Hours: Studio & Showroom open Tues-Sat while artist is working, or by appointment.
A fully working and active Fine Art Studio, Goldhammer paints a convergence of color and emotion and seeks to build and layer organically as the painting allows it to happen. There is no analyzing, conceptualizing or judging that takes place. It all happens in the moment as a union between her, the canvas and the paint.
#G8A / 310-906-4211 / bGartdealings.com
April - Early May: Day Dreamers
Late May: Yaron Dotan (solo) Word Jumble (group)
June: Spectrum Gestalt 4
August: Mike Saijo
BUILDING BRIDGES ART EXCHANGE
A solo exhibition featuring the work of Mostapha Romli
Curated by Marisa Caichiolo
Mostapha Romli's latest body of conceptual work takes us on a dramatic journey inside the increasing number of children weddings that have taken place in Morocco in the last ten years as a result of the 20/21 law.
May 20th, 2017 6:00pm - 9:00pm
Building Bridges Art Exchange (BBAX) is a non-profit (501) (C3) contemporary art organization. Our mission is to help cultivate cultural understanding through the arts. We work to engage local communities and contemporary artists across the globe by facilitating workshops, educational programs, international art exchanges and artist residencies. We work in partnership with museums, galleries, Ministries of Culture, cultural art centers, art organizations and foundations from around the world—at present over 27 countries
BUILDING BRIDGES ART EXCHANGE
2525 Michigan Ave, Unit F2, Santa Monica
Focusing on museum quality installations showcasing emerging artists, Copro also exhibits many established and master painters. Placing works in museums and private collections throughout the world, Copro strives to assist collectors new and experienced in building the most exciting collections possible.
≈ [Almost Equal To] by Jonas Hassen Khemiri
May 26 – July 2, 2017 / Saturdays @ 8:00pm and Sundays @ 3pm
Box Office: 310-453-9939 or purchase tickets online at Brown Paper Tickets: http://www.brownpapertickets.com/event/2950022
How much do you earn? Who do you serve? The new world economics is built on inequality that threatens us all.
This remarkable new work from one of Sweden’s most celebrated novelists and playwrights takes on this issue in highly personal terms: a young man from an immigrant background trying to find his first job; a professor of economics desperately trying to hold onto the one he has; his wife, who nurses fantasies of an ecologically responsible life in the country; a homeless hustler who might be more than he seems; and a young woman who, in the cut-throat world of her office, may or may not be responsible for the death of a rival co-worker. Think economics is strictly for academics?
This play, with its unforgettable moments of funny and brutal honesty about the human cost of a rigged system, will make you think again.
Third Weekend Q&A April 9:
After the 3:00pm performance on Sunday, June 11, please join us for an informal discussion with the cast and crew.
Visit www.citygarage.org/ for more information.
Model of Integrity
April 15 - May 20, 2017
Reception: Saturday, April 15, 5-7pm
iverrun - Photographs of the LA River
“Riverrun” is a suite of photographs capturing seldom seen images of the fifty-one mile storm drain that is still flatteringly called the Los Angeles River. Forsaken for so long and fenced off from the very communities it once sustained, the river is now primarily a flood control channel and conduit for urban waste.
Taking ‘less-picturesque’ portions of the river as his subject, Carofano’s carefully framed images reveal the not-so-hidden majesty of the concrete, the smooth lines of the river’s channel. Sophisticated geometry, atmospheric light and color, and rightness of scale give these images a painterly quality that requires close observation in order to determine that they are indeed photographs. Conditions that could be considered appalling, on the contrary, appear alluring and serene – each image pays homage to the intersection between nature and the designed environment.
Saturday, May 20th, 6pm-8pm
May 20 – July 1, 2017
Muhammad Ali: I am the Greatest!
May 27, 2017 - June 24, 2017
Reception - Saturday, May 27 from 6pm to 9pm
The life and times of Muhammad Ali documented in and out of the boxing ring.
