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.

SHINGO FRANCIS Liminal Presence Exhibition Catalog

SHINGO FRANCIS: Liminal Presence Catalog Now Available

Shingo Fancis: Liminal Presence exhibition catalog is now available to view online on the occasion of his current solo show at the gallery. The hard-copy will be available in the coming weeks. 

Shingo Francis was born in Santa Monica, California in 1969. He received a Bachelor of Arts degree from Pitzer College in Claremont, and a Master of Arts degree from ArtCenter College of Design, in Pasadena. Francis’ work has been exhibited in Japan, United States, Germany, South Korea, and Switzerland. He has been the subject of museum shows at the Kawamura Memorial DIC Museum of Art, Sezon Museum of Modern Art, Ichihara Lakeside Museum, the Martin Museum of Art, and the Frederick R. Weisman Art Foundation. He recently completed a permanent installation in the foyer of the Hermès Foundation in Tokyo and received the Fumio Nanjo Award in Tokyo. He currently divides his time between Los Angeles and the ancient coastal town of Kamakura, Japan.

Eric Johnson’s Madame X exhibition catalog will be available for viewing in the upcoming week. Thank you and happy holidays from everyone at William Turner Gallery.

ANDY MOSES: Recent Paintings - Exhibition Catalog Now Available

A 68 page fully illustrated print copy of the catalog will be available next Tuesday. Please contact the gallery to purchase a copy at info@williamturnergallery.com.

William Turner Gallery is pleased to present the exhibition catalog for Andy Moses: Recent Paintings, a compelling exhibition of new large-scale works by Los Angeles-based artist, Andy Moses. The exhibition will run from September 9th through November 11th, 2023.

Recent Paintings is an excitingly ambitious new body of work, showcasing an artist fully engaged and at the height of his creative process. Blurring the line between abstraction and a new kind of pictorialism, Moses utilizes techniques that facilitate his almost obsessive study of the alchemical properties of paint.  

Utilizing a method that is completely unique and developed outside the realm traditional painting techniques, Andy has pioneered a new language of paint, one with its own tools and materials.  Every element of these pieces have been painstakingly examined.  Technology in the form of complex vacuum sealed chambers has been invented to assist in producing the works and even the structures on which the painting rests are extraordinary engineering feats of their own.  The end result are stunningly beautiful, highly crafted, and perfectly executed works of art done in a method that has never been seen on any painting in the entire history of art.  

Born in Los Angeles in 1962, Andy Moses attended the legendary CalArts from 1979-1981, studying with John Baldessari, Michael Asher and Barbara Kruger. In 1982, Moses moved to New York where he worked as a studio assistant to Pat Steir and quickly became part of New York's nascent art scene. Moses began exhibiting with Annina Nosei Gallery, shortly after Jean-Michel Basquiat. During that time Moses also developed close ties with artists such as Jeff Koons, Marilyn Minter, Rudolf Stingel and Christopher Wool, who were also just emerging onto the scene.

“I’ve always loved Andy’s work. It’s interesting how it embraces many dialogues within the history of painting, from nature, landscape and science to abstraction. The paintings embrace everything while at the same time a sense of negation is always present. This polarity allows you to discover your relationship with the work itself. There’s always a sublime beauty within the work. The commingling of time and space, both real and abstract, is one of the the most relevant aspects of Andy’s work to me. Moses’s work is powerful and extreme, from the beginning to today, in concept and execution.”

- Jeff Koons

Andy Moses’ work is included in the permanent collections of Los Angeles County Museum of Art, Orange County Museum of Art, Laguna Art Museum, and the Frederick R. Weisman Art Foundation.   Andy will be the subject of two forthcoming museum exhibitions one at the Lancaster Museum of Art and History and the other at the Laguna Art Museum and was recently the subject of a 30 year survey at the SMC Barrett Gallery.  

ARTNOWLA - Andy Moses: Recent Paintings

William Turner Gallery will present Andy Moses: Recent Paintings, a compelling exhibition of new large-scale works by Los Angeles-based artist, Andy Moses. The exhibition will run from September 9th through November 11th, 2023.

