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.

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.

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.