David Kordansky Gallery is pleased to announce Weed Pots, an exhibition of ceramic vessels by Doyle Lane. Curated by artist Ricky Swallow, the show will feature more than five dozen examples of Lane's iconic, small-scale weed pots made between the late 1950s and late 1970s, on loan from collections throughout California. Weed Pots opens on July 22 and will remain on view through August 29, 2020. David Kordansky Gallery is open to the public, Tuesday through Saturday, 10:00 am–6:00 pm. Timed reservations are recommended. To make a reservation and for visiting information, please click here.
Doyle Lane (b. 1925, New Orleans; d. 2002, Los Angeles) is a significant, if underknown, voice in West Coast ceramic sculpture. His delicate vases and rigorous wall murals are expressions of a masterful command of traditional techniques; an innovative, tactile approach to glazing; and a quietly visionary understanding of geometry and three-dimensional form. He worked from a studio in the El Sereno district of Los Angeles for the majority of his career, producing highly focused, exquisitely proportioned objects sought after by many architects and designers throughout the region. Very much a mid-century 'production potter,' Lane would sell his pots directly to loyal collectors while also pursuing large-scale architectural commissions. As an African-American artist, he exhibited at notable Los Angeles galleries founded during the Civil Rights and Black Arts movements, including Ankrum Gallery and Brockman Gallery.
Lane’s weed pots—so named because they were designed to hold individual sprigs and dried flowers—were among his most consistent sites of experimentation. In a 2014 essay on Lane's work, Swallow describes them as 'jewels of California modernism [that] are most credibly understood and appreciated when viewed in groupings, which is how Doyle conceived and marketed them in both gallery presentations and architectural commissions. In this context, one can see the subtle shifts in scale and form of the pots, some plump and spherical with tiny collared throats, some wider—more UFO-like (think Nelson lamp) with flattened openings just large enough to support a single twig. This combined with the matte-satin glazed surfaces, varying in colour and activity, creates a real rhythm in the groupings and gives one an abridged glimpse into the working nature and diversity of Lane’s talents.'
Weed Pots provides a rare window into the oeuvre of a figure whose contributions to the cultural landscape of Southern California—and beyond—continue to be fully appreciated.
Doyle Lane has been the subject of solo exhibitions at The Landing at Reform Gallery, Los Angeles (2014); Los Angeles City College Art Gallery, California (1970); Brockman Gallery, Los Angeles (1968); and Ankrum Gallery, Los Angeles (1967–1968). A major mural by Lane is on long-term view at the Huntington Library, Art Collections, and Botanical Gardens, San Marino, California. His work has been featured in numerous group exhibitions, including California Design, 1930–1965: Living in A Modern Way, Los Angeles County Museum of Art (2012); California Black Craftsman, Mills College Art Gallery, Oakland, California (1970); Objects: USA, Smithsonian American Art Museum, Washington, D.C. (1970); and several iterations of the California Design shows at the Pasadena Art Museum, California (1958–1969). Lane’s work is included in the permanent collections of the Smithsonian American Art Museum, Washington D.C.; Oakland Museum of California; Los Angeles County Museum of Art; and California African American Museum, Los Angeles, which holds his archives.
Press release courtesy David Kordansky Gallery.