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Home»National»Evaluation: “Luchita Hurtado, Yo Soy” at Hauser & Wirth in L.A.
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Evaluation: “Luchita Hurtado, Yo Soy” at Hauser & Wirth in L.A.

VernoNewsBy VernoNewsJuly 20, 2025No Comments6 Mins Read
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Evaluation: “Luchita Hurtado, Yo Soy” at Hauser & Wirth in L.A.
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Luchita Hurtado, Couple with Offsprings, 1973; Oil on canvas, General: 132.1 x 246.4 cm / 52 x 97 in. © The Property of Luchita Hurtado Courtesy The Property of Luchita Hurtado and Hauser & Wirth, Photograph: Keith Lubow

How unusual that an artist of the caliber of Luchita Hurtado didn’t get her first solo present till the age of 53. Even stranger is that she ought to toil in digital anonymity till 2016, 4 years earlier than her demise. A detour into her linear language collection of phrase work, “Yo Soy,” the brand new present at Hauser & Wirth in downtown L.A., by Oct. 5, options 9 canvases, seven of which have been in her untitled debut exhibition in 1974 (considered one of which hasn’t been proven since).

Within the early Nineteen Seventies, Hurtado was lastly in a position to dedicate herself to her paintings, even getting a studio outdoors her dwelling. Up till then, her time had been spent elevating youngsters, and her artwork observe was consigned to the kitchen desk when the household was asleep or each time she might carve out time. A current collection of self-portraits entitled I Am, an creative first-person view trying down at her bare physique, prefigured what adopted—Yo Soy.

“This explicit exhibition takes place in a really totally different time in Luchita’s life, a time when she was empowered by the feminist motion in L.A.,” Cole Root of the Luchita Hurtado Property informed Observer. “In these works, we see a distinct scale of artwork than we see in her work prior to now and after. For this exhibition, she made line work.”

SEE ALSO: Ali Cherri Honors Life, Loss and Defiance in ‘How I Am Monument’

A nook piece, Couple with Offsprings, is in daring orange and yellow over 4 panels. The sleek strains have been utilized utilizing a modified squeeze bottle with a sponge or rag tied across the high so the paint creates a continuous line. When considered sideways, the panels learn “youngster,” “youngster,” “man” and “lady.”

“I had response to the present, however nobody noticed the letters, the messages. Simply the colour and power,” she wrote on the time in a doc on show. “It didn’t appear necessary that they weren’t totally seen, and I assumed it superfluous to elucidate.”

A square canvas painted with dense, overlapping geometric shapes—mostly diamonds and triangles—composed of red, black, and gray stripes that create a rhythmic, optical pattern across the entire surface.A square canvas painted with dense, overlapping geometric shapes—mostly diamonds and triangles—composed of red, black, and gray stripes that create a rhythmic, optical pattern across the entire surface.
Luchita Hurtado, Face for Arcimboldo, 1973; Oil on canvas, 189.9 x 189.9 cm / 74 3/4 x 74 3/4 in. © The Property of Luchita Hurtado
 Courtesy The Property of Luchita Hurtado and Hauser & Wirth Photograph: Jeff McLane

Residing in Santa Monica along with her third husband, artist Lee Mullican, Hurtado was an unique member of the Los Angeles Council of Ladies Artists. The 12 months 1971 marked a turning level for her, particularly a gathering of native ladies artists organized by Joyce Kozloff.

“There have been not less than fifty ladies, and we started the assembly by stating our title and occupation,” Hurtado recalled. “When it was my flip, I stated, ‘Luchita Mullican, painter.’ Throughout the room, I hear June Wayne ask in what appeared a really penetrating voice, ‘Luchita what?’ ‘I stand corrected,’ I replied. ‘Luchita Hurtado, painter.’”

A 12 months later, she exhibited considered one of her I Am self-portraits in Judy Chicago and Dextra Frankel’s group present, “Invisible/Seen,” on the Lengthy Seashore Museum of Artwork. The next 12 months, Chicago and fellow former CalArts school members graphic designer Sheila Levant de Bretteville and artwork historian Arlene Raven established the Feminist Studio Workshop, taking the lease close to downtown on what would grow to be the Lady’s Constructing. They sublet area to efficiency artwork teams in addition to native chapters of the Nationwide Group for Ladies, the Ladies’s Liberation Union, Related Ladies’s Press, the Sisterhood Bookstore and three artwork galleries, considered one of which exhibited “Yo Soy.”

