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1962 Born in Pasadena,
CA
Lives and works in Los Angeles
EDUCATION
1998
MFA, University of
California, Santa Barbara
1988
Skowhegan School of
Painting and Sculpture, Skowhegan, ME
1984
BA, University of
California, Santa Barbara
AWARDS
1988
Fellowship, Skowhegan
School of Painting and Sculpture
William Dole Fellowship,
University of California, Santa Barbara
Research Grant,
University of California, Santa Barbara
SOLO EXHIBITIONS
2008
Hales Gallery, London
2007
“Utopias”, Susanne
Vielmetter Los Angeles Projects, with Robert Olsen
“Le Fin du Monde”,
Galerie Jean-Luc et Takako Richard, Paris
2006
“The Ideal Crash”, Hales
Gallery, London
“Recent Work”, Numark
Gallery, Washington, DC
2005
“New Paintings”,
Angles Gallery, Santa Monica, CA
2004
“The City at the
Edge of Time”, Kevin Bruk Gallery, Miami, FL (catalogue)
“In Between Places”,
Numark Gallery, Washington, DC
2003
“Then and Forever Now”,
Museum of Contemporary Art, San Diego, CA (publication)
“The City at Night,
Dreaming of Itself”, Galerie Jean-Luc et Takako Richard, Paris
(catalogue)
“Chronopolis”, Angles
Gallery, Santa Monica, CA
2002
“Like Grains of Sand,
the Dreams of Time”, James Harris Gallery, Seattle, WA
Sara Meltzer Gallery,
New York
“Behind the Sun”, Kevin
Bruk Gallery, Miami, FL
2001
“Too Far for the Eye to
See, Always at the Back of My Mind”, Sara Meltzer Gallery, New York
“In Echoed Steps I
Walked Across this Empty Dream”, Nylon, London
2000
“The Permeability of
Time Within an Emerging Pattern of Change”, Shoshana Wayne
Gallery, Santa Monica
1999
Caren Golden Fine
Art, New York
1998
Judy Ann Goldman Fine
Art, Boston, MA
“A Sequence of Images
Derived from Ideas of Architecture, Loneliness and Time”,
Shoshana Wayne Gallery,
Santa Monica, CA
1997
“The Geometry of Time”,
Caren Golden Fine Art, New York
1996
“Science Fiction”,
Shoshana Wayne Gallery, Santa Monica, CA
1995
“Science Fiction”, Bliss
Gallery, Pasadena, CA
1994
“All We Are is All
We Are”, Sue Spaid Fine Art, Los Angeles
1993
“Other Paintings:
Everything that Rises Must Converge”, Rio Hondo College Art Gallery,
Whittier, CA
“That Which Appears is
Good, that Which is Good Appears”, Sue Spaid Fine Art, Los Angeles
1992
“Paintings”,
Dorothy Goldeen Gallery, Santa Monica, CA
1991
“The Map
Drawings”, The Guest Room, Los Angeles, CA (catalogue)
1990
“Paintings”, Dorothy
Goldeen Gallery, Santa Monica, CA
“Drawings”, Bliss
Gallery, Pasadena, CA
1989
“Paintings”, Outer Space
Gallery, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA (curated
by Ed Leffingwell)
GROUP EXHIBITIONS
2008
“Teaching an Old Dog New
Tricks”, Den Frie Udstillingsbygning, Copenhagen. Denmark
(organized by Ivan
Anderson, Lars Christenson, Nils Erik Gjerdevik, Jonas Hvid
Sondergaard, Troels
Aagaard in collaboration with Tine Colstrup) (catalogue)
Kevin Bruk Gallery,
Miami, FL
2007
“The Expanded Painting
Show”, M*A*S*H* Miami Venue, Miami, FL (curated by Paco
Barragan, Nina Arias)
(catalogue)
“MAD LOVE: Young Art in
Danish Private Collections”, Arken Museum, Copenhagen,
Denmark (catalogue)
“The End Begins: The
Lodeveans Collection”, The Hospital, London (curated by Gill
Hedley)
“Endless Western
Sunset”, Leo Castelli Gallery, New York (curated by Michael Duncan)
(brochure)
“Expanded Painting:
Third International Painting Prize of the Castellon County Council”,
Museo de Bellas Artes de
