As the film’s press material candidly declares: “Over the past five decades, he has been consistently inconsistent, confounding critics and galleries with dramatic changes of direction whenever it seemed he was about to be overtaken by popular acclaim.” A maiden effort Such reversals have studded Foulkes’ career. What started as a 20-minute film about Foulkes finishing “The Lost Frontier” - the most ambitious painting of his career, about the cultural and ecological destruction of Southern California - morphed into a full-length documentary after the filmmakers followed him to New York City for the painting’s gallery opening, which was a flop. This led to the film, which turned into eight years of filming and editing. Observing their relationship, influential editor and Art in America critic Raphael Rubinstein asked Halpern why she wasn’t making a documentary on Foulkes. She cast him for a few scenes in an earlier feature film she wrote and directed, and established a friendly relationship. Halpern, the daughter of an artist, encountered Foulkes when both lived in the Brewery Art Colony in downtown Los Angeles. The Visions and Voices event will feature a conversation afterward between Foulkes and Tamar Halpern ’92, MFA ’97, who directed the film with Christopher Quilty. He’s also a musician whose disagreements with bandmates led him to build a fanciful instrument called “The Machine” that he plays solo.įoulkes is the subject of Llyn Foulkes One Man Band, an appealing documentary to be screened Feb. Llyn Foulkes, “the most famous artist you’ve never heard of,” takes creative eccentricity to new levels.Ī painter who obsesses over pieces, reworking them for years at a time, Foulkes once spent so much time creating and destroying a painting that it cost him his marriage. Free, but reservations are required: Go to bit.ly/llynfoulkes
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