Pae White

 

Born Pasadena, California, 1963

Lives and works in Los Angeles

 

 

EDUCATION

 

1991      MFA Art Center College of Design, Pasadena, California

1990      Skowhegan School of Painting and Sculpture, Skowhegan, Maine

1985      BA Scripps College, Claremont, California

 

 

SOLO EXHIBITIONS


2014   Genau or Never, greengrassi, London, UK

          Special No. 127, neugerriemschnedier, Berlin, Germany


2013   Pae White: Orllegro, MAK, Vienna, Austria

          Pae White In Love with Tomorrow, Langen Foundation, Neuss, Germany

Pae White: Too Much Night, Again, South London Gallery, London, UK


2012   Pae White, South London Gallery, London, UK

Pae White, Museum fr Angewandte Kunst, Vienna, Austria

Pae White: Summer XX, Fabric Workshop and Museum, Philadelphia, PA

 

2011   Pae White: Here Today, 1301PE, Los Angeles, CA

Material Mutters, SITE Santa Fe, Santa Fe, NM

Restless Rainbow, The Bluhm Family Terrace, The Art Institute of Chicago, IL

A piece of the almost grey sky..., kaufmann repetto, Milan, Italy

 

2010   Pae White: Dying Oak, New Media Series, St. Louis Art Museum, MO

Material Mutters, The Power Plant, Toronto, Canada

 

2009   Point, Counterpoint, Cloud, Xavier Hufkens, Brussels, Belgium

Smoke Knows, 1301PE, Los Angeles, CA

Lisa, Bright and Dark, Taubman Museum of Art, Roanoke, VA

Between the Outside In, New Langton Arts, San Francisco, CA

Between the Inside Out, Mills College, San Francisco, CA

Intangible, curated by Luis Barragn, Casa Iteso Clavigero, Guadalajara, Mexico

 

2008   Pae White: "Lisa, Bright & Dark", Scottsdale Museum of Contemporary Art, Scottsdale, AZ

Too Much Night, neugerriemschneider, Berlin, Germany

Mr. Baci e Abracci, galleria francesca kaufmann, Milan, Italy

Two person show with TJ Wilcox, Gavlak, West Palm Beach, FL

 

2007   Get Well Soon, greengrassi, London, UK

Directions: Virgil Marti and Pae White, Hirshhorn Museum and Sculpture Garden, Washington, DC

 

2006   NW for NZ, Sue Crockford Gallery, Auckland, New Zealand

Midnight, Skestos Gabriele, Chicago, IL

In no particular order, Manchester Art Gallery, Manchester, UK

 

2005   another cherry blossom, greengrassi, London, UK

Cottonmouth, neugerriemschneider, Berlin, Germany

Bazar, Galerie Ghislaine Hussenot, Paris, France

Perwinkles, 1301PE, Los Angeles, CA

In No Particular Order, Milton Keyes Gallery, Milton Keyes, UK

 

2004   Pae White, Hammer Museum, Los Angeles, CA

Amps and Ohms, centre d'art contemporain la Synagogue de Delme, France

Ohms and Amps, Le Salle de Bains, Lyon, France

 

2003   Giraffes, Galerie Daniel Buchholz, Cologne, Germany

(untitled), Richard Telles Fine Art, Los Angeles, CA

Fire 'n' Nice, 1301PE, Los Angeles, CA

 

2002   Chamois, Sespe and Foggy, Galleria francesca kaufmann, Milan, Italy

Ghost Towns, Govett-Brewster Art Gallery, New Plymouth, New Zealand

A grotto, some nightfish and a second city, Contemporary Art Gallery, Vancouver, Canada

The Actual Tigers, greengrassi, London, UK

 

2001   Pae White, 1301PE, Los Angeles, CA

Pae White, galleria francesca kaufmann, Milan, Italy

Birds and Ships, neugerriemschneider, Berlin, Germany

 

2000   Pae White, China Art Objects Galleries, Los Angeles, CA

Pae White, 1301PE, Los Angeles, CA

 

1999   Pae White, China Art Objects Galleries, Los Angeles, CA

WPEP, Finesilver Gallery, San Antonio, TX

Neapolitan City, 1301PE, Los Angeles, CA

 

1998   Pae White, greengrassi, London, UK

 

1997   Animal Flood, I-20 Gallery, New York, NY

 

1995   Summer Work, Shoshana Wayne Gallery, Santa Monica, CA

 

1993   Pae White, Shoshana Wayne Gallery, Santa Monica, CA

 

1991   Pae White, Graduate Exhibition, Art Center College of Design, Pasadena, CA

 

1990   10, 11, W.C. Gallery, Art Center College of Design, Pasadena, CA

 

1989   Pae White, Bliss Gallery, Pasadena, CA

 

 

GROUP EXHIBITIONS


2014   Dhaka Art Summit, Bangladesh Shilapkala Academy, Dhaka, Bangladesh

          Decorum: Carpets and Tapestries By Artists, Power Station of Art, Shanghai, China


2013   Galerie Perrotin, Paris, France

           Selections from the Grunwald Center and the Hammer Contemporary Collection, Hammer Museum, Los Angeles, CA

P&CO., Thomas Duncan Gallery, Los Angeles, CA

 

2012   Behold, America!, San Diego Museum of Art, San Diego, CA

Kristin Baker, Mark Barrow, Nina Beier, Scott Lyall, John Henderson, Fredrik Vaerslev, Pae White, Galerie Perrotin, Paris, France

International Orange: Artists Respond to the Golden Gate Bridge at 75, San Francisco, CA

Print/Out, MoMA, New York, NY

 

2011   Thessaloniki Biennial, Alatza Imaret, Thessaloniki, Greece

Suspense, curated by Lorenzo Guisti and Arabella Natalini, EX3, Florence, Italy

PLUS ULTRA: Opere dalla Collezione Sandretto Re Rebaudengo, Museo D'Arte Contemporanea, Rome, Italy

Greater LA, curated by Benjamin Godsill and Joel Mesler, YRB Warehouse, New York, NY

Spirit and Space, Collezione Sandretto Re Rebaudengo, Sala de Arte Santander, Madrid, Spain

Everything Must Go, curated by Jos Noe Suro and Edward Sarabia, Casey Kaplan, New York, NY

15th Tallinn Print Triennal, curated by Simon Rees, Kumu Art Museum, Tallinn, Estonia

Paradise Lost, curated by Paolo Colombo, Istanbul Museum of Modern Art, Turkey

Marea de Nudos, MUAC, Mexico City, Mexico

Fullerton College Art Gallery, CA

Painting, Sue Crockford Gallery, Aukland, New Zealand

 

2010   5 Year Anniversary Exhibition, Gavlak, Palm Beach, FL

Marea de Nudos, Galeria Jesus Gallardo, Leon, Gunajuanto, Mexico

The More Things Change, San Francisco Museum of Modern Art, CA

Contemplating the Void, curated by Nancy Spector, The Solomon Guggenheim Museum, New York, NY

Mexico: esperado/inesperado, B.P.S.22, Espace de Creation Contemporaine, Charleroi, Belgium

Pieces a Vivre, curated by Violaine Daniels, Centre d'art contemporain, Chamarande, France

Knigstraum und Massenware, curated by Katia Baudin, Utopia Daily, Porzellanikon, Selb, Germany

Alchemy, Reed College, Portland, OR

King Rat, curated by Tessa Giblin, Project Arts Center, Dublin, Ireland

The Tale of a Blind Resistance Fighter, Galerie Paul Andriesse, Amsterdam, the Netherlands

One Room, One Work, 1301PE, Los Angeles, CA

The Artist's Museum: Los Angeles Artists 1980-2000, MOCA, Los Angeles, CA

Whitney Biennial, Whitney Musuem of American Art, New York, NY

Shut Your Eyes in Order to See, Galerie Praz-Delavallade, Paris, France

The Artist's Museum, Museum of Contemporary Art, Los Angeles, CA

 

2009   Fare Mondi/Making Worlds, 53rd La Biennale di Venezia, Italy

Mind The Step, 1301PE, Los Angeles, CA

Notation: Calculation and Form in the Arts, curated by Dieter Appelt and Peter Weibel, ZKM Media Museum, Karlsruhe, Germany

1999, China Art Objects Galleries, Los Angeles, CA

Contemplating the Void, curated by Nancy Spector, The Solomon Guggenheim Museum, New York, NY

House is Not a Home, curated by Ingrid Bruchard, La Calmeterie, Nazelles, France

Summer Group Show, Cottage Home, Los Angeles, CA

Installations Inside/Out: Armory 20th Anniversary Exhibtion, curated by Jay Belloli and Sinad Finnerty-Pyne, Armory Center for the Arts, Pasadena, CA

In Bed Together, curated by Jane Glassman, Royal/T, Los Angeles, CA

From My Universe: Objects of Desire, See Line Gallery, Los Angeles, CA

Rock Garden, Salon 94, New York, NY

Flower Power, Villa Giulia, Centro Ricerca Arte Attuale, Verbania, Italy

 

2008   The Light of the Virgo, China Art Objects, Los Angeles, CA

Cohabitation: 13 artists and collage, galleria francesca kaufmann, Milan, Italy

Shhoener Wohner, neugerreimschneider, Berlin, Germany

MEXICO: Expected/Unexpected, Collection of Agustn et Isabel Coppel, Maison Rouge, Paris, France

Shoes, Gavlak, West Palm Beach, FL

Martian Museum of Terrestrial Art, Barbican Art Gallery, London, UK

Introduction, About Change Collection, Berlin, Germany

100 Years, 100 Artists, 100 Works of Art, Rochelle School, Shoreditch, London, UK

Index: Conceptualism in California from the Permanent Collection, Geffen Contemporary, Los Angeles, CA

Los Vinilos, curated by Henry Coleman, Zoo Art Fair, Burlington Gardens, London, UK

Tales of Time and Space, curated by Andrea Schlieker, Folkestone Triennial, Folkestone, UK

Aesthetics of Similarities: Another History of Future, Prague Triennale, Czech Republic

Re-reading the Future, curated by Oliver Zybok, Veletrzni Palace, National Gallery, Prague, Czech Republic

Variation 1, Weiner Konzerthausses, Vienna, Austria

Smoke, curated by Implicasphere, Pump House Gallery, London, UK

Construction, 1301PE, Los Angeles, CA

Under the Influence, curated by Francie Bishop Good, Jane Hart, and Michelle Weinberg, Art Culture Center of Hollywood, FL

Color, curated by Stephanie Skestos Gabriele, Rena Sternberg Gallery, Glencoe, IL

Run Run, curated by Alex Frost and Sorcha Dallas, Collins Gallery at the University of Scotland, Glasgow, UK

Legende, curated by Alexis Vaillant, Domaine Departemental de Chamarande, France

 

2007   Half Square, Half Crazy, curated by Vincent Pecoil, Villa Arson, Nice, France

Skulpture Projekte Mnster 07, Mnster, Germany

If Everybody Had an Ocean, curated by Alex Farquarson, Tate St. Ives, Cornwall, UK

New Materials as New Media, curated by Kippy Stroud, Contemporary Arts Center, Cincinnati, OH

Los Vinilos, curated by Henry Coleman, El Basilico, Buenos Aires, Argentina

Uneasy Angel / Imagine Los Angeles, curated by Johannes Fricke-Waldthausen, Sprth Magers, Munich, Germany

The Shadow Cambinet Part II: Route A1, de Appel, Amsterdam, the Netherlands

Six, Williamson Gallery, Art Center College of Design, Pasadena, CA

L.A. Desire, curated by Wilehlm Schmann, Galerie Dennis Kimmerich, Dusseldorf, Germany

Darling, take Fountain, curated by Konstantin Kakanias, Kalfayan Galleries, Athens, Greece

Alone in the Jungle, curated by George Porcari, Mandarin, Los Angeles, CA

No Room for the Groom, with Douglas Sirk, curated by Gregoria Magnani, Herlad Street, London, UK

An Archeology, Zabludoqicz Collection, London, UK

Sculptors' Drawings: Ideas, Studies, Sketches, Proposals and More, Angles Gallery, Los Angeles, CA

Michel und seine Freunde, curated by Jean and Edith Majerus, Studio of Michel Miajerus, Berlin, Germany

Running Around the Pool, Museum of Fine Arts, Florida State University, Tallahassee, FL

 

2006   Collage Effect, 1301PE, Los Angeles, CA

Glass: Material Matters, curated by Howard Fox, Los Angeles County Museum of Art, CA

Kit-O-Parts, Centre d'Art Neuchtel, Neuchtel, Switzerland

We Can do this Now, The Power Plant, Toronto, Canada

New Acquisitions, Tate, London, UK

HyperDesign, Shanghai Biennale, Shanghai, China

Angela Bulloch, Judy Ledgerwood, Diana Thater and Pae White, 1301PE, Los Angeles, CA

Domestique, curated by Eivind Furnesvik and Salome Sommer, Gallery Standard, Oslo, Norway

Raid Triumverate 4: Pae White, Machine Histories and Amy Robinson, curated by Pae White, Raid Projects, Los Angeles, CA

Il diavolo del focolare, curated by Claudia Gian Ferrari, Palazzo della Triennale, Milan, Italy

Idylle: Traum und Trugschluss, curated by Oliver Zybock and Martje Schulz, Sammlung Falkenberg, Hamburg, Germany

Shape without form, galleria francesca Kaufmann, Milan, Italy

Light X 8, curated by Ali Gass, The Jewish Museum, New York, NY

Group Show, China Art Objects Galleries, Los Angeles, CA

Accommodate, curated by Mary-Louise Browne, St. Paul St Gallery, School of Art and Design, AUT University, Auckland, New Zealand (cat.)

