Jim Isermann

Jim Isermann (1955) was born in Kenosha, WI. Works and
lives in Santa Monica, CA

SOLO EXIHIBITIONS

2011
Corvi-Mora, London
2010
Praz-Dellavallade, Paris
2009
Plug-in, Van Abbe Museum, Eindhoven, Netherlands
Richard Telles Fine Art, Los Angeles2008
Corvi-Mora, London
2007
Vinyl Smash Up, 1999 – 2007. Deitch Projects, New York, NY
Jim Isermann (Chairs & Paintings, 1987).
Praz-Delavallade, Paris, France
2006
Richard Telles Fine Art, Los Angeles
Museum of Contemporary Art, Chicago, IL
2005
Corvi-Mora, London
Deitch Projects, New York, NY
2003
Now is the Time, Dorsky Gallery, Long Island City, New York
Hammer Projects, (wall installation) UCLA Hammer Museum, Los Angeles (Brochure with essay by Dave Hickey)
On the Wall : Wallpaper and Tableau, Fabric workshop and museum, LA, CA
2002
Hammer Projects, (wall installation) UCLA Hammer Museum, Los Angeles (Brochure with essay by Dave Hickey) Galerie Praz-Delavallade, Paris, France Corvi-Mora, Londres
2001
Richard Telles Fine Art, Los Angeles, CA
Feature Inc, New York
2000
Richard Telles Fine Art, Los Angeles, CA
Galerie Praz-Delavallade, Paris, France
Portikus, Francfort, Allemagne
Logic Rules, The RISD Museum, Providence, Rhode Island
1999
Vega, Le Magasin, Grenoble
Camden Arts Center, Londres, Royaume – Uni
1998
Fifteen: Jim Isermann Survey, Institute of Visual Arts, University of Wisconsin; curated by David Pagel, (catalogue). Travels to: Diverse-works Artspace, Houston, The University of North Texas Art Gallery, Denton, Santa Monica Museum of Art, Santa Monica, Weatherspoon Art Gallery, University of North Carolina,
Greensboro, Institue of Contemporary Art, Philadelphia
Herringbone & Houndstooth, Richard Telles Fine Art, Los Angeles, CA
1997
Robert Prime, Londres, Angleterre
Ynglingagatan 1, Stockholm, Suède
Studio Guenzani, Milan, Italie
Project Space, Chicago Arts Club, Chicago, Il.
1996
Isermann / Pardo, Richard Telles Fine Art, Los Angeles, CA
Cube Weave, Feature, New York, NY

