PETER LODATO: DIAMONDS/DIVISIONS/VOIDS - Exhibition Catalog Now Available

Santa Monica, CA - William Turner Gallery is pleased to present, solo exhibition of exceptional new works by Peter Lodato, opening  January 13th, 2024. 

Peter Lodato’s (b. 1946) artistic journey reflects an evolution, from immersive light installations, to captivating paintings that explore the complexities of human perception over the course of his six decade-long career. In addition, Lodato would himself influence a number of artists, teaching Art History at Art Center in Pasadena, and University of California Irvine with notable students such as James Turrell and Chris Burden.

His initial foray into art consisted of environmental light installations,  characteristic of the West Coast's Light and Space movement in the 1960’s, which sought to transform physical spaces into immersive experiences for viewers. He credits the Roman Pantheon’s oculus for his interest in interpreting his experience. This body of work led to his inclusion in the 1981 Whitney Biennial.

As Lodato transitioned back to painting, he carried forward his fascination with perception, creating works that initially appear as austere, geometric abstractions but upon closer inspection, reveal layers, brushstrokes, and vibrant colors that play with space and depth. The dichotomy of vision—its capacity to both reveal and conceal—serves as a thematic cornerstone in Lodato's artistry. His reductive compositions, often featuring divided forms and bold colors, engage viewers in a visual dialogue between simplicity and complexity. Inspired by the Abstract Expressionist’s Mark Rothko and Barnett Newman, Lodato's use of vertical bands of color draws viewers into the canvas, inviting them to experience the artwork both physically and transcendentally. Hard edges feather out into diaphanous atmospheric vapors, creating luminous, Color-field suspensions floating on a colored ground– the formal consequences appear to both recede and project, dematerializing the art object and simultaneously constructing a void of flat, hard-edge, matted pigment. The artists hand is evident in the textural materialization of paint executed with an expert hand. In reasserting the picture plane in favor of the flat form, the abstractions are not in fact “subjectless”, regardless of their  reductive nature, they are intended to elicit a deep emotional response and expose the paradoxical nature of human perception.   

Informed in part by Eastern philosophy, Lodato’s palette observes the color schema assigned to the various corporeal chakras and their corresponding color assignments. Red for example symbolizes the root chakra at the base of the spine, characterizing strength and vitality, whilst white on the other end of the spectrum, illustrates the crowning light of spiritual wisdom.    

Lodato holds a Graduate degree from California State University. His artistic contributions have been recognized through a solo retrospective curated by the Frederick Weisman Foundation (2000), and exhibitions at prestigious institutions such as PS1 in New York City (1978), Whitney Museum of American Art’s Biennial (1981), the Museum of Contemporary Art in Los Angeles, and the Los Angeles County Museum of Art. His works grace esteemed collections in various public and private institutions, including the Brooklyn Museum, the Seattle Art Museum, the Dallas Museum of Art, and the San Diego Museum of Contemporary Art. This extensive presence in renowned collections underscores the impact and significance of Lodato's artistic vision within the realm of contemporary art. He lives and works in Venice, California.

ART REVIEW - White Hot Magazine / Andy Moses: Recent Paintings

By LORIEN SUÁREZ-KANERVA September 11, 2023

Andy Moses’ Recent Paintings will be showcased at the William Turner Gallery in Los Angeles from September 9 until November 11, 2023. Moses Recent Paintings’ distinct color use encompasses a predominantly white, blue, black and gold palette. All-white color tints, shades, and their lustrous variability are at play amidst clear, sharper, fluid lines, and softer open gradations, leading toward ethereal spaces. Moses’s sensibility spans a buoyantly luminous subtlety and achieves a refined definition through a meticulously grounded and richly orchestrated embodied perception. Maurice Merleau-Ponty pointed to embodied perception as the experience of the self in an environment at the crucible towards forms of relatedness that reveal meaning and expand perception.  

Geomorphology 1607, Acrylic on canvas, over concave wood panel, 57 x 90 inches, 2023

Fiber Birren, Johannes Itten, and Carl Jung address the subject of color each through a psychological vantage point, cultural nuances (like Jung’s groundbreaking study of mandalas of the East by introducing these to the West), and Color Theory. The sensorial effects of color suggest a responsive universality based on similarities that bridge cultural bounds.  In his works “Color and Meaning” and “Color and Culture,” John Cage supports these observations on color's meaningful effect on sensorial understanding across cultures.   Most salient in Moses’ works is the combination of white and blue, where black shifts through a reflective play with light toward shades of blue. From these earlier scholars' observations, colors such as whites speak of clarity, illumination, and spirituality, and blues inspire serene tranquility and introspective depth.