Castellon, Castellon, Spain; Foundation Astroc, Madrid
Spain (organized by Paco
Barragan) (catalogue)
2006
“Everybody Knows This is
Nowhere”, Asbaek Gallery, Copenhagen, Denmark (curated by
Barry Schwabsky)
“Space is the Place”,
Cranbrook Museum of Art, Bloomfield Hills, MI; Bedford Gallery,
Walnut Creek, CA;
Scottsdale Museum of Art, Scottsdale, AZ; Pennsylvania
Academy of the Fine
Arts, Philadelphia, PA; Contemporary Arts Center, Cincinnati,
OH; The Hudson River
Museum, Yonkers, NY (organized by Independent Curators
International, curated
by Alex Baker, Toby Kamps) (catalogue)
“Natural and Unnatural:
Imagining Landscape”, Hunterdon Museum of Art, Clinton, NJ
“World Gone Mad”, The
Herbert Read Gallery, Canterbury, UK; Castlefield Gallery,
Manchester, UK;
Limehouse Arts Foundation, London (organized by Bob Matthews)
(catalogue)
“Utopia”, John Michael
Kohler Arts Center, Sheboygan, WI
2005
“M Theory”,
Hosfelt Gallery, San Francisco, CA
“Dreaming of a More
Better Future”, The Cleveland Institute of Art, Cleveland, OH (curated
by Saul Ostrow and
Stuart Horodner)
“Recent Drawings”,
Angles Gallery, Santa Monica, CA
“Strange Fictions”,
Tarble Arts Center, Eastern Illinois University, Charleston, IL (curated
by Chris Kahler)
“L.A.”, Lucas Schoormans
Gallery, New York
“Very Early Pictures”,
Luckman Gallery, Los Angeles (curated by Richards Torchia)
“Painting Now:
Selections from the Permanent Collection”, Museum of Contemporary Art,
San Diego, CA
“Collection Histories/
Collective Memories: California Modern”, Orange County Museum of
Art, Newport Beach. CA
2004
“Kids of the Black
Hole”, Stalke Galleri, Copenhagen, Denmark (organized by Michael
Coughlin)
“Architecture Untethered”,
Numark Gallery, Washington, DC
“Topographies”, Walter
and McBean Galleries, San Francisco Art Institute, San
Francisco, CA; Pasadena
Museum of California Art, Pasadena, CA (curated by
Karen Moss) (catalogue)
“Selections from the
Permanent Collection”, Museum of Contemporary Art, San Diego, CA
2003
“Chaotic Order”,
Houldsworth Gallery, London
“Some Panoramas”, Pump
House Gallery, Battersea Park, London (curated by Paul
Hedge)
“Rendered: New Works on
Paper from the Real to the Abstract”, Sara Meltzer Gallery,
New York
“Imag(in)ing
Architecture”, University of Connecticut Gallery of Art, Stamford, CT (curated
by Saul Ostrow)
“Everybody Knows This is
Nowhere”, Kevin Bruk Gallery, Miami, FL
“Out of Site”, The New
Museum of Contemporary Art, New York; The Henry Art Gallery,
University of
Washington, Seattle, WA (curated by Anne Ellegood) (catalogue)
2002
“21 Paintings from
L.A.”, Robert V. Fulton Art Museum, California State University, San
Bernardino, CA (curated
by James Gobel) (catalogue)
“New-Economy Painting”,
ACME, Los Angeles (curated by Nowell J. Karten)
“L.A. On My Mind: Recent
Acquisitions from MOCA’s Collection”, The Museum of
Contemporary Art, Los
Angeles, CA
“Retro Futurist”, New
Langton Arts, San Francisco, CA (curated by Berin Golonu)
2001
“By Hand: Pattern,
Precision, and Repetition in Contemporary Drawing”, University Art
Museum, California State
University, Long Beach, CA (curated by Mary Kay Lombino)
(catalogue)
Hosfelt Gallery, San
Francisco, CA
“The Dreams Stuff is
Made Of”, Frankfurt Art Fair, Frankfurt, Germany (curated by David
Pagel)
“Future Perfect”,
Orchard Gallery, Derry, Northern Ireland (curated by Alex Farquhason,