GROUP EXHIBITIONS 
2008
“These are the People in Your Neighbourhood”, Gallery 16, San Francisco
“Angles in America”, Rhona Hoffman Gallery, Los Angeles
“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
Trespassing: Houses X Artists, Blaffer Gallery, Art Museum of the University of Houston, Palm Springs Museum, Pal Springs, CA
Suburban House Kit, Deitch Projects, New York, feb-March
Extreme Abstraction, Albright Knox Art Gallery, Buffalo, NY
2003
Trespassing: Houses by Artist, Washington and MAK Center for Art and Architecture, Los Angeles, CA, travelling to University of South Florida Contemporary Art Museum curated by Cara Mullio (cat.)
On the Wall : Wallpaper by contemporary artistes, The RISD Museum, Providence
Jim Iserman / Monique Prieto, Corvi-Mora, Londres
2002
French Collection, Mamco, Genève
TRESPASSING: Houses x Artists, Bellevue Art Museum
Deluxe, Contemporary Art Center, Plaza de Espana, Madrid
The Gallery Show, Royal Academy of Art, Londres
Officina America/American Atelier, Bologne
Crisp, Marianne Boesky Gallery, New York
Now is the Time, Dorsky Gallery, Long Island City, New York
2001
Drawings, Frith Street Gallery, London
Beau Monde: Toward a Redeemed Cosmopolitanism, The Fourth International Biennial, Site, Santa Fe, New Mexico
The Magic Hour, Neue Galerie, Graz, curated by Alex Farquharson
Tele(visions), Kunsthalle Wien, Vienna, curated by Joshua Decter (cat)
Patterns: Between Object and Arabesque, Kunsthallen Brandts Klaedefabrik, Odense, Denmark
2000
Ultralounge: The Return of Social Space (with cocktails)”, University ofSouth Florida Contemporary
Art Museum, Tampa, FL., curated by Dave Hickey.
From Rags to Riches, Fondation de la Tapisserie, Brussels, Belgium
Work on Paper from California,” Judy Ann Goldman Fine Art, Boston, MA
Artworkers, Oriel Mostyn Gallery, Wales
Pure De(sign), Otis Gallery, Otis College of Fine Art & Design, Los Angeles, CA
Made in California, Los Angeles County Museum of Art
Logic Rules’; The RISD Museum, Rhode Island
What if, Moderna Museet, Stockholm, Sweden. Curated by Maria Lind.
Haut de Forme et Bas Fonds”, Frac Poitou-Charentes
Los Angeles County Museum of Art, Los Angeles
1999
Etcetera, Spacex Gallery, Exeter, UK
Post-Hypnotic, The McKinney Avenue Contemporary, Dallas, Texas
In the Midst of Things, Bournville, Birmingham, UK; curated by Nigel Prince and Gavin Wade
This Season, Laure Genillard Gallery, London (curated by Gemma de Cruz)
Objecthood 00, Hellenic-American Union, Athens, Greece
1998
Roomates, Museum Van Loon, Amsterdam, Netherlands
Lovecraft, South London Gallery, London, UK
L. A. Times, Palazzo Re Rebaudengo per l’ Arte Contemporanea, Guarene d’ Alba, Italy
Pop Abstraction, Pennsylvania Academy of Fine Art, Philadelphia, PA; curated by Sid Sachs
Homemade Champagne, Claremont Graduate University, Claremont, CA; curated by David Pagel (catalogue)
1997
Maxwell’ s Demon, Margo Leavin Gallery, Los Angeles, CA
Dramatically Different, Centre National d’ Art Contemporain de Grenoble, Grenoble, France; curated by Eric Troncy (catalogue)
Thread, Cistenrose Gallery, New York, NY
Fake Ecstacy With Me, Museum of Contemporary Art, Chicago, IL
Women Work: Examining The Feminine in Contemporary Painting, Southeast
Center for Contemporary Art, Winston-Salem, N. C.
Sunshine & noir: Art in L. A. 1960-1997, Louisiana Museum of Modern Art, Humleback, Danemark; curated by Lars Nittve (catalogue)
Lovecraft, Centre for Contemporary Art, Glasgow, Ecosse
1996
Patterns of Excess, Beaver College Gallery, Glenside, PA
Just Past, Selections from the Permanent Collection 1976-1996; curated by Ann Goldstein, Museum of Contemporary Art, Los Angeles, CA
How Will we Behave?, Robert Prime, Londres
Some Grids, Los Angeles County Museum of Art, Los Angeles, CA; curated by Lynn Zelevansky and carol Eliel
Ab Fab, Feature, New York, NY
Mod Squad, Spanish Box, Santa Barbara, CA; curated by Michael Darling

COMMISSIONS

2003
MAK Center for Art and Architecture, Los Angeles (29 janvier – 31 juillet)
2002
Wallwork, (commissioned permanent installation), L.A. Eyeworks, Beverly Blvd., Los Angeles, CA
Elevator floor indicators (commissioned permanent installation in 8 cans), Skadden, Arps, Slate,
Meagher, Flom, New York, NY
2000
Contravision, Vinyl Window Treatment, Shopfront window, Corvi -Mora, London1999
Isermann, Jim, “Jim Isermann’s Top Ten”, ARTFORUM, April, page 40
1996
Art & The Home, Art & Design, Edited by David Greene, Vol. 11, Nov-Dec, 1996 pp. 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 idéal (Ideal Place), edited by Eric Troncy, published by L’ Ile du Roy, Centre d’ Art et Jardin, Val de Reuil, France (artist’ sproject pp. 80-81)
1992
Calendar commissioned by Fuji Oil, Osaka, Japon
1991
1991 Calendar commissioned by Fuji Oil, Osaka, Japon
Silkscreen print edition published byn Turner and Byrne Gallery, Dallas TX
Book cover, “Hand Over Heart”, writings by David Trinidad
1990
1990 Calendar commissioned by Fuji Oil, Osaka, Japon
Magazine cover, “Shiny”, New York, NY
1988
T. V. Lounge, American Museum of 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 CA, video screening room (destroyed 1994)
1985
Book cover, “Monday, Monday”, writtings 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
2002 
Pagel, David, “Jim Isermann, the Playful Wallpaperer,” Los Angeles Times, August 30, pgs. F1 & F26
Stephen Mitchell, “Jim Isermann”, Evening Standard, January 14, p.51
David Bussel, “born to be plaid”, i-D, February, p.175
Louisa Buck, “Jim Isermann”, The Art Newspaper, February, p.14
Morgan Falconer, “Jim Isermann”, What’s On, February 13-20, p.24
Martin Coomer, “Jim Isermann”, Time Out, February 20-27, p.51
Paco Barragán, The Art To Come, pp.142-143
Paco Barragán, “La obra total de Jim Isermann”, Lapiz, Issue 184, pp.56-61
Jan-Willem Poels, “l.a. eye candy”, Frame, September/October, pp.72-77
Michael Webb, “Los Angeles insight”, Domus, October, Issue 852, pp.136-143