Andy Moses: Recent Paintings is an excitingly ambitious new body of work, showcasing an artist fully engaged and at the height of his creative process. Blurring the line between abstraction and a new kind of pictorialism, Moses utilizes techniques that facilitate his almost obsessive study of the alchemical properties of paint. The paintings that emerge articulate the abstract nature of perception, reaching beyond the material and tapping into the visceral.

The images reveal undeniable traces of natural phenomena, seeking not to replicate the natural world, but rather to suggest the forces of nature itself. The artist’s complex process of mixing and pouring paints conveys a sense of undulating energies pushing and pulling within the rectilinear and circular forms of the canvases themselves.

The paintings are sweeping and luminescent, their lustrous surfaces seemingly executed with an impossible combination of absolute precision and wild improvisation. Meandering lines of psychedelic chroma oscillate between vivid sharpness and dissolving washes of color, achieving works of captivating presence. Viewing the work from multiple perspectives, one is swept into an interactive dance, as light plays across the surfaces in lustrous ever-changing hues.

Speaking about his work, Moses says, “I want the work to stop you in your tracks, to shake you out of your head and into the moment, into the present, where you can become receptive to a more meditative experience that hopefully begins to attune you to the transcendent beauty of the natural world.”

Born in Los Angeles in 1962, Andy Moses attended the legendary CalArts from 1979-1981, studying with John Baldessari, Michael Asher and Barbara Kruger. In 1982, Moses moved to New York where he worked as a studio assistant to Pat Steir and quickly became part of New York’s nascent art scene. Moses began exhibiting with Annina Nosei Gallery, shortly after Jean-Michael Basquiat. During that time Moses also developed close ties with artists such as Jeff Koons, Marilyn Minter, Rudolf Stingel and Christopher Wool, who were also just emerging onto the scene.

After eighteen years in New York, Moses returned to Southern California in 2000, where the change in coasts led to a significant shift in his work. In New York, the artist’s work had explored the macro / micro influences of nature, conveying a sense of gravitational and geologic forces. In returning to California, the scope of Moses’s work expanded, as he was once again inspired by the unique effects of light glancing off waves, and the vast sky-scapes he encountered on his daily drive down the Pacific Coast Highway. The artist began exploring materials that would capture the mercurial aspects of perception, where slight shifts in perspective would reveal dramatic shifts in impression. Accordingly, Moses’ work began to incorporate many of the qualities now associated with the Southern California Light and Space movement, where the work of art became less an “art object”, and more of a “catalyst” for one’s experience of what and how they perceived. Suggesting panoramic space, Moses began introducing concave and shaped panels to further investigate how light and its wave-lengths would curl and flex with refractive paints. These bold new paintings quickly found their audience and brought Moses to the attention of museums and major collectors alike.

Andy Moses’ work is included in the permanent collections of Los Angeles County Museum of Art, Orange County Museum of Art, Laguna Art Museum, and the Frederick R. Weisman Art Foundation. He currently lives and works in Venice, CA.

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

ANDY MOSES: RECENT PAINTINGS - Saturday September 9, 5-8PM

ANDY MOSES: RECENT PAINTINGS
September 9 - November 11, 2023
Opening Reception: Saturday, September 9, 5-8PM

PRESS: LA WEEKLY - MEET LIGHT FIELDS PAINTER CASPER BRINDLE

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MEET LIGHT FIELDS PAINTER CASPER BRINDLE

Abstract painter Casper Brindle renders pure color in aerated layers that capture and refract light, creating breath and a sense of motion with their awe-inspiring luminosity. Heartily influenced by the legacy of the Light and Space movement—which embraced the qualities of wonder in newfangled materials like resin and airbrush, as well as the imagination-fueling advances in interstellar travel—Brindle updates that art historical framework with a modern-day love of the surf and car cultures of his Los Angeles youth. Using automotive paint to enhance that space-age shine as well as an elusive sense of nostalgia in the super-charged palette, Brindle layers delicate coats which seem to capture light in between—later to release it to viewers in an eternal glow. Seeming to change as the viewer moves past them, and carrying the illusion of distant horizons or doors (of perception) as a framework, the magic in Brindle’s canvases actually happens in the eye of their beholders.

