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Ricci Albenda

Ricci Albenda Artist Portrait

Ricci Albenda (b. 1966, Brooklyn, NY) lives and works in New York, NY. Albenda’s painting and sculpture, drawing as much on design as cognitive science, explore the mechanisms of language and spatial perception via color, geometry, and craft. He received a B.F.A. from Rhode Island School of Design (1988) and has exhibited widely since the ‘90s. His work resides in prominent museum collections including: The Solomon R. Guggenheim Museum, New York, NY; Whitney Museum of American Art, New York, NY; and Albright-Knox Art Gallery, Buffalo, NY, among others. Albenda’s recent solo exhibitions include Open Universe at “T” Space gallery, Rhinebeck, NY and group exhibition When We First Arrived at The Corner, Washington D.C. Albenda is represented by Andrew Kreps, New York, NY, Gladstone Gallery, Brussels, Belgium and Parrasch Heijnen, Los Angeles, CA.

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Peter Alexander

Peter Alexander Artist Portrait

Peter Alexander (b.1939, Los Angeles, CA. d. 2020, Santa Monica, CA) has been widely exhibited in galleries and museums worldwide since the mid-1960s. His work is an active exploration of resins and color, transparency, and translucence. Alexander’s vision is one of creating a generative object – an entity that appears to emit its own light and energy. Peter Alexander is the recipient of multiple honors and awards including a National Endowment for the Arts Fellowship in 1980 and the California Art Award in 2014. In 1999, the Orange County Museum of Art (Newport Beach, CA) mounted a retrospective exhibition In this Light inclusive of painting and sculpture. His work resides in the permanent collections of numerous institutions including the Museum of Contemporary Art, Los Angeles, CA; the Solomon R. Guggenheim Museum, New York, NY; the Metropolitan Museum of Art, New York, NY; the Los Angeles County Museum of Art, Los Angeles, CA; and the Museum of Modern Art, New York, NY.

Remembering Peter Alexander

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Anne Appleby

Anne Appleby Artist Portrait

Anne Appleby (b. 1954, Harrisburg, PA) studied at Philadelphia College of Art before relocating to Montana in 1971, subsequently earning her BFA at the University of Montana, Missoula, and eventually establishing a studio and residence in the sparsely populated community of Jefferson City. In addition to receiving her MFA from the San Francisco Art Institute in 1989, Appleby’s educational background includes a fifteen-year apprenticeship with Ojibwa artist and holy man Ed Barbeau, with whom she learned and refined processes of intense meditative awareness in nature. The tenor of Appleby’s work reflects the sensation of that observational practice and resides at the core of her philosophical approach to painting.

Appleby’s work has been exhibited in numerous solo exhibitions at galleries and museums worldwide, including Mayor Gallery, London (2010); Gallery Paule Anglim, San Francisco (1993-2011); Villa e Collezione Panza, Varese (2007); and Borzo Gallery, Amsterdam (2016). Her works are held in the permanent collections of: the Albright-Knox Art Gallery, Buffalo, NY; the Art Institute of Chicago, Chicago, IL; Daimler Art Collection, Stuttgart/Berlin, DE; Denver Museum of Art, Denver, CO; National Gallery of Art, Washington, DC; the Panza Collection, Lugano, CH; San Francisco Museum of Modern Art, San Francisco, CA; and the Seattle Art Museum Seattle, WA; amongst others. A solo exhibition titled A Hymn for the Mother took place at the Missoula Art Museum (MT) in 2021. Anne Appleby is represented by Franklin Parrasch Gallery in New York, NY and Parrasch Heijnen in Los Angeles, CA.

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Edith Baumann

Edith Baumann Portrait

Edith Baumann (b. 1948, Ames, IA) lives and works in Santa Monica, CA. Her paintings concisely balancing precision with vulnerability, motion, and natural imperfection. She received her B.F.A. from University of California, Los Angeles in 1975 and completed an M.F.A. in painting at the University of Southern California in 1985. Baumann has been the subject of numerous solo exhibitions nationally as well as internationally at Beatrix Wilhem Gallery, Stuttgart, Germany. Parrasch Heijnen has presented two solo exhibitions of Baumann’s work in 2018 and 2020. She was recently included in group exhibitions Eight Ball, Martos Gallery, New York, NY; Emergence: Art and the Incarnation of Space, Martin Museum of Art, Baylor University, Waco, TX; 9th Street and Beyond: 70 Years of Women in Abstraction, Hunter Dunbar, New York, NY and solo presentation at Franklin Parrasch Gallery, New York, NY.

Interview with Edith Baumann

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2023
Must-See Exhibition, Artforum, April 2023.

Laster, Paul. “6 American Galleries Highlighting Abstraction,” Art & Object, July 2020.

2020
Laster, Paul. “6 American Galleries Highlighting Abstraction,” Art & Object, July 2020.

2016
Santa Fe, Artnet, March 31, 2016
Art Daily, 2016.
Abatemarco, Michael. "Edith Baumann Random Structure", Pasatiempo, March 25, 2016.

2012
Cutajar, Mario. “Edith Baumann,” Art Scene, No.

2010
McGraw, kate. "Color and Movement,” Santa Fe / North, June 11.
Britt, Douglas. "Inman Broadens Reach with Collages, Abstracts,” Houston Chronicle, June 4.

1992
Pagel, David. “Coming Unraveled Is Anything But at Otis Gallery,” Los Angeles Times, December, 11.

1991
Frank, Peter. “Art Picks of the Week,” L.A. Weekly, June 28-July 4.
Invitational full page color reproduction, Artspace, Jan/Feb.

1990
Invitational, Artspace, Sept/Oct, (full page color).
Colpitt, Frances. “Absolute Contemplation,” Artspace, July/Aug, Cover.

1989
Knight, Christopher. “Drawing the Battle Lines in LA Painting,” Herald Examiner, March.
Muchnic, Suzanne. “Two Views of the ‘Revival’ of the Abstract,” Los Angeles Times, January 24.
Dubin, Zan. “An Exhibition Whose Time Has Come.” Los Angeles Times, January 1, 1989.

1988
Selwyn, Marc. “Visual Silences,” Flash Art, October
Levy, Mark. “California Contemporary Art,” Arts and Antiques, Oct/Nov
Selwyn, Mark. “Pick of the Week,” L.A. Weekly, June
Bulmer, Marge. Artscene, June
French, David. Artscene, June
Ollman, Leah. Los Angeles Times, 22 January 1988.

1987
Colpitt, Frances. “Edith Baumann-Hudson at Newspace,” Art in America, June, 1987.

1986
Wilson, William, Los Angeles Times, June 20

1985
Donohue, Marlena. “Divisions:7 LA Artists at LAICA,” Los Angeles Times, January, 1885.

1984
Saxon, Erik. “Six Painters”, Appearances, #11

1983
Muchnic, Suzanne. “Promising Newcomers at the Muni,” Los Angeles Times

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Forrest Bess

Forrest Bess Artist Portrait

Forrest Bess (b. 1911, Bay City, TX; d. 1977, Bay City, TX) was largely a self taught artist. The paintings were typically small, referencing what he perceived on the backs of his eyelids, and were faithful to his hallucinatory visions. Bess’ art has been shown in numerous museums, including solo exhibitions at: the Whitney Museum of American Art, New York (1981); the Museum of Contemporary Art, Chicago (1988); Museum Ludwig, Cologne (1989), and the Fridericianum, Kassel, Germany (2020). In 2013, the Menil Collection, Houston, hosted a major survey of Bess’s work titled Seeing Things Invisible, curated by Claire Elliott, which traveled to the Hammer Museum, Los Angeles (2013-2014), the Neuberger Museum of Art, Purchase (2014), and the University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley (2014). Bess received the Mark Rothko Foundation Grant in 1973. Robert Gober presented a room of Bess’ work for the 2012 Whitney Biennial, which drew renewed critical attention to the artist. Bess’ works reside in the permanent collections of: the Los Angeles County Museum of Art, Los Angeles; the Menil Collection, Houston; the Museum of Modern Art, New York; the Museum of Fine Arts, Houston; The Phillips Collection, Washington, D.C., and the Whitney Museum of American Art, New York, among many others. In 2018, Bess was included in LACMA’s Outliers and American Vanguard Art exhibition.