2001 
Rosetta Brooks, “Artists Run Space”, Frieze, March 2001, p.63
Michael Duncan, “Beau Monde: Toward a Redeemed Cosmopolitanism”, Artforum, October, pp.153-154
Charles Dee Mitchell, “Making the Case for Pleasure”, Art In America, November, p.122-129
Carmine Iannaccone, “Jim Isermann”, Art Issues, November/December 2001, p.45
2000 
“Datebook,” The New York times, (Providence, RI, edition), Dec. 1
William L. Hamilton, “New Art’s Interior Motive”, The New York Times, Thursday February 3, Design Notebook Section
Valerie Reardon, “Artworkers”, Review, Art Monthly, April 2000, p.22-23
1999 
Christopher Knight, “The Material Pleasures of Sculptor Isermann”,Los Angeles Times, April 3, pages F1 & F12
Weather Everything, Galerie für Zeitgenössische Kunst Leipzig, Cantz
Bruce Hainley, review of “Fifteen”, Artforum, Summer, pp159-160
Vena-Mondt, “Jim Isermann at the scale of Magasin,”Mag”, October, pages 2-3
Cotter, Holland, Review (“15”), The New York Times, Oct 29, page B37
Duncan, Michael, “From Bauhaus to Jim’s House”, Art in America,pages 100-103, 137 (plus cover)
Zellen, Jody, “Fifteen: Jim Isermann Survey”,d’ art International,Spring/Summer, page 25
Dupont, Véronique. Jim Iserman. “Game Show”, Numéro, n°4 juin.
1998 
Coomer, Martin. Review, Time Out, (London), January 14-21, p.44
Ise, Claudine. Review, Los Angeles Times, May 1, p. F24
Lieberman, Rhonda. “Handle with Care”, Frieze N°41, pp. 58-61
1997 
Pagel, David, Jim Isermann. “The Best of Both Worlds”, Art & Text, n° 57, May-July, pp.66-73
Damiancovic, Maia. “Painting `Beyond Limits”, Tema Celeste, March-April, p. 111
Iannacone, Carmine. Review, “Jim Isermann & Jorge Pardo”, Frieze, March/April, pp. 53 & 84
Knight, Christopher. “Lots of Sunshine, Very Little Light”, Los Angeles Times, July 27, pp.4, 5 & 85
1996 
Brooks, Rosetta. Review, LA Weekly, December 27- January 2, p. 41
Kley, Elizabeth. Review, Artnet Worldwide, HTTP: / / www. artnet. com, December
Pagel, David. Review, Los Angeles Times, Friday, November 29, p. F30
1995 
Atkins, Robert. “Lesbian & Gay Wahtzis”, The Village Voice, June 20, pp.71-72
Knight, Christopher. “Women’ s Work Is Never Done at MOCA”, Los AngelesTimes, September 22, p. F20
1994 
Auerbach, Lisa Anne. Review, Art Forum May, p. 107 (repro)
Cotter, Holland. “Art in Review”, The New York Times, January 14, p. C29
Duncan, Michael. Review, Art in America, October, p. 143 (reproduction))
Drohojowska-Philip, Hunter. “He will keep You in Stitches”, Los Angeles Times, March 20, pp. 87 & 90 (reproduction)
Greene, David A. “Critics Choice”, Los Angeles Reader, September 29, p. 14
Greene, David A. “Technicolor Hero”, Los Angeles Reader, March 18, p. 21 (reproduction)
Kandel, Susan. Art reviews, “Isermann: Mutations of Art & Design”, Los Angeles Times, March 25, p. F20
Pagel, David. “Weavings That Weave a Magical Spell”, Los Angeles Times, September 22, p. F20
Knight, Christopher. “Suburban Bauhaus”, Art Issue, May/June, pp. 29-31 (cover)
Levin, Kim. “Art in Brief”, The Village Voice, February 8, p. 72
Myers, Terry. Review, The New Art Examiner, May, p. 47
Myers, Terry. “Painting Camp”, Flash Art, November-December pp. 73-76, (reproduction)
Rugoff, Ralph. “Fun with Formalism”, LA Weekly, April 22-28, p. 33 (reproduction)
1993 
Decter, Joshua and Zahm, Olivier. “Back to Babel”, Artforum, November, pp. 91-92, 131, 138 (reproduction)
Duncan, Michael. Review (Technicolor), Frieze, November/December, p. 62
Jouannais, Jean-Yves. Review (Unite), art press, July/August, pp. 80-81 (reproduction)
Pagel, David. Review (Technicolor), The Los Angeles Times, April 15
“News of the Print World”, Print Collector’ s Newsletter, September/October,p. 143
Rattenbury, Kester. “Bringing New Life to LeCorbusier’ s Lost City”, Blueprint, July/August
Roberts, James. “Down With the People”, Frieze, September/October, pp. 26-27, (reproduction)
Scarborough, James. Review (Technicolor), art press, July/August, p. 89, (reproduction)
Troncy, Eric. “Spotlight: Project Unite”, Flash Art, October, p. 117 (reproduction)
Troncy, Eric. “Naakt en kneedbaar”, Metropolis M, number 3, pp. 33-37 (reproduction)
1992 
Pagel, David. “New York Fax”, Art Issues, May/June, pp. 25-26 (reproduction)
Pagel, David. “Jim Isermann’ s Windows on the imagination”, Los Angeles Times, September 24, p. F4 (reproduction)
Schjeldahl, Peter. “Trend: Sweetness and Light”, The Village Voice, April 14, p. 105 (reproduction)
Stevens, Mark. “Design Invitational”, Vanity Fair, December p. 200 (reproduction)
Wiscombe, Janet. “A Line of Vision”, Press-Telegram, October 4, pp. J1-J5, (reproduction)