Among the Ash Heaps of Millionaires, Ancient & Modern, London, UK

Jumex Collection, Mexico City, Mexico

Four Decades of the Govett-Brewster Art Gallery Collection, Govett-Brewster Art Gallery, New Plymouth, New Zealand 

 

2005   Bidibidobidiboo, curated by Francesco Bonami, Fondazione Sandretto Re Rebaundengo, Turin, Italy

Extreme Abstraction, curated by Louis Grachos and Claire Schneider, Albright-Knox Gallery, Buffalo, NY

The Lateral Slip, curated by Jan Tumlir, Sweeney Art Gallery, UC Riverside, CA

Interior Worlds, curated by Vincent Pecoil, Les Filles du Calvaire, Brussels, Belgium

Old News, LACE, Los Angeles, CA; Sala de Arte Publico Siqueiros, Mexico City, Mexico

Life on the Screens, curated by Vincent Pecoil, Les Filles du Calvaire, Brussels, Belgium

Lichtkunst aus Kunstlicht, ZKM Karlsruhe, Germany

Tracking and Tracing: Contemporary Acquisitions 2000-2005, San Diego Museum of Art, CA Extreme Abstraction, curated by Simon Groom, Albright-Knox Gallery, Buffalo, NY

 

2004   The Secret History of Clay, curated by Simon Groom, Tate, Liverpool, UK

Strike, curated by Simon Groom, ICA, Philadelphia, PA

Strange Weather, Modern Art, London, UK

The Raw and the Cooked, curated by David Pagel, Claremont Graduate University, CA

The Hollows of Glamour, curated by Martin Clark, Herbert Read Gallery, Cantebury, UK

Game, Ferragamo, Milan, Italy

Past Present Future: Contemporary Art 1950-present, The Art Institute of Chicago, IL

Sign Language, The Museum of Contemporary Art, Los Angeles, CA

 

2003   Lei: Women in Italian Collections, curated by Francesco Bonami, Fondazione Sandretto Rebaudengo, Turin, Italy

Watershed, curated by Diane Shamash, Minetta Brook, New York, NY

Breathing Water, curated by Ugo Rondinone, Hauser & Wirth and Eva Presenhuber, Zurich, Switzerland

Utopia Station, curated by Molly Nesbit, Hans Ulrich Obrist and Rirkrit Tiravanija, Venice Biennale, Italy

Black Rainbow, curated by Anne Collier, Lucky Tackle, San Francisco, CA

160 Master Drawings, curated by Michael Neff, Oldenburg Kunstverein, Germany

Works for Giovanni, China Art Objects Galleries, Los Angeles, CA

 

2002   Cola Grants, Barnsdall Art Park, Los Angeles, CA

Hover, curated by Pamela Meredith, The Henry Art Gallery, Seattle, WA

Artist's Gifts, Musuem of Contemporary Art, Los Angeles, CA

Game, Ferragamo, New York, NY

From the Flat Files, curated by Brian Butler and Amada Cruz, Ramp Gallery, Wakaito Institute of Techonology, Hamilton, New Zealand

3-D, curated by Mark Fletcher, Friedrich Petzel Gallery, New York, NY

hell, neugerriemschneider, Berlin, Germany

Richard Hawkins, Stan Kaplan and Pae White, Richard Telles Gallery, Los Angeles, CA

Group Show, Metro Pictures, New York, NY

Strike, Wolverhampton Art Gallery, Wolverhampton, UK

Intangible, exposicin homenaja a Luis Barragn, Casa ITESO Clavigero, Guadalajara, Mexico

Strolling Through and Ancient Shrine and Garden, Acme, Los Angeles, CA

Bosco, Brain Multiples, JRP ditions, Small Noise, Air de Paris, France

Shimmering Surfaces, Arnolfini Museum, Bristol, UK; Cornerhouse, Manchester, UK

Center of Attraction, Contemporary Art Centre, Vilnius, Lithuania

Group Show, LA Louver Gallery, Venice, CA

New Work, New Spaces, curated by Jay Belloli, The Armory Center for the Arts, Pasadena, CA John Miller, Pae White and Fred Wilson, Metro Pictures, New York, NY

 

2001   featherweight, Susan Hobbs Gallery, Toronto, Canada

The Americans: New Art, Barbican Gallery, London, UK

Extra Art: A Survey of Artist's Ephemera 1960-1999, curated by Steven Leiber, The California College of Arts and Crafts, San Francisco, CA

The Cult, China Art Objects Galleries, Los Angeles, CA

Dedalic Convention, curated by Liam Gillick and Annette Kosak, Museum fr Angewandte Kunst, Vienna, Austria  

Zero Gravity, Kunstverein, Dsseldorf, Germany

Rogue Wave, LA Louver, Los Angeles, CA

Over, Unlimited Contemporary Art, Athens, Greece

 

2000   LA, Monika Sprth and Philomene Magers, Cologne, Germany

Cheeseburger, Jrgen Becker Galerie, Hamburg, Germany

Circles ˚3, Zentrum fr Kunst und Medientechnologie, Karlsruhe, Germany

Made in California: 1900 2001, Los Angeles County Museum of Art, CA

Redrawing the Line, curated by Monica Amor, Art in General, New York, NY

Sex in the Country, curated by Mai Tu Perret, Forde Espace d'Art Contemporain, L'Usine, Geneva, Switzerland

Works on Paper, Studio Guenzani, Milan, Italy

What if, curated by Maria Lind, Moderna Museet, Stockholm, Sweden

Against Design, curated by Stephen Beyer, Institute of Contemporary Art, Philadelphia, PA

 

1999   OldNewTown, Casey Kaplan, New York, NY

Papermake, Modern Art, Inc., London, UK

After the Goldrush, curated by Lia Gangitano and Joseph Wolin, Threadwaxing Space, New York, NY

 

1998   Abstract Painting, Once Removed, curated by Dana Friis-Hansen, Contemporary Arts Museum, Houston, TX

Color Fields, curated by David Pagel, Luckman Fine Arts Gallery, Cal State Los Angeles, CA

Biomorphic Abstraction, Curt Marcus Gallery, New York, NY

L.A. Current Looking at the Light: 3 Generations of LA Artists, UCLA at the Armand Hammer Museum of Art and Cultural Center, Los Angeles, CA

WAHLVERWANDTSCHAFTEN, Art & Appenzell, Appenzell, Switzerland

Hirsch Farm Project Now: Speculative Environment, Theme Song and Wisconsin Open House, MCA, Chicago, IL

PhotoImage: Printmaking 60's to 90's, Museum of Fine Arts, Boston, MA

LA or Lilliput?, curated by Michael Darling, Long Beach Museum of Art, Long Beach, CA

Flaming June, Works on Paper, Inc. Los Angeles, CA

Love at the End of the Tunnel, or the Beginning of a Smart New Day, curated by Marilou Knode, COCA, Seattle, WA

The Unreal Person, curated by Irit Krygier, Huntington Beach Art Center, CA

Three Day Weekend, curated by Dave Muller, Krinzinger Gallery, Vienna, Austria

In the Polka Dot Kitchen, curated by Sally Elesby, Otis Art Gallery, Los Angeles, CA; The Armory Center for the Arts, Pasadena, CA

(re) Meditation: The Digital in Contemporary American Printmaking, USF Contemporary Art Museum, Tampa, FL

 

1997   Love at the End of the Tunnel, or the Beginning of a Smart New Day, Center on Contemporary Art, Seattle, WA

Enterprise, curated by Christoph Grunenberg, ICA, Boston, MA

Elusive Paradise, curated by Connie Butler and Stacia Payne, Museum of Contemporary Art, Los Angeles, CA

Best of the Season, curated by Harry Philbrick, Aldrich Museum, Ridgefield, CT

New Acquisitions and Work from the Permanent Collection, Los Angeles County Museum of Art, CA

No Small Feet, Rhona Hoffman Gallery, Chicago, IL

The Digital in Contemporary American Printmaking, 22nd International Biennial of Graphic Arts, Ljubljana, Slovenia (cat.)

Her Eyes are a Blue Million Miles, Three Day Weekend in Malm, Sweden

Ten Los Angeles Artists, Stephen Wirtz Gallery, San Francisco, CA

New Grounds, University of South Florida Contemporary Art Museum, Tampa, FL


1996   Landscape Reclaimed, The Aldrich Museum, Ridgefield, CT

Just Past: The Contemporary in MOCA's Permanent Collection, Museum of Contemporary Art, Los Angeles, CA

True Bliss, LACE, Los Angeles, CA (cat.)

Muse-X Editions recent publications, Santa Monica Museum, CA

Sally Elesby/Pae White, curated by Lisa Overduin, Four Walls, San Francisco, CA

Mod Squad, curated by Michael Darling, Spanish Box, Santa Barbara, CA

Ginny Bishton Richard Hawkins Pae White, Richard Telles Gallery, Los Angeles, CA

Open House, curated by John O'Brien, Williamson Gallery, Art Center College, Pasadena, CA

 

1995   HAWAII, with Jorge Pardo, Friedrich Petzel Gallery, New York, NY

Saturday Night Fever, curated by Michael Cohen and Catherine Liu, Tom Solomon's Garage Los Angeles, CA

Filmcuts, neugerriemschneider, Berlin, Germany

Neotoma, Otis Gallery, Otis College of Art and Design, Los Angeles, CA

Youth Culture ate My Dog (but I don't really mind), cuated by Kathryn Hixson and Joe Scanlan, TBA, Chicago, IL

Smells Like Vinyl, curated by Sarah Seager and Thad Strode, Roger Merians Gallery, New York, NY

Message is the Medium, Castle Gallery, College of New Rochelle, NY

 

1994   Pure Beauty, curated by Ann Goldstein, The American Center, Paris, France; Museum of Contemporary Art, Los Angeles, CA

Notational Photography, curated by Friedrich Petzel, Petzel/Borgmann and Metro Pictures, New York, NY

The Art of Seduction, curated by Bonnie Clearwater, The Center Gallery at Miami Dade Community College, FL (cat.)

Watt, curated by Goose Oosterhof and Chris Dercon, Witte de With and Kunsthal Rotterdam, the Netherlands

Identity: The Logic of Appearance, curated by Shoshana Blank, Krinzinger Gallery, Vienna, Austria

Bad Girls, curated by Marcia Tucker, The New Museum, New York, NY

Plane Structures, curated by David Pagel, Otis Art Gallery, Los Angeles, CA; Renaissance Society at the University of Chicago, IL; Pittsburgh Center for the Arts, PA; White Columns, New York, NY; Wesleyan University, Middletown, CT; Nevada Institute of Contemporary Art, Las Vegas, NV; The University of North Texas Art Gallery, Denton, TX (cat.)

The Green Show, curated by Wendy Adest, Bradley Building, Los Angeles, CA

Transtextualism, curated by Sabina Ott, Mark Moore Gallery, Santa Monica, CA

 

1993   Cherry Bomb, curated by Mike Blockstein and Meg Mack, Southern Exposure, San Francisco, CA

TIMES, curated by Andrew Cross, Anderson O'Day Gallery, London, UK

Home Alone, curated by Michael Cohen, Bliss Gallery, Pasadena, CA

The Imp of the Perverse, curated by Alisa Tager, Sally Hawkins, New York, NY

Sugar n' Spice, curated by Carolanne Klonirides and Noriko Gamblin, Long Beach Museum of Art, CA (cat.)

Into the Lapse, curated by Brian Butler and Jean Rasenberger, Karsten Schubert, London, UK; Friesenwall 120, Cologne, Germany; Dogenhouse, Leipzig, Germany; Bruno Brunnet Fine Arts, Berlin, Germany; The Royal Danish Academy of Art, Copenhagen, Denmark; Socit des Expositions, Palais des Beaux-Arts, Brussels, Belgium

 

1992   Summer Show, Shoshana Wayne Gallery, Santa Monica, CA

Group Show, Elizabeth Koury, New York, NY

Recent Purchases From the Roseview Collection, curated by Sally Elesby, Roseview Museum, Los Angeles, CA

Detour, curated by Barbara Duncan and Sandra Antelo-Saurez, International House, New York, NY (cat.)

 

1991   The Lick of the Eye, curated by David Pagel, Shoshana Wayne, Santa Monica, CA

Sam Durant, Ed Suman, Andrew Winer and Pae White, Parker Zanic, Los Angeles, CA

Window on L.A., curated by David Pagel, L.A. Art Fair, CA

 

1990   Mixed Media, Mixed Messages, curated by Paul Darrow, Lang Art Gallery, Scripps College, Claremont, CA

The White Show, curated by Tom Dolan and Mark Stritzel, W.C. Gallery, Art Center College of Design, Pasadena, CA

Art Center and UCLA at Cal Arts, California Institute of the Arts, Valencia, CA

 

 

BIBLIOGRAPHY

 


2013   Adamson, Glenn. "Summer Work: The Art of Pae White." Afterall, Issue 32, Spring 2013: 56-61.
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Hainley, Bruce. "Artquake." The New York Times Magazine 1 October 2006: 78-85.

Hainley, Bruce. "Ongeleide activiteit Los Angeles, Deel 2 Vluchtige notities 1985-2006." Metropolis M no. 3 2006 June/July: 75-79, 106-107 (ill).

Jiang, Xu and Fang Zengxian, eds. HyperDesign. Shanghai: Shanghai Fine Art Publishers, 2006. 160-163 (ill).

Karr, M.J. Accommodate. Auckland: St. Paul St, School of Art and Design, AUT University. 1 and 4 (ill).

Myers, Terry. "Pae White." Time Out Chicago 25 May 25-1 June 2006: 70 (ill).

Richer, Francesca and Matthew Rosenzweig, eds. No. 1, First Works by 362 Artists. New York: D.A.P., 2006. 404 (ill).

Staple, Polly, ed. Frieze Projects. London: Frieze, 2006. 72-73 (ill).

Sussman, Elisabeth. Eva Hesse: Sculpture (The Jewish Museum). New Haven: Yale University Press, 2006. 46, 47 (ill).

 

2005   Angeleno Magazine November 2005: 58.

Bonami, Francesco, ed. Works from Collezione Sandretto Re Rebaudengo. Milan: Skira, 2005. 316 (ill).

Brian Wilson, An Art Book, London: Four Corners Press, 2005. 128, 135 (ill).