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2022
Schwabsky, Barry. “Forrest Bess.” Artforum, February 2022.
Ludel, Wallace. “Forrest Bess was a Fisherman by Day and Painter of Wild Visions by Night. A New Show Explores His Legacy.” Artnet News, September 2022.
Hawkins, Richard. “When Forrest Bess Wrote to Carl Jung.” Frieze, June 2022.

2021
Yau, John. “Recently Discovered Forrest Bess Paintings.” Hyperallergic, 2 December 2021.

2017
Horst, Aaron. “Forrest Bess | Joan Snyder at Parrasch Heijnen Gallery.” Contemporary Art Review LA, 21 June 2017. 
Pagel, David. “Forrest Bess and Joan Snyder Paintings Shine in a Show That Gets Past the Dark History.” Los Angeles Times, 6 June 2017.

2016
Steadman, Ryan. “6 Paintings to Die for at the ADAA’s 2016 Edition of The Art Show.” Observer, 2 March 2016.

2014
Poser, Steven. “Forrest Bess, A Visionary Artist's Journey into Madness.” the Brooklyn Rail, 5 June 2014
Rosenberg, Karen. “An Artist's Paintings, and His Complexities, On Display.” The New York Times, 13 February 2014.

2013
”Forrest Bess, Visionary Painter From Rural Texas, Gets A Posthumous Book (PHOTOS).” Huffpost, 4 April 2013.
Glentzer, Molly. “An Artist's Artist Gains Wider Following.” The Houston Chronicle, 14 April 2013
Zabrodski, Sarah. “The Unadulterated Sincerity of Forrest Bess.” Hyperallergic, 2 December 2013.

2012
Okiishi, Ken. “Forrest Bess.” Artforum, May 2012
Smith, Roberta. “A New Vision of a Visionary Fisherman.” The New York Times, 22 March 2012.
Yau, John. “Without Elaboration.” Hyperallergic, March 2012.

2009
Pagel, David. “Hammer Strikes Up a Conversation.” Los Angeles Times, January 2009.

1988
Schjeldahl, Peter. “Seeing Things: Eccentricities of an Androgyne.” 7 Days, May 1988

1987
Ennis, Michael. “Forrest Bess.” Texas Monthly, June 1987.

1982
Yau, John. “Forrest Bess at the Whitney.” Art in America, March 1982
Lawson, Thomas. “Forrest Bess.” Artforum, January 1982
Ennis, Michael. “Forrest Bess.” Texas Monthly, June 1982.

1981
Johnson, Patricia C. “Looking Anew at Forrest Bess’ Art".” Houston Chronicle, 29 October 1981.

1962
Preston, Stuart. “Painters Following Their Different Gleams.” The New York Times, 14 January 1962

1959
Ventura, Anna. “Forrest Bess.” Arts Magazine, May 1959
Crehan, Hubert. “Forrest Bess.” Artnews, May 1959

1950
Goodnough, Robert. “Forrest Bess.” Artnews, 15 December 1950


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Ernesto Burgos

Ernesto Burgos Portrait

Ernesto Burgos (Chilean-American, b. 1979, Santa Clara, CA) lives and works in New York, NY. Burgos manipulates commercial materials such as cardboard, fiberglass and resin to create his organically shaped works. The work relays the illusionary and physical space of abstraction; each form mimics the stroke in an inverse or manipulated relationship. He bends, tears, cuts and glues repeatedly until the abstraction becomes three dimensional. Through this bodily process of sculptural painting, he explores the progression of change, mark making, movement and manipulation. The work changes as the viewer’s perspective shifts in relation to the piece, the illusionary space is contorted and expanded adding depth to the gestural motions.

Burgos was born in Santa Clara, CA and raised in Chile. In 2004, he earned a BFA from the College of the Arts in San Francisco, CA followed by an MFA from New York University in 2008. Ernesto Burgos is represented by parrasch heijnen, Los Angeles. 

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Alonzo Davis

Artist Alonzo Davis’ (b. 1942, Tuskegee, AL) six-decade-long career has explored a wide range of media and methods, from mural to print, painting, sculpture, performance, and installation. 

Alonzo Davis Artist Portrait

Alonzo Davis’ (b. 1942, Tuskegee, AL) six-decade-long career has explored a wide range of media and methods, from mural to print, painting, sculpture, performance, and installation. 

As co-founder of the Brockman Gallery, the first major Black-owned contemporary art gallery in Los Angeles (1967 - 1990), Alonzo Davis sought to champion Black artists including David Hammons, Suzanne Jackson, Betye Saar, Senga Nengudi, Noah Purifoy, and John Outterbridge, among many others, in a time when white, male art was prevalent. Davis’ appreciation and promotion of Black artists and cultural references collected on trips all over the world are often referenced in his own work.

Alonzo Davis received a BA from Pepperdine University, Los Angeles, CA (1964), a BFA (1970) and MFA (1973) from Otis Art Institute, Los Angeles, CA. Select solo exhibitions include Just Above Midtown Gallery, New York (1975); Modern Nor-disk Konst, Göteborg, Sweden (1979); and Watts Tower Arts Center, Los Angeles, CA (1981). Davis has also been featured in the landmark exhibition Now Dig This! Art and Black Los Angeles, 1960–1980, Hammer Museum, Los Angeles, CA; MoMA PS1, New York, NY; and Williams College Museum of Art, Williamstown, MA (2012 - 2013); in addition to Eleven from California, The Studio Museum in Harlem, New York (1972); Synthesis, JAM (Just Above Midtown), New York, NY (1974); Corcoran Gallery of Art, Washington, DC (1994); and L.A. Object and David Hammons Body Prints, Tilton Gallery, New York, NY; Roberts & Tilton Gallery, Los Angeles, CA (2006). Davis’ work resides in the permanent collections of the Los Angeles County Museum of Art, Los Angeles, CA; Museum of Contemporary Art, Los Angeles, CA; Blanton Museum of Art, Austin, TX; National Gallery of Art, Washington D.C.; and the Saint Louis Art Museum, Saint Louis, MO. parrasch heijnen’s recently held a solo exhibition for Davis’s Blanket Series in 2022.

Alonzo Davis is represented by parrasch heijnen.

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Dale Brockman Davis

Dale Brockman Davis (b. 1945, Tuskegee, AL) is an artist, teacher, community arts activist and curator. Davis was co-founder/director of Brockman Gallery with his brother Alonzo Davis. Davis creates multimedia artworks that explore the use of color, texture and form to evoke cultural and material histories. These works range from freestanding ceramic objects, to assemblages on a vertical plane. Interested in thinking through various facets of Black culture, Davis has made works that directly reference both African artistic traditions, such as masks, and his personal experiences.

Davis received a BFA in ceramics from USC in 1969. Select exhibitions include Eleven from California, Studio Museum in Harlem, NY (1972); Panorama of Black Artists, LACMA, Los Angeles, CA (1972); Collage and Assemblage, Los Angeles Institute of Contemporary Art, Los Angeles, CA (1975); Los Angeles Convention Center, Los Angeles, CA (1982); Museum of African American Art, Santa Monica, CA (1983); Watts: Art and Social Change in Los Angeles, Haggerty Museum of Art, Marquette University, Milwaukee, WI (2003); L.A. Object and David Hammons Body Prints, Tilton Gallery, New York, NY (2006); Distinctly Los Angeles: An African American Perspective, M. Hanks Gallery, Santa Monica, CA, (2009); and Watts Towers, Los Angeles, CA (2009). Davis has also been featured in the landmark exhibition Now Dig This! Art and Black Los Angeles, 1960–1980, Hammer Museum, Los Angeles, CA; MoMA PS1, New York, NY; and Williams College Museum of Art, Williamstown, MA (2012 - 2013). His work is in the collection of the Los Angeles County Museum of Art.

Dale Brockman Davis is represented by parrasch heijnen.

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Watts: Art and Social Change in Los Angeles, Haggerty Museum of Art, Marquette University, Milwaukee, WI
January 23 – March 30, 2003

Panorama of Black Artist, Los Angeles County Museum of Art, Los Angeles, CA, 1972

3 Assemblage Interpretations: Dale Davis, Marie Johnson, and Noah Purifoy, Brockman Gallery, Los Angeles, CA, 1972

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2022
Lassner, Georgia. “Dale Brockman Davis at Matter Studio Gallery.” Contemporary Art Review. June 12, 2022. 