By: Shana Nys Dambrot - June 12, 2023

SHINGO FRANCIS + FONDATION D'ENTERPRISE HERMÉS TOKYO

Le Forum is an exhibition space housed in a glass-brick building designed by Renzo Piano. Flooded with natural light that forms an integral part of its identity, it is an oasis of contemplation inviting visitors to discover contemporary art in the heart of Tokyo’s dynamic Ginza neighbourhood. Directed by exhibition curator Reiko Setsuda, Le Forum offers an international programme bringing Japanese artists together with others from all over the world.

What is “interference”? Under this title, the first exhibition of 2023 invites the public to find answers through experience. Four artists explore our perceptions through the effects on the body of stimuli such as light, vibrations or soundwaves. Through stripped-back aesthetics, each of these artists highlights the subtle variations caused by the interferences to which our bodies are subjected in everyday life. Visitors are invited to contemplate the nature of perception through deeply felt sensations both physical and unconscious. The title, “Interference”, is borrowed from a series of paintings by artist Shingo Francis (b. 1969, United States): containing pigments that interfere with light, the colours of these canvases shift according to the viewer’s position. Nearby, an installation by Susanna Fritscher (b. 1960, Austria) immerses the viewer in a sensory experience of vibrations and pulsations beyond the frequencies that we are capable of hearing. Finally, Bruno Botella (b. 1976, France) presents pieces that stimulate our subconscious perception through tactile sensation, while Aiko Miyanaga (b. 1976, Japan) invites visitors to embark on a cosmic journey – the ultimate sensation, transcending time and space – through a tea ceremony shared online.

ANDY MOSES - Three Concurrent Museum Exhibitions - ShoutOut LA

Gallery artist ANDY MOSES is currently in shows at Laguna Art Museum, Ronald H. Silverman Gallery at CalState LA, and the Armenian Museum of America in Boston.

Shout Out LA sits down with the busy artist to discuss his recent work and multiple museum exhibitions.

Be sure to check out all of these exhibitions and stop by the gallery to see an installation of a breathtaking new large scale painting installed in the gallery offices. We will be open this Saturday for the FALL OPEN and a talk by gallery artist LAWRENCE GIPE from 3-4PM.

TEDx Wan Chai - Featuring Artist Simon Birch

Simon Birch Speaking at TEDx Wan Chai

This talk was given at a local TEDx event, produced independently of the TED Conferences. As a renowned artist in Hong Kong, Simon Birch takes us through the turning points in his life, highlighting how he was able to turn challenges into a series of adventures shaped by creativity.

Simon Birch is a renowned UK-born artist based in Hong Kong, recognised for his kinetic oil-on-canvas paintings and for his ventures into multimedia projects integrating paintings with film, installations, sculptures and performances.

Born in Brighton in 1974 and of Armenian descent, Simon taught himself how to paint at a very early age, before making a name for himself in Hong Kong, and more recently venturing into the international art scene with solo shows in Beijing, Hong Kong, Los Angeles, Miami, and Singapore, as well as group shows at the Hong Kong Museum of Art, the Haunch of Venison in London, and the Museum of Contemporary Art in Tokyo. Notable large-scale projects have included the 20,000 square feet multimedia installations HOPE & GLORY: A Conceptual Circus (2010), and Daydreaming With…The Hong Kong Edition (2012) at the ArtisTree in Hong Kong’s TaiKoo Place.

OPENING SATURDAY - SIMON BIRCH - Ignite 14: Recent Works & LAWRENCE GIPE - Recent Pictures

August 6 - September 17, 2022
Opening Reception: Saturday, August 6, 5-8PM

Russian Drone Painting No.3 (Damascus, 2015), 2019-2022, oil on canvas, 72” x 96”

Two of the works are culled from the Russian Drone Paintings. This is Gipe’s latest series which employs the visual style of “Manifest Destiny” canvasses of the 19th Century, in a reference to the Industrial Revolution - the historical origin of all our ecological peril. The image sources are contemporary, based on screenshots of drone footage posted on the now-censored RT news service run by the Russian government. The Russian Drone Paintings engage issues like surveillance, climate change, and the Anthropocene, seen through the lens of our global “adversary,” in images of cities abandoned to radioactivity, bombardments, and other traumatic evidence of humanity’s relentless intervention into Nature.