Photo by Bonnie Schiffman, 1982
FIG - First Independent Gallery
Bergamot Station G6
José Marchi: The Darkness of Light
March 4 - April 15, 2017
Reception March 4, 6-8 PM
Suite E2, Tuesday - Saturday 11 - 6 PM
On a clear night, we see countless stars. Yet, there appears more darkness in the sky than light. Since the number of galaxies and luminous bodies in the universe is almost infinite, one might wonder why so much of the night sky appears dark? Science explains that in an expanding universe, the most remote galaxies move away from us at a speed so great that their light is imperceptible. José Alberto Marchi’s exhibition, The Darkness of Light, suggests that some may see into the darkness of their time and find illumination.
José Alberto Marchi is fascinated by the interrelationships of photography and painting. Marchi’s paintings may suggest early 19th Century photographs, but are in fact highly conceptual contemporary works. The anonymous working-class who are Marchi’s ostensible subjects, inhabit a mundane world transformed by light and space.
José Alberto Marchi received Argentina’s Grand Prize for drawing, Salón Nacional de Artes Visuales, 2013. In 2014 he was an artist in residence at Centro de las Artes de San Agustín, Oaxaca, Mexico (at the invitation of Francisco Toledo). In 2016 he received First Prize (for painting) in Argentina’s Salón de Artes Plásticas, Manuel Belgrano.
José Alberto Marchi’s solo-exhibitions include: Solis Flama, Podewil, Berlin, 2004; Música Blanca, Centro Cultural Recoleta, Buenos Aires, 2005; Fons Vitae, Patrick Marchal Gallery, Brussels, Belgium, 2007; Tierra Celeste, Cypres Galerie, Leuven, Belgium, 2009; Sacrificio 1 at Latin American Masters, Los Angeles, 2013 and Sacrificio 2 at Mundo Nuevo Gallery, Buenos Aires, Argentina, 2015.
For more information on this exhibition, please contact Stephanie Mercado at (310) 829-4455, or visit our website at LatinAmericanMasters.com.
Jan 24 - Apr 8
Laura Korman Gallery is pleased to present Submerged, a group exhibition featuring works by Katherine Tzu-Lan Mann, Yukari Kaihori and Tatyana Murray. The exhibition will be on view January 24th – April 8th, 2017.
Washington DC-based artist, Katherine Tzu-Lan Mann creates spectacular paintings that churn with the dynamic energy of creation and destruction. Utilizing rich colors, decorative line work and lush textures, Mann’s surfaces become sites where opposing ideas converge - connecting and clashing into hybrid forms that appear to be frozen in flux. Painting flat on her studio floor, Mann begins each piece with an initial organic shape that forms when she pours paint over the surface. Building from there, she deftly orchestrates the composition, reveling in the ordering of chaos. Mann stealthily incorporates representational imagery into these seemingly abstract works, weaving (sometimes literally) motifs of delicate flowers, landscapes and decorative adornment into brilliant fields of color. Mann’s synthesis of often disparate elements highlights her ability to achieve a striking visual harmony amidst the tension. It is within this balance that lies the essential beauty of her work.
Yukari Kaihori’s large scale paintings explore the relationship between intention and chance. Though she was born in Japan, Kaihori spent her formative years living in several different countries including Brazil, the United States and New Zealand. Citing nature as one of the only constants during her diverse upbringing, the impact of organic imagery & natural forms is clearly present in her work. She begins each piece by allowing a layer of watery paint to stain the surface and then gradually adds areas of controlled line and pattern. The resulting shapes look like infinitely sprouting organic forms – pluming clouds of color made from tiny repeated dots. Yayoi Kusama’s sparkling Infinity Rooms come to mind when looking at Kaihori’s delicate paintings. Her quiet imagery suggests everything from emerging blossoms to the topography of the earth to the texture of an animal’s skin, but eludes any concrete identification. Instead, Kaihori is interested in expressing the landscape of imagination.