2021
Cooks, Bridget and Tewes, Amanda. “Dale Brockman Davis: Artist, Educator, and Gallerist.” Getty Trust Oral History Project, Berkeley Library Digital Collections, 2021.

2020
Miller, M.H. “The Artists.” New York Times T-Magazine, April 13, 2020.

2015
Davis, Dale Brockman. “Open Access to History: The Brockman Gallery Archive.” Medium, April 7, 2015.
Artbound Staff Articles. “Artist and Gallerist Dale Brockman Davis Reflects on the Watts Uprising.” Departures on KCET, August 11, 2015.

2014
Falle-Collins, Lizzetta, Le. “The Brockman Gallery and the Village,” Departures on KCET, March 4, 2014.

2006
Lindsay, Jeanette, dir. Leimert Park: The Story of a Village in South Central Los Angeles, 2006. DVD, 88 min.

1992
Harris, P. J. "Leimert Park Village." American Visions 7, no. 3 (June–July 1992): 26.

1981
"Black Artists of Los Angeles: Conversations with Five Black Artists." Interview by Stanley Wilson. Studio Potter 9, no. 2 (June 1981): 16.

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Tony DeLap

Tony DeLap Artist Portrait

Tony DeLap (b. 1927, Oakland, CA, d. 2019, Corona Del Mar, CA) has exhibited extensively since 1953. At its core, DeLap’s work explores how the interaction of geometric shapes can create dimensionality and movement on static planes. His work resides in the permanent collections of Tate Modern, London, UK; Museum of Modern Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY; the Whitney Museum of American Art, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA; Los Angeles County Museum of Art, Los Angeles, CA; and Musée cantonal des Beaux-Arts, Lausanne, Switzerland, among many others. He has been included in such landmark exhibitions as The Responsive Eye (1965: Museum of Modern Art, New York, NY), Primary Structures (1966: Jewish Museum, New York, NY), and American Sculpture of the Sixties (1967: Los Angeles County Museum of Art, Los Angeles, CA). In 2018, the Laguna Museum of Art mounted a major retrospective of DeLap’s work dating from 1961 to present, curated by Peter Frank and accompanied by a fully illustrated publication. Parrasch Heijnen has held two major Tony DeLap exhibitions, including drawings and sculpture from the 1960s at Art Basel 2017. The Estate of Tony DeLap is represented by Parrasch Heijnen.

Tony DeLap Remembrance

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2023
Proyen, Mark Van. “Minimalist Magician.” SquareCylinder, January, 2023.

2019
Rosseth, Andrew. “Tony DeLap, Maker of Inventive Abstract Art That Embraced Illusion and Magic, Is Dead at 91.” ARTnews, June, 2019.
Gelt, Jessica. “Tony DeLap, Pioneering West Coast figure in abstract art, dies at 91.” Los Angeles Times, June, 2019.

2018
Olivar, Amanda Quinn. “Interview with Tony DeLap.” Curator, February 4, 2018.
Michno, Christopher. Interview with Category Defying Artist, Tony DeLap. Riot Material., January 30, 2018.
Knightart, Christopher. “Best art of 2018: Jasper Johns, Renaissance nudes, ‘Made in L.A.’ and a sleeper hit at LACMA.” Los Angeles Times, 11 December 2018.
Chang, Richard. “Longtime O.C. artist Tony DeLap offers insight into his retrospective at Laguna Art Museum.” Los Angeles Times, 17 May 2018.

2016
Lemkin, Tyler. "Inside the Studio : Tony DeLap." Tyler Lemkin Contemporary. n.p., 3 Feb. 2016. web.

2015
Holmes, Jessica. "Tony DeLap: Painting Sculpture & Works on Paper 1965 - 2013." The Brooklyn Rail, May, 2015.
Katz, Anita. “DeLap paintings touched by magic.” The Examiner: San Francisco, February, 2015.

2014
Abatemarco, Michael. “Art world all-rounded: Stalward Tony DeLap defines categorization.” Santa Fe New Mexico, October, 2014.

2013
Frank, Peter. “APPRECIATION: Tony DeLap.” Art Ltd, November, 2013.
Chang, Richard. “Oceanside Museum presents Tony DeLap retrospective.” Orange County Register, April, 2013.

2011
Catalog,"Best Kept Secret: UC Irvine,1964 -71." Laguna Art Museum, Laguna Beach. October, 2011.

2009
Lab, Walter, “Tony DeLap, Modern Times”, Royal Projects, Indian Wells, March 2009. the Art Magazine, illus.

2007
Frank, Peter, “The Illusionist,” Tony DeLap at Patricia Faure. Art Ltd., November, 2007, illus.
Catalog, “Los Angeles 1955-1985.” Centre Pompidou, Paris, illus.
Schad, Ed. “Tony DeLap.” ARTslanT, 2007.

2006
Lawson, Thomas. “Los Angeles 1955-1985: The Birth of an Artistic Capital.” Centre Pompidou, Paris, September 2006.

2003
Humblet, Claudine, “La Nouvelle Abstraction Americaine 1950-1970”, illus. 2003 Skira, Italy.

2001
”Tony DeLap.” Sculpture, 1 April 2001.
Chattopadhyay, Collette. ”Tony Delap: Orange County Museum of Art.” Washington International Sculpture Center, 2001.

2000
Catalog, "Tony DeLap." Bruce Guenther, Orange County Museum of Art, CA 2000
”Tony Delap at the Orange County Museum of Art,” Artweek, December 2000.
Letran, Vivian. “ORANGE COUNTY CALENDAR: ARTS, ENTERTAINMENT, LEISURE; Delightful, Delovely; Delap Blends Magic, Art in Retrospective That Opens Saturday: Orange County Edition".” Los Angeles Times, 2000.

1999
Dubin, Zan. “The Trick to Minimalism: art with just four basic parts, magician Tony DeLap’s installation is part sculpture, part illusion: Orange County Edition.” Los Angeles Times, 1999.

1997
”Tony DeLap: Mark Morgan Gallery.” Washington International Sculpture Center, 1997.

1994
Catalog, "Tony DeLap the House of the Magician: An Installation of Reconstructed Works from 1967-1979.” Essays by Mike Magee, Peter Clothier and David Pagel. California State University at Fullerton, CA. Feb. l994. illus.
Curtis, Cathy. “O.C. ART / CATHY CURTIS A Friendly Deception Woodworking Meets Magic in Tony DeLap’s Exhibition at CSUF: Orange County edition.” Los Angeles Times, 1994.
Wilson, William. “ART REVIEW: DeLap: At Work in “House of the Magician.” Los Angeles Times, 19 February 1994.

1991
Catalog, "Finish Fetish: LA's Cool School." University of Southern California, 1991, illus.

1988
Catalog. "Tony DeLap and the Floating Lady. The Artist/Magician as Magician/Artist." Vari Studios, Arizona State Universty, Tempe, AZ, 1988. illus.

1983
Knight, Christopher. "L.A.'s Art Direction. Five Painters Help Shape the City's New Cultural Image." GQ Magazine, Aug. l983, p.136, illus.

1977
Catalog, “the 35th Biennial Exhibition of Contemporary Painting & Sculpture.” Corcoran Gallery of Art, Washington DC. Feb. 1977, illus.

1976
Masheck, Joseph. "Tony DeLap's Shapely Paintings," Arts Magazine, April 1976, illus.

1973
Rose, Barbara, "Current Events." NY Magazine, p.71, Feb.1973

1970
Schjeldahl, Peter, the New York Times, Jan .15, 1970, p.27d

1967
Catalog,"Tony DeLap, the Last Five Years: 1963-1968.” Alan Soloman, Curator, UCIrvine, CA 1969
Catalog, "Pittsburgh International," Carnegie Institute, Oct. 1967. p.252
Catalog, "American Sculpture of the Sixties.” LA County Museum of Art, Apr. 1967.

1964
Coplans, John. “Circle of Styles." Art in America. June, 1964.

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Ali Dipp

 

Ali Dipp (b. 1997, El Paso, TX) was born and raised on the binational precipice between the United States and Mexico, in El Paso, TX, where she developed an ongoing interest in the evolution of America’s self-representation. In her works, Dipp employs a manual sewing machine to ‘paint’ on denim with thread, creating variously-scaled collaged textile works that express the myriad ways in which imagery has been enlisted to make and describe America. Informed by her Lebanese and Syrian familial lineages that migrated to Mexico and the United States over the course of generations, Dipp fundamentally understands America to be a moving picture. She posits that a nation’s ideals are wrought from the labor of daily efforts, and recognizes that aspiration is a uniquely American condition. Together, Dipp’s works form an aesthetic argument describing how representations of America reflect an ever changing nation.

