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.

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

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.

PETER LODATO: DIAMONDS/DIVISIONS/VOIDS - Exhibition Catalog Now Available

Santa Monica, CA - William Turner Gallery is pleased to present, solo exhibition of exceptional new works by Peter Lodato, opening  January 13th, 2024. 

Peter Lodato’s (b. 1946) artistic journey reflects an evolution, from immersive light installations, to captivating paintings that explore the complexities of human perception over the course of his six decade-long career. In addition, Lodato would himself influence a number of artists, teaching Art History at Art Center in Pasadena, and University of California Irvine with notable students such as James Turrell and Chris Burden.

His initial foray into art consisted of environmental light installations,  characteristic of the West Coast's Light and Space movement in the 1960’s, which sought to transform physical spaces into immersive experiences for viewers. He credits the Roman Pantheon’s oculus for his interest in interpreting his experience. This body of work led to his inclusion in the 1981 Whitney Biennial.

As Lodato transitioned back to painting, he carried forward his fascination with perception, creating works that initially appear as austere, geometric abstractions but upon closer inspection, reveal layers, brushstrokes, and vibrant colors that play with space and depth. The dichotomy of vision—its capacity to both reveal and conceal—serves as a thematic cornerstone in Lodato's artistry. His reductive compositions, often featuring divided forms and bold colors, engage viewers in a visual dialogue between simplicity and complexity. Inspired by the Abstract Expressionist’s Mark Rothko and Barnett Newman, Lodato's use of vertical bands of color draws viewers into the canvas, inviting them to experience the artwork both physically and transcendentally. Hard edges feather out into diaphanous atmospheric vapors, creating luminous, Color-field suspensions floating on a colored ground– the formal consequences appear to both recede and project, dematerializing the art object and simultaneously constructing a void of flat, hard-edge, matted pigment. The artists hand is evident in the textural materialization of paint executed with an expert hand. In reasserting the picture plane in favor of the flat form, the abstractions are not in fact “subjectless”, regardless of their  reductive nature, they are intended to elicit a deep emotional response and expose the paradoxical nature of human perception.   

Informed in part by Eastern philosophy, Lodato’s palette observes the color schema assigned to the various corporeal chakras and their corresponding color assignments. Red for example symbolizes the root chakra at the base of the spine, characterizing strength and vitality, whilst white on the other end of the spectrum, illustrates the crowning light of spiritual wisdom.    

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.

Opening Tomorrow, Saturday, January 13 from 5-8PM - Peter Lodato: Diamonds/Divisions/Voids & Koji Takei: Intertwined

Vermillion Green & White, 2023, oil on canvas, 96” x 84”

PETER LODATO

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.    

Cello, wood, stains & varnish on metal stand, 53” x 14” x 7”

Through his background in photography and graphic design, Takei first began piecemealing his disparate photographs (pre-Photoshop) and constructing them into sculptures to be photographed. This in turn, led to Takei becoming a sculptor.

Drawing from the discourse of Picasso, Braque and the Surrealists, Takei’s sculptures reference, yet expand upon these oeuvres in a playful syncretism of the two. His work transcends the cacophony often associated with Cubism, offering a vocabulary suffused with irony. that engages in the contemplation of diverging vantage-points in-the-round. The minimal yet commanding presence of his pieces draws parallel to the interlocking sculptures of the late Isamu Noguchi, echoing a profound artistic resonance. Through Intertwined, Koji Takei continues to redefine the boundaries of Cubism. As much as Takei’s pieces are Cubist in nature there is also an unmistakable Asian influence in the working method of the Japanese native.

As a Japanese-American residing in Los Angeles, Takei's influence extends far beyond his innovative work. He has taught at the California Institute of the Arts in Valencia, California; Otis College of Art & Design in Los Angeles, and is currently a faculty member at the Art Center College of Design in Pasadena and Academy of Art University in San Francisco. This underscores his commitment to shaping the next generation of artistic visionaries.

ERIC JOHNSON: MADAME X - Exhibition Catalog is now Available for Digital Viewing

William Turner Gallery is pleased to present Madame X, the digital exhibition catalog for Eric Johnson’s current solo exhibition at William Turner Gallery.

