Curtis Ripley: High Fidelity Opening

Santa Monica, CA - William Turner Gallery is pleased to present Curtis Ripley: High Fidelity, an exhibition of new paintings by Curtis Ripley opening April 25, 5-8 PM, and on view through June 20, 2026. The exhibition unfolds as a visual composition: lyrical, atmospheric, and finely attuned to the rhythms of perception.

In Ripley’s paintings, glimmers of paint flicker and flare across darkened grounds, activating the surface with a sense of movement and light. Gestural curls and swirls interact with lines and dashes that guide the viewer’s eye in a choreographed passage across the picture plane. These marks are not merely expressive—they are structural, establishing a sense of tempo and poetic cadence that gives each work its internal coherence.

Forms in Ripley’s work do not resolve immediately. They hover, coalesce, and dissolve, shifting in and out of focus as the viewer’s attention lingers. Color behaves similarly: shapes emerge from the ground only to recede again, creating a continuous interplay between presence and disappearance.

Curtis Ripley, Dreaming in Color, 2026, oil on canvas, 40 x 30”.

The result is a dynamic tension between flatness and depth that remains deliberately unsettled. This instability gives rise to a pronounced sense of atmosphere. Gestural forms drift across layered fields of tone, while Ripley’s palette moves between moments of luminous intensity and expanses of saturated darkness. Subtle gradations of color produce fleeting effects — recalling distant light, reflective shimmer, or the charged stillness of a landscape at dusk. The paintings unfold perceptually, revealing themselves over time rather than at a glance.

Ripley’s practice occupies a space between the gestural immediacy of Abstract Expressionism and the immersive chromatic sensibility of Color Field painting. His work synthesizes these traditions into a contemporary language grounded in process, layering, and revision. While resonant with historical explorations of light and atmosphere, his paintings remain distinctly present—open-ended, responsive, and experiential.

Curtis ripley, Silver Springs, 2026, oil on canvas, 60” x 48

Presented concurrently with Unrepentant Beauty by Roland Reiss, High Fidelity offers a complementary approach to perception—one grounded not in constructed illusion, but in painterly sensation and temporal experience.

Throughout a career spanning more than four decades, Curtis Ripley has exhibited nationally and internationally, with an extensive record of solo exhibitions. Born in Lubbock, Texas in 1949, he received his MFA from the University of Wisconsin, Madison in 1975.

Roland Reiss: Unrepentant Beauty Opening

Santa Monica, CA  - William Turner Gallery is pleased to present Roland Reiss: Unrepentant Beauty, an exhibition of late paintings by Roland Reiss (1929–2020), opening April 25, 5-8PM and on view through June 20, 2026.

A pioneering figure in postwar American art, Reiss spent more than six decades redefining the possibilities of painting. From his early explorations of abstraction and representation to his groundbreaking sculptural works and miniature environments, his practice consistently expanded the boundaries of the medium.

This exhibition focuses on a remarkable development in his final decades: a series of vibrant, dynamic flower paintings that challenge long-standing assumptions about beauty and subject matter in contemporary art. Historically regarded as decorative or peripheral, the motif of the flower becomes, in Reiss’ hands, a site of formal and conceptual innovation. The artist approached these works with full awareness of their cultural baggage, describing the act of painting flowers as requiring “a leap of faith.”

About these paintings Reiss stated, “Flowers are the vehicle for putting everything I have learned about painting into my work.” The resulting paintings move fluidly between abstraction and figuration, combining bold color, gestural energy, and spatial complexity. Rather than depicting flowers, Reiss uses them as a framework for exploring perception, materiality, and the enduring power of visual experience.

The title Unrepentant Beauty reflects the artist’s unapologetic embrace of beauty as both subject and strategy. In contrast to earlier generations for whom beauty was often viewed with suspicion, Reiss’ late work asserts its relevance with clarity and conviction.

At the end of a long and influential career, Reiss produced a body of work that is at once playful, rigorous, and deeply resonant—offering a powerful reconsideration of what painting can be.

Roland Reiss studied at the American Academy of Art, Mount San Antonio College and at UCLA. He taught at UCLA, the University of Colorado, and Claremont Graduate University, where he served as Chair for 30 years, from 1971 to 2001. In 2009 he received the College Art Association Award for the Distinguished Teaching of Art. At CGU he held the Benezet Chair in the Humanities and in 2010 an endowed chair in art was established in his name. He was also the director of The Painting's Edge residency at Idyllwild Arts.

Reiss was the recipient of four N.E.A. grants and of numerous prizes and awards. His work is included in many important public and private collections, such as the Whitney Museum of American Art, Museum of Contemporary Art, Los Angeles, the Los Angeles County Museum of Art, and the Hammer Museum, among others.

