CASPER BRINDLE: NUMINA - Exhibition Postponed until January 25, 2025

CASPER BRINDLE: NUMINA
JANUARY 25 - MARCH 22, 2025
Opening Reception:
Saturday, January 25, 5-8PM

William Turner Gallery would like to extend our heartfelt sympathies to everyone impacted by the devastating fires in Los Angeles.

In light of these events, our upcoming exhibition, Casper Brindle: Numina, will now open 5-8 PM on January 25, 2025, a week later than originally scheduled. The gallery will continue to remain open during normal business hours,11AM-6PM Tuesday- Saturday, subject to safety advisories from The City of Santa Monica. Go to santamonica.gov or lafd.org for the latest fire & safety  information.

To our wonderful community of artists, patrons, partners, clients, neighbors, we hope you're staying safe and look forward to seeing you soon.

Resources and support for those who need it can be found at the following link:
https://www.lahsa.org/news?article=1014-resources-to-support-those-during-the-l-a-fires


Exhibition Catalog for PHENOMENA is NOW AVAILABLE!

The catalog from the latest show at William Turner Gallery, PHENOMENA, is out now! The catalog is available on the official William Turner Gallery website and includes images and insights from PHENOMENA. The exhibition is part of the Getty presented event PST Art, Art & Science Collide. PST Art is the largest event in the United States, featuring over 800 artists at over 70 institutions in Southern California. PHENOMENA showcases art by Charles Arnoldi, Natalie Arnoldi, Ryland Arnoldi, Kelsey Brookes, Alex Couwenberg, Franco DeFrancesca, Lawrence Gipe, David Lloyd, Ed Moses, Jeff Overlie, Melanie Pullen, and Jennifer Wolf.

Saturday November 23 at 4PM - Jernej Copec Plays Bach

Please join us this Saturday as Jerjej Copic plays J.S. Bach: Suite No. 1 in G & Suite No. 3 in C. This is a free event and open to all ages. Celebrated mathematician and economist Jernej Copic was diagnosed with kidney disease in 1991, at age 16 and has undergone two kidney transplant procedures. He currently is raising money for several new projects and has recently completed a month-long kayak adventure in his native Slovenia while playing the cello in several different locations throughout the trip. Jernej is currently planning a trip to bike, cello in tow, throughout California and the Northwestern United States to raise awareness for kidney disease and new advancements in transplant procedures.

Doors open at 4PM
Concert will begin at 4:30PM
Refreshments will be served

Currently On View
PHENOMENA
Part Two of PST ART: Art & Science Collide

PHENOMENA - PST ART: Art and Science Collide - Saturday 4-8PM

Kelsey Brookes, Mescaline (cobweb formation), 2019, acrylic on canvas, 96” x 72”

Charles Arnoldi
Natalie Arnoldi
Ryland Arnoldi
Kelsey Brookes
Alex Couwenberg
Franco DeFrancesca
Lawrence Gipe
David Lloyd
Ed Moses
Jeff Overlie
Melanie Pullen
Jennifer Wolf

William Turner Gallery, - is pleased to present Phenomena, the second of two exhibitions in partnership with the Getty initiative PST ART: Art & Science Collide, which explores the intersections and influences between art and science.The exhibition will run from November 16, 2024 - January 11, 2025.

Art and science both originate from an intrinsic curiosity about the natural world. Historically, artistic depictions of natural phenomena, whether through meticulous observation, or fantastical interpretation, have often highlighted the delicate balance between the forces of nature to both inspire and to imperil. This dual narrative continues to resonate today, as contemporary artists and thinkers explore themes of the environment, climate change, and humanity's role in shaping the Earth’s future.

Phenomena features a range of work, from representational depictions to abstract expressions,  celebrating the power and visual splendor of the natural world as a resource for creative expression and investigation. For centuries, artists have pictorially documented their observational studies of natural phenomena and the world around us. Manuscripts such as Natural History (77 CE) by Pliny the Elder and The Book of Miracles (1552), chronicled divine wonders and horrors in illustrations, often serving as warnings of the consequences of human deeds upon their environment and the mysteries of the natural world. Utilizing these extraordinary codexes as a genesis for Phenomena, the exhibition explores related themes.

In the 16th century, “cabinets of curiosities” or “wonder rooms” in Europe served as spaces to showcase collections curated for the artistic and scientific interests of their patrons and served as precursors to museums. With missions to both amuse and enlighten, “cabinets of curiosities” functioned as sources for entertainment and educational resources, thus intersecting art and science. In the late 19th century, scientific inquiry shifted from museums to university laboratories bifurcating the two discourses. Phenomena merges the two disciplines as they once had been integrated in the cabinets of curiosities.

Artists in Phenomena: Charles Arnoldi, Natalie Arnoldi, Ryland Arnoldi, Kelsey Brookes, Alex Couwenberg, Franco Defrancesca, Lawrence Gipe, David Lloyd, Ed Moses, Jeff Overlie, Melanie Pullen, Jennifer Wolf

Charles Arnoldi, Rare Breed, 2024, acrylic on canvas, 80" x 63”

Charles Arnoldi (b. 1946), has long drawn on nature for his many and varied series of abstract works. Fire-blackened tree branches, lush Hawaiian foliage and the stone walls of Machu Picchu - all inspired important bodies of work. Emphasizing flattened forms of often brilliant color and pattern, Arnoldi interprets nature through a fauvist palette. Natural objects are rendered in terms of riotous colors, textures and shapes, suppressing a sense of atmosphere or literal figuration, to create wonderfully complex and compelling compositions.

With a career that has spanned over forty years, Arnoldi is one of the most prominent painters in southern California. Arnoldi’s work resides in numerous collections and museums throughout the United States, including the Museum of Modern Art, the Metropolitan Museum of Art, The Los Angeles County Museum of Art, the Smithsonian American Art Museum, and the Guggenheim, Bilbao, Spain. Born in Dayton, Ohio, Arnoldi lives and works in Los Angeles, California.

Ryland Arnoldi (b.1988), an emerging artist based in Venice, California, engages in large-scale acrylic painting as a means of autobiographical exploration, examining and reinterpreting past impressions. His work draws heavily on iconic imagery of landscapes and natural forms, aiming to evoke the tranquility and introspective quality of time spent immersed in the natural environment. Arnoldi employs vibrant, contrasting color palettes to construct abstract yet dynamic compositions, meticulously balancing organic intricacy inherent in the surrounding natural world. Ryland Arnoldi lives and works in Venice, California.

Natalie Arnoldi (b. 1990) grew up in Malibu, California, where she developed a passion for the ocean, which became the inspiration for both her scientific and artistic pursuits. While conducting a full-time career as an artist, Arnoldi simultaneously achieved a PhD in Marine Ecology at Stanford University, where she also received Bachelor’s and Master's degrees.

As a painter, Arnoldi works prolifically, when not engaged in research in places like Palau, and other far reaches of the ocean. Her compositions are ambitious, often quite large in scale, and evoke the vastness, power and mystery of nature, while driven by overarching environmental narratives and concerns. This duality of science and art was well represented, and received, in her two recent solo museum exhibitions, at the Bakersfield Museum and the Pacific Grove Museum of Natural History, in Bakersfield and Pacific Grove, California.