Based in New York City, Tatyana Murray is fascinated by the connection between urban and natural landscapes. Her recent “Light” series confronts the relationships between industry and nature. Interested in exploring the space where opposing forces interact, Murray creates her vaporous works by scratching images into numerous layers of plexi, which are then stacked together and contained within a LED lit frame. The effect is similar to the Photograms of avant-garde Bauhaus artist, Laszlo Moholy-Nagy, however Murray’s technique is quite different. Rather than capturing an image during exposure, the light from the frame illuminates these etched lines from a black void. Ghostly images emerge and swirl forth in delicate, symphonic lines. Murray’s images are deliberately enigmatic - it’s unclear whether they are in the process of forming or destructing, if they are organic or man-made. It is this uncertainty that allows the viewer to delve into the spaces that Murray creates and pause for a moment of reflection.
Visit LILLA BELLO in Bergamot Station. Fresh, daily florals, event and wedding styling, and a specially curated lifestyle shop await in F1b
March 18, 2017 - May 21, 2017
Opening reception Saturday, March 18th, 6-9pm
Lois Lambert Gallery presents Allen Harrison’s “Current Work”. Harrison continues his practice of juxtaposing Tibetan Thangka imagery with his paintings of landscapes.
Harrison starts his process cutting and adhering different parts of Thangka paintings on to a wooden panel. Tibetan Thangka paintings are made on cotton or silk usually depicting a mandala, a Buddhist scene or deity. Following his visual instincts, Harrison collages the Thangka imagery keeping the rhythm of the composition by using a fine pencil to draw in contoured lines into blank spaces. The result is a complex drawing of patterns and designs.
This approach allows Allen to focus his energy on the aesthetic quality rather than dictating a meaning or message. For Harrison it’s the engagement in this process that is most interesting to him. Allen credits his years in art school for giving him the ability to translate a three-dimensional world into a two-dimensional plane. It is with this skill, honed throughout his life that he is able to let the process guide the production. He views his art as a series of experiments. Allen explains, “The idea is to make abstract paintings in a different way, by putting two seemingly incongruous ideas, or images together. Part of this is a notion that if you understand what you are doing completely you are not pushing hard enough. I am most excited when I am a little uncertain of the eventual success of the painting”.
“Stories from Realities”
March 18, 2017 - May 21, 2017
Opening reception Saturday, March 18th, 6-9pm
Lois Lambert Gallery presents “Stories from Reality” a new series from sculptor David Furman.
Drawing inspiration from common objects, David invites the viewer to have an individual experience with each item, bringing their own history of interaction and significance to items often viewed primarily for their utility. He includes art-making implements taken from his own studio as well as tin cans, brushes and chalkboards. These are monuments to the tools that are a part of our very existence. Created in what David calls the “realist idiom”, these works are “as American as apple pie” the objects that make up most of our daily experience.
“... I go my way, and my left foot says ‘Glory’, and my right foot says ‘Amen’...”
Annie Dillard from A Pilgrim at Tinker Creek
Lynn Hanson’s work stems from a rapt attention and visceral connection to the natural world: from a childhood stalking garter snakes at Whiskey Ditch in rural Minnesota to a daily ritual of exploring beaches and canyons along the California coast. Hanson’s studio, a long time in the wild garden of her Venice cottage, is now a WW II quonset hut in Ventura along the railroad tracks, just above the Pacific Ocean. Amidst her cache of skulls, crow’s nests, black widows in mason jars, mermaid’s purses, and other finds, she transcribes her field notes. The work carries an undercurrent of longing: drawings of native wildlife on vintage maps, paintings: the gray sea, heaps of rope, and shelters of wrack and bramble, in addition, pinhole and chlorophyll photography from the wanderings.
