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LARRY BELL

LARRY BELL
LARRY BELL

LARRY BELL

Larry Bell is an American contemporary artist and sculptor. He is best known for his glass boxes and large-scaled illusionistic sculptures. Wikipedia
Born: 1939 (age 83 years), Chicago, IL
Education: Chouinard Art Institute (1957–1959), California Institute of the Arts, Birmingham Community High School

Artist Website Larrybell.com

Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation.

Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell’s later glass cubes and standing glass-panel wall sculptures.

From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work.

Biography

Born: Chicago IL, 1939

Education

Studied at Chouinard Art Institute, Los Angeles CA 1957 – 1959
Guggenheim Fellow, Simon R. Guggenheim Memorial Foundation, New York NY, 1970
National Endowment for the Arts, Washington DC, 1975
Governor’s Award for Excellence and Achievement in the Arts, Office of Cultural Affairs, New Mexico Arts Division, Santa Fe NM, 1990

Resides

Lives and works in Venice CA and Taos NM

SOLO EXHIBITIONS

2022

Hauser & Wirth, ‘Larry Bell & John Chamberlain’, Los Angeles CA
Hauser & Wirth, ‘Larry Bell. New Work’, London, UK
Dia Beacon, ‘Larry Bell’, Beacon NY

2020

Hauser & Wirth, ‘Still Standing’, New York NY

2019

MOCA Museum of Contemporary Art, ‘Bill and Coo at MOCA’s Nest’, Los Angeles CA
Harwood Museum of Art, ‘Larry Bell. Cubic Propositions’, Taos NM

2018

ICA Miami, ‘Larry Bell. Time Machines’, Miami FL
Anthony Meier Fine Arts, ‘Larry Bell. Bay Area Blues’, San Francisco CA
Hauser & Wirth, ‘Larry Bell. Complete Cubes’, Los Angeles CA
Tampa Museum of Art, ‘Vapor and Vibration. The Art of Larry Bell and Jesús Rafael Soto’, Tampa FL
Aspen Art Museum, ‘Larry Bell’, Aspen CO
The Harwood Museum of Art, University of New Mexico, ‘Hocus, Focus and 12′, Taos NM
Hauser & Wirth, ‘Larry Bell. Venice Fog. Recent Investigations’, Zurich CH
Hauser & Wirth, ‘Art Cologne’, Cologne, Germany

2017

White Cube Bermondsey, ‘Smoke On The Bottom’, London, UK
Pepperdine & Frederick R Weisman Museum of Art, ‘Pacific Red’, Malibu CA

2016

Hauser & Wirth, ‘From the ’60s’, New York NY

2015

White Cube, ‘Larry Bell, 2D – 3D Glass & Vapor’, London, UK
Peter Blake Gallery, ‘Larry Bell’, Laguna Beach CA
White Cube’s Off-Site Project, Design District, ‘Larry Bell. 6×6 An Improvisation’, Miami FL

2014

Nicole Longnecker Gallery, ‘Larry Bell. Three Decades of Art’, Houston TX
Chinati Foundation, ‘6 X 6 An Improvisation’, Marfa TX
White Cube, ‘Light and Red’, Central, Hong Kong
Blumenschein Museum ‘Fraction’, Taos NM
White Cube São Paulo, ‘The Carnival Series’, São Paulo, Brazil
Kayne Griffin Corcoran Gallery, Santa Monica CA

2013

White Cube Gallery, ‘Mirage Collage & Light Knots’, London, UK
Manhattan Beach Arts Center, ‘Light Knots’, Manhattan Beach CA
Frank Lloyd Gallery, ‘Larry Bell. Recent Works’, Santa Monica CA

2012

Larry Bell Studio Annex, ‘Weightless’, Los Angeles CA
Kayne Griffin Corcoran Gallery, ‘Larry Bell’, Santa Monica CA
Harwood Museum of Art, ‘Larry Bell Installation’, Taos NM

2011

Frank Lloyd Gallery, ‘Larry Bell. Early Work’, Los Angeles CA
Carré d’Art Musée d’art Contemporain de Nîmes, ‘Larry Bell in Perspective’, Nimes, France
Joe’s Restaurant, ‘Larry Bell’, Los Angeles CA

2010

Frank Lloyd Gallery, ‘Portraits of Joan. New Collages’, Santa Monica CA

2009

Hotel Erwin, ‘Larry’s Loft’, Los Angeles CA
Encore Gallery, Taos Center For The Arts, ‘Larry Bell. The Last Women’, Taos NM
Open Mind Space, ‘Larry Bell. New Works on Paper’, Albuquerque NM

2008

Bernard Jacobson Gallery, ‘New Small Works’, London, UK
Harwood Museum of Art, The University of New Mexico, ‘Larry Bell From The Collection’, Taos NM
Galerie Daniel Templon, ‘Oeuvres Récentes’, Paris, France
Logan Fine Arts, ‘New Works on Paper’, Houston TX
Jacobson Howard Gallery, ‘Larry Bell. New Small Works’, New York NY
Seiler + Mosseri-Marlio Galerie, ‘New Works’, Zurich, Switzerland
Frank Lloyd Gallery, ‘Works On Paper’, Santa Monica CA

2007

Danese, ‘New Sculpture’, New York NY
Haines Gallery, ‘New Work’, San Francisco CA
Bernard Jacobson Gallery, ‘Larry Bell’, London, UK

2006

Annandale Galleries, ‘Cubes and Works on Canvas’, Sydney, Australia
Galerie Daniel Templon, ‘Cubes’, Paris, France
Frank Lloyd Gallery, ‘Larry Bell. Cubes’, Santa Monica CA

2005

Alan Koppel Gallery, ‘Cubes’, Chicago IL
Mcclain Gallery, ‘Glass Cubes and Other Works’, Houston TX
Jacobson Howard Gallery, ‘New Works’, New York NY
Bernard Jacobson Gallery, ‘Larry Bell. New Works’, London, UK
Pace/Wildenstein, ‘Larry Bell. The Sixties’, New York NY

2004

The Great Eagle Corp, Mongkok, Hong Kong
Harwood Museum of Art, The University of New Mexico, ‘Larry Bell. Fractions’, Taos NM
Cress Gallery of Art, University of Tennessee At Chattanooga, ‘Larry Bell. Fractions’, Chattanooga TN
Larry Bell Studio Annex/New Directions Gallery, ‘Larry Bell Fractions At The Annex’, Taos NM
77 Market Street, ‘Larry Bell Venice Annex’, Venice CA

2003

Studio 314, Houston TX
Centinel Bank of Taos, Taos NM
Parks Gallery, Santa Fe NM
St John’s College Fine Arts Gallery, Santa Fe NM
Off Main Gallery, ‘Larry Bell’, Santa Monica CA

2002

New Gallery, Houston TX
Roswell Museum & Art Center, ‘Larry Bell. The Sumer Project’, Roswell NM
Mariposa Gallery, ‘Larry Bell Fractions’, Albuquerque NM
Larry Bell Studio Annex, ‘New Works On Paper’, Taos NM
Museum Abteiberg, ‘Made For Arolsen’, Monchengladbach, Germany
Kiyo Higashi Gallery, ‘Post 911’, Los Angeles CA

2001

Peter Blake Gallery, Laguna Beach CA
SkovRider AS, ‘Larry Bell. Fractions’, Oslo, Norway
Gallery Gan, ‘Fractions’, Tokyo, Japan
New Gallery, Houston TX

2000

Off Main Gallery, ‘Conversations’, Los Angeles CA
Kiyo Higashi Gallery, ‘Larry Bell Cubes’, Los Angeles CA
Larry Bell Studio Annex/New Directions Gallery, ‘Passages From The Fraction Series’, Taos NM
Center Galleries, Center For Creative Studies, ‘Larry Bell. 1,000 Fractions’, Detroit MI
Dartmouth Street Galleries, Albuquerque NM

1999

Museum Moderner Kunst Landkreis Cuxhaven, Otterndorf, Germany
Kiyo Higashi Gallery, Los Angeles CA
Wood Street Galleries, Pittsburgh PA
Centinel Bank of Taos, ‘Works in The Lobby’, Taos NM
New Directions Gallery, ‘Larry Bell’, Taos NM

1998

New Directions Gallery, Taos NM
Kiyo Higashi Gallery, ‘Larry Bell’, Los Angeles CA
Braunstein/Quay Gallery, San Francisco CA
Seljord Kunstforening, ‘Glass and Paper’, Seljord, Norway (Travelling Exhibition)
Bergen Kunstmuseum, ‘Glass and Paper’, Bergen, Norway (Travelling Exhibition)

1997

Kiyo Higashi Gallery, ‘Standing Walls’, Los Angeles CA
Galerie Simonne Stern, ‘Larry Bell. Sculpture and Drawings’, New Orleans LA
New Directions Gallery, ‘Bronzes’, Taos NM
The Reykjavik Municipal Art Museum, ‘Glass and Paper’, Reykjavik, Iceland
Earl McGrath Gallery, ‘100 Fractions’, New York NY
The Albuquerque Museum, ‘Zones of Experience. The Art of Larry Bell’, Albuquerque NM
Dartmouth Street Gallery, ‘Fractions’, Albuquerque NM
New Gallery, ‘Fractions’, Houston TX

1996

Art et Industrie, ‘Sumer’, New York NY
Art et Industrie, ‘Sumer Part II’, New York NY
New Directions Gallery, ‘Fractions’, Taos NM
Braunstein/Quay Gallery, San Francisco CA
Kiyo Higashi Gallery, ‘Larry Bell, New Work’, Los Angeles CA
Boulder Museum of Contemporary Art, ‘Sumer. A Work in Progress’, Boulder CO
Joy Tash Gallery, ‘Larry Bell – Mirage Works’, Scottsdale AZ

1995

Galerie Montenay-Giroux, ‘New Glass Sculptures’, Paris, France
Harwood Museum of Art, The University of New Mexico, ‘Sumer. A Work in Progress’, Taos NM
Denver Museum of Art, ‘Larry Bell Untitled X 2’, Denver CO
Indigo Gallery, Boca Raton FL
University of Wyoming Art Museum, ‘Larry Bell’s Vapor Drawings’, Laramie WY

1994

Kiyo Higashi Gallery, ‘Paintings, 1960’s’, Los Angeles CA
Leedy/Voulkos Gallery, ‘Larry Bell. Recent Improvisations’, Kansas City MO
Braunstein/Quay Gallery, ‘Larry Bell Glass and Denim Constructions’, San Francisco CA
Dartmouth Street Gallery, Albuquerque NM

1993

New Gallery, Houston TX
New Directions Gallery, Taos NM
Tavelli Gallery, Aspen CO
Kiyo Higashi Gallery, ‘Glass Constructions’, Los Angeles CA

1992

Tampa Museum of Art, ‘Mixing Media and Metaphor’, Tampa FL
New Gallery, Houston TX
Janus Gallery, Santa Fe NM
Dartmouth Street Gallery, Albuquerque NM
Kiyo Higashi Gallery, Los Angeles CA

1991

Braunstein/Quay Gallery, San Francisco CA
New Directions Gallery, ‘Larry Bell. Recent Work’, Taos NM
Sena Galleries West, Santa Fe NM
Dartmouth Street Gallery, ‘Larry Bell New Work’, Albuquerque NM
New Gallery, Houston TX
Tucson Museum of Art, ‘Larry Bell Mirage Works’, Tucson AZ
Tony Shafrazi Gallery, New York NY

1990

Kiyo Higashi Gallery, Los Angeles CA
Galerie Kammer, Hamburg, Germany
Sena Galleries West, Santa Fe NM
Galerie Montenay, Paris, France
Taos Civic Plaza, Taos Arts Celebration Taos NM
Galerie Rolf Ricke, Cologne, Germany
Braunstein/Quay Gallery, San Francisco CA
Carl’s French Quarter, Taos NM
San Antonio Art Institute, San Antonio TX
New Gallery, Houston TX

1989

Leedy-Voulkos Gallery Art Center, ‘Larry Bell Mirage Paintings’, Kansas City MO
Contemporary Art Center, Kansas City MO
Musee d’Art Contemporain, Lyon, France
Sena Galleries West, Santa Fe NM
Kiyo Higashi Gallery, ‘Larry Bell. New Work’, Los Angeles CA (Travelling Exhibition)
New Directions Gallery, ‘Larry Bell. New Work’, Taos NM (Travelling Exhibition)
Stables Gallery, Taos Center for the Arts, ‘Larry Bell Studio Investigations’, Taos NM

1988

High Museum of Art, ‘Spectacles, Leaning Room’, Atlanta GA
Kiyo Higashi Gallery, ‘Mirage Paintings’, Los Angeles CA
Gemini Editions Limited, ‘Larry Bell At Gemini’, Los Angeles CA
Sena Galleries West, ‘Larry Bell. New Work’, Santa Fe NM
New Gallery, ‘Larry Bell, Major Glass Sculpture and Related Maquettes’, Houston TX
Kiyo Higashi Gallery and Gemini G.E.L., ‘Larry Bell’, Los Angeles CA
Laguna Art Museum, ‘Light On Surface’, Laguna Beach CA

1987

Centinel Bank of Taos, ‘Moving Ways’, Taos NM
Kiyo Higashi Gallery, ‘Larry Bell. Light and Space’, Los Angeles CA
Galerie Gilbert Brownstone et Cie, ‘Larry Bell’, Paris, France
Braunstein/Quay Gallery, ‘New Works By Larry Bell and Peter Voulkos’, San Francisco CA

1986

Amarillo Art Center, ‘Larry Bell. Chairs in Space’, Amarillo TX
New Gallery, ‘The New Cubes and Other Works’, Houston TX
Boise Gallery of Art, ‘Contained Space and Trapped Light. Larry Bell’s Sculptural Environments’, Boise ID
Braunstein Gallery, ‘Chairs in Space and Vapor Drawings’, San Francisco CA
Museum of Contemporary Art, ‘The Leaning Room’, Los Angeles CA

1985

Linda Durham Gallery, ‘Chairs in Space. The Game’, Santa Fe NM
LA Louver Gallery, ‘Larry Bell. New Sculpture and Larry Bell. Vapor Drawings on Paper and Glass’, Los Angeles CA
Laica, ‘Bell/Victoria Iridescent Vapor Gowns’, Los Angeles CA
The Works Gallery, ‘Larry Bell. New Works’, Long Beach CA
Jan Ramslich Gallery, ‘Vapor Drawings’, Silicon Valley CA

1984

8332-1/2 Melrose, ‘Chairs in Space’, Los Angeles CA
MOCA Museum of Contemporary Art, ‘Chairs in Space. The Game’, Los Angeles CA
The Works Gallery, ‘Larry Bell. The Game’, Long Beach CA
Colorado Springs Fine Arts Center, ‘Chairs in Space; How The Game Evolved’, Colorado Springs CO

1983

Arco Center for Visual Art, ‘Larry Bell. New Sculpture’, Los Angeles CA
Advanced Art Gallery, ‘Larry Bell. Recent Work’, Rinconada NM
Sheldon Memorial Art Gallery, University of Nebraska, ‘Larry Bell. Major Works in Glass’, Lincoln NE

1982

Detroit Institute of Arts, ‘Larry Bell. New Work’, Detroit MI
Tally Richards Gallery of Contemporary Art, ‘Larry Bell, Small Images. New Vapor Drawings’, Taos NM
Marian Goodman Gallery, ‘New Vapor Drawings from the “EL” Series’, New York NY
The Museum of Fine Arts, ‘Larry Bell, The Sixties’, Santa Fe NM
Milwaukee Art Museum, ‘Larry Bell. New Work’, Milwaukee WI
Erica Williams / Anne Johnson Gallery, ‘Larry Bell, New Vapor Drawings’, Seattle WA
Ruth S. Schaffner Gallery, ‘Larry Bell, Vapor Drawings’, Santa Barbara CA
Newport Harbor Art Museum, ‘On The Ellipse, Works By Larry Bell’, Newport Beach CA

1981

Trisolini Gallery, University of Ohio, ‘Larry Bell. New Work’, Athens OH
Tally Richards Gallery of Contemporary Art, ‘Larry Bell, New Vapor Drawings. The “El” Series’, Taos NM
Wildine Galleries, ‘Larry Bell New Works’, Albuquerque NM
LA Louver Gallery, ‘New Works by Larry Bell’, Los Angeles CA
Ann Jacob Gallery, ‘Sculpture by Larry Bell /Eric Orr. Vapor Paintings On Glass’, Atlanta GA
Hudson River Museum, ‘Larry Bell, New Work’, Yonkers NY
Marian Goodman Gallery, ‘Larry Bell, New Work’, New York NY

1980

Hill’s Gallery of Contemporary Art, ‘Larry Bell. New Sculpture and Vapor Drawings’, Santa Fe NM
Sebastian-Moore Gallery, ‘Larry Bell, Vapor Drawings, Recent Works’, Denver CO
Tally Richards Gallery of Contemporary Art, ‘Larry Bell, New Work’, Taos NM

1979

Janus Gallery, ‘Noble Metals’, Los Angeles CA
Marian Goodman Gallery, ‘Larry Bell, New Work’, New York NY
Hanson Fuller Gallery, San Francisco CA
Hill’s Gallery of Contemporary Art, ‘Vapor Drawings’, Santa Fe NM
Sebastian-Moore Gallery, ‘Vapor Drawings’, Denver CO
Multiples Gallery, ‘Vapor Drawings’, New York NY
Tally Richards Gallery of Contemporary Art, Taos NM

1978

Tally Richards Gallery of Contemporary Art, ‘Vapor Drawings’, Taos NM
Roswell Museum and Art Center, ‘Vapor Drawings’, Roswell NM
Texas Gallery ‘New Works On Paper’, Houston TX
Delahunty Gallery, ‘Seasons of The Fountain. Larry Bell and Eric Orr’, Dallas TX (Travelling Exhibition)
Multiples Gallery, ‘Seasons of The Fountain. Larry Bell and Eric Orr’, New York NY (Travelling Exhibition)
Erica Williams/Anne Johnson Gallery, ‘Vapor Drawings’, Seattle WA

1977

Federal Reserve Bank, ‘The Iceberg and Its Shadow’, Boston MA (Travelling Exhibition)
Fort Worth Art Museum, ‘Solar Fountain Drawings. Larry Bell and Eric Orr’, Fort Worth TX
University of Massachusetts, ‘The Iceberg and Its Shadow’, Amherst MA (Travelling Exhibition)
Hayden Gallery, Massachusetts Institute of Technology, ‘The Iceberg and Its Shadow’, Cambridge MA (Travelling Exhibition)

1976

The Venice Biennale, ‘The Iceberg and Its Shadow’, Venice, Italy (Travelling Exhibition)
Art Museum of South Texas, The Iceberg and Its Shadow, Corpus Christi TX (Travelling Exhibition)
Santa Barbara Museum of Art, ‘The Iceberg and Its Shadow’, Santa Barbara CA (Travelling Exhibition)
Washington University, ‘The Iceberg and Its Shadow’, St. Louis MO (Travelling Exhibition)
Hayden Gallery, ‘The Iceberg and Its Shadow’, Massachusetts Institute of Technology, Cambridge MA (Travelling Exhibition)
The University of Massachusetts, ‘The Iceberg and Its Shadow’, Amherst MA (Travelling Exhibition)
Federal Reserve Bank, ‘The Iceberg and Its Shadow’, Boston MA (Travelling Exhibition)

1975

Fort Worth Art Museum, ‘Larry Bell. Recent Work’, Fort Worth TX
Tally Richards Gallery of Contemporary Art, ‘A Fracture From The Iceberg’, Taos NM

1974

Marlborough Galleria d’Arte, ‘Larry Bell’, Rome, Italy

1973

Bonython Gallery, ‘Possibilities For Glass Sculpture’, Sydney, Australia
Oakland Museum, ‘Larry Bell’, Oakland CA
Pace Gallery, ‘Larry Bell. New Work’, New York NY

1972

Pasadena Art Museum, ‘Larry Bell’, Pasadena CA
Pace Gallery, ‘Larry Bell’, New York NY
Felicity Samuels Gallery, London
Wilmaro Gallery, Denver CO

1971

Ace Gallery, ‘Larry Bell’, Los Angeles CA
Pace Gallery, ‘Larry Bell’, New York NY
Mizuno Gallery, ‘Larry Bell’, Los Angeles CA
Helman Gallery, ‘Larry Bell’, St. Louis MO

1970

Ace Gallery, ‘Larry Bell’, Los Angeles CA
Galerie Rudolf Zwirner, ‘Larry Bell’, Cologne, Germany
Pace Gallery, ‘Larry Bell’, New York NY

1969

Mizuno Gallery, ‘Larry Bell’, Los Angeles CA

1967

Galeria Ileana Sonnabend, ‘Larry Bell’, Paris, France
Stedelijk Museum, ‘Larry Bell’, Amsterdam, Netherlands
Pace Gallery, ‘Larry Bell’, New York NY

1965

Pace Gallery, ‘Larry Bell’, New York NY
Ferus Gallery, ‘Larry Bell’, Los Angeles CA

1963

Ferus Gallery, ‘Larry Bell’, Los Angeles CA

1962

Ferus Gallery, ‘Larry Bell’, Los Angeles CA

GROUP EXHIBITIONS

2022

Bourse de Commerce – Pinault Collection, ‘Une seconde d’éternite’, Paris, France
Frist Art Museum, ‘Light, Space, Surface: Works from the Los Angeles County Museum of Art’, Nashville TN (Travelling Exhibition)
Ernie Wolfe Gallery, ‘Beach Bums’, Los Angeles CA
Hauser & Wirth, ‘Chromophilia’, Zurich, Switzerland

2021

Kunsthalle Vogelmann Heilbronn, ‘Fragile! Alles aus Glas. Grenzbereiche des Skulpturalen’, Heilbronn, Germany
Diriyah Bienniale, ‘Feeling the Stones’, cur. Philip Tinari, Riyadh, Saudi Arabia
Copenhagen Contemporary, ‘Light & Space’, Copenhagen, Denmark
Addison Gallery of American Art, ‘Light, Space, Surface: Works from the Los Angeles County Museum of Art’, Andover MA (Travelling Exhibition)
Espace de l’Art Concret, ‘Go back to the future’, Mouans-Sartoux, France
Hall Art Foundation, ‘Deep Blue’, cur. Katherine Bradford, Reading VT
Walker Art Center, ‘The Paradox of Stillness: Art, Object, and Performance’, Minneapolis MN
Korean Cultural Center Los Angeles, ‘Beyond the light of the East and West’, cur. Hoojung Lee, Los Angeles CA

2020

The Landing, ‘Object Lessons’, Los Angeles CA
Hauser & Wirth, ‘Artists for New York’, New York NY

2019

Ernie Wolfe Gallery, ‘See Sea Sí’, Los Angeles CA
LVH Art, ‘Minimal | Maximal’, London, UK
Peter Blake Gallery, ‘Twenty-Five Years’, Laguna Beach CA
Heidi Vaughan Fine Art, ‘Objects From Lester Marks And Other Private Collections’, Houston TX

2018

Gropius Bau, ‘Welt ohne Außen. Immersive Spaces since the 1960s’, Berlin, Germany

2017

Marianne Boesky Gallery, ‘Larry Bell & Frank Stella’, Aspen CO
Whitney Museum of American Art, ‘Whitney Biennial’, New York NY
Met Breuer, ‘Delirious Art at the Limits of Reason 1950 – 1980’, New York NY
Museum of Fine Arts Boston, ‘Seeking Stillness’, Boston MA
OCMA Orange County Museum of Art, ‘Pivotal. Highlights from the Collection’, Newport Beach CA

2016

Peter Blake Gallery, ‘A Tribute to Kiyo Higashi’, Laguna Beach CA
Amarillo Museum of Art, ‘Side by Side’, Amarillo TX
Harwood Museum, ‘Continuum. Light, Space & Time’, Taos NM
Bernard Jacobson Gallery, ‘Group Show’, London UK
McCalin Gallery, ‘RADIANT SPACE’, Houston TX

2015

The Fruit Market Gallery, ‘Another Minimalism. Art After California Light and Space’, Edinburgh, Scotland
Mana Contemporary, ‘Made in California. Selections from the Frederick R. Weisman Art Foundation’, Jersey City NJ
Franklin Parrasch Gallery, ‘The True Form’, New York NY
David Zwirner, ‘Selections from The Kramarsky Collection’, New York NY
Kohn Gallery, ‘Land, Air and See’, Los Angeles CA
William Turner Gallery, ‘Ethereal’, Los Angeles CA
Sturt Haaga Gallery, Descanso Gardens, ‘Elemental-Seeing The Light’, La Cañada Flintridge CA

2014

OCMA Orange County Museum of Art, ‘The Avant-Garde Collection’, Newport Beach CA
Orange Coast College, ‘Distilled Essence’, Costa Mesa CA
Gagosian Gallery, ‘Clear’, Los Angeles CA
Rosamund Felsen Gallery, ‘The Grinstein Artist Invitational. From Generation to Generation’, Santa Monica CA
Kayne Griffin Corcoran Gallery, ‘Surface To Air’, Los Angeles CA
Nara Roesler Gallery, ‘Spectres’, São Paulo, Brazil
Berardo Museum Collection, Lisbon, Portugal
OCMA Orange County Museum of Art, ‘One With Everything. The Singular Motif’, Newport Beach CA
Frank Lloyd Gallery, ‘Gigantes’, Santa Monica CA

2013

The Loft, ‘Luminosity’, Los Angeles CA
MOAH – Museum of Art and History, ‘The Frostig Collection’, Lancaster CA
Galerie Maubert, ‘Colors’, Paris, France
Frank Lloyd Gallery, ‘Translucence’, Santa Monica CA
Frank Lloyd Gallery, ‘Polyform’, Santa Monica CA
Mak Center For Art and Architecture, ‘Everything Loose Will Land’, Los Angeles CA
Norton Simon Museum, ‘Beyond Brancusi. The Space of Sculpture’, Pasadena CA
Kunstverein, ‘Larry Bell and Sarah Crowner’, Amsterdam, Netherlands
Otis College of Art and Design, ‘Freeway Studies #1. This Side of The 405’, Los Angeles CA
Galeries Nationales du Grand Palais, ‘Exhibition Dynamo. A Century of Light and Movement of Art 1913-2013’, Paris, France
Marc Straus Gallery, ‘Nothing and Everything’, New York NY

2012

Michael Kohn Gallery, ‘Into the Mystic’, Los Angeles CA
L & M Arts, ‘The Martian Chronicles’, Los Angeles CA
Stedelijk Museum, ‘Re-Opening Exhibition’, Amsterdam, Netherlands
The Albuquerque Museum of Art and History, ‘Isea2012 Albuquerque. Machine Wilderness’, Albuquerque NM
Harwood Museum of Art, The University of New Mexico, ‘Highlights from Harwood Museum of Art’s Collection of Contemporary Art’, Taos NM
The Gallery, ‘Venice Beach Biennial-Made in Venice’, Los Angeles CA
Danese, ‘Cool Calm Collected’, New York NY
Toledo Museum of Art, ‘Color Ignited’, Toledo OH
Joe’s Restaurant, ‘ArtistsXarchitects’, Los Angeles CA
Metropolitan State College of Denver, ‘Taos Contemporary’, Denver CO
University Art Gallery, New Mexico State University, ‘Thinking New Mexico. A Centennial Exhibition’, Las Cruces NM
Loretta Howard Gallery, ‘Bladen in Context’, New York NY
Katherine Cone Gallery, ‘You Don’t Know Jack’, Los Angeles CA
Carnegie Art Museum, ‘California Art’, Oxnard CA
William Turner Gallery, ‘Ed’s Party’, Los Angeles CA
Harwood Museum of Art, The University of New Mexico, Taos NM
Toomey-Tourell Fine Art, San Francisco CA
Zane Bennett Contemporary Art, ‘West Coast Artists’, Santa Fe NM

