Pacific Standard Time has come to a close and here is a recap on Olson Visual’s contributions as a sponsor in over thirty exhibitions. PST was a collaboration of galleries and institutions to celebrate the birth of the LA art scene. This was a large undertaking that lead to a groundbreaking journey of culture and arts dating from 1945 to 1980.

Los Angeles International Airport, 1964, Garry Winogrand. Gelatin silver print. 13 1/2 x 8 15/16 in. © 1984 The Estate of Garry Winogrand

Olson Visual was involved In Focus: Los Angeles, an exhibition that took place at the famous J. Paul Getty Center. 30 photographs were taken from their permanent collection of both iconic and unknown artists that capture moments in and around LA. (

Also at the Getty was Crosscurrents in L.A. Painting and Sculpture 1950 – 1970 that was a post war exhibit showcasing Los Angeles art of modern times. It was a time of surf and car culture. This later materialized into an art practice that focused primarily on the process of craft.  Betye Saar and Ken Price were one of many artists selected in this exhibition. (

Next, OV took on the project Naked Hollywood, the first museum show of the famous tabloid photographer, filmmaker, and author; Weegee.  His photographs were prominently displayed at MOCA which provided an in depth look into the eccentric and celebrity driven work of this amazing photographer. (

Olson Visual supplied amazing graphic elements for an exhibition on De Wain in 1976 who created Gray Column, a large sculpture that would become an iconic sculpture of the 1970s.  Forming from a large slab, the sculpture in its entirety stood 12 feet high.  The exhibition titled, Start to Finish, narrates the process of this magnificent work of art. (

Chris Burden, Untitled, 1966. Bronze. 6 1/2 x 5 in. (16.5 x 12.7 cm). Collection of the artist. © Chris Burden. Photograph courtesy of the artist.

OV also contributed their amazing printing talents at the Pomona College Museum of Art’s It Happened at Pomona: Art at the Edge of Los Angeles 1969 – 1973. This show chronicles the impact of large-scale installation art from Pomona that later challenged the rest of the art world. It references how light and space, minimalism and conceptual art had a prominent beginning at Pomona College. Some of the artists included James Turrell, Chris Burden and Michael Asher. (

California Design is the Pacific Standard Time exhibition at Los Angeles County Museum of Art showcased Modern Design in sunny Southern California.  It is one of the first major studies with more then 300 objects of metalwork, cars, furniture, clothing, graphics, and textiles.  This show focuses on design found in California from 1930 – 1965.  Therefore, Olson Visual was the leading choice to illustrate such an important show with various techniques of printing and graphics. (

All photos taken by Andrew Brom and courtesy of A+D Museum.

The Words of Charles and Ray Eames was a retrospective at the A+D Museum of common tools and objects.  Olson Visual was chosen as the graphic production of this comprehensive look into the lives of Eames. Quotes of everyday objects were displayed continuously throughout the exhibition and were designed and installed by OV.  This gave continuity to the show and narrated the objects on display.  The idea of covering the exhibition with typography was inspired by the book, “100 Quotes by Charles Eames”.  Some of the quotations were:  “Toys are not really as innocent as they look. Toys and games are the preludes to serious ideas.” (

Greetings from L.A.: Artists and Publics, 1950 – 1980 was an exhibition at the J. Paul Getty Museum that explored the many social and political art that came out of Southern California.  It revealed how artists at this particular time were noted for bringing the work from the white walls of a gallery into other diverse environments. (

The Fowler Museum along with UCLA’s Chicano Studies Research Center (CSRC), presented “Mapping Another L.A.”, an exhibition that examines the cultural movement of Chicano history. In conjunction with Pacific Standard Time, and two other associated retrospectives at the Los Angeles County Museum of Art and Autry National Center; Fowler takes a deep look into the empowerment of social movement.  Olson Visual provided reflecting graphics to better illustrate this powerful message.  We forget that Los Angeles was once a segregated class system and this show reminds us the importance of this historical account of L.A.’s civil rights movement.  “In Europe all Roads lead to Rome, In Southern California all Freeways lead to East Los Angeles.”

For more information regarding Pacific Standard Time, please visit the website at

One Reply to “Olson Visual was involved in over 30 shows in Pacific Standard Time”
  1. Did you make the 5×12 foot blowup of my Sunset Strip at Horn Avenue photo used in the Getty Overdrive show that I saw yesterday? The file was a 350 meg drum scan done by Bowhaus. The quality of the print was perfect.
    Julian Wasser Los Angeles.
    818 398-5482.

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