Bruce Haines)
“010101: Art in
Technological Times”, San Francisco Museum of Modern Art, San
Francisco, CA
(catalogue)
2000
“The L.A. Scene”,
Numark Gallery, Washington, DC
“Selections from the
Permanent Collection”, Orange County Museum of Art, Newport
Beach, CA
“Works on Paper from
California”, Judy Ann Goldman Fine Art, Boston, MA
“A Lasting Legacy”,
Orange County Museum of Art, Newport Beach, CA
“Shifting Ground:
Transformed Views of the American Landscape”, Henry Art Gallery,
University of
Washington, Seattle, WA (curated by Rhonda Lane Howard) (catalogue)
“Painting: For and Aft”,
ACME, Los Angeles
Nicole Klagsbrun
Gallery, New York
“The Next Wave: New
Painting in Southern California”, California Center for the Arts,
Escondido, CA (curated
by Noriko Gamblin)
1999
“Science Fictions”,
White Columns, New York (curated by Lauren Ross)
“Millennium”, Tate, New
York
“Horizontal Vertigo”,
Rudolph Poissant Gallery, Houston, TX
“Another Country: The
Constructed Landscape”, Brent Sikkema Gallery, New York;
Lawrence Rubin Greenberg
Van Doren Fine Art, New York (curated by Augusto Arbizo)
“Sci-Fi”, Nevada
Institute for Contemporary Art, Las Vegas, NV (curated by Jack Halberg)
1998
“Other Related
Areas”, University of California Art Gallery, Irvine, CA (curated by
Brad
Spence)
“Ground Control”,
Lombard-Freid Fine Arts, New York
“pay-per-view”, Caren
Gold Fine Art, New York
“Blast Off”, Fred
Hoffman Fine Art, Santa Monica, CA (organized by Patrick Nickell)
1997
“Art on Paper 1997”,
Weatherspoon Art Gallery, University of North Carolina, Greensboro,
NC (curated by Amy
Cappallazzo) (catalogue)
“Quartzose”, Galleri
Tommy Lund, Odense, Denmark (curated by Michael Darling)
“Dry”, Miller Fine Art,
Los Angeles (curated by Mary-Kay Lombino)
“Drawings: A Bi-Coastal
Invitational”, Meyerson and Nowinsky Fine Arts, Seattle, WA
“Spot Making Sense”,
Grand Arts, Kansas City, MO (curated by David Pagel)
“20/20: CAF Looks
Forward and Back”, Contemporary Arts Forum, Santa Barbara, CA
“New Work: Drawings
Today”, San Francisco Museum of Modern Art, San Francisco, CA
(curated by Gary Garrels,
Elise S. Haas, Janet Bishop)
1996
“Pure Bliss”, Los
Angeles Contemporary Exhibitions, Los Angeles (catalogue)
“Space Space”, Post, Los
Angeles (curated by Steve Hartzog)
“Acquiring Minds:
Contemporary Art in Santa Barbara Collections”, Contemporary Arts
Forum, Santa Barbara, CA
(curated by Nancy Doll, Michael Darling)
1995
“Strictly
Painting”, McClean Project for the Arts, Arlington, VA (curated by
Ashley Kistler)
“Strappy Sandals and
Skinny Belts: the Hyperfeminine Position in Painting”, Victoria
Room, San Francisco (curated
by Sue Spaid)
“Six Roads to
Abstraction”, Peter Blake Gallery, Laguna Beach, CA
“Works for a Funhouse”,
E.S. Vandam, New York (organized by Sue Canning, Saul
Ostrow, Yvonne Muranushi)
1994
“Sworn
Statements”, Geoffrey Young Gallery, Great Barrington, MA
“Thanks Again: Our 2
Year Anniversary” (collaboration with Ken Riddle), Food House,
Santa Monica, CA
“Sanded”, The Art Store
Gallery, Pasadena, CA (curated by Dean DeCocker)
“Pen and Ink”,
Contemporary Arts Forum, Santa Barbara, CA (curated by Michael
Darling)
“Le Temps d’un Dessin”,
Galerie de l’Ecole des Beaux-Arts de Lorient”, Lorient,
Morbihan, France
(organized by Phillippe Briet) (catalogue)
“Current Abstractions”,
Los Angeles Municipal Art Gallery, Barnsdall Art Park, Los
Angeles (curated by