Clare, Jessica. "Sweeney slips to side." Highlander Tuesday 11 January 2005: 16.

Coles, Alex, ed. DesignArt. London: Tate, 2005. 136 (ill).

Coles, Alex. "Functioning Decoration." Contemporary issue 75 2005: 22-25.

Extreme Abstraction. Buffalo: The Albright Knox Art Gallery, 2005.

Finch, Charlie. "Buffalo Soldier." Artnet Tuesday 9 August 2005.

Gaasch, Cynnie. "Juicy Cool." Artvoice 21-27 July 2005: 18.

Grosenick, Uta, ed. Art Now 2. Cologne: Taschen 2005. 540 - 543 (ill).

The Guardian: The Guide 20-23 December 2005: 33.

"Inner Cities." ArtReview March 2005: 60 (ill).

Krauss, Chris, Jane McFadden and Jan Tumlir, eds. LA Artland. London: Black Dog, 2005. 68-69 (ill).

Krebber, Michael and Owsald Wiener. Alien Hybrid Creatures. Cologne: Walter Knig, 2005. 63 (ill).

Moos, David. "Extreme Abstraction." ArtUS issue 10 October-November 2005: 33 (ill).

Pagel, David. "Accessible riot of lines and colors." Los Angeles Times Friday 23 September 2005: E23.

Pecoil, Vincent, ed. Peinture: Cinq Regards. Paris: Editions du Regard, 2005. 22 (ill).

"Suspended Matter." The New York Times Magazine Design Fall 2005: 105-106.

"Transportation." The New York Times Thursday 15 December 2005: D-6.

 

2004   Adda, Mario, ed. Sensi Contemporanei in Campania. Venice: La Biennale di Venezia, 2004. 62 (ill).

Allen, Jane Ingram. "Beacon New York, A Sculpture Destination." Sculpture July/August 2004: 41-45.

"The Art of Rover." Autocar Magazine 26 October 2004.

Behn, Andrea. "Pae White." Gingerle 2004: 44-45 (ill).

Camhi, Leslie. "People are Talking About Art." Vogue November 2004.

Charlesworth, JJ. "Deep Surfaces: The Hallows of Glamour." Annual Herbert Read Gallery Kent Institute of Art and Design, 2004. 71-73, 95-101(ill).

Cheng, Scarlet. "String music, improvised." Los Angeles Times Thursday 26 February 2004: E16-17 (ill).

Corbetta, Caroline. "Art in Fair." L'Uomo Vogue 4 October 2004.

"Frieze already an established British tradition." The Art Newspaper October 2004.

"Frieze Art Fair." Art & Auction October 2004: 82.

Keller, Christoph. Magic Circle. Frankfurt: Revolver, 2004. 162-163.

LaFuente, Pablo. "If I could change" ArtReview 2004: 82-83 (ill).

Lavrador, Judical. "Modes & Travaux." les Inrockuptibles issue 449 13 June 2004: 60-61 (ill).

"The magnificent seven." Artreview October 2004: 35.

Nelson, Arty. "The Many Colors of Pae White." LA Weekly  8 April 2004: 46, (ill).

Pagel, David. "Filaments hold the firmament." Los Angeles Times Friday 13 February 2004: E22 (ill).

Pecoil, Vincent. "Amps and Ohms, Ohms and Amps." Zro Deux no. 37 Autumn 2004: 24-25, (ill).

Pcoil, Vincent. "Pae White." Flash Art October 2004: 130 (ill).

"A Pure and Simple Fashion Story." Vogue Italia January 2004: 154-161, (ill).

"Rainbow Rovers gather for art fair." Birmingham Post 18 October 2004.

Ramade, Bndicte. "Pae White, la versatilit comme vertu." L'Oeil September 2004: 22-23 (ill).

"Riding Metro Now an Artistic Experience." Tolucan Times & Canyon Crier 7 April 2004.

Searle, Adrian. "Her Dark Materials." The Guardian 19 October 2004: 12-13.

A Secret History of Clay. Liverpool: Tate, 2004. 89 (ill).

Tumlir, Jan. "Pae White UCLA Hammer Museum." Artforum Summer 2004: 255.

Von Haase, Bettina. "Londra lancia la sfida del contemporaneo." Panorama 7 October 2004.

Von Schlegell, Mark. "String Theories." Art on Paper March/April 2004: 58-59 (ill).

 

2003   Boettger, Suzaan. "Report from Beacon." Art in America June 2003: 39.

Casadio, Mariuccia. "Set Design." Vogue Italia March 2003: 602 (ill).

Casciani, Stephano. "In assenza di gravit." Domus April 2003: 74 (ill).

Corbetta, Carolina. "Glitter." Vogue Italia January 2003: 63 (ill).

David, Joshua. "Happening Valley." Gourmet April 2003: 60.

Eggel, Caroline and Christiane Rekade. "Malewitsch." Neue Review May 2003: 10-11.

Kastner, Jeffrey. "Watershed." Artforum October 2003: 175.

Morozzi, Cristina. "Borderline Branches." The Plan 2003: 138-139 (ill).

"Pae White Hotlist." Artforum February 2003: 38.

Pederson, Victoria. "Hudson News." Art & Auction June 2003.

Princenthal, Nancy. "A 10-Part Hello Along the Hudson." The New York Times 11 May 2003: 20.

Romeo, Filippo. "Customizing." Case da Abitare April 2003: 64.

Scott, Andrea. "It's not just men on horses anymore." Time Out New York 29 May-5 June 2003: 69.

"Sculpture Forever." Flash Art July/September 2003: 107 (ill).

Tumlir, Jan. "Spinning One's Wheels in L.A." Flash Art 2003: 102-105 (ill).

 

2002   Andersson, Patrik. "Pae White." Tema Celeste September/October 2002: 95.

Clark, Robert. "Time to untangle theoretical threads." ArtReview June 2002.

Coles, Alex. "Art Dcor." Art Monthly issue 253 February 2002: 7-10.

Coomer, Martin. "Pae White." Time Out London 30 January-6 February 2002: 46.

Delli Castelli, Alessio. Pae White: Ghost Towns. Greg Burke, ed. New Plymouth: Govett Brewster Art Gallery, 2002.

Ebner, Jrn. "Aur Liebeskummer der Rollschuh-Unfall." Frankfurter Allgemeine Zeitung 9 February 2002: 58.

Farquason, Alex. "The American: New Art." Artforum March 2002: 136 (ill).

Gledhill, David. "substance and style." City Life 31 July-8 August 2002.

Grosenick, Uta, ed. Art Now. Cologne: Taschen, 2002. 532-535 (ill).

Grosenick, Uta, ed. Women Artists. Cologne: Taschen, 2002. 542-547  (ill).

Haynes, Rob. "All that Glitters on Show." Metro July 2002.

Higgie, Jennifer. "Luxe, calme et volupt." Frieze issue 66 April 2002: 64-69.

Hunt, Ian. "Shimmering Substance." Art Monthly June 2002: 39-42.

"Just Call it Art on the Hudson." The New York Times 13 December 2002: E39.

Laurence, Robin. "Of Costumes, Clouds, and Culture." The Georgia Straight 25 April-2 May 2002: 62.

Leiber, Stephen, cur. Extra Art: A Survey of Artist's Ephemera, 1960-1999. Santa Monica: Smart Art Press, 2002. 186 (ill).

McLaughlin, Amy. "Artwork takes shape at Library." Chicago Daily Herald 5 March 2002: 4.

Morgan, Lynn. "L.A. Louver's Rogue Wave." California Homes Winter 2001-2002: 110-114.

Myers, Terry R. "The American: New Art." Artext Spring 2002: 81-82.

Pagel, David. "'New Works' Show Reopens the Pasadena Armory." Los Angeles Times Friday 19 April 2002: F24 (ill).

Prina, Stephen. Annual Report.  Los Angeles: The Museum of Contemporary Art 2001-2002: 33.

Psibilskis, Liutauras. "8th Baltic Trienniel." Flash Art October 2002: 99 (ill).

Sherman, Sam. "Strolling Through an Ancient Shrine and Garden." Contemporary July/August 2002: 153.

Smith, Juliet. "Visiting artist considers changing urban landscape." The Daily News 5 August 2002: 4.

Wakefield, Neville, "L.A. Story." Travel and Leisure  February 2002: 128.

 

2001   The Americans, New Art. London: Booth-Clibborn Editions, 2001. 77-83 (ill).

Berg, Ronald. "Form follows form." Der Tagesspiegel 10 February 2001.

Corrigan, Susan. "New York Sucks." i-D 24 September 2001: 183-191.

Cutter, Kimberly. "East Side Story." W September 2001: 204-208.

Herbert, Martin. "State of the Arts." Art Review London Autumn 2001: 50-51.

"Illus." Art Issues September/October 2001: 35-39.

Imdahl, Georg. "Raus aus der klaustrophobischen Bodenstation." Frankfurter Allgemeine Zeitung no. 104 5 May 2001: 44.

Knight, Christopher. "The Everyday on a Pedestal." The Los Angeles Times Wednesday 31 January 2001: F1, F8

Sharp, Amanda, "The Americans." Arena Homme + Autumn 2001.

Stange, Raimar. "ber Pae White." Kunstmagazin February 2001: 4-7.

Unruh, Rainer. "Junge Kunst aus Kalifornien." Kunstforum International April-May 2001: 154, 384-385.

Vgh, Christina. "Pae White: Die (unertrgliche) Leichtigkeit des Seins." Zero Gravity. Dsseldorf: Kunstverein fr die Rheinlande und Westfalen, 2001.

 

2000   Cienfuegos, Ingeborg. "Konst p grnsen." Aftonbladet 5 May 2000.

Gerell, Boel. "Behovet av en frlaga." Kvllsposten 23 July 2000.

Myers, Terry R. "Pae White." Art & Text May 2000.

Olsson, Thomas. "Moderna Museet tnker om." Ystads Allehanda 5 May 2000.

Scanlan, Joe. "What's the Use." Eyestorm 2000.

Sozanski, Edward J. "Along the fuzzy boundary between design and art." The Philadelphia Inquirer Sunday 13 February 2000: A-11.

Vickstrm, Lars. "Utstllning med alltfr f tankar." Arbetet Ny Tid 21 May 2000.

 

1999   Brinsfield, James. "Signing and Signifying Abstract Art Returns." Kansas City Review June 1999: 18.

Frank, Peter. "Color Fields." LA Weekly 8-14 January 1999.

Freeman, David. "Pae White and Victor Estrada at Finesilver." VOA July 1999: 14-16.

Holland, Cotter. "Soho is still very much Soho." The New York Times Friday 12 February 1999.

Intra, Giovanni. "La struttura mobile." Tema Celeste February 1999: 50-55 (ill).

Krygier, Irit. "Report from L.A." Artnet 3 June 1999.

McFarland, Dale. "Pae White, geengrassi, London." Frieze March 1999.

Pagel, David. Los Angeles Times Friday 17 December 1999: F34.

Thorson, Alice. "Show will please, but not with ease." Kansas City Star 16 May 1999: J-1 (ill).

 

1998   Curtis, Cathy. "Dressing the Flesh." The Los Angeles Times 12 May 1998: F2.

Dawson, Angela. "Into the Streets." Adweek vol. XLVIII no. 8 23 February 1998.

Johnson, Ken. "Biomorphic Abstraction." The New York Times Friday 11 December 1998.

Johnson, Patricia. "Abstract artists redraw boundaries of painting." Houston Chronicle 7 October 1998.

Lunenfeld, Peter. "The Alchemical Portrait." Telepolis 1998.

Marlos, Daniel. "What's That Bug?" American Homebodies July 1998.

Schoenkopf, Rebecca. "I Loathe LA." Orange County Weekly 18-24 December 1998: 36.

Wilson, William. "Food Preserved With a Twist." Los Angeles Times Tuesday 20 October 1998: F5.

Wilson, William. "Lilliput': Small Art in the Big City of L.A." Los Angeles Times Tuesday 24 November 1998.

 

1997   Brennan, Michael. "Pae White at I-20." Artnet 1997.

Duehr, Gary. "Beam up to the ICA's Enterprise." The TAB 29 July-4 August 1997: 2B.

Hill, Shawn. "The pursuit of absence." Bay Windows 28 August 1997: 30.

Huffstutter, P.J. "Digital Fine Art." Dailey News 20 January 1997: B-1

Lunenfeld, Peter. "Jennifer Steinkamp, Light in Space." Art/Text 1997: 58, 62

Millis, Christopher. "All too clear." The Boston Phoenix 4 August 1997.

"Not Your Average Christmas Cards." i-D March/April 1997: 33.

"Oblique Strategies." EYE vol. 6 Spring 1997: 34 - 35

"Papier in den Reiwolf, Draht ums Blatt." Art November 1997: 22 (ill).

Scanlan, Joe. "Pae White." Frieze November-December 1997: 89-90.

Silver, Joanne. "Work in process." Boston Herald 25 July 1997: S11, S13.

Temin, Christine. "Christoph Grunenberg is bringing the world to the ICA." The Boston Sunday Globe 13 July 1997.

Termin, Christine. "Enterprise invites viwers to pitch in." Boston Globe 1997: D1, D8

Zimmer, William. "A Gallery Sampler at the Aldrich." The New York Times 14 December 1997.

 

1996   Joyce, Julie. Fertile Ground, Neutral Territory. 1996 (ill).

O'Brien, John. Haus Write. Pasadena: Williamson Gallery, Art Center College, 1996 (ill).

Princenthal, Nancy. The Ghost's Machine. 1996 (ill).

Smith, Roberta. "Testing Limits at the Corcoran." The New York Times 6 January 1996.

 

1995   Auerbach, Lisa Anne. "Table Games." Los Angeles Reader vol. 17 no. 25 31 March 1995: 13.

Clothier, Peter. "Pure Beauty." ARTnews February 1995: 132.

Kandel, Susan. Los Angeles Times Thursday 28 September 1995: 10.

O'Brien, John. "New Alternatives." Art Papers vol.19 November/December 1995: 29.Pagel, David. "Pae White." Art Issues November/December 1995: 44.