Eric Johnson attended Valley College; California Institute of Art and received his Masters of Fine Arts degree from University of California at Irvine. Johnson’s work is in many public and private collections, including: Oakland Museum; Laguna Beach Museum; Museum of Art and History (MOAH); Lancaster, CA; C.B.S. Broadcasting, New York, NY; Digital Domain, Venice, CA; Mary Barnes; Leonardo and George DiCaprio; James Cameron; Homeira and Arnold Goldstein, among others. Eric Johnson was born in Burbank, California, where he continues to live and work.

Eric will be at the gallery for the closing of the exhibition this Saturday from 3-5pm. He will speak briefly about his work and we will be taking orders for signed copies of the exhibition catalog. To receive a copy of the catalog please contact the gallery at 410-453-0909 or by email at info@williamturnergallery.com.

SHINGO FRANCIS Liminal Presence Exhibition Catalog

SHINGO FRANCIS: Liminal Presence Catalog Now Available

Shingo Fancis: Liminal Presence exhibition catalog is now available to view online on the occasion of his current solo show at the gallery. The hard-copy will be available in the coming weeks. 

Shingo Francis was born in Santa Monica, California in 1969. He received a Bachelor of Arts degree from Pitzer College in Claremont, and a Master of Arts degree from ArtCenter College of Design, in Pasadena. Francis’ work has been exhibited in Japan, United States, Germany, South Korea, and Switzerland. He has been the subject of museum shows at the Kawamura Memorial DIC Museum of Art, Sezon Museum of Modern Art, Ichihara Lakeside Museum, the Martin Museum of Art, and the Frederick R. Weisman Art Foundation. He recently completed a permanent installation in the foyer of the Hermès Foundation in Tokyo and received the Fumio Nanjo Award in Tokyo. He currently divides his time between Los Angeles and the ancient coastal town of Kamakura, Japan.

Eric Johnson’s Madame X exhibition catalog will be available for viewing in the upcoming week. Thank you and happy holidays from everyone at William Turner Gallery.

VISUAL ATELIER 8 - An interview with Casper Brindle, Master of Light, Color, and Sensory Exploration

VISUAL ATELIER 8

An interview with Casper Brindle, Master of Light, Color, and Sensory Exploration

Image: Rob Brander for William Turner Gallery

Exploring the enchanting world of Casper Brindle
Jaimy Favela Le

Casper Brindle, a contemporary artist rooted in the 1960s & 70s Light and Space movement, explores the expressive possibilities of color, light, and form in his paintings. From vibrant technicolor to subtle monochromatic hues, Casper Brindle’s work consistently features a central focus, drawing viewers into enigmatic spaces of perception. Influenced by the Finish Fetish and Light and Space movements, he masterfully employs color reminiscent of Mark Rothko and Jules Olitski, creating immersive fields that evoke deep emotional responses.

Casper Brindle’s paintings, influenced by Southern California’s car culture, utilize airbrushed sprays for atmospheric depth, demonstrating a synthesis of diverse artistic sensibilities. Born in Toronto in 1968, Brindle, now based in Los Angeles, has exhibited internationally and is held in prestigious collections like the Frederick R. Weisman Art Foundation.

It is an incredible occasion to be able to chat with Casper Brindle about his awe-inspiring and sensory artwork! We would love to know what you think your child-self would think of you now as such an accomplished artist? What do you think little Casper would say to you? And what would he think about your expansive body of work? Is he glowing with pride?

Thank you for the kind words. I think Little Casper would be happy with my accomplishments so far. There is something innately childish about being a professional artist. Experimenting and “playing” with the materials in front of you. I could compare it to the feeling of playing with toys in the preschool sandbox. I am forever grateful to have had such a supportive mother, a terrific illustrator and designer in her own right. I’m deeply fortunate that I am able to make a living doing what I’m very passionate about.

What a wild trip it is to take in your illuminating works that seem to unfold more of themselves, the more you spend time with them and interact with the space them. We would love to know more about how you went from utilizing LED tubes for lighting up a painting to now being able to skillfully achieve an effect of illumination by using only color. What was the process like for you personally?