Nowell Karten) (catalogue)
“Utterings”, Woodbury
University Art Gallery, Burbank, CA (curated by Carolee Toon-
Parker)
“Damned: Life, Death and
Surface”, Jon Thomas Gallery, Santa Monica, CA (organized
by Philip Pirolo)
“All that Emerges,
Emerges (Part 2)” (in collaboration with John Souza as part of the
exhibition “Out West and
Back East: New Work from Los Angeles and New York”),
Santa Monica Museum of
Art, Santa Monica, CA
1993
“Peculiar
Paintings (2nd Version)”, Metropolitan Momentary Contemporary Museum,
Los
Angeles (curated by
Randy Sommer)
“Fourth Newport
Biennial”, Newport Harbor Art Museum, Newport Beach, CA (curated by
Bruce Guenther)
(catalogue)
“Peculiar Paintings”,
Woodbury University Art Gallery, Burbank, CA (curated by Rany
Sommer)
“The Medium is the
Medium”, Barbara Toll Fine Arts, New York
“The Layered Look”, Jan
Baum Gallery, Los Angeles (organized by Sue Spaid)
“Beyond the Spectacle”,
Venice Art Walk, Venice, CA (organized by Sue Spaid)
“The Elegant, the
Irreverent and the Obsessive: Drawing in Southern California”, Main
Gallery, California
State University, Fullerton, CA (curated by Mike McGee)
“Aspects of Painting in
Los Angeles”, College of Creative Studies Art Gallery, University
of California, Santa
Barbara, CA (organized by Ann Ayres)
“A Cultivated Field”,
SITE Gallery, Los Angeles (curated by Mario Cutajar)
“Abstraction for the
Information Age”, The Works Gallery South, Costa Mesa, CA (curated
by Irit Kryger)
1992
“Far Bizarre
(Alternative Art Fair)” (collaboration by artist group “Guest Room”),
The Old
Federal Building, Los
Angeles
“Fluid Measure” (a
nomadic site project), Francis Howard Goldwyn Branch, Los Angeles
Public Library, Los
Angeles (curated by Buzz Spector) (catalogue)
“Contemporary Surfaces”,
Pamela Auchincloss Gallery, New York (curated by Rick
Ward)
“Drawings As Poems”,
Armory Center for the Arts, Pasadena, CA (curated by Josine
Ianco-Starrels)
“Invitational”, David
Beitzel Gallery, New York
“A World View II:
Multiple Perspectives”, Nutrilite Products, Inc, Buena Park, CA (curated
by Kristen Paulson)
“Final Exhibition”, The
Guest Room, Los Angeles
“Intimate Abstraction”,
Haines Gallery, San Francisco, CA
1991
“The Spiritual
Landscape”, Biota Gallery, Los Angeles (curated by Irit Krygier)
“Monochrome”, Dorothy
Goldeen Gallery, Santa Monica, CA
“Poured Paintings”,
Dorothy Goldeen Gallery, Santa Monica, CA (organized by Randy
Sommer)
1990
“Woodblocks, Etchings,
Lithographs”, Dorothy Goldeen Gallery, Santa Monica, CA
1989
“Window on AIDS”,
Contemporary Arts Forum, Santa Barbara Arts Council, Santa
Barbara, CA
“Fresh Visions I”,
Dorothy Goldeen Gallery, Santa Monica, CA
BIBLIOGRAPHY
2007
Baker, Alex,
“Truncated Trajectories: A Brief History of Space Travel”, Space is the
Place, New York and
Cincinnati: ICI and Contemporary Arts Center, p. 14 (illus.)
Kamps, Toby, “Space is
the Place: Contemporary Art and the Interplanetary Imagination”,
Space is the Place, ICI,
p. 29 (illus.)
Duncan, Michael,
“Endless Western Sunset”, Leo Castelli Gallery, brochure (illus.)
2006
Howell George, “Adam
Ross, Numark Gallery, Washington, DC,” Art Papers, p. 69-70
(illus.)
Torchia, Richard, “Very
Early Pictures”, D Magazine 01, p. 90-109 (illus.)
Cudlin, Jeffrey, “The
Overloaded Man”, Washington City Paper, p. 46 (illus.)
2005
Adler, Dan, “Adam Ross
at Angles Gallery”, Art in America, p. 155-156 (illus.)
