PETER LODATO featured in GOOD VIBRATIONS @ INTERSECT PALM SPRINGS

Intersect Palm Springs is a boutique fair that brings together a dynamic mix of more than 50 emerging and established contemporary and modern art and design galleries. An Opening Night Preview on Thursday, February 10 will be followed by General Admission from Friday, February 11 through Sunday, February 13.

Good Vibrations, organized by Shana Nys Dambrot (Arts Editor, LA Weekly) and Hunter Drohojowska-Philp (Author, Rebels in Paradise: The Los Angeles Art Scene and the 1960s), offers

an expanded view of geometric abstraction as it has evolved in Southern California from the 1950s to include the properties of light and the emotional and transcendent uses of color. Lorser Feitelson, Karl Benjamin, John Miller, Peter Lodato, Jim Isermann, Patrick Wilson, Dani Tull, Yunhee Min, Knowledge Bennett, Mary Anna Pomonis, and Jen Stark are among the artists to be included in this multi-generational show.

Location

Palm Springs Convention Center 277 N Avenida Caballeros
Palm Springs, CA 92262

Mark Steven Greenfield @ Historic Broadway Station - Timelapse Video

MARK STEVEN GREENFIELD - A Survey 2001 - 2021
Currently On View at MOAH


Mark Steven Greenfield is a native Angeleno. Born into a military family, he spent his early years in Taiwan and Germany, returning to Los Angeles at the age of 10. Entering into an American adolescence after being abroad gave Greenfield a unique look at the negative stereotyping of African Americans like himself, sparking his interest in the complexities of the Black experience both historically and in contemporary society. Greenfield’s creative process is based on research that delves into topics of Black genealogy, heritage, and cultural representation. His artwork is anchored in aspects of Black history that have been buried, forgotten, or omitted. 

Mark Steven Greenfield studied at what is now the Otis College of Art and Design and went on to receive a Bachelor’s degree in Education from California State University, Long Beach in 1973. To support his artistic practice, he held various positions as a visual display artist, park director, graphic design instructor, and police sketch artist before returning to school to earn his Master of Fine Arts degree in painting and drawing from California State University, Los Angeles in 1987. Since then, Greenfield has been a significant figure in the Los Angeles arts scene, serving as arts administrator for the Los Angeles Department of Cultural Affairs, director of the Watts Towers Arts Center and the Towers of Simon Rodia, director of the Los Angeles Municipal Art Gallery, and as a board member for the Downtown Arts Development Association, the Korean Museum, and The Armory Center for the Arts — to name a few. Greenfield has been teaching painting and design courses at Los Angeles City College since 1997.

MARK STEVEN GREENFIELD A Survey, 2001-2021 this Saturday at MOAH

Balthazar, 2021, Acrylic and Gold Leaf on Wood Panel, 20" X 16"

Mark Steven Greenfield is a native Angeleno. Born into a military family, he spent his early years in Taiwan and Germany, returning to Los Angeles at the age of 10. Entering into an American adolescence after being abroad gave Greenfield a unique look at the negative stereotyping of African Americans like himself, sparking his interest in the complexities of the Black experience both historically and in contemporary society. Greenfield’s creative process is based on research that delves into topics of Black genealogy, heritage, and cultural representation. His artwork is anchored in aspects of Black history that have been buried, forgotten, or omitted. 

Mark Steven Greenfield studied at what is now the Otis College of Art and Design and went on to receive a Bachelor’s degree in Education from California State University, Long Beach in 1973. To support his artistic practice, he held various positions as a visual display artist, park director, graphic design instructor, and police sketch artist before returning to school to earn his Master of Fine Arts degree in painting and drawing from California State University, Los Angeles in 1987. Since then, Greenfield has been a significant figure in the Los Angeles arts scene, serving as arts administrator for the Los Angeles Department of Cultural Affairs, director of the Watts Towers Arts Center and the Towers of Simon Rodia, director of the Los Angeles Municipal Art Gallery, and as a board member for the Downtown Arts Development Association, the Korean Museum, and The Armory Center for the Arts — to name a few. Greenfield has been teaching painting and design courses at Los Angeles City College since 1997.