 

1994   Barden, Lane. "In the Eye of the Beholder." Artweek 17 November 1994: 10.

Breerette, Genevive. "Tout nouveau, tout beau." Le Monde 8 June 1994.

Clearwater, Bonnie. The Art of Seduction. Miami: Miami-Dade Community College, 1994 (ill).

Colas, Sandrine. "Pure Beauty." Galeries June 1994: 4.

Koshalek, Richard. "American Center in Paris." Art Press June 1994: 20.

Kraft, Scott. "But Will the French Thank Us?" Los Angeles Times 5 June 1994: 6.

Muchnic, Suzanne. "Bliss, Food House, and Hello Artichoke." ARTnews May 1994: 125 (ill).

Pagel, David. "Urban Divisions, the Green Show." Los Angeles Times 4 August 1994: F5.

Pagel, David. "Looking Into Seeing." Plane/Structures. Los Angeles: The Fellows, 1994.

"Projetti Projects, Frank O. Gehry." DOMUS no. 764 1994: 38.

Scanlan, Joe. "Motivation and Time in the Work of Certain Los Angeles Artists." Plane/Structures. Los Angeles: The Fellows, 1994.

Tumlir, Jan. "A conversation with Pae White." Artweek 17 November 1994: 11

Turner, Elisa. "The Art of Seduction." ARTnews Summer 1994.

Turner, Elisa. "Seducing Viewers With Questions of Art." The Miami Herald 30 January 1994: 101.

Wilson, William. "'Pure Beauty': Irony Becomes Stale Second Time Around." Los Angeles Times 28 September 1994.

Van den Boogerd, Dominic and David Lillington. "It's real, but very fucked up." Metropolis M March 1994.

 

1993   Anderson, Michael. "Sugar n' Spice." Art Issues May/June 1993: 39.

Barrie, Lita. "A Forest of Toys." Visions Winter 1993: 23-24.

Curtis, Cathy.  "Nice n' Subversive." Los Angeles Times, Orange County Edition Thursday 18 March 1993: 4.

Frank, Peter. "Intriquing works by a new generation of women artists..." Long Beach Press Telegram 12 March 1993: 14.

Gamblin, Noriko. Sugar n' Spice. Long Beach: Long Beach Museum, 1993.

Kandel, Susan. "Pae White." Art Issues September/October 1993: 43.

King, Debra. "Women's Perspective in Art." Westart 28 March 1993: 3.

"LBMA Opens Sugar n' Spice by a Dozen Women Artists." Seal Beach Leisure World Golden Rain News 18 February 1993.

Lillington, David. "TIMES." Metropolis no. 4 1993: 47-49.

Pagel, David. Bomb Summer 1993: 12-14.

Pagel, David. "The Strange House That Pae White Built." Los Angeles Times Friday 19 February 1993: 20.

Meyers, Terry R. "Girlfriend in a Coma: Notes on a Proposed Exhibition." Blocnotes no. 2 Spring 1993: 12-13.

 

1992   Relyea, Lane. "Politically Correct/Incorrect." Artspace July/August 1992: 28-30.

Tager, Alisa. Detour. New York: The International House, 1992.

 

1991   Gilbert-Rolfe, Jeremy. "Slaves of L.A. and Others." Artspace Summer 1991: 72.

Kandel, Susan. "L.A. in Review." Arts November 1991: 97.

Pagel, David. Window on L.A. Los Angeles: L.A. Art Fair, 1991.

Rugoff, Ralph. "Missing Persons." LA Weekly 2 August 1991: 27.

 

 

SPECIAL PROJECTS/PUBLIC COMMISSIONS

 

2011   Restless Rainbow, The Art Institute of Chicago, Chicago

 

2010  Art on the Underground, London, London's  Gloucester Road underground station

 

2009   Oceanfront Project, Art Basel Miami Beach

 

2008   Stage Curtain, Snohetta, Oslo Opera House, Oslo, Norway

Barking Rocks, Pleydell Gardens, Folkestone, Kent, England

 

2006   Artist in residence. The Fabric Workshop and Museum. Philadelphia, PA

Unknown Celebration, billboard project, Barts and the London NHS Trust, London, UK

Paving Project, Colburn School of the Arts, Los Angeles, CA. With RCH Studios, Los Angeles

Essences in Senses, St. Germain des Prs, Paris, France, arranged by Anne-Pierre d'Albis and Parcours temporary mural commission,

The Big Wall, Dunedin Public Art Gallery, Dunedin, New Zealand

corner to column - a crawling painting. Mural commission, Deka Bank, Frankfurt, Germany

 

2005   Winner of competition for the artist designed stage curtain for the New Opera House, Oslo, Norway.

 

2004   Rover Momentum, artist's project for the Frieze art fair, involving the special painting of a fleet of 15 Rover courtesy vehicles. London, UK.

 

2003   MultipliCity, Metro Rapid Line with Tom Marble, AIA

Chiacchere Ter et Bantine, Milan, Italy

Feast, Selfridge window display, London, UK curated by Pablo La Fuente

 

2002   Ex-Machina Exhibition Design with Jorge Pardo, Museum fr Angewandte Kunst, Cologne Germany

artist's spread, Pavement magazine August/September 2002: 152-153

Double Vision, collaborative photo project with Mario Testino, V magazine July/August 2002

 

2001   Thoughts on Owls by Men of Letters, Window design for Galerie Daniel Buchholz, Cologne

Capitol East End Complex, Block 174. Sacramento, California with Tom Marble, AIA Des Plaines Public Library, Des Plaines, Illinois, Patti Gilford, Art Consulting Palermo Building, Pasadena, CA, Kathy Lucoff, Art Consulting

 

2000   The New Now Sounds of Today! Songpoems by Twenty-one Contemporary Artists Limited Edition CD produced by Art Issues Press

 

 

PUBLICATION DESIGN

 

2005   Extreme Abstraction. Buffalo: Albright Knox Art Gallery, 2005.

 

2003   Pae White, Ghost Towns. New Plymouth: Govett-Brewster Art Gallery, 2003.

 

2002   Ex-Machina. With Jorge Pardo. Cologne: Museum fr Angewandte Kunst, 2002.

The Object Sculpture, The Henry Moore Institute, Leeds, United Kingdom, 2002.

 

2001   8th and Figueroa. Los Angeles: University of Southern California, 2001.

 

2000   Jorge Pardo. By Jrn Schafaff and Barbara Steiner. Ostfildern: Landesbank Baden-Wrttemberg, 2000.

Against Design. Curated by Steven Beyers. Philadelphia: Institute of Contemporary Art, 2000.

What if. Stockholm: Moderna Museet, 2000.

Jorge Pardo, hrsg. With Jorge Pardo. Basel:  Kunsthalle Basel, 2000.

 

1999   Global Fun: Kunst und Design von Mondrian, Gehry, Versage und Friends. With Jorge Pardo and. Winfried Konnertz. Ostfildern: Hatje Cantz, 1999.

Jorge Pardo. Philadelphia: The Fabric Workshop and Museum, 1999.

WPEP, Pae White & Victor Estrada. San Antonio: Finesilver Gallery, 1999

 

1998   The 18th Annual Benefit Auction of Los Angeles Contemporary Exhibitions. Los Angeles, 1998

 

1997   Jorge Pardo. Los Angeles: Museum of Contemporary Art, and Chicago: Museum of Contemporary Art, 1997.

[re] - meditation: The Digital in Contemporary American Printmaking. Ljubljana: 22nd International Biennial of Graphic Arts, 1997.

Tobias Rehberger, Jorge Pardo, Garnish and Landscape. Augsburg: Gesellschaft fr Gegenwartskunst, 1997.

Enterprise: venture and process in contemporary art. Boston: The Institute of Contemporary Art, 1997.

 

1995   Das Ende der Avant Garde: Kunst als Dienstleistung. Munich: Kunsthalle der Hypo-Kulturstiftung, 1995.

 

1993   Jorge Pardo. Tokyo: Person's Weekend Museum, 1993

 

 

MULTIPLES/EDITIONS

 

2006   Essences in Senses, St. Germain des Prs, Paris. Perfume bottle and perfume, Arranged by Anne-Pierre d'Albis and Parcours

 

2004   Forumememo, edition of 25, curated by Tom Marble, Artist's portfolio supporting the Los Angeles Forum for Architecture

 

2001   Jahresgaben, Kunstverein fr die Rheinlande und Westfalen, Dsseldorf, Germany

 

2000   Untitled Silkscreen Portfolio, edition of 20, Brain Multiples, Los Angeles, CA

 

1998   Ponygirl Edition 1998, edition of 6, Muse-X Editions, Los Angeles, CA

 

1996   Oblique Strategies, A More Universal Edition, Norton Family Christmas Project

 

 

ADVERTISING PROJECTS

 

Advertisements for the Albright Knox's Extreme Abstraction exhibition in the following magazines:

 

Art in America

Artforum Summer 2005, pg 249

frieze, contemporary art and culture, 11 full page ads for gallery neugerriemschneider:

 

issue 50, 2000, pg. 4

issue 51, 2000, pg. 4

issue 52, 2000, pg. 4

issue 53, 2000, pg. 4

issue 54, 2000, pg. 4

issue 55, 2000, pg. 4

issue 56, 2001, pg. 4

issue 57, 2001, pg. 4

issue 58, 2001, pg. 4

issue 59, 2001, pg. 4

issue 60, 2001, pg. 4

issue 61, 2001, pg. 4

 

frieze, contemporary art and culture, issue 52, 2000, S. 20. Anzeige zur Ausstellung

"What if, art on the verge of architecture and design" Moderna Museet Stockholm

Corvi Mora, London, UK

China Art Objects Galleries, Los Angeles, CA

 

 

MAGAZINE COVER DESIGN

 

Art Review, May 2004

make, the magazine of women's art, issue 88, June-August 2000

Art issues, summer 2000

make, the magazine of women's art, issue 89, September November 2000

make, the magazine of women's art, issue 90, December 2000 February 2001

make, the magazine of women's art, issue 91, March 2001 April 2001

 

 

TEACHING

 

Art Center College of Design, Spring/Summer 2006

USC, Fall 2004, Spring 2005

Claremont Graduate University, Fall  2002

Art Center College of Design, Spring/Summer 1995

Art Center College of Design, Spring/Summer 1998

Claremont Graduate University, Fall  2002

USC, Fall 2004, Spring 2005

 

 

LECTURES/PANELS

 

ArtPace, San Antonio, Texas, 2003 Is anybody listening?

The Henry Art Gallery, Seattle, WA

College Art Association

(1999 Attention Spam moderated by Paul Zelevansky)

Glassell School, Houston, TX

Krabbeshlm, Skiv, Denmark

Otis Parsons Art School, Los Angeles, CA

Art Center College of Design, Pasadena, CA

Domus Academy, Milan, Italy

Newport Harbor Art Museum, Newport Beach, CA

University of Southern California, Los Angeles, CA

University of California Los Angeles, Los Ageles, CA

The American Center, Paris, France

The Museum of Contemporary Art, Los Angeles, CA

The Renaissance Society, Chicago, IL

California Institute of the Arts, Valencia, CA

Westridge School, Pasadena, CA

The Hirsch Farm Project, Hillsboro, Wisconsin

Cranbrook Art Institute, Bloomsfield Hills, MI

Govett-Brewster Art Gallery, New Plymouth, New Zealand

Massey University, Wellington, New Zealand

Auckland Art Gallery, Auckland, New Zealand

Unitec, Institute of Technology, Aukland, New Zealand

California College of  the Arts, San Francisco, CA

Sonoma State University, Sonoma, CA

Claremont Graduate University, Claremont, CA

Otis Art Institute, Los Angeles, CA

 

 

GRANTS

 

2003      Durfee ARC Grant

 

2003      COLA Artist's Grant

 

1995      Pasadena Cultural Affairs Individual Artist Grant

 

 

PRIVATE COMMISSIONS

 

Scott Johnson and Meg Bates, Los Angeles, CA

Mark Rios, Los Angeles, CA

David Goldhill, Los Angeles, CA

Jim and Leslie Belardi, Los Angeles, CA

 

 

COLLECTIONS

 

Museum of Modern Art, New York

Tate Modern, London

Los Angeles County Museum of Art, Los Angeles

Museum of Contemporary Art, Los Angeles

The Art Institute of Chicago

Govett-Brewster Art Gallery, New Plymouth, New Zealand

Weatherspoon Art Museum, Greensboro, North Carolina

San Diego Museum of Art

The Henry Gallery, Seattle

Muse de Chamarande, France

Philippe Rizzo, Paris

Francois-Marie Banier, Paris

Peter Norton, Los Angeles

Gabi and Wilheml Schrmann, Aachen, Germany

Konstantinos Papageorgiou, Kifissia, Greece

Tina Petra and Ken Wong, San Marino, CA

Grigoris Papadimitriou, Athens

Rachel Lehmann, New York

Joel Mallin, New York

Alexander Kahane, Basel, Switzerland

Lorenzo Sassoli de Bianchi

Ken Kuchin

Kim Light, Los Angeles

Tim Nye, New York

Craig Robbins, Miami Beach

Tom Patchett, Los Angeles

Jack Tilton, New York

Walter Knig, Cologne

Kiki Smith, New York

Bruno Delavallade, Paris

UC San Francisco Medical School

Jumex Collection, Mexico City

Patrick Charpenel, Guadalajara, Mexico

Fondazione Sandretto re Rebaudengo, Milan, Italy

Jeanne Greenberg Rohatyn, New York

Dallas Price, Los Angeles

Jaun Villalonga,, London

Elissa Newton, Toronto

Russell Ferguson and Karen Higa, Los Angeles

Penny Cooper and Rena Rosenwasser, San Francisco

Candace Younger, Los Angeles

Fredric Guilbaud, Martinique

Michael Lynne, New York

Robert and Melissa Soros, New York

Michel Dutillard, Paris

Angelika Taschen, Berlin

Alessandra Pampaloni Dwek, Milan

Iris Mink, Los Angeles

Paolo and Kathy Vedovi, Brussels

Hammer Museum, Los Angeles

 


Pae White: Summer XX

March 2, 2012Late Spring 2012

Performance and Reception:

Members Preview: Artist Talks by Mark Bradford, Jennifer Steinkamp, Pae White, & Carlos Avendao at 5:30 pm

The Fabric Workshop and Museum (FWM) presents Summer XX, the debut of a new installation by Los Angeles-based artist Pae White. Continuing White's interest in text-based work and super-graphic interventions, she lifted the phrase "HASTA LA MUERTE" from the graffiti near her studio in East L.A. for her FWM project. The action of suturing and pulling this ephemeral text in the space serves to dimensionalize the recent passing of an art mentor.
 