Russian Drone Painting No.1 (Mir Diamond Mine, Siberia)” , 2018-2022, oil on canvas, 72” x 96”

In another recent series, The Great Fog and Other London Pictures, Gipe uses photos and stills from period newsreels to create a series on the subject of London’s toxic “Pea-Soupers” during the intense rebuilding after World War II. Gipe is interested in the role painting has had (and will continue to have) in the representation of climate change vis-à-vis Romantic tropes, engaging in a conversation about the rapidly transforming notion of the Capitalist Sublime.

ABOUT LAWRENCE GIPE:

Born in Baltimore in 1962, Gipe has had 70 solo exhibitions in galleries and museums in New York, San Francisco, Chicago, Los Angeles, Miami, Munich, Berlin, Düsseldorf (Kunstverein Düsseldorf.) Currently, he splits his time between his studio in Los Angeles, CA, and Tucson, AZ, where he is an Associate Professor of Studio Art at the University of Arizona. Gipe has received two NEA Individual Fellowship Grants (Painting, 1989 and Works on Paper, 1996.) A mid-career survey, 3 Five-Year Plans: Lawrence Gipe, 1990-2005, was organized in 2006 by Marilyn Zeitlin at the University Art Museum, Tempe, Arizona.   

Articles and reviews about his work have appeared in Vanity Fair, Harper’s Magazine, The New York Times, The New York Times Magazine, Art and Antiques, L.A. Weekly, The Washington Post Magazine, Juxtapoz, Architectural Digest, Elle, The Los Angeles Times, Huffington Post, The Miami Herald, The Boston Globe, ArtForum, ArtNews, Artscene LA, San Francisco Chronicle, SFAQ, Fabrik LA, Art in America, Flash Art, Village Voice,Time Out New York; Kunstforum (Germany); BijutsuTecho (Japan) and many others.

August 6 - September 17, 2022
Opening Reception: Saturday, August 6, 5-8PM

Shutdown Danger Pink, 2019, oil on canvas, 78.7” x 78.7”

William Turner Gallery in collaboration with GuY Hector (The Art House Global), is pleased to present an inaugural exhibit of paintings by British-born, Hong Kong-based artist Simon Birch. A reception will be held at the gallery on August 6th, 2022 from 6 to 8 PM, the exhibition will remain on view through September, 17th 2022.

In this series of portraits, Birch materializes enigmatic, ectoplasmic figures in his psychologically charged canvases linking sympathies between external forces and interior emotion. These large-scale renderings of figures in motion - are torn between attraction and repulsion as they twist and tumble through space. Birch delves into allegorical states of the human condition through his painterly poetics of cleaved color blocks disrupted with loose, painterly, gestural strokes. Intent on the inward, only vestiges of the external linger with allusions to what Hamlet described as, “the heartache and the thousand natural shocks that flesh is heir to.”  

Building upon and scraping away layers of paint he fragments into Cubist planes, the pluralistic impulses of creation and destruction conflate to generate what art critic Clive Bell theorized as “significant form,” provoking aesthetic emotion. Investigating line, shape, and color, his canvases oscillate between figuration and abstraction, dissolving features into the dematerialized ether. Mutable flesh becomes a terrain of primordial corporeality. Employing the Futurist’s “lines of force,” and the “fourth dimension” to express a veiled space, he illustrates a reality perhaps more honest than that of visual perception.

Basing his paintings on photographs he shoots, Birch then labors with study upon study of countless preparatory drawings, which he then resolves through the act of painting, translating them onto canvas. Drawing upon a vast repertoire of painterly techniques such as scraping, troweling, scumbling, and brushing, the dynamic figures emerge in rigorous investigations of materiality in the plastic medium. His idiosyncratic palette is often punctuated with pulsating complementary reds and greens. The raw, unprimed canvases frame his shattered compositions of isolated figures within voids of negative space. 