Ali Dipp graduated from the Brown-RISD Dual Degree Program in May 2022 with degrees from Brown University (A.B., English) and Rhode Island School of Design (B.F.A., Painting). Dipp is now pursuing an interdisciplinary Ph.D. at Stanford University in Modern Thought and Literature. She is the recipient of the Royal Drawing Academy’s Dumfries Residency in Scotland. Dipp has staged her original plays though the organization she co-founded in 2012, Sunhouse Arts. Sunhouse Arts donates all net profits to humanitarian efforts in the El Paso-Juárez area. During the spring and summer of 2021, Dipp co-hosted and was the creator of “Pass of the North,” an iHeartRadio show broadcast across the Southwest and Mexico. Dipp recently completed her first manuscript, Book of Yet.

Ali Dipp is represented by Franklin Parrasch Gallery.

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2023
Artforum Must See, Ali Dipp: American Craft, February 23 - April 14th 2023.

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Mark Gonzales

Mark Gonzales Artist Portrait

Mark Gonzales (b. 1968, Los Angeles, CA) has always been a prolific art-maker and writer, and first began showing his work in the early 1990s. Gonzales has participated in exhibitions around the world including solo exhibitions at Museum Het Domein, Netherlands, and his now legendary Skate / Ballet performance at Stadtisches Museum Abteiberg, Germany, as well as a show of new work last summer entitled South West curated by Emma Reeves at the Half Gallery, New York, NY. He has had solo exhibitions at museums and galleries in Japan, Germany, France, the United Kingdom, Brazil, and the Netherlands, in addition to New York and Los Angeles. Gonzales’ books and multiples are available through Printed Matter, New York. He currently lives and works in New York City.

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Mark Gonzales Group Exhibition with Ray Johnson in Beacon, New York

Mark Gonzales and Ray Johnson. Parts and Labor, Beacon, NY.
November 9, 2019 - January 26, 2020

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Alteronce Gumby

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Alteronce Gumby (1985, Harrisburg, PA) graduated from Yale University’s MFA program in 2016, where he was awarded the Robert Reed Memorial Scholarship and the Austrian American Foundation/Seebacher Prize for Fine Arts, after earning a BFA from Hunter College, New York, NY. Gumby’s work focuses on representation of the self and subvert the traditional understanding of light and color through nuanced application of tonal changes directly with the artist’s fingers and hands. Gumby has participated in numerous international artist residencies such as the Rauschenberg Residency (2019), the London Summer Intensive (2016), the Summer Academy in Salzburg, Austria (2015), 6Base (2016), and was the 2016 recipient of the Harriet Hale Woolley Scholarship at the Fondation des Étas-Unis in Paris.

Gumby has recently been featured in the exhibition Social Abstraction, curated by Antwuan Sargent at Gagosian, Beverly Hills, CA. Recent solo exhibitions include Dark Matter at the Allentown Art Museum (2022), The Color of Everything at Nicola Vassell (2022), and It was all A Dream at Koki Arts, Tokyo, Japan (2022). He has had solo exhibitions at parrasch heijnen, Los Angeles in 2019 and 2020, as well as a group show in 2024 with Charles Ross. Gumby in represented by Nicola Vassell, New York, NY, and parrasch heijnen, Los Angeles, CA. 

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2023
Freedman, Max. “On Discovering What Excites You.” The Creative Independent, May 25, 2023.
Wozniak, Stephen. “The Color Condition: Alteronce Gumby Makes Dark Matter Among Rising Rainbows.” White Hot Magazine, May 2023.

2022
Saye, Nadia. “Alteronce Gumby’s Cosmic Mediations on Color, History, and Lightness.” Surface, 8 February 2022.

2021
Dinsdale, Emily. “Alteronce Gumby’s cosmic landscapes challenge the meaning of colour.” Dazed. September 7, 2021.
Malone, Ian. “The Atomic, Cosmic Art of Alteronce Gumby.” Vogue. March 18, 2021.
White, Katie. “Studio Visit: Artist Alteronce Gumby on His Weekly MoMA Visits, and Why Seeing Great Art is Like Reading a Book.” Artnet News. February 25, 2021.
“Seeing Color: How Alteronce Gumby Explores Identity through Painting and Glass Art.” A3 Magazine, p. 88-93. print.
Dodson, Jewels. “The Artsy Vanguard 2021: Alteronce Gumby.” Artsy, 2021.
Moyer, Carrie. “Alteronce Gumby with Carry Moyer.” The Brooklyn Rail, November 2021.
Trouillot, Terence. “Alteronce Gumby on His Cosmic Abstraction.” Frieze, 23 April 2021.

2020
“20 Painters Who Are Shaping the New Decade.” Daily Collector, January 20, 2020
Cohen, Alina. “11 Emerging Artists Redefining Abstract Painting.” Artsy, January 6, 2020.
Moore, Charles. “Painter Alteronce Gumby Sees Color Differently.” Cultured Magazine, 22 September 2020.
Rodney, Seph. “What Does It Mean to Exhibit “Black Excellence?” Hyperallergic, 2 April 2020.

2019   
“7 Impressive Emerging Artist to Watch from the Frieze Week Fairs in London.” Artnet News, October 4, 2019

2018   
Cohen, Alina. “What Makes a Monochrome Painting Good.” Artsy, March 2018

2017   
Cadet-Diaby, Fatima. “Interview: Alteronce Gumby.” Citeunie, February 18, 2017
”One Piece: There’s a bright side somewhere by Alteronce Gumby.” BOMB, 2017.

2016   
Tonguette, Peter. “Artist’s Use of Color, Texture in Clay Stands Out.” The Columbus Dispatch, Sunday, August 14, 2016 pg. f7

 

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Marcia Hafif

Marcia Hafif Artist Portrait

Marcia Hafif (b. 1929, Pomona, CA, d. 2018, Laguna Beach, CA) has been widely exhibited since 1964. Her conceptual monochromes recreated emotional understanding through a highly methodical approach focused on her body as a process. The works share natural idiosyncrasies so integral to the human touch. Hafif’s paintings have been exhibited extensively in Europe and the United States. Recent major exhibitions include Marcia Hafif, The Inventory: Painting at Laguna Art Museum, 2015; Marcia Hafif: The Italian Paintings 1961–69 at Fergus McCaffrey, New York, 2016; and Marcia Hafif at Kunstmuseum St. Gallen and Kunsthaus Baselland, Switzerland, 2017. A solo exhibition of Hafif’s work, Marcia Hafif: A Place Apart, was recently on view at Pomona College Museum of Art in 2018.

Hafif’s work can be found in the collections of: Albright-Knox Art Gallery, Buffalo, NY; The Art Institute of Chicago, Chicago, IL; Kunsthaus Aarau, Aarau, Switzerland; Kunstmuseum St. Gallen, Gallen, Switzerland; Laguna Art Museum, Laguna Beach, CA; Mamco, Museum of Modern and Contemporary Art, Geneva, Switzerland; Museum of Contemporary Art, Los Angeles, CA; and Museum of Modern Art, New York, NY, among others.

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2019
Schellenberg, Samuel. “Marcia Hafif, le ré2l au format abstrait.” Le Courrier, 8 March 2019.
Gasparina, Jill. “Marcia Hafif, le grand inventaire.” Le Temps, 24 April 2019.

2018
Volk, Gregory. “The Extraordinary Marcia Hafif.” Hyperallergic, October 27, 2018.
Greengerger, Alex. “Marcia Hafif, Painter of Sensual Conceptual Monochromes, Dies at 88.” ARTnews, April, 2018.

2016
Waltemath, Joan. “Marcia Hafif: The Art of Distillation.” The Brooklyn Rail, 2016.

2012
Schloen, Anne. “Marica Hafif in conversation with Anne Schloen.” MOFF, 2012.

2010
Wei, Lilly. “Marcia Hafif at Newman Popiashvili” Artnews, May 2010.
Smith, Roberta. “Marcia Hafif: ‘From the Inventory: Black Paintings, 1979-1980.’” Art in Review, The New York Times, March 26, 2010.
”Painting in Italy 1961-1969,” Marcia Hafif - La Période Romaine / Italian Paintings, 1961-1969, 2010.
”NY Times Art in Review: Paschke, Hafif.” Two Coats of Paint, 26 March 2010.