2011

Joe’s Restaurant, ‘Looking Back’, Los Angeles CA
Pasadena Art Museum, ‘46 N. Los Robles, A History of The Pasadena Art Museum’, Pasadena CA
LA Artcore, ‘Solid as a Rock. LA Art Scene 1950-1960’s’, Los Angeles CA
Subliminal Projects, ‘Less Is More’, Los Angeles CA
Getty Center, ‘Pacific Standard Time. Crosscurrents in L.A. Painting and Sculpture, 1950-1970’, Los Angeles CA
Santa Ana College Art Gallery, ‘Mysterious Objects, Portraits of Joan Quinn’, Santa Ana CA
Natural History Museum of Los Angeles County, ‘Artistic Evolution. Southern California Artists at the Natural History Museum of Los Angeles County, 1945-1963’, Los Angeles CA
Frederick R. Weisman Art Foundation, Pepperdine University, ‘California Art, Selections From The Frederick R. Weisman Art Foundation’, Malibu CA
Harwood Museum of Art, University of New Mexico, ‘Nod Nod Wink Wink. Conceptual Art in New Mexico and Its influences’, Taos NM
NYEHAUS, ‘Venice in Venice. Glow & Reflection. Venice California Art from 1960 to the Present’, New York NY (Travelling Exhibition)
NYE Brown, ‘Venice in Venice. Glow & Reflection. Venice California Art from 1960 to the Present’, Los Angeles CA (Travelling Exhibition)
Foundation 2021, Palazzo Contarini Dagli Scrigni, ‘Venice in Venice. Glow & Reflection. Venice California Art from 1960 to the Present’, Venice, Italy (Travelling Exhibition)
The Loft At Liz’s, ‘The Frostig Collection’, Los Angeles CA
Bernard Jacobson Gallery, ‘21 Americans’, New York NY
NYEHAUS, ‘Square Dancing’, New York NY
LACMA – Los Angeles County Museum of Art, ‘Human Nature. Contemporary Art from the Collection’, Los Angeles CA
Norton Simon Museum, ‘Surface Truths. Abstract Painting in The Sixties’, Pasadena CA
Scott White Contemporary Art, ‘Shift. Space. Slick.’, San Diego CA
Museum of Contemporary Art San Diego, ‘Phenomenal. California Light and Space’, La Jolla CA
Jack Rutberg Fine Arts, ‘Some Assembly Required. Assemblage & Collage’, Los Angeles CA

2010

Subliminal Projects, ‘Wreck The Walls’, Los Angeles LA
The Menil Collection, ‘Kissed By Angels. A Selection of Work From Southern California’, Houston TX
Elsewhere Gallery, ‘Venice From Then To Now’, Los Angeles LA
Roberts & Tilton Gallery, ‘Gray Day’, Los Angeles LA
MOCA Museum of Contemporary Art, ‘The Artist’s Museum’, Los Angeles LA
Galerie Templon, ‘2 Person Show’, Paris, France
Louis Stern Fine Art, ‘Happy Birthday Mr. Blum! An Exhibition of Works Selected by Irving Blum’, Los Angeles CA
Pace Gallery, ’50th Anniversary of The Pace Gallery’, New York NY
Loretta Howard Gallery, ‘Artists At Max’s Kansas City 1965-1974’, New York NY
Thomas Dane Gallery, ‘Sunless (Journeys in Alta California Since 1933), London, UK
Colorado State University, ‘Essential Forms. Intricate Meanings Geometric Abstraction from the Permanent Collection’, Fort Collins CO
NYEHAUS, ‘Invisible Might’, New York NY
Ferus Gallery Space, ‘Ferus Gallery Greatest Hits Volume I’, Los Angeles CA
Jacobson Howard Gallery, ‘Group Show 2010’, New York NY
Zwirner Gallery, ‘Primary Atmospheres. California Minimalism 1960-1970’, New York NY

2009

MOCA The Museum of Contemporary Art, ‘Collection. MOCA’s First 30 Years’, Los Angeles CA
P.S.1, ‘1969’, New York NY
Albuquerque Museum, ‘Miniatures’, Albuquerque NM
Santa Barbara Museum of Art, ‘California Calling. Works From Santa Barbara Collections, 1948 – 2008, Part II’, Santa Barbara CA
Frank Lloyd Gallery, ‘West Coast Sculpture’, Santa Monica CA
MOCA The Museum of Contemporary Art, ‘Collecting History. Highlighting Recent Acquisitions’, Los Angeles CA
Santa Barbara Museum of Art, ‘California Calling. Works From Santa Barbara Collections, 1948 – 2008, Part I’, Santa Barbara CA
Harwood Museum of Art, University of New Mexico, ‘Forty Years of Friendship. LA to Taos’, Taos NM
Tate, Liverpool, ‘DLA Piper Series. This is Sculpture’, Liverpool, UK
Barry Whistler Gallery, ‘The Beat Goes On. Southern California 1965 to the Present’, Dallas TX
Danese Gallery, ‘Sculpture and Drawings’, New York NY
Bernard Jacobson Gallery, ‘Mixed Show’, London, UK
William Turner Gallery, ‘The Frostig Collection’, Santa Monica CA
Kunsthalle Bielefeld, ‘1968. The Great Innocents’, Bielefeld, Germany
Bernard Jacobson Gallery, ‘Reflections’, London, UK
Kunsthaus Zurich, ‘Hot Spots. Rio de Janeiro/Milan-Turin/Los Angeles’, Zurich, Switzerland
Seiler+Mosseri-Marlio Gallery, ‘Los Angeles Now, Los Angeles CA
Walker Art Center, ‘Elemental’, Minneapolis MN

2008

Logan Fine Arts, ‘Holiday Show’, Houston TX
The Hirshhorn Museum, ‘The Panza Collection’, Washington DC
Moderna Museet, ‘Time & Place. Los Angeles 1957-1968’, Stockholm, Sweden
Ackland Art Museum, The University of North Carolina, ‘Circa 1958. Breaking Ground in American Art’, Chapel Hill NC
Parks Gallery, ’15th Anniversary Show’, Taos NM
203 Fine Arts, Taos NM
Frank Lloyd Gallery, ‘Planes and Surfaces’, Santa Monica CA
Samuel Freeman, ‘Love To Party’, Santa Monica CA
Danese Gallery, ‘Sculpture’, New York NY
New Mexico Museum of Art, ‘Flux. Reflections On Contemporary Glass’, Santa Fe NM
Harwood Museum of Art, The University of New Mexico, Taos NM
Museum of Contemporary Art Australia, ‘Southern Exposure. Works From The Collection of The Museum of Contemporary Art San Diego’, Sydney, Australia
William Turner Gallery, ‘Between The Lines. Five Artists’, Santa Monica CA
MOCA Museum of Contemporary Art, ‘Collecting Collections’, Los Angeles CA
Milwaukee Art Museum, ‘Sensory Overload. Light, Motion, Sound and The Optical in Art Since 1945’, Milwaukee MI

2007

Logan Fine Arts, Houston TX
MOCA The Museum of Contemporary Art, ‘Artist’s Gifts. Michael Asher’, Los Angeles CA
Kunstmuseum Liechtenstein, ‘Lust For Life-The Ricke Collection’, Vaduz, Germany
Frederick R. Weisman Art Foundation, ‘Made in California’, Los Angeles CA
LACMA Los Angeles County Museum of Art, ‘SoCal. Southern California Art of the 1960’s and 70’s from LACMA’s Collection’, Los Angeles CA
Colorado Springs Fine Arts Center, ‘The Eclectic Eye. Pop and Illusion’, Colorado Springs CO
Frank Lloyd Gallery, ‘Sensuality in the Abstract’, Santa Monica CA
Musee National d’Art Moderne, Centre Pompidou, Paris, France
Smithsonian Institute, ‘Shapes of Space’, Washington DC (Travelling Exhibition)
Solomon R. Guggenheim Museum, ‘Shapes of Space’, New York NY (Travelling Exhibition)
Imago Galleries, ‘The Left Coast’, Palm Desert CA
OCMA Orange County Museum of Art, ‘Imaging and Imagining California Modern’, Newport Beach CA
Harwood Museum of Art, The University of New Mexico, ‘Harwood Collects. Recent Acquisitions’, Taos NM

2006

Frank Lloyd Gallery, ‘Sculpture from the Sixties’, Santa Monica CA
Z33 Art, ‘Light Play’, Hasselt, Belgium
L & M Arts, ‘Elemental Form’, New York NY
Renwick Gallery, Ronald W. Reynolds Center, ‘Recent Smithsonian Institution Acquisitions’, Washington DC
Frank Lloyd Gallery, ‘Drawings. Ed Moses, Craig Kauffman, Larry Bell’, Santa Monica CA
Whitney Museum of American Art, ‘Full House. Views of The Whitney’s Collection At 75’, New York NY
Norton Simon Museum, ‘Translucence’, Pasadena CA
LACMA Los Angeles County Museum of Art, ‘Glass. Material Matters’, Los Angeles CA
MOCA The Museum of Contemporary Art, ‘Out of Hand’, Los Angeles CA
Musee National d’Art Moderne, Centre Pompidou, ‘The Los Angeles Art Scene. 1955-1985’, Paris, France
Beverly Hills Municipal Gallery, ‘LA Art Scene. Selections of California Artists From The Frederick R. Weisman Art Foundation’, Los Angeles CA
Las Vegas Art Museum, ‘California Minimalism’, Las Vegas NV

2005

St. Louis Art Museum, ‘Minimal Art From St. Louis Collections’, Forest Park MO
Stables Gallery, Taos Center for the Arts, ‘Arte de Descartes’, Taos NM
OCMA Orange County Museum of Art, ‘Collection Histories/Collective Memories. California Modern’, Newport Beach CA
Chevron Gallery, ‘The Boys Club’, Irvine CA
Patricia Faure Gallery, ‘Pink’, Santa Monica CA
MAMCO Musée d’art Moderne et Contemporain, ‘Mille et Trois Plateaux, 3e Épisode. Configurations’, Geneva, Switzerland
McNay Art Museum, San Antonio TX
Jacobson Howard Gallery, ‘Color Field Paintings of the 1960’s’, New York NY
Chouinard Foundation, ‘Choice Small Pieces Collage and Assemblage’, South Pasadena CA
Bernard Jacobson Gallery, ‘West. Frank Gehry and the Artists of Venice Beach, 1962-1978’, London, UK (Travelling Exhibition)
Frederick R. Weisman Art Museum, University of Minnesota, ‘West. Frank Gehry and the Artists of Venice Beach, 1962-1978’, Minneapolis MN (Travelling Exhibition)
Centro Cultural de Belem, ‘Works from The Berardo Collection’, Lisbon, Portugal
Mcclain Gallery, ‘Universal Medium’, Houston TX

2004

Michael Mccormick Gallery, ‘Winter Solstice Miniature Fun Show’, Taos NM
Miami Art Museum, ‘Beyond Geometry, Experiments in Form, 1940’s-70’s’, Miami FL (Travelling Exhibition)
Museum of Contemporary Art San Diego, ‘Specific Objects. The Minimalist Influence’, San Diego CA
Stables Gallery, Taos Center For The Arts, ‘Arte de Descartes V’, Taos NM
Museo Nacional Centro de Arte Reina Sofia, ‘Mococromos’, Madrid, Spain
Marian Goodman Gallery, ‘Reflecting The Mirror’, New York NY
SFMOMA San Francisco Museum of Contemporary Art, ‘Matisse and Beyond. The Painting and Sculpture Collection’, San Francisco CA
LACMA Los Angeles County Museum of Art, ‘Beyond Geometry, Experiments in Form, 1940’s-70’s’, Los Angeles CA (Travelling Exhibition)
Addison/Parks Gallery, ‘It Figures’, Santa Fe NM
Napa Valley Museum, ‘A Rare Glimpse. Modern Art From Private Napa Valley Collections’, Yountville CA
Institute of Contemporary Art, University of Pennsylvania, ‘The Big Nothing’, Philadelphia PA
Addison Gallery of American Art, Phillips Academy, ‘Art, Artists, and the Addison’, Andover MA
MOCA The Museum of Contemporary Art, ‘A Minimal Future . Art as Object 1958-1969’, Los Angeles CA
Guggenheim Museum of Art, ‘Singular Forms (Sometimes Repeated)’, New York NY

2003

Sintra Museum of Modern Art, ‘Here and Now, On Minimal Art in The Berardo Collection’, Sintra, Portugal
Franklin Parrasch Gallery, ‘LA’s Finish Fetish’, New York NY
Harwood Museum of Art, The University of New Mexico, ‘Contemporary Art Taos’, Taos NM
Taos Center For The Arts, ‘Arte de Descartes’, Taos NM
Anderson Contemporary Art, ‘Abstract Art, The New Mexico Artist Series’, Santa Fe NM
Colorado Springs Fine Arts Center, Colorado Springs CO
Farm Art Space, ‘Prints & Editions & Books’, Missoula MT
Franklin Parrasch Gallery, ‘Minimal LA’, New York NY
Contemporary Art Center, ‘Made in California. Selections From The Frederick R. Weisman Art Foundation Collection’, New Orleans LA

2002

Crocker Museum, ‘Pilot Hill Collection of Contemporary Art’, Sacramento CA
Denver Art Museum, ‘Retrospectacle. 25 Years of Collecting Modern and Contemporary Art’, Denver CO
The Crucible Foundry and Gallery, ‘Contemporary Sculpture & Jewelry’, Norman OK
Gagosian Gallery, ‘Ferus’, New York NY
Frederick R. Weisman Museum of Art, Pepperdine University, ‘California Art From The Frederick R. Weisman Art Foundation’, Malibu CA
The Farm Art Space, ‘Atypical Work by Known Artists’, Missoula MT
Stefan Stux Gallery, ‘Texas in New York’, New York NY
Museum of Fine Arts, ‘From Realism to Abstraction. Art in New Mexico, 1917-2002’, Santa Fe NM
Yale University Art Gallery, ‘The Synthetic Century’, New Haven CT
The Contemporary Museum, ‘Escape From The Vault. The Contemporary Museum’s Collection Breaks Out’, Honolulu HI
Espace de l’Art Concret, ‘Nouvelle Simplicité’, Mouans-Sartoux, France

2001

Platt Gallery, University of Judaism, ‘Art and Illusion, Selections From The Frederick R. Weisman Art Foundation’, Los Angeles CA
Philip Bareiss Gallery, ‘The Art of Politics’, Taos NM
Albuquerque Museum, ‘Miniatures’, Albuquerque NM
Oceanside Museum of Art, ‘Chouinard, A Living Legacy’, Oceanside CA
The Tremaine Gallery, ‘Miniature Art Exhibition’, Lakeville CT
Bernard Jacobson Gallery, London, UK
Frankfurt Art Fair, ‘Fractions’, Frankfurt, Germany
Dartmouth Street Gallery ‘Courthouse Artists’, Albuquerque NM
516 Artspace, ‘The Abrams Collection. An Eclectic Exhibition of Contemporary Art’, Albuquerque NM
Solomon R. Guggenheim Museum, ‘The Global Guggenheim. Selections From The Extended Collection’, New York NY

2000

Dartmouth Street Gallery, ‘Holiday Show’, Albuquerque NM
Bergen Kunstmuseum, ‘The City Art Collection 1900-2000’, Bergen, Norway
Albuquerque Museum, ‘Miniatures’, Albuquerque NM
SFMOMA San Francisco Museum of Modern Art, ‘Celebrating Modern Art. The Anderson Collection’, San Francisco CA
LACMA Los Angeles County Museum of Art, ‘Made in California. Art, Image, and Identity, 1900-2000’, Los Angeles CA
Louisiana Museum of Modern Art, ‘Vision and Reality’, Humlebaek, Denmark
Peggy Guggenheim Collection, ‘California Art from the Panza Collection at the Guggenheim Museum’, Venice, Italy
New Gallery, ‘Sculpture 2000’, Houston TX
Palos Verdes Art Center, ‘Black White and Bronze, Charles Arnoldi and Larry Bell’, Rancho Palos Verdes CA
Magnifico Artspace, ‘Paperworks’, Albuquerque NM
Guggenheim Museum Bilbao, ‘Changing Perceptions. The Panza Collection at the Guggenheim’, Bilbao, Spain
MAMCO Musée d’Art Moderne et Contemporain, ‘Présentation des Collections 2000/1’, Geneva, Switzerland

1999

Wilhelmi-Holland Gallery, Corpus Christi TX
Richard Levy Gallery, ‘Artist’s Choice’, Albuquerque NM
Albuquerque Museum, ‘Miniatures’, Albuquerque NM
OCMA Orange County Museum of Art, ‘Points of Departure. Drawings From The Permanent Collection’, Newport Beach CA
Mills College Art Museum, Oakland CA
Seljord Kunstforening, ‘Sommerutstilling I Seljord’, Seljord, Norway
Norton Simon Museum, ‘Made in America. Contemporary Paintings and Sculpture From The Norton Simon Museum’, Pasadena CA
Harwood Museum of Art, The University of New Mexico, ‘That Certain Look. Minimalist Traditions in New Mexico’, Albuquerque NM
Centro Galego de Arte Contemporanea, ‘Minimal-Maximal’, A Coruña, Spain
Seattle Art Museum, Seattle WA
Norton Simon Museum of Art, ‘Radical Past. Contemporary Art and Music in Pasadena. 1960-1974’, Pasadena CA
P.S.1 Contemporary Art Center, ‘Primarily Structural. Minimalist and Post-Minimalist’, Long Island City NY
California Center for the Arts, Escondido, ‘The Eclectic Eye. Selections from the Frederick R. Weisman Collections’, Escondido CA

1998

University of New Mexico, ‘California Art. North and South’, Albuquerque NM
Frederick R. Weisman Museum of Art, Pepperdine University, ‘Selections From The Frederick R. Weisman Collections’, Malibu CA
Hammer Museum, ‘Sunshine & Noir. Art in LA, 1960-1997’, Los Angeles CA (Travelling Exhibition)
The University of New Mexico, Los Alamos, ‘Celebration of The Arts’, Los Alamos NM
Castello di Rivoli, ‘Sunshine & Noir. Art in LA, 1960-1997’, Rivoli, Italy (Travelling Exhibition)

1997

Kunstmuseum Wolfsburg, ‘Sunshine & Noir. Art in LA, 1960-1997’, Wolfsburg, Germany
The Albuquerque Museum, ‘Miniatures’, Albuquerque NM
Arvada Art Center, ‘Taos Today’, Arvada CO
Hammer Museum, ‘Sunshine & Noir. Art in LA, 1960-1997’, Los Angeles CA
Milwaukee Art Museum, ‘Recent Glass Sculpture. A Union of Ideas’, Milwaukee WI
Anderson Contemporary Art, ‘Taos Today’, Albuquerque NM
Galerie Simonne Stern, ‘Drawing Invitational’, New Orleans LA
Louisiana Museum of Modern Art, ‘Sunshine & Noir. Art in LA, 1960-1997’, Humlebaek, Denmark (Travelling Exhibition)
Harwood Museum of Art, University of New Mexico, ‘Contemporary Works from Harwood Collection’, Taos NM
The San Jose Museum of Art, ‘Alternating Currents. American Art in The Age of Technology, Selections From The Permanent Collection of The Whitney Museum of American Art’, San Jose CA
OCMA Orange County Museum of Art, Newport Beach CA

1996

The Museum of Fine Arts, ‘Curatorial Selections. Acquisitions to the Historic, Contemporary and Photographic Collections’, Santa Fe NM
Colorado Springs Fine Arts Center, ‘Art From The Source. Artists Celebrating 60 Years of The Colorado Springs Fine Arts Center’, Colorado Springs CO

1995

California State University, ‘Shape. Forming The LA Look’, Fullerton CA
UCLA Art Rental and Sales Gallery, Hammer Museum, ‘LA Current. Works On Paper’, Los Angeles CA
Galerie Nächt St. Stephan, ‘Donald Judd and Artist Friends’, Vienna, Austria
Whitney Museum of American Art, ‘Views From Abroad. European Perspectives On American Art I’, New York NY
New Directions Gallery, Taos NM
UCLA Art Rental and Sales Gallery, Hammer Museum, ‘New Visions. Los Angeles Art in The 90’s’, Los Angeles CA
Newport Harbor Art Museum, ‘Works From The Permanent Collection’, Newport Beach CA

1994

Kiyo Higashi Gallery, ‘Drawings’, Los Angeles CA
Stables Art Gallery, ‘Third Generation’, Taos NM
Madison Art Center, ‘Southern California. The Conceptual Landscape’, Madison WI
Parrish Art Museum, ‘The Second Parrish Art Museum Design Biennial. Mirrors’, Southampton NY
Whitney Museum of American Art, ‘Evolution’s in Expression. Minimalism and Post Minimalism in The Permanent Collection’, Stamford CT
California Crafts Museum, ‘Transparency + Metaphor’, San Francisco CA
H. and W. Bechtler Gallery, ‘Double Take’, Charlotte NC
Laguna Gloria Art Museum, ‘The Light Fantastic’, Austin TX

1993

Whitney Museum of American Art, ‘In a Classical Vein, Works from the Permanent Collection’, New York NY
Musée du Luxembourg, ‘Cirva – Le Verre, Manieres de Faire’, Paris, France
Carlsbad Museum of Art, Carlsbad NM
Broschofsky Gallery, Ketchum ID
Leedy/Voulkos Gallery, ‘8th Annual Summer Invitational’, Kansas City MO
Newport Harbor Art Museum, ‘American Art from the Addison Gallery’, Newport Beach CA

1992

Rosalie and Hubert Douglass Gallery, Miami University Art Museum, ‘Drawing On Experience’, Oxford OH
Taos Civic Plaza, ‘Taos Invites Taos’, Taos NM
Newport Harbor Art Museum, ‘Selections from the Permanent Collection of Max Ernst’, Newport CA
The Works Gallery, ‘The Spirit of Matter. A Survey of Process Art’, Long Beach CA
Galerie Rolf Ricke, ‘New Work & The Return of the Cube’, Köln, Germany
Museum Bad Arolsen, ‘Made For Arolsen — Skulpturen Und Projektionen’, Arolsen, Germany
The Works Gallery, ‘The Presence of Absence. Minimal, Conceptual and Contemplative’, Coast Mesa CA

1991

Buffalo Gallery, ‘Live From Taos’, Alexandria VA (Travelling Exhibition)
Sena Galleries West, ‘Amnesty International Artists Invitational Benefit’, Santa Fe NM
Russell Senate Office Building, ‘Live from Taos’, Washington DC (Travelling Exhibition)
Design Center Gallery, ‘Live from Taos ‘, Taos NM (Travelling Exhibition)
Stables Art Gallery, Taos Art Association, ‘Contemporary Work in Taos’, Taos NM
North Carolina Museum of Art, ‘Immaterial Objects’, Raleigh NC
Pat Hearn Gallery, New York NY
Braunstein/Quay Gallery, ‘Gallery Group Show’, San Francisco CA
Kiyo Higashi Gallery, Los Angeles CA
Phillip Bareiss Contemporary Exhibitions, ‘International Sculpture at Taos (Is…At)’, Taos NM
Galerie Montenay, Paris, France
Dartmouth Street Gallery, ‘Larry Bell New Work’, Albuquerque NM
Dyansen Gallery, ‘Masks’, New York NY
New Gallery, Houston TX
Treebeards, ‘Daydreams From Taos’, Houston TX
E.LAC Espace Lyonnais d’Art Contemporain, ‘Histoires d’Oeil’, Lyon, France
Tucson Museum of Art, ‘Larry Bell Mirage Works’, Tucson AZ
Fisher Gallery, University of Southern California, Los Angeles, ‘Finish Fetish, LA’s Cool School’, Los Angeles CA
Etherton/Stern Gallery, Tucson AZ
LACMA Los Angeles County Museum of Art, ‘Retrospective and Prospective. The Art Rental & Sales Gallery Salutes The 25th Anniversary of The Los Angeles County Museum of Art’, Los Angeles CA
Tony Shafrazi Gallery, New York NY
Collins-Pettit Gallery, ‘Artists Against the Expanded Airport’, Taos NM
James Corcoran Gallery, ‘LA When it Began’, Santa Monica CA

1990

Cirrus, ‘Minimal 1960-1990’, Los Angeles CA
Cunningham Memorial Art Gallery, Bakersfield Art Foundation, Bakersfield CA
Ruth Bachofner Gallery, ‘Enigmatic Light’, Santa Monica CA
Broschofsky Galleries, ‘Taos Up Close’, Ketchum ID
The Works Gallery, ‘Heal The Bay. Surfboard Exhibit’, Long Beach CA
MOCA Museum of Contemporary Art, ‘Perceptual Investigations. Light and Space Works in the Permanent Collection’, Los Angeles CA
Braunstein/Quay Gallery, ‘Artists’ Kids Art’, San Francisco CA
West Beach Cafe, ‘Artists Unite For Big Green’, Los Angeles CA (Travelling Exhibition)
Centinel Bank of Taos, ‘Consider The Child. Benefit For Trudy’s Discovery House’, Taos NM
Pacific Enterprises Corporate Office Installation, First Interstate World Center, Los Angeles CA
Mission Gallery, ‘Taos Up Close’, Taos NM
Taos Arts Festival, Taos Civic Plaza, ‘Taos Invites Taos’, Taos NM
Musee d’Art Contemporain, ‘Collections. US Art’, Lyon, France
Corcoran Gallery, ‘Heal The Bay’s Surfboard Invitational’, Santa Monica CA
Fred Hoffman Gallery, ‘Artists Unite For Big Green’, Santa Monica CA (Travelling Exhibition)
Milagro Gallery, ‘Taos Artists Against Apartheid’, Taos NM
Earl Mcgrath Gallery, ‘Barcelona 8’, Los Angeles CA
Center for the Arts of the Southwest, ‘Taos Art. A New Decade’, Santa Fe NM
Olga Dollar Gallery, San Francisco CA
Colorado Springs Gallery of Contemporary Art, ‘On The Edge. Artworks of New Mexico and Wyoming’, Colorado Springs CO
Old City Hall, ‘Art in Public Buildings, 1978-1989’, Redding CA
Dartmouth Street Gallery, Albuquerque NM

1989

Solomon R. Guggenheim Museum, ‘Geometric Abstraction and Minimalism in America’, New York NY
The Harcus Gallery, ‘Artists’ Furniture’, Boston MA
The Works Gallery, ‘Art LA ’89’, Los Angeles CA
Sena Galleries West, ‘Art LA ’89’, Los Angeles CA
Earl Mcgrath Gallery, ‘Blinds & Shutters by Michael Cooper’, Los Angeles CA
Sena Galleries West, Santa Fe NM
Galerie Joan Prats, ‘Daylight Savings’, Barcelona, Spain
Artgrafic Galeria d’Art, Barcelona, Spain
Taos Arts Festival, ‘Taos Invites Taos’, Taos NM
Corporate Collection, Pacific Enterprises, ‘Contemporary American Artists & Sculptors’, Los Angeles CA
Dartmouth Street Gallery, ‘7th Year Anniversary Show’, Albuquerque NM
Stables Art Center, Taos Art Association, ‘Artists of Taos Group Exhibition’, Taos NM
Colorado Springs Fine Arts Center, ‘The Taos Art Colony, From The Mel Weimer Family Collection’, Colorado Springs CO
The Works Gallery, Long Beach CA
Tony Shafrazi Gallery, New York NY
Los Angeles Valley College, ‘Exhibition in Memory of Fidel Danieli’, Van Nuys CA
Manny Silverman Gallery, ‘Recent Acquisitions’, Los Angeles CA
Broschofsky Gallery, ‘Rendezvous’, Ketchum ID
Museum of Fine Arts, ‘Modern Masterworks from the Permanent Collection’, Santa Fe NM

1988

Los Angeles Municipal Art Gallery, ‘One of a Kind’, Los Angeles CA
Solomon R. Guggenheim Museum, ‘Viewpoints. Postwar Painting and Sculpture’, New York NY
Cologne Art Fair, Köln, Germany
The Art Store Gallery, ‘Vessels’, Los Angeles CA
Stables Art Center, Taos Art Association, Taos NM
Solomon R. Guggenheim Museum, ‘Return to the Object. American and European Art from the 1950’s and 1960’s’, New York NY
University of New Mexico, ‘Views of Reality’, Albuquerque NM
Stables Art Center, Taos Art Association, Taos NM
Fogg Art Museum, Harvard University, ‘Modern Art from the Pulitzer Collection. 50 Years of Connoisseurship’, Cambridge MA
Annemarie Verna Gallery, Zurich, Switzerland
Palm Springs Desert Museum, ‘Collection of Frederick R. Weisman’, Palm Springs CA
New Directions Gallery, ‘Inaugural Group Show’, Taos NM
Gilbert Brownstone & Cie, ‘Primary Structures’, Paris, France

1987

James Corcoran Gallery, ‘The Early Show. California Art From The Sixties & Seventies’, Santa Monica CA
Solomon R. Guggenheim Museum, ‘Sculpture of The Modern Era’, New York NY
Fine Arts Gallery, New Mexico State Fair, ‘Art and Science’, Albuquerque NM
Rhona Hoffman Gallery, ‘Primary Structures’, Chicago IL
Cleveland Center for Contemporary Art, ‘Light-Space-Time’, Cleveland OH
Phoenix Art Museum, ‘1987 Phoenix Biennial’, Phoenix AZ
Margo Leavin Gallery, ‘Sculpture of The Sixties’, Los Angeles CA
The Works Gallery, ‘Artists/Works Two’, Long Beach CA
Stables Art Center, Taos Art Association, ‘Artists of Taos’, Taos NM
Davis/Mcclain Gallery, ‘American Sculpture. Investigations’, Houston TX
The Works Gallery, ‘Five Artists Explore Light On Surface’, Long Beach CA
University of Wyoming Art Museum, ‘Art and the West. Tradition and Innovation’, Laramie WY
Matthews Center, Arizona State University, ‘Sculpture in Glass and Works on Paper’, Tempe AZ