Bio
Born 1963, Pasadena, California. Lives and works in L.A.
Pae White studied at Art Center College of Design in Pasadena (MFA, 1991), the Skowhegan School of Painting and Sculpture in Maine (1990), and Scripps College in Claremont, California (BA, 1985). She has been featured in solo exhibitions at venues such as The Art Institute of Chicago, Illinois (2011); Site Santa Fe, New Mexico (2011); The Power Plant, Toronto, Canada (2010); 1301PE, Los Angeles, California (2009); galleria francesca kaufmann, Milan, Italy (2008); Hirshhorn Museum and Sculpture Garden, Washington, DC (2007); and greengrassi, London, England (2007). White has been included recently in the Whitney Biennial, New York (2010) and the 53rd La Biennale di Venezia, Italy (2009) and she is installing commissions this year in the Los Angeles International and Berlin Brandenburg Airports. White's work is held in such prominent public collections as Museum of Modern Art, New York; Tate Modern, London; Los Angeles County Museum of Art, Los Angeles; Museum of Contemporary Art, Los Angeles; The Art Institute of Chicago; and the Hammer Museum, Los Angeles.

"For the last several years, my practice has focused on an exploration of the neglected, the forgotten, the spaces between things, even the things between things. I am equally drawn to the temporary, the fleeting, to the ephemera of everyday life. My work has attempted to subvert the viewer's expected relationship to an everyday object, nudging them off balance, encouraging a deeper look.

I like to take ordinary materials and simple, often conventional processes to achieve this - using paper shapes strung on thread to capture the feeling of a swarm of bees; freezing a moment of smoke or crumpled tin foil in the loomed wool of a Flemish tapestry; referencing an unknown narrative about a city in the seat fabric of its buses; evoking memories of home in Los Angeles by creating tacos and taco trucks out of marzipan in the window of a pastry shop in Meunster, Germany; forming out of canvas-wrapped metal the fallen leaves of California sycamores for a show in Milan, Italy; celebrating the local fauna of the Hudson River Valley by making cast-iron barbecues in their shapes; foregrounding the architecture of spiders by placing webs on colored paper and framing them; and on and on.

My goal is to cause viewers to stop and consider the bits and pieces of our lives that are most often overlooked, perhaps suggesting a more comprehensive reconsideration of the world around us, even to ask ourselves: What is important to us? What are we seeing? What are we not seeing?" Pae White 2009

 


Pae White

 

Drawn from an abundance of art historical and pop cultural sources, Pae White's cascading mobiles evoke everything from schools of fish, flocks of birds, and teeming ponds, to Impressionist paintings with their myriad marks. White describes this body of work as "an exploration of movement contained." Like "a waterfall on pause" the works are "a flurry of color and gentle movement, suspended for contemplation." Made with brightly colored cut paper strung on colored thread, the pieces move in response to the slightest breath, defining three-dimensional space while remaining fluid.

 

Organized by James Elaine, curator of Hammer Projects.

 

About the Exhibition

By Alex Farquharson

 

Seasoned gallery goers these days are used to art taking just about any form imaginable. Still, under duress and given enough time, we might just be able to conceive of a few things that we would never think of as art. Parisian air has been done (Marcel Duchamp), so have twelve live horses (Jannis Kounellis), as has a giant trench in the desert (Michael Heizer). These days we would have to look beyond the found object, however banal or extraordinary, for something one couldn't imagine calling art. If I had been able to think of it, a set of fully functioning cast-iron barbecues in the shape of stylized animals might have fit the bill. A series of twelve working clocks made of paper representing the signs of the zodiac, or adverts in magazines for other artists' exhibitions, might have done too.

 

Clearly animal barbecues, paper clocks, chandeliers, and birdcages don't operate like traditional art objects, if we take that to mean painting or sculpture. Yet neither do they sit easily within an avant-garde notion of the art object as neither painting nor sculpture. Pae White's work isn't obviously oppositional enough for that. For one, her work utilizes too many of painting and sculpture's values while remaining neither. For another, though a reductive form is often the starting point, the end results are usually formally complex and runaway decorative. The attitude of the work, too, is decidedly un-avant-garde: it has a playfulness, a deceptive lightness, a sense of whimsy and caprice that are alien to the avant-garde program. White's work resists the kind of analysis an avant-garde object demands by instilling a sense of wonder and reverie in the viewer; we tend to lose ourselves in the works' intricate beauty and the allusions that they put into play. These allusions are largely our own, since any imagery in the work is too ambiguous or too plain weird to act prescriptively. In a specific sense, the work has no hidden meanings and nothing to decode. Its engagement with viewers is egalitarian. The mobiles, for instance, rely less on an understanding of Postminimalist sculpture than our ability to picture the movement of swarms, schools, and flocks of brilliantly colored creatures in water or air or, perhaps, our knowledge of Californian or Antipodean ghost towns. More

 

That said, Pae White belongs to a generation of international artists who have revived issues of site and context that have remained largely unexplored since the mid-1970s. Although at times you find her work where you would expect it - that is, at eye level on walls or somewhere central on the floor - you are just as likely to find it covering windows, suspended in midair, or stacked up around a corner between two rooms. Often you won't find it in exhibition spaces at all, but in areas of museums and galleries dedicated to activities other than the display of art: the bookshop window (Galerie Daniel Buchholz, Cologne), for instance, the office (China Art Objects, Los Angeles), a children's learning area (Los Angeles County Museum of Art), or foyer (the Hammer piece you've just been looking at). It undergoes a more extreme process of dispersal when it takes the multiple format of covers for magazines (four issues of Make: Women's Art Magazine), advertisements for galleries (a series of twelve for neugerriemschneider in Frieze), or invitation cards and catalogs for other artists' exhibitions (Jorge Pardo and Tobias Rehberger, for example).

 

There are historical precedents for all of this, especially in art of the late 1960s. When Attitudes Become Form, the seminal group exhibition exploring late-1960s tendencies curated by Harald Szeemann at Kunsthalle Bern in 1969, featured works sited along the edge of the floor (Richard Serra's Splash Piece), suspended in the air (Gilberto Zorio's Untitled [Torcia]), on the staircase (Kounellis's sacks of grain), all over the Kunsthalle (Richard Artschwager's Blps), out on the sidewalk (Heizer's Berne Depression) and beyond Bern altogether (Richard Long's walk in the Swiss Alps). From the mid- to late 1960s Conceptual artists such as Mel Bochner, Dan Graham, Douglas Huebler, Joseph Kosuth, and Robert Smithson used magazines as sites for works that took the form of inserts, articles, and advertisements. From 1968 to 1971 the New York gallerist Seth Siegelaub produced a number of books that acted as sites for solo and group exhibitions.

 

You need only look at Pae White's work for a split second to realize that it occupies these types of spaces quite differently. Postminimalist sculptors used raw industrial and natural materials in part to narrow the divide between work and site and art and life. Conceptual artists, especially, sought visual neutrality in order to present their reflexive ideas on art with as much clarity as possible, bald text being their preferred medium. Some believed that these anti-aesthetic strategies functioned politically: that by avoiding seductive colors, forms, and materials they were resisting the art market in particular and capitalism in general.

 

There is nothing visually raw or neutral about Pae White's aesthetic: colors are dazzling, words are set in idiosyncratic typefaces, and the materials she favors are delicate and lush. Even when she is working minimally, the effect is ravishing and at times hallucinatory. Take Copy Cat Lap, 1998 for example. The two slabs of vivid yellow Plexiglas throw wavelike reflections on the gallery ceiling that are quite at odds with the matte metal and firebrick floor works Carl Andre is known for.

 

One of the reasons for Postminimalism's failure to close the gap between art and life was its rejection of the popular aesthetics of its era. White and other artists of her generation have embraced the style and function of applied arts to an extent not seen since the days of the Bauhaus. The results are works that duck in and out of their art status precisely because they camouflage their conceptual underpinnings in the aesthetics and uses of images, objects, and structures belonging to the designed world. Are the animal-shaped grills from Briquettes and Support, 2003 sculptures or barbecues? Is the publication accompanying the group exhibition What If: Art on the Verge of Architecture and Design (Moderna Museet, Stockholm, 2000) a catalog or Pae White multiple?

 

It's the significance of style that sets White apart from the artists who explored new sites in the late 1960s. Style was suppressed then, while in her work it is overt. Its operation has the effect of personalizing whatever space she uses, be that the spaces of an institution or the work of a contemporary. When Pae White's ebullient yet light-footed work is around, the logic that distinguishes one artist from another, the artist from gallery, or spaces designated for art from areas designated for other uses, is made to seem pedantic and obsolete.

 

Alex Farquharson is a curator, writer, and lecturer who lives in London.


 

Biography

 

Pae White was born in 1963 in Pasadena, California. She lives and works in Los Angeles. She received her M.F.A. from Art Center College of Design in Pasadena and her B.A. from Scripps College in Claremont, California. She also studied at the Skowhegan School of Painting and Sculpture in Maine. Recent solo exhibition venues include Galerie Daniel Buchholz, Cologne; galleria francesca kaufmann, Milan; the Govett-Brewster Art Gallery, New Plymouth, New Zealand; the Contemporary Art Gallery, Vancouver; greengrassi, London; and 1301PE, Los Angeles. Group exhibitions include The Americans: New Art, organized by the Barbican Art Centre in London, and Made in California: Art, Image, and Identity, 1900-2000, organized by the Los Angeles County Museum of Art. Articles on her work have appeared in Frieze, Tema Celeste, Contemporary, Art Monthly, and Artforum, among others. In addition she has designed publications and advertisements for a number of museums, galleries, and magazines.

 

Hammer Projects are made possible with support from The Horace W. Goldsmith Foundation, The Annenberg Foundation, the Los Angeles County Arts Commission, and members of the Hammer Circle.

 

 

Hans Ulrich Obrist interview with Pae White

7/31/07

 

HUO: My first question is about the oscillation of your practice. You have always had your practice in museums and galleries, however you go beyond into all kinds of contexts. You have done books, you have curated shows and have carried your work in a very dispersed way into other fields than the art world. We are here in Munich at the DLD [what is this?] conference and every speaker has one of the hundred and ninety-nine elements of your piece could you talk a little about what that?

PW: OK. I never really feel that I am a designer, it's always done with a sort of artfulness and I think when I work in this kind of area, especially with a book, that I am very interested in the assumed book form. I am very interested that there is an audience for a book and that assumption sets up an opportunity for art to take place. In this instance I was really excited because this is exactly the situation I like. There are these areas that are unpopular, that maybe, for instance, in an exhibition scenario I will look for the space in the museum that is undesirable or forgotten or hidden and that was the same situation that came up here. Johannes asked me if I wanted to do bags, which to me seemed very obvious and I had already done that. So I thought if I did a bag it had to be a brown grocery bag and that I really wanted that kind of casualness, especially in this context of all these digital people, carrying around a brown ......-type grocery bag. We couldn't really do that and then I thought about this real estate, which is very interesting to me because it is almost a mandatory conference uniform, this piece of jewellery [Conference badge]. I really like the given of that and I really liked the intimacy of that: this thing is always next to your body, somehow. So I was working on this overall graphic that could somehow be a haiku, something about community but something that was also about individuality, once broken up. Everyone has this individual logo, sort of an endless logo, and it's always, hopefully, next to your heart. Which isn't the case: it's next to your stomach in this case, but it's pretty interesting to see everybody have this little bit of individuality, a roving addition, I guess.

HUO: Gilbert and George, who were my heroes at the beginning of my professional life, always said 'art for all'. Could one say that your approach is art for all?

PW: Maybe it is a Beuysian art throughout life, art in cooking, art in these things, but I also really like the suspending of that definition. I like that moment of ambiguity when maybe the viewer will ask questions of their desire to want to totalise what one does over something else.

I think I am more interested in foregrounding the need to find the definition, to totalise, I guess, one over the other. I am not really interested in the blurring of the boundaries; it's really more that there is an art opportunity in all of these things. Like this can become an art opportunity and maybe the only place this art can exist is in this kind of a scenario. In many ways it is about finding these hidden zones.

HUO: That's great. Having just had the Ghost Towns book, it's interesting that the interview we are doing - it's not like any other interview which goes into a catalogue or a magazine, but it's obviously a special thing to do an interview with you. The interview goes into a book and all your books are designed by you; they are more like catalogues, they are more like artists' books, so it is interesting if we talk about this catalogue and catalogues in general.

PW: Yes, and I think I was really lucky because I was always interested in books and designing books but I was never able to pull off the degree in graphics, I wasn't keen enough, and I went off into fine art but I always had this longing to do that. These kinds of catalogues became a great opportunity and I have to say I got very lucky because Jorge Pardo, who was a colleague of mine, -

HUO: You studied together.

PW: Well, I studied after him. We dated. [Laughs] I guess we studied together. He had this great need for catalogues and he wasn't interested in doing them so he just gave them to me to do. So I always came at it from not a very schooled approach in catalogue or book design and that left it very open for me to use it as a platform for my other interests, my own work. This book is another example of that. For instance, this was a semi-residency.

HUO: Ghost Towns.