Now Representing Roland Reiss

William Turner Gallery is honored to announce our representation of the estate of Roland Reiss (1929–2020), one of the most distinctive and intellectually rigorous voices in postwar American art. This partnership reflects the gallery's commitment to championing significant legacies in contemporary art history and ensuring that Reiss's pioneering body of work continues to reach new audiences.

Though widely celebrated for his miniature tableaux, Reiss was first and foremost a painter whose more than sixty-year career left an indelible mark on the Los Angeles and Southern California art scenes. He was included in the 1975 Whitney Biennial and Documenta 7 in 1982, and received fourteen solo museum exhibitions over the course of his career, including The Dancing Lessons: 12 Sculptures (1977) at LACMA. He also received survey exhibitions at the Pasadena Museum of Contemporary Art (2011–2012) and exhibited at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and the Nelson-Atkins Museum of Art in Kansas City. A retrospective of his work was mounted at the Los Angeles Municipal Art Gallery in 1991.

Reiss studied at the American Academy of Art, Mount San Antonio College, and UCLA, graduating with an MA in 1957. He taught at the University of Colorado, UCLA, and Claremont Graduate University, where he chaired the art department for thirty years. In 2009, he received the College Art Association Award for Distinguished Teaching of Art. At CGU he held the Benezet Chair in the Humanities, and in 2010 an endowed chair in art was established in his name. He was also director of The Painting’s Edge residency at Idyllwild Arts.

Reiss received four NEA grants and numerous prizes and awards. His work is held in many significant public and private collections, including the Museum of Contemporary Art, Los Angeles, the Los Angeles County Museum of Art, the Whitney Museum of American Art, the Hammer Museum, Santa Barbara Museum of Art, Palm Springs Art Museum, UC Irvine Langson Orange County Museum of Art, Laguna Art Museum, Benton Museum of Art, Claremont Lewis Museum of Art, and Oakland Museum of California.

Mark Steven Greenfield Solo Show at the Boone Family Gallery at Pasadena City College

William Turner Gallery is happy to congratulate Mark Steven Greenfield on his extraordinary solo show, Venerated, at Pasadena City College’s Boone Family Gallery. The exhibition received an in-depth review by Suzanne York which included excerpts of Greenfield’s art practice and activism as well as discussion of the spiritual and historical themes that shape his work. York highlights how Greenfield’s paintings draw on cultural memory, overlooked figures from the African diaspora, and symbols such as the Black Madonna and mandala forms to explore history, resistance, and renewal.

“The Boone Gallery exhibition offers visitors a unique look across the evolving stages of Greenfield’s artistic life. It presents work that is visually striking, historically rich, and unapologetically challenging.”

The show was also cited by PBS SoCal as one of the five best things to do during the week of March 2-8!

Digital Exhibition Catalogs for Greg Miller: True Romance & Jennifer Wolf: Utopalypse

William Turner Gallery currently has two solo shows on view: "Greg Miller: True Romance" and "Jennifer Wolf: Utopalypse". Jennifer Wolf’s art practice is deeply rooted in her personal connection to the Southern Californian landscape: she makes her own dyes and pigments, combining organic materials with state-of-the-art acrylic mediums. Her latest series –  “Utopalypse” – consists of highly evocative abstract pieces on silk mounted on wood. Greg Miller combines layered collages of ephemera collected from the 1950’s and 1960’s with large-scale, photorealistic paintings styled after the golden age of advertising and Americana. Much like an archaeologist delving into the layers of the earth to uncover fragments of the past, Miller digs into the layers of images and text to uncover hidden clues and meanings. Both “True Romance” and “Utopalypse” are ongoing through Saturday, August 16, and digital catalogs are available to view on the William Turner Gallery website.

Jennifer Wolf holds a BA in Art History from UCLA and an MFA from Otis College of Art and Design. A lifelong California resident, she has exhibited widely and has collaborated with William Turner Gallery since her first solo show in 2004.

Greg Miller (b. 1951) was born in Sacramento, California and holds a Master of Arts Degree from San Jose University. Once a long-time Venice, California resident, he currently resides in LA, CA & Austin, Texas. His work is featured in numerous museum and private collections, including those of: the San Jose Museum of Art, Newport Harbor Museum, Crocker Museum of Art, Los Angeles County Museum of Art, Laguna Art Museum, Riverside Art Museum,  Frederick R. Weisman Foundation and Charles Saatchi Foundation.  Greg Miller was the first exhibition at William Turner Gallery in 1991.  