1986

American Academy and Institution of Arts and Letters, ’38th Annual Academy–Institute Purchase Exhibition’, New York NY
MOMA Museum of Modern Art, New York NY
College of Santa Fe, ‘New Mexico Selections ’86’, Santa Fe NM
Rice Museum, Rice University, Houston TX
Colorado Springs Fine Arts Center, ‘After Gainsborough’, Colorado Springs CO
San Antonio Museum of Art, ‘Box Art’, San Antonio TX
Leedy-Voulkos Gallery, Kansas City MO
Sigala Gallery, ‘Taos Moderns’, Taos NM
Fine Arts Gallery, New Mexico State Fairgrounds, ‘Statements ’86’, Albuquerque NM
Museum of Fine Arts Houston, ‘Texas Landscape’, Houston TX
Harwood Museum of Art, University of New Mexico, ‘New Acquisitions’, Taos NM
Los Angeles Municipal Art Gallery, ‘Kindred Spirits’, Los Angeles CA
Stables Art Center, Taos Art Association, ‘Art On and Of Paper’, Taos NM
Elaine Horwitch Gallery, Scottsdale AZ
Newport Harbor Art Museum, ‘California Art Since 1945’, Newport Beach CA
Colorado Springs Fine Arts Center, ‘The New West’, Colorado Springs CO

1985

Newport Harbor Art Museum, ‘Permanent Collection’, Newport CA
Ruth Bachofner Gallery, ‘Accent On Glass’, Los Angeles CA
Rufino Tamayo Museum, ‘Images in Boxes’, Mexico City, Mexico
Athenaeum Gallery, ‘Americans in Glass’ Manchester, UK
Dord Fitz Gallery, ‘Lee Mullican and Larry Bell’, Amarillo TX
Davis/Mcclain Gallery, ‘Art/Furniture’, Houston TX
LA Louver Gallery, ‘American and European Painting and Sculpture, 1985. Part II’, Los Angeles CA

1984

Wildine Gallery, Albuquerque NM
Santa Barbara Art Museum, ‘Contemporary Viewpoint. Works From The Permanent Collection’, Santa Barbara CA
Santuario de Guadalupe, ‘Arts New Mexico’, Santa Fe NM
Albuquerque Museum of Art, ‘Frederick Weisman Collection’, Albuquerque NM
Oakland Museum, ‘The Art of California. Selected Works from the Collection of the Oakland Museum’, Oakland CA
Leigh Yawkey Woodson Art Museum, ‘Americans in Glass’, Wausau WI
Multiples, ‘Artists Call’, New York NY

1983

Wildine Gallery, ‘Larry Bell, Vapor Drawings’, Albuquerque NM
Unicorn Gallery, ‘Larry Bell, Richard, and Salvatore Pecoraro’, Aspen CO
Sebastian-Moore Gallery, Denver CO
Wildine Gallery, Albuquerque NM
Sioux City Art Center, ‘Santa Fe/Taos’, Sioux City IA (Travelling Exhibition)
Salina Art Center, ‘Santa Fe/Taos’, Salina KS (Travelling Exhibition)
Taos Inn, ‘Spring Arts Celebration’, Taos NM
Wyoming State Museum, ‘Santa Fe/Taos’, Cheyenne WY (Travelling Exhibition)
Butler Institute of American Art, ‘The Chinese Chance. An American Collection’, Youngstown OH
Spiva Art Center, ‘Santa Fe/Taos’, Joplin MO (Travelling Exhibition)
Leslie Levy Gallery, ‘Santa Fe Comes to Scottsdale’, Scottsdale AZ

1982

Sheldon Memorial Art Gallery, University of Nebraska, ‘Santa Fe/Taos’, Lincoln NE (Travelling Exhibition)
Heineck Gallery, Pasadena CA
Trisolini Gallery, ‘Larry Bell. New Work’, Athens OH
Oakland Museum, ‘100 Years of California Sculpture’, Oakland CA
Abilene Fine Arts Museum, ‘New Dimensions and Statements in Design’, Abilene TX
Heydt-Bair Gallery, ‘Group Show of Gallery Artists’, Santa Fe NM
San Francisco International Airport, ‘Artists, Furniture’, San Francisco CA
Art Institute of Chicago, ’74th American Exhibition’, Chicago IL
Yale University Art Gallery, ‘Prints By Contemporary Sculptors’, New Haven CT
Sonoma State University Art Gallery, ‘Sculpture ’82, A Contemporary Survey, Parts One and Two’, Rohnert Park CA
Marian Goodman Gallery, ‘New Vapor Drawings from the “El” Series’, New York NY
Heydt-Bair Gallery, ‘Group Show of Recent Work’, Santa Fe NM
Stables Art Center, Taos Art Association, ‘Prints and Drawings. An Invitational and Juried Exhibition’, Taos NM
Crown Point Gallery, ‘Artists’ Photographs’, Oakland CA
Heydt-Bair Gallery, ‘Artlines. The First Eighteen Months’, Santa Fe NM (Travelling Exhibition)

1981

Stables Art Center, Taos Art Association, ‘Wood and Wool’, Taos NM
Palm Springs Desert Museum, ‘California Innovations’, Palm Springs CA (Travelling Exhibition)
San Antonio Museum of Art, ‘Art in Los Angeles. Seventeen Artists in the Sixties’, San Antonio TX (Travelling Exhibition)
Stables Art Center, Taos Art Association, ‘Artlines. The First Eighteen Months’, Taos NM (Travelling Exhibition)
Fine Arts Gallery, University of California, ‘Abstraction in Los Angeles 1950-1980. Selections from The Ruth and Murray Bribin Collection’, Irvine CA (Travelling Exhibition)
Heydt-Bair Gallery, Santa Fe NM
Trisolini Gallery, University of Ohio, ‘Larry Bell. New Work’, Athens OH
Hill’s Gallery, ‘The Best of The Decade’, Santa Fe NM
Dord Fitz Gallery, ‘Group Show ’81’, Amarillo TX
Fine Arts Gallery, California State University, ‘Abstraction in Los Angeles 1950-1980. Selections From The Ruth and Murray Bribin Collection’, Northridge CA (Travelling Exhibition)
California State University, ‘California Innovations’, Fullerton CA (Travelling Exhibition)
Laguna Beach Museum of Art, ‘Southern California Artists. 1940-1980’, Laguna Beach CA
LACMA Los Angeles County Museum of Art, ‘Art in Los Angeles. Seventeen Artists in the Sixties’, Los Angeles CA (Travelling Exhibition)
Leigh Yawkey Woodson Art Museum, ‘Americans in Glass’, Wausau WI
Heydt-Bair Gallery, Santa Fe NM
MOMA Museum of Modern Art, ‘Summer Penthouse Exhibition. Summer Light’, New York NY
Magnuson-Lee Gallery, ‘Artists and Furniture’, Boston MA
Federal Reserve Bank of Boston, ‘The Fine Art of Business’, Lincoln MA
Lonny Gans & Associates, ‘California I, Light and Space, 1960–1980’, Los Angeles CA

1980

Tally Richards Gallery of Contemporary Art, ‘Larry Bell, New Work’, Taos NM
Fruit Market Gallery, ‘New Mexico’, Edinburgh, Scotland
Sebastian-Moore Gallery, ‘Larry Bell. Vapor Drawings, Recent Works’, Denver CO
Aspen Center for the Visual Arts, ‘Beyond Object’, Aspen CO

1979

California State University, ‘California Perceptions. Light and Space. Selections from the Wortz Collection’, Fullerton CA
Albuquerque Museum, ‘Reflections of Realism’, Albuquerque NM
Tally Richards Gallery of Contemporary Art, Taos NM
Corcoran Gallery of Art, ‘Selections From Frederick Weisman Foundation. Collection of California Art Washington DC (Travelling Exhibition)
Texas Gallery, ‘From Alan to Zucker’, Houston TX
MOMA Museum of Modern Art, ‘Contemporary Sculpture. Selections From The Collections of MOMA’, New York NY
Armory Show, Santa Fe NM

1978

University of New Mexico, ‘Sculpture’, Albuquerque NM
Museo de Arte Contemporáneo de Caracas, ’12 Artistas Internacionales en la Collection Caracas’, Caracas, Venezuela
California State University, ‘Selections From Frederick Weisman Foundation. Collection of California Art’, Long Beach CA (Travelling Exhibition)
Erica Williams / Anne Johnson Gallery, ‘Vapor Drawings’, Seattle WA
Albuquerque Museum, Albuquerque NM

1977

University of California, ‘Photographs By Southern California Painters & Sculptors’, Santa Barbara CA
National Collection of Fine Arts, Smithsonian Institution, ‘Painting and Sculpture in California. The Modern Era’, Washington DC

1976

Heiner Friedrich Gallery, ‘War Resisters League Exhibition’, New York NY
SFMOMA San Francisco Museum of Modern Art, ‘Painting and Sculpture in California. The Modern Era’, San Francisco CA
Whitney Museum of American Art, ‘Two Hundred Years of American Sculpture’, New York NY
Newport Harbor Art Museum, ‘The Last Time I Saw Ferus. 1957–1968’, Newport Beach CA
Museum of Fine Arts, ‘Contemporary Sculpture in New Mexico’, Santa Fe NM

1975

La Jolla Museum of Contemporary Art, ‘University of California Irvine 1965–75’, La Jolla CA
National Collection of the Fine Arts, Smithsonian Institution, ‘Sculpture. American Directions 1945 – 1975’, Washington DC
California State University, ‘View Through’, Long Beach CA
Hayward Gallery, ‘The Condition of Sculpture’, London, UK

1974

John F. Kennedy Center For The Performing Arts, ‘Art Now’, Washington DC
Galerie Sonnabend ‘Projects Pour “LA Defense”’, Paris, France
Whitney Museum of American Art, ‘Illuminations and Reflections’, New York NY

1973

Detroit Institute of Arts, ‘Art in Space. Some Turning Points’, Detroit MI
New York Cultural Center, ‘3D into 2D. Drawing for Sculpture’, New York NY

1972

Mizuno Gallery, Los Angeles CA
Dennis Hopper Gallery, Taos NM
UCLA Art Galleries, ’20th Century Sculpture from Southern California Collections’, Los Angeles CA
Kunstverein, ’11 Los Angeles Artists’, Berlin, Germany (Travelling Exhibition)
A C A Galleries, ‘Looking West’, New York NY
Wilamaro Gallery, ‘West’, Denver CO
Felicity Samuel Gallery, ‘Looking West’, London, UK
Kunstverein Hannover, ‘USA West Coast’, Hanover, Germany (Travelling Exhibition)
Kölnischer Kunstverein, ‘USA West Coast’, Wurtt, Germany (Travelling Exhibition)
Württembergischer Kunstverein Stuttgart, ‘USA West Coast’, Stuttgart, Germany (Travelling Exhibition)
Palais des Beaux-Arts, ’11 Los Angeles Artists’, Brussels, Belgium (Travelling Exhibition)
Kunstverein, ‘USA West Coast’, Hamburg, Germany (Travelling Exhibition)

1971

Henry Art Gallery, University of Washington, ‘Works for New Spaces’, Seattle WA
Hayward Gallery, ’11 Los Angeles Artists’, London, UK (Travelling Exhibition)
Ace Gallery, ‘Alexander, Bell, Cooper, McCracken and Valentine’, Los Angeles CA
Walker Art Center, ‘Works for New Spaces’, Minneapolis MN (Travelling Exhibition)
Long Beach Museum of Art, ‘Reflections’, Long Beach CA
Wight Art Gallery, University of California, Los Angeles ‘Transparency, Reflection, Light, Space. Four Artists’, Los Angeles CA

1970

Pace Gallery, ‘A Decade of California Color’, New York NY
Joslyn Art Museum, ‘Looking West’, Omaha NE
Mizuno Gallery, ‘Group Show’, Los Angeles CA
Princeton University, ‘American Art Since 1960’, Princeton NJ
Tate Gallery, ‘Larry Bell, Robert Irwin, Doug Wheeler’, London, UK
Art Institute of Chicago, ’69th American Exhibit’, Chicago IL

1969

MOMA Museum of Modern Art, ‘Spaces’, New York NY
Pasadena Art Museum, ‘West Coast ’49 – ’69’, Pasadena CA
Stedelijk Van Abbe Museum, ‘Kompas IV – West Coast USA’, Eindhoven, Holland
Rhode Island School of Design, ‘George Waterman Collection’, Providence RI
Walker Art Center, ’14 Sculptors. The Industrial Edge’, Minneapolis MN
Richmond Art Center, ‘Invisible Painting and Sculpture’, Richmond CA
Santa Barbara Museum of Art, ‘Serial Imagery’, Santa Barbara CA (Travelling Exhibition)

1968

Henry Art Gallery, University of Washington, ‘Serial Imagery’, Seattle WA (Travelling Exhibition) Pasadena Art Museum, ‘Serial Imagery’, Pasadena CA (Travelling Exhibition)
Museum Fridericianum, ‘Document IV’, Kassel, Germany
Walker Art Center, ‘6 Artists. 6 Exhibitions’, Minneapolis MN
Vancouver Art Gallery, ‘Los Angeles 6’, Vancouver, Canada
Art Gallery, University of California, ‘Serial Imagery’, San Diego CA (Travelling Exhibition)

1967

Solomon R. Guggenheim Museum, ‘Guggenheim International Exposition’, New York NY
MOMA Museum of Modern Art, ‘The 1960’s’, New York NY
Washington Gallery of Modern Art, ‘A New Esthetic’, Washington DC
LACMA Los Angeles County Museum of Art, ‘American Sculpture of the Sixties’, Los Angeles CA
Lytton Center for the Visual Arts, ‘Mini-Things’, Los Angeles CA

1966

Whitney Museum of American Art, ‘Annual Exhibition. Contemporary American Sculpture and Prints’, New York NY
Seattle Art Museum Pavilion, ‘Ten From Los Angeles’, Seattle WA
Larry Aldrich Museum, ‘Highlights of the ’65–’66 Art Season’, Ridgefield CT
La Jolla Museum of Art, ‘New Modes in California Painting and Sculpture’, La Jolla CA
Jewish Museum, ‘Primary Structures’, New York NY
Robert Fraser Gallery, ‘Los Angeles Now’, London, UK
University of California, ‘Five Los Angeles Sculptors and Sculptors’ Drawings’, Irvine CA

1965

Baltimore Museum of Art, ‘The Responsive Eye’, Baltimore MD (Travelling Exhibition)
Pasadena Art Museum, ‘The Responsive Eye’, Pasadena CA (Travelling Exhibition)
Museo de Arte Moderna, ‘VIII Bienal de São Paulo’, São Paolo, Brazil
Seattle Art Museum, ‘The Responsive Eye’, Seattle WA (Travelling Exhibition)
City Art Museum of St. Louis, ‘The Responsive Eye’, St. Louis MO (Travelling Exhibition)
Pace Gallery, ‘Five at Pace’, New York NY
MOMA Museum of Modern Art, ‘The Responsive Eye’, New York NY (Travelling Exhibition)
Tibor de Nagy Gallery, ‘Shape and Structure’, New York NY

1964

Sidney Janis Gallery, ‘Seven New Artists’, New York NY
Pavilion Gallery, ‘California Hard Edge Painting’, Balboa CA
Dwan Gallery, ‘Boxes’, Los Angeles CA

1961

Art Center of La Jolla, ‘Fourth Art Center Annual of California Painting and Sculpture’, La Jolla CA
Huysman Gallery, ‘War Babies’, Los Angeles CA

1959

LACMA Los Angeles County Museum of Art, ‘Southern California Painting and Sculpture Annual’, Los Angeles CA

Bibliography

MONOGRAPHS

2019

Gartenfeld, Alex, Moreno, Gean (eds.), ‘Larry Bell. Time Machines’, Munich/New York: DelMonico Books/Prestel; Miami: Institute of Contemporary Art, 2019, ill. (exh. cat.)

2018

Clark, Robin, Lauson, Cliff, ‘Larry Bell’, New York: Rizzoli Electa, 2018, ill.

2011

De Brugerolle, Marie, ‘Larry Bell’, Dijon: Presses du Réel, 2011, ill. (exh. cat.)

2005

Bernard Jacobson Gallery, ‘Larry Bell: New Works’, London: Bernard Jacobson Gallery, 2005, ill. (exh. cat.)

2002

Roswell Museum and Art Center, ‘Sumer Series’, Roswell: The Roswell Museum and Art Center, 2002, ill. (exh. cat)

1997

Cushman, Dean, Frank, Peter, Hall, Douglas Kent, ‘Zones of Experience: The Art of Larry Bell’, Albuquerque: Albuquerque Museum, 1997, ill. (exh. cat.)

1995

Bell, Larry, Witt, David L., ‘Sumer: A Work in Progress. Bronze Calligraphy by Larry Bell’, Taos: The Harwood Museum of Art, 1995, ill. (exh. cat.)

1991

Tucson Museum of Art, ‘Larry Bell: Mirage Works’, Tucson: Tucson Museum of Art, 1991, ill (exh. cat.)

1989

Raspail, Thierry, Bell, Larry, Afif, Steve, ‘Larry Bell: Works from New Mexico’ Lyon: Musée d’Art Contemporain, 1989, ill. (exh. cat.)

1987

Otton, William G. (ed.), ‘Larry Bell. Light on Surface: Ten Years of Vapor Drawings,’ Laguna Beach: Laguna Art Museum, 1987, ill. (exh, cat.)

1986

Willard, David, ‘Contained Space and Trapped Light. Larry Bell’s Sculptural Environments,’ Boise: Boise Gallery of Art, 1986, ill. (exh. cat)

1983

Doe, Donald Bartlett, ‘Larry Bell: Major Works in Glass’, Lincoln: Sheldon Memorial Art Gallery, 1983, ill. (exh. cat.)

1982

Newport Harbor Art Museum, ‘On the Ellipse: New Works by Larry Bell’, Newport Beach: Newport Harbor Art Museum, 1982, ill. (exh. cat.)

1981

Lin, Henry, ‘Larry Bell: Furniture, Vapor Drawings, Sculpture’, Athens: Trisolini Gallery of Ohio University, 1981, ill. (exh. cat.)
Campbell, Suzan, ‘Larry Bell. The Sixties’, Santa Fe: Museum of Fine Arts, 1982, ill. (exh. cat.)

1980

Wortz, Melinda, Creeley, Robert, Koshalek, Richard (et al.), ‘Larry Bell: New Work’, Yonkers: The Hudson River Museum, 1980 , ill. (exh. cat.)

1974

___, ‘Larry Bell’, Rome: Marlborough Galleria d’Arte, 1974, ill. (exh. cat.)

1972

Haskell, Barbara, ‘Larry Bell’, Pasadena: Pasadena Art Museum, 1972, ill. (exh. cat.)

1967

Bell, Larry, Crouwel, Wim, ‘Larry Bell’, Amsterdam: Stedelijk Museum, 1967, ill. (exh. cat.)

ARTIST’S BOOKS & WRITINGS

1984

Bell, Larry, ‘Larry Bell. Chairs in Space. The Book of the Game’, Taos: Webb Design Studio, 1984, ill.

PUBLICATIONS

2022

Gosse, Johanna (ed.), ‘Nervous Systems. Art Systems, and Politics since the 1960s’, Raleigh: Duke University Press, 2022, pp. 125-149, ill.

2021

Eliel, Carol S. (ed.), ‘Light. Space. Surface. Art from Southern California’, Los Angeles: Los Angeles County Museum of Art, New York: DelMonico Books, pp. 12-15, 76, ill. (exh. cat.)
Malin Gallery (eds.), ‘Shady Beautiful’, New York: Malin Gallery, 2021, unpag., ill. (exh. cat.)

View more +

PRESS

2023

Cascone, Sarah, ‘Artists Have Long Held Day Jobs to Make Ends Meet. A New Exhibition Makes the Case That Side Gigs Also Fuel Creativity’, on: news.artnet.com, 27 January 2023, ill.

2022

Preece, Robert, ‘Real Light and Real Angles: A Conversation with Larry Bell’, in: Sculpture, New York, vol. 41, no. 5, September/October 2022, pp. 14-25, ill.
Barrie, Lita, ‘Studio Visit with Larry Bell: The Backstory Behind His Joint Exhibition with John Chamberlain at Hauser & Wirth, Los Angeles’, on: whitehotmagazine.com, September 2022, ill.
Ghassemitari, Shawn, ‘Bourse de Commerce Presents “Une seconde d’éternit锑, on: hypebeast.com, 24 August 2022, ill.
Riefe, Jordan, ‘Larry Bell Offers Insight on his Career & Life Lessons’, on: artandobject.com, 18 August 2022, ill.
___, ‘The Artful Life: 5 Things “Galerie” Editors Love This Week’, on: galeriemagazine.com, 9 August 2022, ill.
Ghassemitari, Shawn, ‘Larry Bell & John Chamberlain Take Over Hauser & Wirth’, on: hypebeast.com, 8 August 2022, ill.
Knight, Christopher, ‘The 17 works of art you need to see in L.A. County’, on: latimes.com, 22 July 2022, ill.
Hutson Hunter, Laura, ‘Light and Space, “Finish Fetish” and the Endless Summer of the Frist’s LACMA Exhibition’, on: nashvillescene.com, 20 July 2022, ill.
Diomandé, Aïsha, ‘Larry Bell’s incredible light structures explore the endless possibilities of perception’, on: hero-magazine.com, 6 July 2022, ill.
___, ‘Une seconde d’éternite, l’exposition qui se conjugue à tous les temps’, on: idboox.com, June 2022, ill.
Plagens, Peter, ‘Contemporary Works with a Western Flair’, on: wsj.com, 4 June 2022, ill.
Ghassemitari, Shawn, ‘Larry Bell Presents a New Set of Glass Sculptures at Hauser & Wirth’, on: hypbeast.com, 27 May 2022, ill.
Griffin, Jonathan, ‘”Art is a teacher, it’s not an object”‘, in: FT Weekend, London, 14/15 May 2022, p. 5, ill.
Cochran, Sam, ‘You Won’t Believe What is Stealing the Spotlight at the Art Show of the Summer’, on: architecturaldigest.com, 23 May 2022, ill.
Westall, Mark, ‘Now Open: Larry Bell: New Work at Hauser & Wirth’, on: fadmagazine.com, 16 May 2022, ill.
Lloyd-Smith, Harriet, ‘Review: Larry Bell saturates senses and blends perception at Hauser & With London’, on: wallpaper.com, 16 May 2022, ill.
Walton, Millie, ‘In the studio with…Larry Bell’ [interview], on: apollo.com, 13 May 2022, ill.
Griffin, Jonathan, ‘Artist Larry Bell: “Art is a teacher, it’s not an object”‘, on: ft.com, 12 May 2022, ill.
Lloyd-Smith, Harriet, ‘London Galley Weekend 2022: an ongoing guide to the must-see shows in the city’, on: wallpaper.com, 12 May 2022, ill.
Luke, Ben, ‘London Gallery Weekend: the must-see exhibitions in West and Central London’, on: theartnewspaper.com, 9 May 2022, ill.
Thomas, Greg, ‘The Age of Immersion’, in: Aesthetica, York, no. 106, April / May 2022, pp. 52-57, ill.
___, ‘Goings on About Town’, in: The New Yorker, New York, 28 March 2022, p. 9, ill.
___, ‘The Geometric Glass Sculptures of Larry Bell’, on: newyorker.com, 18 March 2022, ill.

2021

___, ‘Inside Open Architecture’s Boulder-Like Chapel of Sound, and Other News’, on: surfacemag.com, 8 November 2021, ill.
___, ‘Art Industry News: The Buyer of Banksy’s $25.4 Million Shredded Work Is a New-to-Collecting Crypto Entrepreneur + Other Stories’, on: news.artnet.com, 5 November 2021, ill.
Forgo, Gabriela, ‘”In Focus: LA Artists,” An Exhibition at Hauser & Wirth, Los Angeles’, on: purple.fr, 21 July 2021, ill.
Keats, Jonathan, ‘In Los Angeles, City of Illusions, Nobody Has Manipulated Perceptions Quite Like Larry Bell’, on: forbes.com, 28 June 2021, ill.
Rosin, Rachel, ‘Vision & Justice Project at the Core of Frieze New York 2021’, on: fadmagazine.com, 12 May 2021, ill.
Soo-Yeon, Oh, ‘Korean Cultural Center LA 40th Anniversary Special Exhibition “Beyond the Light of East and West”‘, on: koreadaily.com, 5 April 2021, ill.