PW: Yes. And it's in New Zealand and I know very few people are going to see this exhibition so why not make this book somehow demonstrative of the show or the experience. In this small town in New Zealand there is a publication; it is a one-sheet that circulates in the town and it became very important to me to see this because there was very little going on in the city. So for me that kind of documentation made sense, to be the first thing that one experiences when you see the book. There is this ephemera that was interesting to me. The other thing about this book, and I make these books with the assumption that no-one is going to see the show, is that this matrix of love went into this book. I enlisted my husband to write the text. I enlisted a young Italian curator/writer who's British and Italian, so his English is kind of there but it's not one hundred per cent, which I like very much to preserve. He was falling in love with the DJ at the time, so this matrix of love and music and not-great English, but maybe more precise because it's not that great, going into this essay was very important to me. And this little scrap book of things that I love and these little areas that could somehow augment something that you hadn't really seen.

HUO: Can you talk about this scrapbook of things? I was thinking it is almost like Gerhard Richter has his atlas, there is this whole idea of archives, of artists - Mulligan has a very encyclopaedic form of atlas as well. Is this your atlas? What is the role of this found material?

PW: It's like an appendix of information that can't find it's way in a really concrete way, so maybe an array, a kind of quilt. Most of the images in this sense are from the Internet. I just lifted, so it's kind of an archive but kind of a quilt, also, of something that's overall and how they all work together. But with these books, again it's really not that different from how I would approach the space. There's a momentum to going through the pages; the white pages are the white walls, there's a budget, there's an audience, there's distribution. Those things are things that I think about. So for this show I am hoping to do something similar: with somewhat of a remote location, the book will live longer than the show. So I will craft the book with that consideration.

HUO: Talking about your graphic design, about your beginnings in graphic design and the way it took with you, and your own work designing these books and being an artist and having this presence with books, who have been your heroes in graphic design?

PW: Oh gosh! Bruno Munari and probably Milton Glaser and anonymous designers. Probably, well in graphic design there is a textile designer who signs her name 'Vera', who has always been a big influence for me.

HUO: Who is she?

PW: She was a textile designer that came to the United States, I think in the thirties, and set up a company with her husband and started producing textiles [Vera and George Neumann; Printax]. What I think is really interesting about her is that she used the world as an excuse to make a textile. So for instance, this table with the red bowl and the pen and the papers could become a scarf; this idea of the ad infinitum potential of the world for design. That also spread into contemporary art, so she would do a shameless borrowing of a Mangold, put it into a bed sheet and one would sleep on this Mangold-type bed sheet and maybe have an art education in one's sleep. What type of contemporary art education does one have when one is sleeping on something that is inspired by contemporary art? I never really set out to have any graphic design heroes, I was just really interested in being able to make a book, make a thing.

HUO: There obviously is a link, but it would be interesting to know how you see that link between the book space and the exhibition space, because if one thinks about the issues you describe, like the textile issues, they exist in a 2-D space in the book and then they kind of unfold in a 3-D way in the exhibition space. How do you see the link? While we are doing this interview for the catalogue, in Scottsdale there will also be an exhibition. How do you see the exhibition and the book related? Is there a 2-D/3-D oscillation, as Leon Golub once called it?

PW: Yes. I think so. I was just saying you enter the book in a very particular way and there is a certain momentum, there is a certain speed ratio that happens; maybe you have a sense when you are three quarters of the way through where something really needs to be accelerated and I think that the space of the book is very similar to an exhibition space. I really think that the pages are the walls and the natural inclination to viewing is not that different to the natural inclination to reading or turning a page. I just get a real thrill.

HUO: And what is the role of titles? Can you talk about titles?

PW: I just think it's like a poetic opportunity, something that can be confusing or something that can lead the viewer astray. Maybe it can un-totalise the viewing experience by eradicating what one might expect. Maybe my titling of Ghost Towns was the insecurity of the town in New Zealand that they were in the middle of nowhere. I think they were doing very interesting projects. It was kind of a tease for them.

HUO: It's interesting because very often exhibition photography in art history is empty; if you look at all the MoMA shows, the historical exhibitions of the twentieth century, they are always without people.

PW: Right. In fact I just did a catalogue for the Albright-Knox and one of the things I insisted on was seeing their party shots, the exhibition openings; they have this incredible archive of all the trustees from the sixties and just the dynamic of that was really interesting, especially with the history of the Albright-Knox. I think that was a luxury and I don't think I'm going to do it again because my tendency to noodle around with this stuff could go on for the rest of my life. If there isn't a deadline then it will never happen. So this took a year; this other show that opened a year and a half ago, we are still waiting for that, so it's absolute, that will be the difference.

HUO: The next question directly relates to Milton Keynes and your wonderful exhibition there [In No Particular Order; Nov 2005-Jan 2006]. Can you talk about the different aspects in Milton Keynes, because I think it gives a very good panorama on the things you are working on?

PW: There were three very distinctively different rooms that tended to create an arena for the work not to overlap in the way I really would have liked it to happen. It seemed like this body of work, this body of work and this body of work. On the other hand the room with the mobiles was great because it was so indulgent. There was something kind of relentless about that which I think was kind of interesting. But I have to say it was the first time I felt hung-over from my work, that I just was really done with that. So for Scottsdale I'm hoping to do - it's mostly interesting to me to have some sort of experimentation, to see an exhibition as research and development. If something fails then it fails but there is a testing ground with an audience and there is an opportunity.

HUO: I was speaking to Diller and Scofidio about their cloud for Yvedon, and they were telling me it was about immersing into this cloud. The whole idea of an architecture of immersion. I was wondering if you could talk a little bit about these mobiles and if you would agree that they are kind of architectures of immersion.

PW: I think there's definitely that, but for me it's more a freeze-frame of something totally elusive. So if a geometry could be imposed on something that's barely there, this is what it could look like and in its frozenness it could be further investigated. But it is really about the stylisation of something, maybe in nature, that's suspended, frozen, that can be evaluated through a geometry, I guess. So there is naturally some sort of immersive aspect to it because there's a lot of one thing but it's just through that kind of grouping that I think the relentlessness, the immersion, takes place.

HUO: And that idea of the freeze-frame, that it's frozen, is it a moment in a photographic sense? Cartier-Bresson, when I interviewed him, spoke about the decisive moment.

PW: Decisive moment? [Smiles]

HUO: Is it a decisive moment? A cultural decisive moment?

PW: I don't know. The first one was I had this idea of birds disturbed leaving the ground.

HUO: Like swarming.

PW: Yes. And what happens at that moment when they have just left the ground and what does it mean to freeze-frame that and objectify that and look at that. Through that I continued on in different ways, playing with the materials in a little bit different way.

HUO: And now, how has it evolved? Are there evolving series or could it stop all of a sudden?

PW: [Laughs] I'm trying to figure a way of doing it outside, something that would resist being outside being forced outside as an outdoor piece. I know that they're made out of paper and my thinking process right now is trying to put that into an outdoor situation because they're so fragile and it bothers me so much. In previous outdoor public projects I've tried to bring something in that might seem like it doesn't want to be there. That would be the next approach for these, I guess.

HUO: That leads right away to my next question, which is if there have been any public sculptures you have been doing, any outdoor or public works, realised or unrealised.

PW: Well, I've done a couple.

HUO: I was on a panel with Liam Gillick a few years ago and he was referring to everybody of our generation who worked throughout the nineties when he said all of us of our generation, curators, artists, critics, all equally had actually neglected public art. He said there are bigger possibilities than with exhibitions, bigger possibilities to produce realities. Somehow it went out of fashion; throughout the nineties it wasn't really a big part of our generation. So that's why I'm very curious.

PW: I always had a problem with public art for the obvious reasons. It always implies some sort of a consensus and so actually in the nineties I did a piece, which I think was kind of nice, which asked what would I like to see in terms of outdoor sculpture and I did a project, actually, using the scarves of this designer Vera. I thought, 'What if a textile were to be an outdoor sculpture?' 'What if a scarf or a napkin or a bed sheet or something vulnerable were to be an outside sculpture?' So I sandwiched the textiles between glass, put them outside, had an ashtray and a chair, so one could have this small moment of looking at a textile, smoking a cigarette and that's it.

HUO: Where was this?

PW: This was at MoCA in Los Angeles and at the American Centre in Paris. I wanted to understand what the heavy, overwrought public sculpture - and I think Liam is right that there is a big problem with the public work preceding the nineties - but I'm starting to do it more. In fact I'm doing this project in Munster.

HUO: This is 2007.

PW: Yes. And I like to think of those pieces as playing with this idea of the public space. So the two projects that I'm working on involve something very small and intimate and something huge and endless. I'm very interested in a little pastry shop in the retail area, this shop window as being a vitrine.

HUO: In Munster.

PW: Yes. And working with marzipan in some sort of sculptural or figurative sculptural way and sort of commandeering their window as an arena for art. At the same time working with the church bells of the city to programme music that will play certain contemporary love songs or something that plays at the same time all throughout the city. So this project, this sculpture could be heard when you're in bed, could be heard when you're in the Schedel Garden, could be heard in the marzipan shop. Maybe these kinds of small and large themes will come together, but are barely really there but are very big.

Something small that you could really buy next to the marzipan strawberries and cherries and potatoes, but it's some other form, some other sculptural form that you could buy and have this thing. So I think that there are these other opportunities for public work. I've done some bus seat fabric in Los Angeles. I It's interesting because this art is going throughout the city all the time and it's experienced by all these different people and it's proving to be graffiti-resistant, which is pretty weird to me. And I think of it as endless. I think of it being system-wide; however big the system of Los Angeles becomes, this thing just goes on and on as long as it's woven. It's an endless piece of sculpture in a way. I've done a few. It's an extremely unpleasant process.

HUO: The negotiation.

PW: Completely.

HUO: Do you have any unrealised projects, projects which you desired to do? It's my only recurrent question in the interviews: do you have any unrealised projects?

PW: Oh yes.

HUO: Can you tell me about them?

PW: Yes. I'm trying to figure out how to do this. I have been thinking about an island in Penta Lorea.

I made a site visit with Olafur and one of the things that was so interesting to me is that this small island, which you could see in one hour, was just overrun by a pack of dogs and no matter where you went there was this group of dogs. I thought it would be really interesting to do a sculpture or a pavilion or some sort of a sculptural idea that engaged the dogs of the community. Maybe it's like the Niki Sanfal piece at the Pompidou; maybe it's a recreational tool for dogs as a public sculpture with many little opportunities of art within that and there's a viewing audience.

PW: I would like to take this one piece of sculpture; it's about this big and it's a pinch pot. Do you know what a pinch pot is?

HUO: No.

PW: It's a little piece of clay children make. It's the first thing I ever did and my father gave back to me about ten years ago and I would like to make that into some sort of an outdoor piece, some sort of large-scale outdoor piece.

HUO: You still have it?

PW: Yes. It was rejected. [Laughs] I have this piece I would really like to expand upon somehow

in the landscape with the irregularities and the finger marks and all that, and the glaze.

HUO: Do you have any collaborations with architects, that whole field of collaborating between art and architecture?

PW: Oh yes. That's been somewhat of an unpleasant process, and not because of the architects.

HUO: With whom did you work?

PW: I have been working with RCH (Rios, Clementi, Hale) in Los Angeles and Richard Fleischman in Cleveland. There is no problem with ego or proprietariness, it's just the bureaucracy makes it almost undesirable.

In Los Angeles my desire - we are still working it out - in Los Angeles there is a phenomenon where neighbourhoods would paint their sidewalks green to suggest grass and you get this great array of different greens. There is a building next to MoCA that is a music school and I am working with the architects to design the sixteen thousand square feet of really boring concrete space. So I would really like to bring in this idea of green space by using just painted squares of concrete. It's somewhat difficult for some reason. There are so many people weighing in on this project. I am also working on a project in Oslo with a firm called Snohetta. I'm doing the stage curtain for their opera house, so I guess it's sort of a public project. But it was interesting when I was talking to them because they were really interested in inventing a colour, this idea that there is a colour which doesn't exist at this point.

HUO: That leads to my next question. I have been very struck and incredibly enthusiastic about this new piece of yours which I saw at Frieze, which is a kind of crumpled 2-D/3-D oscillation, however one would call it, and I was wondering if you could talk a little bit about this series and if there is a link to that Snohettas project.

PW: There is definitely a link. I was invited to be in the competition for the stage curtain and I became obsessed with this and I really had to win this curtain competition. At a meeting with the architects they confirmed the fact that anything could really be a curtain. I researched like everything in the world as a possibility of a curtain, but I kept going back to this idea of why couldn't a curtain be a heavy metal sculpture that just comes and goes. I started to think about the practicality that is already apparent in a theatre situation .......... process......... scanning it and.............. happened with the stage curtain. .........and then the landscape, and I think that was why Snohettas was drawn to it because there is landscape within that piece of architecture. So I was working on that process and I was very excited by this digital process and I just started to think about ............ . I have also been using my scanner as a photo studio, just with materials at hand in my studio, and rather than doing anything with the materials, making something with them, just scanning them before they get applied to a sculpture. And so this is kind of a nice sort of portrayal................. these kind of assemblages being woven andlayed out.

HUO: Is it collage? I was wondering about collage. I was speaking to Richard Prince the other day and suddenly there is so much collage around. The twentieth century was the collage century and is the twenty-first century still a collage century? Are your art pieces collages?

PW: I don't think they are because they only exist on the scanner. It's more of an assemblage; these things are placed on the scanner, scanned, and then they are removed. I think that ultimately my desire is that they have a trompe l'oeil effect and when they are woven there is this sense of depth and illusion and false reflection.

HUO: So actually not a collage, they are one image.

PW: Exactly. And I found it very interesting that somebody would buy these! [Laughs] I don't know why. There is such a tough time with something that is seen as a textile; to buy [? sell] a textile on a wall, I think, is really a challenge. Personally I would buy it but it is interesting that there has been little success with them for collecting. Some of them I made as bedspreads and I really like the idea that the bed is an arena for art, not above the bed but the bed itself could be a place where art could happen. And you can dry clean it.