Exhibitions include: Santa Monica Museum of Art, Long Beach Museum of Art, Lora Schlesinger Gallery, LA, Samuel Freeman Gallery, LA, Jack Rutberg Gallery, LA, PYO Gallery, LA and Seoul
Collections include: Ed Ruscha, LA, Alison Saar LA, James Mangold and Cathy Konrad, LA, Laurel and Paul Britton, NYC, Steve Jacobson, NYC, Tim Blanks, London, Isabelle Bscher (Galerie Gmurzynska), Zurich, San Francisco 49ers
A donation will be made to California Wildlife Center, Heal the Bay, or Santa Barbara Channelkeeper by the artist from any sale. The exhibition opensSaturday, April 22, 2017with an artist’s reception from 5 – 7 pm. The exhibition is on view through May 27, 2017.
OPENING RECEPTION: April 22, 5-7pm
ARTIST WALK THRU: May 6, 2017 - 11:30 am
Lora Schlesinger Gallery exhibits contemporary art, both figurative and abstract. Focusing primarily on California based painters and sculptors, the gallery represents established and emerging artists.
We also act as art advisors to designers, architects, corporations and private clients.
Patrick Painter Inc. is pleased to present LOST WITH ALICE a group exhibition featuring the work of select artists, including: JP Munro, Hope Atherton, Sonny Assu, Jonathan Meese, Li Dafang, Dennis Adams and Chet Glaze. The show will showcase the artists’ distinct and varied styles using a variety of media, including sculpture, painting, and graphic design.
November 19th - January 7th, 2017
Artist’s Reception: November 19th, 6-9 pm
Richard Heller Gallery is proud to present, Ultraviolet, the gallery’s third solo exhibition with Los Angeles-based painter Vanessa Prager. The exhibition will feature more than a dozen new works, a series of self-portraits, which move fluidly between figuration and abstraction.
Prager’s work has garnered critical acclaim for its rich impasto, which bends and refracts light across deeply layered three-dimensional surfaces, offering the viewer a variation of perspectives. Up close, see the varying rhythms and nuances in the artist’s brush strokes and stratified layers of paint. There is a physicality that needs to be explored in an up close and personal way. However, pull back from the work and the light again shifts, revealing a face or a figure slyly staring back at you, as if to say “what took you so long?”
Ultraviolet marks an important evolution for Prager as she turns the brush on herself, revealing who she is, or possibly who she wants to be. Full figures are also beginning to emerge, but overall she moves toward the inclusion of colorful, luscious, painterly abstraction. Another impressive achievement is Prager’s ramping up of her scale: one of the new paintings measures 8 x 12 feet, inviting the viewer to more completely enter her assumed world; they become experiential.
Prager’s works are in prominent private and institutional collections, and have been included in assorted group museum exhibitions, including the Santa Monica Museum of Art and the Museum of Contemporary Art, Los Angeles. Her work has been included in various group exhibitions, both nationally and internationally, and at art fairs around the United States. She has been featured in national press including, W Magazine, Los Angeles Times, Flaunt, Angeleno Magazine, Huffington Post, LA Weekly and Nylon, and has had solo exhibitions on both coasts.
Opening Reception - Saturday June 24 from 5-8pm
A group exhibition of artist who use appropriation of established art and imagery as a base for thier interpretations and manipulations.
Featuring works by:
Mike Bidlo, Elaine Sturtevant, Richard Pettibone, Richard Prince, Ronnie Cutrone, Lutz Bacher, Liza Lou, Gregg Gibbs, Hugh Brown, Gary Palmer, Mary Bakal, John Geary, Jorg Dubin, Alexis Smith, John Waters, John Colao, Nick Agid, Guy Overfelt, Ara Bevacqua & others.
REVOLVER GALLERY INVITES YOU TO EXPERIENCE ITS COLLECTION.
ANDY WARHOL: REVISITED is a touring exhibition celebrating the iconic artist’s work. The exhibition begins on February 14th, 2017, coinciding with the 30th anniversary of Andy’s untimely death. Warhol Revisited includes over 200 works of art in rotation. The exhibition is free to the public (by reservation only).