2020

Westall, Mark, ‘Hauser & Wirth announce new 5,000 sqft space in the Hamptons’, on: fadmagazine.com, 25 June 2020
Durón, Maximilíano, ‘Hauser & Wirth Will Open New Space in Long Island’s Southampton’, on: artnews.com, 25 June 2020
Kinsella, Eileen, ‘Hauser and Wirth Is the Latest Blue-Chip Gallery to Plan a Hamptons Outpost as the New York Market Moves East’, on: news.artnet.com, 25 June 2020
Eisler, Maryam, ‘Confined Artists – Free Spirits’ [Interview], on: www.lux-mag.com , 18 May 2020, ill.
de Brugerolle, Marie, ‘A World Without Angels: Larry Bell’, in: Mousse Magazine, Milan, no. 71, April 2020, pp. 98-109, ill.
Galleries Now, ‘6 great exhibitions you can visit right now, in Virtual Reality! from GalleriesNow’, on: fadmagazine.com , 31 March 2020
Art Report Today, ‘Podcast: Artist Larry Bell Discusses His Work and Career’ [audiovisual], on: www.youtube.com , 22 March 2020
Gluibizzi, Amanda, ‘Larry Bell’, in: The Brooklyn Rail, Brooklyn, March 2020, p. 53
Carsel, Casey, ‘Armory Week Lockdown: Art Shows to See’, on: ocula.com, 28 February 2020
Singer, Jill, ‘Jagged, Glacier-Inspired Glass By a California Icon, On View at Hauser + Wirth’, on: www.sightunseen.com, 24 February 2020
Riefe, Jordan, ‘LA Icons Larry Bell and Billy Al Bengston Look Back’, on: www.artandobject.com, 3 February 2020
Rus, Mayer, ‘Photographer Douglas Friedman Makes His Home on The Range in Marfa, Texas’, in: Architectural Digest, February 2020, pp. 52-53
Riefe, Jordan, ‘Too Cool for School’, in: LALA Magazine, Los Angeles, pp. 84-87
Mitton, Desiree, ‘Larry Bell’, in: Whitewall, New York, no. 56, Winter 2020, pp.75-79

2019

Tempo Staff, ‘What’s happening in Taos?’, on: www.taosnews.com, 26 November 2019
Wahlquist, Grant, ‘New New Next: OCMA Gala Honors Iconic Artist Larry Bell’, in: BlueDoor Magazine, Los Angeles, November 2019, pp. 34-41
Goldstein, Andrew, ‘The Story of artnet, Part 2: How Founder Hans Neuendorf Helped Invent the Art Fair in a More ‘Innocent’ Time’, on: www.news.artnet.com, Berlin, 9 October 2019
Miranda, Carolina A., ‘Essential Arts: Plácido Domingo’s L.A. Opera exit leads to
questions of legacy’, in: Los Angeles Times, Los Angeles, 5 October 2019
Vankin, Deborah, ‘What are those glowing red cubes outside MOCA? Meet Larry Bell’s latest work’, in: Los Angeles Times, Los Angeles, 30 September 2019

2018

Rozzo, Mark, ‘Outside the Box’, in: Galerie, New York, no. 11, December 2018, pp. 122-127.
David, Elliott, ‘Artist Larry Bell tells architect Frank Gehry about his addiction to beginnings,’ on: www.documentjournal.com, 26 November, 2018
Willette, Jeanne, ‘Larry Bell’ [preview & cover], in: Art Scene, Los Angeles, vol. 37, no. 9, June-August 2018, pp. 9-10.
Muchnic, Suzanne, Vankin, Deborah, ‘Ed Moses, ‘Cool School’ painter who helped forge L.A.’s art scene, dies at 91’, on: www.latimes.com, Los Angeles, 8 July 2018.
Slayton, Nicholas, ‘Hauser & Wirth Has Cubes, Paintings and More’, on: www.ladowntownnews.com, Los Angeles, 6 July 2018.
Slayton, Nicholas, ‘Cube, Paintings and Beyond’, in: Downtown News, Los Angeles, vol. 47, no. 27, 2 July 2018, pp. 14-16.
Slenske, Michael, ‘Larry Bell Cubed’, in: Design LA, Los Angeles, June 2018, p. 20.
Tarley, Phil, ‘Larry Bell. Complete Cubes at Hauser & Wirth’, on: www.fabrikguide.com, Los Angeles, June,2018
___, ‘Larry Bell. Complete Cubes’, on: www.widewalls.ch, London, June 2018.
___, ‘Larry Bell. Venice Fog: Recent Investigations at Hauser & Wirth Zürich’, on: www.dailyartfair.com, Paris, June 2018.
Carey, Jean M., ‘Stereo Lab: An Experimental Pairing of Jesús Rafael Soto and Larry Bell at the Tampa Museum of Art’, on: www.artefuse.com, New York, June 2018.
Wakim, Marielle, ‘Tech Meets Fine Art in Larry Bell’s Glass Cubes’, on: www.lamag.com, Los Angeles, 22 June 2018.
Miranda, Carolina, ‘Datebook: Police violence paintings, a gallery’s 25th and enduring images of a photojournalist’s life’, on: www.latimes.com, Los Angeles, 21 June 2018.
Symonds, Alexandria, ‘Two American Art Icons Discuss the Old Days and Their New Shows’, on: www.nytimes.com, New York, 15 June 2018.
Bennett, Megan, ‘A taste of a very in-depth life’, on: www.abqjournal.com, Albuquerque, 15 June 2018.
Testerman, Tamra, ‘Painter holds on, survives’, on: www.taosnews.com, Taos, 31 May 2018.
Kay, Christin, ‘New rooftop sculpture unveiled for summer at Aspen Art Museum’, on: www.aspenpublicradio.org, Aspen, 29 May 2018.
Romancito, Rick, ‘Harwood plans Larry Bell tribute’, on: www.taosnews.com, Taos, 13 May 2018.
Johnson, Virginia, ‘On the Town: Vapor and Vibration Art at Tampa Museum’, on: www.baynews9, St. Petersburg, 11 May 2018.
___, ‘Tampa Museum of Art’, in: Tampa Bay Times, St. Petersburg, 4 May 2018.
___, ‘Hauser & Wirth at Art Cologne 2018 – Waves and Particles: Larry Bell, Mary Heilmann, Takesada Matsutani’, on: www.artcologne.com, Cologne, April 2018.
Rosenmeyer, Aoife, ‘Larry Bell – Venice Fog: Recent Investigations’, in: Kunst Bulletin’, Zürich, March 2018.
___, ‘Hauser & Wirth’, in: Art.Investment, Beijing, no. 125, March 2018.
Dawson, Aimee, ‘Performance pioneer Joan Jonas takes over Tate Modern’, on: www.theartnewspaper.com, London, 13 March 2018.
___, ‘Kelly Wearstler’s LA art gallery hit list’, on: www.vogue.com.au, Melbourne, 5 March 2018.
___, ‘Larry Bell Venice Fog: Recent Investigations’, on: www.thisistomorrow.info, London, 2 March 2018.
___, ‘Syri-Arts and Christie’s Auction Saving a Generation Through Education’, on: www.prnewswire.com, London, 28 February 2018.
Salema, Isabel, ‘A megagaleria que mais parece um museu’, in: Ípsilon, Lisbon, 22 February 2018.
Riefe, Jordan, ‘Why People Still Get Worked Up About Jasper John’s ‘Flag’ Painting’, on: www.observer.com, New York, 21 February 2018.
Cogley, Bridget, ‘Larry Bell’s glass cubes mimic California light and fog’, on: www.dezeen.com, London, 13 February 2018.
Flanagan, Rosie, ‘Larry Bell’s Recent Investigations Into Venice Fog’, on: www.ignant.com, Berlin, 9 February 2018.
Duffy, Maggie, ‘Groundbreaking artists Larry Bell and Jesus Rafael Soto’s work on display at the ___, ‘Larry Bell: 19 Jan – 3 Mar 2018 at the Hauser & Wirth Gallery in Zurich, Switzerland’, on: www.wsimag.com, Budva, 1 February 2018.
Paulina, Szczesniak, ‘Atmosphärisch: Ein Kalifornier imitiert mit Glasskulpturen das Sonnenlicht in seiner Heimatstadt’, in: Tagesanzeiger Züritipp, Zürich, January 2018.
___, ‘‘Endless Summer’ Exhibition of 60s California Art Opens at MCA Chicago’, on: www.artfixdaily.com, San Francisco, January 2018
Ure-Smith, Jane, ‘Immaterial World: In the 1960s, Californian artists became masters of light and space’, in: The Economist, London, 31 January 2018.
Biller, Steven, ‘Holy Moses: At Art Palm Springs, Ed and Andy Moses celebrate their lives in painting’, on: www.palmspringslife.com, Palm Springs, 29 January 2018.
___, ‘Hauser & Wirth Zürich opens a major solo exhibition by sculptor Larry Bell’, on: www.artdaily.org, London, 29 January 2018.
___, ‘‘Larry Bell. Venice Fog: Recent Investigations’ at Hauser & Wirth Zürich’, on: www.blouinartinfo.com, New York, 25 January 2018.
Jansen, Charlotte, ‘Larry Bell transforms Venice Beach fog into works of sheer beauty’ [review], on: www.wallpaper.com, London, 24 January 2018
___, ‘Prolific artist Ed Moses of LA’s ‘Cool School’ dies at 91’, on: www.wtop.com, Washington DC, 19 January 2018.
Rogers, John, ‘Ed Moses, painter who helped transform Los Angeles into force in modern art, dies at 91’, on: www.washingtonpost.com, Washington DC, 19 January 2018.
___, ‘Larry Bell. Venice Fog: Recent Investigations at Hauser & Wirth Zürich’ [preview], in: Tagesanzeiger Züritipp, Zürich, 18 January 2018.
Rus, Mayer, ‘Ricky Martin Takes AD Inside His Blissful Beverly Hills Home’, in: Architectural Digest, Los Angeles, 9 January 2018.
Testerman, Tamra, ‘It’s all about the light’, on: www.taosnews.com, Taos, 7 January 2018.

2017

Eisler, Maryam, ‘Portrait of an Artist: Larry Bell’, in: Vanity Fair, London, November, 2017, pp. 66, 67
___, ‘Exhibition at White Cube brings together works from Larry Bell’s extensive career’, on: www.artdaily.org, Los Angeles, 2017
Farago, Jason, ‘The Biennial: A User’s Guide’, in: The New York Times, New York, 9, March, 2017, pp. C1, C5
Frankel, Eddy, ‘Larry Bell: Smoke on the Bottom’, on: www.timeout.com, London, 2017
Bell, Larry, ‘A Hotel Life’, on: www.lalamagdigital.com, Los Angeles, Fall, 2017
Cafazzo, Robert, ‘Reflections of Larry Bell’, in: Taos News, Taos, 2, February, 2017
___, ‘Seeing Red in the Larry Bell exhibit at the Weisman’, in: The Los Angeles Times, Los Angeles, 1, March, 2017, pp. T12
Jansen, Charlotte, ‘The big smoke: there’s more to Larry Bell’s latest show than meets the eye’, on: www.wallpaper.com, London, 9, May, 2017
Hearn, Matthew, ‘Larry Bell: Smoke on the Bottom’, www.artworkslondon.com, London, 2017
Bury, Louis, ‘Dale Chihuly’s Road Not Taken’, on: www.hyperallergic.com, New York, 29, October, 2017
___, ‘Sotheby’s online art auction raises funds for Harvey relief efforts’, on: www.houston.culturemap.com, Houston, 31, October, 2017
Johnson, Noah, ‘What Happened to Designer Adam Kimmel?’, on: www.gq.com, New York, 29, November, 2017
Dunne, Susan, ‘‘Mirror Mirror’ On Wadsworth’s Walls’, on: www.courant.com, Hartford, 18, December, 2017

2016

Buosi, Carlotta, ‘Hauser& Wirth Presents: Larry Bell’ [preview], on: www.idolmag.co.uk, London, 25, January, 2016
Evans, Christina O., ‘Larry Bell at Hauser & Wirth, New York: Geometry, glass and perceptual phenomena collide in style’, on: www.howtospendit.ft.com, London, 3, February, 2016
Biller, Steven, ‘Thinking Inside the Box’, on: www.palmspringslife.com, Palm Springs, 1, February, 2016
Gendall, John, ‘Shaping the way: Larry Bell’s legendary 1960s works get aired in New York’, on: www.wallpaper.com, London, 8, February, 2016
___, ‘Larry Bell Creations from the 60s Coming to Hauser & Wirth New York’, on: www.widewalls.ch, London, 27, January, 2016
___, ‘Greenberger, Alex, ‘Coast to Coast: Frank Stella and Larry Bell on the 1960s Los Angeles Art Scene’, on: www.artnews.com, New York, 8, February, 2016
Plagens, Peter, ‘Feminist Art, Lyrical Composition and 1960s Paintings’, on: www.wsj.com, New York, 26, February, 2016
Bacon, Alex, ‘Larry Bell with Alex Bacon’ [interview], on: www.brooklynrail.com, New York, 4, March, 2016
Zlotowitz, A., ‘New York – Larry Bell: “From the ‘60s” at Hauser & Wirth through April 9th, 2016’, on: www.artobserved.com, New York, 16, March, 2016
Slenske, Michael, ‘In the Studio: Larry Bell’, on: www.blouinartinfo.com, New York, 1, April, 2016
Zara, Janelle, ‘A Rowdy Roundtable Discussion with Three L.A. Art Legends’, on: www.nytimes.com, New York, 6, April, 2016
Churner, Rachel, ‘Larry Bell: Hauser & Wirth’ [review], in: Artforum, New York, Summer, 2016, p. 393
Kimberly, Johnson B., ‘Master of Light and Space, Student of Art and Life’, in: Palm Springs Art Magazine, Palm Springs, 8, February, 2016
___, ‘Larry Bell “From the 60s” Exhibition at Hauser & Wirth, New York’, on: www.purple.fr, Paris, 4, March, 2016

2015

Landi, Anne, ‘Larry Bell’, in: ARTnews, April, 2015, p. 87
Rosenmeyer, Aoife, ‘Troika, Tobias Putrih, Larry Bell Reverse Order’, on: www.art-agenda.com, New York, June, 2015
Sundberg, K., ‘Larry Bell’s Industrialized Twist on the Light and Space Movement’, on: www.artsy.net, New York, June, 2015
Enholm, Molly, ‘Larry Bell’, in: Art Ltd., Los Angeles, July, 2015
Fiske, Courtney, ‘Larry Bell: The Chinati Foundation’, in: www.artforum.com, New York, June, 2015
___, ‘Larry Bell: 2D-3D: Glass & Vapor’, on: www.wsimag.com, Budva, 23, July, 2015
___, ‘American Artist Larry Bell to Open at White Cube Mason’s Yard’, on: www.artlyst.com, London, 21, June, 2015
Du Toit, Wessie, ‘Haunted reflections: Larry Bell’s experimental work on show at White Cube Mason’s Yard’, on: www.wallpaper.com, London, 14, July, 2015.
Gaylord, Martin, ‘Exhibitions’, on: www.spectator.co.uk, London, 1, August, 2015
Grattan, Nikki, ‘Our Last Hurrah: Larry Bell’, on: www.inthemake.com, San Francisco, January, 2015
Pollock, David, ‘Another Minimalism: Art After California Light and Space’, on: www.list.co.uk, London, 16, November, 2015
Pomar, Aina, ‘Reflection, absorption, transmission: Larry Bell’s new show at White Cube Mason’s Yard’, on: www.artdependence.com, London, July, 2015
___, ‘When Chuck met Jay and more Miami gossip’, on: www.theartnewspaper.com, Miami, 3 December, 2015
Ure-Smith, Jane, ‘Larry Bell and Robert Irwin step into the light’, on: www.ft. com, London, 18, December, 2015

2014

___, ‘Sept. 11, 2001 and Larry Bell ‘Teeth in Orange Juice’ to Exhibit at DAFA’, in: Taos News, Taos, 3, July, 2014, pp. 4-6
Bleiler-Strong, Lyn, ‘Light and Reflection in the Work of Larry Bell’, in: Trend Magazine, Santa Fe, Summer, 2014, pp. 112, 130
___, ‘Surface to Air: Los Angeles Artists of the ‘60’s and the Materials That They Use at Kayne Griffin Corcoran’, on: www.artdaily.org, Los Angeles, 21, May, 2014
Stromberg, Matt, ‘Joan Quinn Captured at the Brand Library and Art Center’, in: Dailyserving, an International Publication for Contemporary Art, San Francisco, 23, July, 2014
___, ‘Larry Bell: Fractions at the Blumenschein Museum’, in: Taos News, Taos, 20, August, 2014, p. 8
McHugh, Fionnuala, ‘As Happy as Larry’, in: South China Post Magazine, Hong Kong, 21, September, 2014, pp. 22-24, 26
Anspon, Catherine, ‘Bellwether’, in: ArtDesk, Oklahoma City, Issue 3, Fall/ Winter, 2014, pp. 4-9

2013

Wyspolaki, Bondo, ‘Larry Bell, still ringing in an art gallery near you’, on: www.easyreadernews.com, Hermosa Beach, 31, May, 2013
Enholm, Molly, ‘Recent Works by Larry Bell’ [review], in: Art Scene, Los Angeles, May, 2013
Wyrick, Christopher, ‘Venice Art Walk and Auction draws Artists Larry Bell and Kelly Berg’, on: www.hollywoodreporter.com, Los Angeles, 20, May, 2013
Davidson, Lisa, ‘Larry Bell: Recent Work, Frank Lloyd Gallery’ [review], on: www.weheart.co.uk, London, 7, June, 2013
Ollman, Leah, ‘Less Is More in Collages’ [review], in: Los Angeles Times, Los Angeles, 29, May, 2013, D-3
Barnas, Maria, ‘Larry Bell & Sarah Crowner, Meet Marlow Moss’, in: Frieze, London, Issue 157, September, 2013, pp. 160-161
Khemir, Sabiha Al, ‘Beyond Brancusi: The Space of Sculpture’, in: Art in America, New York, 2013, p. 38
Brunn, Dan, ‘Samy Kamienowic Home’, on: www.danbrunn.com, 2013
Bleiler-Strong, Lyn, ‘Larry Bell Sculptor of Kinetic Light’ [cover], Trend Magazine, Santa Fe, Fall-Spring, 2013, pp. 114-121, ill.
Pagel, David, ‘Local Fish at Ernie Wolfe Casts a Wide, Fun Net’, in: Los Angeles Times, Los Angeles, 15, August, 2013
Davie, William, ‘Larry Bell at White Cube Gallery, London’ [review], in: Aesthetica Magazine Blog, York, 2013
Smith, Roberta, ‘The Artist’s Force Field, Frozen in Time’, in: The New York Times, New York, 2013, pp. C21-C3

2012

Eisenhart, Mary, Torrez, Andre + [et al.], ‘96 Hours’, in: San Francisco Chronicle, San Francisco, January, 2012
Ollman, Leah, ‘Sensory Remix’, in: Art in America, New York, January, 2012, pp. 70-75
Frank, Peter, ‘Larry Bell and Gregory Edwards’, on: www.huffingtonpost.com, New York, 2012
___, ‘46 N. Los Robles: A History of the Pasadena Art Museum’, on: www.pacificstandardtime.org, Los Angeles, 2012
Green, Tyler, ‘Larry Bell’, on: www.manpodcast.com, 26, January, 2011
Cooke, Lynne, ‘Perfect Fit’ [interview], in: Artforum, New York, pp. 236-241, ill.
Morgan, Robert C., ‘Larry Bell’s Architectonic Light: Early Cubes and Improvisations’, on: www.eastofborneo.org, Los Angeles, 2, March, 2012
Goldner, Liz, ‘Best Kept Secret Laguna Art Museum’ [review], in: Artillery Magazine, Los Angeles, February/ March, 2012, pp. 75-76
Goldner, Liz, ‘Best Kept Secret Newsletter’, on: www.contemporary-art-dialogue.com, Los Angeles, February, 12, 2012
Olson, Kimberly, ‘In the Clear’, in: Luxe Interiors + Design Magazine, San Diego, vol. 10, no. 2, 2012, pp. 194-201, ill.
Steffen, Patrick, ‘Process Is Not Dead’, in: Flash Art News, New York, May/ June, 2012, ill.
Hulbert, Dory, ‘Immortal Visage: Paul O’ Connor Captures Iconic Faces of Taos’, in: The Taos News, Taos, May-June, 2012, ill.
Bleiler, Lyn, ‘The Taos Hum’, in: Trend Magazine, Santa Fe, Summer, 2012, pp. 136-137
Gair, Chrisopher, ‘“Perhaps the Words Remember Me”: Richard Brautigan’s Very Short Stories’ [cover], in: Western American Literature, Quarterly Journal of Western Literature, vol. 47, no. 1, Spring, 2012, pp. 4-21

2011

Plagens, Peter, ‘Laying Claim to Its Place in the Sun’ [review], in: The Wall Street Journal, New York, 13, October, 2011
___, ‘Exhibit Reveals Little Known Art History’, on: lagunabeachindy.com, Laguna Beach, 26, October, 2011
Kane, Richard, ‘Laguna Art Museum Revives UC Irvine’s Forgotten Avant-Garde Renaissance’, on: www.lagunabeachpatch.com, Laguna Beach, 28, November, 2011
Chang, Richard, ‘Laguna Art Museum Bares ‘Best Kept Secret’’, in: The Orange County Register, Anaheim, 30, October, 2011, pp. 1, 3
Verhagen, Erik, ‘Larry Bell: On Reflections and Presence’, on: en.arpress.com, 28, February, 2011
___, ‘Human Nature: Contemporary Art from the Collection’, on: www.lacma.org, Los Angeles, 31, March, 2011
___, ‘Artist Larry Bell, Bel Air Camera Customer Since 1960s Shows Photographs in Nimes, France’, in: The Daily Bruin, Los Angeles, 13, April, 2011, p. 11
Talalla, Natalie, ‘Venice in Venice. Glow & Reflection – Venice California Art from 1960s to the Present. 54th Venice Biennale’, on: www.aajpress.wordpress.com, London, 23, June, 2011 Friedman, Julia, ‘Venice in Venice’, in: Artforum, New York, July, 2011
Muchnic, Suzanne, ‘Rebels in Paradise by Hunter Drohojowska-Philp’ [book review], in: Los Angeles Times, Los Angeles, 17, July, 2011
Plagens, Peter, ‘When the West Coast Went Pop’ [book review], in: The Wall Street Journal, New York, 16, July, 2011
Hawthorne, Christopher, ‘Critic’s Notebook: Shifting Horizons in Santa Monica Park Design’, in: Los Angeles Times, Los Angeles, 30, July, 2011
___, ‘Phenomenal: California Light, Space, Surface’, on: www.mcasd.org, San Diego, 2011
Teicholz, Tom, ‘How LA Grew Its Art’, on: www.tommywood.com, Los Angeles, 8, September, 2011
Rothman, Tibby, ‘Larry Bell Gets a Restaurant, Larry’s, Where the Opening Was A Pacific Standard Time Reunion’, on: www.blogs.laweekly.com, Los Angeles, 2011
Hirsch, Faye, ‘Flocked Pink Ladies: An Anomaly’, in: Art in America, New York, October, 2011, pp. 72-75
Dougherty, Margot, ‘Letter from L.A.’, in: Town & Country Magazine, Los Angeles, March, 2011, p. 110
Knight, Christopher, ‘L.A. Inspiration’ [review], in: Los Angeles Times, Los Angeles, 5, October, 2011, p. D-D12
Snyder, Benjamin A., ‘Phenomenal: California Light, Space, Surface at the Museum of Contemporary Art San Diego’ [review], in: Art Ltd. Magazine, Los Angeles, 2011
Chute, James, ‘Outside the Frame’, in: San Diego Union-Tribune, San Diego, 18, September, 2011, pp. 1, 8
___, ‘Museum Promises New Show Is Phenomenal’, in: Del Mar Times, Solana Beach, 22, September, 2011, p. 2
___, ‘Wound Up for Pacific Standard Time’, in: San Diego City Beat, San Diego, 14, September, 2011, p. 22
Chute, James, ‘Phenomenal: California Light, Space, Surface’ [review], in: San Diego Union-Tribune, San Diego, 18, September, 2011
Baker, Kenneth, ‘S. California Plays with the Light-Space Phenomenon’, on: www.sfgate.com, San Francisco, 24, December, 2011
Knight, Christopher, ‘High-Achieving Show’, in: Los Angeles Times, Los Angeles, 5, October, 2011, pp. D-1, 12
Smith, Roberta, ‘A New Pin on the Map’, on: www.nytimes.com, New York, 10, November, 2011

2010

Johnson, Ken, ‘Primary Atmospheres: Works from California 1960-1970’, in: Art & Design, New York Times, New York, 14, January, 2010
Schjedahl, Peter, ‘Way Out West: California Minimalism Comes to Town’, in: The New York Times, New York, 25, January, 2010
Viveros-Faune, Christian, ‘David Zwirner’s ‘Primary Atmospheres’ is California Sweet’, in: The Village Voice, New York, January/ February, 2010, p. 28
Esplund, Lance, ‘California Gleaming’, in: The Wall Street Journal, New York, 2010, January, p. W14
Fichtner, Brian, ‘Primary Atmospheres: Works from California 1960-1970’, www.coolhunting.com, New York, 2010
Baron, Joan B., Reuben, M., ‘West Coast Minimalism: Four New York Shows’, on: www.artcritical.com, New York, February, 2010
Alexander, Peter, ‘Phenomenal L.A. 1970-1970 Primary Atmospheres’, in: Gallery Beat, New York, 11, January, 2010, ill.
Perreault, John, ‘How the West Was Won: Finish Fetish’, in: Artopia, John Perreault’s Art Diary, Los Angeles, 18, January, 2010
Smith, Roberta, ‘Surfing Art at Nyehaus, Zwirner Gallery’, in: The New York Times, New York, 2, August, 2010
Dreishpoon, Douglas, ‘Dennis Hopper: 1936-2010’, in: Art in America, New York, September, 2010, pp. 34, 36
___, ; ‘David Zwirner Presents Primary Atmosphere Works from California 1960-70’, in: The Huffington Post, New York, 16, January, 2010
Pincus-Witten, Robert, ‘Craig Kauffman’ [review], in: Artforum, New York, December, 2010
___, ‘All the Rage. NY Fashion Week: Derek Lam’s West Coast Style’, 15, September, 2010
Russeth, Andrew, ‘Editor’s Picks’, on: www.artinfo.com, 27, January, 2010

2009

___, ‘Larry Bell in ‘Burque’, in: The Taos News, Taos, January, 2009, pp. 8, 22-28
___, ‘Larry Bell’, in; Art & Living Magazine, Los Angeles, Winter, 2009, pp. 22-23
Rico, Diane, ‘Bell Opens Encore’, in: The Taos News, Taos, March, 2009, pp. 4-6
Fairfield, Douglas, ‘Filling a Vacuum, Larry Bell Comments on His Ongoing Investigations’, in: The New Mexican, Santa Fe, 2009, pp. 28-30, ill.
Parker, Phil, ‘Mayor ‘Easy Rider’’, in: Albuquerque Journal, Albuquerque, 5, May, 2009, pp. C1, C2
Whaley, Bill, ‘Taos Has a New Mayor, Hopper and Friends’, vol. II, no. 2, 15, May, 2008, pp. 1, 3
Silverman, Jason, ‘Riders of the Storm’, in: Santa Fean, Santa Fe, June/July, 2009, pp. 36-41
Edwards, Joseph, ‘Mediocrity, Regret, and Taos Art’, in: Horse Fly, Taos, 15, July, 2009
Clark, Virginia L., ‘Art and Culture Critic David Hickey Cuts Loose at the Harwood’, in: The Taos News, Taos, pp. 28-31
Mathis, Miles, ‘Fake People Fake Their Shows’, in: The Taos News, Taos, August/September, 2009, p. 6
___, Paisley Party’, in: The Taos News, Taos, July, 2009, p. 26
___, ‘Larry Bell Opens the New Encore Gallery at Taos Center for the Arts, Taos, NM’, on: www.tcataos.org, Taos, 6, March, 2009
___, ‘New Mexico Artists Reveal a Range of Possibilities’, on: www.abqarts.com, Albuquerque, March, 2009

2008

Frank, Peter, ‘The Radar Art’, in: Angeleno, Los Angeles, February, 2008, pp. 74, 76
Pagel, David, ‘Taking Collages to a Dazzling Place’, in: Los Angeles Times, Los Angeles, 15, February, 2008, E-27
Chen, Angel, ‘Larry Bell Modern Mystic’, on: www.artslant.com, Los Angeles, 28, February, 2008
Frank, Peter, ‘Animal Spirits, Endangered Species, Larry Bell’, in: L.A. Weekly, Los Angeles, 2008
Gerdes, Scott R., ‘Becoming Elegant Again’, in: The Taos News, Taos, June, 2008, p. 24
Fox, Steve, ‘The Pulse’, in: Horse Fly, Taos, 15, August, 2008, p. 19-20
___, ‘Larry Bell Talks About His Work’, in: The Taos News, Taos, July, 2008, p. 8
Landi, Ann, ‘Frank Stella, Larry Bell’, in: ARTnews, New York, Summer, 2008
Klimek, Chris, ‘The Hirshhorn’s “Panza Collection” Is a Trove of Intangible Pleasures’, in: The Washington Examiner, Washington, D.C., 7, November, 2008
___, ‘Hirshhorn Museum Presents Recent Acquisitions from the Collection of Count Giuseppe Panza’, on: www.artdaily.org, 23, October, 2008
___, ‘Don’t Miss Larry Bell at Frank Lloyd Gallery’, in: Los Angeles Times, Los Angeles, 6, March, 2008, p. 12

2007

Pulkka, Wesley, ‘Show Bodes Well for 516 Arts’ in: The Sunday Journal, Albuquerque, January, 2007
Grove, Martha, ‘Seeking New Canvas for Venice Art Scene’, in: Los Angeles Times, Los Angeles, 19, May, 2007, pp. B1, B12
Haden-Guest, Anthony, ‘Reflections of a Glass Matter’, in: Financial Times, London, 23, June, 2007
Pulkka, Wesley, ‘Art + Architecture in New Mexico = An International Narrative’, in: Art Santa Fe, Santa Fe, Summer, 2007, pp. 22-23
Whaley, Bill, ‘Art Notes, Larry Bell, Studio Investigations’, in: Horse Fly, Taos, 15, August, 2007, pp. 1 & 21
Silsbee, Kirk, ‘LA & E. Civic Pride’, in: Los Angeles City Beat, Los Angeles, vol. 5, no. 35, August, 2007, p. 17
Hoban, Phoebe, ‘Larry Bell’ [review], in: ARTnews, New York, December, 2007, p. 155
Larson, Eric, ‘Ed Moses and Larry Bell’ [interview], in: Art and Living, Los Angeles, Fall, 2007, pp. 60-63, ill.
___, ‘With a Little Help from Their Friends: The Faces Behind Sergeant Pepper’, in: The Independent, London, February, 2007, pp. 1-5
Danese, ‘New Sculpture’, New York NY

2006

Van Doren, Phyllis, ‘All About’, in: San Diego Home/ Garden Lifestyles, San Diego, March, 2006, pp. 38-41, ill.
Kuipers, Dean, ‘Up Front with the Kids, They’re Patrons Too’, in: Los Angeles Times, Los Angeles, 6, April, 2006, p. E4, 45, ill.
Frank, Peter, ‘Larry Bell, Richard M. Haley’, in: L.A. Weekly, April/ May, 2006, p. 61
McDonald, John, ‘Intimations of Mortality’, in: The Sydney Morning Herald, Sydney, 21, May, 2006, ill.
Davies, Lillian, ‘Larry Bell, Galerie Daniel Templon’, on: www.artforum.com, New York, May, 2006
Dambrot, Shana N., ‘Making Space for Light-Norton Simon Museum Show Explores the Concepts of Perception, Reflection, Light and Illusion’, in; West Coast Art + Design Lifescapes Magazine, Santa Barbara, July, 2006, pp. 26-28
Perez, Magdalene, ‘Larry Bell, Cubes’ [review], on: artinfo.com, 2006
Adams, Brook, ‘The School of L.A.’, in: Art in America, New York, 2006, pp. 160-167, ill.
Mayer, Kathie, ‘The Ongoing Investigation of Art’, in: The Port Townsend & Jefferson County Leader, Port Townsend, December, 2006, p. 2
Salem, Nancy, ‘State of the Art’, in: The Albuquerque Tribune, Albuquerque, 8, December, 2006
Mayfield, Dan, ‘For New 516 Arts, Two Floors Better Than One’, in: The Sunday Journal, Albuquerque, 3, December, 2006, pp. F1 & F4
Ross, Lee, ‘516 Arts Presents Green’, in: Albuquerque Arts, Albuquerque, December, 2006
Goldman, Edward, ‘Reflections of Imperfect, Mortal You: The Art of Anish Kapoor, Larry Bell and Lee Mullican’ [review], on: www.kcrw.com, Los Angeles, 28, March, 2006
___, ‘Annandale Galleries’ [review], on: www.theaustralian.news.com, Sydney, May, 2006