2007
Clothier, Peter. “Marcia Hafif,” The Buddha Diaries, 29 August 2007.

2006
Maine, Stephen. “Marcia Hafif at Baumgartner,” Art in America, January 2006.

2005
Waltemath, Joan. “Interruption in the Reign of Discontinuities,” the Brooklyn Rail, November 2005.
Garwood, Deborah. “Optical Alchemy,” Offoffoff Art, November 16, 2005.

2004
Wei, Lilly. “Marcia Hafif at Larry Becker,” Art in America. June - July 2004.

2003
Pinczewski, Andreas. “Before Aft Becomes Art.” Pencil on Paper: Marcia Haiff, 2003.

1995
Muller, Sabine. “Opening Speech for the Exhibition,” artothek, koeln, 1995.

1994
Massera, Jean-Charles. “Your Attention Please,” 1994.

1991
”On Composition,” MALEREI PUR, 1991.

1990
Weckop-Conrads, Helga. ”Painting in the Usual Way.” Marcia Hafif: Red Paintings, 1990.
”Why Paint.” Marcia Hafif: Red Paintings, 1990.
Nickas, Robert. “Chinese Red 33 x 33.” RED, 1990.

1978
”Beginning Again,” Artforum, September 1978.

1974
Volpi Orlandini, Marisa. “Marcia Hafif.” Data #13, 1974.

1969
Marcia Hafif, Galleria "Qui Arte Contemporanea", Rome, 1969.

1968
”Potete Vederci Quello Che Vi Piace,” Le Mostre Avanguardistiche Dell'Editalia, 9 marzo 1968.
Nove Artisti, Galleria La Salita, Rome, 1968.

1967
Il Gruppo illumination, Gian Pacher, Trento, 1967.


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Mildred Howard

Mildred Howard (b. 1945, San Francisco, CA) is best known for her multimedia assemblage work and installations. Howard completed her Associates of Arts Degree & Certificate in Fashion Art at the College of Alameda, Alameda, CA in 1977 and received her M.F.A. from Fiberworks Center for the Textile Arts at John F. Kennedy University in Berkeley, CA in 1985. In 2015, she received the Lee Krasner Award in recognition of a lifetime of artistic achievement. She has also been the recipient of the Nancy Graves Grant for Visual Artists (2017), the Joan Mitchell Foundation Award (2004/5), a fellowship from the California Arts Council (2003), the Adaline Kent Award from San Francisco Art Institute (1991), and, most recently, received the Douglas G. MacAgy Distinguished Achievement Award at San Francisco Art Institute (2018). Her large-scale installations have been mounted at: Creative Time in New York, InSITE in San Diego, CA; the Museum of Glass in Tacoma, WA; the National Museum of Women in the Arts; the New Museum in New York, the City of Oakland; and the San Francisco Arts Commission and International Airport. Her works reside in the permanent collections of: the Berkeley Art Museum, Berkeley, CA; the de Young Museum, San Francisco, CA; Los Angeles County Museum of Art, Los Angeles, CA; the Museum of Contemporary Art San Diego, San Diego, CA; the Museum of Glass and Contemporary Art, Tacoma, WA; the Oakland Museum, Oakland, CA; SFMOMA, San Francisco, CA; and the San Jose Museum of Art, San Jose, CA, among others.

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2024
Blue, Max. “Fall for art in SF this season: Your Guide to the best shows.” San Francisco Examiner, September, 2024.
Bravo, Tony. “Fall 2024: Midcentury modernism lived on at Eames Archives - plus 13 other art shows to catch.” Datebook, September, 2024.

2023
Wilson, Emily. “Mildred Howard’s Art of Giving.” Hyperallergic, January, 2023.

2022
Roth, David M. “Best of 2022.” Square Cylinder, December 14, 2022.
Pritikin, Renny. “Time Traveling with Mildred Howard.” Square Cylinder, October 25, 2022.

2021
Bravo, Tony. “Mildred Howard talks about race, museums and how the art world needs to continue evolving in 2021.” SF Chronicle, Datebook. February 24, 2021.
Hickman, Matt. “Mildred Howard’s The House That Will Not Pass for Any Color Than Its Own shimmers in the NYC snow.” The Architect’s Newspaper. February 16, 2021.
Battery Park City Authority. “Battery Park City Authority Introduces a Glass House to Belvedere Plaza.” Hyperallergic. February 11, 2021.
Janiak, Lilly. “10 Bay Area artists on the presidential changeover from Trump to Biden.” SF Chronicle. January 13, 2021.

2020   
”Mildred Howard, The House That Will Not Pass for Any Color Than Its Own.” Artforum. Spotlight. December 2, 2020.
Taft, Catherine. “Mildred Howard.” Artforum. December 2020 issue, Print.
Michno, Christopher. “Mildred Howard.” Artillery. November 10, 2020.
Kron, Cat. “Mildred Howard: A Survey, 1978 - 2020.” ArtReview. October Issue, Print.
Simmons, Jessica. “Mildred Howard at Parrasch Heijnen Gallery.” Contemporary Art Review LA. September 16, 2020.
Kane, Jenny. “Basquiat to Beyonce: Nevada Museum of Art features diverse artworks in 'World Stage' exhibition.” Reno Gazette Journal. June 30, 2020.
Schwendener, Martha. “The Art Show at the Armory: Blue-Chip Brands Show Their Best.” The New York Times, February 27, 2020.

2019   
Mendel, Emily S. “Striking artwork by long-time Berkeley resident, artist Mildred Howard installed at OMCA.” Berkeleyside, March 1, 2019.
Public Affairs. “Berkeley Talks: Berkeley artist Mildred Howard on the impact of gentrification in the Bay Area.” UCBerkeley News. June 24, 2019.
Curiel, Jonathan.” Mildred Howard, Black Oakland, and the Power of Memory.” SF Weekly, March 7, 2019
Hill, Doug. “Fred Jones presents exhibition by West Coast artist Mildred Howard.” The Transcript, January 24, 2019.

2018   
Taylor, Tracey. ‘Welcome to the neighborhood’: New film shines light on a changing Berkeley” Berkeleyside, March 21, 2018.

2017   
Whiting, Sam. “Berkeley’s beloved homegrown artist Mildred Howard priced out.” SF Chronicle. January 6, 2017.
Vandenburgh, Jane. “Mildred Howard at the Richmond Art Center: Art as Weapon, Art as Shelter.” Huffpost, December 6, 2017.

2016

Leibovitz Steinman, Susan. “Mildred Howard.” Wead Magazine. Issue No. 11/ 2016.

2015   
Hamlin, Jesse. “Why Mildred Howard wields 130 butcher knives for art.” SFGate, March 18, 2015.

2002
Reif, Rita. “A Pyramid for New Treasures of an Age-Old Art,” The New York Times, Art/Architecture, p. 26, Sunday, July 21, 2002.
Zinko, Carolyne. “The Scene,” Living Style, San Francisco Chronicle, p. E9, June 30, 2002.
Anderson, Peggy. “Ex-San Jose Museum Chief Remakes Tacoma Facility,” San Francisco Chronicle, July 11, 2002.
Muchnic, Suzanne. “Clarifying a Vision,” Los Angeles Times, Calendar, p. 68, Sunday, July 7, 2002.

1995
McEvilley, Thomas. Insite 94, Artforum, Summer 1995.

1994
McKenna, Kristine. “Survey Offers Upbeat View of Black Experience in America,” Los Angeles Times, February 5, 1994.

1992

Smith, Roberta. “When Medium Doesn’t Agree with the Message,” The New York Times, August 28, 1992.

1991
Porges, Maria. “Mildred Howard,” ArtForum, p. 152, May 1991.



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Christine Howard Sandoval

Artist Portrait Christine Howard Sandoval in her studio

Christine Howard Sandoval (b. 1975, Anaheim, CA) is an interdisciplinary artist who lives and works in the unceded territories of the Squamish, Tsleil-Waututh, and Musqueam First Nations. She is an Assistant Professor of Interdisciplinary Praxis in the Audain Faculty of Art at Emily Carr University (Vancouver, BC). Howard Sandoval is an enrolled member of the Chalon Nation in Bakersfield, CA.

