His monumental Lost Frontier is “taken away” to a gallery show in New York, which Foulkes feels is failure. I’m never really done with a painting they just take it away from me. As deadlines for major shows approach, Foulkes admits: Halpern and Quilty filmed Foulkes over a seven year period as he works on two huge paintings, one of which he admits helped bring about the end of his second marriage. His work in the 1960 and 70s, often featuring Mickey Mouse as a symbol of the decay of America, defying classification. He shifted radically to exploded heads, then again to more political art. As his own landscapes grew in popularity, he grew disenchanted with having to paint essentially the same image, and from photographs. I feel I am one man band in art and in music.įoulkes’ relationship with Ferus was severed when he admitted he didn’t care for a fellow Ferus artist’s paintings. In tonight’s film Llyn Foulkes: One Man Band, the artist tells directors Tamar Halpern and Chris Quilty (our guests tonight, along with Los Angeles gallery owner/art world insider Mat Gleason): One of the youngest painters to ever show at Los Angeles’ historic Ferus Gallery (Warhol’s first show was there), Foulkes constantly reinvented, built up and tore down expectations of what his art should be, all the while experimenting with The Machine, his one man band setup. And horn section, accordion, and cowbells, too. Artist Llyn Foulkes marches to the sound of his own drum – oh heck, he is his own drum.

Llyn foulkes one man band