966, 1955, See Text

David Clark L.A. On Foot: A Free Afternoon, Camaro Publishing: Los Angeles, 1976, 1927, 192See Text

George T. Hastings Trees of Santa Monica (Revised by Grace L. Heintz), Friends of the Santa Monica Library Committee for Trees of Santa Monica: Santa Monica, CA, (1981), 1976, 1956, 1944    See Text

Lawrence Lipton Bruno in Venice West and Other Poems, Venice West Publishers: Van Nuys, California, 1976,   See Text

James W. Lunsford The Ocean and the Sunset, The Hills and the Clouds: Looking at Santa Monica, illustrated by Alice N. Lunsford, 1983, 1976, 1900, 1894 See Text

Barbara Roberts Letter to Kelyn, Ruth, and Alicia, at 2421 Third St., Santa Monica, Oct. 11, 12, 1976, 2 pp., See Text

Santa Monica Planning Division Santa Monica Landmarks Tour, 2003.
     32. Looff Hippodrome, 1916
     33. Santa Monica Pier 
See Text

Amanda Schacter (ed.) Santa Monica Landmarks Santa Monica Landmarks Commission, 1990.
     8 Santa Monica Municipal Pier See Text

Jack Smith The Big Orange Ward Ritchie Press: Pasadena, CA, 1976. 252 pp.
     Sister Aimee's Temple, 1926
1922
     Venice 
1906
     Watts Towers 
19591923
     Santa Monica 
19331928, 19001875186917691542 See Text

Jeffrey Stanton Santa Monica Pier: A History from 1875 to 1990, Donahue Publishing: Los Angeles, CA, 1990, 1976   See Text

Jodi Summers Days on the Market, 2 May 2003's Santa Monica Daily Press, 2003, 1976, 1913, 1911 See Text

2421 Third 1976 Post Card See Image

Betty Lou Young and Randy Young Santa Monica Canyon: A Walk Through History Casa Vieja Press: Pacific Palisades, CA, 1997, 182 pp., 1976 See Text

Associated Sources:

Windward Avenue Sketches (1976) by Venice historian John "Dr. Video" Hunt, 2005

Featured Quote:

     "Each day when Diebenkorn drives from his home to his studio down the coast, he follows the Pacific Coast Highway in West Los Angeles along the wide stretches of Santa Monica beachfront below the earthen cliffs. The mellow sparkle and soft golden richness of tone bestowed upon this landscape by the California sun are unique. Sam Francis, Diebenkorn's friend and neighbor, describes the effect of light in Los Angeles as "clean and even bright in haze" and he continues to prefer it to all other light he has worked in.

     "The Ocean Parks are a staggering triumph on Diebenkorn's part, summarizing to date a career of concern to turn his experience, sensitivity to observation, and awareness of his immediate environment into a language of non-objective abstraction. The wash quality applied liberally in fields of blues and greens across the surface of many of the works and the wide field of golden color of others contribute to the impression that these paintings are celebrations of the California coast line, ocean and hills virtually at the artist's doorstep.

     "The banding and marking-off of fields is also generally conceived to emphasize vertical format although no fixed linear system defines or predicts color. The large expanses of the loosely worked green and blue fields in Ocean Park No. 54, 60, 64, 66 and 88, built up over the luminous foundations of worked, white grounds are unmistakably conceived in the presence of the sea. The artist's new, recently completed studio near the location of the former one is nearer the ocean and from a back, open porch one can catch a glimpse of the languid, calm Pacific . . . Ocean Park No. 68 presents an unusual note in the series because of its horizontality and brilliant emerald tonalities. Diebenkorn has generally avoided the wide format, the expected horizontality of still life and landscape, in favor of the vertical one more receptive of tectonic concern and tighter space. Many earlier Ocean Parks such as No. 7, 10 and 27 refer to the land and earth in hues of amber and golden brown . . . Ocean Park No. 27, with its pronounced and solid structure, recalls the urban landscapes of the early sixties while Ocean Park No. 10's juxtaposition of both lively and inanimate greys conjures up scenes of brilliant sun breaking over the urban industrial zones of Los Angeles. . . . "

-Robert T. Buck, in Richard Diebenkorn pp. 42, 43-48 See Text

Documents


 Kelyn Roberts 2017