Natalie Arnoldi, Splinter, 2015, oil on canvas, 92" x 80”

Kelsey Brookes (b. 1978) utilizes Heinrich Klüver's concept of "Form Constants" referring to universal patterns in visual perception that recur during altered states of consciousness, such as those induced by substances like mescaline, or during near-death experiences. Klüver identified four basic patterns: tunnels, spirals, lattices, and cobwebs, which he believed were deeply embedded in the human psyche, possibly linked to the collective unconscious. In these works, the merging of science, psychology, and art offers a fascinating glimpse into the mechanics of the brain's visual processing during altered states, where abstract mental "cobwebs" are rendered in intricate, mesmerizing forms. These paintings explore how the mind perceives reality differently under the influence of psychoactive substances and how these ancient, deep-seated visual templates emerge from the brain's inner workings.

Brookes has had solo exhibitions in La Jolla, Los Angeles, New York, Detroit, London and Berlin. His work was featured as the cover art for the Red Hot Chili Peppers’ 2012 “I’m With You” record and The Flaming Lips’ 2013 “Stone Roses” LP. KELSEY BROOKES: Psychedelic Space is the first monograph of the artist’s artwork and examines three years of work and four solo exhibitions. Brookes has work in the permanent collections of the Museum of Contemporary Art, San Diego, the Crystal Bridges Museum of American Art, and the Frederick R. Weisman Foundation, and in many important private collections. Brookes currently lives and works in Southern California.

Alex Couwenberg, Satellite, 2024, acrylic & spray on canvas, 72” x 66”

Alex Couwenberg (b. 1967) is a Southern California-based artist whose paintings are deeply influenced by the rich cultural and visual environment of Los Angeles. Drawing inspiration from modernist philosophies, his work reflects the mid-century aesthetics and design principles that defined the region, particularly between the 1950s and 1980s. Couwenberg's art pays tribute to key movements like Hard-edge abstraction, the "Finish Fetish" (known for its slick, polished surfaces), all prominent in the post-war Southern California art scene. In Satellite Couwenberg references the spacecrafts which emerged during the Cold War in the Space Race. These objects which orbit the Earth, document it and its relation to the solar system and the universe at large.   

A graduate from Art Center College of Design and The Claremont Graduate School, Couwenberg’s paintings have been shown in numerous solo and group exhibitions throughout the United States, Canada, Europe, and Asia.  His work can be found in public, private and museum collections around the world, which include the Frederick R. Weisman Foundation, the Long Beach Museum of Art; Lancaster Museum of Art and History; Laguna Art Museum; Crocker Museum of Art, and the Daum Museum in Missouri.  In 2007 Couwenberg was awarded the prestigious Joan Mitchell Foundation Award for his achievements in painting. Couwenberg lives and works in Southern California.

Franco DeFrancesca (b. 1967) is a multidisciplinary artist who explores the intersections of art, science and technology through his work. He employs digital imaging techniques to bridge the gap between photography and painting, creating vibrant, colorful, and minimalist compositions. Quoting from electro-optic modulations of atom crystal structures, DeFrancesca blends traditional art forms with modern technological processes.

The artist’s work has exhibited in Canada and the United States and is included in various private and corporate collections throughout North America. An attendant of OCAD and University of Guelph, DeFrancesca has exhibited in Canada and the United States and his work can be found in corporate and public collections world-wide, including Cenovus Energy Inc.; Repsol, Encana and Enbridge Inc. (Calgary, AB); Rodin Law Firm Litigation Counsel (Calgary, AB), amongst others.

Larry Gipe, In Commemoration of Gardi Sugdub (Vanishing Islands), 2024, oil on canvas, 96” x 72”

Lawrence Gipe’s (b.1962) painted image of the vanishing island Gardi Sugdub Island (crab island) is a composite of three different drone photographs taken by news media. While some buildings remain constant, between the three images (taken only a year or two apart at most) there's a notable shuffle between structural shapes and colors, which have shifted... for 100 years it's been the home of the fiercely independent Guna people. The victim of climate change, overpopulation, and its own basic remoteness, Gardi Sugdub is a canary in a coal mine.

Born in Baltimore, Gipe has had 70 solo exhibitions in galleries and museums in New York, San Francisco, Chicago, Los Angeles, Miami, Munich, Berlin, Düsseldorf (Kunstverein Düsseldorf.) Currently, he splits his time between his studio in Los Angeles, CA, and Tucson, AZ, where he is an Associate Professor of Studio Art at the University of Arizona. Gipe has received two NEA Individual Fellowship Grants (Painting, 1989 and Works on Paper, 1996.) A mid-career survey, 3 Five-Year Plans: Lawrence Gipe, 1990-2005, was organized in 2006 by Marilyn Zeitlin at the University Art Museum, Tempe, Arizona. 

David Lloyd (b. 1955) is a Los Angeles artist who describes his current work as exploring the sublime and the ridiculous in equal parts, a combination of “serious mysticism and f-d up pseudo-science” that comments on the overabundance of competing didactic languages in our current social and political landscape. Though primarily known as a painter, Lloyd incorporates a wide range of media in pursuit of his conceptual goals, ranging from collage, fiberglass and resin, various kinds of paint, xerox transfer, water based medium, spar varnish, dirt, and used synthetic boat sails.  

Lloyd graduated with a BFA from CalArts in 1985, and began his career with a series of intelligent, near-humorous abstractions, turning towards the incorporation of imagistic referents several years later. Lloyd is included in the collections of the Orange County Museum of Art; the Los Angeles County Museum of Art; the Museum of Contemporary Art, San Diego and the Getty, the Orange County Museum of Art, Otis College of Arts and Design; has exhibited at Margo Leavin Gallery, Gallery Paule Anglim in San Francisco, Metro Pictures, and Milk Gallery in New York. Lloyd lives and works in Culver City, CA.

Ed Moses, Redyps, 2002, acrylic on canvas, 96” x 60”

Ed Moses (1926-2018) is a key figure in the postwar Southern California art scene, recognized for his innovative and experimental approach to abstract painting. As a member of the "cool school" of artists, Moses approached painting as an ongoing process of exploration, constantly seeking new forms, techniques, and expressions.His career began in the late 1950s, and he was one of the early artists exhibited at the legendary Ferus Gallery in Los Angeles—a hub for contemporary artists at the time. His art, spanning decades, reflects a continual evolution and has been showcased in galleries and museums across the world, solidifying his reputation as a pioneer of abstract painting.

He was the subject of a major retrospective at MOCA Los Angeles in 1996, and in 2014 he showed at University of California Irvine where he had taught in the seventies. On the occasion of his 2015 drawing show at LACMA of works from the 1960s and 70s, organized by Leslie Jones, director Michael Govan commented, “Ed Moses has been central to the history of art making in Los Angeles for more than half a century.” Moses’ work is included in the collections of the Los Angeles County Museum of Art, Museum of Contemporary Art, The Hammer Museum, San Francisco Museum of Modern Art, Whitney Museum of American Art, and The Museum of Modern Art in New York.

Jeff Overlie’s (b. 1968) Cellulae series is inspired by the exquisite forms that exist in science and nature, at levels often invisible to the human eye. Over twenty years ago, Overlie created pieces based on pollen slides prepared by his grandfather, botanist Dr. Wendell Bragonier. Today, he collects digital images taken by powerful electron microscopes. In them, he finds forms and archetypal shapes which he interprets into sculpture. After dimensional conceptualization, Overlie creates engineered studies that allow him to qualify the works for large-scale 2D and 3D forms. From there, he utilizes years of experience in production and art fabrication to paint or sculpt in stainless steel, aluminum, or carbon steel, wielded into the final realization. The sculptures invite interaction as fun and fascinating objects first, and as symbols of the beauty and wonder of science and nature second. Sensitive to sustainability and conservation issues, the works contain 70-80 percent recycled materials.