Howard Sandoval’s practice challenges the boundaries of representation, access, and habitation through the use of performance, video, and sculpture. She makes work about contested places, such as the historic Native and Hispanic waterways of northern New Mexico; the Gowanus Canal, a Superfund site in New York; and an interfacing suburban-wildland in Colorado.

Howard Sandoval has exhibited nationally and internationally including: The Museum of Contemporary Art, University of São Paulo (Brazil), The Contemporary Art Gallery (Vancouver, BC), Oregon Contemporary (Portland, OR), The Museum of Capitalism (Oakland, CA), Designtransfer, Universität der Künste Berlin (Berlin, Germany), El Museo Del Barrio (New York, NY), and Socrates Sculpture Park (Queens, NY).

Her work has been the subject of solo museum exhibitions at the ICA San Diego (2021) and Colorado Springs Fine Arts Center at Colorado College (2019), during which time she was the Mellon Artist in Residence at Colorado College. Howard Sandoval has been awarded numerous residencies including: UBC Okanagan, Indigenous Art Intensive program (Kelowna, BC), ICA San Diego (Encinitas, CA), Santa Fe Art Institute (Santa Fe, NM), Triangle Arts Association (New York, NY). Permanent collections include: of the Hammer Museum (Los Angeles, CA), San José Museum of Art (San José, CA), and MCASD (San Diego, CA). Christine Howard Sandoval is represented by parrasch heijnen, Los Angeles, CA.

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Xylor Jane

Xylor Jane Artist Portrait

Xylor Jane (b.1963, Long Beach, CA) paints systems-based constellations; applying thousands of tiny dots articulated by pointed peaks. Jane explores vast textural and chromatic ranges, orchestrating intensely intricate paintings that reference numerical, time-based, and other patterned systems. Jane earned a B.F.A from the San Francisco Art Institute in 1993, and has been featured in numerous solo and group exhibitions both domestically and internationally, including: Parrasch Heijnen, Los Angeles, CA; Canada, New York, NY; Santa Monica Museum of Art, Santa Monica, CA; Almine Rech, Paris, France; and Four, Dublin, Ireland. Jane was recently part of a group show at Parts & Labor, Beacon, NY, 2020. Xylor Jane is represented by Canada Gallery in New York, NY and Parrasch Heijnen in Los Angeles, CA.

Xylor Jane: Notebooks

Video Interview

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2023
Frost, Claire. “Scale Shift of the Self: Interview with Xylor Jane,” BAMPFA, August 2023.
2022
Yau, John. “Xylor Jane’s Cosmic Grids.” Hyperallergic, December, 2022.
Steinhauer, Jillian. “What to See in N.Y.C. Galleries Right Now: ‘Cosmic Geometries.’” The New York Times, 2022.

2021   
Cooper, Ashton. “Xylor Jane.” Artforum, May, 2021.
Stormberg, Matt. “Xylor Jane at Parrasch Heijnen.” Contemporary Art Review LA, February, 2021.
Preston-Zappas, Lindsay. “Xylor Jane at Parrasch Heijnen.” KCRW, Art Insider. February 2021

2019   
Fateman, Johanna, "ART Xylor Jane / Sahar Khoury," The New Yorker, September 30, 2019.
Heinrich, Will, "TriBeCa, the New Art Stroll," The New York Times, September 19, 2019.
Saltz, Jerry, "The Return of the Tribeca Art Scene," Vulture, September 17.
Spivack, Emily, "When a Discarded Cat’s Whisker Becomes a Prized Possession," The New York Times Style Magazine, September 4, 2019.
Laster, Paul, "Tribeca Emerges as New Hub for Galleries," Galerie, August 29, 2019.
Geis, Kate, "Short Film: Xylor Jane," UMass Amherst Museum of Contemporary Art, April
Fine, Zachary, "Xylor Jane," Artforum, April 1, 2019.
Eisenman, Nicole. “Best of 2019.” Artforum, 2019.
Arvanitis, John W. “Xylor Jane: Counterclockwise.” Art New England, 2019.
”Xylor Jane.” The New York Times, 2019.

2018
Osberg, Annabel. “Pick of the Week: Xylor Jane,” January 31, 2018.
Pagel, David. "From the Tiniest of Pinpoints of Color, Xylor Jane Creates Pulsating Patterns of Life." Los Angeles Times, February 5, 2018.
Campbell, Andy. "Critic's Picks: Xylor Jane." Artforum, February 2, 2018.
”Xylor Jane.” Artillery, 2018.
”Xylor Jane’s ‘Magic Square for Earthlings.’” Juxtapoz, 2018.
Pagel, David. “From the tiniest of pinpoints of color, Xylor Jane creates pulsating patterns of life.” Los Angels Times, February 5, 2018.

2016
Nunes, Andrew. "CANADA Is Making Painting Great Again." The Creators Project: Vice Magazine, June 22, 2016.
Saltz, Jerry. "I Love Canada’s 17-Artist State-of-the-Medium Spectacle ‘Make Painting Great Again.’ It Also Makes Me Worry for the Fate of the Lower East Side.." Vulture.com, June 14, 2016.
Davis, Samara. "Performing the Grid." Artforum, January 28, 2016.

2015
Myles, Eileen. "Eleven Favorites." The Paris Review, September 1, 2015.
Prentnieks, Anne. "Xylor Jane." Artforum critic's picks. May 22, 2015.
Halle, Howard. "The Best Contemporary Paintings Now On View in NYC Art Galleries." Timeout New York, May 20, 2015.
Lescaze, Zoe. "The Painter of Modern Life." Artforum, March 1, 2015.

2012
Schmerler, Sarah. "Xylor Jane." Art in America, October 12, 2012.
Yau, John. "The Mysteries of One, Two, Three." Hyperallergic, June 3, 2012.

2009
O'Neil-Butler, Lauren. "Xylor Jane." Artforum, May 2009.
Yau, John. "Xylor Jane N.D.E.." The Brooklyn Rail, April 2009.
Saltz, Jerry. "Dot Matrix." New York Magazine, March 23, 2009.
Smith, Roberta. "Xylor Jane." The New York Times, March 20, 2009.

2008
Mccormick, Carlo. "Tauba Auerbach On science ." Paper, October 2008.
Johnsion, Ken. "Constraction." The New York Times. July 18, 2008.
O’Neill-Butler, Lauren. “Constraction.” Artforum, 20 July 2008.

2007
Saltz, Jerry. "Into the Fray." The Village Voice. February 7, 2007.
Keagan, Matt. "Erratic Systems and Irregular Cycles." Modern Painters. February, 2007.

2006
Smith, Roberta. "Xylor Jane: Dying Everyday." The New York Times. November 3, 2006.

2005
Orden, Abraham. "Flashartweb." Flash Art. July- September 2005.
Chasin, Noah. "Xylor Jane, Robin Peck, Luke Murphy." Time Out New York. January 6-12, 2005.
Killian, Kevin. "Guardianweb." San Franisco Bay Guardian. November 3-4, 2005.
”REVIEW / Cross section of Bay Area artists’ work highlights the chasm between creators and crowd.” San Francisco Chronicle, 2005.
Machlin, Karen. “All Together Now.” SFWeekly, 13 July 2005.
”Broad Shoulders.” Stretcher, 2005.

2003
Saltz, Jerry. “Babylon Rising.” The Village Voice, 9 September 2003.

2000
Bonetti, David. “Artists who transcend Pop.” San Francisco Gate, 12 June 2000.

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Rosy Keyser

Rosy Keyser Artist Portrait

Rosy Keyser (b. 1974, Baltimore, MD) grew up in rural Maryland where she developed a sensational awareness of tools and materials in the outdoors. Keyser asks how we can propagate new beauty, new language, new structures, and new tools using the elastic language of painting. Through concrete processes involving improvisation, collage, and intuitive play, she negotiates the shifting relationships of  creation and destruction and attendant sensuality and brutality that characterize nature. Her paintings lean towards a childlike wonder about transformation, aiming to recuperate the vibrant qualities of direct experience and how it is imprinted on us. The artist’s body and conceptual intent are equally visible in the configurations she plucks from the shared energetic field of human consciousness.