Yes, for years I was incorporating and embedding LED lights into my paintings and never really found what I was looking for. I was yearning for a certain magic, a more organic quality which the artificial light provided by the LEDs could never achieve. What most interests me is the manipulation of light, whether it be with refraction in an encapsulated form, such as the light glyphs, or using paints that intentionally transform as you walk around the works. Materiality is a primary principle of my practice as I have spent years experimenting with the applications of different materials.

Your work speaks to the auras felt when perceiving colors, light, a core, and atmospheric spaces. Contemplation about perception and connecting with the presence are a couple things that come from immersing oneself in your body of work. Do you think your work reflects these experiences from the living world or is it its own concentration of sensory conjuration?

Both. I think the materials are a grounding force for the pieces, whereas the treatment and color perception of the materials allow for the pieces to become almost otherworldly. However, the orchestrated fabrication of the pieces reflects the organized chaos of both the natural and the built environment that surrounds us.

What dream settings do you envision your colorful works in? Are there particular places in the world that you hope to bring your art to?

Of course, artists are always fantasizing about ideal settings for our work – Museums, major collections, within prominent public and architectural venues. I am no different and have been thrilled to have my work acquired and shown by museums, like the Weisman Museum, The Luckman, Lancaster Museum of Art, the new Frank Gehry hotel in LA and by a number prominent collectors. Looking ahead, I have an exhibition planned in Brussels at Gallery La Patinoire Royale, Valerie Bach, in April of 2024 and will be showing new paintings and sculpture that I am presently working on and excited about.

Soon following, I will be focused on my Los Angeles exhibition in September at the William Turner Gallery. Possibly less traditionally, I’d love to explore placing my work in “atypical” settings: a foggy forrest, a beach, a desert. Changing the context changes the piece. A glowing object in the middle of nowhere tells a much different story than a painting hung on a white wall of a gallery. Hmm, could this be a short film? You’ve got the wheels turning!

We also know that you are also a sculptor. Can you divulge a bit about how this way of creating your art differs in from how you approach making your paintings? Taking something that you typically form on a 2D surface to a 3D realm?

The three dimensional work is more of an elaborate, organized process, compared to the typical trance I’m in while I’m painting. With my paintings, I’m just going on rapid fire instincts in a meditative state. With the sculptural work it’s about logical problem solving. Like a puzzle. The Light Glyph sculptural works are expanded iterations of the Portal Glyph paintings -They just extend into three dimensions. Both explore the same theory, but within different mediums and materialities.

Maybe a comparable example is the painter as an actor and the sculptor as the director in theater or film. The actor is always reacting to a situation in front of them instinctively, but the director (sculptor) is planning the entire vision out before the production has begun. Two different processes for me, neither better than the other. Although, I enjoy the visceral process of painting more, both outcomes are equally fulfilling.

What does abstraction mean to you? Describe to us the way you philosophize the human senses in response to abstract visualizations that imbue a particular experience.

I’m in search of something beyond, something that can be truly simple and complex. Making my work is a selfish act, as I’m making the painting or sculpture solely for myself, to release it from my mind, without thinking about how they will be seen or felt. It’s a place where I can be hyper focused yet, in a meditative state. The artwork may be used as a conduit for the viewers own experiences, but I would never force a narrative onto them. Abstraction to me is being free of story telling or narration. To create a work based on raw emotions or even lack of emotions. Free of rules. The freedom to dance any way you like.

What does the process of dreaming up a painting or sculpture look like for you? Is it the case that the end result always matches the first drop of inspiration?

My paintings or sculptural works come to me usually in solitude, whether that be just before bed or alone in my studio. With my paintings, I may have an idea to explore, but rarely do they end up visually resembling my initial thoughts. I find in painting the decisions are made quickly and based on instinct. Sculpture for me is a much more thought out concept as you are dealing with construction and fabricating a well explored object with prototyping all while aiming to achieve the concept that was originally in my head.