As a countertone, gold's earliest cultural associations with the sun's radiant power extend the hue's significance to encompass wealth and prominence. For Jung, gold represented the self's individuation process, stimulating wisdom and enlightenment—likewise, Itten and Birren associated illumination and divine inspiration with gold. Extensively, gold in East Asia, including Japanese 18th-century iconography, signifies wealth, power, good fortune, and divinity.

Geomorphology 1606, Acrylic on canvas over concave wood panel, 57 x 90 in, 2023

Moses shares the American Transcendentalists’ numinously intuitive perception of nature alongside the critical figures of Thoreau, Whitman, Emmerson, and their predecessor, the Canadian Henry Wadsworth Longfellow. Poetry such as Henry Wadsworth Longfellow’s lines from his poem “The Tide Rises, The Tide Falls” are evident in Moses’ paintings, and they highlight a kinship, reveling in transcendental sensibilities grounded in the human experience of nature and its patterns throughout time.

 “The little waves, with their soft, white hands,
Efface the footprints in the sands.”

Geodesy 1514, Acrylic on canvas over circular wood panel, 72 in diameter, 2023 

Longfellow summarizes this generational contribution towards a deepening receptiveness and recognition of how these contemplations become influential legacies in his poem “A Psalm of Life.”

“Lives of great men all remind us.
We can make our lives sublime,
And, departing, leave behind us
Footprints in the sands of time.”

Geodesy 1515, Acrylic on canvas over circular wood panel, 72 in diameter, 2023

Similarly, Moses perceived an affinity and kinship from the East with Ryukyuan lacquerware for its craftsmanship and conceptual design motif through his introduction while viewing LACMA’s “The Five Directions: Lacquer from the Ryukyu Islands” exhibition. This iconography and the craft itself of creating a painstaking layering of resin polished into lacquer was characteristic of Japan’s Ryukyu Islands from the 18th century.  The motif speaks of benevolent mystical forms seeking wisdom in East Asian cultural iconography. One particular piece in LACMA’s exhibition, a circular tray, inspired his painting titled Geodesy 1515. The matter of the enlightenment is also poetically crafted as an adornment – Dragons Chasing the Flaming Pearl. The Flaming Pearl holds as its essence the themes of wisdom within a spiritual scope. At the same time, the dragons culturally appear as strong protective forms that control natural elements.

Circular Tray with Dragons Chasing a Flaming Pearl, Black Lacquer on Wood Core with Mother of Pearl Inlay, 3.5 x 35.25 in, Ryukyu Islands, 1700-1800, LACMA Permanent Collection.

The American transcendentalist ethos, presented in the poem “Come, said my soul” by Whitman, attests eloquently to their literary movements’ vision of universal unity.  Their writings draw deeply from their dedicated contemplation and communion with nature. This is akin to the sensibility the mystics have shared throughout time.

Geomorphology 1608, Acrylic on canvas over concave wood panel, 57 x 90 in, 2023

“Come, said my soul,
Such verses for my body let us write, (for we are one,)
That should I after death invisibly return,
Or, long, long hence, in other sphere,
There to some group of mates the chants resuming,
(Tallying earth’s soil, trees, winds, tumultuous waves,)
Ever with pleas’d smile I may keep on, Ever and ever yet the verses
owning – as, first, I here and now,
Singing for soul and body, set to them by name,
Walt Whitman

Andy Moses’s paintings attest to this universal transcendence, poetically defined, and breathtakingly revealing its cultural lineage’s kinship. WM

Alex Couwenberg: SuperGlide - Exhibition Catalog Now Available

In this new series of visually exquisite works, Alex Couwenberg utilizes a jazz-like ensemble of color, line and texture to create lyrically engaging, deftly complex compositions. These multi-layered canvases captivate the viewer with the precision of their virtuosic execution, but they are at heart wonderful improvisations - reductive and additive processes drawing upon his intuitive and spontaneous reactions in the moment. Couwenberg simultaneously builds upon and excavates the surfaces of his paintings, constructing an abstract archaeology of his own deeply personal, semiotic patois. Born and raised in Southern California, Couwenberg’s work expresses the seemingly contradictory sensibilities of the region - the love of nature, and its variegated, open-spaced color and light, and, conversely, the embrace of an urban architecture, in all of its physical and cultural density.

