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This article was downloaded by: [Universiteit Twente]On: 13 November 2014, At: 15:35Publisher: Taylor & FrancisInforma Ltd Registered in England and Wales Registered Number: 1072954Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH,UK
Psychological Perspectives: AQuarterly Journal of JungianThoughtPublication details, including instructions forauthors and subscription information:http://www.tandfonline.com/loi/upyp20
About the Artist: CharlesGarabedianNancy MozurPublished online: 05 Jul 2010.
To cite this article: Nancy Mozur (2010) About the Artist: Charles Garabedian,Psychological Perspectives: A Quarterly Journal of Jungian Thought, 53:2, 133-134
To link to this article: http://dx.doi.org/10.1080/00332921003780521
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Psychological Perspectives, 53: 133–134, 2010Copyright c© C. G. Jung Institute of Los AngelesISSN: 0033-2925 print / 1556-3030 onlineDOI: 10.1080/00332921003780521
About the Artist: Charles Garabedian
Nancy Mozur
C harles Garabedian’s paintings transport one to a land where time andspace are eternal. Through his art, we might get a glimpse of a cosmos
forming from a simple sphere or the first couple populating the earth, un-abashed at being watched. A hero, clothed only in his valor, embarks on ajourney of discovery, while a Kore in the throes of ecstasy dissolves afterhaving contact with the divine.
These works transform into epic dramas, expansive against the hori-zon. They can reveal the rubble from a mythic war whose relics are pillarsand limbs, dismembered as the gods look on, or they can serve as timelinesto our history, posing the question, “Have we really learned from this or arewe doomed to repeat?”
Garabedian’s figures soar, tumble, crash, and die against the canvas’sedge. They suggest human vulnerability and the enigmatic struggle betweenbody and soul. Simultaneously, abstraction and representation coexist withinthe picture frame, operating in harmony and discord. Sometimes all that isleft in the aftermath of this vision are the fragments of a memory of whatonce was. Ironically, the artist has to move on.
“I’m constantly interested in what’s next. Where can I take thisidea that I have? In other words, one idea leads to another, andanother and at about the ninth level down, you really start gettinginto things that you hadn’t anticipated. And this is what I thinkwe all want as artists, to get into the kind of areas that we didn’tknow existed . . . is there something here that’s kind of mysteri-ous, curious, and profound? . . . I have three key words [that driveme]: Monumental, Archetypal, Primal, and I can’t achieve anyone of those three. Not one of them.”1
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134 PSYCHOLOGICAL PERSPECTIVES � VOLUME 53, ISSUE 2 / 2010
In the Homeric spirit, these pictorial concepts often echo a restlessheart in search of the psyche.
Born in Detroit, Michigan of Armenian heritage, which was known toengender a rich tradition of manuscript illumination, Charles Garabediancame to painting late in life after seeing combat in World War II. In the 1960s,he received a Master of Arts degree from UCLA and embarked on a teachingcareer, which lasted for over thirty years in art programs throughout the Cal-ifornia University system. At the same time, he has exhibited his work bothnationally and internationally, having had solo shows in such venues as theLa Jolla Museum of Contemporary Art (La Jolla, CA, 1981) and the LuckmanGallery (Cal State, Los Angeles, 2003).
Garabedian has received the American Academy of Arts and Letters(2000), a Guggenheim Foundation Fellowship (1979), and a National En-dowment for the Arts Fellowship (1977). He has a number of pieces in suchpublic collections as the Metropolitan Museum of Art, New York City; the LosAngeles County Museum of Art; and the Whitney Museum of Art, New YorkCity. Currently his artwork is represented at L.A. Louver Gallery, Venice, CA,where he has enjoyed a longstanding relationship over the years.
NOTE
1. Interview with Pierre Picot, in “On Harmony, Dissonance, The Pursuit ofIllusion and the Logic of its Achievement,” as published in a cataloguefor the exhibition, The Archipelago of Time, L.A. Louver, Venice, CA, 12September–19 October, 1996.
Special thanks to Charles Garabedian as well as Kimberly Davis, Alice Flather,
Jeff McLane and L.A. Louver Gallery for their assistance in allowing the repro-
duction of the artist’s work. All photography of Garabedian’s art is courtesy of
L.A. Louver Gallery, Venice, CA. Inquiries concerning the artist’s work can be
made through L.A. Louver Gallery, Venice, CA, [email protected].
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