What has been a major highlight for you as an artist so far? What sort of new things are you seeking to further your creative endeavors? Any personal revelations that you wish to share over the years?

My highlights constantly change as I grow, but a recent noteworthy highlight was working with Mika Cho who curated my Museum exhibition at The Luckman space at California State University Los Angeles. It was a phenomenal show and experience. Cho’s execution
and presentation were terrific. Constantly thinking of new ideas, projects, materials and collaborations, I know there is always something inspiring around the corner. It’s important to do the work you enjoy as opposed to chasing trends. I believe that if you do your own thing, a thing you are truly passionate about, everything will eventually fall into place.

INCONVERSATION: Andy Moses & Shana Nys Dambrot - Tomorrow @ 7PM

Refreshments will be served from 6-7PM. Talk will begin at 7PM. 


Andy Moses: Recent Paintings, is on view at the gallery through November, 11th.
Please RSVP to info@turnergallery.com

Andy Moses will have a Laguna Art Museum survey exhibition opening March 2026 and a survey exhibition opening in May of 2027 at MOAH.  MOAH recently acquired the 2010 painting Aqaba for their permanent collection.  

Mark your calendars and join us for an exciting evening of art and thought provoking conversation, as Andy Moses discusses his work and artistic journey with art critic, curator and author, Shana Nys Dambrot.



The two will discuss the artist's practice, spanning over thirty years and culminating in this excitingly ambitious new body of large-scale works.



Shana Nys Dambrot is an art critic, curator, and author based in Downtown LA. She is the Arts Editor for the L.A. Weekly, and a contributor to Flaunt, Artillery, and other culture publications. She studied Art History at Vassar College, curates and juries exhibitions, writes prolifically for exhibition catalogs and monographic publications, and speaks at galleries, schools, and cultural institutions nationally. She is the recipient of the 2022 Mozaik Future Art Writers Prize, the 2022 Rabkin Prize for Art Criticism, and the LA Press Club National Arts & Entertainment Journalism Critic of the Year award for 2022.


Andy Moses attended the legendary CalArts from 1979-1981, studying with John Baldessari, Michael Asher and Barbara Kruger. In 1982, Moses moved to New York where he worked as a studio assistant to Pat Steir and quickly became part of New York's nascent art scene. Moses began exhibiting with Annina Nosei Gallery, shortly after Jean-Michael Basquiat. During that time Moses also developed close ties with artists such as Jeff Koons, Marilyn Minter, Rudolf Stingel and Christopher Wool, who were also just emerging onto the scene.



After eighteen years in New York, Moses returned to Southern California in 2000, where the change in coasts led to a significant shift in his work. In New York, the artist's work had explored the macro / micro influences of nature, conveying a sense of gravitational and geologic forces. In returning to California, the scope of Moses’s work expanded, as he was once again inspired by the unique effects of light glancing off waves, and the vast sky-scapes he encountered on his daily drive down the Pacific Coast Highway. The artist began exploring materials that would capture the mercurial aspects of perception, where slight shifts in perspective would reveal dramatic shifts in impression. Accordingly, Moses’ work began to incorporate many of the qualities now associated with the Southern California Light and Space movement, where the work of art became less an “art object”, and more of a “catalyst” for one’s experience of what and how they are perceived. Suggesting panoramic space, Moses began introducing concave and shaped panels to further investigate how light and its wave-lengths would curl and flex with refractive paints. These bold new paintings quickly found their audience and brought Moses to the attention of museums and major collectors alike.

Andy Moses’ work is included in the permanent collections of Los Angeles County Museum of Art, The Buck Collection, Orange County Museum of Art, Laguna Art Museum, the Jordan Schnitzer Family Foundation, and the Frederick R. Weisman Art Foundation. He currently lives and works in Venice, CA.


ANDY MOSES: Recent Paintings - Exhibition Catalog Now Available

A 68 page fully illustrated print copy of the catalog will be available next Tuesday. Please contact the gallery to purchase a copy at info@williamturnergallery.com.