A graduate of The Art Center College of Design and The Claremont Graduate School, Couwenberg worked under the guidance of Karl Benjamin, one of the leading figures in the Southern California-base school of Hard-edge geometric abstraction. Beginning in the mid to late 60s, Benjamin was instrumental in developing a highly refined painting style, process, and philosophy of tightly ruled shapes and edges. Concurrently, other artists in LA began working with industrial materials to create highly refined surfaces, termed “Finish Fetish”, and investigating alternative mediums and technological advances. Both of these influences coalesce into Couwenberg’s post-postmodern vernacular, characterized by its layered formal, material, and textured surfaces.

A synthesis of styles and processes particular to the artist's experience materialize on the canvas to construct the poetics of his investigations. Masking off portions of the painting in his process recalls the batik technique of wax-resist dying and geometric patterning used in his father’s birthplace of Java, Indonesia, a former Dutch colony. His parents met in the Netherlands and immigrated to the U.S., making Couwenberg a first-generation Eurasian American. This synthesis of cultures manifests in his pristine Neo-Plast lines, which disrupt the rigid grid of De Stijl to formulate topsy-turvy cartographies embedded with encoded sign- systems. The alternating black-and-white banding alludes to “Invasion Stripes” used by Allied forces to define friendly aircrafts on their fuselages and wings during World War II but can also refer to Chevron stripes. The industrial spray gun is employed to create diaphanous atmospheric effects, where the foreground and background oscillate, while pearlescent paints shimmer on the surface. Couwenberg lacerates striations on portions of the architectonic compositions with tools such as brooms, all the while revealing intersections between the complex networks of positive and negative spaces. These circuits are comparable to the labyrinthine freeways Angeleno’s surmount and the dextrous, freestyle choreographies skaters wreath. Couwenberg orchestrates self-portraits that intimate a collective unconscious unveiled through material and process, ultimately converting them into cultural artifacts.

Chasing Pono, 2022, acrylic and spray on canvas, 72“ x 66“

Couwenberg’s paintings have been shown in several solo and group exhibitions throughout the United States, Canada, Europe, and Asia. His work can be found in numerous public, private, corporate, and museum collections around the world. Museum acquisitions include the Crocker Museum of Art, the Daum Museum in Missouri, Lancaster Museum of Art and History, Laguna Art Museum, Long Beach Museum of Art, and Nushi-Umeda, Tokyo to name a few. In 2007, Couwenberg was awarded the prestigious Joan Mitchell Foundation Award for his achievements in painting and in 2012 was featured as the subject of Los Angeles based filmmaker Eric Minh Swenson’s project titled “The Making Of La Fonda,” which focuses on the artist's life and studio practices.

Now Available from MOAH Press - Mark Steven Greenfield: A Survey 2001-2021

122 pages, fully illustrated hard cover monograph published on the occasion of the exhibition at: Museum of Art and History (MOAH), Lancaster, CA, January 22 - April 17 2022. Designed by Tony Pinto

Now available at William Turner Gallery. Signed copies of the 122 page hard cover book Mark Steven Greenfield: A Survey 2001-2021. This beautiful monograph highlights the work of this important artist’s output during the last 20 years of his career.

MARK STEVEN GREENFIELD
Mark Steven Greenfield is a native Angelino, and son of a Tuskegee Airman, which led to spending the first part of his life abroad, living on military bases from Taiwan to Germany, until returning to LA at the age of ten. In high school Greenfield studied with revered Los Angeles artist, John T Riddle. Riddle quickly noted Greenfield’s talent, but saw that he was vulnerable to the influences and dangers confronting black youth at the time. Riddle remarked, "You could be a pretty good artist....if you live that long.” This got Greenfield’s attention and set him on the path that would define the course of his life. 

Greenfield is a recipient of the L.A. Artcore Crystal Award (2006) Los Angeles Artist Laboratory Fellowship Grant (2011), the City of Los Angeles Individual Artist Fellowship (COLA 2012), The California Community Foundation Artist Fellowship (2012), the Instituto Sacatar Artist Residency Fellowship in Salvador, Brazil (2013) and the McColl Center for Art + Innovation Residency in Charlotte, North Carolina (2016). He was a visiting professor at the California Institute of the Arts in 2013 and California State University Los Angeles in 2016. 

From 1993-2011, Greenfield worked for the Los Angeles Department of Cultural Affairs as director of the Watts Towers Arts Center, and later as director of the Los Angeles Municipal Art Gallery, Barnsdall Park. He has served on the boards of the Downtown Artists Development Association, the Armory Center for the Arts, the Black Creative Professionals Association, the Watts Village Theatre Company and was past president of the Los Angeles Art Association/Gallery 825. He currently teaches drawing and design at Los Angeles City College, and serves on the board of Side Street Projects.