MARK STEVEN GREENFIELD A Survey, 2001-2021

MUSEUM OF ART & HISTORY
665 W. Lancaster Blvd. Lancaster, CA 93534
Opening Saturday, January 22, 2022 4-6PM

Mark Steven Greenfield
Black Madonna Exhibition

Saturday at William Turner Gallery - Catalog Signing for LIGHT | GLYPHS & Special Music Event

CASPER BRINDLE - LIGHT | GLYPHS
Extended thru December 5, 2021

Casper Brindle will be at the gallery this Saturday, November 20th at 3PM to sign catalogs followed by a special musical performance by YUKI SHIBAMOTO at 4 PM 

Signed Catalogs will be available for $35.

READ ABOUT THE EXHIBITION 
AUTRE MAGAZINE
THE ARGONAUT

Gallery Artists Ed Moses, Andy Moses and Charles Arnoldi Featured in On the Edge: Los Angeles Art 1970's - 1990's from the Joan and Jack Quinn Family Collection

Joan Agajanian Quinn and her late husband Jack represent a key moment in the history of contemporary art, as Los Angeles came to symbolize an innovative and prolific brand of creative freedom. Few individuals have left such an indelible mark on the artistic landscape of Southern California more than Joan and Jack Quinn. Joan found herself both muse and promoter of several Southern California artists, while Jack used his skills as a prominent and influential attorney to help an array of emerging artists and their dealers navigate the worlds of law and business.

Known for her charisma, intelligence and incomparable flamboyance, Joan Agajanian Quinn has served as inspiration for artists such as Robert Mapplethorpe, Jean-Michel Basquiat, David Hockney, Ed Ruscha, Zandra Rhodes, Larry Bell, Frank Gehry, Ed Moses, Helmut Newton, Billy Al Bengston, Antonio Lopez and many others. As artists sought to record her image across a variety of media, Joan Quinn found herself with one of the world’s largest and significant collections of contemporary portraiture — a poignant representation of friendship, appreciation, and respect.

This exhibition will highlight the couple’s collection primarily amassed from the 1970s to 1990s. Much of the work was collected directly from the artists and has never changed hands or been shown publicly. Works in the exhibition will explore various themes such as Ferus Group “Cool School,” Gagosian, female artists, Finish Fetish, Documentary, Light and Space/Minimalism, Chicano Art, Pop Art, nature vs. urban landscape, and international artists and influences.



PRESS: The Argonaut Reviews LIGHT | GLYPHS

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Photograph courtesy Brent Broza Photography

Photograph courtesy Brent Broza Photography

Casper Brindle is convinced that he’s putting out some of his best work yet in his latest exhibition at William Turner Gallery in Santa Monica.

The artist, who began painting in the 1980s and is a disciple of the Light and Space art movement in Los Angeles, has woven a Southern California influence through all his work, whether the hot rod and surf culture found in his earlier work or the pure light in his latest exhibition.

“I think the light in LA is different than anywhere else in the world,” Brindle said. “This will be my best show yet. I’m really proud of this show.”
The show is called “Light | Glyphs” and will be on display through November 5. The series contains 25 pieces of which 15 will be shown at William Turner Gallery.

“Light is a huge part of my work in general and especially this body of work,” Brindle said. “I would say it is as important as the materials that I use, even more so. These works came to fruition just playing with light and seeing what happens with other materials. I started with light itself and manipulated the materials to do different things and bring different energies.”

Brindle, who was born in Toronto, moved to LA when he was 6 years old in the mid-1970s and he has lived there ever since. He was an apprentice to the Light and Space pioneer Eric Orr. He has exhibited on a regular basis at William Turner Gallery for more than 10 years and this is his 7th solo exhibition with the gallery.

A surfer, Brindle is constantly observing the play of light on water and how it expresses itself with color. Many of the works were done during the COVID lockdowns, something that Brindle said worked out to be a great thing for a lot of artists.

“Everything went on the backburner,” Brindle said. “You didn’t have to follow deadlines. You were kind of like, now it is time to really play with ideas and research and do the things that you can’t do when you have commitments and things like that.”

To create the works in this exhibit, Brindle used automotive paints, pigmented acrylic and metal leaf. The final works are 3 feet by 3 feet by 4 inches. He used translucent sculptural boxes which he air painted with diffused colors through the frosted surfaces.