William Turner Gallery is pleased to present the exhibition catalog for Andy Moses: Recent Paintings, a compelling exhibition of new large-scale works by Los Angeles-based artist, Andy Moses. The exhibition will run from September 9th through November 11th, 2023.

Recent Paintings is an excitingly ambitious new body of work, showcasing an artist fully engaged and at the height of his creative process. Blurring the line between abstraction and a new kind of pictorialism, Moses utilizes techniques that facilitate his almost obsessive study of the alchemical properties of paint.  

Utilizing a method that is completely unique and developed outside the realm traditional painting techniques, Andy has pioneered a new language of paint, one with its own tools and materials.  Every element of these pieces have been painstakingly examined.  Technology in the form of complex vacuum sealed chambers has been invented to assist in producing the works and even the structures on which the painting rests are extraordinary engineering feats of their own.  The end result are stunningly beautiful, highly crafted, and perfectly executed works of art done in a method that has never been seen on any painting in the entire history of art.  

Born in Los Angeles in 1962, Andy Moses attended the legendary CalArts from 1979-1981, studying with John Baldessari, Michael Asher and Barbara Kruger. In 1982, Moses moved to New York where he worked as a studio assistant to Pat Steir and quickly became part of New York's nascent art scene. Moses began exhibiting with Annina Nosei Gallery, shortly after Jean-Michel Basquiat. During that time Moses also developed close ties with artists such as Jeff Koons, Marilyn Minter, Rudolf Stingel and Christopher Wool, who were also just emerging onto the scene.

“I’ve always loved Andy’s work. It’s interesting how it embraces many dialogues within the history of painting, from nature, landscape and science to abstraction. The paintings embrace everything while at the same time a sense of negation is always present. This polarity allows you to discover your relationship with the work itself. There’s always a sublime beauty within the work. The commingling of time and space, both real and abstract, is one of the the most relevant aspects of Andy’s work to me. Moses’s work is powerful and extreme, from the beginning to today, in concept and execution.”

- Jeff Koons

Andy Moses’ work is included in the permanent collections of Los Angeles County Museum of Art, Orange County Museum of Art, Laguna Art Museum, and the Frederick R. Weisman Art Foundation.   Andy will be the subject of two forthcoming museum exhibitions one at the Lancaster Museum of Art and History and the other at the Laguna Art Museum and was recently the subject of a 30 year survey at the SMC Barrett Gallery.  

ARTNOWLA - Andy Moses: Recent Paintings

William Turner Gallery will present Andy Moses: Recent Paintings, a compelling exhibition of new large-scale works by Los Angeles-based artist, Andy Moses. The exhibition will run from September 9th through November 11th, 2023.

Andy Moses: Recent Paintings is an excitingly ambitious new body of work, showcasing an artist fully engaged and at the height of his creative process. Blurring the line between abstraction and a new kind of pictorialism, 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 rather to suggest the forces of nature itself. The artist’s complex process of mixing and pouring paints 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 seemingly 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.

Speaking about his work, Moses says, “I want the work to stop you in your tracks, to shake you out of your head and into the moment, into the present, where you can become receptive to a more meditative experience that hopefully begins to attune you to the transcendent beauty of the natural world.”

Born in Los Angeles in 1962, Andy Moses attended the legendary CalArts from 1979-1981, studying with John Baldessari, Michael Asher and Barbara Kruger. In 1982, Moses moved to New York where he worked as a studio assistant to Pat Steir and quickly became part of New York’s nascent art scene. Moses began exhibiting with Annina Nosei Gallery, shortly after Jean-Michael Basquiat. During that time Moses also developed close ties with artists such as Jeff Koons, Marilyn Minter, Rudolf Stingel and Christopher Wool, who were also just emerging onto the scene.