Overlie’s work has been shown internationally at galleries and museums such as the Riva Yares Gallery, in Santa Fe, NM; the Museum of Contemporary Art in Laguna Beach, California and the Contemporary Arts Forum, Santa Barbara, California. He received a National Endowment for the Arts grant in 1995 and completed fellowships with Beverly Pepper and Japanese master carver Takio Ogai at The Carving Studio in Vermont. He was born in Ft. Collins, Colorado, and lives and works in Southern California.

Melanie Pullen, Select Agent #3 (Biowarfare Anthrax Series), 2008, archival print, light box, 48.5” x 72.5” x 5” Ace Gallery Installation

Melanie Pullen’s (b. 1975) photographs of the deadly bacterium Anthrax are from her Violent Times series, entitled Biochemical Warfare. In this series, the micro-organisms of this potential war-agent are enlarged to a macro scale, and are depicted in beautiful technicolor hues, which belie their devastating capacity. Pullen utilizes her lens to contrast the beauty of the form with the lethality of the function, in a manner that emphasizes the irony of these qualities, as is so often the case at the intersections of man and nature.  

Pullen’s photography has been exhibited widely in major museums and galleries, both nationally and internationally. Her work is in prominent public and private collections including: Museum of Contemporary Art (MOCA), Jacksonville, FL; The Frederick R. Weisman Museum of Art, Los Angeles, CA; Museo Jumex, Mexico City, Mexico; Howard Stein & the Forward Thinking Collection, New York, New York; Walker Art Center Museum, Minneapolis, Minnesota; The Rand Collection, Santa Monica, CA; The Getty Museum, Los Angeles, CA. 

Jennifer Wolf (b. 1972) utilizes natural dyes and minerals in her paintings, often making them from materials collected on expeditions to various and distant locales. Wolf deftly unites natural dyes and hand ground pigments into transcendent compositions that capture a unique essence of the environments she has explored.  “It is my color palette, and focus on the fluid reactions of the paint that sets me apart and gives my work a naturally distinct feel at a time when the majority of colors come out of a tube.”

Unabashedly beautiful, Wolf’s paintings explore the elemental nature of color and texture. Wolf keenly controls the flow of her hand-made paints, isolating areas of lacy, textural pattern that overlap spaces of vivid color which blossom across the surface in energetic washes. Wolf’s compositions allude to the natural world in a manner that is both veiled and complex. Henry David Thoreau remarked in 1853 - “I have a room all to myself; it is nature,” - Wolf’s paintings feel like Thoreau’s room: immersive spaces that embrace the viewer in environments that could be under the sea, encased in clouds or inside the faceted walls of a gemstone. Jennifer Wolf is from Ventura, California where she lives and works. She received her BA in Art History from UCLA and her MFA from Otis College of Art and Design. She has had numerous solo exhibitions at William Turner Gallery.

LIGHT MATTER Closing This Saturday - PHENOMENA Phase Two of PST Opens November 16

Phenomena features a range of work, from representational depictions to abstract expressions,  celebrating the power and visual splendor of the natural world as a resource for creative expression and investigation. For centuries, artists have pictorially documented their observational studies of natural phenomena and the world around us. Manuscripts such as Natural History (77 CE) by Pliny the Elder and The Book of Miracles (1552), chronicled divine wonders and horrors in illustrations, often serving as warnings of the consequences of human deeds upon their environment and the mysteries of the natural world. Utilizing these extraordinary codexes as a genesis for Phenomena, the exhibition explores related themes.

In the 16th century, “cabinets of curiosities” or “wonder rooms” in Europe served as spaces to showcase collections curated for the artistic and scientific interests of their patrons and served as precursors to museums. With missions to both amuse and enlighten, “cabinets of curiosities” functioned as sources for entertainment and educational resources, thus intersecting art and science. In the late 19th century, scientific inquiry shifted from museums to university laboratories bifurcating the two discourses. Phenomena merges the two disciplines as they once had been integrated in the cabinets of curiosities.

Artists in Phenomena: Charles Arnoldi, Natalie Arnoldi, Ryland Arnoldi, Kelsey Brookes, Alex Couwenberg, Franco Defrancesca, Lawrence Gipe, David Lloyd, Ed Moses, Jeff Overlie, Melanie Pullen, Jennifer Wolf

LIGHT MATTER a TOP PICK by FITZ & CO

PST ART: Art & Science Collide is now in full swing.

Now in its third edition, Pacific Standard Time in Los Angeles brings together over 800 artists, 70 exhibitions, and institutions throughout all of Southern California with one central theme: the collision of art and science. The landmark arts event brings the community together to spark meaningful conversations on today’s most urgent issues. Project topics range from climate change and environmental justice to the future of AI and alternative medicine.

“Los Angeles right now is the most creative city on earth at any time in history,” says Michael Govan, the CEO and Wallis Annenberg Director of participating museum LACMA.

Swipe through to see some of our top picks for PST ART, on view across California.

1. ‘Fred Eversley: Cylindrical Lenses’ at David Kordansky Gallery | Installation view of ‘Cylindrical Lenses,’ 2024. Image courtesy of David Kordansky Gallery.

2. ‘Lia Halloran: Night Watch’ at Luis De Jesus Los Angeles | ‘Lia Halloran: Night Watch.’ Image courtesy of Luis De Jesus Los Angeles.

3. ‘Lita Albuquerque: Earth Skin’ at Michael Kohn Gallery | Installation view of ‘Earth Skin,’ 2024. Image courtesy of Michael Kohn Gallery.

4. ‘Light Matter’ at William Turner Gallery | Casper Brindle, “Cuboid 4,” pigmented acrylic, 36 x 15 x 15 inches. Image courtesy of William Turner Gallery.

5. 'Los Angeles Water School (LAWS)' at Morán Morán | Installation view of ‘Los Angeles Water School (LAWS), 2024. Image courtesy of Morán Morán.

6. ‘Max Hooper Schneider - The Unknown Masterpiece’ at the Virginia Robinson Gardens. Presented by Del Vaz Projects, Francois Ghebaly Gallery, and Marc Selwyn Fine Art | Robinson Gardens Pool Pavilion. Image courtesy of Robinson Gardens.

7. ‘Shirazeh Houshiary: The Sound of One Hand’ at Lisson Gallery | Shirazeh Houshiary, “Aurora,” 2023, Pigment and pencil on Aquacryl on canvas and aluminum, 190 x 190 x 5 cm, © Shirazeh Houshiary, courtesy Lisson Gallery.

8. ‘Helen Lundeberg: Inner/Outer Space’ at Louis Stern Fine Arts | Helen Lundeberg, “Cloud Shadows,’ 1966. Acrylic on canvas, 153 x 152.4 cm, courtesy of Louis Stern Fine Arts.