Revolver Gallery has a one-artist program exclusively dealing in Andy Warhol prints and paintings, making it the only of its kind. Revolver also has the largest gallery owned collection of the artist’s works worldwide, with over 250 works in inventory. Revolver Gallery is dedicated to the promotion and preservation of Andy Warhol’s legacy.
To make a reservation please head to https://warholrevisited.com/
On view at ROSEGALLERY from 25 February until 22 April, Not From Here presents new works by Los Angeles-based artists Manfred Müller and Shaun McCracken. This is Manfred Müller’s fourth and Shaun McCracken’s first exhibition with the gallery. The exhibition opens on February 25th with a reception for the artists from 6 until 8 pm.
Not From Here features new works by Müller and McCracken, two artists who originate from Europe and currently live and work in Los Angeles. Born in Northern Ireland, McCracken left his home in the early 1980s to study Fine Art at St. Martins College and Goldsmith University in London. His arrival in London marked the start of a transformative period in his artistic development, opening up new horizons and possibilities. From 1976 to 1981 Müller studied at the Kunstakademie Düsseldorf, bringing his background as a technical draftsman to his architectural sculptures. Müller, influenced by his professor Erwin Heerich’sminimalist architectural sculptures and Joseph Beuys’ revolutionary use of materials, merged his environment with his work, creating pieces that engaged their surroundings through construction and installation, with a deep understanding of space and tactility.
Manfred and McCracken create abstracted spaces, dimensional and layered. McCracken’s vibrant egg tempera paintings and watercolors, have all been completed over the past two years. Without prior planning or drawing, McCracken creates geometric, hard-edged paintings. Utilizing layered color blocks and lines, the evolution of the painting reveals itself, creating an individualized history within each work. Müller uses folding, contrasts and creases in paper to address the notion of one’s experience with their constructed surroundings. The architectural sculptures engage and reconfigure space with a conscious effort to emulate the aesthetic principles of constructivism. Through the voids and fills, colored spaces and visual history, the two artists reflect theworld surrounding them without ever directly referencing it visually.
Both artists inhabit dual identities — Müller, German-American, and McCracken, from NorthernIreland and currently living in the United States — yet the two artists do not merely workbetween these identities and spaces, but rather broaden their work through their breadth of environments and influences. Their movements throughout this world follow a similar pattern to the movement of the eye through Müller’s architectural sculpture, open-ended yet methodical and the movement of McCracken’s lines across the canvas, continually spreading yet guided.
Phillip Griswold Fiat Lux
October 22 - November 26, 2016
For this exhibition, Phillip Griswold continues his focus of fracturing images of the urban landscape to articulate the complex make-up of our surroundings. Originating in photographs and sketches made out in the field, Griswold paints landscapes abstracted into spaces that contain softly articulated, brushy forms intersected with bold geometry.
Rather than developing a sense for a specific place, Griswold uses the landscape as a way to explore the structure and effect of light. While there is a definite spatial quality to the work and a discernible horizon, he gently diffuses recognizable elements with planar interventions. He structures the paintings in a manner that creates dynamic formal tensions, but allowing the two forces to work in tandem, as if they occur naturally together.
This new body of work moves further yet from the representational nature of his older work, where lozenge forms, planes and cubes jostle within the landscapes, always focusing on light and spatial interplay. In one piece, a scene that references a streetscape that simultaneously alludes to strong movement while keeping a highly structured composition. In another piece, an array of variously colored, ordered planes fractures an otherwise moody clouded sky. In these and the rest of the paintings in the exhibition, the varied compositions always bring focus back to light – its architecture and the way it arcs and refracts in and out and between paintings.
Phillip Griswold received his MFA From Claremont Graduate University and lives and works in the Los Angeles area.
