Vija Celmins' artwork in the 1960s marked a significant period of development and exploration in her career, characterized by a shift from personal still life objects to more expansive themes involving war and disaster. This decade saw her transition from traditional Abstract Expressionism to a more representational style that incorporated images of violence and destruction, influenced by her personal history and the contemporary socio-political climate. Celmins initially focused on painting everyday objects found in her studio, such as "Heater" (1964) and "Lamp #1" (1964). These works are notable for their precise detail and neutral backgrounds, emphasizing the materiality of the objects. Her approach was influenced by the New Realism movement and was a response to the Abstract Expressionism that dominated the art scene at the time. By meticulously rendering these mundane objects, Celmins elevated them to subjects of artistic contemplation, exploring themes of presence and observation (Art21) (MoMA). As the decade progressed, Celmins' work took on darker and more complex themes related to war and trauma. This shift is evident in her "Television and Disaster" series (1964-1966), which includes works like "Suspended Plane" (1966). These paintings depict scenes of warplanes, explosions, and smoking guns, reflecting both her memories of World War II and the ongoing Vietnam War. Celmins used photographs from books and magazines as source material, translating these images into detailed and haunting paintings. The detachment and precision of her style lend these works a stark, almost documentary quality, highlighting the impact of media representations of violence (LACMA) (SFMOMA). A key work from this period is "Gun with Hand #1" (1964), which captures the moment after a revolver has been fired, with smoke lingering in the air. This painting, based on photographs she took, introduces a narrative element that invites viewers to consider the implications of the scene beyond the frame. This work, along with others from the period, demonstrates Celmins' interest in the intersections of violence, media, and personal memory (MoMA) . Overall, the 1960s were a transformative decade for Vija Celmins, during which she developed her distinctive style and thematic focus. Her works from this period reflect a deep engagement with the materiality of objects and the broader socio-political context, laying the groundwork for her later explorations of natural phenomena and intricate detail (Art21) (LACMA) (MoMA).