About Fitz & CO…
A growing global footprint continues to make FITZ & CO. a serious player for arty clients with worldwide profiles. About to enter its 25th year, Sara Fitzmaurice’s 20-person agency still reps Art Basel; Gagosian; Storm King Art Center; and brands like BMW and eBay, for whom FITZ & CO. builds artist partnerships. Equinox just tapped the firm to get closer to (real) art/culture influencers, and Mastercard engaged FITZ & CO to extend its Priceless campaign into the cultural sphere. Also in the agency’s collection: ultra-blue-chip international gallery Almine Rech; Dubai’s Alserkal Avenue arts/culture district; Denmark’s ARoS Aarhus Art Museum; ART021 Shanghai Contemporary Art Fair; and the Faurschou Foundation, which operates spaces in Copenhagen, Beijing and NYC.

HYPERALLERGIC Names Mark Steven Greenfield a top 10 show to see in October

Mark Steven Greenfield, “Saartjie Baartman” (2020), gold leaf and acrylic on wood panel, 24 x 24 inches (~61 x 61 cm) (photo by Rob Brander, courtesy William Turner Gallery)

Auras features two bodies of paintings by Mark Steven Greenfield — Black Madonna (2020) and HALO (2022) — that reconsider the breadth of the Black experience in the Americas by excavating and reframing contested histories. HALO comprises portraits of influential Black figures, from the revered to the lesser-known, including Haitian Revolution leader Toussaint Louverture, famed magician Black Herman, and silhouette artist Moses Williams — formerly enslaved by Charles Willson Peale — portrayed as saintly icons surrounded by gold leaf. Black Madonna depicts a beatific ebony Madonna and child, while Ku Klux Klan members and monuments to white supremacy are vanquished and toppled in the background.




LIGHT MATTER - PST ART: ART & SCIENCE COLLIDE - Exhibition Catalog Now Available

William Turner Gallery is pleased to present Light Matter, the first of two exhibitions, in partnership with the Getty’s PST ART: Art & Science Collide, which explore the intersections and influences between art and science.

Light Matter showcases the influences of scientific research on artistic process and intention, and builds on a collaborative experiment that began with LACMA’s innovative Art & Technology program, a collaboration between artists and industry that ran from the late 60s to early 70s.  As part of this initiative, Robert Irwin and James Turrell collaborated with NASA scientist and psychologist Ed Wortz at the Garrett Corporation. Together they developed a series of art and science-based investigations into the dynamics of perception, with a special emphasis on sensory deprivation. This intrigued Irwin and Turrell, who began to notice that perceptions were heightened after sessions in sensory deprivation tanks. Perhaps, they reasoned, the purpose of the work of art wasn’t as much about the work, as it was about the experience of perceiving the work.  Enter Light & Space in Southern California, where the emphasis shifted from looking at art as “object”, to art as “experience”.

Artists in Light Matter continue to expand on this notion, experimenting with the possibilities of their materials, often through scientific research and innovation, to achieve heightened visual effects that engage the viewer in the wonder of the phenomenology of perception. They utilize materials and approaches that  inspire the viewer to reflect - not only on “what” they are perceiving, but “how”. Many of the pieces require the viewer to interact with the works in unexpected ways - either by encouraging unusually active movement around, or stillness before, their works. The act of viewing engages the senses and heightens our sense of perception.

Light Matter includes work by Dawn Arrowsmith, Larry Bell, Casper Brindle, Shingo Francis, Jimi Gleason, Eric Johnson, Jay Mark Johnson, Peter Lodato, Andy Moses, and Roland Reiss.

Opening This Evening from 4-8PM - LIGHT MATTER - PST ART: Art & Science Collide

William Turner Gallery, Santa Monica, California - is pleased to present Light Matter, the first of two exhibitions in partnership with the Getty’s PST ART: Art & Science Collide, which explores the intersections and influences between art and science.

Light Matter explores the influences of scientific research on artistic process and intention, and builds on a collaboration that began with LACMA’s innovative Art & Technology program, a collaboration between artists and industry that ran from the late 60s to early 70s. For a number of artists, this unique program led, unexpectedly, to a significant new way seeing and thinking about the purpose of a work of art. Enter Light & Space in Southern California, where the emphasis shifted from looking at art as “object”, to art as “experience”.

Artists in Light Matter continue to expand on this notion, experimenting with the possibilities of their materials, often through scientific research and innovation, to achieve heightened visual effects that engage the viewer in the wonder of the phenomenology of perception. They utilize materials and approaches that inspire the viewer to reflect - not only on “what” they are perceiving, but “how”. Many of the pieces require the viewer to interact with the works in unexpected ways - either by encouraging unusually active movement around, or stillness before, their works. The act of viewing engages the senses and heightens our sense of perception.

Light Matter includes work by Dawn Arrowsmith, Larry Bell, Casper Brindle, Shingo Francis, Jimi Gleason, Eric Johnson, Jay Mark Johnson, Peter Lodato, Andy Moses, and Roland Reiss.

Dawn Arrowsmith’s paintings are meditations in color, engaging the viewer in a kind of minimalist luxury – pure, distilled, but also rich, and luscious. Her work is intuitive, greatly influenced by Buddhist philosophy and by her travels to the Orient. These pieces play on the retinal effects from extended viewing, where an image that appeared flat & monochromatic takes on volume and appears to shimmer. Arrowsmith’s paintings, sculptures and installations have been exhibited in the USA and abroad. Exhibitions sites include the Los Angeles Contemporary Exhibitions (LACE), the Hammer Museum of Art in Los Angeles, the Los Angeles County Museum of Art, the Los Angeles Municipal Art Gallery (Barnsdall), the Clark Humanities Museum Gallery in Claremont, CA, the Riverside Art Museum, the Eli Broad Foundation in Los Angeles, the Lidovy Gallery in Prague, Czec. and the Campo d'Osservazione in Gubbio, Italy. Arrowsmith was born in San Francisco, California and received her M.F.A. at Claremont Graduate School, Visual Arts, Claremont, California.

Larry Bell is one of the most renowned and influential artists to emerge from the Los Angeles art scene of the 1960s, alongside Ferris Gallery contemporaries Ed Ruscha, Billy Al Bengston, Ed Moses and Robert Irwin. Bell is known foremost for his investigations of the properties of light, reflection and shadow on various surfaces, and how these properties affect our sense of space. Bell’s significant oeuvre extends from painting and works on paper to glass sculptures and furniture design. About his sculptures, he has said: “Although we tend to think of glass as a window, it is a solid liquid that has at once three distinctive qualities: it reflects light, it absorbs light, and it transmits light all at the same time.” Harnessing a little known technique developed for aeronautics, Bell utilizes a high-vacuum coating system that allows him to deposit thin metal films, which catch and reflect light, onto a variety of surfaces, which include his glass sculptures, paintings and works on paper. Bell’s work is in the permanent collections of numerous museums, including Museum of Modern Art, NY, Museum of Contemporary Art, LA, Los Angeles County Museum of Art, Frederick R. Weisman Art Foundation, LA, among many others.

Casper Brindle has become widely recognized for paintings and sculptures that invite the viewer into a rhythmic dance with light, as it is reflected, diffused and distilled through his work. Brindle also utilizes a variety of industrial materials - airbrush, auto paints, resin, and pigmented acrylic - to create sculptures and paintings that shift and change as one moves around them. Atmospheric colors are encased in cultural surfaces in a constant push and pull between depth, light and color. Casper Brindle grew up surfing the beaches along LA's coast during the 1970's and 80's, and worked for Light and Space artist, Eric Orr, in the late 1980’s. Brindle’s work is in the permanent collection of the Frederick R. Weisman Art Foundation, CA and has been exhibited at the Museum of Art and History in Lancaster, CA and the Laguna Art Museum in Laguna Beach, CA.

