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11/07/2008 | Exhibitions | United Kingdom

Jim Isermann at Corvi-Mora

Posted by Gillian White

London, 27 June - 31 July 2008 JIM ISERMANN Born in Kenosha, Wisconsin, 1955. Lives in Palm Springs, California. 1977 University of Wisconsin, Milwaukee WI; B.F.A. 1980 California Institute of the Arts, Valencia CA; M.F.A. Solo Exhibitions 2008 Corvi-Mora, London 2007 "Jim Isermann (Chairs & Paintings, 1987)", Praz-Dellavallade, Paris "Vinyl Smash Up 1999-2007", Deitch Projects, New York 2006 Museum of Contemporary Art, Chicago Palm Springs Art Museum, Palm Springs Richard Telles, Los Angeles 2005 Deitch Projects, New York Corvi-Mora, London 2002 Galerie Praz-Delavallade, Paris, France "Hammer Projects", UCLA Hammer Museum, Los Angeles Corvi-Mora, London 2001 Feature Inc, New York Richard Telles, Los Angeles 2000 "Logic Rules", The RISD Museum, Providence, Rhode Island Portikus, Frankfurt am Main, Germany Galerie Praz-Delavallade, Paris, France Richard Telles, Los Angeles 1999 Camden Arts Centre, London "Vega", Le Magasin - Centre d’art Contemporain, Grenoble, France 1998-99 "Fifteen: Jim Isermann Survey", Institute of Visual Arts, University of Wisconsin, Milwaukee; Diverse-Works Artspace, Houston; The University of North Texas Art Gallery, Denton, Texas; Santa Monica Museum of Art, California; Weatherspoon Art Gallery, University of North Carolina, Greensboro; Institute of Contemporary Art, Philadelphia, Pennsylvania, curated by David Pagel (cat) 1998 "Herringbone & Houndstooth", Richard Telles Fine Art, Los Angeles 1997 Robert Prime, London Ynglingagatan 1, Stockholm Studio Guenzani, Milan, Italy Project Space, Chicago Fine Arts Club, Chicago 1996 "Isermann/Pardo", Richard Telles Fine Art, Los Angeles "CubeWeave", Feature, New York 1995 "Weaves", Richard Telles Fine Art, Los Angeles Ynglingagatan 1, Stockholm 1994 "Handiwork", Feature, New York "Handiwork", Richard Telles Fine Art, Los Angeles "Highlights", Sue Spaid Fine Art, Los Angeles 1992 Feature, New York Roy Boyd Gallery, Santa Monica 1991 "Shag Paintings and Sculpture", Feature, New York 1989 "Shag Ptgs", Feature, New York "Shag Ptgs", Richard Kuhlenschmidt Gallery, Los Angeles 1988 "Matching Chairs and Paintings", Feature, Chicago Josh Baer Gallery, New York Kuhlenschmidt/Simon, Los Angeles 1986 "Flowers", Kuhlenschmidt/Simon, Los Angeles "Nu-Flowers", Patty Aande Gallery, San Diego CA 1985 "Starburst", Onyx Cafe, Los Angeles Installation at West Beach Cafe, Venice CA 1984 "Suburban", Richard Kuhlenschmidt Gallery, Los Angeles 1982 "Patio Tempo", Artist’s Space, New York Richard Kuhlenschmidt Gallery, Los Angeles "Motel Modern", The Inn of Tomorrow, Anaheim CA 1981 "Modern Tempo", Riko Mizuno Gallery, Los Angeles Selected Group Exhibitions 2008 "Intervention/Decoration", Various sites, Frome, Somerset "A Colour Box", Arcade, London 2007 "POST DEC: Beyong Pattern and Decoration", Joseloff Gallery, Hartford Art School, University of Hartford, West Hartford, CT "Sculptors' Drawings: Ideas, Studies, Sketches, Proposals and More", Angles Gallery, Santa Monica "If everybody had an Ocean. Brian Wilson an art exhibition" CAPC Musée d'art Contemporain, Bordeaux "If everybody had an Ocean. Brian Wilson an art exhibition", Tate St Ives, St Ives, UK "Plastic/ A proposal of John Trembley. Works in vacuum-formed plastic from the 1960s to today", Cabinet des Estampes, du Museé d'art et d'historie, Geneva "Painting-Design", Peggy Phelps and East Galleries, Claremont Graduate University 2006 "Fondation Vasarely's Birthday Party", Fondation Vasarely, Aix-en-Provence "Unit Structures", Lisboa 20, Lisbon 2005 "ETC.". Le Consortium, Dijon "op...ish", Samson Projects, Boston "Icestorm", Kunstverein München "L.A.", Lucas Schoormans Gallery, New York "Bidibidobidiboo", LA Collezione Sandretto Re Rebaudengo”, Fondazione Sandretto Re Rabaudengo, Milano "Extreme Abstraction", Albright Knox Art Gallery, Buffalo "In the Abstract", Angles Gallery, Santa Monica "TRESPASSING: Houses x Artists". Palm Springs Desert Museum 2004 "Suburban House Kit", Deitch Projects, New York "TRESPASSING: Houses x Artists", Blaffer Art Gallery, Huston; Palm Springs Desert Museum (cat) "Formes + Signes", Galerie Praz Delavallade, Paris 2003 “Honey, I rearranged the collection”, 1a Kempsford Road, London “Now Is The Time”, Dorsky Gallery, Long Island City, NY (cat) “French Collection”, Mamco, Geneva MAK Center for Art & Architecture, Los Angeles (cat) “Jim Isermann & Monique Prieto: Works on Paper”, Corvi-Mora, London 2002 “On the Wall: Wallpaper by Contemporary Artists”, The RISDI Museum, Providence RI (cat) “TRESPASSING: Houses x Artists”, Bellevue Art Museum “Deluxe”, Plaza de España Contemporary Art Centre, Madrid (cat) “Five Years”, Galerie Praz-Delavallade, Paris “Crisp”, Marianne Boesky Gallery, New York 2001 “Patterns: Between Object and Arabesque”, Kunsthallen Brandts Klaedefabrik, Odense, Denmark (cat) “Tele(visions)”, Kunsthalle Wien, Vienna, curated by Joshua Decter (cat) “The Magic Hour”, Neue Galerie, Graz, Austria, curated by Alex Farquharson (cat) “Beau Monde: toward a redeemed cosmopolitanism”, The Fourth International Biennial, Site, Santa Fe, New Mexico, curated by David Hickey (cat) “Drawings”, Frith Street Gallery, London 2000 “Pure De(sign)”, Otis Gallery, Otis College of Art & Design, Los Angeles “What If?”, Modern Museum, Stockholm “Works on paper from California”, Judy Ann Goldman Fine Art, Boston “From Rags to Riches”, Fondation de la Tapisserie, Brussels, Belguim “Haute de Forme et Bas Fonds”, Frac Poitou-Charentes, Angouleme, France “Artworkers”, Oriel Mostyn Gallery, Wales (cat) “Made in California: Now”, Los Angeles County Museum of Art, CA “Ultralounge: The Return of Social Space (with cocktails)”, University of South Florida Contemporary Art Museum, Tampa, FL., curated by Dave Hickey 1999 “Objecthood 00”, Hellenic-American Union, Athens, Greece “This Season”, Laure Genillard Gallery, London (curated by Gemma de Cruz) “In the Midst of Things”, Bournville, Birmingham, UK, curated by Nigel Prince and Gavin Wade (cat) “Post-Hypnotic”, The McKinney Avenue Contemporary, Dallas, Texas, curated by Barry Blinderman (cat) “Etcetera”, Spacex Gallery, Exeter, UK 1998 “Lovecraft”, South London Gallery, London “Michelle Grabner & Jim Isermann”, Gallery 16, San Francisco “Roommates”, Museum van Loon, Amsterdam “Weather Everything”, Galerie für Zeitgenönissische Kunst Leipzig “Homemade Champagne”, Peggy Phelps Gallery and East Gallery, The Claremont Graduate University, Claremont, curated by David Pagel (cat) “Pop Abstraction”, Pennsylvania Academy of Fine Art, Philadelphia, curated by Sid Sachs (cat) “L.A. Times”, Palazzo Re Rebaudengo, Guarene d’Alba, curated by Francesco Bonami(cat) 1997 “Maxwell’s Demon”, Margo Leavin Gallery, Los Angeles “Dramatically Different”, Le Magasin - Centre d’art Contemporain, Grenoble “Thread”, Cristenrose