The Marvel, oil on canvas, 84”x84”

In 2017, Birch created the socially engaged,  experiential art installation The 14th Factory which opened in Los Angeles. Spanning a cross-section of his multivalent oeuvre, it encompassed sculpture, painting, photography, performance, video, and installations, leading one through a narrative sequence of a hero’s journey inspired by mythologist Joseph Campbell. Due to its popularity - the show was visited by over 100,000 people lured by word of mouth and the power of Instagram - further iterations of this ambitious and groundbreaking new format for art are planned to take place in major international cities and will be announced soon. 

Born in Brighton, England in 1974, Birch has lived and worked in Hong Kong for over twenty years. He has had solo exhibitions in Beijing, Miami, and Singapore and has participated in group shows at the Hong Kong Museum of Art and the Museum of Contemporary Art, Tokyo. Birch has been awarded the prestigious Louis Vuitton Asian Art Prize and the Sovereign Asian Art Prize. Birch has organized many large-scale multimedia installation projects in Hong Kong, most notably HOPE & GLORY: A Conceptual Circus (2010), Daydreaming With… The Hong Kong Edition (2012), and The 14th Factory (2017). He has been included in the Los Angeles Museum of Contemporary Art’s (LACMA) permanent collection.

HALO Exhibition Catalog Now Available

MARK STEVEN GREENFIELD
HALO

April 30 - July 9, 2022

Mark Steven Greenfield: “I am reimagining what a saint is.”

- Mark Steven Greenfield speaking about the legendary, mythic, and often little known, black figures featured in HALO, on view now through July 9, 2022 at William Turner Gallery, in Santa Monica,CA. 
This online exhibition catalog for HALO, and forthcoming printed first edition, features the artist’s lustrous paintings and the illuminating background stories  which accompany each portrait.

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To order an advance copy of the print edition of HALO contact the gallery at 310-453-0909 or info@williamturnergallery.com

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 went on to study with Charles White, at Otis Art Institute, and received his Bachelor’s degree in Art Education in 1973 from California State University, Long Beach and a Masters of Fine Arts degree in painting and drawing from California State University Los Angeles in 1987. 

This year, Greenfield’s work was the subject of a 20-Year retrospective at the Museum of Art & History in Lancaster, CA, from which the The Crocker Museum of art acquired a piece for their permanent collection. 

Greenfield’s work has been exhibited extensively throughout the United States most notably with a comprehensive survey exhibition at the California African American Museum in Los Angeles in 2014, and in 2002 at the Museum of Contemporary Art of Georgia. Internationally, he has exhibited at the Chiang Mai Art Museum in Thailand; at Art 1307 in Naples, Italy; the Blue Roof Museum in Chengdu, China; 1333 Arts, Tokyo, Japan; and the Gang Dong Art Center in Seoul, South Korea. 

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) , the McColl Center for Art + Innovation Residency in Charlotte, North Carolina (2016) and Loghaven artist residency in Knoxville, Tennessee in 2021. 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, Los Angeles Contemporary Exhibition (LACE) and the Harpo Foundation. 

ANDY MOSES, Reflecting The Dawn - Currently on View at the Laguna Art Museum

Andy Moses, Reflecting the Dawn, Acrylic on Canvas over concave wood panel, 40x96 inches

Sky Space Time Change is an exhibition that examines artworks by more than 40 California artists that look up, look out and look across the Southern California skies in contemplation of the interconnections between physical, environmental and cultural systems. The exhibition takes viewers through the colorful landscapes of Conrad Buff, Fernand Lungren, and Anna Althea Hills, to the muted visions of Roger Kuntz and Florence Arnold, and into the ethereal realm of Andy Moses, DeWain Valentine, Craig Kauffman and Larry Bell. The exhibition of paintings, prints, sculpture, and photography from Laguna Art Museum’s permanent collection has been assembled by Laguna Art Museum’s 2024 Getty Pacific Standard Time guest curators Sharrissa Iqbal and Michael Duncan.