Shingo Francis grew up in Los Angeles, immersed in the intense light and vast ocean vistas of life in southern California. Like many LA artists, Francis became fascinated with the ever-changing qualities of light and how it affected one’s perception and experience of the world. As the son of painter Sam Francis, Shingo also happened to grow up in the heart of LA’s nascent art scene, where artists such as Larry Bell, Robert Irwin, James Turrell, Craig Kaufman and Peter Alexander were utilizing new materials to explore the effects of light on perception. Francis has continued this pursuit with a series of gossamer-like paintings with colors that appear in constant flux, changing as one moves about them. Utilizing interference paints – a medium of crushed, titanium-coated mica that refracts light - the colors in these pieces shimmer and shift depending on the angle of the viewer and the reflection of light. Rectangular shapes conform to the shape of the canvas, creating a framework of change as viewers move. What one sees becomes inherently tied to their particular perspective and the character of the light at any given time. Shingo Francis has been the subject of numerous national and international exhibitions. He was awarded the Fumio Nanjo Award from the Mori Museum in Tokyo and is in numerous museum and institutional collections, including The Frederick R. Weisman Foundation in Los Angeles.

Jimi Gleason has spent his career exploring the reflective possibilities of light. Mixing nontraditional materials such as silver nitrate with pearlescent paints, Gleason’s surfaces are highly reactive to light and shifts in the viewer’s position. His silver deposit surfaces act as enigmatic mirrors that are activated by the viewer and the environment in which they are situated. Light, color and form are in constant flux with the external world, inducing an interactive, meditative experience with the viewer. Jimi Gleason was born and raised in Southern California. He graduated with a BA in Fine Art from UC Berkeley in 1985, later moving to New York. Upon his return to California, Gleason worked as a studio assistant for renowned painter, Ed Moses. Gleason’s work is in numerous public and private collections, including the Frederick R. Weisman Art Foundation, CA, the Laguna Art Museum, CA, and has been exhibited at the Hammer Museum, CA, the Long Beach Museum of Art, the Seattle Art Museum and the Tucson Museum of Art.

Eric Johnson utilizes polyester resin and color-shifting pigments, to create sculptures that are exquisitely sensual and dynamic in how they reflect and absorb light. They recall the materials of the surf and car culture of the late 60s and early 70s in Southern California, employed by many artists like DeWain Valentine, Craig Kaufman and Billy Al Bengston. Johnson embraced the hot-rod culture as well and has made customized car bodies for the Porsche 962 and has lovingly overhauled vintage cars-as evidence by the two toned 1939 Chevrolet panel truck and fire engine red 1934 Ford pickup that sit to one side of his studio. As often was the case for many artists working in the 1970s, industrial products found their way into Johnson’s early studio practice and have remained there ever since. “I’ve translated all that automotive knowledge into making my artwork”,” he says. “I use the full array of auto tools and pigments.” The handcrafted abstract works are sheathed in resin skins, often revealing glimpses of skeletal armatures and hidden architectures. Other influences have been the aerospace industry and an ancestral boat builder heritage. Initially the constructs hid their “bones” under a “skin”, time capsule artifacts within. Over the past twelve years, the structures have become more organic and revealing. The current work merges Johnson’s passion for depth and structure with an obsession for color and surface. Johnson’s work is in the collections of the Oakland Museum, CA, the Laguna Beach Museum, CA, the UC Irvine Museum, CA and the Hamano Institute, Tokyo, Japan.

Jay Mark Johnson has rigorously pursued the possibilities of timeline photography over the last two decades. His artwork captures the fluid gestures of Tai Chi and dance, the rush of cars, trains and people, and the infinite cycling of beachfront waves. But within his images the rules for representing reality have shifted. Shadows are crisscrossed and the relative speed of an object determines its size. Moving objects appear isolated from their backgrounds and the backgrounds themselves have been decimated. In this manner, the results of Johnson’s process become a metaphor for the process itself. Held by prestigious private institutions and public collections throughout the U.S. and Europe, Johnson’s work has been exhibited and collected by the Museum of Modern Art, the Smithsonian Institution, Art Institute of Chicago, Frederick R. Weisman Art Foundation, the Langen Foundation and Zentrum für Kunst und Medientechnologie, Karlsruhe.

Peter Lodato began making work in the late 1960s as part of the West Coast-specific Light and Space movement. Aligned with the concerns of his contemporaries, Lodato first constructed light installations that explored the nature of perception and the way that physical environments could be transformed into immersive experiences for the viewer. Lodato’s paintings evolved from his preliminary drawings for these installations and eventually, Lodato was able to recreate the illusive effect of light with color, form, and canvas alone. Always fascinated by the uncertainty of human perception, and the duplicitous nature of vision, which can be both revealing and deceitful, Lodato creates paintings that delve into this duality. Initially, Lodato’s paintings appear as austere, geometric abstractions. Yet, upon further observation, the paintings begin to vibrate: brushstrokes become evident and the surface reveals that there are numerous layers beneath. The hard edges of his often bi-chromatic works dissipate into sensuous fields of color that seem to push space in and out. Lodato’s reductive, divided compositions are visual confrontations between the planar simplicity of form and the resonance of particular pigments. A disciple of the AbEx color field painter, Barnett Newman, Lodato’s sumptuously colored canvases echo Newman’s concept of using division as a way to merge different areas of the canvas into a sublime whole. Much like Newman’s “zips” of color, Lodato’s vertical bands draw the viewer deeply into the picture plane, causing them to intensely experience the work, both physically and emotionally. The Frederick Weisman Foundation curated an extensive solo retrospective of Lodato’s work in 2000 and his work has been exhibited at the Whitney Museum of American Art, the Museum of Contemporary Art in Los Angeles and the Los Angeles County Museum of Art. Peter Lodato is in numerous esteemed collections both public and private including the Brooklyn Museum, the Seattle Art Museum, the Dallas Museum of Art and the San Diego Museum of Contemporary Art.

Andy Moses, utilizes techniques that facilitate his almost obsessive study of the alchemical properties of paint. The paintings that emerge articulate the abstract nature of perception, reaching beyond the material and tapping into the visceral. The images reveal undeniable traces of natural phenomena, seeking not to replicate the natural world, but to replicate the forces of nature itself. The artist’s complex process of mixing and pouring paint conveys a sense of undulating energies pushing and pulling within the rectilinear and circular forms of the canvases themselves. The paintings are sweeping and luminescent, their lustrous surfaces seemly executed with an impossible combination of absolute precision and wild improvisation. Meandering lines of psychedelic chroma oscillate between vivid sharpness and dissolving washes of color, achieving works of captivating presence. Viewing the work from multiple perspectives, one is swept into an interactive dance, as light plays across the surfaces in lustrous, ever-changing hues. Andy Moses is in numerous important private and public collections, including the Frederick R. Weisman Art Foundation, CA, the Los Angeles County Museum of Art, CA, the Laguna Beach  Museum, CA, and has been exhibited at the Laguna Art Museum, CA, the Bakersfield Museum of Art, CA, the Lancaster Museum of Art & History, CA, the Frederick R, Weisman Art Foundation, CA, and California State University. He received his BFA from Cal Arts and lives and works in Venice, California. Andy Moses just enjoyed a survey exhibition at the Santa Monica College Pete and Susan Barrett Art Gallery that explored 30 years of his artistic output.