2004

Pulkka, Wesley, ‘A Wider Reach’, in: The Albuquerque Journal, Albuquerque, 1, February, 2004, pp. F1-F2
Knight, Christopher, ‘Max Minimal’, in: Los Angeles Times, Los Angeles, 16, March, 2004, pp. E1, E8
Kimmelman, Michael, ‘How Not Much Is a Whole World’, in: The New York Times, New York, 2, April, 2004, pp. E31, E33
___, ‘Larry Bell Returns to Show ‘Fractions’’, in: Taos News, 27, May, 2004, p. 10
___, ‘California Classroom: A Box that Opens Up Many Ways to See Art and Light’, in: Los Angeles Times, Los Angeles, 8, April, 2004, p. H3
Mauk, Laura, ‘Donald Judd’s Marfa’, in: Western Interiors and Design’, 2004, pp. 120-129
Kennedy, Randy, ‘Where Creative Heat Meet Molten Metal’, in: The New York Times, New York, 13, August, 2004
Godfrey, Mark, ‘Dimensions Variable’ [review], in: Frieze, New York, pp. 116-121
Drohojowska-Philip, Hunter, ‘A Minimal Future? Art as Object 1958-1968’, in: ARTnews, New York, June, 2004, p. 119
Stammer, Kimberly M., ‘The Eclectic Eye’, in: Frederick R. Weisman Philanthropic Foundation, Los Angeles, 2004, pp. 38-39
Fallon, Roberta, ‘The Big Nothing and Phillie’, in: Artnet, New York, March, 2004
Henry, Clare, ‘The Big Nothing, ICA Philadelphia, etc.’, in: The Financial Times, London, 22, July, 2004, p. 10
Kimmelman, Michael, ‘Artists Who Just Say No. To Everything’, in: The New York Times, New York, 25, June, 2004, pp. E29, E31
___, ‘The Big Nothing’ [preview], in: e-flux, New York, 11, May, 2004
Smolan, Rick, Cohen, Elliot, ‘Taos’, in: New Mexico 24/7, Sausalito, 2004, p. 66

2003

Anspon, Catherine D. ‘Art League Houston’s Texas Art Patron of the Year, Lester Marks, Brushes with Fame at the Hotel Derek’, in: Paper City, Houston, 2003, p. 32
Muchnic, Suzanne, ‘Defunct L.A. Art School on a Quest for Resurrection’, in: Los Angeles Times, Los Angeles, 7, March, 2003, p. E28
Roug, Louise, ‘He’s Extending His Stay’, in: Los Angeles Times, Los Angeles, 19, June, 2003, p. F9
Paglia, Michael, ‘Dumb and Dumber’, in: Westword, Denver, June/July, 2003, p. 55
Siegel, Evelyn, ‘Artists’, in: Evelyn Siegel Gallery News, Forth Worth, Summer, 2003
Berenger, Peter, ‘Two Sides of the Coin’, in: The Horse Fly, Taos, 15, November, 2003, p. 23
Pulkka, Wesley, ‘Shows Contrast Expectations’, in: The Albuquerque Journal, Albuquerque, 9, November, 2003, p. F5
___, ‘St. John’s College Art Gallery’, in: The New Mexican, Santa Fe, October, 2003, p. 39
Kim, Sheila, ‘Newsdesk’, in: Interior Design, New York, 2003, p. 35

2002

Carver, Jon, ‘More Today than Today: Hovering Between the Figure and Abstraction’, in: Santa Fe Trend, Santa Fe, vol. 2, no. 2, Winter/Spring, 2002, pp. 18-23
Henderson, Chaucer, ‘The Curmudgeon’s Complaint – Neo-Pre-Raphaelite Relief – Three Who Count’, in: Horse Fly, Taos, 15, February, 2002, pp. 18-19
Esperanza, Jennifer, ‘Sexy Artists, April 2002’, in: The Magazine, Santa Fe, pp. 33
Rusnell, Wesley, ‘Larry Bell: The Sumer Project’, in: Rosswell Museum and Art Center Quarterly Bulletin, Rosswell, vol. 50, no. 3, Summer, 2002
Romancito, Rick, ‘Bell Ringer’, in: Tempo Magazine, Taos, 15, August, 2002, pp. 12, 14
Whaley, Bill, ‘Larry Bell’, in: Horse Fly, Taos, 15, August, 2002, pp. 21
Ebony, David, ‘Los Angeles, Larry Bell at Kiyo Higashi’ [review], in: Art in America, New York, September, 2002, pp. 143-144
Quinn, Joan A., ‘Focal Point, Around and About with Joan Agajanian Quinn’, in: New York Master Planner, New York, August/ September, 2002, p. 30, ill.
Pagel, David, ‘Bell’s Recycling Project Becomes a Potent Series’, in: Los Angeles Times, Los Angeles, 30, August, 2002
Tourjé, Dave, ‘Artist to Artist’, Grand View, Pasadena, no. 11, July, 2002, ill.
Plagens, Peter, ‘Ferus (at Gagosian Gallery)’, in: Artforum International Magazine, New York, 2002, pp. 130-131
Marcoulesco, Ileana, ‘Larry Bell: Post 9/11 Tableaux and the Time Machine-New Gallery’, in: Artlies, Winter, 2002-2003, p. 83
___, ‘Land Trust Auction Nets Art and Adventures for Patrons’, in: Tempo Magazine, Taos, 22, August, 2002, p. 18
___, ‘Sculpture Along the Way …’ in: Sculpture Magazine, Washington, D.C. vol. 21, no. 5, ., June, 2002
___, ‘Award Artists’, in: Taos Talking Picture and Film Festival, Taos, 2002, p. 37

2001

___, ‘Venice, Italy Ongoing – Jan. 7’, in: Art & Antiques, Annual Asian Issue, Museum Scene, 2001, p. 44
Pulkka, Wesley, ‘Larry Bell’, in: Elevation, The Magazine of Mountain Life, Winter, 2001, p. 78-79
Urquijo, Javier, ‘El Museo Guggenheim acoge la Colección Panza at the Guggenheim Museum, in: Gran Bilbao, Bilbao, 2001, ill.
Quinn, Joan A., ‘Joan Quinn, Etc., Etc., Etc.’, in: Art-Talk, Los Angeles, 2000, November, p. 18
Della Flora, Anthony, ‘Museum Worthy’, in: The Albuquerque Sunday Journal, Albuquerque, 4, February, 2001, p. F1
Ford, Sara, ‘Award Recipients Will Be Taking Home a Bit of Taos’, in: Taos News, Taos, 5, April, 2001, p. 3
Romancito, Rick, ‘Falling for Liz’, in: The Taos News Tempo, 12, April, 2001, pp. 3-4
Marcoulesco, Ileana, ‘Larry Bell: A Passionate Coupling of Light and Space’, in: Sculpture, A Publication of the International Sculpture Center’, Washington, D.C., vol. 20, no. 20, July/August, 2001, pp. 8-9
Chattopadhyay, Collette, ‘New Directions in Non-Objective Sculpture’, in: Sculpture, A Publication of the International Sculpture Center, Washington, D.C., vol. 20, no. 6, July/August 2001, pp. 32-35.
___, ‘New Maverick in Taos’, in: The Daily Breeze, Santa Monica, 10, April, 2001, p. A2
Carasso, Roberta, ‘Artist Display Reflects on Magical Sculpture’, in: Laguna-News Post, Laguna Beach, 9, August, 2001
Collins, Tom, ‘Seeing Differently’, in: Albuquerque Journal, Albuquerque, 14, September, 2001, p. 6
___, ‘Out of L.A. – 6 Californian Artists’, in: Art in America, New York, May, 2001, p. 101
___, ‘Exhibition Update’, Pasadena: The Chouinard Foundation, no. 7, April, 2001, p. 3
___, ‘Gift to the Nation’, in: Friends of Art and Preservation in Embassies, Washington, D.C., 2001, p. 214

1997

Knight, Christopher, ‘Lots Of ‘Sunshine’, in: LA Times, Los Angeles, 27 July 1997

1994

Greene, David, ‘The Shapes Of Things To Come’, Los Angeles Reader, vol. 16, no. 38, 1 July 1994, pp. 20, 26

1991

Heartney, Eleanor, ‘Larry Bell At Shafrazi’, in: Art in America, New York, July 1991, pp. 124-125
Bell, Larry, ‘Roger Kramer’, in: Visions Art Quarterly, Fall 1991, p. 54
Knight, Christopher, ‘From Out West and the ‘Cool School, It’s Abstract Pop’, in: Los Angeles Times, Los Angeles, 14 April 1991

1990

Donnely, Cheryl, ‘Finely Chiseled Furniture’, in: Vogue Decoration International, vol, 28, 1990, pp. 104-109

1985

Jacobs, Jody, ‘Art Vapor Made’, Los Angeles Times, Weekend Guide, Los Angeles, 15 November 1985

1981

Raynor, Vivian, ‘Technology As Medium For Artists’, in: New York Times, New York, 22 February, 1981

1975

___, ‘One Fracture From The Iceberg’, A Magazine of the Fine Arts, vol. 1, no. 13, 1975, p. 49

1973

Dunham, Judith, ‘Larry Bell’, in: Artweek, vol. 4, no. 6, 10 February 1973, p. 5

1971

Plagens, Peter, ‘Los Angeles’, in: Artforum, New York, vol. 10, no. 6, February 1971, pp. 86-90
Terbell, Melinda, ‘Los Angeles’, in: Arts Magazine, vol. 45, no. 4, February 1971, pp. 45-46

1970

Plagens, Peter, ‘Los Angeles’, in: Artforum, New York, vol. 9, no. 2, October 1970, p. 887
Fuller, Peter, ‘Larry Bell, Doug Wheeler, Robert Irwin’, in: Connoisseur, vol. 174, no. 7092, August 1970, p. 285
___‘Los Angeles Artists’ Studios’, in: Art in America, New York, vol. 58, no. 6, November-December 1970, p. 103
Tuchman, Phyllis, ‘American Art in Germany: History of a Phenomenon’, in: Artforum, New York, vol. 9, no. 3, November 1970, pp. 58-69
Terbell, Melinda, ‘Los Angeles’, in: Arts Magazine, vol. 45, no. 2, November 1970, p. 53
Kramer, Hilton, ‘Participatory Aesthetics’, New York Times, New York, 11 January 1970, p. 25
Gluek, Grace, ‘Museum Beckoning Space Explorers’, New York Times, New York, 3 January 1970, p. 34

1969

___, ‘Work In Progress’, Esquire, vol. 72, no. 6, December 1969, p. 216.

1968

Kirby, Michael, ‘Sculpture As Visual Instrument’, in: Art International, October 1968, pp. 35-37
Trini, Tommaso, ‘Larry Bell: Le Pareti Dell’infinito (Vacuum Vision)’, Domus, , no. 460, March 1968, pp. 42-44
Schwartz, Paul W., ‘Paris’, Studio International, February, vol. 175, no. 897, 1968, pp. 95-96
Leider, Phillip, ‘Gallery ‘68: High Art and Low Art, in: Look, Des Moines, vol. 32, 9 January 1968, pp. 12-22
Muller, Gregoirs, ‘Paris: Art’s Common Market’, in: Art and Artists, vol. 2, no. 10, January 1968, pp. 45, 47

1967

___,‘Sculpture’, Time Magazine, vol. 89, no. 19, 12 May 1967, pp. 80,83
Danieli, Fidel, ‘Bell’s Progress’, in: Artforum, New York, vol. 5, no. 10, Summer 1967, pp. 68-71
Tuten, Frederick, ‘In The Galleries, Larry Bell’, Arts Magazine, vol. 41, no. 8, Summer 1967, p. 46
Waldman, Diane, ‘Reviews and Previews’, in: Art News, New York, vol. 66, no. 4, Summer 1967, pp. 12-13
Morris, Robert, ‘Notes on Sculpture, Part 3, Notes and Nonsequiturs’, in: Artforum, New York, vol. 5, no. 10, Summer 1967, pp. 24-29
Leider, Phillip, ‘American Sculpture at Los Angeles County Museum of Art’, in: Artforum, New York, vol. 5, no. 10, Summer 1967, pp. 6-11
Travers, D. ‘American Sculpture of the 60’s’, in: Art and Architecture, vol. 84, no. 5, June 1967, pp. 26-43
Canaday, John, ‘Art: Some Recent History Of Sculpture’, in: New York Times, New York, 29 April 1967, p. 31
Davis, Douglas, ‘From New Materials…Sculpture’, in: National Observer, Washington D.C., February 20 1967, p. 22

1966

Plagens, Peter, ‘Present Day Styles and Ready Made Criticism’, in: Artforum, New York, vol. 5, no. 4, December 1966, pp. 36-39
Aldrich, Larry, ‘New Talent USA’ in: Art in America, New York, vol. 54, no. 4, July-August 1966, pp. 22-69
Smithson, Robert, ‘Entropy And New Moments’, in: Artforum, New York, vol. 4, no. 10, June 1966, pp. 26-31
Danieli, Fidel, ‘New York From Los Angeles’, in: Art News, New York, vol. 65, no. 1, March 1966, pp. 20, 74
Von Meier, Kurt, ‘Los Angeles Letter’, in: Art International, vol. 10, no. 3, March 1966, pp. 48, 53
Coplans, John, ‘5 Los Angeles Sculptors At Irvine’, in: Artforum, New York, vol. 4, no. 6, February 1966, pp. 33-37
Bourdon, David, ‘Boxing Up Space’, in: The Village Voice, New York, February
18, 1966
Lippard, Lucy, ‘New York Letter’, in: Art International, vol. 10, no. 2, February 1966, pp. 52-53
Bochner, Mel, ‘In The Galleries: Larry Bell’, in: Arts, vol. 4, no. 3, January 1966, pp. 54-55
Coplans, John, ‘Los Angeles: Object Lesson’, in: Art News, New York, vol. 64, no. 9, January 1966, p. 40
Factor, Don, ‘Larry Bell, Ferus Gallery’, in: Artforum, New York, vol. 4, no. 5, January 1966, pp. 12-13
Rose, Barbara, ‘Los Angeles, The Second City’, in: Art in America, New York, vol. 54, no. 1, January-February 1966, pp. 110-115

1965

Glueck, Grace, ‘New York Gallery Notes’, in: Art in America, New York, vol. 53, no. 6, December 1965, p. 121
Coplans, John. ‘Larry Bell’ in: Artforum, New York, vol. 43, no. 9, June 1965, pp. 27-29
Ashton, Dore, ‘New Sculpture Fresh In Old Techniques’, in: Studio International, New York, vol. 169, no. 866, June 1965, p. 263
Coplans, John, ‘New Abstraction On The West Coast, USA’, in: Studio International, New York, vol. 169, no. 865, June 1965, pp. 192,199.
Rickey, George, ‘Scandale De Succes’, in: Art International, vol. 9, no. 4, May 1965, pp. 16-23
Hess, Thomas B, ‘You Can Hang It In The Wall’, in: Art News, New York, vol. 64, no. 2, April 1965, pp. 41-43, 49-50
Lippard, Lucy, ‘New York Letter’, in: Art International, vol. 9, no. 32, March 1965, p. 46
Judd, Donald, ‘Specific Objects’, in: Arts Yearbook, vol. 8, pp. 74-82

1964

Ashton, Dore, ‘Art’, in: Art and Architecture, vol. 81, no. 6, June 1964, pp. 9, 33
Tillim, Sidney, ‘In The Galleries’, in: Arts Magazine, vol. 38, no. 10, September 1964, pp. 62-63
Coplans, John, ‘Formal Art’, in: Artforum, New York, Summer 1964, pp. 42-43
Leider, Phillip, ‘The Cool School’, in: Artforum, New York, Summer 1964, p. 47
Coplans, John, ‘Circle of Styles on The West Coast’, in: Art in America, New York, vol. 52, no. 3, June 1964, pp. 24-41
Wolfe, Claire, ‘California Hard Edge Painting’, in: Artforum, New York, vol. 2, no. 11, May 1964, pp. 14-15
Factor, Donald, ‘Boxes’, in: Artforum, New York, vol. 2, no. 10, April 1964, pp. 20-23
Hopps, Walter, ‘Boxes’, in: Art International, vol. 8, no. 2, March 1964, p. 38-41
Danieli, Fidel, ‘Larry Bell, Ferus Gallery’, in: Artforum, New York, New York, vol. 2, no.7, January 1964, p. 41
Langsner, Jules, ‘New York from Los Angeles’, in: Art News, New York, vol. 62, no.9, January 1964, p. 50

1963

Coplans, John, ‘Three Los Angeles Artists’, in: Artforum, New York, vol. 1, no. 10, April 1963, pp. 29-31
Langsner, Jules. ‘America’s Second Art City’, in: Art In America, New York, vol. 51, no. 2, March-April 1963, pp. 127-131

1962

Langsner, Jules, ‘Los Angeles Letters’, in: Art International, Lugano, vol. 6, no. 7, September 1962, p. 50

Arte Concreto

A Different Corner, 2018 Painting Acrylic and graphite on raw hide over wood panel
A Different Corner, 2018

¿Qué es Arte Concreto?
«Arte concreto». El término se ha vuelto histórico, pero el contenido es tan relevante como lo fue a principios del siglo XX.»
Se ha denominado arte concreto a aquellas expresiones artísticas basadas en la línea, el punto, el color y el material como lenguaje; independiente de la reproducción de objetos reconocibles, es decir, del figurativismo; donde el énfasis está en la construcción de la obra en sí misma, en lugar de en su contenido o significado subjetivo.
Podría decirse que fue una evolución del arte geométrico que se había desarrollado en Europa, en el siglo XIX, influido por los avances en la geometría y la matemática.
La denominación “concreto” o “concretista” se consolida en Suiza, en el período de la posguerra (1945) por artistas que trabajaban en la corriente de la abstracción geométrica Nace como oposición al arte abstracto, desechando los vestigios simbólicos que este puede traer a causa de su origen en la abstracción de la representación del mundo.
Se desarrolla paralelamente con el informalismo. Con Richard Paul Lohse y Zdenek Sykora, se cultiva una pintura de abstracción geométrica, del tipo “borde duro”.
La relación entre abstracción y arte concreto queda patente en la exposición de la Galería René Drouin de París de 1945, ya que se trata de la primera exposición importante de arte abstracto, y su título fue precisamente “Art Concret”.

Richard Paul Lohse, 1949 Diffusion of two groups of colour

En este arte se excluye todo tipo de ilusionismo; allí los materiales son ellos mismos, no simulan nada, por lo tanto la obra y los elementos constitutivos se presentan tal cual son.

Zdenek Sykora (1988)
Con predominio de elementos geométricos sencillos (círculos, cuadrados, triángulos) y creación de tensiones, la expresión plástica se basa más en la línea y la superficie.
La forma tiene más importancia que el color.
El arte concreto intenta abandonar cualquier aspecto característico nacional o regional y se aleja de cualquier connotación lírica o simbólica; y, negando las corrientes artísticas subjetivistas, rechaza el sensualismo como expresión de sentimientos.
El objetivo del arte concreto es ser universalmente claro, producto no de la mente irracional, como mostraba el surrealismo, sino de la mente racional y consciente de un artista, libre del ilusionismo y de simbolismos. El arte concreto debe ser una entidad en sí más que un vehículo para ideas espirituales o políticas.
Por lo tanto, esta forma de expresión artística, debe ser libre de cualquier asociación simbólica con la realidad. Los artistas argumentan que las líneas y los colores son concretos por sí mismos y que la pintura concreta no tiene otro significado que ella misma.
El arte concreto trabaja con superficies, sonidos, silencios, encuadres escenográficos, crea un lenguaje autónomo, que no necesita mantener relación con los temas tradicionales o figurativistas.
El arte concreto es heredero de las investigaciones del grupo De Stijl (El estilo), de Piet Mondrian y Theo Van Doesburg, que busca la pureza y el rigor formal en el orden armónico del universo.

Piet Mondrian, 1927

Mondrian (1943)

Theo Van Doesburg lo describió como un movimiento artístico con fuerte énfasis en la abstracción; utilizando las formas geométricas y el análisis de los elementos plásticos, sin un modelo objetivo de estructura.
Y había señalado que, para ser universal, el arte debe abandonar la subjetividad y encontrar la inspiración impersonal únicamente en los elementos con los que se construye: línea, plano y color.
Ese mismo año funda un grupo llamado “Arte concreto”, junto con otros cuatro artistas: Heinz Mack, Yaacov Agam, Pol Bury y Jesús Rafael Soto.
Afirmaba que “lo concreto es la intencionalidad pictórica, visual, impactante, retórica, mientras que lo abstracto será todo aquello que rodeará los planos que se entrecruzarán entre espectadores y sus ojos recibirán aquello que el artista asumió en el momento de su realización, utilizando colores planos, donde predomina la forma sobre el color”.
Ya sea pintura, dibujo o multimedia, arte concreto es un tipo de arte que no depende de referencias visuales de la vida real, más bien utiliza formas, colores y líneas, de manera que pueden capturar un sentimiento o emoción en lugar de crear una semejanza literal.
El “Manifiesto del Arte Concreta” publicado en la primera y única edición de la revista Art Concret, lanzó las bases conceptuales de este movimiento. En el mismo declaraban:

  1. El arte es universal;
  2. La obra de arte debe estar completamente concebida y moldeada por la ejecución de espíritu. No recibe datos de la naturaleza formal, o sensualidad, o el sentimentalismo. Queremos excluir lirismo, dramatismo, simbolismo, etc.;
  3. La pantalla debe ser completamente construida con elementos puramente visuales, sus planos y colores. Un elemento pictórico no tiene sentido diferente de “sí mismo” en la pantalla la consecuencia es “él mismo”;
  4. La construcción de la pantalla, también controlable visualmente;
  5. La técnica debe ser mecánica, anti-impresionista;
  6. Esfuerzo de claridad absoluta.
    El arte concreto influyó en otros movimientos artísticos como el minimalismo y el arte cinético, y se considera una de las corrientes artísticas más importantes y originales del siglo XX.

Cuando en 1930, Theo Van Doesburg emite el manifiesto denominado “Arte
Concreto”, lo lanza en repuesta a la formación de la asociación “Cercle et Carré”.
Cercle et Carré o Círculo y Cuadrado, fue un movimiento artístico que se inicia en
París en 1929; fundado por Joaquín Torres García y Michell Seuphor, su objetivo era
promover la abstracción geométrica. Realizaron una exposición colectiva en la
Galería 23, en Paris (1930) con 43 artistas, entre los cuales figuraban Kandinsky,
Mondrian y Vantongerloo.
Surge la motivación de los artistas y se conforman tres movimientos que serían el
mencionado Cercle et Carré (1929); Art Concret (1930) y Abstraction Creation
(1931) unidos con el fin de proyectarse como una fuerza internacional, para así
enfrentar la hostilidad del público y plantear un debate estético al Surrealismo,
generalmente caracterizado por el constructivismo, con el que discrepan
frontalmente.
Realizan dos exposiciones que serán decisivas para la solidificación de estos
movimientos.

El término “arte concreto” es creado por Theo Van Doesburg en Europa, aunque
posteriormente fue adoptado por el movimiento que surgió en Brasil y Argentina en
la década de 1940.
Es importante destacar que el arte concreto en Brasil y Argentina tenía
características propias, distintas de las del movimiento original en Europa. Los
artistas sudamericanos se enfocaron en la creación de obras de arte concretas que
pudieran interactuar con el espectador y producir una experiencia espacial y
sensorial, además de utilizar materiales y técnicas locales en la producción de sus
obras, lo que les proporcionó una identidad propia dentro del movimiento. En
consecuencia, el arte concreto se convirtió en un movimiento importante en la
historia del arte latinoamericano del siglo XX.
No se puede soslayar el lugar significativo que tiene Theo Van Doesburg como uno
de los más importantes creadores del neoplasticismo. Es así que reviste importancia
hacer una breve semblanza de su vida y obra.
Nace en Utrecht, en 1883, como Christian Emil Marie Küpper; después, este
arquitecto, pintor y teórico de arte, adoptaría el seudónimo de Theo Van Doesburg.
Tras unos inicios figurativos se centró, influido por Kandisky, en una forma de
abstracción geométrica y gracias a su amistad con Mondrian, funda el grupo y la
revista “De Stijl” (“El Estilo”).
El movimiento, surgido en la segunda década del siglo XX, supuso un cambio
profundo en la manera de entender y realizar el arte en general, no solo en la
pintura, sino también en la escultura, la arquitectura, el diseño de muebles y el
diseño gráfico.
Colaboró también en proyectos arquitectónicos y escribió textos teóricos, tal como
Principios fundamentales de las nuevas artes plásticas, (1925), además de llevar a
cabo un importante papel de difusión de los principales centros artísticos.
Su posterior evolución lo convierte en punto de referencia clave para los grupos
abstractos de los años treinta y a él se debe el proyecto del grupo Abstracción-
Creación.

Theo Van Doesburg

Retrocediendo en la historia se puede encontrar que, en 1918, luego de la Primera
Guerra Mundial, surge el “Manifiesto Dadá”, o dadaísmo. El Dadaísmo declara la
intención de destruir todos los códigos y sistemas establecidos en el mundo del arte.
Se presenta como un movimiento antiartístico, antiliterario y antipoético, ya que
cuestiona la existencia del arte, la literatura y la poesía.
Ese mismo año, Theo van Doesburg y otros artistas y pintores, como Piet Mondrian,
se oponen y publican el “Manifiesto del Neoplasticismo, totalmente antagónico al
dadaísta, alegando que si los dadaístas querían destruir el arte, ellos querían su
renovación total.
El manifiesto señalaba que el arte resultante no debe ser referencial en la medida en
que sus componentes no deban referirse, o aludir a, las entidades que normalmente
se encuentran en el mundo natural y visible
Frente a la irracionalidad y el azar, oponían una razón ordenadora, capaz de crear un
estilo de formas simples y claras, caracterizado por el uso de colores primarios, que
fuese aplicable a todas las manifestaciones plásticas.

Es así como el empeño de Van Doesburg se enfoca en la defensa de una utopía, a la
vez racionalista y humanista, plasmada sobre todo en sus proyectos de decoración de
interiores, en los que se integraban pintura y arquitectura.
En 1924, se publica los “Principios de Arte Neoplástico”, en la Bauhaus; esta es una
institución antiacadémica y un centro pedagógico y experimental de las artes,
considerada como la primera escuela de diseño del mundo, que funda las bases para
el diseño moderno.

Ese mismo año Van Doesburg dio diversas conferencias en Europa y se rebeló
contra la insistencia programática de Mondrian en la utilización exclusiva de líneas
verticales y horizontales. Es así que realiza su primera “Contraposición”, en donde
introduce las diagonales y da comienzo a una nueva dirección del neoplasticismo,
que se conoce como elementarismo.

Composición en gris

Counter composition XIII (1926)

Mondrian consideraría prácticamente “una herejía” esta actitud de Van Doesburg y
éste se distancia del grupo De Stijl. Gracias a ello se convierte, a principios de los
años treinta, en la fuerza impulsora del nuevo grupo abstracto parisino llamado
Abstracción-Creación.
Theo Van Doesburg llevó a cabo proyectos de decoración de interiores,
generalmente en colaboración con otros artistas, en donde las continuidades o
también las rupturas cromáticas modulan los espacios y los intensifican, para así
integrarlos en una unidad color-arquitectura indisociable en lo visual.
En 1923 realizó, entre otros proyectos, el vestíbulo de la Universidad de Amsterdam.
En 1928, la decoración para el Café L’Aubette de Estrasburgo, realizada con la
colaboración de Hans Arp y Sophie Täuber.

Café L’Aubette

Allí concibió la articulación de paredes y techos a través de grandes bajorrelieves,
resaltando un estupendo juego de diagonales, que promovía enlaces entre las
distintas superficies; de este modo logra establecer una continuidad entre los
diversos espacios de las salas.

El trabajo de Van Doesburg se extendió durante los años treinta a partir de la obra
del grupo De Stijl, en torno al pintor suizo Max Bill (1908-1994) y de los futuristas
y Kandisky.
Otro de los grandes impulsores del arte concreto fue Max Bill (1908-1994); un
arquitecto, pintor, escultor, diseñador gráfico, tipográfico e industrial, publicista y
educador suizo. Estudió en la Escuela Superior de las Artes de Zurich y en la
Bauhaus de Dessau. Fue el primer rector de la escuela HfG de Ulm y formó parte del
grupo Abstraction-Création desde 1932 hasta 1937.
La obra e ideas de Max Bill tuvieron trascendencia, al punto que organizó la primera
exposición internacional (1944), y dio sus frutos en el norte de Italia, Francia y en
Colombia, en los años 1940 y 1950; a través de la obra de grupos como
“Movimiento d’arte concreta” (MAC) y “Espace”. También fue llevado a la práctica
por el grupo “ Abstraction-Création ” y, en años posteriores, en Uruguay y en
México.

