{"id":26419,"date":"2023-10-11T15:44:35","date_gmt":"2023-10-11T15:44:35","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/?p=26419"},"modified":"2023-10-11T16:09:20","modified_gmt":"2023-10-11T16:09:20","slug":"laura-whitcomb","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/laura-whitcomb\/","title":{"rendered":"Laura Whitcomb"},"content":{"rendered":"

\"\"In 1932, Paulina Peavy<\/a> (1901 \u2013 1999) attended a s\u00e9ance at the home of Ida L. Ewing in Santa Ana, California, where she claims to have met a UFO named Lacamo, a spirit from another world. From that moment forward Peavy, a university-trained artist, painted with a brush that \u201cmoved on its own.\u201d In order to better channel Lacamo\u2019s energies, Peavy also constructed and wore masks when she painted, occasionally signing her works with Lacamo\u2019s name alongside her own.<\/p>\n

Peavy\u2019s entire life<\/a> was dedicated to promoting her worldview and various philosophies through drawing, painting, sculpture, text, and film. Her works on paper depict the artist\u2019s individualized visual cosmos using shapes that resemble energy beams, solar systems, and procreative organic shapes signifying genitalia, ova, fallopian tubes, sperm, and fetuses. Peavy\u2019s life and work were constantly evolving to reflect her belief in mankind\u2019s evolution to an androgynous one-sex through contact with aliens.<\/p>\n

\"\"Laura Whitcomb<\/a> who is interviewed here about Paulina Peavy, is a surrealist scholar who focusses on the surrealism\u2019s impact on the West Coast. She has worked at the Gala \u2013 Salvador Dal\u00ed\u00a0Foundation at the\u00a0Dal\u00ed\u00a0\u00a0Theatre Museum\u00a0in\u00a0 Figueres, Spain while also contributing essays for exhibitions\u00a0Dal\u00ed\u00a0\u00a0Museum Florida.<\/p>\n

After a\u00a0 curatorial residency at the Lucid Art Foundation she worked as an archivist for the second generation surrealist Gordon Onslow Ford contributing an essay for the Sonoma Valley Museum\u2019s exhibition on the S.S. Vallejo ferryboat where Surrealists and Beat era artists notably which was followed by her curated show Warner Jepson:<\/em> Indeterminate Convergences<\/em> at the Center for the Arts Eagle Rock which presented Wallace Berman, Ruth Asawa, Bruce Conner and others. In 2019, Whitcomb organized and was the curatorial director for the retrospective of the San Francisco Dilexi Gallery which took place at six galleries across Los Angeles and San Francisco.<\/p>\n

In 2022 she curated Luminaries of Light and Space<\/em> at LAX Airport produced by Dublab which included these artists along with Robert Irwin, De Wain Valentine, Fred Eversley, Hap Tivey and Gisela Colon.\u00a0Whitcomb witnessed Scharf\u2019s work in the 1980s and in the early 90\u2019s Whitcomb was the designer and director of Label which collaborated with the Keith Haring Estate. In 2010 Label became Label Curatorial which develops exhibitions and catalogs that highlight diverse medias in the arts converging focusing on showcasing its exhibitions in historic landmarks to draw attention to their preservation.<\/p>\n

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Paulina Peavy (1901 \u2013 1999) 82 Modern Art, n.d. Mixed media 7.75 x 10 x 0.5 inches<\/figcaption><\/figure>\n
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Paulina Peavy (1901 \u2013 1999) Phantasma 59, c. 1980s Acrylic on canvas board 24 x 30 inches<\/figcaption><\/figure>\n
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Paulina Peavy (1901 \u2013 1999), Untitled, c. 1937 \u2013 1939, Oil on panel, 72 x 48 inches<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

In 1932, Paulina Peavy (1901 \u2013 1999) attended a s\u00e9ance at the home of Ida L. Ewing in Santa Ana, California, where she claims to have met a UFO named Lacamo, a spirit from another world. From that moment forward Peavy, a university-trained artist, painted with a brush that \u201cmoved on its own.\u201d In order […]<\/p>\n","protected":false},"author":3,"featured_media":16239,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-26419","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/26419","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=26419"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/26419\/revisions"}],"predecessor-version":[{"id":26472,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/26419\/revisions\/26472"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/16239"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=26419"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=26419"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=26419"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}