Face for Arcimboldo references Renaissance painter Giuseppe Arcimboldo, who made portraits of individuals out of flowers in a single, greens in one other, fish or birds. Hurtado’s geometric portray in shades of pink makes use of phrases, every written rather than the merchandise it describes—mouth, jaw, brow, eye, and many others.

Darkish blue and purple patchwork hides the title, Earth & Sky Interjected, a canvas lower into strips and sewn again collectively. A splash of bleach runs pale and white strains over heavy shades of blue in Common Talisman, which hasn’t been exhibited in over 50 years.

An abstract close-up of a painted canvas filled with diagonal stripes in vivid orange, pink, purple, black, and white, with a large circular target-like shape in the upper right corner made of concentric rings and layered textures.An abstract close-up of a painted canvas filled with diagonal stripes in vivid orange, pink, purple, black, and white, with a large circular target-like shape in the upper right corner made of concentric rings and layered textures.
Luchita Hurtado, Untitled (element), 1974; Oil on canvas, 121.9 x 101.3 x 2.5 cm / 48 x 39 7/8 x 1 in. © The Property of Luchita Hurtado Courtesy The Property of Luchita Hurtado and Hauser & Wirth Photograph: Jeff McLane

Born in 1920 in Maiquetía, Venezuela, Hurtado moved to New York when she was eight. Whereas learning at Washington Irving Excessive Faculty, she took courses on the Artwork College students League and later volunteered at La Prensa, a Spanish-language newspaper, the place she met Chilean journalist Daniel de Photo voltaic, her first husband. Within the early Forties she labored as a style illustrator for Condé Nast and as a muralist for Lord & Taylor.

“She was built-in right into a group of artists round New York. Her first husband introduced dwelling Ailes Gilmore, Noguchi’s sister and a dancer at Martha Graham,” says Root, itemizing Noguchi and Rufino Tamayo as influences. “She was in Mexico Metropolis within the Forties, and he or she talks about figuring out Diego and Frida, going to events with Leonora Carrington. Man Ray took her portrait right here in L.A.”

After 1974, Hurtado toiled in obscurity and was widowed in 1998 when Mullican handed. Practically twenty years later, his former studio director, Ryan Good, was cataloguing his property when he discovered works signed “LH.” Hurtado, who usually took her husband’s title, defined that these have been her initials.

Good confirmed the work to Paul Soto, founding father of Park View Gallery, who mounted her second solo present, “Luchita Hurtado: Chosen Works, 1942-1952.” A number of of her I Am portraits and the summary landscapes that grew out of them have been on exhibit within the Hammer Museum’s 2018 “Made in L.A.” And a 12 months later Hans Ulrich Obrist, curator and inventive director of the Serpentine Galleries, mounted her first worldwide solo present, “Luchita Hurtado: I Reside I Die I Will Be Reborn.”

“I nonetheless have a built-in resistance to success within the massive enviornment of the industrial world,” she wrote within the Nineteen Seventies. “The considered coping with various dozen folks appears unreasonable to me, however who is aware of, sometime quickly I’ll study to simply accept the thorn together with the blossom.”

In 2019, Hurtado appeared on the TIME100 listing of most influential folks. On the evening of August 13, 2020, she died of pure causes at her dwelling in Santa Monica, only a few months in need of her a hundredth birthday.

A rectangular painting made up of interlocking rectangular blocks, each filled with curved or straight lines in repeating patterns of red, yellow, black, and gray, forming a symmetrical grid with a central square.A rectangular painting made up of interlocking rectangular blocks, each filled with curved or straight lines in repeating patterns of red, yellow, black, and gray, forming a symmetrical grid with a central square.
Luchita Hurtado, Self Portrait, 1973; Oil on canvas and thread, three components, General: 132.1 x 224.2 x 2.5 cm / 52 x 88 1/4 x 1 in © The Property of Luchita Hurtado Courtesy The Property of Luchita Hurtado and Hauser & Wirth Photograph: Jeff McLane

Extra exhibition opinions

Hauser & Wirth Spotlights Luchita Hurtado’s Underrecognized Geometric Word Paintings



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