Concurrent Shingo Francis Exhibitions in Zushi & Kyoto, Japan

Shingo Francis, Serene Illumination, Oil on canvas, 2026

William Turner Gallery is delighted to share that gallery artist Shingo Francis is participating in the Zushi Art Festival 2026, taking place October 3–25 in Zushi, Japan. This year's festival, themed “The Future Begins Here, A Place for New Beginnings,” brings together contemporary art and cultural programming across a variety of venues throughout the coastal city. Known for his luminous abstractions and explorations of light, color, and perception, Francis creates work that invites viewers to consider their relationship with the surrounding environment. We are thrilled to see his work celebrated as part of this vibrant international arts event. Visit www.zushi-art.com/zaf2026 to learn more about the festival and its programming.

Shingo Francis, Spectrum of Venus, 2026, Oil on canvas, 60” x 60”

Concurrently, Shingo is participating in 50 Seconds Vol. 2, a group exhibition at SODA, an artist-run space in Kyoto, Japan. On view October 10–12 and 17–19, 2026, the exhibition brings together 34 contemporary artists, each presenting a 50-second video work. Known for his luminous explorations of light, color, and perception, Francis brings his distinctive artistic sensibility to this time-based format. Organized by Kazuhito Tanaka, Futo Akiyoshi, and Isabelle Olivier, the exhibition revisits a concept first presented at SODA in 2022, offering a diverse range of artistic perspectives within the shared constraint of 50 seconds. We are delighted to celebrate Shingo's continued international presence and encourage those in Kyoto to experience this exciting exhibition.

Shingo Francis, Appetite for More, Video projection, 2026. Installation at SODA, Kyoto Japan

Digital Catalog for "Greg Miller: What's Goin' On" Out Now!

The digital catalog for Greg Miller: What’s Goin’ On is now available to view, offering a close look at the new works featured in Miller’s ongoing solo exhibition at William Turner Gallery. For those interested in a printed edition, physical copies of the catalog may be reserved by contacting the gallery directly. What’s Goin’ On is currently on view at William Turner Gallery and will be on view through Saturday November 7, 2026. 

ABOUT WHAT'S GOIN' ON: For more than three decades, Miller has developed a distinctive visual language from the fragments of American culture —advertisements, comic books, magazine clippings, Hollywood imagery, signage, and other remnants of the American visual landscape. Combining found materials with painting, photorealism, gestural abstraction, and collage, he creates densely layered compositions in which images and text collide, overlap, and acquire new meanings.

In What’s Goin’ On, Miller returns to the visual vocabulary of postwar America with a renewed sense of immediacy. Familiar images are extracted from their original contexts and reassembled into complex environments. His works invite close looking: a fragment of text, a familiar face, or a recognizable symbol can lead the viewer through unexpected associations and shifting narratives.

ABOUT THE ARTIST: Greg Miller (b. 1951) was born in Sacramento, California, and holds a Master of Arts degree from San Jose State University. A longtime resident of Venice, California, he currently divides his time between Los Angeles and Austin, Texas. His work is represented in numerous museum and private collections, including the San Jose Museum of Art, Newport Harbor Museum, Crocker Art Museum, Los Angeles County Museum of Art, Laguna Art Museum, Riverside Art Museum, Frederick R. Weisman Foundation, and Charles Saatchi Foundation. Miller was the inaugural artist represented by William Turner Gallery when the gallery opened in 1991. What’s Goin’ On continues this relationship more than three decades later, marking another chapter in the gallery’s presentation of an artist whose work has consistently explored the boundaries between painting, collage, popular imagery, and cultural memory.

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

Andy Moses: Into the Light Closing Tomorrow…

Andy Moses' mysterious and alluring paintings pose a subtle challenge: do we read them as landscapes, enveloping the eye as they do with forms both aqueous and mountainous? Or should we regard them as abstractions, pure plays of light and form, color and contour, literally bent into physical space? Moses welcomes either comprehension or both. This is art born of visual transcendence, seeking to find a bit of the glory of nature in the properties of paint.  

Moses grew up in coastal Los Angeles, mesmerized almost from birth by the brilliant vagaries of marine light. When he moved east after college, he immersed himself in the booming New York art scene of the 1980s and 1990s, launching his career and determining how to explore both subject matter and material. But on his return to Venice, he found himself immersed again in the plangent light of his youth. Ever since he has striven to invest every painting with such meditative luminosity, even building round and curved (mostly concave) surfaces to envelope the eye.  

Such perceptual manipulation may be related to the Light & Space movement (whose participants have been Moses’ neighbors his whole California life), but in its reliance on paint it evinces associations with the abstract impressionism of Mark Rothko and the color field canvases of Morris Louis. Ultimately, Moses follows in the footsteps of Claude Monet and JMW Turner, whose contemplations of urban and rural spaces were pretext to a hunt for light itself.  

This exhibition surveys Andy Moses’ work of the last two decades, evincing his increasingly expansive commitment to a kind of painting that at once displays and obscures imagery. This work forces you to decide what it is doing to you, what it is showing you, if and how it is tricking your eyes or playing to their strengths. It’s a kind of magic. 

Andy Moses: Into the Light is organized by Laguna Art Museum and curated by Peter Frank.

Images Courtesy Carl E. Smith for Laguna Art Museum

Bergamot Station Fall Open House on Saturday September 12

Join Bergamot Station for the annual Fall Open House this Saturday, September 12! Explore exhibitions, events, and happenings throughout the arts complex all day long.

At William Turner Gallery, we’ll be celebrating the opening of "Greg Miller: What’s Goin’ On" from 5–8 PM. This latest exhibition continues Miller’s decades-long exploration of American popular culture, memory, media, and the mythology of American life. We hope to see you there!

Opening reception of “Greg Miller: What’s Goin’ On”: 5–8 PM
Beverages: 4–8 PM
Hot dogs: 2–8 PM

Last Chance: Moses@100 Closes This Saturday!

Tomorrow is the last day to see Moses@100, William Turner Gallery’s ongoing exhibition commemorating the centennial of artist Ed Moses. Moses was instrumental to the establishment of Los Angeles as a hub of contemporary art – in his review of Moses@100, art critic Edward Goldman writes, “It is impossible to think of the history of the Los Angeles art scene without discussing Ed Moses (1926-2018).” Come see the exhibition this weekend before it’s gone!

Ed Moses was the subject of a major retrospective at MOCA Los Angeles in 1996, and in 2014 he showed at University of California Irvine where he had taught in the seventies. On the occasion of his 2015 drawing show at LACMA of works from the 1960s and 70s, organized by Leslie Jones, director Michael Govan commented, “Ed Moses has been central to the history of art making in Los Angeles for more than half a century.” That exhibition included more than 40 drawings promised to the museum by the artist.

Moses’ work is included in the collections of the Los Angeles County Museum of Art, Museum of Contemporary Art, The Hammer Museum, San Francisco Museum of Modern Art, Whitney Museum of American Art, and The Museum of Modern Art in New York.

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.