Roland Reiss was born in Chicago in 1929 and had a long and influential history in the LA art scene. Reiss’ early work owed a lot to Abstract Expressionism, but while he was teaching at the University of Colorado in the late 60s, Reiss began experimenting with the dynamic properties of resin and new plastic materials to explore their interactive properties with the viewer. Reiss soon moved towards making work informed by the Conceptualist movement of the 70s, but he had a profound impact on one of his students, who also began making resin sculptures. That student was DeWain Valentine, who would become one of LA’s most significant Light & Space artists. At the apex of his career, Reiss felt “I have no more stories to tell.” As critics and curators declared painting dead, he had already started investigating hundreds of studies for painting. His intent was to “take painting beyond where it has been,” believing it is impossible to deplete the possibilities of any medium. What seems like the product of gestural spontaneity are actually extensively rehearsed moves. He describes his work as “energy fields and spaces in which forms are operative and you can interact with visually. ”After earning BA and MA degrees at UCLA (1952-56), he taught at the University of Colorado, Boulder, and, in 1971, was named Chair of the Art Department at Claremont Graduate University. At CGU he held the Benezet Chair in the Humanities, and in 2010, an endowed chair in art was established in his name. His work has been exhibited internationally, recognized by no fewer than four NEA Visual Arts Fellowships, among many other honors, and is to be found in the permanent collections of major museums and private collections in this country and abroad, among them the Hammer Museum, CA, the Oakland Museum, CA, the Laguna Beach Museum, CA, and the Orange County Museum of Art, CA.

September 14 - November 2, 2024
Opening Reception: Saturday, September 14, 4-8PM

Opening This Saturday 4-8PM - LIGHT MATTER - PST ART: Art & Science Collide

William Turner Gallery, Santa Monica, California - is pleased to present Light Matter, the first of two exhibitions in partnership with the Getty’s PST ART: Art & Science Collide, which explores the intersections and influences between art and science.

Light Matter explores the influences of scientific research on artistic process and intention, and builds on a collaboration that began with LACMA’s innovative Art & Technology program, a collaboration between artists and industry that ran from the late 60s to early 70s. For a number of artists, this unique program led, unexpectedly, to a significant new way seeing and thinking about the purpose of a work of art. Enter Light & Space in Southern California, where the emphasis shifted from looking at art as “object”, to art as “experience”.

Artists in Light Matter continue to expand on this notion, experimenting with the possibilities of their materials, often through scientific research and innovation, to achieve heightened visual effects that engage the viewer in the wonder of the phenomenology of perception. They utilize materials and approaches that inspire the viewer to reflect - not only on “what” they are perceiving, but “how”. Many of the pieces require the viewer to interact with the works in unexpected ways - either by encouraging unusually active movement around, or stillness before, their works. The act of viewing engages the senses and heightens our sense of perception.

Light Matter includes work by:
Dawn Arrowsmith 
Larry Bell 
Casper Brindle
Shingo Francis 
Jimi Gleason 
Eric Johnson 
Jay Mark Johnson 
Peter Lodato 
Andy Moses
Roland Reiss

September 14 - November 2, 2024
Opening Reception: Saturday, September 14, 4-8PM

Mark Steven Greenfield Opening Tomorrow at the Ronald H. Silverman Gallery at Cal State LA

AURAS: New Icons by Mark Steven Greenfield
in collaboration with William Turner Gallery
curated by Mika M. Cho
 
August 19 – October 22, 2024
Artist Reception:
Saturday, August 24, 2024, 5 - 8 PM

Ronald H. Silverman Fine Arts Gallery

5151 State University Dr, Los Angeles CA 90032
MAP

Francisco Manicongo, 2024, Acrylic and Gold Leaf on Wood Panel, 20 x 16 in.

My work concerns itself with the complexities of the African American experience, both historically and in contemporary society. The work often revolves around a number of themes which include subjects as diverse as African American stereotypes, spiritual practices, social justice, meditative practices and abstraction based on my interpretation of the process by which images are formed in the subconscious.” – Mark Steven Greenfield
 
Mark Steven Greenfield is a painter of phenomenal insight, exemplified by his upcoming exhibition “AURAS: New Icons by Mark Steven Greenfield.” The majority of his paintings in this exhibition are presented for the first time at the Ronald H. Silverman Fine Arts Gallery. These images draw upon issues that have been at play regarding the black identity and black history in the United States. These two series are reflective of the spirituality that permeates the black psyche and reach back into the earliest of experiences of their presence on the American continent or even before, as well as their exposure to the European narratives and their appropriations by the Christianized Blacks. Haloconveys the black spiritual experience through various social, political, and religious signs and symbols by appropriating the icons of the colonizing Europeans.

AURAS, 2024, Acrylic and Gold Leaf on Wood Panel, 30 x 40 in

AURAS: New Icons by Mark Steven Greenfield

ARTIST RECEPTION
Saturday, August 24, 2024, 5 - 8 PM

Conversation between Artist, Mark Steven Greenfield and Art Critic, Shana Nys Dambrot
September 28, 2024, 2 - 4 PM

5151 State University Dr, Los Angeles CA 90032
MAP

Scot Heywood Exhibition

SCOT HEYWOOD

Born in Los Angeles in 1951, Scot Heywood has been investigating geometric abstraction for over forty years. “I painted flat from the get-go,” Heywood says, who has explored abstraction throughout the course of his artistic career. A self-taught artist, Heywood’s works are indebted to the origins of geometric abstraction. In the late 1970s, Heywood fell in love with the paintings of Piet Mondrian and John McLaughlin; since then, he has been translating the austere philosophy of geometric abstraction into his own monochromatic works. 


Ranging in scale from intimate to encompassing, his paintings consist of multiple, colored canvases, connected in staggered, patchwork patterns. In a seemingly endless array of variations, he inserts thin strips between, or attaches them to the sides of, square and rectangular canvases, intentionally misaligning them to create delightfully disruptive, staccato visual rhythms. Heywood is interested in the relationship between wall, work, and viewer, and in the rich dialogue between color and form.


Heywood has shown extensively in Southern California since the late 1970’s at such as significant galleries as Patricia Faure Gallery, Frank Lloyd Gallery, ACE Contemporary Exhibitions and Subliminal Projects Gallery. His work has been featured in dozens of solo shows, and is often included in significant group exhibitions at The Los Angeles Institute of Contemporary Art, San Francisco Art Institute and Otis College of Art & Design. Heywood’s work has been featured in publications such as the Los Angeles Times, Art in America, Art Slant, LA Weekly and Artweek. His paintings are also represented in numerous public and private collections, including the Frederick Weisman Foundation. He currently lives and works in Los Angeles, California.

Tomorrow at WTG - Scot Heywood - Jeff Overlie - Bergamot Summer Open

 

DaVinci - Black/Red/Canvas, 2019, acrylic on canvas, 84” x 78”

 

Santa Monica, California - William Turner Gallery is pleased to introduce two exciting debut exhibitions: Scot Heywood, Speed of Light and Jeff Overlie, Block Theory. The exhibitions will run from July 13th - August 31st, 2024.

Both artists present paintings that at first appear to adhere to the tenets of formal, hard-edged abstraction. Yet upon closer examination, one begins to see how their work challenges and often breaks with these assumptions. Both artists bring a subtle sculptural sensibility to their work, where shape and proportion provide the structural armature for color and upend expected formalities. 