Max Bill. Radazione Duplicate (1921)

Otros artistas de esta tendencia fueron Naum Gabo (1890-1977) y Auguste Herbin
(1882-1960).

Naum Gabo Pintura Madí A-3, 1946-

Auguste Herbin Composición (1940)

Entre las características generales del Art Concret están:

  • Rechazo de toda relación con lo natural, lo objetivo y lo simbólico.
  • Utiliza la representación de ideas abstractas en una nueva realidad de carácter
    universal y constante.
  • La expresión plástica se basa, principalmente, en la línea y la superficie,
    relegando al color a un segundo plano.
  • Empleo de elementos geométricos sencillos (círculos, cuadrados, triángulos) y
    creación de tensiones.
  • La forma tiene más importancia que el color.
  • Composiciones geométricas formando estructuras que recuerdan construcciones o
    arquitecturas.
  • Emplea colores planos creando efectos cromáticos de espacio y vibración
    plástica.
    En otras palabras, el arte concreto es una modalidad de la abstracción que, mediante
    el empleo de formas geométricas y el análisis de los elementos plásticos, descarta
    toda referencia a un modelo, a la vez que se propone desarrollar un sistema objetivo
    de composición.
    En él, la expresión plástica se basa, principalmente, en la línea y la superficie,
    relegando al color a un segundo plano. Empleo de elementos geométricos sencillos
    (círculos, cuadrados, triángulos) y creación de tensiones. La forma tiene más
    importancia que el color.
    “La obra de arte no debe recibir nada procedente de las propiedades formales de la
    naturaleza o de la sensualidad o sentimentalismo, puesto que un elemento pictórico
    no tiene más significado que él mismo, y, por lo tanto, el cuadro no tiene otro
    significado diferente”.(Van Doesburg)

ART CONCRET (Max Bill)

En este arte se excluye todo tipo de ilusionismo; la obra y los elementos de los que
consta se presentan estrictamente en cuanto a lo que son, sin cualidades virtuales.
Los materiales no simulan nada que no sean ellos mismos. El eslogan “materiales
reales, espacio real” se emplea con frecuencia en relación a esta forma artística.
En resumidas cuentas, en palabras de unos de los artistas destacados de este
apartado, Max Bill, sostiene que “la pintura concreta elimina toda presentación
naturalista, aprovecha los elementos fundamentales de la pintura, el color y la forma
de la superficie”. Es decir, su esencia es la libertad de cualquier modelo natural: la
pura creación.
A la muerte de Van Doesburg, acaecida en 1931, sus ideas son retomadas a finales
de los años 30 por los artistas suizos: Max Bill y Jean Arp, quienes publican varias
obras y realizan importantes exposiciones de pintura, escultura y artes aplicadas.

Max Bill

Jean Arp

Algunas diferencias entre Arte Concreto y Arte Abstracto.
En un sentido general, el «arte abstracto» con frecuencia incluye la «abstracción de
formas en la naturaleza», pero el «arte concreto» dimana directamente de la mente
«y, por consiguiente, es más» cerebral «que el arte abstracto en general,
El arte concreto a menudo está compuesto de características visuales básicas como
planos, colores y formas.
El sentimiento tiende a estar ausente del arte concreto La mano del artista puede ser
difícil de detectar en obras de arte concreto.
El arte concreto puede parecer, en algunos casos, haber sido realizado por una
máquina.
El arte concreto a menudo tiene una referencia visual fundamental a la geometría,
mientras que el arte abstracto, más general, puede encontrar su base en
componentes del mundo natural.
Según el manifiesto de Theo Van Doesburg: “el arte concreto no debe recibir nada
de la naturaleza, propiedades formales o de la sensualidad o el sentimentalismo.
Queremos excluir el lirismo, el dramatismo, el simbolismo, etc”. “En el arte
concreto, una ecuación matemática puede servir como punto de partida. El arte
concreto puede incluir pintura y escultura”.
La pintura debe estar completamente construida con elementos puramente plásticos,
es decir, superficies y colores. Un elemento pictórico no tiene ningún significado
más allá de «sí mismo»; como consecuencia, una pintura no tiene otro significado
que no sea “sí mismo”.
La construcción de una pintura, así como la de sus elementos, debe ser simple y
visualmente controlable.
La técnica de pintura debe ser mecánica, es decir, exacta, antiimpresionista.
Un esfuerzo hacia la claridad absoluta es obligatorio.

Algunas citas
Theo van Doesburg: “La obra de arte debe estar Totalmente diseñada en la mente
antes de ejecutarse. No debe contener nada de las condiciones formales de la
naturaleza, los sentidos y los sentimientos. Queremos desactivar el lirismo, el
drama, simbolismo, etc. La imagen debe Construirse exclusivamente de elementos
plásticos, a partir de superficies y colores. Un elemento de imagen no tiene otro
significado que él mismo”.
“El color es la sustancia básica de la pintura; sólo significa en sí mismo. Pintar es un
medio para realizar visualmente la idea: cada imagen es un pensamiento en color.
Antes de que el trabajo se traduzca en materia, está completamente en conciencia.
Es necesario que la realización tenga una perfección técnica igual a la del diseño
intelectual. Trabajamos con las magnitudes de las matemáticas (euclidianas o no
euclidianas) y la ciencia, es decir, con los medios del pensamiento”. «La pintura es
un medio para realizar visualmente la idea».
Richard Paul Lohse: “El número reemplaza al individuo, los temas asumen la
función expresiva del elemento” “La tarea crucial es activar el proceso lógico-
sistemático de tal manera que emerja una formulación artística dinámica y los
principios de orden emergen como un medio para clasificar esta intención”.
Y refiriéndose al objetivo del arte concreto, Max Bill formula, en 1949, en su
introducción al catálogo de la exposición Arte concreto de Zurich:
«… el objetivo del arte concreto es desarrollar objetos para uso intelectual, así como
el hombre crea objetos para el uso material. El arte concreto en su consecuencia
final es la expresión pura de la medida armónica y la ley. Organiza sistemas y da
vida a estas reglas con medios artísticos «.
Bases de la Pintura Concreta, antecedentes teóricos
En 1930, en el primer número de Cercle et Carré, Michel Seuphor definió el papel
del artista abstracto. Se señalaba que éste debía “establecerse, sobre los cimientos de
un arte simple, severo y sin adornos.

El historiador del arte Werner Haftmann indaga la trayectoria y la propuesta de
Seuphor y la vincula a la síntesis del constructivismo ruso y el neoplasticismo
holandés en la Bauhaus, donde la pintura abandonó la artificialidad de la
representación de autenticidad tecnológica y se mezcló con la arquitectura y la
ingeniería.
Algunos artistas como Victor Vasarély, Jean Dewasne, Mario Negro y Richard
Mortensen, sólo llegaron a la pintura después de estudiar ciencias. Sin embargo,
todos los avances teóricos buscan la justificación en la práctica pasada, y en este
caso las proporciones matemáticas expresadas en forma abstracta deben identificarse
en las varias formas de arte utilizadas durante milenios. Es por eso que Hartmann
sostenía que “la eliminación de las imágenes representativas y el uso abierto de la
geometría pura no significaban un rechazo radical y definitivo del gran arte del
pasado”.
Theo Van Doesburg proclamó el concepto de Arte Concreto en 1924, y en 1930 fue
introducido en el programa ese mismo año por el grupo de arte Art concret. Se
preveía que, en el caso ideal, el arte puramente concreto debería basarse en
parámetros puramente matemáticos y geométricos.
El arte concreto no es abstracto en el sentido literal de la palabra, ya que no abstrae
la realidad material, sino que materializa los principios espirituales ideales.
Asimismo concreto no tiene ningún significado simbólico propio; más bien, genera
construcciones puramente geométricas y especulativas para el maestro.
El artista y escultor suizo Max Bill, se expresó en 1949 de la siguiente manera: “El
arte concreto se impone la tarea de crear valores espirituales que estén listos para ser
consumidos de la misma manera que una persona crea objetos materiales. Las obras
de arte concreto en su etapa final de desempeño son el estándar más puro de medida
y orden de armonía. Organiza sistemas y utiliza medios artísticos para dar vida a
este orden”.
El arte concreto difiere del abstraccionismo y del constructivismo principalmente
porque se desarrolla al estudiar las leyes de las matemáticas y el pensamiento
científico (en primer lugar, la armonía de las figuras geométricas), concentrándose

en la interacción de la forma y el color en el dibujo y en los estudios de las
posibilidades. de transferencia de color.
De acuerdo con las ideas de los artistas de esta dirección, la obra de arte primero
tiene que «madurar» por completo en la imaginación del maestro, y solo entonces se
traslada al lienzo.
No puede tener influencia de la naturaleza, los sentimientos o la razón; los
acontecimientos momentáneos o el simbolismo, no deben afectar el proceso de
creación.
La imagen debe ser creada únicamente a partir de elementos plásticos formales y
ninguno de estos elementos de la imagen debe tener un significado independiente.
Cómo se fue desarrollando y difundiendo el Arte Concreto
Algunos de los integrantes del grupo Abstraction-Création, que reunía todas las
tendencias modernistas, llevaron la idea del arte de inspiración matemática y el
término «Arte Concreto» a otros países cuando se mudaron a otros lugares. Figura
importante es Joaquín Torres García, uruguayo, creador del universalismo
constructivo y del Taller Torres García, uno de los principales movimientos
artísticos de su país. quien regresó a Sudamérica en 1934 y fue mentor de artistas.
Algunos de ellos fundaron el grupo Arte Concreto Invención en Buenos Aires en
1945.
Otro fue el diseñador Max Bill, que había estudiado en la Bauhaus en 1927-1929.
Después de regresar a Suiza, ayudó a organizar el grupo Allianz para defender los
ideales del arte concreto. En 1944 organizó la primera exposición internacional en
Basilea y al mismo tiempo fundó abstract-konkret, el boletín mensual de la Gallerie
des Eaux Vives en Zurich.
En 1951, Groupe Espace se fundó en Francia para armonizar la pintura, la escultura
y la arquitectura como una sola disciplina. Esto reunió a escultores y arquitectos con
artistas antiguos como Sonia Delaunay y Jean Gorin y los recién emergentes Jean
Dewasne y Victor Vasarély. Su manifiesto se publicó en L’Architecture
d’Aujourd’hui ese año y se colocó en las calles de París, defendiendo la presencia

fundamental de las artes plásticas en todos los aspectos de la vida para el desarrollo
armonioso de todas las actividades humanas. Se extendió al lado de la política
práctica, habiendo elegido como presidente honorario al Ministro de Reconstrucción
y Desarrollo Urbano, Eugène Claudius-Petit.
El arte concreto, a través del tiempo se fue distanciando y marcando diferencias
entre arte geométrico y abstracción, surgiendo el arte óptico, arte programático y
arte cinético. Asimismo amplió su influencia hacia la escultura y la fotografía.
La justificación de esto fue teorizada en América del Sur en el Manifiesto Neo-
Concreto de 1959, escrito por un grupo de artistas en Río de Janeiro que incluía a
Lygia Clark, Hélio Oiticica y Lygia Pape.
Lygia Clark fue una artista brasileña, cofundadora del Movimiento Neoconcreto,
comprometida con redefinir la relación entre el arte y el ser humano a nivel
conceptual y sensorial. Realizó pinturas, esculturas, instalaciones y acciones
sensoriales vinculadas al arte y a la psicoterapia.
Junto con Hélio Oiticica funda el Movimiento Neoconcreto, que promulgaba un arte subjetivo y orgánico, donde el espectador tenía un rol fundamental manipulando objetos móviles tridimensionales y modificando su apariencia. Se proponían abolir el rol tradicional del objeto frente al espectador contemplativo, lo que sería el inicio de su trabajo posterior orientado como apoyo terapéutico al psicoanálisis.
En 1969 participó en un simposio de arte sensorial en Los Ángeles. En 1972 fue invitada a impartir un curso sobre comunicación gestual en La Sorbona. Sus clases eran experiencias colectivas que manipulaban los sentidos. Trabajaba con grandes grupos de estudiantes, con los que buscaba por medio de ejercicios la liberación a través de la expresión.
La propuesta consistía en revivir experiencias grabadas a nivel sensorial de las primeras etapas de la vida, despertando a través de los objetos la energía sensorial voluntariamente reprimida. Utilizando los objetos como herramienta de autoconocimiento y comunicación interpersonal. La textura, temperatura, peso y sonoridad de los objetos en el uso guiado por la artista, provocaba en cada participante diferentes conexiones internas.

Los últimos años los dedicó a este tipo de terapia y su trabajo en el área del psicoanálisis es invaluable.
Son numerosas las exposiciones de su obra así como las experiencias sensoriales que se continúan realizando a través de su legado. En 2014 el MoMA realizó una gran exposición retrospectiva de su obra y en 2020 el Museo Guggenheim Bilbao organizó una exhibición sobre su trabajo entre 1948-1958.

Lista de algunos de los artistas más destacados y no destacados que trabajaron el
arte concreto en Argentina:
Alfredo Hlito
Tomás Maldonado
Raúl Lozza
Juan Melé
Lidy Prati
Enio Iommi
Claudio Girola
Virgilio Villalba
Antonio Fernández
Muro
Martha Boto
Gyula Kosice
Julio Le Parc
Gregorio Vardanega
Kenneth Kemble
Ricardo Carpani
Juan Carlos Distéfano
Osvaldo Borda
Francisco Sobrino
Miguel Ángel Vidal
Eduardo Mac Entyre
Eduardo Jonquières
Alberto Molenberg
Matilde Marín
Pablo Suárez
Rubén Santantonín
Ary Brizzi
Josefina Miguens
Rosa Skific
Martín Blaszko
Anatole Jakovsky
Rogelio Polesello
Luis Tomasello
Martha Peluffo
Marta Minujín
Alfredo Portillos
León Ferrari
Ernesto Deira
Kenneth Noland
Guillermo Kuitca
Norberto Gómez
Horacio García Rossi
Eduardo Stupía
Rogelio Polesello
Pablo Siquier
Tulio de Sagastizábal
Enio Iommi
Remo Bianchedi
Guillermo Roux
Rubén Naranjo
Elsa Soibelman
Eduardo Rodríguez
Juan Batlle Planas
Marta Chilindron
Diego Bianchi
Miguel Ángel Ríos
Fabián Marcaccio

Trabajaron con una variedad de medios, desde la pintura y la escultura hasta la instalación y el arte cinético. Muchos de ellos también estuvieron involucrados en la formación de grupos y colectivos de arte, como el Grupo de Arte Moderno de

Buenos Aires (GAMBA) y el Grupo de Arte Concreto-Invención, que jugaron un papel fundamental en la promoción y el desarrollo del arte concreto en Argentina y en toda América Latina.
También en Brasil hubo destacada actuación de los artistas en el arte concreto, entre los principales se encuentran:
Lygia Clark
Hélio Oiticica
Lygia Pape
Geraldo de Barros
Waldemar Cordeiro
Hermelindo Fiaminghi
Willys de Castro
Almir Mavignier
Ivan Serpa
Sérgio Camargo
Lothar Charoux
Amilcar de Castro
Abraham Palatnik
Franz Weissmann
Judith Lauand
Luiz Sacilotto
Carlos Cruz-Diez
Mira Schendel
Tomie Ohtake
Kazmer Féjer
Carlos Fajardo
Regina Silveira
César Paternosto
José Resende
Tunga
Eduardo Sued
Leon Ferrari
Anna Bella Geiger
Antônio Dias
Gego
José Roberto Aguilar
Carlos Zilio
Iole de Freitas
Waltercio Caldas
José Bechara
Artur Lescher
Julio Le Parc
Carmela Gross
Sergio Lucena
Raymundo Colares
Paulo Monteiro
Carlos Vergara
Paulo Roberto Leal
Fábio Miguez
Décio Vieira

Lista de artistas destacados y no destacados que trabajaron en el arte concreto en Europa:

Max Bill (Suiza)
Georges Vantongerloo (Bélgica)
Josef Albers (Alemania)
Hans Arp (Alemania)
Richard Paul Lohse (Suiza)
Camille Graeser (Suiza)
Victor Vasarely (Hungría/Francia)
Auguste Herbin (Francia)
Sophie Taeuber-Arp (Suiza)
Piet Mondrian (Países Bajos)
Theo van Doesburg (Países Bajos)
Michel Seuphor (Bélgica)
François Morellet (Francia)
Vera Molnar (Hungría/Francia)
Julio Le Parc (Argentina/Francia)


Gruppo T (Italia)
Giovanni Anceschi
Davide Boriani
Gianni Colombo
Gabriele De Vecchi
Grazia Varisco

Gruppo N (Italia)
Ennio Chiggio
Alberto Biasi
Toni Costa
Edoardo Landi
Manfredo Massironi

Gruppo Zero (Alemania/Italia)
Heinz Mack
Otto Piene
Günther Uecker
Lucio FontanaYves Klein

Gruppo Enne (Italia)
Enrico Castellani
Agostino Bonalumi
Piero Manzoni
Dadamaino
Grazia Varisco

Gruppo 7 (Países Bajos)
Willem Hussem
Jan Henderikse Armando
Henk Peeters
Jan Schoonhoven


Hay que tener en cuenta que estas listas no son absolutas y que hay muchos otros artistas que han participado y aún participan en el trabajo del arte concreto en el mundo. Cada uno de ellos ha hecho una contribución significativa al movimiento, ya sea a través de su responsabilidad individual, su participación en colectivos o su trabajo en proyectos colaborativos

Artistas Del Arte concreto

Why Oil Paint Is So Expensive

Concrete Art Theo van Doesburg
Concrete Art Theo van Doesburg

Why Oil Paint Is So Expensive

Oil paint is simple. At its most basic, it’s just a mixture of oil and pigment. But depending on the color and quality, a liter of this paint could cost you between $285 and $1,000. So what is it that makes this paint so special, and why is it so expensive? Oil paint has been used for hundreds of years. It’s made from a drying oil, like flaxseed, and pigment, sometimes with fillers and thickeners added. When mixed and crushed, these ingredients bind and thicken to form a permanent paint. While the rise of oil paint is associated with the Renaissance, paintings using poppy-seed oil have been dated as far back as seventh-century Afghanistan. But there’s one key reason this paint hasn’t ever been cheap: Pigments cost a lot of money.

Tegen Hager-Suart: So in a good oil paint, you’re gonna be looking for a high pigment loading and a good-quality pigment in that high pigment loading. So it doesn’t matter if you have loads of pigment if it’s a bad-quality pigment. You’re looking for lightfastness so it doesn’t fade, and tests on lightfastness that have been going on for generations, in fact, for some pigments, so you’re not gonna create a masterpiece and then 50 years down the line it’s completely washed out. [Narrator] The highest-quality oil paint can be up to 75% pigment, and throughout history, the most sought-after pigments have been worth far more than their weight in gold. And that’s because they take a lot of work to discover and to make. The favorite imperial color in Roman times, Tyrian purple, was a bright pigment made from the glands of sea snails, and it could take 12,000 snails to make just 2 grams of the color.

Indian yellow was originally made from the urine of cows fed only on mango leaves, and in the 16th to 19th centuries, mummy brown was actually made with the ground-up remains of Egyptian mummies, and while the color was perfect for some flesh tones, we quickly ran out of mummies to use. Hager-Suart: Pigments do dramatically change the cost, and in professional levels, you’ll have series, so you’ll have probably a series one, well, up to series seven. The higher the number, the more expensive it is. And that’s due to the pigments, how difficult they are to obtain, where they come from, and also how in-demand they are as a product in the real world. [Narrator] Possibly the most valuable, though, was ultramarine, literally meaning “beyond the sea,” as it had to be mined in Afghanistan. It was made from lapis lazuli, which in its purest pigment form can still cost up to $30,000 per kilo. The gemstone was used to make the pigment until a synthetic version was created in 1826, and the vibrant blue was valued so highly in the Renaissance that it was generally reserved for painting the robes of the Virgin Mary.

Synthetic versions of many of these pigments have now been created, and while this means many are cheaper, some can still be difficult to produce. Cobalt blue, for example, has to be made by heating its components to 1,200 degrees Celsius. And once you have these pigments, they’re tricky to work with. Winsor & Newton has been making oil paints for almost 200 years, and its factory in France produces over 5 million liters of paint each year. Dominique Murzeau: In fact, produce paint is like cooking. So here you have mixing, so we are mixing components like pigments and other additives like oil. We are then milling. So it depends. We’re using different type of machines So we’re using granite, ceramic, or steel. Then we are testing, OK, so testing the viscosity of the grain and, of course, the color.

Hager-Suart: The whole process is so select. So for every single pigment, you need to handle it in a particular way. So it will need a particular amount of oil with it, and that ratio changes for every pigment. And you’re going to need to grind it to a particular fineness, and actually even with the same pigment the milling and the grinding will affect the color you have. So if you overgrind you might end up with something duller, or with another color if you grind it very fine; you might end up with a purple rather than a blue. [Narrator] The research and testing for these colors can take months or even years to get right. Small samples of each color are made in a lab to measure consistency and lightfastness. Above all else, the quality of oil paint needs to be reliable, as professional artists need to guarantee that what they’re working on now will last for hundreds of years.

And despite comparatively new paints like acrylic, oil still remains an artist favorite. Hager-Suart: We’ve still got works that are still beautiful and relevant from the 15th century. And it’s also, it’s durable, and it has this ability to layer, where you can scrape back, you can keep working, you can work on a piece for years and keep on redoing it, and it gives every piece this history. And, you know, the materials themselves are expensive. They’re reliable. They’re gorgeous. I mean, they come out of the painting at you..

For centuries, oil paint has been a favourite of artists because of its unmatched richness and its unequivocal luminosity, a true classic. The history of oil pigments is an interesting one, and can be called weird too. How mankind came to create pigments is an intriguing read.

Did you know they do not make the colour ‘mummy brown’ anymore as they ran out of mummies to make mummy brown pigment! Yes, you read it correctly. Many names that you read are given to the colours because of what they were historically made from. ‘Madder red’ was made from ox blood and cow manure.

That’s mad stuff!

Making oil paint is similar to cooking. It starts with blending the grinned pigment and oil in a huge batter mixer into a paste, then the paste is smooth out multiple times through a mill. The rollers further coat the pigment particles in oil as it is thickening the paint. There are three kinds of rollers: Steel, Granite, and Aluminium. When the process is complete the paint is stored into paint tubes ready for market.

The entire procedure of making oil paints is individually customized to a specific fineness, which could either be coarser or fine. The mixing of oil ratio and grinding can influence the hue of the colour. It would require an exact oil amount per pigment requirement. If you mix more or less oil, or grind it too much, there is chance that you may not achieve your shade of colour. You may end up with a purple instead of a blue. Research and testing of each colour take a lot of time, sometimes even months, based on its consistency and lightfast.

Mixing pigment with a drying oil like linseed (similar to flax-seed) fillers and thickeners added to this mixture is an important factor in making quality paints. When processed properly, these mixed compounds become a durable long-lasting paint colour.

Commonly used flax plant-based linseed oil, alkane series uses a petroleum solvent (hexane) extraction to capitalize on the yield, therefore not edible. Must only be used as an additive to paints or as a paint thinner or extender.

Walnut oil mediums are a healthier choice than harsh solvents base mediums, like linseed oil, stand oil and solvents. Walnut Oil paint and medium are solvent free, an Eco-friendly green product that can be used like linseed oil or stand oil, and also clean your brushes without solvents. M Graham Paints maintains that the medium can be used to remove “colour from artists’ tools as effectively as odourless paint thinners” while not affecting the natural essential oils of the brush.

Their Walnut Oil and Walnut Alkyd medium resist yellowing and cracking, compared to linseed oil (due to its high linolenic acid content), beside being more brittle. The bonus, Walnut Alkyd medium dries faster than the traditional safflower and poppy seed oils.

The quality of pigment also impacts the lightfastness (resistance to fading) of the paints. A litre of pigment could cost anywhere between $250 to $1,100 depends on the efforts applied in discovering the pigment, the purity of the pigment and production of quality control of a colour sets the cost of a pigment. Artists quality paint, you buy the best quality pigment, highest pigment load, and not cheap fillers to accomplish the optimum results.
Professional artists look for lightfastness. Research on lightfastness has been ongoing throughout the ages, especially for certain pigments. Nobody wants to create a masterpiece that will be washed out 50 years down the road. Professional artists need a guarantee that what they’re buying must be dependable, reliable and durable for years to come. Investors need a return on their investments not depreciate due to poor materials.

The paintings discovered in the caves of Bamiyan, in Afghanistan, belonging to the 7th century are first oil paintings known to humans. In Europe, first recorded oil painting was as early as in the 11th century and gained popularity during the Renaissance. These paintings were made from linseed oil, a drying oil, and pigment, when crushed and mixed they bind together to form a permanent paint.

It is the pigments that make oil paints expensive. Good paint is loaded with good quality pigment; highest quality oil paints are loaded with as much as 75% of pigment. Most sought-after pigments have been difficult to discover and produce, making them worth more than their weight in gold.

Trivia – the symbol of status of the Roman Royalty, Tyrian purple was a dye extracted from the glands of thousands of shellfish left in the sun to be baked. 10,000 shellfish were crushed to get 1 gram of dye making it worth more than its weight in gold. Cleopatra was such a fan of the Tyrian purple everything in her palace was purple, while Caesar was so captivated by its richness nobody else was allowed to wear.

‘The Starry Night’ by Van Gogh is one of the most recognized paintings in the history of Western art culture. The ultramarine sky and the Indian yellow stars and Moon make it strikingly beautiful and priceless too. Hailed as Van Gogh’s magnum opus, had it not been for oil paint it could have been lost to us. More than hundred years we can visualize what he saw from the window of his sanatorium room. Thousands of such classical masterpieces would have been long gone and lost in time had it not been for the lightfastness of oil paints. This clearly makes oil paints worth every penny.

Another property that makes oil paints an artist’s best friend is the fact that they are slow to dry. This means the artist can blend colours and change the structure of his work for a longer period, than with any other mediums. Artists have the ‘edit’ option available to them because oil paints dry by oxidation and not evaporation. At the same time, it has its limitations, then they must set it aside for drying time. Depending on the thickness of the layer, it usually takes approximately 1 to 2 weeks for the paint to get dry to touch, allowing you to add layers and/or defining detail work.


Until synthetic pigments were invented, creating paints from organic pigments was a master’s task. Ultramarine blue, unknown to Europe until 15th century, swept the European art scene like a typhoon was so expensive that it is believed Michelangelo left his painting ‘The Entombment’ unfinished as he could not afford to buy more ultramarine blue. Made from a semi-precious stone Lapis Lazuli, it was considered as precious as gold.


Ultramarine blue, signifying “beyond the ocean,” found in the mountains of Afghanistan. It was produced using lapis lazuli, which in its most flawless shade can cost up to $30,000 per kilo. It was utilized to produce oil paint until a synthetic version was made in 1826. This royal blue shade was so exceptional in the Renaissance that it was just used to paint the robes of the Virgin Mary. To know more about the different pigments, read our blog ‘Pigments: From Caves to Canvas’ on how different pigments were made.
The history of pigments is so rich; and rare which made them expensive. But with the advent of synthetic pigments, oil paints are not rendering artists debt ridden anymore. 20th century has seen huge changes in the composition of oil paint and its manufacturing. From the use of granite ball and buhrstone wheel to grind the pigment to sand mills and high dispersion mixers, the biggest advancement has been the easy availability of paints due to the changes thanks to the industrial era that help revolutionize the pigment industry. Traditionally our ancestors would only grind the pigment and the customer had to do the mixing, today you can purchase ready made, squeeze straight out of tube paints to use.
Though chemical synthesized versions of many pigment colours have made them cheaper, there are still many hues that are difficult to produce and thus, expensive. Like the original Cobalt, famously called ‘the divine colour’ by Vincent Van Gogh, is still one of the most expensive paints as the pigment is processed by sintering and heating aluminium (alumina) with cobalt (II) oxide at 1200 degree Celsius. The process of manufacturing is the key reason why some oil paints from the same brand are sold at different price point. Every pigment colour has its own special composition and method, and each one is created keeping a specific goal in mind.


Some manufacturers have developed a cobalt blue hue, meaning more than one pigment.


• An example, Winsor & Newton Artisan Water Mixable Oil Cobalt blue hue uses combined modified linseed oil with a pigment mixture of Indanthrone (PB60), a complex silicate of sodium and (PB29) aluminium with sulfur to create a similar Cobalt blue hue.