After eighteen years in New York, Moses returned to Southern California in 2000, where the change in coasts led to a significant shift in his work. In New York, the artist’s work had explored the macro / micro influences of nature, conveying a sense of gravitational and geologic forces. In returning to California, the scope of Moses’s work expanded, as he was once again inspired by the unique effects of light glancing off waves, and the vast sky-scapes he encountered on his daily drive down the Pacific Coast Highway. The artist began exploring materials that would capture the mercurial aspects of perception, where slight shifts in perspective would reveal dramatic shifts in impression. Accordingly, Moses’ work began to incorporate many of the qualities now associated with the Southern California Light and Space movement, where the work of art became less an “art object”, and more of a “catalyst” for one’s experience of what and how they perceived. Suggesting panoramic space, Moses began introducing concave and shaped panels to further investigate how light and its wave-lengths would curl and flex with refractive paints. These bold new paintings quickly found their audience and brought Moses to the attention of museums and major collectors alike.

Andy Moses’ work is included in the permanent collections of Los Angeles County Museum of Art, Orange County Museum of Art, Laguna Art Museum, and the Frederick R. Weisman Art Foundation. He currently lives and works in Venice, CA.

ART REVIEW - White Hot Magazine / Andy Moses: Recent Paintings

By LORIEN SUÁREZ-KANERVA September 11, 2023

Andy Moses’ Recent Paintings will be showcased at the William Turner Gallery in Los Angeles from September 9 until November 11, 2023. Moses Recent Paintings’ distinct color use encompasses a predominantly white, blue, black and gold palette. All-white color tints, shades, and their lustrous variability are at play amidst clear, sharper, fluid lines, and softer open gradations, leading toward ethereal spaces. Moses’s sensibility spans a buoyantly luminous subtlety and achieves a refined definition through a meticulously grounded and richly orchestrated embodied perception. Maurice Merleau-Ponty pointed to embodied perception as the experience of the self in an environment at the crucible towards forms of relatedness that reveal meaning and expand perception.  

Geomorphology 1607, Acrylic on canvas, over concave wood panel, 57 x 90 inches, 2023

Fiber Birren, Johannes Itten, and Carl Jung address the subject of color each through a psychological vantage point, cultural nuances (like Jung’s groundbreaking study of mandalas of the East by introducing these to the West), and Color Theory. The sensorial effects of color suggest a responsive universality based on similarities that bridge cultural bounds.  In his works “Color and Meaning” and “Color and Culture,” John Cage supports these observations on color's meaningful effect on sensorial understanding across cultures.   Most salient in Moses’ works is the combination of white and blue, where black shifts through a reflective play with light toward shades of blue. From these earlier scholars' observations, colors such as whites speak of clarity, illumination, and spirituality, and blues inspire serene tranquility and introspective depth.

As a countertone, gold's earliest cultural associations with the sun's radiant power extend the hue's significance to encompass wealth and prominence. For Jung, gold represented the self's individuation process, stimulating wisdom and enlightenment—likewise, Itten and Birren associated illumination and divine inspiration with gold. Extensively, gold in East Asia, including Japanese 18th-century iconography, signifies wealth, power, good fortune, and divinity.

Geomorphology 1606, Acrylic on canvas over concave wood panel, 57 x 90 in, 2023

Moses shares the American Transcendentalists’ numinously intuitive perception of nature alongside the critical figures of Thoreau, Whitman, Emmerson, and their predecessor, the Canadian Henry Wadsworth Longfellow. Poetry such as Henry Wadsworth Longfellow’s lines from his poem “The Tide Rises, The Tide Falls” are evident in Moses’ paintings, and they highlight a kinship, reveling in transcendental sensibilities grounded in the human experience of nature and its patterns throughout time.

 “The little waves, with their soft, white hands,
Efface the footprints in the sands.”

Geodesy 1514, Acrylic on canvas over circular wood panel, 72 in diameter, 2023 

Longfellow summarizes this generational contribution towards a deepening receptiveness and recognition of how these contemplations become influential legacies in his poem “A Psalm of Life.”

“Lives of great men all remind us.
We can make our lives sublime,
And, departing, leave behind us
Footprints in the sands of time.”