Scot Heywood, Speed of Light
Jeff Overlie, Block Theory
July 13th - August 31st, 2024
Opening Reception: Saturday, July 13, 5-8PM

Suzuki’s Dichotomy - Black/Linen/Green, 2020, acrylic on linen, 22” x 48” (each)

SCOT HEYWOOD

Born in Los Angeles in 1951, Scot Heywood has been investigating geometric abstraction for over forty years. A self-taught artist, Heywood's works are indebted to the origins of geometric abstraction in such artists as Kasimir Malevich, Piet Mondrian, and John McLaughlin though he has crafted a thoroughly personal interpretation. 

Heywood has shown extensively in Southern California and since the late 1970’s including at Patricia Faure Gallery, Frank Lloyd Gallery, ACE Contemporary Exhibitions and Subliminal Projects Gallery. His work has been featured in over a dozen solo shows, and is often included in significant group exhibitions at The Los Angeles Institute of Contemporary Art, San Francisco Art Institute and Otis College of Art & Design curated by David Pagel art critic for the Los Angeles Times. Heywood’s work has been featured in publications such as the Los Angeles Times, Art in America, Art Slant, LA Weekly and Artweek. His paintings are also represented in numerous collections, including the Frederick Weisman Foundation. He currently lives and works in Los Angeles, California.

 

RACT Series, 2024, acrylic and enamel on canvas, 30"x 40" (each)

JEFF OVERLIE

Born in Fort Collins, Colorado in 1968 Jeff Overlie has established himself as a prominent figure in contemporary art, drawing inspiration from the realms of science, geometry, and mathematics. Influenced profoundly by his grandfather, a scientist, Overlie's artistic evolution began against the backdrop of his early studies in marine biology, later transitioning into a dedicated exploration of visual arts.

Overlie's creative process is deeply rooted in his predominant work in sculpture, where spatial form, meticulous precision and technical proficiency are paramount. 

Overlie approaches these canvases as a sculptor would, intricately molding straight lines, shapes, into a balance of spatial relationships. This then beckons Joseph Albers' Color Theory, reflecting a profound engagement with the underlying principles of form and color to Albers, and a radical rejection of the principles of Color Theory for which Albers is so well known. These paintings are, in a sense, polemical responses to the confining rules of color theory, wherein the artist purposely chooses color combinations that are radically wrong, in theory. And yet these paintings are charged with harmonic energy and emotional pull.

Scot Heywood, Speed of Light
Jeff Overlie, Block Theory
July 13th - August 31st, 2024
Opening Reception: Saturday, July 13, 5-8PM

INCONVERSATION: Melanie Pullen + Shana Nys Dambrot - Wednesday @ 7PM

Signed copies of Melanie’s exhibition catalog "VOYEUR" will be available for purchase.

Doors open at 6PM and the talk will begin at 7PM.
There will be refreshments served complimentary of the gallery.
Wednesday, June 19, 2024
7:00 PM 9:00 PM
WILLIAM TURNER GALLERY

Please join us for a conversation between art writer Shana Nys Dambrot and photographer Melanie Pullen. The two will discuss Pullen’s work and her research of true, unsolved crimes through the Los Angeles and New York Coroner’s office archives. 

Giving herself a guideline, Pullen's subjects in her High Fashion Crime Scenes series were never post-1950 and were always unidentified “Jane Doe’s”. Due to her work and research, she is on the Los Angeles School of Forensic’s advisory board.

In her newest series, Voyeur, she expands upon this theme by commenting on the voyeuristic tendencies of the human condition.

As Dambrot writes, “Photographer Melanie Pullen uses the visual lexicon of editorial and couture photography, critiquing our society of sex, death, and spectacle. The contrast between beauty and ugliness animates the work and captures the guilty conscience of the viewer’s own imagination—a dynamic she pushes even farther in her more recent Voyeur series, in which the watchers (us), watch the watchers (in the portraits) as they watch their own unseen prey. Everyone is implicated, everyone is dressed to the nines, and no one is safe.

Shana Nys Dambrot is an art critic, curator, and author based in Downtown LA. Formerly the Arts Editor at the L.A. Weekly, she is the co-founder of 13ThingsLA, and a contributor to the Village Voice, Flaunt, Artillery, and other culture publications. She studied Art History at Vassar College, and is the recipient of the Rabkin Prize for Art Criticism, the Mozaik Future Art Writers Prize, and the LA Press Club National Arts & Entertainment Journalism Critic of the Year award. Her surrealist novel Zen Psychosis (Griffith Moon) was published in 2020.

Melanie Pullen’s (b. 1975) photography has been shown in major museums and galleries internationally and is permanently in the holdings of many of the most prominent public and private collections around the world including: Colección Jump, Mexico City, Mexico; Museum of Contemporary Art (MOCA), Jacksonville, Florida; The Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California; Nasher Museum of Contemporary Art, North Carolina; Howard Stein & the Forward Thinking Collection, New York, New York; Walker Art Center Museum, Minnesota; The Rand Collection, Santa Monica, California. Most recently the Getty Museum acquired several pieces from her High Fashion Crime Scenes which now reside in their permanent collection after being included in their exhibition: Icons of Style: 100 Years of Fashion Photography

Melanie Pullen + Shana Nys Dambrot - INCONVERSATION - June 19 @ 7PM

Please join us Wednesday, June 19, 2024 at 7PM for a conversation between art writer Shana Nys Dambrot and photographer Melanie Pullen.  Doors open at 6PM and the talk will begin at 7PM.  There will be refreshments served complimentary of the gallery and signed copies of Melanie’s exhibition catalog VOYEUR will be available for purchase.  

Shana Nys Dambrot is an art critic, curator, and author based in Downtown LA. Formerly the Arts Editor at the L.A. Weekly, she is the co-founder of 13ThingsLA, and a contributor to the Village Voice, Flaunt, Artillery, and other culture publications. She studied Art History at Vassar College, and is the recipient of the Rabkin Prize for Art Criticism, the Mozaik Future Art Writers Prize, and the LA Press Club National Arts & Entertainment Journalism Critic of the Year award. Her surrealist novel Zen Psychosis (Griffith Moon) was published in 2020.

Melanie Pullen’s (b. 1975) photography has been shown in major museums and galleries internationally and is permanently in the holdings of many of the most prominent public and private collections around the world including: Colección Jump, Mexico City, Mexico; Museum of Contemporary Art (MOCA), Jacksonville, Florida; The Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California; Nasher Museum of Contemporary Art, North Carolina; Howard Stein & the Forward Thinking Collection, New York, New York; Walker Art Center Museum, Minnesota; The Rand Collection, Santa Monica, California. Most recently the Getty Museum acquired several pieces from her High Fashion Crime Scenes which now reside in their permanent collection after being included in their exhibition: Icons of Style: 100 Years of Fashion Photography.

Her work has been featured in a number of publications including: The New York Times T Magazine; Los Angeles Times; Vogue; Esquire Magazine; ELLE; London’s Independent; Spin Magazine; W Magazine; Flaunt Magazine; 1814 Magazine; Rolling Stone Magazine and Vanity Fair. Pullen has published three photography books. Melanie was awarded the D&D Yellow Pencil Award. She currently lives and works in Los Angeles, California.

Pullen has published numerous books of her photography with notable fine-art publishers such as: Nazraeli Press and most recently in 2020 with Kodansha Press, in Japan.

Melanie Pullen: Voyeur Digital catalog is now available to view

"The best fashion photographs can remind us of other works of art or expand the boundaries of the genre, redefining what a fashion photograph is supposed to do or be. 