MARK STEVEN GREENFIELD - RE/DEFINED - Opening at the IAAM, Charleston, SC on June 12, 2025

On Thursday, June 12th at 6 pm the International African American Museum, (Charleston, SC)  is hosting Blackness re/Defined | An Evening of Art & Conversation (IAAM Community) a special celebration marking the public opening of our newest special exhibition, re/Defined: Creative Expressions of Blackness from the Diaspora. 

This dynamic evening will explore the transformative role of Black artists and cultural producers in shaping identity, resisting systemic erasure, and redefining Blackness across generations and geographies. Through conversation and performance, the IAAM will examine how creative expression serves as both a reflection of lived experience and a powerful assertion of agency within the African Diaspora.

The evening will feature a live jazz performance, a curated dialogue between artists and scholars, and exclusive curator-led exhibition tours with Suzanne DiBella and Isabelle Britto. Curator-led tours will begin at 6:00 pm and 6:30 pm with the Music & Conversation Program beginning at 7:00 pm.

Mark Steven Greenfield, Dessalines, 2022, AcrlYic and Gold Leaf on Wood Panel, 20" X 16"

RE/DEFINED

14 Wharfside Street — Charleston, SC 29401
843-872-5352

Exhibition Catalog for PHENOMENA is NOW AVAILABLE!

The catalog from the latest show at William Turner Gallery, PHENOMENA, is out now! The catalog is available on the official William Turner Gallery website and includes images and insights from PHENOMENA. The exhibition is part of the Getty presented event PST Art, Art & Science Collide. PST Art is the largest event in the United States, featuring over 800 artists at over 70 institutions in Southern California. PHENOMENA showcases art by Charles Arnoldi, Natalie Arnoldi, Ryland Arnoldi, Kelsey Brookes, Alex Couwenberg, Franco DeFrancesca, Lawrence Gipe, David Lloyd, Ed Moses, Jeff Overlie, Melanie Pullen, and Jennifer Wolf.

LIGHT MATTER a TOP PICK by FITZ & CO

PST ART: Art & Science Collide is now in full swing.

Now in its third edition, Pacific Standard Time in Los Angeles brings together over 800 artists, 70 exhibitions, and institutions throughout all of Southern California with one central theme: the collision of art and science. The landmark arts event brings the community together to spark meaningful conversations on today’s most urgent issues. Project topics range from climate change and environmental justice to the future of AI and alternative medicine.

“Los Angeles right now is the most creative city on earth at any time in history,” says Michael Govan, the CEO and Wallis Annenberg Director of participating museum LACMA.

Swipe through to see some of our top picks for PST ART, on view across California.

1. ‘Fred Eversley: Cylindrical Lenses’ at David Kordansky Gallery | Installation view of ‘Cylindrical Lenses,’ 2024. Image courtesy of David Kordansky Gallery.

2. ‘Lia Halloran: Night Watch’ at Luis De Jesus Los Angeles | ‘Lia Halloran: Night Watch.’ Image courtesy of Luis De Jesus Los Angeles.

3. ‘Lita Albuquerque: Earth Skin’ at Michael Kohn Gallery | Installation view of ‘Earth Skin,’ 2024. Image courtesy of Michael Kohn Gallery.

4. ‘Light Matter’ at William Turner Gallery | Casper Brindle, “Cuboid 4,” pigmented acrylic, 36 x 15 x 15 inches. Image courtesy of William Turner Gallery.

5. 'Los Angeles Water School (LAWS)' at Morán Morán | Installation view of ‘Los Angeles Water School (LAWS), 2024. Image courtesy of Morán Morán.

6. ‘Max Hooper Schneider - The Unknown Masterpiece’ at the Virginia Robinson Gardens. Presented by Del Vaz Projects, Francois Ghebaly Gallery, and Marc Selwyn Fine Art | Robinson Gardens Pool Pavilion. Image courtesy of Robinson Gardens.

7. ‘Shirazeh Houshiary: The Sound of One Hand’ at Lisson Gallery | Shirazeh Houshiary, “Aurora,” 2023, Pigment and pencil on Aquacryl on canvas and aluminum, 190 x 190 x 5 cm, © Shirazeh Houshiary, courtesy Lisson Gallery.

8. ‘Helen Lundeberg: Inner/Outer Space’ at Louis Stern Fine Arts | Helen Lundeberg, “Cloud Shadows,’ 1966. Acrylic on canvas, 153 x 152.4 cm, courtesy of Louis Stern Fine Arts.