Malt, Dr. Johanna,
“Surrealist Afterlives”, World Gone Mad (exhibition catalog) (illus.)
O’Reilly, Sally, “The
Awesome Death and Exquisite Corpse of Reason”, World Gone Mad
(exhibition catalog)
(illus.)
Knight, Christopher,
“Getting a Sense of Urgency”, The Los Angeles Times, Calendar, p.
E20 (illus.)
Myers,Terry, “Coming Up
Roses”, Art Review, June p. 38-39 (illus.)
“L.A.”m The New Yorker,
May 16, p. 24
2004
Dawson, Jessica,
“Design and Structure, in 3-D”, The Washington Post, section C5, p. 1
(illus.)
Weinstein, Joel,
“Slouching Towards Tomorrow: Adam Ross and the City at the Edge of
Time”, Adam Ross, Miami:
Kevin Bruk Gallery
Moss, Karen, “A
Curator’s Legend”, Topographies: Imaginary Landscapes and Invented
Territories, San
Francisco: San Francisco Art Institute, p. 2F, 6K (illus.)
Dawson, Jessica,
“Surreal Cityscapes and ‘Paintings’ That Aren’t”, The Washington Post,
C5 (illus.)
Dixon, Glenn, “Adam
Ross: In Between Places” ,Washington City Paper (illus.)
Shaw-Eagle, Joanna,
“Light ‘Places’ and Artistic ‘Cure’”, The Washington Times, section
B, p. 1 (illus.)
2003
Kamps, Toby, “Then
and Forever Now”, Cerca: Adam Ross, San Diego: San Diego
Museum of Contemporary
Art (illus.)
Gavin, Francesca,
“Future Tense”, Blueprint no. 211, p. 118
Pagel, David, “Blue
Skies and Then Some”, Los Angeles Times, Calendar (Section E), p. 21
Tumlir, Jan, “The
Nineties, Jr.”, X-TRA vol. 5, no. 1, p. 22-26
2002
Sanders, Joel,
“Out of Site, Fictional Architectural Spaces, New Museum of
Contemporary Art”,
Artforum, November, p. 182 (illus.)
Williams, Gregory, “Out
of Site”, Artforum.com, August
Wagonfeld, Judy,
“Virtual Reality Struggles to mesh with Intriguing Art” (Art Review: Out
of Site...), Seattle
Post-Intelligencer, November 15, p.17
Ellegood, Anne, “Out of
Site, Fictional Architectural Spaces”, Out of Site, Fictional
Architectural Spaces,
New York: New Museum of Contemporary Art (illus.)
Miles, Christopher and
Gobel, James, “A Conversation About Twenty One Painters,” 21
Paintings From LA, San
Bernardino, California: Robert V. Fullerton Art Museum, Cal.
State Univ., San
Bernardino (illus.)
Golonu, Berin, “Retrofuturist”,
Retrofuturist, San Francisco: New Langton Arts (illus.)
Reynolds, Jamie,
“Building Utopia, Adam Ross Looks to Yesterday to Paint His Perfect
Picture of Tomorrow”,
Smock, Winter, p. 48 (illus.)
2001
Barragan, Paco, El Arte
Que Viene, The Art to Come, Madrid: Subastas Siglo XXI, p.
254-255 (illus.)
Meyer,James, “Best of
2001: Technomania”, Artforum, December, p. 106-107 (illus.)
Chambers, Christopher,
“A New Crop of Young American Painters”, Tema Celeste,
November/ December, p.
19 (illus.)
Johnson, Ken, “Adam
Ross”, The New York Times, September 21, p. E28
Ayres, Charlie, “Adam
Ross’ Cityscapes Finally Appear in London”, Art Review, June, p.
24 (illus.)
McLaren, Duncan, “Adam
Ross: In Echoed Steps I Walked Across This Empty Dream,
Nylon Gallery, London”,
The Independent, May 27, p. 4 (illus.)
MacRitchie, Lynn,
“Electric Blue Windows on New Worlds”, The Financial Times
(Europe), May 8, p. 13
(illus.)
Spalding, David, “A
Conversation With Artists in 010101: Art in Technological Times”,
Artweek, May, p. 13
(illus.)
Hoptman, Laura, “The
Shape of Things to Come; Art and Science Fiction”, Flash Art,
January/ February, p.
86-89 (illus.)