• Student Winton Oil uses Cobalt blue PB28 with more linseed filler, to cut the cost.


• Winsor & Newton Professional Artists Oil Cobalt blue uses Oxides of Cobalt and Aluminum (PB28) with linseed and Safflower oil binder to boost the colour clarity.


• M Graham hopped to use Oxides of Cobalt and Aluminum (PB28) with an Alkali Redefine Walnut Oil, a vehicle that has less of a tendency of yellowing with time, keeping its durability intact.
Oil mediums like safflower or poppy oil has less of a tendency of yellowing with time, but produces a weaker and more fragile films, while it helps the oil paint layer to dry faster. The Cobalt blue does naturally incorporate Safflower oil in its pigment structure, which is why it naturally dries faster than other pigments and sometime cause wrinkles while drying and eventually irons itself out… This is another factor artist’s must be aware of, the natural pigment characteristic that affect your painting process.


As each pigment needs to be grinned to a certain fineness to make it fine or coarse. The measure of oil added also changes the shade. Higher the pigment content; deeper the shade, higher the oil content; lighter the shade. The higher the oil properties also diminishes the viscosity of the colour.


Each brand has their own unique texture, while some will be buttery and easy to spread others will be grainy or viscid. It is for the artist to decide what works best for them. Winsor and Newton have been making oil paints for more than 200 years and they produce more than 100 shades every year. Sennelier, established in 1887, take pride in being the choice of masters like Picasso and Matisse. Made by using safflower oil instead of linseed oil, they give satin finish and prevent yellowing; they have become the ‘Reference’ brand. Bob Ross oil paints are not high on pigment load but have great consistency for Ross’ wet-on-wet technique. Regardless of your brand, oil paints are still every artist’s favourite medium. Whenever you want to be expressive with brush strokes, it always helps to use the best.


Shop for the best at King’s Framing & Art Gallery where there is every shade for every expression. Shop for Bob Ross Oil paints, Lukas Studio Oil paints M Graham professional oil paint, Sennelier Oil paint sticks & sets, Winsor & Newton tube oil paints & sets at great prices only on King’s Framing & Art Gallery. 

Source: https://www.kingsframingandartgallery.com/blog/post/why-oil-paints-so-expensive

Geometric Shapes

Constructivism art Rafael Montilla
Constructivism art Rafael Montilla

Geometric Shapes Paintings

Geometric shapes have been used in art for centuries, and they continue to inspire and fascinate artists today. In the world of painting, geometric shapes are often used to create abstract compositions that explore form, color, and space.

One of the most famous artists who worked extensively with geometric shapes was Russian painter Kazimir Malevich. In 1915, Malevich created his iconic “Black Square” painting, which features a perfect square painted in black on a white background. This simple composition was a radical departure from traditional painting, and it marked the beginning of the Russian avant-garde movement. Malevich continued to explore geometric shapes in his subsequent works, creating complex abstract compositions that are still admired today.

Other artists have also used geometric shapes in their paintings, including Piet Mondrian, Josef Albers, and Frank Stella. Mondrian, a Dutch artist, was known for his abstract compositions that used primary colors and simple geometric shapes like squares and rectangles. Albers, a German artist, created his “Homage to the Square” series of paintings, which featured nested squares in different colors. Stella, an American artist, used geometric shapes to create dynamic compositions that play with light and shadow.

Contemporary artists also continue to experiment with geometric shapes in their paintings. Some artists use geometric shapes to create optical illusions, while others use them to explore themes like identity, memory, and spirituality. Many artists also combine geometric shapes with other elements like color, texture, and line to create complex and visually stunning compositions.

Overall, geometric shapes continue to be an important element in the world of painting. They offer artists a versatile tool for exploring form, color, and space, and they can be used to create both simple and complex compositions that engage and inspire viewers.

Beyond identity politics, the art of Jeffrey Gibson

A Different Corner, 2018 Painting Acrylic and graphite on raw hide over wood panel
A Different Corner, 2018

Beyond identity politics, the art of Jeffrey Gibson

Amy Zion

The artist effortlessly weaves Native American heritage into geometric abstraction

To visit  Jeffrey Gibson, I headed upstate. As New York City receded into the distance, I retraced the route the artist took back in 2012, when he moved his studio from Brooklyn to Hudson and began teaching art at Bard College. A couple of weeks before we met, the first leg of Gibson’s major touring exhibition, ‘Like a Hammer’, had closed at the Denver Art Museum. The show is a major milestone for the artist and focuses on works produced since 2011, when his practice started to incorporate references to his Native American heritage. Thus, conversations with Gibson almost inevitably begin by addressing the Great Identity Problem: that by asserting someone’s identity you might qualify them unnecessarily (for example, ‘the female prosecutor from Arizona’) or reductively. And that by asking someone to self-identify, you simultaneously grant them agency and create a framework that cannot be challenged. Yet Gibson, who is all too familiar with these issues, professes a strikingly open attitude to the subject. 

Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo by Jessica Goehring
Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo by Jessica Goehring

His background and subjectivity are arguably more multilayered than most. The artist has ties to Mississippi and Oklahoma, where his Choctaw and Cherokee forebears are from, but as the son of a civil engineer in the US Army, he grew up in Germany and Korea. He went to school in England and married a man from Norway – his is a kaleidoscopic perspective of the world that is evident in the way he approaches art making. ‘This kind of movement through different forms of identity has made me grow and see the world in a very broad way,’ he says. That translates in his work as a wide range of references, techniques, and histories smashed together. In each piece, the idea of authenticity and purity is further challenged.

Today, Gibson lives and works in Claverack, near Hudson, New York. As I drove north, I looked out for an old schoolhouse. Around the back, an assistant greeted me and led me into its former gymnasium, where I found the artist finishing a couple of emails and a few headphone-sporting collaborators working silently on a new series of the elaborately beaded punching-bag sculptures for which Gibson is best known. These works and others like them, as well as paintings and tables covered with multicolored supplies, were spread out over the floor, which still bears the markings of overlapping sport arenas. 

Peeking out from Gibson’s sleeve was a whimsical tattoo of a childhood drawing of his that was found tucked into the bible of his Baptist minister grandfather. As we spoke, the backdrop of the studio came into focus. Behind him was a finished sculpture based on papal garments and the ghost shirts worn during the 19th-century Native American Ghost Dances (which are related to Mormon undergarments, Gibson explained). Its sleeves were adorned with Native American jingles and its details related to the artist and activist Sister Corita Kent, as well as elements from Gibson’s dreams and more personal iconography, such as song lyrics from his youth.

Jeffrey Gibson, LIKE A HAMMER, 2016. Courtesy of the artist and Roberts Project, Los Angeles, California. Photo by Eric Swanson.
Jeffrey Gibson, LIKE A HAMMER, 2016. Courtesy of the artist and Roberts Project, Los Angeles, California. Photo by Eric Swanson.

Despite his range of references, Gibson says he hates the word ‘eclectic’. He prefers to characterize his approach in terms of anthropophagia, a concept initially developed by the Brazilian poet Oswald de Andrade, which sees the absorption (or ‘cannibalism’) of other cultures as a source of strength. Jingles were originally made from rolled-up tobacco lids but, today, they are mass-produced in Taiwan expressly for the purpose of decoration. ‘That is a foreign material that clearly has been reinvented and become part of another culture […] What a powerful ability that is to claim something and use it exactly for what you need it,’ he says. For the artist, having different worlds collide in this manner is creative strategy for breaking apart reified historical metanarratives. It is also a way to confound ideas of identity – that any one culture has ever been totally separate from one another, or that appropriation has only ever occurred in one direction: by the colonizer from the colonized. 

‘Like a Hammer’, which is touring to the Mississippi Museum of Art, the Seattle Art Museum, and the Madison Museum of Contemporary Art, highlights a fundamental turning point in Gibson’s work. Prior to 2011, the artist was producing more classic, albeit innovative, abstract painting. The shift followed a period when Gibson was ready to call it quits as an artist. While trying to figure out what to do next, he received a grant to travel to Winnipeg in Canada, South Dakota, Oregon, and Oklahoma, to meet with traditional artists who were making things for their communities. Gibson felt their sense of conviction was absent in his world in Brooklyn: ‘When I came back I decided, “You need to stop trying to perform what you think an artist is supposed to be doing and focus on what you want to do, what you want to say.”’

Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo Peter Mauney.
Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo Peter Mauney.

Around the same time, he began making what he calls ‘rawhide paintings’, inspired by the parfleche bags produced from animal skin by nomadic tribes in the Great Plains. Traditionally, the rawhide would be laid flat, painted in geometric designs, and then folded over to form bags. Gibson tells me that they were painted by women, who would have treated their brushes or painting tools as ceremonial objects. ‘They might have been saying a prayer [while they worked] and made it for a specific person,’ he says. Yet the glossy pages of an auction catalogue in which he used to see them conveyed none of that content. 

The works Gibson is showing at Art Basel Miami Beach are an extension of this series. The irregularly shaped diptych canvases are framed together and named after songs from the artist’s high-school years, a period when Gibson was coming to terms with his sexuality, amid the Aids crisis. Stretched from skin, each canvas preserves a clean, taped-off border, revealing the organic material supporting the hard-edge abstract motifs. Gibson’s work comes after the more conceptual approaches by Indigenous artists such as James Luna and Edgar Heap of Birds, who created a bridge, to use Gibson’s term, from more traditional Indigenous, or at least separated, art spheres into the framework and context of contemporary art. Gibson’s work, with its references to multiple cultures, techniques, and narratives, owes its nimbleness, in part, to the efforts of these predecessors.

Discussing his Native American influences, Gibson muses on their relationship to Modernist painting and the history of geometric abstraction, which was so key in shaping his own early practice. ‘Why has no one ever done an exhibition comparing these histories?’ he asks. ‘To have had this conversation as part of my education would have benefited me tremendously.’ As he says this I realize Gibson has been letting this conversation evolve within his own work. The language of hard-edge abstraction and traditional parfleche-bag designs and materials do not simply come together in his latest works – their conflation is like a chemical reaction that wildly reshapes the format of the support and its frame. This is perhaps why one can’t sum up an artist’s identity through labels and hyphen. Great work never fails to confound preconceived ideas. 

Amy Zion is a curator and writer based in New York City. 

Jeffrey Gibson’s work will be shown by Roberts Projects in the Nova sector of the 2018 edition of Art Basel Miami Beach. Discover more artists and galleries participating in this year’s Nova sector.

Jeffrey Gibson, A LOVE SUPREME (detail), 2017. Courtesy of the artist and Roberts Project, Los Angeles, California. Photo by Peter Mauney. Filmmakers Cristobal Leon and Joaquin Cociña turn Chile’s darkest hour into a stop-motion fairy taleInspired by the brutal history of Colonia Dignidad, the film is a must-see at Art Basel Miami Beach

A Different Corner, 2018 Painting Acrylic and graphite on raw hide over wood panel
A Different Corner, 2018
Enjoy the Silence, 2018 Roberts Projects Painting Acrylic and graphite on raw hide over wood panel
Enjoy the Silence, 2018g Acrylic and graphite on raw hide over wood panel
Unfinished Sympathy, 2018
Unfinished Sympathy, 2018

The Pepperoni Pizza Project: Red Edition

The Pepperoni Pizza Project: Red Edition
The Pepperoni Pizza Project: Red Edition

The Pepperoni Pizza Project: Red Edition

Fridge Art Fair is pleased to present “The Pepperoni Pizza Project: Red Edition.” In a time of renewed passion for the arts, the color Red best represents art’s healing power and ardor.

Returning to the Lower East Side’s fabled Gallery OneTwentyEight, this year’s fair will also collaborate with both the nearby 2B&2C @ 9B9 Artspace and Two Boots Williamsburg.

Exhibition highlights at Gallery OneTwentyEight – aka as “Deep Dish” — include an eclectic range of works in varied media by Chris Cobb, Michelle Hill, Victor Pedelty, Phoenix Roberts, Dayle GinsburgPeter Stefanides, ART BreakOUT and Fridge Fair founder Eric Ginsburg.

For this year’s ninth edition, Matt Sullivan, esteemed musician and director of 2B&2C, has joined the Fridge creative team. Featured at 2B&2C – aka “Thin Crust” — will be a selection of artworks by Matt’s longtime collaborative partner and husband, the late ecosystem-painter, sculptor, and teacher, Ken Cro-Ken (1957-2020). Other highlights at 2B&2C include: the opening of Ken Cro-Ken Memorial Gardens, multi-media performances and Fridge pop-ups.

Two Boots Williamsburg – aka “The Brooklyn Slice” – will present a vibrant range of art by artists – both emerging and established – representing Brooklyn’s distinct creative, countercultural flavor. Exhibiting artists include: Optimo Primo, Sam Diaz, Shayne Bovell, Ben Wilson and Samantha Sabatino. There will, also, be a performance by SoulProduct and friends.

Gallery OneTwentyEight, located at 128 Rivington Street and 2B&2C, housed at 9 Avenue B, will hold their grand openings on Wednesday, May 17 from 6-9pm. Fair hours at both Lower East Side spaces will be from Thursday, May 18 to Saturday, May 20, 2-9pm and Sunday, the 21st , 12-6pm. Two Boots Williamsburg will open on May 18, 4-10pm and will continue through the 21st from 4-10pm daily.

Since its inception in May 2013, Fridge Art Fair has presented concurrent with Frieze (yes, the name is a play on that week in New York City!) and Art Basel in Miami. We have lived up to our tagline, “Can you fit into the Fridge?” by accepting numerous and diverse exhibitors in spaces from tiny to huge that were either affordable or donated to us.

Admission is free, but as a 501c3 not-for-profit, we accept tax deductible donations from the public.

Artists

Unfinished Sympathy, 2018
Unfinished Sympathy, 2018

Geometric abstract art artists

John McLaughlin (1898-1976)
Frederick Hammersley (1919-2009)
Bill Komodore (1932-2012)
Margaret Wenstrup (1930-2008)
Josef Albers (1888-1976)
Anni Albers (1899-1994)
Richard Anuszkiewicz (1930-2020)
Ed Mieczkowski (1929-2017)
Julian Stanczak (1928-2017)
Francis Hewitt (1936-1992)
Charles Hinman (b. 1932)
Al Loving (1935-2005)
Reginald Neal (1909-1992)
Ralph Iwamoto (1927-2013)
Tadasky (b. 1935)
Paul Reed (1919-2015)
Francis Celentano (1928-2016)
Paul Reed (1919-2015)
Karl Benjamin (1925-2012)
Howard Mehring (1931-1978)
Mon Levinson (1926-2014)
Leroy Lamis (1925-2010)

Geometric abstraction

Horacio Garcia Rossi
Luc Peire
Nino (Antonio Calogero) Calos
Hans Jörg Glattfelder
Winfred Gaul
Dadamaino
Grazia Varisco
Aurélie Nemours
Franco Costalonga
Claudio Rotta Loria
Alberto Biasi
Toni Costa
Edoardo Landi
Agostino Bonalumi
Jorrit Tornquist
Marcello Morandini
Roberto Crippa
Sandro de Alexandris
Arturo Bonfanti
Roberto Crippa
Sandro de Alexandris
Sol LeWitt
Piero Dorazio
Arnaldo Pomodoro

Günter Fruhtrunk

Winfred Gaul

Ulrich Erben

Imi Knoebel

Günter Umberg

Wolfram Ullrich

Vinyl Wraps for Food Trucks

Vinyl Wraps for Food Trucks
Vinyl Wraps for Food Trucks

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taco food truck vinyl wrap

What is a Food Truck Wrap?

Food truck wrap graphics are a large decal that can be applied to the exterior of the truck in order to display the business’ branding and menu to people passing by. Not only can food truck graphics help improve the overall design and feel of a food truck but they also make it extremely easy for potential customers to know exactly what kind of food is being served, even from a distance. Food truck graphics can be completely customized with any design elements, colours, images, or messaging you can dream up and can be removed at any time without damaging the underlying paint. This means that you can easily change up the food truck graphics for your menu or business branding as often and as many times as you need. Get in touch with us to learn more about food truck graphics.

vibrant food truck wrap

Benefits of Food Truck Graphics

Food truck wraps are specifically designed to help create business recognition and repeat customers through mobile advertising. Since food trucks are often moving from one location to the next, using food truck graphics will allow you to create a mobile billboard design that will be potentially seen by thousands of people every day. A well-designed food truck wrap will not only create a professional appearance but also a recognizable look and appeal that customers will come to know.

All custom food truck wraps are make using the highest quality materials—3M and Avery cast vinyl—and are coated in a special UV layer for added protection against dings, scratches, and sun damage. Our custom food truck graphics are also printed using the latest printing equipment in the industry and are only installed by our team of highly trained professionals, so you can rest assured that you will be receiving the best food truck graphics possible. Get in touch with us to learn more about the benefits of food truck graphics.

Food Truck Graphics Design from Wrap Guys

Whether you are wanting to learn more about the average price of a great food truck wrap graphics or you are wanting to discuss your food truck wrap design ideas, we would love to chat with you. Our team of professional graphic design artists can help you create the perfect graphics for your food truck, incorporating any colours, messaging, images, or branding elements that you want into the design. Get in touch with us today to learn more about how we can help you create the perfect food truck graphics and design for your business.

Steven Pressfield

Steven Pressfield
Steven Pressfield

If you’re an aspiring writer or artist,
I’ve got good news and bad news…

First the bad news

1. THERE IS AN ENEMY

The playing field that you, the aspiring artist, stand upon is not level. It is stacked against you.

2. YOU ARE THE ENEMY

Resistance (self-sabotage, procrastination, fear, arrogance, self-doubt) is inside you. No one inflicts it on you from outside. You bring it with you from birth.

3. RESISTANCE WILL KILL YOU

If you don’t believe me, look around at friends and family who have talent and ambition in spades … but are drinking, doping, abusing themselves and their loved ones, wasting their lives because they can’t get out of their own way and do the work they were put on this planet to do. Trust me: you will NEVER, NEVER achieve your dreams until you learn to recognize, confront, and overcome that voice in your head that is your own Resistance.

4. YOU ARE NOT ALONE

You’re not “wrong” if your head is your own worst enemy. You’re not “weak.” You’re not “sick.” Everybody experiences Resistance.

Resistance is an objective force of nature, as immutable as gravity.

5. RESISTANCE CAN BE BEATEN

There’s no magic bullet. No hack, no trick, no tip, no class, no degree.

But you, armed with the right knowledge and resolution, can acquire the self-motivation, self-discipline, and self-belief necessary to become a focused, mentally-tough working pro.

6. YOU’VE COME TO THE RIGHT PLACE

Whatever brought you to this site—luck, chance, maybe reading or hearing about The War of Art—doesn’t matter. Welcome! You have found an ongoing resource to help you fight and win the inner war of the writer, the artist, and the entrepreneur.

TWO MANTRAS FOR YOUNG WRITERS

From my (fictional) 96-year-old literary agent, Marty Fabrikant, as quoted in The Knowledge:

1. Talent is bullsh*t

“I’ve seen a million writers with talent. It means nothing. You need guts, you need stick-to-it-iveness. It’s work, you gotta work, do the freakin’ work. That’s why you’re gonna make it, son. You work. No one can take that away from you.”

2. The work is everything

“And I’ll tell you something else. Appreciate these days. These days when you’re broke and struggling, they’re the best days of your life. You’re gonna break through, my boy, and when you do, you’ll look back on this time and think this is when I was really an artist, when everything was pure and I had nothing but the dream and the work. Enjoy it now. Pay attention. These are the good days. Be grateful for them.”

GLOSSARY OF ART TERMS

GLOSSARY OF ART TERMS
GLOSSARY OF ART TERMS

GLOSSARY OF ART TERMS

Acrylic Gesso

A primer which dries with a coarser texture (or ‘tooth’) than regular acrylic primer. Acrylic gesso can be sanded down if desired. It is made from a mixture of chalk and pigment (usually titanium white), bound in a 100% acrylic emulsion binder. It can be used as a ground for both acrylic and oil painting.

Acrylic Ink

High-fluidity acrylic colour, made from pigment suspended in an acrylic based vehicle. It is usually sold in glass bottles, often with a pipette. Acrylic ink can be used in stamping, pen and wash, airbrush and drawing and painting. It is not re-wettable and is permanent and non-clogging.

Acrylic Painting Block

A stack of paper that has been specially prepared for acrylic painting (usually sprayed with acrylic primer), and glue bound on all 4 sides. A gap in the glue will be found on the corner or part of a side of the block, so that when the painting is finished and dry the top sheet can be separated from the block by running a clean palette knife around the underside of the sheet. A block is a lightweight support for acrylic painting that will not buckle during the painting process as the glue binding will keep the sheets taut and flat.

Alla Prima

A painting approach that involves completing a painting in one session. Usually refers to oil painting, the alternative is to complete an oil painting in layers waiting for each to be touch-dry before applying the next, so involves the fat-over-lean principle. Alla prima, meaning all at once, does not require observance of the fat-over-lean principle, as it is essentially one layer.

ASTM

ASTM is the International Standard for testing and material qualities. On the labels of oil paints the ASTM rating will refer to the permanence of colours.

Binder

In acrylic painting, the binder is an acrylic polymer which pigment particles are suspended in to make paint. The binder is also known as the vehicle or emulsion.

Bloom

Patches of cloudiness that can appear on the surface of varnished paintings if they have been kept in damp conditions. It occurs when moisture is trapped underneath the surface of the varnish or when the painting that has been varnished has not fully dried.

Canvas

A woven material used for centuries for painting. Usually made of cotton or linen. Can be stretched over strong wooden stretcher bars, glued onto a board or panel or used unstretched. Although acrylic can be painted on raw canvas, most artists prime the cloth with a ground that allows control over the absorbency, texture and colour of the surface.

Canvas Board

Canvas glued on to a hard board (thin MDF or compressed board). A rigid surface for oil and acrylic painting. Canvas board usually has shear edges (i.e. the canvas does not wrap around to the back, unlike a canvas panel).

Canvas Pad

A pad of unstretched, primed canvas sheets glued at one side ready for oil painting. Also available in blocks glued on four sides.

Canvas Paper

Pads or sheets of paper that are textured and coated to have the appearance and feel similar to primed canvas. Used instead of canvas for economy and convenience.

Canvas Panel

A piece of board or wooden panel on to which a piece of primed canvas has been glued to the front and wrapped around to the back.

Canvas Pliers

A tool which helps to stretch canvas tightly around a frame in order to make a satisfactory surface on which to paint. Canvas is usually fixed to the frame using staples on the reverse of the frame, or tacks on the side of the frame.

Canvas Sheets

Sheets of rectangular or square pieces of primed canvas that can be glued to a board to make a panel, or painted on as they are.

Colour Shaper

A tool with a silicon or rubber tip and a wooden handle similar to a paint brush. Colour shapers can be used to draw into wet paint and create lines and textures, and are useful for closely scraping away small areas of paint.

Colour Strength /Saturation

Another term used to define colour strength is saturation. Colour strength can refer to the ratio of pigment to binder as well as the natural characteristics of the pigment, and is descriptive of how vibrant / brilliant / clean the colour appears.

Complementary Colours

They can be found directly opposite one another on a colour wheel. Because they are diametrically opposed they cause the appearance of one another to intensify when painted unmixed side by side. When mixed together they are capable of producing neutral greys.

Composition

The arrangement of shapes, colours and lines across your picture surface, sometimes referred to as a design.

Cotton Duck

A heavy plain woven fabric that is a popular material for artist canvas as it is relatively low cost in comparison to linen. Cotton duck is most commonly available in 10oz or 12oz weights.

Crackle Paste

When applied to a rigid support with a thickness of at least 3-4 mm, crackle paste will form cracks as it dries, which gives work an aged appearance or can be used for special effects showing through colours from underneath. It can be applied on its own or mixed with colour. The thicker the application the deeper the cracks. When dry, oil or acrylic paint can also be applied over the top of the paste.

Curing

The second stage of drying of acrylic paint. Acrylic paints dry when all the water found in the paint has evaporated, leaving the dried paint (pigment mixed into acrylic polymer). As the moisture leaves the paint film, the remaining tiny polymer spheres move closer together, causing the paint film to contract slightly. The pressure that is created by these spheres pushing against one another causes a capillary force which pushes the last of the moisture out of the paint film, until the polymer sphere start to deform and make bonds between one another. This results in the paint coalescing and forming a continuous paint film. Curing times will vary across brands so it is worth checking the manufacturer’s information if this is of particular concern.

Dry Brush Technique

The application of paint with very little water content in it using a dry brush. Applying paint in this way is also known as scumbling. The results can have a powdery appearance.

Easel

Wooden or aluminium support which holds your support in place as you paint on it. H or A Frame easels are designed for indoor painting, are sturdier and can hold larger supports. They are usually less compact and more difficult to move around. Radial easels are also for indoor painting but tend to hold a smaller size of support. They are more compact and easier to stack. For outdoor painting tripod field easels are available in wood and metal. These are lightweight, compact and easy to carry.

Emulsion

An emulsion is any mixture that doesn’t separate. In art this can be a cold wax medium or an acrylic polymer (acrylic paint).

Ferrule

The metal collar into which the hairs of a brush are bound. This can be crimped once, twice or three times to the brush handle.

Flag

In brush making terminology, the flag refers to the natural split found at the end of hog hairs. This improves the liquid holding capacity of the brush.

Flat Colour

A uniform application of paint, i.e. without any texture or undulation in tone.

Flow Release / Flow Medium

Reduces visible brushmarks and increases the fluidity of acrylic paint. The go-to medium if you want to create stains and washes on a porous or non-porous surface. Flow release breaks the surface tension of water, so allows fluid acrylic to spread rather than bead up. Many brands are very concentrated and you just need a drop, so they recommend making a bottle of water with diluted flow release to use. Some brands, like Jackson’s are already diluted so you use a full amount – so be sure to read the instructions on the label.

Fluorescent Colours

Bright glowing colours that absorb invisible ultraviolet light and reflect more light than they receive. By their nature the pigments are fugitive, both the fluorescent effect and colour will fade over time and should not be used for work intended to be permanent.

Fluid Acrylic

Fluid acrylic is made of pigment suspended in a polymer emulsion with a more fluid consistency than heavy body acrylic. It is not diluted with water and colours will be as stable and luminous as the equivalent in a heavy body range. Fluid acrylic is easily thinned for spraying as well as suitable for brushing and staining and can be modified with acrylic mediums.

Fugitive Colour

Fugitive colour refers to pigment that may fade or discolour when exposed to environmental conditions such as sunlight, heat or water. Fugitive colours will be indicated with a low lightfastness or permanence rating.

Gel (acrylic)

Acrylic gels are available in a range of consistencies and sheen. They are effectively acrylic paint without the pigment and can be used to increase transparency, extend colour and increase viscosity of paint. They can also be applied on their own to create transparent impasto effects on your surface. Gels tend to retard the drying time of paint and can also be used as a water, chemical and UV resistant adhesive in collage.

Gelli Plates

A printmaking matrix for a monoprinting technique that is especially effective when used with Open Acrylics.

Gesso

Pronounced with a soft g like gypsy or George. From the Italian for gypsum, a major component. This thick white liquid is primarily used as a ground for painting but can also be used to build up areas for carving on frames and is used underneath gilding. It can be coloured. Gesso for gilding is often coloured red. You can buy ready-made black “acrylic gesso”.

Gesso is made with calcium carbonate (also called whiting, chalk and gypsum) in a binder. It is painted on the canvas, paper or wood panel surface to create a ground on which to paint. Sometimes white pigment (usually titanium, sometimes zinc) is added to make the gesso very white.

Genuine gesso (also called true gesso) uses animal skin glue (hide glue or rabbit skin glue also called “size”) as the binder and the artist often makes the gesso him/herself, using a double boiler to melt the glue powder and adding the whiting. Rabbit skin glue is now also available ready made and just needs to be warmed.
One recipe for traditional gesso: 3 parts size, 1 part chalk (whiting), 1 part pigment powder. It is a rather lengthy, messy, smelly process of soaking, heating in a double boiler and mixing.

“Acrylic gesso” is more correctly called “acrylic primer” and should not really be called gesso. It uses an acrylic polymer as the binder for the chalky powder. It is made up of upwards of 14 ingredients. You can also buy ready-made black acrylic primer.

Genuine gesso is less flexible than the “acrylic gesso” and is usually painted on a non-flexible surface such as a wood panel rather than on stretched canvas, so that it will not crack. For paints that need an especially porous surface, like egg tempera, genuine gesso is usually preferred to the acrylic gesso/primer.

The acrylic primer varies a lot in quality and poor quality products can provide a less absorbent ground than is often preferred. Good quality acrylic primer is a very good product for oil painting and acrylic painting. It does both steps of the surface preparation in one- it both sizes (seals) the surface and gives a ground for painting. It can also vary in absorbency, with some products called “acrylic gesso” rather than “acrylic primer” being more absorbent and chalky and particularly suited to applications which require an absorbent surface.