The light in the colored background reflects in a quietly dramatic manner. In the center of each piece is a glyph, inspired by hieroglyphs that were ancient modes of communication, where symbols or marks were carved in relief to convey ideas.

Brindle’s glyph is a three-dimensional rectangle that intersects the center of the translucent box. The glyphs have been described as a beacon cutting through fog – quietly dramatic.
“I’m fascinated with hieroglyphs and how they used them to communicate,” Brindle said. “I use that as kind of a vehicle to do this newer work with glyphs. They go back awhile in the paintings.

There is just something that a spirit bigger than us is speaking to us. When I look at just a single glyph, it is speaking to that bigger power. I found that fascinating to use in the work.”

With Brindle’s use of gold and silver leaf to create the glyphs, he feels they really lend themselves to telling a story and he wanted to further the investigation into glyphs with these paintings.

Casper Brindle, Light-Glyph II, 2021, pigmented acrylic, 74” x 44” x 12”

Two different processes went into creating the works in this exhibit. With the glyphs, he did a lot of preparation, research and models. The decision-making process was very conscious as from the start he had an idea of where he wanted to go with them.
The paintings, on the other hand, had a more Zen approach. Brindle would find himself in a meditative state, a state of calmness where he let the work take over.

“It is a meditative state where all of a sudden at the end of the day, you’re like, ‘What just happened?’” Brindle said. “It’s that kind of thing when you’re driving and then all of a sudden, you’re at your destination and you don’t remember how you got there. That’s the same feeling I get when I make the works. The day starts and then it is 8 p.m. and I’ve got to go home.”

Brindle said he doesn’t typically have a preconceived idea of what he is going to do with the paintings. He lets them paint themselves.

“It’s a constant trance-like state of making right and wrong decisions along the way,” Brindle said. “I don’t say I’m going to do a blue painting. I just start and make a number of decisions along the way and just kind of paint these paintings.”

Throughout the years and with individual paintings, his choice of materials has always changed and shifted, evolving until he gets to where he is now.

“That’s part of the process,” Brindle said. “The best part about making art is the process. Things are changing all the time until you get to a place where you are like, now I have it. I know what this is about.”

The trance-like state is one that he shares with those that experience his work. Brindle said he’s had a lot of reactions to his art, but the most common one is a sense of lightness and calm — a sense of their bodies decompressing and entering a meditative state.

He stressed the importance of seeing his three-dimensional work in person. It’s the only way to experience its depth and the way the light shimmers and moves. The large paintings shift as a person walks by them, inviting viewers to pause, to explore perception.

This is Brindle’s first major show since the pandemic delayed an earlier showing at the William Turner Gallery in 2020. He invites patrons to come and lose themselves in his meditative works, to let art minister to their hungry souls.”

TOMORROW @ WTG - Casper Brindle: LIGHT | GLYPHS - 4-8PM

CASPER BRINDLE LIGHT | GLYPHS

With Light | Glyphs, Casper Brindle presents two new bodies of work, each involving dramatic investigations into light, color, and perspective.

A contemporary disciple of the 1960s & 70s Light and Space generation, Brindle is intrigued by the phenomenological possibilities stimulated by color and light. Employing a variety of materials and styles, Brindle’s work engages the viewer in experiences that inspire both reflection and interaction, as one begins to explore the enigmatic spaces of perception.

Utilizing tools and techniques adopted from Southern California’s distinctive car culture, Brindle applies fine layers of airbrushed sprays to create atmospheric gradations of subtle depth. Brindle's treatment of color and light as a material modality, draws the viewer deeper into the illusory depths of the canvas, anchoring our attention against the constant pull of time and distraction, so that we might pause and reflect.

While his work has clear ties to the materiality of the Finish Fetish and Light and Space movements, he synthesizes these sensibilities to create something entirely his own, captivating the viewer in expansive fields that have the power to elicit deeper emotional responses.


CASPER BRINDLE

Born in Toronto in 1968, Brindle’s family relocated to Los Angeles in 1974, and he has called the city home ever since. Growing up surfing the beaches of LA’s coast undoubtedly made a profound impact on the artist. Brindle started painting as a teen and in his early twenties, he apprenticed for the pioneering Light and Space artist Eric Orr.