Jennifer Faist - Friends, Acquaintances, and Strangers
October 22 - November 26, 2016
Over the course of her career, Jennifer Faist has created artwork by bringing together two unlikely companions: fabric and high-gloss formalism. At first glance the work aligns with a version of the slick Finish Fettish works of the past, but Faist's meticulously crafted work merges pure materiality with personal resonance. As in previous series, Faist appropriates patterns from clothing with which she has personal associations. In this current body of work, she used apparel from friends and acquaintances, rather than material that she had collected over several years.
To create the vibrant, sculptural pieces, Faist draws her chosen textile design in fine detail and gradually envelopes the original form beneath layers of colored acrylic glazes. Each painting, suspended in resin on thick wood supports, becomes a relic of her encounters with other people. The perfectly smooth, reflective paintings draw viewers into their vibrant, shimmering depths, making onlookers a part of the material and emotive journey that the pieces reveal.
“The patterns in my latest grouping of paintings come from textile designs from the apparel of friends and acquaintances or other people I meet. They encompass a spectrum of social relationships from fleeting exchanges to everyday encounters. The relationships can be close or distant, but yet there is always a thread that weaves between one person and another, creating the fabric of our social networks. The paintings serve as mementos, little fragments of intimacy, something to remember them by.”
Jennifer Faist received her MFA from Claremont Graduate University. She lives and works in Los Angeles.
SECONDARY MARKET MODERN & CONTEMPORARY FINE ART
PAINTINGS | PRINTS | PHOTOGRAPHY | MULTIPLES | SCULPTURE
Submissions - please email jpegs and information to: firstname.lastname@example.org
“People I Saw but Never Met”
April 8 – May 27, 2017
Opening Reception: Saturday, April 8th, 2017, 5 – 7 pm
Shoshana Wayne Gallery is pleased to present People I Saw But Never Met by Zadok Ben-David. This is the London-based artist’s third solo exhibition with the gallery. The exhibition will be on view April 8ththrough May 27th, 2017, with an opening reception on Saturday, April 8thfrom 5-7pm.
People I Saw But Never Met (2015-2017) is Ben-David’s latest ongoing body of work, which, to date, includes over 3,000 chemically etched miniature figures and 45 larger hand-cut figures made from aluminum. Culled from photographs the artist took of people he encountered from a distance as a result of his travels to Europe, The United States, Central Asia, Far East Australia, and Antarctica, the installation brings together an unlikely assemblage of global citizens. Ben-David’s sculptural milieu comes at a critical point in our current socio-political climate where heated debates about exclusion and borders versus inclusivity and multiplicity are part of our daily experience.
Multiplicity as an organizing principle has played a significant role in Ben-David’s work starting with Evolution and Theory (1995) to his two previous exhibitions at the gallery Blackfield (2009) and The Otherside of Midnight (2013). Known for creating multiple versions of a singular natural form such as flowers or butterflies, each variation bearing a unique gesture by the artist, Ben-David’s installations create an alternate amplified viewing space where the relationship between viewer (human) and artwork (nature) is both sacred and destabilizing. Where multiplicity differs in People I Saw But Never Met is in the artist’s approach toward an ethos of pluralization. Ben-David’s accumulation of real-life global people suggests the ways in which we are both isolated yet always in relation to one another. The sand which anchors the figures acts also as a collective ground on which we stand or as the substance from which we all spring and despite variations in scale, there is no hierarchy, each figure no matter his or her origin is treated with dignity and respect.
Zadok Ben-David has exhibited extensively throughout Europe and Asia including, Kenpoku Art Festival, Irabaki Prefecture, Japan (2016); The Art Gallery of Uzbekistan, Tashkent (2015); National Museum of the Republic of Kazakhstan, Astana (2014); Singapore Botanical Gardens presented by Sotheby’s (2013); and The Tel Aviv Museum (2009 and 2010) amongst many others. Ben-David has participated in prestigious biennials worldwide including, Busan Biennial, South Korea (2010); Biennale Cuveé (2009); Wonder Singapore Biennale, Singapore (2008); and the Venice Biennale, Italy (1988). He is the recipient of both the Grande Biennial Premio at the XIV Biennale Internacional de Arte de Vila Nova de Cerveira, Portugal (2007) as well as the Tel Aviv Museum prize (2005). The artist lives and works in London.