About Fitz & CO…
A growing global footprint continues to make FITZ & CO. a serious player for arty clients with worldwide profiles. About to enter its 25th year, Sara Fitzmaurice’s 20-person agency still reps Art Basel; Gagosian; Storm King Art Center; and brands like BMW and eBay, for whom FITZ & CO. builds artist partnerships. Equinox just tapped the firm to get closer to (real) art/culture influencers, and Mastercard engaged FITZ & CO to extend its Priceless campaign into the cultural sphere. Also in the agency’s collection: ultra-blue-chip international gallery Almine Rech; Dubai’s Alserkal Avenue arts/culture district; Denmark’s ARoS Aarhus Art Museum; ART021 Shanghai Contemporary Art Fair; and the Faurschou Foundation, which operates spaces in Copenhagen, Beijing and NYC.

LIGHT MATTER - PST ART: ART & SCIENCE COLLIDE - Exhibition Catalog Now Available

William Turner Gallery is pleased to present Light Matter, the first of two exhibitions, in partnership with the Getty’s PST ART: Art & Science Collide, which explore the intersections and influences between art and science.

Light Matter showcases the influences of scientific research on artistic process and intention, and builds on a collaborative experiment that began with LACMA’s innovative Art & Technology program, a collaboration between artists and industry that ran from the late 60s to early 70s.  As part of this initiative, Robert Irwin and James Turrell collaborated with NASA scientist and psychologist Ed Wortz at the Garrett Corporation. Together they developed a series of art and science-based investigations into the dynamics of perception, with a special emphasis on sensory deprivation. This intrigued Irwin and Turrell, who began to notice that perceptions were heightened after sessions in sensory deprivation tanks. Perhaps, they reasoned, the purpose of the work of art wasn’t as much about the work, as it was about the experience of perceiving the work.  Enter Light & Space in Southern California, where the emphasis shifted from looking at art as “object”, to art as “experience”.

Artists in Light Matter continue to expand on this notion, experimenting with the possibilities of their materials, often through scientific research and innovation, to achieve heightened visual effects that engage the viewer in the wonder of the phenomenology of perception. They utilize materials and approaches that  inspire the viewer to reflect - not only on “what” they are perceiving, but “how”. Many of the pieces require the viewer to interact with the works in unexpected ways - either by encouraging unusually active movement around, or stillness before, their works. The act of viewing engages the senses and heightens our sense of perception.

Light Matter includes work by Dawn Arrowsmith, Larry Bell, Casper Brindle, Shingo Francis, Jimi Gleason, Eric Johnson, Jay Mark Johnson, Peter Lodato, Andy Moses, and Roland Reiss.

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

GREG MILLER: Once Upon A Time - Exhibition Video

Please enjoy this short video highlighting work from the exhibition. To view the exhibition catalog please press the button below.

TOMORROW AT BERGAMOT STATION

Greg Miller: Once Upon A Time Exhibition Catalog Now Available

Greg Miller's artistic versatility is evident in his adept use of various painting styles. With a deft hand and craftsmanship, he navigates different techniques to achieve diverse visual effects in his work. Using a Renaissance practice of layering paint, he is able to achieve the photorealism in his portraits which is a highly labor intensive and skillful process.

One can observe Miller's skillful mastery of realism in his highly detailed and precise portrayals. Whether it's capturing the nuanced expressions of faces or rendering intricate textures, his attention to detail demonstrates his command over the Realist style.

The exhibition’s title comes from the work Once Upon a Time, which illustrates many of the themes, and techniques characteristic of Miller’s oeuvre. Central to the image is a black-and-white painting of a vintage Hollywood city-scape during its “Golden Age”.  Super-imposed, is the profile of a comic book action-hero surveying the vista. To the right, Grisaille is applied with spray paint to produce a photorealistic portrait of a woman seductively peering out from what appears to be a cropped still-frame. The scratched surface alludes to wear, and the passage of time. Collaged below is a text clipping of “the right” with a clock next to it, suggesting “time”. On the far left, a faceted crystal highball glass is labeled with a clipping reading “ACTION”.

Once Upon A Time, acrylic on canvas, 60” x 72”, History, acrylic on canvas, 36” x 72”, Truth, acrylic on canvas, 48” x 48”

GREG MILLER

Greg Miller (b. 1951) was born in Sacramento, California and holds a Master of Arts Degree from San Jose University. Once a long-time Venice, California resident, he currently resides in Austin, Texas.

His work is featured in numerous museum and private collections, including those of: the San Jose Museum of Art, Newport Harbor Museum, Crocker Museum of Art, Los Angeles County Museum of Art, Laguna Art Museum, Riverside Art Museum,  Frederick R. Weisman Foundation and Charles Saatchi Foundation. The Get Go, a volume of his writings, photography and paintings was published in 2010, and the first comprehensive monograph of the artist, Signs of the Nearly Actual, was published in 2009.

GREG MILLER Once Upon A Time 
June 10, 2023 – August 12, 2023 

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