PLAYBOY & EROTICISM:
The Second Epoxy Resin Period (1967 to the late 1970s)
J. Barry O'Rourke, Playboy photographer, Frank Gallo, undated; Frank Gallo Archives
PLAYBOY & EROTICISM:
The Second Epoxy Resin Period (1967 to the late 1970s)
J. Barry O'Rourke, Playboy photographer, Frank Gallo, undated; Frank Gallo Archives
FRANK GALLO & RAQUEL WELCH: The Cover of Time
Frank Gallo, Raquel Welch (cover), 11-28-1969
Time Magazine (Download here)
Based upon the notoriety gained from exhibitions of his work at leading national museums and the 1968 Venice Biennale, Gallo received a commission by Time Magazine for a sculpture to adorn the cover of its November 28, 1969, issue. The cover story, Show Business: Myra/Raquel: The Predator of Hollywood, addressed issues of femininity and strength in Hollywood via an analysis of the character of Myra Breckinridge from Gore Vidal's 1968 book of the same name and the actress who played her in the subsequent 1970 film adaptation, Raquel Welch. From the opening of the article:
"Why is there a Raquel? This is the Age of Lubricity—a time of topless shoeshine parlors and bottomless gogo dancers, of mouthwash ads that assure sexual triumph, of the Pill and unlimited campus overnights. Films like I Am Curious (Yellow) and Coming Apart depict explicit sexuality at your friendly neighborhood theater. Yet somehow there is still Raquel the Sex Goddess, who has bared neither entire breast nor buttock to the public eye, and whose career has never been galvanized by the iridescent zinc of scandal. Even she admits: "I think that whole sex-symbol thing is an anachronism. . . .
Raquel is raw, unconquerable, antediluvian woman. She dwells on the dark side of every man's Mittyesque moon; she is the nubile savage crying out to be bashed on the skull and dragged to some lair by her wild auburn mane."
Who better than Frank Gallo to capture the essence, beauty, and power of Raquel?
FRANK AND PLAYBOY: From "Simple Beauty" to Erotism
The cover of the January 1967 issue of Playboy magazine featured, among other images, a framed sculpture graphic with the caption, "Famous Artists Interpret the Playmate Playboy." This image, a photograph of Frank Gallo's Standing Figure, 1966, marked the artist's initial foray into the world of Playboy. In the accompanying article, eleven of the best-known contemporary painters and sculptures--including Salvador Dali, Ben Johnson, Ellen Lanyon, Larry Rivers, George Segal, Andy Warhol, and Frank Gallo--transformed the image of the Playmate into fine art. The stated intent of the project follows:
"Conceived a year ago by Hefner and Playboy Art Director Arthur Paul, the project brings together 11 topflight fine artists with a spectrum of experience ranging from the radical European discoveries of the century's first decades to today's American-led experimentation. The 11 were not asked to use specific materials, nor to interpret any single girl--indeed, most chose to depict All Playmates, in uniquely personal ways."
The art work from selected artists featured in the issue appear below.
Cover, Playboy, January 1967
(Download here)
Frank Gallo
Standing Girl , 1966
Playboy, January 1967
Epoxy resin; 65" x 18" x 12"
(Download here)
Frank described the figure as "‘a delicate… shy, youthful Playmate figure," possibly in the early stages of puberty. When asked about his concentration on the female form at the time of the writing of the article, Frank offered that it is "the only indestructible and inspiring resource of simple beauty left to me."
GALLO'S GIRLS, Playboy Magazine, November 1970
In a seven page pictorial titled Gallo's Girls, Playboy magazine features eight epoxy resin sculptures by Frank Gallo, an artist who "captures the elusive essence of feminine grace." The introductory section of the pictorial states:
The female figures of Illinois sculptor Frank Gallo exude a sensuous eroticism that belies their aura of beguiling innocence and naiveté. This is the way he sees modern woman--the subject of almost all his work. "The feminine form," says Gallo, "is the only indestructible and inspiring resource of simple beauty left to me," (repeating the same refrain from the January 1967 issue of Playboy. )
Many of the featured sculptures had already appeared in national and international exhibitions, to much popular and critical acclaim. At the conclusion of the pictorial, Gallo says of his creations:
"I don't intellectualize my work. The figures are simply objects of adoration."
The eight Gallo sculptures featured in the article appear below; when possible and/or available, images of the sculptures from museums or online listings have been used (rather than the photographs from the Playboy issue).