Gallery, New York “Fake Ecstasy With Me”, Museum of Contemporary Art, Chicago “Women Work: Examining the Feminine in Contemporary Painting”, Southeast Center for Contemporary Art, Winston-Salem, N.C. “Sunshine and Noir: Art in L.A. 1960 - 1997”, Louisiana Museum of Modern Art, Humlebaek, Denmark; curated by Lars Nittve (cat) “Lovecraft”, Centre for Contemporary Art, Glasgow 1996 “Patterns of Excess”, Beaver College Gallery, Glenside, PA “Just Past, Selections from the Permanent Collection 1976 - 1996”, Museum of Contemporary Art, Los Angeles, curated by Ann Goldstein “How will we behave?”, Robert Prime, London “Some Grids”, Los Angeles County Museum of Art, Los Angeles, curated by Lynn Zelevansky and Carol Eliel “Ab Fab”, Feature, New York “Mod Squad”, Spanish Box, Santa Barbara, CA. curated by Michael Darling 1995 “Division of Labor: Women’s Work in Contemporary Art”, The Bronx Museum of the Arts, New York (cat). Travelled to the Museum of Contemporary Art, Los Angeles “Very”, Richard Telles Fine Art, Los Angeles “Gay Men Love Chairs”, Shoshana Wayne Gallery, Santa Monica, curated by Cary S. Leibowitz “Felicity”, Jan Baum Gallery, Los Angeles, curated by Phyllis Green “I Gaze a Gazely Stare”, Feature, New York “Flowers”, Boritzer/Gray/Hamano, Santa Monica CA, curated by Irit Krieger “Conceptual Textiles”, John Michael Kohler Arts Center, Sheboyean WI “The Moderns”, Feature, New York, curated by Tony Payne “Smells Like Vinyl”, Roger Merians Gallery, New York “Crystal Blue Persuasion”, Feature, New York 1994 “Sour Ball”, Sue Spaid Fine Art, Los Angeles “Difficult Conceptualists”, The Brewery, Los Angeles, curated by Paul Tzanetopoulos Richard Telles Fine Art, Los Angeles “Forging Ahead”, State University of Buffalo, Fine Arts Gallery, Buffalo NY, curated by Al Harris “LAX 94”, Los Angeles Municipal Art Gallery, Los Angeles (cat) “Surface de Réparation”, FRAC Bourgogne, Dijon, curated by Eric Troncy “Guys Who Sew”, Art Museum, University of California Santa Barbara, curated by Elizabeth Brown & Fran Segal (cat) 1993 “Technicolor: The Future That Never Was”, Christopher Grimes Gallery, Santa Monica CA “Project Unité”, Unité d’Habitation, Firminy, France, curated by Yves Aupetitaillot and Robert Fleck (cat) 1992 “The Rosamund Felsen Clinic and Recovery Center”, Rosamund Felsen Gallery, Los Angeles, curated by Ralph Rugoff Roy Boyd Gallery, Santa Monica CA “Primi Pensieri”, Christopher Grimes Gallery, Santa Monica CA “Studio to Station: Public Art on the Metro Blue Line”, FHP Hippodrome Gallery, Santa Monica CA 1991 “Presenting Rearwards”, Rosamund Felsen Gallery, Los Angeles, curated by Ralph Rugoff (cat) “The Legacy of Hank Herron”, Turner & Byrne Gallery, Dallas TX “Office Party”, Feature, New York 1990 “Abstract Painting: Three Sensibilities”, Siegfried Gallery, Ohio University School of Art, Athens OH, curated by Kimberly Burleigh “Representation-Non-Representation”, Security Pacific Gallery, Costa Mesa, curated by Stephen Berens “Geometric Abstraction”, Marc Richards Gallery, Los Angeles “Material Conceits”, Mint Museum of Art, Charlotte NC, curated by Mark Leach 1989 “Temporary Installations 89”, Manhattan Beach Public Arts Program, Children’s Section, Public Library, Manhattan Beach, CA 1988 “The Home Show”, Santa Barbara Contemporary Arts Forum, Santa Barbara CA (cat) “After Abstract”, Art Center College of Design, Pasadena CA (cat) “Recent Work from Los Angeles”, Cleveland Center for Contemporary