Geodesy 1515, Acrylic on canvas over circular wood panel, 72 in diameter, 2023

Similarly, Moses perceived an affinity and kinship from the East with Ryukyuan lacquerware for its craftsmanship and conceptual design motif through his introduction while viewing LACMA’s “The Five Directions: Lacquer from the Ryukyu Islands” exhibition. This iconography and the craft itself of creating a painstaking layering of resin polished into lacquer was characteristic of Japan’s Ryukyu Islands from the 18th century.  The motif speaks of benevolent mystical forms seeking wisdom in East Asian cultural iconography. One particular piece in LACMA’s exhibition, a circular tray, inspired his painting titled Geodesy 1515. The matter of the enlightenment is also poetically crafted as an adornment – Dragons Chasing the Flaming Pearl. The Flaming Pearl holds as its essence the themes of wisdom within a spiritual scope. At the same time, the dragons culturally appear as strong protective forms that control natural elements.

Circular Tray with Dragons Chasing a Flaming Pearl, Black Lacquer on Wood Core with Mother of Pearl Inlay, 3.5 x 35.25 in, Ryukyu Islands, 1700-1800, LACMA Permanent Collection.

The American transcendentalist ethos, presented in the poem “Come, said my soul” by Whitman, attests eloquently to their literary movements’ vision of universal unity.  Their writings draw deeply from their dedicated contemplation and communion with nature. This is akin to the sensibility the mystics have shared throughout time.

Geomorphology 1608, Acrylic on canvas over concave wood panel, 57 x 90 in, 2023

“Come, said my soul,
Such verses for my body let us write, (for we are one,)
That should I after death invisibly return,
Or, long, long hence, in other sphere,
There to some group of mates the chants resuming,
(Tallying earth’s soil, trees, winds, tumultuous waves,)
Ever with pleas’d smile I may keep on, Ever and ever yet the verses
owning – as, first, I here and now,
Singing for soul and body, set to them by name,
Walt Whitman

Andy Moses’s paintings attest to this universal transcendence, poetically defined, and breathtakingly revealing its cultural lineage’s kinship. WM

ANDY MOSES: RECENT PAINTINGS - Saturday September 9, 5-8PM

ANDY MOSES: RECENT PAINTINGS
September 9 - November 11, 2023
Opening Reception: Saturday, September 9, 5-8PM

Greg Miller - The Da Vinci Questionnaire - Nostalgic Nods to Ubiquitous Tropes

Greg miller at work in his Austin, Tx Studio

Extracting familiar pictorial codes from the pop culture of his youth, Greg Miller – who divides his time between New York, NY, Fredericksburg, TX and LA, CA, and whose work is featured in numerous museum and private collections, with a volume of his writings, photography and paintings having been published in 2010 – plumbs his own psychological depths only to discover what makes him love work and life.

To view the online exhibition catalog for the show please click HERE.

Once Upon A Time

Exhibition Catalog now available Online and in Print. Please contact the gallery for a copy of the print version.

Mark Steven Greenfield - The LA Metro Project - Red Car Requiem

For L.A.'s newest underground art experience, head down to the Metro Regional Connector

For your next art outing, head underground.

The Los Angeles Metropolitan Transportation Authority debuted its Regional Connector Transit Project yesterday, a $1.8 billion undertaking that’s been more than a decade in the making. It includes three new downtown L.A. subway stations — theGrand Ave. Arts/Bunker Hill, Historic Broadway and Little Tokyo/Arts District stops — and each are filled with ambitious new works of art.

Eight artists were commissioned by Metro Art to create permanent, site-specific installations for the stations: Andrea Bowers, Clare Rojas, Audrey Chan, Mark Steven Greenfield, Ann Hamilton, Clarence Williams, Mungo Thomson and Pearl C. Hsiung.There are also two wall-mounted light box installations in the Broadway and Grand Avenue stations, part of a rotating art program. The inaugural artists for those spaces are Ralph Gilbert and Samira Yamin.

Mark Steven Greenfield with his glass mosaic, “Red Car Requiem,” at the new Historic Broadway Station. (Christina House / Los Angeles Times)

“These are significant pieces, by established artists, that are integrated into the overall architecture of the project but also will attract people on their own,” says Metro Art program Senior Director Zipporah Yamamoto. “People will stop and look at these artworks. It’s a major part of the transit experience — and the Los Angeles experience. It extends the downtown L.A. arts and culture experience into the station.”

