Luchita Hurtado's P.O.V.
|Luchita Hurtado, untitled, 1970|
Despite these connections, Hurtado's art was largely unknown until son Matt started settling dad Lee's estate, uncovering much of Luchita's oeuvre in storage. In the Hammer's 2018 biennial, Hurtado was a popular, critical, and media favorite (part of the story being, 98-year-old artist makes good). Now LACMA is presenting "Luchita Hurtado: I Live I Die I Will be Reborn," organized with the Serpentine Galleries (London), where it debuted. Hurtado will turn 100 this Oct. 28.
|Luchita Hurtado, untitled, 1947–49|
|Installation view of Woman's Building paintings at LACMA|
Hurtado has said she disliked 1970s feminist art's use of the vagina as subject matter. But in the same decade she devised her own original approach to the body in the so-called point of view (POV) paintings. Hurtado records her nude body from the viewpoint of, well, her own eyes. As exercises in perspective they rival the originality of Parmigianino's Self-Portrait a Convex Mirror. Hurtado's self-portraits use no mirrors, instead documenting a visual reality too familiar to notice. (The rugs collected by Hurtado and Mullican supply a jazzy, Charles Scheeler note.)
|Luchita Hurtado, untitled, c. 1970s|
|Luchita Hurtado, Night into Day, 1978|