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.

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.