She earned her BFA at Cornell University in 1997 and her MFA from The School of the Art Institute of Chicago in 2003. Keyser has shown extensively throughout the United States and Europe, including solo exhibitions at Maccarone (New York and Los Angeles), Peter Blum Gallery (New York), and Contemporary Fine Arts (Berlin, Germany). Group exhibitions include: Rosy Keyser & Eleanor Mikus, Parts & Labor, Beacon, NY; Painter Painter at Walker Art Center, Minneapolis, MN, and Pink Caviar at Louisiana Museum of Modern Art, Humlebaek, Denmark. Keyser’s work is held in the permanent collections of: the Louisiana Museum of Modern Art, Humlebaek, Denmark; the Maxine and Stuart Frankel Foundation, Bloomfield Hills, MI; Portland Museum of Art, Portland, ME; Walker Art Center, Minneapolis, MN; and Zabludowicz Collection, London, England. Rosy Keyser was a Fall 2017 artist in residence at the Chinati Foundation (Marfa, TX) and a 2022 artist in residence at the Læsø AiR, Denmark.

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Matthew Kirk

Matthew Kirk’s (b. 1978, Ganado, AZ) art exudes a rhythmic intensity based in a matrix of mark-making that he has developed, inspired by abstractions, comics, and Diné (Navajo) imagery, freely mixing materials including oil stick, chalk, gouache, spray paint, graphite, acrylic paint, colored tape, staples, and brass BBs, in a compositional strategy that merges a representation of the landscape of the Southwest and the freeform abstraction of music. An enrolled member of the Navajo Nation, Kirk’s paintings and sculpture explore the space between the hegemonic American visual image of the Native and his lived experience, exploiting the hackneyed to both embrace and question imposed cultural tropes.

Kirk is currently included in The Brooklyn Artists Exhibition, Brooklyn Museum (Brooklyn, NY) on view October 4, 2024–January 26, 2025. He has exhibited at Pr1mary Space Gallery (Hamtramck, MI), Louis B. James (New York, NY), Makasiini Contemporary (Turku, Finland), and Halsey McKay Gallery (East Hampton, NY), among others.

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Deborah Remington

Deborah Remington Artist Portrait

Deborah Remington (b. 1930, Haddonfield, NJ - d. 2010, Moorestown, NJ), a renegade in every sense of the word and a relative of American West painter Frederic Remington, earned her B.F.A. in 1955 from the California School of Fine Arts (later renamed San Francisco Art Institute), where she studied with Clyfford Still, David Park, and Elmer Bischoff, amongst others. Her career burgeoned in the 1960s when she had three solo shows at the Dilexi Gallery in San Francisco and one at the San Francisco Museum of Art. In 1963, she was the only woman to show at Dilexi’s short-lived Los Angeles gallery alongside Joe Goode and H.C. Westermann.

In New York, she exhibited at Bykert Gallery starting in 1967. A twenty-year retrospective exhibition of Remington’s work, curated by Paul Schimmel, was held at the Newport Harbor Art Museum (Newport Beach, CA) in 1983 (now Orange County Museum of Art), and traveled to the Oakland Museum of Art as well as several other venues. More recently, Remington’s work has been featured in several exhibitions including: Women of Abstract Expressionism, a traveling exhibition by the Denver Art Museum and Psychedelic: Optical and Visionary Art Since the 1960s, which opened at the San Antonio Museum of Art in 2010 and traveled widely. Remington was the recipient of numerous grants and awards in her lifetime including a Guggenheim Fellowship (1984), a National Endowment for the Arts Fellowship (1979), and a Tamarind Fellowship (1973), among others. In 1999, she was elected to the National Academy of Design and received a Pollock-Krasner Foundation Grant.

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Charles Ross

Charles Ross Artist Portrait

Charles Ross (b. 1937, Philadelphia, PA) graduated from the University of California, Berkeley with a B.A. in Mathematics in 1960 and received an M.A. in Fine Arts there in 1962. He has dedicated his life and career to making art that responds conceptually to the effects of light, time, mathematical structures, and the formal and visual potential of phenomena. In 1971 Ross began working on a monumental earthwork titled Star Axis. Located in New Mexico, Star Axis is an architectonic earth/star sculpture constructed with the geometry of the stars. Ross is a 2011 Guggenheim Fellow and recipient of the Andy Warhol Foundation Grant (1999). His works reside in the permanent collections of numerous institutions internationally including the Centre Georges Pompidou, Paris, France; the Walker Art Center, Minneapolis, Minnesota; and the Whitney Museum of American Art, New York, NY. Most recently, Ross’ work has been shown at the Museum of Contemporary Art, Los Angeles, CA; Reina Sofia Museum, Madrid, Spain; Ludwig Museum Koblenz, Germany; Palazzo Fortuny, Venice, Italy; and Los Angeles County Museum of Art, Los Angeles, CA, as part of the Los Angeles to New York: The Dwan Gallery, 1959 - 1971 exhibition. An installation by Ross will be included in Lumen: The Art and Science of Light at the Getty Center, Los Angeles from September 10–December 8, 2024. Charles Ross is represented by Franklin Parrasch Gallery in New York, NY and Parrasch Heijnen in Los Angeles, CA.

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2024
Straus, Michael. “Charles Ross and Michael Straus.” Brooklyn Rail. September, 2024.

2021
Beachy-Quick, Dan. “Cosmic Dancer.” Artforum. October 28, 2021.

2020
Rizzo, Angie. “Holy Architecture for Earthy Devotion,” Hyperallergic, 28 January 2020.
Beachy-Quick, Dan. “ Charles Ross.” Artforum, December Issue, Print.
Hass, Nancy. “A Land Art Pioneer Adventures in Time and Space.” T: The New York Times Style Magazine, July 21, 2020.

2018
Rawlins, Jarrod. "Interview With Charles Ross.” MoNA (museum of old and new art) blog, May 31, 2018
Hass, Nancy. “What Happens When a Single Art Project Becomes a Decades-Long Obsession.” T: The New York Times Style Magazine, September 18, 2018.

2013
Davidson, Justin. “Artists Race Mortality with Eternal Monuments in Desert,” Bloomberg, 11 September 2013.

2012
Kaiser, Phillipp, and Kwon Miwon. “Ends of the Earth: Art of the Land to 1974” (Prestel: New York and London) for MOCA, Los Angeles. 2012.

2011
Reifenscheld, Beate, ed. “Die Letzte Freiheit / The Last Freedom: From the Pioneers of Land Art in the 1960s to Nature in Cyberspace.” (silvana editoriale: milano) for Ludwig Museum, Deutscherrenhaus, Koblenz. 2011.
Smith, Terry.  Contemporary Art: World Currents (London: Laurence King (lkp), and Pearson Prentice-Hall) 2011.

2010
Didi-Huberman, Georges.  Atlas. Madrid: Museo Nacional Centro De Arte Reina Sofía, 2010.

2009
König, Kasper, Barbara Engelbach, Friederike Wappler, Hans Winkler, Looking for Mushrooms: Beat Poets, Hippies, Funk, Minimal Art, San Francisco 1955-1968, (catalogue.) (Walther König: Köln) 2009. 154.
Harmon, Katherine. The Map as Art: Contemporary Artists Explore Cartography. New York: Princeton Arch. press, 2009.

2008
Lambert-Beatty, Carrie. “Being Watched, Yvonne Rainer and the 1960's.” Boston: MIT Press, 2008. 62,63,84.

2007
Lailach, Michael. Land Art, (taschen) 2007.
Tufnell, Ben. Land Art, (London: Tate Publishing) 2007.
Dempsey, Amy. Destination Art.  Berkeley, Los Angeles: UC Press; London: Thames and Hudson, 2006. 92-95.

2006
Rainer, Yvonne. “Feelings Are Facts: A Life.” Cambridge, London: MIT Press, 2006. 225, 244.
Weintraub, Linda with Skip Schuckmann. “Cycle-Logical Art: Recycling Matters for Eco-Art.” Artnow Publications:  Rhinebeck, NY, 2006. 87-93.
Roman, Mathilde. A Propos de Charles Ross – Entretein Avec Loïc Malle. lacritique.org, March 25, 2006
Ross, Charles. “Conversation with Anna Halprin,” October, 2006. video.
Malle. Loïc. “Conversation with Charles Ross,” July, 2006. video.

2005
Photo Essay, “Starry Starry Night.” Architectural Record, October, 2005. 102-109.
Carver, Jon, “Timeline 2005: Charles Ross’ Star Axis.” Art Papers, July / August 2005. 28-33.