By Deborah Vankin (Read the rest of the piece on LATimes.com)

ABOUT THE PROJECT
Piecing together parts of a large-scale glass mosaic mural in for the Historic Broadway Station. Created by Mark Steven Greenfield, “Red Car Requiem” is a site-specific mural spanning a 171-foot wide. The artwork is the largest glass mosaic artwork in Metro’s system. Each element of the artwork was matched in the dynamic colors and the placement of over 1 million hand-cut glass pieces during the mosaic’s fabrication process. The Regional Connector is a 1.9-mile light rail project connecting the A Line (Blue), E Line (Expo) and L Line (Gold) in downtown Los Angeles. The project features artwork integrated into three new stations: Little Tokyo/Arts District Station, Historic Broadway Station, and Grand Ave Arts/Bunker Hill Station. For more information on the Regional Connector Transit Project artworks, visit: https://metro.net/moredtlaart

Greg Miller: Once Upon A Time Exhibition Catalog Now Available

Greg Miller's artistic versatility is evident in his adept use of various painting styles. With a deft hand and craftsmanship, he navigates different techniques to achieve diverse visual effects in his work. Using a Renaissance practice of layering paint, he is able to achieve the photorealism in his portraits which is a highly labor intensive and skillful process.

One can observe Miller's skillful mastery of realism in his highly detailed and precise portrayals. Whether it's capturing the nuanced expressions of faces or rendering intricate textures, his attention to detail demonstrates his command over the Realist style.

The exhibition’s title comes from the work Once Upon a Time, which illustrates many of the themes, and techniques characteristic of Miller’s oeuvre. Central to the image is a black-and-white painting of a vintage Hollywood city-scape during its “Golden Age”.  Super-imposed, is the profile of a comic book action-hero surveying the vista. To the right, Grisaille is applied with spray paint to produce a photorealistic portrait of a woman seductively peering out from what appears to be a cropped still-frame. The scratched surface alludes to wear, and the passage of time. Collaged below is a text clipping of “the right” with a clock next to it, suggesting “time”. On the far left, a faceted crystal highball glass is labeled with a clipping reading “ACTION”.

Once Upon A Time, acrylic on canvas, 60” x 72”, History, acrylic on canvas, 36” x 72”, Truth, acrylic on canvas, 48” x 48”

GREG MILLER

Greg Miller (b. 1951) was born in Sacramento, California and holds a Master of Arts Degree from San Jose University. Once a long-time Venice, California resident, he currently resides in Austin, Texas.

His work is featured in numerous museum and private collections, including those of: the San Jose Museum of Art, Newport Harbor Museum, Crocker Museum of Art, Los Angeles County Museum of Art, Laguna Art Museum, Riverside Art Museum,  Frederick R. Weisman Foundation and Charles Saatchi Foundation. The Get Go, a volume of his writings, photography and paintings was published in 2010, and the first comprehensive monograph of the artist, Signs of the Nearly Actual, was published in 2009.

GREG MILLER Once Upon A Time 
June 10, 2023 – August 12, 2023 

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PRESS: LA WEEKLY - MEET LIGHT FIELDS PAINTER CASPER BRINDLE

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MEET LIGHT FIELDS PAINTER CASPER BRINDLE

Abstract painter Casper Brindle renders pure color in aerated layers that capture and refract light, creating breath and a sense of motion with their awe-inspiring luminosity. Heartily influenced by the legacy of the Light and Space movement—which embraced the qualities of wonder in newfangled materials like resin and airbrush, as well as the imagination-fueling advances in interstellar travel—Brindle updates that art historical framework with a modern-day love of the surf and car cultures of his Los Angeles youth. Using automotive paint to enhance that space-age shine as well as an elusive sense of nostalgia in the super-charged palette, Brindle layers delicate coats which seem to capture light in between—later to release it to viewers in an eternal glow. Seeming to change as the viewer moves past them, and carrying the illusion of distant horizons or doors (of perception) as a framework, the magic in Brindle’s canvases actually happens in the eye of their beholders.

By: Shana Nys Dambrot - June 12, 2023