Art, Cleveland OH, curated by Elizabeth Shepard “LA CA Boys”, Feature, Chicago “Walk Out to Winter”, Bess Cutler Gallery, New York, curated by Christian Leigh 1987 “L.A. Hot & Cool”, List Visual Art Center, Massachusetts Institute of Technology, Cambridge MA, curated by Dana Friis-Hansen (cat) “(of Ever-Ever Land I speak)”, Stux Gallery, New York, curated by Christian Leigh “CalArts: Skeptical Belief(s)”, The Renaissance Society at the University of Chicago; Newport Harbor Museum, Newport Beach CA, curated by Suzanne Ghez (cat) “A Different Corner”, US Pavilion, I Bienal Internacional de Pintura, Museo de Arte Moderna, Cuence, Ecuador, curated by Christian Leigh (cat) “Avant-Garde in the 80’s”, (with Irene Segalove), Los Angeles County Museum of Art, Los Angeles “Nature”, Feature, Chicago 1986 “Greenberg’s Dilemma”, Loughelton Gallery, New York “TV Generations”, LACE, Los Angeles, curated by John Baldessari and Bruce Yonemoto (cat) “California Chairs”, Aspen Art Museum, Aspen CO “A Southern California Collection”, Cirrus Gallery, Los Angeles “Meanwhile Back at the Ranch...”, Kuhlenschmidt/Simon, Los Angeles 1985 “Future Furniture”, Newport Harbor Art Museum, Newport Beach (cat) “Fashion”, LAICA, Los Angeles Richard Kuhlenschmidt Gallery, Los Angeles 1984 “Spies and Boyfriends”, Vickman’s Restaurant, Los Angeles “Contextual Furnishings: Isermann, McMakin, Vaughn”, Mandeville Art Center, University of California, San Diego “Furniture, Furnishings: Subject, Object”, Museum of Art, Rhode Island School of Design, Providence RI “L.A. Apocalypse”, Whiteley Gallery, Los Angeles 1983 “Spy-Tiki Modern”, Fun Gallery West, San Francisco (installation with Jeffery Vallance and Mark Kroening) “Cultural Excavations: Recent and Distant”, Japanese American Cultural and Community Centre, Los Angeles, curated by Robert Pincus (cat) Richard Kuhlenschmidt Gallery, Los Angeles 1981 “The Fix-It-Up Show”, LACE, Los Angeles. Work altered by Jeffery Vallence and Michael Uhlenkott “Fictive Victims”, Hallwalls, Buffalo NY, curated by Robert Longo “Some Painters”, Security Pacific Plaza, Los Angeles “Southern California Artists”, LAICA, Los Angeles, curated by Barbara Haskell 1980 “The Young/The Restless”, Otis/Parsons, Los Angeles “Furnishings by Artists”, Otis/Parsons, Los Angeles Projects 2007 "Damn Everything but Sister Corita", an email conversation between Pae White and Jim Isermann, Afterall.org Piccadilly line Tube wrap, Platform for Art, London "Untitled (Love Letter to Louis Kahn)", Yale University Art Museum. Commissioned contruction fence consisting of 15,000 put-in-cups and nine 8 x 10 chain link sections, temporary installation. 2006 "Untitled (Greek Key)", 200 foot long chain link and 40,000 put-in-cup construction fence commissioned for the UCLA Hammer Museum, Los Angeles 2005 Memorial Sloan Kettering Cancer Center – Cyber Café Ceiling Project, New York LA Metro Customer Service Center at Wilshire and LaBrea, Los Angeles UCR Genomics Building, Modular metal and light wall sculpture, Riverside Vinyl Link Entrance Mats, commission for the Albright Knox Art Gallery, Buffalo 2004 "IT House", custom vinyl graphic applique for TK Architecture's off-the-shelf featherweight aluminium and glass house, Los Angeles "Upholstery Textile", commissioned by Rosenthal Einrichrung, Germany for the "Flying Carpet" Chair "I - tile design 2004", 10 balcony facades and residential lobby, 11023 McCormick Street, Los Angeles 2003 Art + Architecture, portfolio and postcard, Los Angeles Forum for Architecture and Urban Design Vacuum form multiple; 4 panel multiple (edition of 50 white and 50 silver), Contemporary Exhibitions, Los Angeles “Chandelier Project”, commissioned by The Mission Bay Art Planning Committee of the University of California, San Francisco 2002 Wallwork, (commissioned permanent installation), L.A Eyeworks, Beverly Blvd., Los Angeles Three Silkscreen Print Suite, Cirrus Gallery, Los Angeles Elevator floor indicators, commissioned permanent installation in 8 cans, Skadden, Arps, Slate, Meagher, Flom, New York 2000 Contravision Vinyl Window Treatment, Shopfront window, Corvi -Mora, London 1999 Jim Isermann, “Jim Isermann’s Top Ten”, Artforum, April, p.40 1996 “Art & The Home”, Art & Design, edited by David Greene, Vol.11 Nov-Dec, 1996, p 82 - 89 (plus cover) 1993 Los Angeles County Transportation Commission, Metro Blue Line, Fifth Street Station, Long Beach CA (permanent installation), commissioned 1993, completed 1995 “L’Endroit Ideal (Ideal Place)”, edited by Eric Troncy, published by L’Ile du Roy, Centre d’art et Jardin, Val de Reuil, France (artist’s project, p.80-81) 1992 1992 Calendar commissioned by Fuji Oil, Osaka, Japan 1991 Calendar commissioned by Fuji Oil, Osaka, Japan Silkscreen print edition published by Turner & Byrne Gallery, Dallas TX Book cover, “Hand over Heart”, writings by David Trinidad 1990 1990 Calendar commissioned by Fuji Oil, Osaka, Japan Magazine cover, “Shiny”, New York 1988 “T.V. Lounge”, American Museum of the Moving Image, Astoria NY (permanent installation) 1987 Catalogue cover, “L.A. Hot & Cool”, Massachusetts Institute of Technology, Cambridge MA 1986 “T.V. Room”, Los Angeles Contemporary Exhibitions, Los Angeles, video screening room (destroyed 1994) 1985 Book cover, “Monday, Monday”, writings by David Trinidad 1984 Art Direction and sets for Lin Hixon’s “Hey John, Did You Take the El Camino Far?”, as part of LACE’s series “Art of the Spectacle” 1982 Video sets for MTV’s “The Cutting Edge”, for the Bangles and the Three O’Clock Selected Bibliography 2006 Fredrik Nilsen, "Art to live with, full of wonder", Los Angeles Times, January 10, E26 2005 Andrea Bellini, "New York Tales", Flash Art, November-December, pp.84-85 Faye Hirsch, "Abstract Generations", Art in America, October, pp.122-129 Kalte Fusion, "Über die Ausstellung "Icestorm" im Kunstverein München", Texte zur Kunst, September, pp.199-204 Lynne Heffley, "In the NoHo Arts District, 'I' stands for Isermann", Los Angeles Times, June 1, p.E18 “iT House”, Metropolitan Home, May, p.9 Pablo Lafuente, "Jim Isermann", ArtReview, May, p.102 Jennifer Thatcher, "Jim Isermann", Art Monthly, April, pp.18-19 “iT House”, Wired, April, p.27 2004 Alistair Gordon, “Absolutely prefab”, The New York Times, Home Design Magazine, Spring, pp.100-103 2003 Barbara Lamprecht, "Three Classic Houses, California", Architectural Record, November, pp.158-163 Joseph Rosa, "Next Generation Architecture: Folds, Blobs and Boxes", Rizzoli, pp.6,7,68- 71 Vincent Pécoil, "Op Stars", Art Monthly, October, pp.7-10 William Middleton, "The New Mod Squad: Reviving the 60's", Harper's Bazaar, September, pp.384-389 2002 Michael Webb, “Los Angeles insight”, Domus, October, Issue 852, pp.136-143 Jan-Willem Poels, “l.a. eye candy”, Frame, September/October, pp.72-77 David Pagel, “Jim Isermann, The Playful Wallpaperer”, Los Angeles Times, August 30, pp. F1, F26 Paco Barragán, “La obra