Casper Brindle’s work has been exhibited across the United States and internationally. This exhibition is the artist’s seventh solo exhibition with the gallery. His work is held in a number of prominent private and museum collections including the Frederick R. Weisman Art Foundation and the Morningside College Collection in Sioux City, IA.

Meet Artist Kim DeJesus - Featured in the LA WEEKLY

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Be sure to catch the feature in LA WEEKLY highlighting the work of Kim DeJesus. Read the article on the LA WEEKLY web site by clicking the button below.

 

Kim’s work is featured in the current exhibition CONFLUENCE. View the catalog for the exhibition below.

SPECTRUM NEWS 1 FEATURE - Andy Moses: Recent Works

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SANTA MONICA, Calif. — Four years ago, artist Andy Moses was celebrated in a 30-year survey of his life’s work not far from where he grew up.

Mid-career, his work showed a consistent palette inspired by his time spent in the water while surfing off the beaches of Southern California.



What You Need To Know

"Recent Works" by Andy Moses is currently on view at the William Turner Gallery in Bergamot Station until February 10


While attending CalArts, Moses focused on performance, film, and painting and studied with Michael Asher, John Baldessari, and Barbara Kruger

Moses' father Ed was an American painter and was part of a group of artists called the “Cool School” that included artists Ed Ruscha, Edward Kienholz, and Ken Price


In 2017, 30 years of Andy Moses’ work was celebrated in a survey in the Pete and Susan Barrett Art Gallery at Santa Monica College


“You never saw the same thing twice,” said Moses. “The line was always moving. The colors were always shifting.”

Looking at his most recent artwork today, you still see the same influence.

“Then when you rode a wave, you saw the texture on the wave, you saw the changing light, the shifting shades of color, and those were gigantic influences on me as a painter,” he said.

Interested in the physical properties of paint, Moses developed a method of painting through chemical reactions and by playing with viscosity and gravity to create compositions that simulate nature. Even the shape of his canvas looks like a wave.

“I’m interested in how they suggest landscape or this kind of Earthscape, capturing a view of somewhere of the Earth,” said Moses. “It could be oceanic, it could be desert, but you’re looking through this flat space into the infinite and you’re capturing all the subtle change of light that actually happens when you’re looking at this kind of phenomenon.”

Growing up as the son of Ed Moses, one of the most celebrated artists in Los Angeles' history, Moses had a lot to live up to once he decided to become an artist himself. While studying film at CalArts, Moses discovered he preferred having sole control of a canvas over a camera. He now paints out of his father’s old studio, where his spirit can be found everywhere.

“It was great growing up with a father for a painter,” said Moses. “There was always something to look at. He was always pushing the boundaries. He was always evolving. He was always moving forward.”

Now, it’s his turn to move forward to his newest show called "Recent Works" at the William Turner Gallery in Santa Monica's Bergamot Station.

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“One of the things that I love when people have come to the gallery, especially during this time of COVID, there’s this appetite to be in the presence of an actual work of art, not just see something digitally or online or virtually, and these pieces are really interactive,” said gallery director William Turner.

Opening during a pandemic does limit visitors, but Moses' work gets their full attention.

“For 35 years now, I’ve been interested in exploring this line between abstraction and the galactic and microscopic phenomenon on a human scale, and how we relate to it,” he said.

Art is human, and human is nature.

WHITE HOT MAGAZINE - Andy Moses: Recent Works

Anthony Haden-Guest for WHITE HOT MAGAZINE

ANTHONY HADEN-GUEST

Anthony Haden-Guest (born 2 February 1937) is a British-American writer, reporter, cartoonist, art critic, poet, and socialite who lives in New York City and London. He is a frequent contributor to major magazines and has had several books published including TRUE COLORS: The Real Life of the Art World and The Last Party, Studio 54, Disco and the Culture of the Night.

Andy Moses’ father, Ed Moses, was an artist with the Ferus Gallery, now enshrined as LA’s Cool School, and Andy grew up in the Santa Monica Canyon, looking out onto the ocean. He went to the California Institute of Arts, where the Death of Painting was a given and Concept art and Minimalism ruled, so for two years he worked with film and video. But an urge to pick up a brush seized him in his third year and he describes his instant conversion to pigment as a chemical rush. Upon leaving Cal Arts in 1982 he headed straightaway for New York where the break-out of the Neo-Exes had brought painting back to robust life.