The photographs that do both are the ones that excite me the most. For example, the work of Melanie Pullen (b. 1975) represents a relatively new type of fashion photograph — one that was made for artistic reasons and celebrated by the fashion press after the fact. Based on crime-scene photographs that she found in police archives in Los Angeles and New York City, Pullen’s work reverses the aspirational nature of most fashion photographs, celebrating instead the darkly romantic idea of dying young, beautiful, and well dressed. As an image of suicide, Half Prada flies in the face of the industry’s claim: buy our products and your life will improve. The waist-down cropping keeps what would have been the picture’s most disturbing aspect out of the frame, while the undone shoe strap becomes, in Roland Barthes’ terminology, 'the punctum disrupting the perfection of the image.' The viewer is simultaneously attracted to and repelled by an image that is virtually impossible to forget."

Paul Martineau 
Curator of Photography 
The J. Paul Getty Museum 

 
 

MELANIE PULLEN: VOYEUR

Voyeur marks Melanie Pullen’s first solo exhibition at William Turner Gallery of large-scale photographs from her highly acclaimed High Fashion Crime Scenes and Voyeur series’. 

Born in New York City in 1975, Melanie Pullen is a self-taught fine-art photographer raised in a family of photojournalists, publishers, and artists. Growing up within the halls of the famed Hotel Chelsea, Pullen was immersed in this avant-garde setting, which greatly informed her artistic practice. Bi-coastal from an early age, Melanie spent her formative years between New York City and Los Angeles.

Pullen’s work focuses extensively on both social values and taboos while purposely taking aim at the media’s exploitation of sex, gender, and violence. Pullen herself has noted that she targets society’s obsessive glamorization by literally re-dressing what are deeply disturbing events, forcing the viewer to question their own values and observations.

Her photography has been shown in major museums and galleries internationally: it is permanently in the holdings of many of the most prominent public and private collections around the world: Museum of Contemporary Art (MOCA), Jacksonville, Florida; The Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California; Museo Jumex, Mexico City, Mexico; Howard Stein & the Forward Thinking Collection, New York, New York; Walker Art Center Museum, Minneapolis, Minnesota; The Rand Collection, Santa Monica, California. 

Most recently the Getty Museum acquired several pieces from her High Fashion Crime Scenes which now reside in their permanent collection after being included in their exhibition: Icons of Style: 100 Years of Fashion Photography.

Pullen’s work has been featured in a number of publications including: The New York Times, T Magazine; Los Angeles Times; Vogue; Esquire Magazine; ELLE; London’s Independent; Spin Magazine; W Magazine; Flaunt Magazine; 1814 Magazine; Rolling Stone Magazine and Vanity Fair. 

Melanie was awarded the prestigious D&D Yellow Pencil Award in 2007 and has published three photography books, two with Nazraeli Press, the other with Kodansha.  She currently lives and works in Los Angeles, California.

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Shingo Francis - NY Times Style

STEP INTO COLOR

“‘Color itself has space,’ says Shingo Francis. We spoke to him about the opening of his first retrospective exhibition in Japan, which focuses on the themes of color and space, which he has continued to explore.”

BY NAOKO ANDO, PHOTOGRAPHS BY YASUYUKI TAKAGI 

“Born in Santa Monica, California in 1969 he currently resides between Los Angeles, California and Kamakura, Japan. In 2023, he participated in the Ginza Maison Hermès Forum ‘Interference’ exhibition and created a 6 x 7 meter mural. His works are in the collections of many museums, corporations, and private collections.

The ‘Interference’ series that Shingo Francis has been working on since 2017 has now come to be identified as his masterwork.

This work is unique in that it is painted using pigments containing fine mica that reflects light, and the color changes as the angle of incidence of light changes. The color changes as the angle of the light that hits it changes, and if you change the position you stand in front of the work, the color changes as water refracts light in a rainbow.

In 2023 Ginza Maison he also took on the challenge of creating a huge mural at the ‘Interference’ group exhibition at the Hermès Forum. The Renzo Piano designed building's glass-block exterior allows light to enter the building, constantly changing the work.”

“This series started with the idea that there might be something called geometric portraits. We believe that portraits are not limited to portraits of organic creatures such as humans and animals. ‘My idea was to draw a rectangular motif, but as I spent more time reflecting on myself during the Covid pandemic. The motif naturally turned to a circle, which is dedicated to the cycle of life and the seasons as well as shrines. This also applies to the sacred mirrors held in the temples and the round windows in temple buildings.

’The production process is very stoic. First, I apply a white base coat to the canvas, and once it dries I sand it to make the surface even. When you touch it, the difference between before and after sanding is like that of rough unglazed pottery and smooth porcelain. On top of that, the motif and surrounding areas are painted using pigments containing mica. This pigment takes a long time to dry, and one can't move on to the next step until it is completely dry. Especially when painting the edges, I have to be very careful not to let it ooze out or bleed.’

If there is anything you are not satisfied with, you will have to start over from the beginning. The explanation of the process is like listening to a craftsperson such as a potter or lacquer painter. The works are not simply finished in a flat manner; when viewed up close, traces of hand movements such as brush-strokes remain, which further pleases the viewer's eyes. It is important to judge whether the timing is good or bad.

‘No matter how many photos I take, I can't capture it. Unless you actually stand in front of the work, you won't understand the reality. When confronted with this work, which can be described as a quiet challenge to the SNS age, the dialogue with the work naturally shifts to a dialogue with oneself. Each viewer is able to see themselves in the work. I would like to take a closer look at such works at this exhibition.’

Shingo Francis was raised in the United States and Japan, the son of Sam Francis, a master of French informel (atypical avant-garde art) and American abstract Expressionism, and the media artist Mako Idemitsu. When he was young, his father would draw with him at his own desk and art supplies in his studio. My father often told me, ‘Don't let it turn brown.’ I remember this very well. The pure clarity that his works exude may have been cultivated from an early age.’”

CHIGASAKI CITY MUSEUM
1 Chome-4-45 Higashikaigankita, Chigasaki, Kanagawa 253-0053, Japan
March 30th (Sat) - June 9th (Sun)

Today at 3PM - Peter Lodato Show Walk Through with Yuki Shibamoto

Please join us today at 3pm for a short musical performance by Yuki Shibamoto followed by an exhibition walkthrough by internationally renowned artist Peter Lodato. Following the talk we will be serving refreshments from 3-6pm. We welcome you to join us for this special event.

Peter Lodato holds a Graduate degree from California State University. His artistic contributions have been recognized through a solo retrospective curated by the Frederick Weisman Foundation (2000), and exhibitions at prestigious institutions such as PS1 in New York City (1978), Whitney Museum of American Art’s Biennial (1981), the Museum of Contemporary Art in Los Angeles, and the Los Angeles County Museum of Art. His works grace esteemed collections in various public and private institutions, including the Brooklyn Museum, the Seattle Art Museum, the Dallas Museum of Art, and the San Diego Museum of Contemporary Art. This extensive presence in renowned collections underscores the impact and significance of Lodato’s artistic vision within the realm of contemporary art. He lives and works in Venice, California.

3:00 PM - MUSICAL PERFORMANCE BY YUKI SHIBAMOTO
3:30 PM EXHIBITION WALK THROUGH WITH PETER LODATO
3:00 - 6:00 PM WINE & REFRESHMENTS