2004
Khan, Yasmin, “Graced by Rainbows.” Santa Fe New Mexican, September 17, 2004, b-1, b-4
Boettger, Suzaan. “Behind the Earth Movers.” Art in America, April, 2004. 54-63.
Kostelanetz, Richard. “Soho, the Rise and Fall of an American Artist's Colony, London, New York: Routledge, 2003.171-174.

2002
Christen, Markus.  “Star Axis – Ein Monument der Kosmischen Geometrie.” Kunst+Stein, December 6, 2002. 11-15.
Karlin, Susan. “A Sculptor Works Up an Exposé of the Stars’ Secrets.” The New York Times, Arts & Leisure, Sunday November 3, 2002; 21,28.
Kelly, James. The Sculptural Idea. 4th Edition. Waveland Press: lon grove, il 2002. Star Axis on cover.

2000
Martin, Jean-Hubert. Le Chateau d’Oiron et Son Cabinet de Curiosités.  Paris: éditions du Patrimoine, 2000, 170-173.
Malle, Loïc.  Transparence et Transcendance, in Architectures de Lumiére, eds. Anne-Marie Charbonneaux and Norbert Hillaire. Marvel, 2000. 180-183.
Warr, Tracey.  Roden Crater. Contemporary Visual Arts, issue 30, 2000. Star Axis, pg.45.
Fehrenkamp, Ariane. Saitama Prefectural U. Sculpture, April 2000, vol. 19, no. 3, pg. 17.
Ware, Tricia.  Edward Ranney: Photo-Eye Gallery, Santa Fe, Santa Fean, Nov-Dec 2000, pg. 55, 88.
Edward Ranney Photographs from the Star Axis Project, The, November 2000, pg. 34 photo.

1999
Linton, Harold. Color in Architecture. Mcgraw-Hill, 1999, 169-173.
Tanaka, Yukito.  Introducing Artwork Into the University, Kenchiku Bunka, Vol. 54, No. 633, July, 1999.
Doherty, Brenda. “Star Axis,” New Mexico Magazine (Feb 1999) 40-41. color photos.

1997
Bensley, Lis.  “The 48,” The Santa Fe New Mexican, Pasatiempo, June 27- July 3, 1997.
Light Sanctuary, Art in America, April 1997, color photos , 31.

1996
Adlmann, Jan. Contemporary New Mexico Artists: Sketches & Schemas. Craftsman House: Australia, 1996.
Sieglaub, Seth, ed. Charles Ross,  Artpress Spécial: 69/96, Avant-Gardes et Fin de Siecle; 75 Artists Reconent Leur Parcours, Hors-Série Numéro 17, 1996.
Rivera, Ray. Let There Be Light, Santa Fe New Mexican, Sunday, June 2, 1996.

1995
Vine, Richard. Charles Ross at Humphrey, Art in America, September 1995.
Oakes, Baile.  Sculpting With the Environment, International Thomson Pub., inc., London, 1995.
Tiberghien, Giles. Princeton Architectural Press, Princeton, 1995.


1994
Nanjo, Fumino. Art in the Workplace, SD Monthly Journal of Art and Architecture, June 1994.
Sayre, Henry M. A World of Art, Prentice Hall inc., Englewood, NJ, 1994.

1993
Tiberghien, Giles. Land Art, C. Editions Carre, Paris, 1993
Werkner, Patrick. Star Axis, Diadelos, June 1993; 40-45.

1992
Bizot, Jean Francoise. Le Reenchantement de L'Amerique, actuel, April 1992.
Toikka, Koonnut Antero.  Aavikkotaidetta, Taide, April 1992.
Werkner, Patrick. Land Art USA, C. Prestel-Verlag Munich 1992; 123-130.
Conwell, Douglas.  Celestial Artwork, New Mexico Magazine, March 1992.

1991
Plevin, Nancy. Earthwork' Aspires to Connect Man to Heavens, (A.P. Wire). Los Angeles Times, Nov.10, 1991.
Munro, Eleanor. Light Revealed, Metropolis, April 1991; 38-41, 54.
Ellis, Simone. Star Axis, Pasatiempo (The New Mexican), Feb.1, 1991.

1988
Serra 15,  Point Source Star Space, August/September, 1990. (Italy).
Squibline (cover), Fall, 1988.
Saad-Cook, Janet.  with Charles Ross, Nancy Holt, and James Turell: Touching the Sky: Artworks Using Natural Phenomena, Earth, Sky, and Connections to Astronomy, Leonardo, Vol. 21-2, spring 1988, photo.

1987
Gerster, George. Gestures and Creations: Productions and Positions of American Earth Art, Wochenende Neue Zurther Zeigtung, May 9-10, 1987.
Wilson, Malin. Walking Through Rainbows: A New Trip at the San Francisco Airport." San Francisco Examiner, 5-10-87.

1986
Munro, Eleanor. “Art in the Desert.” The New York Times, Sunday, December 7, 1986.
Harper, Hilliard. “New Wells Fargo Sculpture Connects Light and Stars.” Los Angeles Times, May 2, 1986.
Brenson, Michael.  “The Lure of the Landscape.” The New York Times, March 9, 1986.

1985
Ross, Charles. “Star Axis.” Whole Earth Review, Winter 1985.
Linton, Harold.  “Color Model Environments.” Van Nostrand Reinhold Co., NY, 1985.
Ranney, Edward.  Western Spaces: Excavation the Present. Aperture, Spring 1985.
Reid, Dixie. “Stairway to the Stars.” Albuquerque Journal Magazine, Impact, February 5, 1985.
Capasso, Nicholas. “Environmental Art: Strategies for Reorientation in Nature.” arts, january 1985.

1983
Lippard, Lucy. “Overlay: Contemporary Art and the Art of Prehistory.” Pantheon, NY, 1983.
Mcdevitt, Lorelei Heller. “Bringing Light Into Focus.” Designers West, October 1983.
Sky Art Conference '83, (catalogue), Massachusetts Institute of Technology, Cambridge, MA, Sept., 1983.9, 29, 90.

1982
Sakane, Itsuo. “World of Expanding Images - Sanctuary Where the Earth Meets the Sky.” Asahi Shimbun, 9-9-82.

1981
Wilson, Malin. “Santa Fe: Charles Ross at Heydt/Bair.” Artlines, July 1982.
For Spacious Skies, (catalogue), M.I.T., Cambridge, Massachusetts,1981.
Chafee, Katherine Smith. Charles Ross, Artspace, Fall 1981, pp..24-27.
Mid-August 1981; 60-61. Color Photos. (cover).
Sakane, Itsuo. Cosmic Art, Asahi Shimbun, Tokyo, March 27,1981.

1980
Sofaer, Anna. “Sunlight Convergence/Solar Burn.” Archaeoastronomy, Winter, 1980.
Clurman, Irene. “Catch a Rainbow at Spectrum.” Rocky Mountain News, Denver, CO, October 26, 1980; 17.

1979
Keefe, Jeffrey.  Artforum, May 1979.
Thalacker, Donald. “The Place of Art in the World of Architecture.” Chelsea House/r.r. Bowker, 1979.

1978
Kuspit, Donald W. “Charles Ross: Light's Measure.” Art in America, March/April 1978.

1977
”A Major Move for Earthwork Art.” San Francisco Examiner, October 28, 1977.
Forgey, Benjamin. “Hirshhorn Gives Us a Glimpse of Faraway Earth Art.” Washington Star, Oct. 30, 1977.
Lewis, Joanne. The Landscape of Art for the '70's.” Washington Post, October 30,1977.
Larson, Kay. “New Landscapes in Art.” New York Times Magazine, May 13,1979.
Horvitz, Robert and Charles Ross. “co-evolution quarterly, winter, 1977-1978; 104-107. photo & illus.
Probing the Earth: Contemporary Land Projects. (catalogue) Hirshhorn Museum, 1977, intro. john beardsley, star axis.
Shapiro, David and Lindsay Stamm. “Charles Ross.” Arts Magazine, June 1977.

1976
Ross, Charles. “Sunlight Convergence/Solar Burn.” University of Utah Press, Salt Lake City, Utah, 1976.
The Substance of Light: Sunlight Dispersion, The Solar Burns, Point Source/Star Space, (catalogue), La Jolla Museum of Contemporary Art, La Jolla, CA, 1976. Introduction by Susan Tower, essay by Steve Katz.

1973
Ross, Charles. “Solar Burns/Sunlight Convergence.” Arts Magazine, December/January 1973; 48-50, cover.

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