HUO: There is something also very fascinating, almost a paradox, about the materiality of it. It has an incredibly strong materiality yet it's somehow also about illusion, so it's about both. That creates almost an oxymoron.

PW: Yes. And even still it can be rolled up. This thing that seems as if it is crumpled in a very specific way is still ultimately flat. Also one of the things I think that's kind of nice and kind of horrific about making them is the idea that you can art-direct a piece of foil, that getting in there and having something like that behave is a very strange process.

HUO: It is also fascinating that you mention the studio. Bruno Latour in his actor-network theory talks about this idea that maybe in our digital age the studio becomes more like a network condition. Since the sixties there has been a lot of talk about post-studio practice, which was reactivated in the nineties. The studio still seems to play a very big role but maybe in a different way than it used to in previous centuries. So I was wondering if you could talk a little bit about your studio, if it's a network condition or if it's a non-network condition, and if you have assistants and how your studio works.

PW: Well my studio seems to be more and more like an office and I don't know whether that's a phenomenon of the school that I went to, the Art Centre College in Pasadena.

HUO: Who were your teachers there?

PW: Steve Prina, Mike Kelley, Jeremy Gilbert-Rolfe, Patti Podesta and an array of visiting faculty. But it was an interesting situation because the School was unprepared to deal with the Fine Arts Department, so there was this moment where no-one was paying attention. As a consequence of that no-one really got a studio; you just got a desk. Not only that but the machinery was not open for fine artists; it was really set up for car design. It was really hostile in that way so I think students found other ways to produce work that didn't really involve traditional ways of making art with table saws. I think sitting on the computer became a more typical type of production for people coming out of Art Centre. I also come out of a background where I like to work with my hands and I really like that kind of romance of the material and I am really seduced by that, so I have to have a studio where that can always happen.

HUO: The physicality.

PW: Exactly. And I have an assistant who is much better at it than I am, so I can set up the situation and she interprets it and I am absolutely fine for the most part with what she interprets. And then I have fabricators in different parts of the world and there is always this kind of flexibility that one has to have, at least for me. I am interested in the interpretation; I am interested in something coming from Lithuania that's not exactly what I thought it was going to be. And that kind of a gesture and the piece becoming an archiving of that kind of a gesture, and letting my assistant do something for a week and then checking it, that kind of a thing. I'm fine with that because I don't think my gesture is that great. I don't think it's anything that is more poetic or more profound than anything else, really. I have these different situations for different types of production but more often than not it's FedEx and email that gets a lot of time.

HUO: The studio as a FedEx/email situation is fascinating. That's a new definition. What's the role of the computer? You are here at a conference about the digital age and the current moment is defined by space, by all these new digital realities and avatars, we discussed over lunch. So what about that whole digital culture and your work? You're not an Internet artist, nevertheless in your very physical practice the digital is always there. It's about a presence and absence. Could you talk about this?

PW: I would like to get a studio assistant as an avatar. [Laughs] That would be fantastic. An assistant and a second life - but the real estate prices are so high now. Years ago I think I was really more on top of the technology aspect of art- making and in fact it came a lot in doing the books. I was completely self-taught and through becoming self-taught you have other types of finesse. There is still some residue of that but it's very cursory. I'm very wary of Google research and what that can typically lead to, just how brittle that kind of research is. It's so restrictive. As a research tool I use the Internet but I try to be very careful to get lots of different engines and lots of different sources, or mis-spellings or misunderstandings, hoping that that research is richer. But in terms of the networking and technology I don't really have a facebook or a blog, or a website, for that matter.

HUO: It was a decision.

PW: The decision not to have a website is interesting. I often wonder how galleries feel about that; it's a funny situation because if somebody can go directly to an artist, what does that mean for the gallery in terms of projects and commissions and these situations? The oversight has changed. That's not why I'm ambivalent about doing it, I just haven't had the time. thedomain.paewhite.com

HUO: You own the domain.

PW: Yes. It's pending. But it's such an interesting shift. I don't know if anyone's ever talked about when artists have their own website in a commercial sense. I know on Beat Streuli's website, the email goes directly to the gallery, so his website is a promotional piece, an archive, but you don't ever really get in touch with him directly.

HUO: Yes, what it means if it is going to the artists is very interesting. I never thought about that. What does it mean in terms of the relationship with the galleries?

PW: The galleries become less and less important. What does that mean?

HUO: The Internet made the book more important; it probably makes the gallery more important.

PW: [Laughs] Makes real life better, yes.

HUO: We thought it was the death of the book but now books are more important than ever.

Galleries are more important than ever anyway. I don't think it's the death of the galleries.

PW: Virtual reality is all about making life more significant.

HUO: One of the things I was interested in is the generation thing. I spoke a lot to Pierre Huyghe about this and he thinks in the nineties there was a lot of rupture with the eighties but there was also a continuum. He thinks the continuum is the 're': revisiting, recycling, reappropriating, which was a big thing in the eighties with the whole ...... generation and whole generation of appropriation. Pierre Huyghe was saying in the nineties the 're' phenomenon went from 2-D to 3-D, if you think about Cattelan's Hollywood sign and things like that. Nevertheless things are more complex, but I was wondering how you see that whole idea of the 're'. Sir Joshua Reynolds, and that's quoted in a catalogue on Elaine Sturtevant, Sir Reynolds discusses imitation in his discourse of 1774; borrowing, gathering, depreciating, appropriating, assimilating, submitting to infection or contagions, all these issues. So I was wondering if you could talk a little bit about that whole idea of 're' and the idea of the copy.

PW: I'm not really sure. For me that really felt like something out of the eighties. I thought there was a decline of that in the nineties but in my own work I think there is some sort of an indirect reference but I don't really see any type of appropriation, anything that sets out deliberately to appropriate. I don't really find that interesting, ultimately. I would actually see something like that happening more now. I'm not sure.

HUO: Time became more important in the nineties; at the same time there has been a lot of misunderstanding, also. Your practice and the practice of Jorge Pardo and Rirkrit has been read as some sort of service art, which I always thought was slightly strange because I don't really think it's a service, it's a bit reductive. I think there are also a lot of different connections in the nineties to the sixties and seventies. How would you see the nineties, then?

PW: In terms of my work that's interesting, service art. I wouldn't know, really, how - I have to think about that - I don't know if that's coming out of some sort of association with using the everyday or using something familiar or the applied arts. So maybe it comes out of something like that. I would feel that the service aspect of it maybe having a general interest in a retail scenario might have that kind of association. I think that's a mass reduction. I think with Jorge he wants to take over the world with his art and I am less interested in that. I am more interested in a moment or a poetic moment, something more intimate.

HUO: So you see it as more expansive?

PW: Well, you could see it as expansive [Laughs]  or restrictive, but I think the ambition is very different. I see it as having ultimately more of an entrepreneurial thrust and I am much less interested in that and more interested in a smaller-scale experience. Even this book, in a way, is a smaller scale experience. Even though it seems like something coming from something very large and endless, for me it's all about the intimacy of an edition being carried around with you

[HUO conversation with another person]

HUO: We spoke about the nineties and one thing also is that in the nineties there was a link again to the sixties and seventies, which I thought was somehow part of our generation. We spoke about your references to your heroes in design but we haven't spoken so much about your art references when you started. I was wondering how you relate to conceptual art history and how you relate to the sixties and seventies at large.

PW: At large.

HUO: One finds, sometimes, art references in discussions of your work. Serra's Splash gets quoted, for example.

So it is interesting to hear from you who were your heroes, or what was oxygen in terms of art. It's many questions in one; it's a complex of questions.

PW: I don't know. Because this person was so immersed in the fifties and sixties and seventies, I may have to go back to the textile designer that I talked about before, Vera. I think her work really encapsulates a stylistic spirit of the time, but for me conceptually it's very interesting because I do like the idea that everything in the world has the potential to be reintroduced as an art piece, even if it's just a motif. I think that was pervasive, at least in design. I didn't really come at any of the conceptual work until the nineties, any of the sixties until the eighties or nineties, so I only have an overview but I just know that some of the work I really loved when I came across it; for instance, Hollis Frampton's film.

HUO: What was it about Hollis that struck you?

PW: Well, I think it goes back to Vera. I think A Poetic Justice is a very important film for me and I like the idea that one could art-direct in one's head for anything, that the potential was huge for a scenario. And like her textiles, anything had the potential, like a boundlessness, a relentlessness, and this was exciting to me. I wonder if there is an image in here of a project I did that came out of that. But it's not in here. I wish I had it here. But also something like - It's funny because I think of Chantel Akerman and I think of a film she did which was sort of endless and the way the space was made almost into a form through some sort of a suspended action. Those kinds of things I found very exciting and I think found it's way into some of these - maybe the mobile pieces, somehow.

HUO: It's a very interesting, unexpected answer.

PW: I am trying to think of what the pieces were that - I was recently at the Hirschhorn and there is an amazing Mark di Suvero piece that's outside. Something I had never seen was this ambiguous text - have you seen this piece? On the base there's a text like 'As is yours'. I'm not sure if that's what it says, but at the very base there is this open cut out. All the structure of this big, heavy piece seems to land right at this point of the text. That's something I just saw recently; it wasn't even something I had a sense of from the sixties and it just seemed so contemporary.

HUO: And what about Warhol? You and Warhol, Warhol and you?

PW: Me and Warhol! [Laughs] I don't know. Maybe just in terms of everything having a potential

would be a possibility. I'm not sure that I have a real Warhol connection. It was the first art I

remember really clearly seeing.

HUO: That would be in?

PW: That was in Pasadena Art Museum, which is now gone. I think maybe in1967.

HUO: Was Walter Hobbes there?

PW: Yes.

HUO: That's very interesting. So you are basically a child of the Walter Hobbes museum to some extent. I have interviewed Walter Hobbes and I always thought that Walter Hobbes moment with Pasadena is one of the great moments of museum history. I believe when great moments happen they do trigger, they are like a school. So maybe the Pasadena Museum was your first school, can one say?

PW: They had classes for children when Walter Hobbes was there and they were extraordinary. They were very ambitious projects like 'make some architecture' or 'make a banner', large- scale projects, and I thought that was fantastic.

HUO: Any other shows you remember from those heroic Pasadena years? The Duchamp show, maybe?

PW: I don't remember the Duchamp but I remember the Warhol and I remember there was some artist that made these huge - I don't even know who the artist was - but it was like a lollipop with no stick and they suspended these giant clear-coloured resin things in the space and I was ecstatic and that was at the same time as the Warhol show. But Pasadena was very interesting also; there was a huge tradition with Bruce Naumann and a lot of artists had studio spaces in Pasadena, too. It is interesting that Art Centre was so uninterested in a Fine Art Department for so many years; here's this great tradition in Pasadena and it took decades for Fine Art to take off.

HUO: We came to Walter Hobbes, who is the most eminent experimental visionary curator of the sixties. One of the things we haven't spoken about that I am interested in is you as a curator. The editing of your book is also a sort of curatorial activity. Have you curated shows and can you talk a little about your curatorial endeavours? Albright-Knox has something to do with that, doesn't it?

PW: I didn't curate but in many ways, yes, doing the book is a sort of curatorial situation, especially when you are given absolute freedom to lay it out in any way you want. I was there with the Albright-Knox. There were so many artists in the exhibition.

HUO: Extreme Obstruction?

PW: Extreme Obstruction. I was very interested in trying for a complete democracy of a hundred and ten artists and that no artist would be privileged over another and so I did this book with clear balance and right when it went to press they stepped in and put in this giant David Batchelor image that spread across two pages, so completely disrupted this position I had about this unilateral for democracy. So that was not really a success for me.

I curated a show when I was at Art Centre and the Schools at the time were CAL Arts, Art Centre and UCLA. This was in 1991. There was an assumed animosity, a competitiveness. An artist I was at school with, Jennifer Steincamp, and I curated a show at CAL Arts. We called it Lay Down Your Arms, assuming that there was this kind of a battle. That was the first show I curated and it was an interesting experience because we were looking at the work of our colleagues and deciding what was going to go in the show and what wasn't. In that sense it was kind of a (I'm sorry, I'm so distracted by all this coming and going) but it's an interesting position. It's as if you were to curate colleagues of yours and to eliminate some, so it reinforced the animosity that was already existing that we were trying to eradicate. That was the first show.

Then Jorge Pardo and I curated a show called Good Design Not Working in LA and what we decided to do was to go to artists' homes in Los Angeles and choose an object, not something they made, but choose a thing and then have anybody from anywhere in the world send us an art piece. In retrospect it's not that interesting as a concept but at the time it seemed quite radical to have no curatorial position in terms of the art, only in terms of the objects. For instance, Steve Prina had a wall in his apartment that was painted blue, so we put the wall in, we painted a blue wall. Maybe the most interesting object someone had was their ashtray, so we had this very nice back up of objects in Los Angeles that might resonate somehow and then art from anywhere that anybody cared to send in.

HUO: I think you did the catalogue for Maria Lind's exhibition, that incredible box.

PW: Yes. It's interesting to see that as curating. Curating layout decisions, maybe. So much determines how a book is going to look in its final form. My interest is always to go for fabric because I feel there's a seriousness; the one thing that keeps it out of the dollar bin is to have a hard cover with fabric. But frequently the most expensive thing in doing a book is the binding. It also takes time, so in the case of Maria Lind there really wasn't the budget to do a giant bound book. In addition to every aspect of the book being a poster, I was just very interested also in the idea that one could put an essay on the wall as a poster and the ephemera of the book, the publishing information, could be a poster and stuff that could be seen as throwaway could go up on the wall; a show could be exhibited in one's apartment. And something about having an intimate experience with things in a box.

HUO: I have almost reached the end of my questions. There is one thing we didn't address; I asked you before about your heroes, heroes is too strong a word, but positions from the past which are oxygen. We talked about the museum and Warhol and Vera and all sorts of other things came up. Your practice doing graphic design, art practice, all of that is something which happened a lot in the avant gardes of the early twentieth century. It was something Schwitters did; he had a graphic design activity as a parallel activity as well, something leading also to the Bauhaus. So I was wondering if you could talk a little bit about the link to those avant gardes, because obviously they got revisited in the sixties. Benjamin Buchloh wrote thoroughly about how the sixties revisited the historical avant gardes, but not so much has been written about how the nineties revisited the historical avant gardes. I was curious how you feel about that.