Bonetti, David, “Bold
High-Tech Artwork Makes Connections”, San Francisco Chronicle,
March 2, p. C1 (illus.)
Bishop, Janet, “Old
Fashioned Forms in New Fangled Times”, 010101: Art in
Technological Times
(exhibition catalog), San Francisco: San Francisco Museum of
Modern Art p.72-75
Bishop, Janet, “Adam
Ross”, 010101: Art in Technological Times (exhibition catalog),
San Francisco: San
Francisco Museum of Modern Art, p. 122-123 (illus.)
2000
Hayles, N. Katherine,
“Adam Ross: Paranoid Utopias”, Art and Text, August/ October, p.
62-65 (illus.)
LaBelle, Charles, “Los
Angeles Reviews, Adam Ross”, Bijutsu Techo, Vol. 52, No. 792,
September, p. 158-159
(illus.)
Lunenfeld, Peter, Snap
to Grid, Cambridge, MA: MIT Press, p.167-170 (illus.)
Knight, Christopher,
“Adam Ross’ Venturesome and Intricate Works Reward
Contemplation”, The Los
Angeles Times, May 12, p. F26
Knight, Christopher,
“Catching the ‘Next Wave’ of Painters”, The Los Angeles Times,
June 20, p. F1, F8
Howard, Rhonda, Shifting
Ground: Transformed Views of the American Landscape, Henry
Art Gallery, University
of Washington, Seattle, WA (exhibition catalogue)
1999
Schwabsky, Barry,
“Adam Ross”, Artforum, September, p. 166-67
Darling, Michael, “Top
Ten Plus Ten”, L.A. Weekly, January 8-14, p. 40
Knight, Christopher,
“Fresh Paint: Post-Boomers Spearhead the Boom”, Los Angeles
Times, Calendar Section,
April 4, p. 4-6, 80
Mahoney, Robert,
“Millennium at TATE”, Time Out New York, July 29 - August 5, p. 52
Moshkovits, Boris,
“Blade Runner”, Flash Art, January/ February (illus.)
1998
Darling, Michael,
“Adam Ross, Caren Golden Fine Art, New”, Frieze, April/ May, p. 89-90
(illus.)
Ise, Claudine, “Adam
Ross/ Shoshana Wayne Gallery”, Art Issues, November/
December, p. 42
Kaneda, Shirley,
“Editor’s Choice”, Bomb, Winter, no. 62, p. 12 (illus.)
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Ross at Caren Golden”, Art in America, July, p. 99-100 (illus.)
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Review: Comes the Dawn”, Los Angeles Times, July 3, p. F26-F27
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at Shoshana Wayne”, Art Press, no. 239, October, p. 70-71
(illus.)
1997
Art on Paper (exhibition
catalog), Weatherspooon Art Gallery, University of North Carolina
at Greensboro (illus.)
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Ross at Shoshana Wayne”, Art in America, March, p. 111
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Francisco Fax; Drawings Today: New Work at San Francisco
Musuem of Modern Art”,
Art Issues, March/ April, p. 35
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Arts Show Brings Sense and Style to the Summer Season”, The
Kansas City Star, July
4, p. 24
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1996
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(illus.)
1995
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Artists”, Artweek, June,
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Grounds/ Fertile Territory: A History of Bliss”, True Bliss, Los
Angeles: Los Angeles
Contemporary Exhibitions
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Angeles: Los Angeles
Municipal Art Gallery
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Angeles Times, February
18, p. F1, F28
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1993
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January 14
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Pictures, Newport Harbor's Fourth Biennial Draws on Style,
Sense, Tastes of Its
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6, 9, 16
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Independent, March 18,
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the Middle Ground: The Cultivated Field at SITE Gallery”, Artweek,
March 18, p. 17
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New Sensibility?”
Artweek, May 20, p. 12-13 (illus.)
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Inspired Mess” (“The Layered Look” group exhibition), Los Angeles
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(illus.)
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Southern California
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of Escape That Swing From One Extreme to Another” (“That
Which Appears...”
exhibition), Los Angeles Times, April 9, p. F12
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Layered Look’: Transience, Superimposition and Identity” (essay for
“The Layered Look”
exhibition) July
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46 (illus.)
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“Biennial Uses Humorous Paradox to Tackle Issues”, Los Angeles
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