total de Jim Isermann”, Lapiz, Issue 184, pp.56-61 Paco Barragán, The Art To Come, pp.142-143 Martin Coomer, “Jim Isermann”, Time Out, February 20-27, p.51 Morgan Falconer, “Jim Isermann”, What’s On, February 13-20, p.24 Louisa Buck, “Jim Isermann”, The Art Newspaper, February, p.14 David Bussel, “born to be plaid”, i-D, February, p.175 Stephen Mitchell, “Jim Isermann”, Evening Standard, January 14, p.51 2001 Carmine Iannaccone, “Jim Isermann”, Art Issues, November/December 2001, p.45 Charles Dee Mitchell, “Making the Case for Pleasure”, Art In America, November, p.122- 129 Michael Duncan, “Beau Monde: Toward a Redeemed Cosmopolitanism”, Artforum, October, pp. 153-154 Rosetta Brooks, “Artists Run Space”, Frieze, March 2001, p.63 2000 Valerie Reardon, “Artworkers”, Review, Art Monthly, April 2000, p.22-23 William L. Hamilton, “New Art’s Interior Motive”, The New York Times, February 3, Design Notebook Section 1999 Holland Cotter, Review (“15”), The New York Times, October 29, p.B37 Vena-Mondt, “Jim Isermann at the scale of Magasin, “Mag”, October, p.2-3 Jody Zellen, “Fifteen: Jim Isermann Survey”, d’art International, Spring/Summer, p.25 Michael Duncan, “From Bauhaus to Jim’s House”, Art in America, p.100-103, 137 (cover) Bruce Hainley, review of “Fifteen”, Artforum, Summer, p.159-160 Weather Everything, Galerie für Zeitgenössische Kunst Leipzig, Cantz Christopher Knight, “The Material Pleasures of Sculptor Isermann”, Los Angeles Times, April 3, p.F1-F12 1998 Frank-Alexander Hettig, “Sooner or Later, Everything comes Back”, Metropolis M, December/January 1998/1999, p.54-57 David Bonneti, Review, San Francisco Examiner, Friday, December 18, p.B2 Jim Isermann, Fifteen, Insitute of Visual Arts, University of Wisconin, Milwaukee Rhonda Lieberman, “Handled with Care”, Frieze, no. 41, June/August, p.58-61 Claudine Ise, Los Angeles Times, May 1, p.F24 Martin Coomer, “Jim Isermann”, Time Out, January 14-21, p.44 Kate Bernard, “Jim Isermann”, Evening Standard “Hot Tickets”, January 8, p.41 1997 Christopher Knight, “Lots of Sunshine, Very Little Light”, Los Angeles Times, July 27, p.4,5,85 David Pagel, Jim Isermann “The Best of Both Worlds”, Art & Text, no. 57, May - July, p.66-73 Carmine Iannacone, “Jim Isermann & Jorge Pardo”, Frieze, March/April Maia Damiancovic, “Painting Beyond Limits”, Tema Celeste, March/April, p.111 1996 Rosetta Brooks, LA Weekly, December 27 - 2 January, p. 41 Elizabeth Kley, Artnet Worldwide, HTTP://www.artnet.com, December David Pagel, Los Angeles Times, November. 29, p.F30 1995 Christopher Knight, “Women’s Work is Never Done at MOCA”, Los Angeles Times, October 1, p.62 David Pagel, “Weaves That Weave A Magic Spell”, Los Angeles Times, September 22, p.F20 Robert Atkins, “Lesbian & Gay Wahtzis”, The Village Voice, June 20, p.71-72 1994 Terry Myers, “Painting Camp”, Flash Art, November/December, p.73-76 Michael Duncan, review, Art in America, October, p.143 David A. Greene, “Critics Choice”, Los Angeles Reader, September 29, p.14 David Pagel, Los Angeles Times, September 22, p.F20 Christopher Knight, “Suburban Bauhaus”, Art Issues, May/June, p.29-31 (cover) Lisa Anne Auerbach, review, Artforum, May, p.107 Terry Myers, review, The New Art Examiner, May, p.47 Ralph Rugoff, “Fun with Formalism”, LA Weekly, April 22-28, p.33 Susan Kandel, Los Angeles Times, March 25, p.F20 Hunter Drohojowska-Philp, Los Angeles Times, March 20, p.87;90 David A. Greene, “Technicolor Hero”, Los Angeles Reader, March 