FROM  DECEMBER 1972 THROUGH JANUARY 1973 TONY DUQUETTE WAS INVITED BY THE LOS ANGELES MUNICIPAL ART GALLERY AT BARNSDALL PARK TO PRESENT AN EXHIBITION WHICH DUQUETTE CALLED “A PERSONAL CULTURE”.   THE EXHIBITION, WHICH INCLUDED NEW WORKS AS WELL AS RETROSPECTIVE PIECES, WAS VIEWED BY RECORD NUMBERS OF VISITORS TO THE GALLERY.  SHOWN HERE IS A PHOTOGRAPH OF DUQUETTE’S GIANT SEA ANEMONE LIGHT FIXTURE WHICH HE CREATED FOR THE HILTON HAWAIIAN VILLAGE IN HONOLULU, USED HERE AS A BACKGROUND FOR THE EXHIBITION POSTER.  DUQUETTE CALLED ON ONE HUNDRED AND FIFTY VOLUNTEERS TO HELP HIM CREATE AND INSTALL HIS WORKS AT THE MUNICIPAL ART GALLERY.   IT WAS AS A VOLUNTEER, WORKING ON THIS EXHIBITION THAT HUTTON WILKINSON MET TONY AND HIS WIFE ELIZABETH.  WILKINSON WHO WAS EIGHTEEN YEARS OLD AT THE TIME WENT ON TO BECOME THE DUQUETTE’S PROTEGE, APPRENTICE, AND LATER DUQUETTE’S BUSINESS AND INVESTMENT PARTNER UNTIL DUQUETTE’S DEATH IN 1999.

“THE ENCOMPASSED EGG”  A MULTIMEDIA SCULPTURE BY TONY DUQUETTE CREATED FOR HIS EXHIBITION AT THE LOS ANGELES MUNICIPAL ART GALLERY, C.1972..  COMPRISED OF AN ANTIQUE WOOD CARVED FRAME, POLISHED STEEL AND A LIGHTED RESIN EGG (THE EGG SHAPE SYMBOLIZING REBIRTH AND CONTINUANCE, A RECURRING THEME IN DUQUETTE’S WORK).  THE SCULPTURE WAS LATER PURCHASED BY FAUCHON IN PARIS AND USED FOR THE COVER OF THEIR  CATALOG.

A DETAIL FROM ONE OF MANY ABALONE ENCRUSTED PANELS CREATED BY DUQUETTE AND USED FOR AN UNDERWATER PAVILION WHICH WAS ONE OF THE CENTERPIECES OF HIS “PERSONAL CULTURE” EXHIBITION AT THE LOS ANGELES MUNICIPAL ART GALLERY C. 1972.  DUQUETTE’S PRODIGIOUS USE OF NACRE IN HIS WORKS CAUSED HIS FRIENDS TO CALL HIM “TONY ABALONE”.

THE “SUN TOAD” WAS ONE OF MANY “LIGHTED” MANDALAS CREATED BY DUQUETTE FOR HIS “PERSONAL CULTURE” EXHIBITION AT THE LOS ANGELES MUNICIPAL ART GALLERY.  TOADS AND THE SUN WERE RECURRING THEMES IN DUQUETTE’S WORK.

“A DESIGN FOR A THEATRE WINDOW”,  ONE OF THE RETROSPECTIVE PIECES IN HIS “PERSONAL CULTURE” EXHIBITION, DUQUETTE CREATED THIS MAQUETTE FOR A GIANT GLASS WINDOW USING PLASTIC HAIR COMBS.  ORIGINALLY DESIGNED FOR NEW YORK’S ASTORIA THEATRE, THE PROJECT WAS NEVER REALIZED.  IN THIS SCALE MODEL EACH SQUARE REPRESENTS AN AREA TEN FEET BY TWENTY FEET.  THE SCALE OF THIS WINDOW WHICH WAS REFERRED TO IN THE STUDIO AS “DUQUETTE’S ASTORIA” WOULD HAVE BEEN IMMENSE.

“A FRAGMENT OF A PRIESTESS’ ROBE” (OR A SPECIMAN OF RHINESTONE DISEASE) AS DUQUETTE JOKINGLY CALLED IT.  THIS THREE-DIMENSIONAL WALL HANGING WAS MOUNTED ON A WINDOW SCREEN AND BACKED BY A QUILTED SILVER LAME PANEL.  BETWEEN THE QUILTED PANEL AND THE WINDOW SCREEN WAS A ROW OF LIGHTS FOR EFFECT.  THE  FRAGMENT OF AN OPERA CLOAK WITH ITS GIANT SEQUINS AND DIAMONTE CRYSTALS  WAS MOUNTED ON GAUZE AND APPLIED TO THE SCREEN SO THAT IT APPEARED AS IF IT WERE FLOATING IN AIR.

“THE SEA SAMURAI”  WERE A GROUP OF TURNING TOWERS CONSTRUCTED FOR THIS EXHIBITION OUT OF GREETING CARD RACKS, MOUNTED ON OLD WHEEL DRUMS WHICH WERE RIGGED WITH ELECTRIC MOTORS AND PULSATING LIGHTS.  THE GREETING CARD RACKS HAD BEEN GILDED AND HUNG WITH MIRRORS, SEA SHELLS, AND SCRAPS OF FELT AND GOLD LAMES.  THIS ASSEMBLAGE WAS A SCALE MODEL FOR WHAT COULD HAVE BECOME GIANT TURNING TOWERS FOR A PUBLIC INSTALLATION.

A MACRAME “LEAF CHAIR” CREATED FOR THIS EXHIBITION WITH ITS QUILTED SEAT CUSHION AND EMBROIDERED BUTTERFLY PILLOW.  THIS CHAIR WAS ONE OF A SUITE OF FURNITURE WHICH INCLUDED A LARGE SOFA AND TWO CHAIRS.  THE SUITE COMPRISED A GROUPING IN THE EXHIBITION WHICH INCLUDED A FABRIC MOSAIC TAPESTRY TITLED “BUTTERFLY INTRUSION”, A LEAF CARPET AND LIGHTED NARWHAL AND TORTOISE SHELL STANDARDS.