Acrylic primer differs in thickness, opacity and grittiness of surface texture, depending on the manufacturer. It is usually too thick to use straight out of the bucket and should be diluted with water until it is the consistency of heavy cream. Most primers have instructions that advise you apply three thin coats rather than one thick coat. A very thick coat may crack as it dries. The first coat is often scrubbed into the weave of the raw canvas in circular motions to be sure that it is well sealed. The first coat will soak into the canvas or panel and act as its own sizing (sealer). Then subsequent coats are applied in alternating directions across the canvas. To get a very smooth surface you may wish to sand with sandpaper between coats. Some acrylic gessos are designed to have a harder surface specifically so they may be sanded smooth, but as they are less flexible they may crack on a movable surface such as stretched canvas, so should only be used on rigid surfaces.

For oil painting it is especially important that the oil never reaches the substrate as it will rot the canvas, paper or wood. Traditionally oil painters seal the surface with rabbit skin glue and then prime the surface with gesso (glue with chalk). Using these two layers assures that none of the oil will seep through. Some artists who use ready-made stretched canvases will apply an additional layer of acrylic primer to the surface to ensure that it is well sealed.

For painting on paper you may wish to prime both sides of the paper (one after the other dries) as the paper will curl when it is wetted by the primer. Painting the other side then un-curls it. For oil paint on paper you may want at least three coats.

Priming your painting surface is part of properly creating a painting. The underlying structure is very important to the longevity of the painting as well as to the appearance. Primer creates a surface that is sealed just enough to prevent the paint seeping through to the substrate (canvas, paper, wood), but is absorbent enough to hold onto the paint. If you were to paint on an unusual surface like a rubber toy, the paint might not adhere properly. But if you prime the surface with acrylic gesso/primer first, then your paint will go on properly and stay on. The primer is stickier than paint and will glue the chalk to your substrate and create a better surface to paint on.

While the gesso/primer is wet it may leach colour up from the substrate and cause discoloration to the whiteness of the gesso. The glues in plywood, the resins in wood panels and in stretcher bars may be water-extractable. Sealing the wood or canvas first with a sealant medium such as Golden Acrylic’s GAC 100 will prevent Support Induced Discoloration (SID). Sealing (sizing) with rabbit skin glue does the same thing if you are using genuine gesso. Then prime as normal.

Some artists prefer that the substrate shows through underneath the paint and so they use a clear primer. This is usually an acrylic matte medium. This is a thick white liquid that dries clear so you can see the canvas. The texture is very different to gesso since it does not have the chalk powder in it, the surface is smooth and not as absorbent.

Be warned that priming can be a messy business. Gesso/acrylic primer dries quickly on brushes and can stain clothes. Be sure to use drop cloths and wash everything as soon as possible.

Many artists use the word gesso as a verb meaning “to prime” as in “I will be spending the day gessoing canvases in the studio”.

Some artists mix gesso in with their paint as a painting material.

Glaze

An application of transparent colour over already dry paint. In acrylic painting all clear acrylic mediums can be used to increase the transparency, flow and suitability of your colour mixes for glazing techniques.

Gloss

A surface that is shiny when dry is said to be gloss. Some oil paints appear more gloss than others depending on the size of pigment particles and their concentration in the oil binder. Gloss can be increased by using a medium when painting (most mediums, with the exception of those designed to thicken paint, such as beeswax, appear gloss when dry). A popular oil painting medium to use that will increase gloss is a mixture of linseed oil and retouching varnish, diluted with solvent.

Ground

A term often used to describe a prepared surface ready for oil painting. The word ‘ground’ could refer to anything from a primed piece of canvas to an aluminium sheet.
A painting ground is the surface onto which you paint. It can be anything.
It is usually on top of a sealant/sizing layer of the surface.
To be structurally sound it should be compatible with both the underlying support and the paint that is going onto it. Just a reminder that an artist concerned with the permanence of his/her paintings should be as concerned with the proper preparation of the foundation layers of the painting that are perhaps not visible (the support, the size and the ground) as the layers they do see (the paint, mediums and varnish).
The ground is required both to give a suitable surface texture and also to give an opaque colour, to cover the canvas or panel colour with white or a tinted ground, or occasionally a dark colour.

Acrylic primer (less correctly called acrylic gesso) is an example of a ground that is also a size. It does both jobs, sealing the substrate and providing a good surface on which to paint oils or acrylics. Genuine gesso is a painting ground for oil paint and egg tempera in particular, but any paint can be used on it. An oil ground is oil paint painted on top of a sizing over the entire surface to prepare the surface for painting with oil colours. So using an oil primer means you cannot paint on that ground with acrylics as the ground will repel the paint.

Painting with soft pastels requires a ground with a tooth to pick up and hold the pigment particles. This toothy pastel ground can be painted onto paper, canvas or panels, or surfaces can be purchased with the ground already applied to them.

To create an absorbent paper-like surface on canvas or panels for painting with watercolours, Absorbent Ground can be used. It is painted onto sized or primed canvas or panels. It is the ground, not the size and the substrate must be sealed first.

Heavy Body

Heavy body acrylic paint has a buttery consistency. When used straight from the pot or tube impasto effects can be achieved and brush marks will retain in the paint. The consistency and characteristics can be manipulated with the use of acrylic mediums.

Hue

A hue is the actual appearance of a colour, i.e. you might describe a river to have a greenish brown hue. But it is also put at the end of the name of colours found in paint ranges where the colour is made from a mixture of pigments that have been combined to replicate a genuine pigment. Paint makers will do this to offer a less expensive alternative to the genuine pigment. Mixing with ‘hue’ colours may result in noticeably different results to the mixes achieved with the genuine versions of the same colours.

Impasto

A term to describe paint that has been applied thickly to a support. Oil paint applied straight from a tube in impasto marks will take a very long time to dry. The drying time can be reduced by combining the paint with a thickening medium such as beeswax or an alkyd impasto alternative.

Imprimatura

In italian ‘imprimatura’ means ‘the first layer’. In painting it refers to a thin transparent layer of colour that is laid on to a ground evenly in order to colour it. The layer is thinned with solvent or with a fast drying medium. It is then left to dry before the actual painting of the picture begins. Many artists will leave patches of the imprimatura layer showing through in their work. It is an alternative preparation to a tinted or coloured ground, where the primer is mixed with a colour prior to application to a support.

Interference

Intereference colour paint is dual-colour and possesses reflective properties and visible interplay with light. The result of this is that a certain colour will appear at a certain angle, and its complementary will appear at another angle. This causes a shimmering quality. Interference colours are very transparent and work well in glazing techniques.

Interlocking

Interlocking describes the way the hairs are arranged in a good brush. The hairs are interlocked in the ferrule so that as they protrude out from the ferrule the natural curve of each hair helps to form a brush head shape that will maximise the liquid holding capacity of the brush, as well as keep a fine point or sharp square or curved edge.

Iridescent

Iridescent colours have a pearlescent or metallic like quality. The finest metal coated mica particles give the paint its unique metallic sheen.

Lightfastness/Permanence

Refers to the stability of a pigment when exposed to prolonged periods of ultra violet, found in natural sunlight. It is measured using the Blue Wool Scale in the UK, and ASTM in America. Permanence takes into consideration the effects of other elements on the stability and appearance of pigments, including humidity, light, heat, water, acidity, alkali levels etc. The permanence of a paint will be indicated on the label using a rating system determined by the manufacturer and explained in the manufacturer’s colour chart or on their website.

Linen

A natural fabric made from long threads woven together which is stronger and more elastic than cotton duck. It is usually darker than cotton duck and can be stretched on a frame, glued on to a board or panel or painted on unstretched. Linen needs to be sized with rabbit skin glue or an acrylic substitute prior to painting with oils. Linens are available in a range of weights (the heavier the weight the tougher the fabric will be) as well as a range of weaves, from fine to coarse. Which you choose will impact on the overall look of your painting.

Mahl Stick

Mahlstick is from the Dutch for ‘painter’s stick’. A stick made from wood or aluminium with a leather bound cushion at one end. A mahl stick is designed to keep your hand steady when painting intricate passages. Rest the stick against one edge of your canvas and hold in place while resting your painting hand against the stick in the position you want to paint in. A mahl stick is helpful in ensuring that you do not smudge drying paint as you work.

The Mahl Stick is a classic tool that hasn’t changed much over the years because it doesn’t need to. It performs the function of a ‘bridge’ over your drawing or painting on which you can steady your hand to perform accurate work. It is the difference between writing with the heel of your palm on the table or writing with your whole hand in the air. The bracing action gives you control but you don’t smudge or smear your artwork because your hand doesn’t rest on the work. The mahl stick we have at Jackson’s is a sturdy metal rod almost a metre long with a padded end. The stick is made of lightweight but sturdy aluminium and the suede covered cork end has a bit of friction so it won’t slip around easily. It unscrews into 2 parts for portability and storage.

The usual way that artists use it is to hold the mahl stick with your non-dominate hand, propping the padded end of the stick on the table if drawing flat or on the edge of the canvas, easel or wall if painting vertically, or on a dry part of your painting – and positioning the rod above the area that you need to reach. Then brace the heel of the hand that is holding the pencil or paintbrush on the rod, lower it to the height you need and make your marks. You can adjust the stick during the drawing and painting if you need to get closer or further away. With practise you can control the end of the mahl stick with just two fingers and so still hold a palette as well with your non-painting hand.

Tip: If you cannot find a suitable position for the resting end because the work is raised above the surface so the end of the stick will be too low you can build an instant raised structure with a tub of paint or tin of soup or the like to act as the other side of your ‘bridge’.

Mass Tone

How the colour of a paint looks when it is squeezed from a tube into a condensed ‘blob’.

Matt

Also spelled ‘matte’. A complete lack of shine on the surface, the opposite of gloss.

Medium

An additive that is mixed with paint in order to extend the colour or alter some of its properties such as consistency, texture, transparency and drying time.

Mica Flake

Mica is the sparly flakes of mineral that glitter in granite. These flakes are used in iridescent acrylic paints and mediums. Mica flakes of all different degrees of coarseness are used in acrylic paints and mediums.

Milling or Mulling

Milling is the process of dispersing the pigments into the binder (in oil painting this is usually linseed oil, but could also be safflower, poppy or walnut oil). It is usually done with a glass muller on a slab.

Monochrome

The use of only one colour in a painting, which is likely to appear in a range of differing tonal values.

Motif

A feature within a composition.

Mottler

A wide flat brush that can evenly apply paint or varnish.

Moulding Paste

Moulding (or molding) paste is a white opaque acrylic paste that can be used to build surface layers and create texture on a painting surface. It can be tinted with acrylic colour or applied on its own, left to dry and then painted afterwards. It dries hard yet flexible.

Open Acrylic

Open acrylics are slow drying acrylic paints which allow for painting approaches that were previously only possible in oil paint.

Open Time

The length of time in which it is possible for a brush to move applied paint around on a surface before it dries. Also used for the time a gilding size (adhesive) stays sticky for metal leaf application.

Palette

Can refer to a surface on to which you mix your colours, or the selection of colours an artist has chosen for their painting, e.g. ‘the painting had a palette of mauves and greens’. Suitable painting palettes for acrylic paint are usually made from plastic. They come in a variety of shapes and sizes. Some are designed to be held as the artist is painting and will have a thumb hole, others are designed to be placed on a table.

Palette Knife

Palette Knives are also known as painting knives and are used by painters to mix colour and apply paint to a support. They are usually made from plastic or forged stainless steel. They are easy to wipe clean with a rag which means it is easy to keep colour mixes clean as well. As a painting tool it is ideal for impasto technique and also for applying colour in a flat and uniform layer.

Panel

A rigid painting surface for acrylics, oils, encaustic, pastels or watercolours. Made from solid wood, plywood, mdf, compressed card or aluminium. They are often braced to prevent warping both during the priming and painting period and over time. May also be wood with canvas or paper adhered to the front. Especially useful for encaustic or oil painting where a rigid surface helps prevent cracking of the paint surface over time.

Paper

Watercolour Papers

Watercolour paper has a “hard size” on top of the paper that allows the water to penetrate and the pigment to remain on the surface. This gives the painting its brilliance and also allows for corrections.

Watercolour paper comes in different textures. ‘Hot Press’ (HP) is the smoothest, it is also a bit less absorbent as it has been compressed to a harder surface. ‘Not’ (also called cold pressed) has a medium textured surface and is the most popular finish, it is especially good for beginners. ‘Rough’ is highly textured paper and is the most absorbent. Botanical artists often prefer hot pressed paper as the smoothness allows them to be very accurate in their rendering.
The weights of the papers range from 90 lb to 400 lb. The heavier the weight of the watercolour paper the less the paper will buckle when wet. For lighter weight papers (140lb and below) the paper is usually stretched (wetted and laid out on a board and taped down with gum-strip tape, or you can use a specially designed paper stretcher device like the Keba Artmate).
Watercolour papers can vary in whiteness from bright white to a creamy off-white and are available in tinted colours.

Watercolour papers come in sheets, pads, rolls, and blocks. Blocks are pads of pre-stretched paper that are glued on all four sides except for a small space on one side. This allows for painting without stretching and when the painting is dry you can remove the top painted sheet by running a butter knife around the edge from the gap in the side.

Drawing Papers

Cartridge paper is a high quality type of heavy paper used for illustration and drawing. It comes in a variety of smooth textures. It is available in loose sheets, pads (glued or spiral), hardbound and softbound sketchbooks and rolls.
Bristol paper is a strong and durable, all-purpose drawing paper. It has a very hard surface that is heavily sized, polished, and compressed. It is also used for airbrushing.
Other papers that are suitable for drawing include the very popular Stonehenge paper.

Pastel Papers

Pastel paper is used for soft and hard pastels and charcoal. It is usually coloured paper, with the colour chosen being very important as it will be a major component of the finished work. It comes in a few different textures, all with some amount of tooth or weave that will catch hold of the pastel particles. Ingres is a laid paper with a mesh imprint from a screen. Random texture gets its surface from a cloth matt imprint, similar to Not texture watercolour paper. There are a few types with toothy textures from ground cork or sand that are similar to sandpaper. A few come with the colour screenprinted on and some are waterproof for working the pastels with water. Paper for oil pastels is hard and white and usually comes in a pad with glassine paper interleaving to protect it from smudging.

Oil and Acrylic Painting Papers

These medium to heavyweight papers are usually canvas textured and primed for painting with either oil or acrylic. Most of the papers prepared for acrylic paint are universally primed to accept both oil and acrylic. Paper must be sealed completely if painting with oil paints because the oil will separate out if the paper is absorbent and form a halo of oil around the colours and it will also rot the paper over time. Although acrylic paint can be used on any paper, acrylic painting paper is usually designed to mimic canvas or it is very heavyweight. Oil and acrylic painting papers are especially useful for taking to classes or using in the field and are an economical choice for making a study or sketch prior to the major work on canvas.
You can also get sheets of primed actual canvas (as opposed to the canvas-textured paper) in pads.

Fine Art Digital Papers

Inkjet papers that allow high quality reproductions of your artwork or prints of your digitally designed original prints come in a wide variety of textures and weights. They are coated to accept inkjet inks. They can be sprayed with an inkjet fixative to prevent smudging if that is a problem. They are archival. Sheets of primed canvas designed to go through your inkjet printer are also available.

Paste (acrylic)

A thick, white opaque medium that can be tinted with acrylic colour or used on its own on to a support to build up texture and impasto marks. There are a number of different acrylic pastes available with a variety of consistencies and textures/characteristics.

Pastels

Working with pastels is usually called pastel painting. It is a way for artists to paint directly with pigment without the intermediary of a brush. Blending can be done with the finger, blending tools or a brush. Pastels come as oil pastels, soft pastels and hard pastels. Health concerns about breathing in dust from the soft chalk pastels have caused some pastel artists to switch to oil pastels.

An oil pastel has the pigment bound with non-drying oil and wax. Quite different results can be achieved using a variety of techniques. For example: oil pastels dissolved with solvents look very different to ones used lightly over the surface of a textured paper. Some wax or oil pastels are also water-soluble. Some artists use fixative to protect the work as the colour remains somewhat smudge-able but mounting and framing behind glass is usually sufficient protection from smudging.

soft pastel is made to be as soft as possible without falling apart or breaking too easily. The surfaces used with soft pastels usually need to have a tooth to hold the powdery colour onto the surface. Because colours are mixed on the surface and not mixed on a palette beforehand pastels usually come in a huge range of tints and shades of colours. Finished paintings should be sprayed with a fixative for longevity as the soft colour may not adhere completely to the surface (especially if many layers are built up) and framed with a mount and glass to protect the work, though some artists do not like the look of fixative and simply frame the work. Soft pastels can be used dry or with water and also come in a pencil format that is tidier to use.

Hard pastels are usually square and are often called carre crayons. They have been baked at a higher temperature and their hardness allows finer lines to be made with their edges. Like all artist materials the quality of a pastel is measured by the amount and quality of pigment and the higher quality pastels have little or no filler and the minimum amount of binder required to hold the pastel together.

Every artist develops a preference for a particular brand, often based on colour choice or level of softness or hardness. A beginner would be wise to buy a colour in each brand and as they need to replace each colour buy the brand they have come to like best. Pastel painting is usually done on pastel paper, which comes in a variety of colours and textures, though there is a textured ground for pastels by Golden Acrylics that can be painted on primed wood or canvas so that those surfaces can hold the pigment from soft pastels.

Permanence

Permanence takes into consideration all factors that may influence the stability and appearance of pigments, including exposure to UV rays, humidity, heat, water, acidity, alkali levels etc. The permanence of a paint will be indicated on the label using a rating system determined by the manufacturer and explained in the manufacturer’s colour chart or on their website. Some manufacturers say permanence when they mean lightfastness (which only considers UV), so it’s worth double checking if this is of particular concern.

Pigment

Pigments don’t just give paint its colour. They will also alter how the paint behaves as you work. Tinting strength, opacity, granulation and other handling properties are all a result of the pigments used in a paint, and when different brands produce even the most familiar colours to numerous varying recipes, it’s best not to rely on titles alone.
Pigment numbers are grouped into 9 categories, each prefixed with a code that will help you
decode how your colours are made. These codes are PR, PO, PY, PG, PB, PV, PBr, PBk and PW, and refer to red, orange, yellow, green, blue, violet, brown, black and white respectively.

Some pigments will crop up again and again across a colour chart; PBr7 represents the natural iron oxide used to produce raw and burnt umbers and siennas. Others will appear in variations, either denoted by a colon and a secondary figure such as PW6:1 for buff titanium derived from PW6 titanium white, or listed in brackets after as in PV23 (RS), a Red Shade of the Dioxazine Violet pigment. It can be useful to look at the paints you use most often and make a list of your preferred pigments, especially when considering purchasing from new brands.

While there are plenty of good reasons for a manufacturer to mix pigments, painters will often prefer to use colours with one pigment when possible. Single pigment paints are more predictable in mixes and tints, whereas a paint made from multiple colour components might create unexpected combinations on your palette. Still, mixes can be beneficial. They are commonly used in the production of hues, convenient replacements for dangerous or expensive pigments and are often the only form in which defunct historical colours can be found.

Pigment Load

Pigment load refers to the ratio of pigment to binder in a paint.

Plein Air

To paint out of doors in front of the subject. Famous artists who painted en plein air include Pisarro and Renoir.

Pochade

A pochade box will open up to hold a small painting panel in place, and can also transport tubes of paint, medium, brushes and a palette. They are most commonly used for painting en plein air. The pochade box will usually have space for carrying wet panels in them without smudging one another, and will fix on to a tripod to position at the right height for painting.

Polymer Medium

Extends colour and increases transparency and gloss as well as increasing film integrity. It is particularly useful in making acrylic glazes.

Primary Colours

The traditional primary colours for painting are Red, Yellow and Blue. They are used because they can produce the largest range of colours around the spectrum. Other triads, such as Cyan, Yellow and Magenta are also used, producing gamuts of different intensities. A split primary palette will include warm and cool versions of each colour.

Primer

A surfacing material used to coat a support to get it ready for paint application. Acrylic primer is made from calcium carbonate suspended in an acrylic binder. It can be applied directly to a support without the need for a prior application application of size. To create a very smooth surface apply 2- 3 coats and allow to dry fully and lightly sand between applications. Gesso is a more absorbent variety of primer. Multiple coats of acrylic gesso will increase the absorbency of the surface, and light sanding between layers will optimise the smoothness.

Acrylic primer varies a lot in quality and poor quality products can provide a less absorbent ground than is often preferred. Good quality acrylic primer (can contain upwards of 14 ingredients) is a very good product for both oil painting and acrylic painting. It does both steps of the surface preparation in one- it both sizes (seals) the surface and gives a ground for painting.

Priming Brush

Usually a flat wide brush, made with synthetic or hog hair. For an even application, load the brush and apply whilst holding it at around 45 degrees to the support. Brush the primer on in all directions to make the coverage even. Allow each layer to dry fully before applying the next layer.

Printmaking in Acrylic

Acrylic printmaking inks will dry more quickly than oil based inks, which can work to both one’s advantage as well as disadvantage. Acrylic paint can be used in relief and screen printing with the aid of special printmaking mediums – without these the paint may dry too quickly and will not have the best consistency for successful printmaking.

Print Rack

A Print Rack or Print Browser is used for storage or display of works on paper. Useful at art fairs for buyers to browse through the work these can be table top of floor-standing displays. Often the work is placed in a poly bag with a stiff card for protection and the work on paper is flipped through like at a record shop.

Pumice Gel (acrylic)

Pumice gel is available in a variety of textures, from fine to extra coarse. When dry this opaque white gel dries to a concrete like surface, mottled with craters, just like pumice stone. The fine pumice gel is particularly useful as a drawing ground. As with other white opaque acrylic mediums, pumice gel can be tinted with acrylic colour or applied on its own.

Rabbit Skin Glue

A strong glue made from animal parts, that is an ingredient in genuine gesso, is used for sealing (sizing) panels and canvas before priming and is used as sizing for papers. It stiffens canvas in preparation for gesso primer in oil painting. Also called hide glue.

For preparing canvas and panels the usual method is to soak the pellets or powder overnight, the next day heat in a double boiler and brush onto the canvas while still warm (do not overheat as the glue will be weak). Two coats are preferred to seal the canvas well, the first being scrubbed into the canvas to get well into the weave. Discard any left over as it does not re-heat well. Then prime the surface as normal.

Retarder

A clear acrylic medium that will slow the drying time of acrylic paint.

Scaling Up/Down

The process of transferring a composition from one surface to another. To scale up is to transfer and enlarge the image, and to scale down is to transfer and reduce the image. To do this a grid is placed over the top of the original composition. The same number of squares are drawn on to the surface you are transferring to. The artist will then carefully match the drawing in each square to the original. A projector can also be used to scale up or down without the need for a grid.

Scumbling

Applying opaque or semi opaque colour over the top of already painted areas, in a ‘broken brushmark’, i.e., the scumbled mark will be uneven and only cover some of layer of paint underneath. Scumbling will add depth and texture to your painting.

Sfumato

Painting thin glazes to give a misty effect to areas of a painting. For example sfumato might help to push some mountains on the horizon in a landscape painting further into the distance.

Sight-Size

To paint or draw at the exact scale that you see the subject. Holding a pencil or paintbrush up at arms length against the subject helps to establish at what size you actually see the elements of your composition, and compare lengths and sizes with one another.

Sinking In (oil painting)

When paint is absorbed by the surface it has been applied to and the colours appear less saturated than when they were first applied. This can sometimes cause some areas of the painting to appear more shiny and colour filled than others, as often there are inconsistencies in the absorbency of a surface, which affects the varying degrees of ‘sinking in’ on a surface.

Snap/Spring

The speed at which the hairs of a brush will ‘snap’ back into place if held away from its natural position from the ferrule. Many artists look for good snap in their brushes as it means the brush will make sharper, more vibrant looking brush marks.

Spray Acrylic

Spray paint enables you to apply acrylic colour in thin and even layers. As the paint is dispersed in tiny droplets it tends to dry more quickly than if applied with a brush (within minutes). Colours are easy to blend with one another. Professional acrylic sprays will have low pressure handling, this means that the artist has a greater degree of control over the paint application.

Stay Wet Palette

Stay wet palettes are usually made of plastic and are lined with a sheet of paper that feels a bit like greaseproof paper, which helps keep the paint wet for longer. Keeping the lid on the palette will also reduce the amount of air getting to the paint to help keep it wet for longer. Refill packs of the paper to line the palette are available.

Stretched/Unstretched Canvas

A piece of linen, hessian or cotton duck that has been tightly wrapped around a frame made of wood or aluminium and fixed at the back.Sizing and priming the stretched canvas will increase the tension in the stretch. This creates a vibrant, drum like surface to paint on. Stretched linen and cotton duck canvases can be bought ready made. They are available unprimed or primed with acrylic or oil primer. Unstretched canvas can be purchased from and by the roll, ready to be stretched on to a frame at home or worked on unstretched.

Stretcher Bars

Stretcher bars will assemble to make a frame onto which canvas can be stretched over. They are available in pairs and made of wood or aluminium.

Support

A general term for a surface ready to be painted on. A support can be anything from a canvas to a wooden panel.

Synthetic Brushes

Synthetic brushes often replicate the characteristics of traditional, natural hair painting brushes, such as those made from hog or sable. They are known to be resilient and easier to clean (as the hairs are less absorbent than natural hair). Not all synthetic hair is the same and so characteristics vary across brands.

Tacks

Tacks are a similar shape to drawing pins and are made of metal, and are used to fix canvas to the sides of a stretcher bar. Staples are generally considered to be more successful at keeping canvas fixed to the stretcher, but tacks are often still used to add a traditional aesthetic to the overall look of the support.

Tar Gel

A colourless and clear gel that when poured has a stringy consistency. Tar gel is great for pouring over a surface as it will continuously flow, and you can control the thickness of application by how you pour. The gel can be applied clear or can be coloured with fluid acrylic paint.

Tinting Strength

The power of one colour to overpower another colour when mixed together.

Toning a Canvas

Painting on a white canvas can cause you to paint in colours lighter or brighter than you intend that you need to then adjust after you have more of the white covered. To avoid this some artists apply a middle value on the whole canvas before they start, this toning of the canvas also prevents unwanted bits of white canvas showing through your brushwork and you can leave bits of the tone colour showing for added liveliness.

Tooth

Tooth in acrylic painting usually refers to how coarse a surface feels when dry. Often used to describe the surface quality of gesso, primer and acrylic pastes and mediums.

Transparency / Opacity

The measure of how much light is able to pass through an applied paint and interact with the surface beneath. Transparent paints appear more luminous on a white support because they allow a larger proportion of light to hit the surface they’re laying on, like a filter placed over a light bulb. Opaque paints block this reflection from occurring, and can be used to cover layers of colour underneath. Transparent paints are better suited to glazing techniques, though these can still be achieved with opaque colours if diluted sufficiently or mixed with a suitable medium.

UnderTone

The appearance of a paint when it is spread across a surface in a thin film.

Underpainting

The initial layer of painting, usually executed in a minimal number of colours to establish areas of tone and ‘map out’ the composition on the support.

Value

This term means ‘tone’ in visual art. ‘The value of the object’ is a description of how light or dark the object is. The lightest value is white and the darkest value is black.

Varnish for Acrylic

Acrylic varnishes offer a protective coating to a finished painting, keeping it safe from dust and surface damage (scratches etc.). Some varnishes also have UV light resistors which will prevent colour fade. We recommend applying an isolation coat over your painting prior to varnishing – a soft gloss gel medium would be ideal for this. This will allow for the varnish to be removed in future, if necessary, with no damage risk to the painting itself. Always ensure that you varnish work in a dust and dirt free environment, and remove any dust or dirt from the surface of your work prior to varnishing. Varnish can be applied with a spray or a brush.

Varnishing Brush

A varnishing brush should be kept in good condition and have clean, soft hairs. A square ended brush will make it easier to achieve an even application. A synthetic mottler is a good choice of brush for applying varnish. Several thin layers are better than one thick one. Lean your painting image side down against a wall during the drying process to ensure that dust does not settle on the surface.

Velatura

Applying a glaze with a semi-opaque paint. A trace of the painting underneath will show through the layer of velatura which acts as a veil.

Weave

The weave of a canvas can be completely smooth or very prominent, depending on how it was made. It will have an effect on how your painting looks. Artists who like to explore textures in their work might prefer a coarser weave, whereas artists who paint very fine detail may prefer a finer grain. The set of threads that are aligned lengthways in fabric is known as the warp, and the weft is the set of threads that weave in and out of the warp. In painting it is important that the warp and weft are similar so that when the canvas is stretched it will do so uniformly, without inconsistencies such as wrinkling. This is particularly worth noting if you are working with a linen that was not purchased from an art supplier.

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