For more information, please contact Alana Parpal at email@example.com
Stop by William A. Karges Fine Art and view European scenes painted by early California masters, including Joseph Kleitsch, William Silva, S.C. Yuan, Jane Peterson, and Donald Teague. For nearly 30 years, William A. Karges Fine Art has been the preeminent art dealer specializing in early California and American paintings. With galleries in Carmel and Santa Monica, Karges Fine Art carries one of the most varied, high-quality, historically significant inventories of paintings available on the West Coast.
ED MOSES: Chance and Circumstance
March 25 - May 27, 2017
"The rational mind constantly wants to be in charge. The other parts want to fly. My painting is the encounter between the mind's necessity for control and its yearning to fly, to be free from our ever-confining skull." - Ed Moses
Santa Monica, CA - William Turner Gallery is pleased to present, Ed Moses: Chance and Circumstance, an exhibition featuring new works by the prolific Los Angeles-based painter. Ed Moses’s painterly process is one of inexhaustible experimentation. A self-described “mutator” and compulsive creator, he is still producing work at a staggering pace, undeterred by his 91st birthday upcoming in April. The artist has experienced a period of revitalized productivity, following the exceptional success of his recent survey exhibition Moses@90, and has been creating some of his most inventive and challenging works to date. As part of an unprecedented exhibition cycle presenting Moses’s second major project with the gallery in two consecutive years, Chance and Circumstance will include new, never-before-seen paintings alongside a selection of earlier works.
Among the new bodies of work included in the exhibition are recent iterations of Moses’s dynamic grid paintings. These have never implied static formal stability for Moses but rather frameworks in flux. Delineated by thick bands of black, white, and gray, the grids are punctuated by splatters and drips of vibrant, sometimes neon, colors. In Moses’s hands, this typically rigid geometric formation is transformed - lines are fractured, often ending abruptly, and colored bands vary in transparency and weight, allowing the superimposition of marks to emerge and recede for a deeper sense of dimensional space. The more gestural abstract motif of Moses’s “worm” paintings reappears in this exhibition as well. These curvilinear, tunnel-like passages seem to undulate and carve out pictorial space from within, conveying the unmistakable feeling of spontaneity so integral to Moses’s work.
The phrase “chance and circumstance” has become something of a mantra for Moses. A student of Buddhism, he has made a career of fearlessly blazing down the path of the unknown. A practice of daily meditation keeps Moses anchored in the present, a lifestyle choice and sensibility, which is evident in his paintings. Driven by the metaphysical power of painting and its potential to transform, Moses bypasses the need to be in control and favors the idea of being in tune with the pieces he is coaxing into existence. Moses has stated, “My paintings are on an endless path” - each work leads to another in a sort of perpetual evolution. Art historian Barbara Haskell has remarked of Moses that this relinquishing of control “allows him to step outside himself, letting his materials direct his hand without conscious interferences.”
A member of the original stable of artists showing at LA's legendary Ferus Gallery, Moses exhibited there for the first time while still an MFA student at UCLA in 1958. Exhibiting among the fabled "Cool School," Moses was among those who shaped the infancy of the West Coast art scene. Never has an appreciation and appetite for LA’s art history, or its living legends, been more keen than now. Recently included in the newly minted series Artists Talk: LA Legends presented by The Broad Stage and Sotheby’s Institute of Art Los Angeles, Moses took the stage in January with Cool School Alums Larry Bell, Billy Al Bengston and Ed Ruscha to regale the audience with their living histories. A maverick among them, given his preference for process driven abstraction over any strict adherence to the Finish Fetish and Light and Space movements, championed at the time, Moses has always done things a bit differently.