Table of Contents, Playboy, November 1970
(Download here)
Frank Gallo
Quiet Nude 1966
University of North Carolina, Weatherspoon Museum, purchase with funds from the Benefactors Fund and Anne Wortham Cone
Epoxy resin; 31" x 15" x 27"
(Download here)
Frank Gallo
Turnstile Figure, 1967
Kalamazoo Institute of Arts, Director's Fund
Epoxy resin and wood; 5'-3" x 33" x 38"
(Download here)
Frank Gallo
Raquel Welch, 1969
Smithsonian Institution, National Portrait Gallery, Gift of Time Magazine, 1978
Epoxy resin; 43-1/2" x 20" x 11
(Download here)
Frank Gallo
Girl in Sling Chair, 1964
Mutual Art
Epoxy Resin; 37-1/4" x 33-1/2" x 21-1/2"
(Download here)
FRANK GALLO, SEXPRESSIONIST, Playboy Magazine, February 1975
In a two page pictorial titled Frank Gallo, Sexpressionist, Playboy magazine introduced readers to Gallo's most recent foray into things feminine, sensuous, and beautiful, namely his collection of sculptures, Twelve Erotic Fantasies, created in 1974, and first exhibited by Circle Gallery, LTD. According to Gallo, "I'm interested in the beauty of the female figure, and I'm trying to express it the way I see it. I think I feel it more poignantly than a lot of people." These sculptures were much more delicate than his previous works, adhering much closer in scale and contour to the female form. . . . in truth, Gallo's new vision embraced "the erotic." The following brief text introduced the two page pictorial:
Back in November of 1970, when we ran a seven-page feature on the sensuous sculptures of Frank Gallo, the artist described the female form as "the only ... inspiring resource of simple beauty left to me." Today, more than four years later, Gallo feels much the same, although his vision has expanded to include the erotic. "A self-indulgent cathartic expression" is the way he characterizes his series of miniature sculptures Twelve Erotic Fantasies, several of which appear on these pages.
The Playboy pictorial included photographs of five of the Twelve Erotic Fantasies (pictured below) each with an accompanying quote from Gallo or a brief explanatory statement about the piece. The twelve fantasies encompassed: 1) Dream One through Dream Four, 2) Rescue One and Rescue Two, 3) Visitation One through Visitation Three, 4) Eros Visiting Earth, 5) Night Visitor, and 6) Rocket Man.
Interestingly, Gallo used the words "chauvinistic" and "self-indulgent" to describe selected pieces.
Exhibit Catalog for Twelve Erotic Fantasies, 1974
Circle Gallery Ltd.; Frank Gallo Archives
(Download here)
Frank Gallo
Eros Visiting Earth, 1974
Epoxy resin (Download here)
In this sculpture, Eros instills his vitality into earth, represented here as a woman with her legs spread.
Frank Gallo
Rocket Man, 1974
Epoxy resin (Download here)
Gallo explained the piece as "a bastardization of two sources," specifically, Michelangelo's drawing of Christ rising from the tomb and Elton John's same-titled song.
Frank Gallo, Dream 2, 1974, Epoxy resin (Download here)
Gallo describes Dream Two, based on a friend's favorite fantasy as "the most male chauvanistic fantasy I've ever attempted to capture."
Frank Gallo, Dream 3, 1974, Epoxy resin (Download here)
Illustrating his favorite sexual position, Gallo explains, "It's certainly my most self-indulgent piece, since it expresses a distinct personal preference."
Frank Gallo, Dream 4, 1974, Epoxy resin (Download here)
Based loosely on the Heracles and Antaeus legend, Dream Four illustrates how the female, through her eroticism, supports the weakened male.
FRANK GALLO, THE FAINT, Playboy Magazine, May 1978
John Updike's short story The Faint was published in the May 1978 issue of Playboy magazine. The story describes a man's emotional detachment, which leads a woman to faint in his presence.
Frank Gallo created an epoxy relief for the short story; an image of the piece accompanied Updike's story. The feature won Playboy's Best Fiction Illustration for 1978.
The Faint, Playboy, May 1978
Epoxy resin relief plaque; 33" x 48" (Download here)
EPOXY SCULPTURE POST-PLAYBOY PERIOD: Late 1970s and Beyond
As will be explained in A Focus on Paper, Gallo's creation of epoxy resin sculptures continued from the late 1970s through the late 1980s, albeit at a much slower rate due to his exploration and perfection of the Cast Paper Sculpture process. The 1987 sculptures Awakening Beauty (shown in multiple angles below) and Primavera were produced for Stephen Byer, a gallery owner, publisher and dealer of fine art. They reflect the maturation of an artist, both in terms of his technique and the more graceful, less provocative, and more diminutive presentation of his female subjects.
Frank Gallo, Awakening Beauty, 1987
© Frank Gallo and Sculpture Group Limited 1987 Epoxy sculpture, 14" x 17" x 9" (Download here)
Frank Gallo, Awakening Beauty, 1987
© Frank Gallo and Sculpture Group Limited 1987 Epoxy sculpture, 14" x 17" x 9" (Download here)
Frank Gallo, Awakening Beauty, 1987
© Frank Gallo and Sculpture Group Limited 1987 Epoxy sculpture, 14" x 17" x 9" (Download here)