Jimi Gleason "Landline" is now in the Laguna Art Museum Permanent Collection

Jimi gleason, Landline, 2023, silver nitrate, acrylic, canvas, 56”x80”

We're delighted to share that Jimi Gleason's Landline (2023) has been acquired for the permanent collection of the Laguna Art Museum.

At 56 × 80 inches, Landline is a striking example of Jimi's signature process: silver nitrate and acrylic on canvas, producing a surface that catches and shifts with the light so the painting is never quite the same twice. Laguna Art Museum has championed California artists for more than a century, and this acquisition places Jimi firmly within that lineage.

Museum recognition like this is a meaningful milestone in an artist's career, and we're proud to have supported Jimi's work.

Jimi gleason, Landline, 2023, silver nitrate, acrylic, canvas, 56”x80”

RADIANT TERRAINS

Among the exhibition highlights are works by Light and Space pioneers Peter Alexander, Craig Kauffman and Helen Pashgian; Anthony Friedkin’s photographs engaging the luminous movement of breaking waves; Stephen Hendee’s illuminated architectural environments; Lita Albuquerque’s explorations of celestial space; and Jay McCafferty’s solar-burn drawings. Together with paintings, photographs, installations and other works from the collection, the exhibition demonstrates the diverse ways artists have used light to alter, challenge and expand our understanding of the world around us.

The exhibition is curated by Tyler Stallings, a Southern California curator, writer and researcher who previously served as Chief Curator of Laguna Art Museum. Stallings has organized numerous exhibitions examining California and contemporary art and has curated several exhibitions drawn from the museum’s permanent collection.

Radiant Terrains is presented as part of Laguna Art Museum’s annual Art + Nature program, extending the initiative’s exploration of the natural environment through light, one of nature’s most fundamental and transformative elements. Throughout the exhibition, light creates connections between ocean and sky, body and landscape, scientific observation and spiritual reflection.

ABOUT LAGUNA ART MUSEUM

Laguna Art Museum exists to engage and enlighten people of all ages through art that embodies and preserves the California experience. Laguna Art Museum presents exhibitions relevant to California art and artists throughout the year and is home to the annual Art & Nature Festival celebrating the museum’s unique relationship to the environment.  In 2025, Laguna Art Museum served a record-high 21,000 people during Art + Nature. This year's festival begins on September 19, 2026 with the Radiant Terrains exhibition from the Permanent Collection, which will be on view September 19, 2026 through January 10, 2027.

Jimi Gleason’s 2025 exhibition Vapor Wave at William Turner Gallery

Jimi Gleason turns painting into a shifting register of its surroundings. Using silver nitrate and acrylic, he creates luminous surfaces that reflect, distort, and partially absorb the viewer and the gallery around them. Light glides across the painting's metallic skin, producing subtle shifts in color and tone as viewers change position. Rather than functioning as a conventional mirror, the work returns a softened, fragmented reflection, making the viewer an active participant in the painting itself.

Gleason's layered surfaces oscillate between mirror-like clarity and pearlescent opacity, never settling into a single image. His practice shares affinities with Helen Pashgian's perceptual investigations, yet where Pashgian embeds light within translucent materials, Gleason allows it to remain on the surface. Nearby, Jennifer Bolande similarly redirects attention to the act of looking itself, reminding us that perception is continually shaped by light, movement, and our own presence.

Tyler Stallings - Guest Curator - Radiant Terrains

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.

Guillermo Bert's Upcoming Solo Show at the Museum of Latin American Ar

Congratulations to Guillermo Bert on his upcoming solo show, Techno-Empathy, opening at the Museum of Latin American Art on March 29.

This exhibition shows the Chilean-born artist Guillermo Bert bringing the two together in novel and powerful ways. He uses three principal tools, all of them uncommon in most art production: QR codes, 3-D imaging, and laser engraving. In the Encoded Textiles series, weavings include QR codes that literally embed the story of the weaver into the work so that anyone with a smartphone can see and hear them. Through 3-D imaging, the artist creates life-size images of workers whom he has met, allowing us also to meet them face to face from a unique perspective. Media images today often show migrants and refugees, but Bert uses laser engraving to transfer them onto unusual surfaces, such as wood panels that mimic the look of some of the earliest “high technology:” the rectangular panels that encoded instructions for the first mechanical looms in the 19th century.

Guillermo Bert At William Turner Gallery

Charles Arnoldi in The Hollywood Reporter

Congratulations to Charles Arnoldi for his recent feature in Michael Slenske's article "Guns and Glitter: How LA's Top Artists Reimagine the Oscar" for The Hollywood Reporter!

Charles Arnoldi

Slenske writes: For this portfolio, [Arnoldi] did something he almost never does: “I don’t really think about the Oscars, and I don’t make figurative work,” he says. “But there’s a human quality to this particular sculpture because it has legs and these morphing human forms. I guess you could say that’s a commentary on the chaos that accompanies the Oscars race every year.”

Read the full article at the link below!

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!

Mark Steven Greenfield Catalog Signing & Talk - THIS SATURDAY!

Photograph By Tony Pinto

Join Mark Steven Greenfield & William Turner for a conversation & walkthrough of Greenfield's current exhibition, HALO.

SATURDAY, JUNE 25, 2022

3:00 pm - 5:00 pm
3:00 Refreshments
3:30 Walk through begins 4:15 Catalog signing

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. 

Gallery Artists Ed Moses, Andy Moses and Charles Arnoldi Featured in On the Edge: Los Angeles Art 1970's - 1990's from the Joan and Jack Quinn Family Collection

Joan Agajanian Quinn and her late husband Jack represent a key moment in the history of contemporary art, as Los Angeles came to symbolize an innovative and prolific brand of creative freedom. Few individuals have left such an indelible mark on the artistic landscape of Southern California more than Joan and Jack Quinn. Joan found herself both muse and promoter of several Southern California artists, while Jack used his skills as a prominent and influential attorney to help an array of emerging artists and their dealers navigate the worlds of law and business.

Known for her charisma, intelligence and incomparable flamboyance, Joan Agajanian Quinn has served as inspiration for artists such as Robert Mapplethorpe, Jean-Michel Basquiat, David Hockney, Ed Ruscha, Zandra Rhodes, Larry Bell, Frank Gehry, Ed Moses, Helmut Newton, Billy Al Bengston, Antonio Lopez and many others. As artists sought to record her image across a variety of media, Joan Quinn found herself with one of the world’s largest and significant collections of contemporary portraiture — a poignant representation of friendship, appreciation, and respect.

This exhibition will highlight the couple’s collection primarily amassed from the 1970s to 1990s. Much of the work was collected directly from the artists and has never changed hands or been shown publicly. Works in the exhibition will explore various themes such as Ferus Group “Cool School,” Gagosian, female artists, Finish Fetish, Documentary, Light and Space/Minimalism, Chicano Art, Pop Art, nature vs. urban landscape, and international artists and influences.