Moses’ earliest work in New York were black-and-white abstractions and these were in his first exhibition at Annina Nosei. There was a distinctive edge to his project from the get-go. “I almost went into the scientific world when I was young,” Moses says. “I was very good at math and science. It’s always in the back of my mind and the way I make paintings is kind of scientific. Basically I experiment and try to figure out how paint flows.”

Such thinking entered the content too. “I was taking stories out of the New York Timesand silkscreening them on the sides of images to create complex narratives that were very much about language,” he says. “Things disintegrating, things forming. So I was kind of telling the audience what I was interested in.” The opening of a show in which he had work brought him back to Southern California in January 2000. “I fell in love with LA all over again,” he says. His New York period was done.

Moses settled first in Malibu. “It was right on the water. I used to commute to my Venice studio,” he says. “In New York I would go to Montauk. But you didn’t get the sense of infinite horizon that you get out here. There’s a point where the horizon connects with the sky. And sometimes it’s very well defined, but sometimes there’s a haze, a blur, and one thing begins to turn into another. I’m interested in that mirroring effect, of looking out into space, seeing one thing mirror another. You see it a lot in the desert, you see it a lot in the ocean.”

This got into his art. “The work shifted pretty quickly.” Moses says. “The very first ones I started doing were long and horizontal, mostly pearlescent white, and quite simple images.” He began keeping precise color notes. “I have an assistant who reads these charts and follows these tabulations,” he says. “We have thousands of pages going back years and years.”

He will begin a painting by figuring out the colors. Basing his choices on what?

“Things I’ve seen. Like things I’ve seen out in the natural world.” he says. The commutes on the Pacific Coast Highway have been a slipstream of visual event. “They are engrained on my memory. Then I focus on certain colors that might work together. What I’ll do is experiment on small paintings to see how much of these colors I should put in. It’s very interesting. Because reds and greens seem to expand, the blues seem to contract. So I have an idea what I’m going to do. But either they follow what I’m trying to get at or they don’t. And what’s cool is there is a certain amount of control but I also have to react to a situation in the moment.”

Accident being crucial.

“It’s a brand-new experience every single time,” Moses says “And that’s what makes it exciting. I don’t know what the end is going to be. I have to discover it as the paint is flowing. And react. And the paint reacts to what I do. And I react to what it does.”

He uses a dozen buckets, holding a couple of quarts of paint apiece, on each canvas. “I’ll walk around and pour in from one side and pour in from another side,” Moses says. “Everything is moving towards the center. And if I lift the painting up as it’s moving, everything will run the other way. So it is this juggling act of trying to get the sensation of everything moving towards the center. But at the same time there is a lot of circular movement that is happening.

“And other lines will be pushed by other buckets of paint. They will start to recede and come forward, which creates a three dimensional aspect. So I really never know what a painting is going to look like until it’s finished. Each one begins and ends in its own way. And there’s a million possibilities every time. And at a certain point I have to let go. And say that’s it!

“Once the color is down and the surface is all wet I can work on it for a couple of hours. It’s an intensely focused period of time. And the painting has to be done in one sitting every single time. It’s always done in a day. And it’s a long day.”

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The sheer size of today’s’ art world, including the number of working artists, means that a walk-through of galleries in any art capital will reveal an acreage of beautifully-made work, sometimes described as “zombie formalism” or “crapstraction”, so that it’s almost jarring to confront the real thing. Andy Moses is not alone there – Hello, Sean Scully – but there he is, a figure in what has been described as a new Pictorialism.

“I do think it’s that,” Moses says. “Pictorialism is very much about

how things come into being. It is about energy and light turning into

matter”

Abstraction can be just that, I observed. Abstract. But abstraction

can also depict life, if not in forms with which we are familiar.

“I think so,” Moses said. “Somehow we are familiar with it and

Somehow we’re not. And I’m really trying to focus on that, the

essential force that’s all around us. I think it’s the emergence of how

we perceive images and how images come into being. And how

energy creates things – light and motion and movement. I really

want the energy of these to be the energy of the earth, the world.

Everything is dynamic, everything is changing, everything is

moving, everything is shifting ... and everything has that dynamic

aspect. You can see the world. And that it’s alive.” WM

READ THE ARTICLE ON WHITE HOT

DIGITAL CATALOG & APPOINTMENTS