18, p.21 Kim Levin, “Art in Brief”, The Village Voice, February 8, p.72 Holland Cotter, “Art in Review”, The New York Times, January 14, p.C29 1993 Joshua Decter and Olivier Zahm, Artforum, November, p.91-92;131;138 Michael Duncan, review (Technicolor), Frieze, November/December, p.62 Eric Troncy, “Spotlight: Project Unité”, Flash Art, October, p.117 James Roberts, “Down With the People”, Frieze, September/October, p.26-27 “News of the Print World”, Print Collector’s Newletter, September/October, p.143 Kester Rattenbury, “Bringing New Life to Le Corbusier’s Lost City”, Blueprint, July/August James Scarborough, review (Technicolor), art press, July/August, p.89 Jean-Yves Jouannais, review (Unité), art press, July/August David Pagel, review (Technicolor), The Los Angeles Times, April 15 Eric Troncy, “Naakt en Kneedbaar”, Metropolis M, No 3, p.33-37 1992 Mark Stevens, “Design Invitational”, Vanity Fair, December, p.200 Janet Wiscombe, “A Line of Vision”, Press-Telegram, October 4, p.J1, J5 David Pagel , The Los Angeles Times, September 24, p.F4 David Pagel, “New York Fax”, Art Issues, May/June, p.25-26 Peter Schjedahl, “Trend: Sweetness and Light”, The Village Voice, April 14, p.105 1991 James Lewis, “Home Boys”, Artforum, October, p.101-105 Tom Moody, review, Art Paper, July/August, p.65 Janet Tyson, “Modern Muscle”, Fort Worth Star-Telegram, May 26, section E, p.10 Tom Moody, “What You See is What You Saw”, Dallas Observer, May 9, p.19 Terry R. Myers, review, LAPIZ, March, p.77 Ken Johnson, Art in America, March, p 201 Robert Mahoney, “New York in Review”, Arts, April, p.105 Michael Anderson, review, Art Issues, February, p.24 Marc Selwyn, review, Flash Art, January/February, p 136 1990 Ken Johnson, review, Art in America, March, p.201 Michael Anderson, review, Art Issues, February, p.24 Joshua Decter, “New York in Review”, Arts, February, p.95 New Art, eds., Eric Himmel and others, Harry N.Abrams Inc., New York, p.92-93 Marc Selwyn, review, Flash Art, January/February, p.136 1989 Sponsored page, dialogue, November/December, p.65 Christopher Knight, “Shags Show Vulgar Kind of Beauty”, The Los Angeles Herald Examiner, June 24 Dennis Cooper, review, Artscribe International, January/February, p.83 1988 Ralph Rugoff, “Pop Goes the Easel”, LA Style, November, p.135-138 Mathew A. Weinstein, review, Artforum, October, p.150 Brian Butler, “Irony Masked as Emulation”, Artweek, July 9, p.6 Christopher Knight, The Los Angeles Herald Examiner, June 24 1987 Jean-Yves Jouannais, review (unite), art press, July/August, p.80-81 Dennis Cooper, review, Art in America, May, p.191 Holland Cotter, “Eight Artists Interviewed”, Art in America, May, p.166-167;199 1986 Robert Pincus, “Flower Art Digs Into 60’s”, San Diego Union, December 18, p.C-8 Duncan, Michael, review (Technicolor), Frieze, November/December, p.62 Hunter Drohojowska, “Artists Critics Are Watching”, Artnews, May, p.80 Christopher Knight, “The Return of Flower Power”, The Los Angeles Herald Examiner, January 26 1984 Colin Gardner, review, L.A. Reader, October 26 Robert Pincus, review, Artforum, October 1983 Robert Pincus, review, Art in America, March, p.164 1982 Dennis Cooper, L.A. Weekly, November 12-18, p.22 Susan C. Larson, review, Artforum, April _____________________ Corvi-Mora 1A Kempsford Road (off Wincott Street) London SE11 4NU Tel: 020 7840 9111 Fax: 020 7840 9112 Email: tcm@corvi-mora.com Opening Hours: 11-6 Tuesday-Saturday

Last Updated ( 11/07/2008 )