PW: I was asked this recently, about my relationship to the Bauhaus, and my response was that I saw myself more coming out of the Jugenstiel, something more interesting. And for me it's not really about the practice of doing all these multiple things, but more that these things are an extension. It's not like 'here is my design workshop and here is my paper mache and glue gun', it's all really the same type of production. It's not trying to be anything revolutionary; it's just making this art piece that's maybe entering a different type of arena. What's interesting to me about this kind of thing is that there's more of an ad infinitum potential for an audience. The audience can be in Mexico City and it can be in Dublin.

I am not sure if Bauhaus separated out this type of production but I know from within the way I work that it's part of the continuum. It's taking advantage of the assumptions of something that is already in the world, that already circulates in a very particular way, and maybe exploits that or takes advantage of the distribution aspects of that and that's what really interests me about this book stuff. It's what really interests me, the widespreadness. You walked in with this today and I was really impressed because this came out of New Zealand. This kind of thing just continues ad infinitum. That's what I think in terms of the Frieze project.

HUO: You mentioned the Frieze project and that is a very interesting example of the reverted, inverted relationship of print and exhibition, right?

PW: Yes. And I'll just explain a little bit. That was a project where this gallery that never advertises decided to take out a full page in Frieze on the condition that they could get this great place in the magazine, which was like the third or fourth page in, full colour and they just gave it to me, every issue, and said, 'Do whatever you want'. They said, 'Don't feel like you have to do the gallery information. This is not necessarily advertising.' But I like that gallery information, it's raw material. And I like playing with that somehow and all those kinds of aspects, as filler. So these were never reproduced, they were never a portfolio edition or anything, just this exhibition in print. So if you lived in Tijuana and if you lived in New Jersey, in Columbus, Ohio, and you had these issues of Frieze, you had that show, you had that whole project. And this idea of the viewer; it's the same viewer as an art viewer at an exhibition but it's just happening simultaneously in different places. That kind of simultaneity and that kind of distribution, I think, is what is most interesting to me about working in this type of area. I don't think it is revolutionary but I think there is some sort of resonance and it isn't even a digital resonance, it's just this kind of idea of widespread art enthusiasm. And it's a testament to the publication, too, a testament to the circulation.
HUO: The interview started with this idea of testament and that is a marvellous conclusion. I just had a few questions to add. Dan Graham says you can't really understand an artist if you don't know what his or her favourite film is and what music he or she listens to, so I wondered what music you listen to and what is your favourite movie. It's the Dan Graham question.

PW: That's not fair! [Laughs]

HUO: Why?

PW: It's like asking me my favourite painting. This month my favourite  "Oh, my God!"  my favourite song, a song that always comes back to me is John Foxx's My Sex and my favourite movie [Pause] Jeanne Dielman.

HUO: Chantal Akerman.

PW: One of my favourite movies. But I'm sure there's something like Bedazzled in there, Elizabeth Hurley.

HUO: Another question is, Rainer Maria Rilke wrote a lovely letter with an advice to a young poet. What, in 2007, would be your advice to a young artist?

PW: Go to art school twice. [Laughs] Get a FedEx account.

HUO: How do you see the current moment? We are in 2007, we are here at this DLD conference

on the digital age. How do you see the moment?

PW: This is a completely distorted scenario. I think the worldwide application of something like this is so alienated and yet it's talking about pervasiveness. I can't lock into that. I don't pay too close attention to what the current market scenario is. I just try to stay focused on what I do. I keep my viewing to about thirty-forty percent and leave it at that, I guess. I don't know. It's a difficult question.

HUO: What is the role of writing in your practice? Are you writing?

PW: I write sometimes a little bit but only if there is teaching involved; not recently. Just notes on

my work for myself.

HUO: Thank you very much. A great interview.



Pae White Lisa, Bright & Dark
Cassandra Coblentz
 
On overcast days in Los Angeles, there is a hazy feeling of general malaise and languid plodding, the sense that you haven't quite woken up yet. Growing up in Southern California, I remember feeling detached and alienated from the world around me on those days�typical teen angst feelings. And somehow the quality of the light really contributed to these moods. Sunny days were different, full of possibilities and promise. Some days had both of these qualities. That contrast of dark versus light and the tendency to experience both sides of these contradictory feelings likely had an effect on Pae White, who also grew up in Southern California.
 
In a city built around the magic of the movies, color and light have remarkable powers over our psyches; Los Angles thrives on invented realities. The very history of Southern California as a modernist Mecca was based on the notion that the environment (idyllic climate, growth and economic prosperity) allowed for the possibility of creating a utopian vision of life. However, this vision is and always has been an artificial construct. That superficiality is in turn emblematic of Los Angeles. Fascination with the darker underbelly of the idyllic glossy surface of LA's image has given it an equally notorious reputation for deceit and malevolence�played out perhaps most famously in the cinematic genre of film noir.
 
The contrasting idea of "bright" versus "dark" has a long history in the mythology of Los Angeles. Writer Mike Davis famously coined the term "Sunshine and Noir" in his seminal 1992 book City of Quartz, which explores the history of culture produced about Los Angeles. Davis looks to intellectualism and history in an attempt to define Los Angeles as a prime model of the late capitalist/ postmodern city.[1] Davis writes:
 
The ultimate world-historic significance - and oddity - of Los Angeles is that it has come to play the double role of utopia and dystopia for advance capitalism. The same place, as Brecht noted, symbolized both heaven and hell. Los Angeles - far more than New York, Paris, Tokyo - polarizes debate: it is the terrain and subject of fierce ideological struggle.[2]
 
For White, interestingly, this dualistic struggle so commonly associated with her home town refers also to the complexities of the human psyche and the basic human propensity to swing between the "bright" and "dark" aspects of our natures. The title of the exhibition is taken from John Neufeld, Lisa, Bright and Dark (1969), a book that was somewhat of a phenomenon and played an important role at the time of its release for many teenage girls (White among them) seeking to understand themselves. In retrospect, for White now, the title represents the tone of that specific time in her life. Rather than referencing the literal story of Lisa Bright and Dark, she is interested in reminding people of the frame of mind it may have once inspired. For her, it is about conjuring an essence more than telling a specific story. The book's pervasive popularity among her peers and its emphasis on shared experience also hints at the universality of this tendency toward the bright and dark.
 
Giving the exhibition a title taken from another work of art, a book, further emphasizes the cohesion White has sought in this installation. Titles, for her, are "a poetic opportunity, something that can be confusing or something that can lead the viewer astray. Maybe it can un-totalize the viewing experience by eradicating what one might expect."
 
Like Joseph Beuys, White seeks what she calls an "artfulness" in everything�books, advertisements, objects like a shopping bag or perfume bottle, even exhibitions. She has a keen way of deconstructing or perhaps reconstructing the assumed forms of things. This present exhibition is an assembly of the fantastically broad range of her output; it is also a concise conceptual project that organizes the work into a holistic context ripe with meaning - a singular artwork in and of itself. The notion of dichotomy has been carefully crafted into a schematic whereby two galleries play off one another. She has used the space of the museum to emphasize contrasting tendencies that permeate her work, giving the architecture a role in shaping the meaning of the project. Staging her work as a complex metaphor very subtly and cleverly allows the viewer the possibility of making broad connections among her diverse artworks, but in a discreet and indirect way.
 
This exhibition is literally and physically organized in two galleries, one "bright" and one "dark." These two spaces create contrasting environments in which to experience the work psychologically. In the "bright" gallery, White's abundant graphic design materials and functional objects fill the space and create the effect of what White has referred to as a "jewel box." One of her delicate paper tapestries adorns a wall, showcasing her adept sensibility and facility in combining bright colors and whimsical shapes. The walls also hold a selection of her "Web Samplers," made of actual spider webs (or architectural drawings, as she refers to them) collected, seemingly miraculously adhered intact to paper and decorated with colorful spray paint and metallic pigment. In a different yet related series, White created tableaus resembling patchwork quilts or samplers, using small different colored squares, each containing a delicate spider web section. The intricate craftsmanship that permeates all the work charms and invites viewers to marvel in the pleasure of discovering the meticulousness of the detailed fabrications and the poetry of White's inventive use of unlikely materials.
 
The larger gallery is the "darker" space - a condition evoked literally through a shift in palette and lighting. As opposed to the unrestrained and frenzied colors in the "bright" gallery, the richly hued works in this space are also made of heavier materials such as bronze and cast iron.  A quiet, meditative quality in this group of works elicits a more somber mood. Central to the tone of this space are specially fabricated tables with steel bases that support White's Plexiglas reflective "pools," created for this exhibition out of layers of mirrored and colored Plexiglas. The shimmering red "pools" cast haunting reflections on the gallery walls. Ironically, but certainly not coincidentally, the Plexiglas the artist used is called "Lisa Red" a nonstandard and rare color for Plexiglas. Contributing to a sense of the ephemeral are a number of White's woven tapestries - traditional textiles depicting wafting plumes of smoke or aluminum foil that refer to one material's - in this case cotton and polyester - attempt to represent the qualities of another. Also included in this space is Chromed Clouds with E-Birds, 2006, a sculpture of wire, magnets and confetti, suspended from the ceiling but appearing to float; the reference to clouds in the title contributes to the sense of fantasy in this make-believe landscape, an eerie reinvention of the natural world according to White's uniquely idiosyncratic vision.

On the museum's outer window and on all the glass surfaces in both galleries, White has installed a specially designed vinyl pattern that operates as a graphic element unifying the spaces of the exhibition. Greeting visitors as they enter the building, the vinyl on the front window subtly introduces them to the White's world and ties the specific discrete elements of the exhibition to the overall concept.
 
Through her art, White offers insights into ways in which the personal, individual and local become universal. At the core of this concept of commonality is an optimism not unlike the one she gleaned from the book Lisa, Bright and Dark as an adolescent. One might also argue that there is a parallel between White's very personal notion of bright and dark, which can be traced to the environment of her Southern California upbringing, that she brings to the larger world and the symbolic notion of Los Angeles as an emblem of the contemporary global city, a kind of "every city." Today, however, what Los Angeles itself represents does not really matter to White. It is significant perhaps only in that it served as the foundation for her orientation toward the world. Today, White is as much a citizen of Oslo, Munich or Bordeaux (all cities in which her work has recently been shown) as she is of Los Angeles. In this digital age, everyone is nomadic, networked and portable. White thrives on this condition, enjoying the aspects of global circulation and simultaneous distribution. Her work has become a medium through which she is able to forge connections between and across sensibilities and cultures, and to offer hope to her viewers through the everyday things we share.

[1] In addition to Mike Davis, many critical writers have famously identified Los Angeles as emblematic of late-capitalism or postmodernism. They include Jean Baudrillard, Fredrick Jameson and Norman M. Klein, to name a few.
[2] Mike Davis, City of Quartz (New York: Vintage, 1992), pp.18-19; also see p. 20.


Pae White is represented by 1301PE


Pae White

3/31/11


Photo: Pae White: Still, Untitled, 2010, cotton and polyester tapestry, 12 by 40 feet; at the Power Plant

Toronto This exhibition of recent works by Los Angeles-based artist Pae White, titled "Material Mutters" and curated by Power Plant director Gregory Burke, included two projected animations, a series of works on paper and a newly commissioned fabric work, but it focused primarily on 15 of the monumental tapestries (as large as 12 by 40 feet) that White began producing in 2004. For these tapestries, White assembles landscapes of everyday materials and photographs them; then artisans, aided by computers, reproduce the digital pictures in woven form.

White's tapestries jam-pack items of consumer culturedepicting, for example, wrapping paper, fabric swatches, food, junk mail and newspaper clippingsin flat compositions that suggest a horror vacui. Their humble subject matter stands in ironic contrast to their spectacular scale and to the heroic tradition of tapestry arta medium rooted in sprawling medieval battle and hunting scenes. Take, for instance, Studio AZ, MMVII #5 (2007)one of four tapestries exhibited from a series of fivewhich portrays at roughly 24 by 10 feet a hoard of pumpkin seeds interspersed with apricots and highlighted by specks of steel-blue glitter.
The tapestries' dazzling palette is as arresting as their grandiosity, particularly in the eight-work series "Skygazing" (2006). In (Skygazing #3) ursa minor, a smattering of bubble-gum pink and glossy white blobs covered with multicolored marks, representing icing-drenched animal crackers covered in sprinkles, is set against a layered backdrop of hexagonal cutouts of Yellow Pages ads. Here we have California Pop artist Wayne Thiebaud's confectionary-counter paintings played to Wagnerian proportions.

Standing independent of the other tapestries, Still, Untitled (2010) focuses on fleeting immateriality rather than
on dense materiality. Exhibited first at the 2010 Whitney Biennial, and shown here with a series of 36 related drawings, it depicts winding ringlets of white smoke in close-up against a rich black ground, offering a Mannerist-style contrast of light and dark.

The video animation Dying OakElephant (2009) is based on a three-dimensional scan of a massive 800-year-old oak tree, taken using light detection technology. A swirling abstraction of geometric beads of light rising from earthy sepia tones, it hints at rather than resembles its source. By animating a dying tree, White carries out a process opposite to that of Still, Untitled, in which she "stilled" unfolding smoke curls. Both works, however, bear a tension between subject and medium, the ephemeral smoke freeze-framed in thick fabric and the sturdy oak rendered with ethereal light.

The commissioned Sea Beast (2010) seemed superfluous. The nearly 10-by-22-foot weaving, based on a photo of a tacky '70s macram hanging, recalls Mike Kelley's crocheted afghans and countless other works that have subsumed home craft into high art. Indeed, "Material Mutters" itself betrayed a horror vacui in terms of exhibition planning, providing a curatorial overload that at times obscured White's playfully engaging, ironical pairing of incompatible subject matter and medium.