1991 
Lewis, James. “Home Boys”, Artforum, October, pp. 101-105 (reproduction)
Mahoney, Robert. “New York in Review”, Arts, April, p. 105
Moody, Tom. Review, Art Paper, July/August, pp. 65ff (reproduction)
Moody, Tom. “What You See is What You Saw”, Dallas Observer, May 9, p. 19 (reproduction)
Myers, Terry R. Review, LAPIZ, March, p. 77 (reproduction)
Tysson, Janet. “Modern Muscle”, Fort Worth Star-Telegram, May 26, section E, p. 10
Anderson, Michael. Review, Art Issues, February, p. 24 (reproduction)
Decter, Joshua. “New York in Review”, Arts, February, p. 95, (reproduction)
Himmel, Eric and others editors. New Art, Harry N. Abrams, Inc., New York, 0NY, pp. 92-93 (reproduction)
Johnson, Ken. Review, Art in America, March, p. 201 (reproduction)
Selwyn, Marc. Review, Flash Art, January/February, p. 136 (reproduction)

1989 
Cooper, Dennis. Review, Artscribe International, January/February, p. 83 (reproduction)
Sponsored page, dialogue, November/December, p. 65 (reproduction)
Knight, Christopher. “Shags Show Vulgar Kind of Beauty”, The Los Angeles Herald Examiner, October 13, p. 34 (reproduction)
1988 
Butler, Brian. “Irony Masked as Emulation”, Artweek, July 9, p. 6 (reproduction)
Knight, Christopher. “Jim Isermann’ s Latest is Richly Mixed-Up”, The Los Angeles Herald Examiner June 24 (reproduction)

1987 
Rugoff, Ralph. “Pop Goes the Easel”, LA Style, November, pp. 135-138 (reproduction)
Weinstein, Mathew A. Review, Artforum, October, p. 150 (reproduction)
Cooper, Dennis. Review, Art in America, May p. 191 (reproduction)
Cotter, Holland. “Eight Artists Interviewed”, Art in America, May, pp. 166-167,199 (reproduction)

1986 
Drohojowska, Hunter. “Artists Critics Are Watching”, ARTnews, May, p. 80 (reproduction)
Knight, Christopher. “The Return of Flower Power”, The Los Angeles HeraldExaminer, January 26 (reproduction)
Pincus, Robert. “Flower Art Digs Into 60’ s”, San Diego Union, December 18, page C-8 (reproduction)
1984 
Gardner, Colin. Review, L. A. Reader, October 26
Pincus, Robert. Review, Artforum, October (reproduction)
1983 
Pincus, Robert. Review, Art in America, March, p. 164 (reproduction)

1982 
Cooper, Dennis. “Jim Isermann’ s Neo-Optimism”, L. A. Weekly, November 12-18, p. 22ff (reproduction)
Larsen, Susan C. Review, Artforum, April (reproduction)