Jorge Pardo

Born Havana, Cuba, 1963

Lives and works in Los Angeles, CA





BFA Art Center College of Design, Pasadena, CA

University of Illinois at Chicago, IL





2014   Inert, Petzel Gallery, New York, NY

2012   Galerie Gisela Capitain, Cologne, Germany


2011   Untitled (One Colorado), Armory Center for the Arts, Pasadena, CA

Jorge Pardo, neugerriemschneider, Berlin, Germany


2010   Friedrich Petzel Gallery, New York, NY

Bulgogi, Gagosian Gallery, New York, NY

Irish Museum of Modern Art, Dublin, Ireland


2009   1301PE, Los Angeles, CA

Jorge Pardo, K21 Kunstsammlung Nordrhein-Westfalen, Dsseldorf, Germany


2008   Erffnug, Gallery Gisela Capitain, Cologne

Haunch of Venison, London, UK

Jorge Pardo: House, Museum of Contemporary Art, Cleveland, OH

Reinstallation of Latin American Galleries, LACMA, Los Angeles, CA


2007   I love my wife, neugerriemschneider, Berlin, Germany

Jorge Pardo: House, Museum of Contemporary Art, North Miami, FL

Friedrich Petzel Gallery, New York, NY


2006   Momentary Monuments, Gio Marconi, Milan, Italy

Friedrich Petzel Gallery, New York, NY


2005   Galerie Gisela Capitain, Cologne, Germany

Haunch of Venison, Zurich, Switzerland

Las Vegas, neugerriemschneider, Berlin, Germany


2004   Friedrich Petzel Gallery, New York, NY

1301PE, Los Angeles, CA

Fundaci La Caixa, Barcelona, Spain


2003   Jorge Pardo, Gagosian Gallery, Beverly Hills, CA

Galleria Emi Fontana, Milano, Italy

Jorge Pardo, Haunch of Venison, London, UK

Gagosian Gallery, Los Angeles, CA

Gio Marconi, Milan, Italy

Galerie Gisela Capitan, Cologne, Germany

Galerie Ghislaine Hussenot, Paris, France

Prototype, Dia Art Foundation, New York, NY


2002   Le Consortium, Dijon, France

Museum Dhondt-Dhaenens, Deurle, Belgium

China Art Objects, Los Angeles, CA

neugerriemschneider, Berlin, Germany

Taka Iishi, Tokyo, Japan

PKM, Seoul, South Korea

Public Art Fund Project, Madison Square Park, New York, NY

Galerie Meyer Kainer, Vienna, Austria

Gio Marconi, Milan, Italy


2001   Galerie Ghislaine Hussenot, Paris, France

Galerie Gisela Capitain, Cologne, Germany

Montblanc Kulturstiftung, Hamburg, Germany

Friedrich Petzel Gallery, New York, NY


2000   Dia Art Foundation, New York, NY

Kunsthalle Basel, Switzerland (cat.)

Galeria Marta Cevera, Madrid, Spain

1301PE, Los Angeles, CA


1999   The Fabric Workshop, Philadelphia, PA

Royal Festival Hall, London, England (cat.)

neugerriemschneider, Berlin, Germany

Swish I'm a Fish, Museum Abteiberg. Mnchengladbach, Germany (cat.)

1301PE, Los Angeles, CA


1998   Jorge Pardo 4166 Sea View Lane, Museum of Contemporary Art, Los Angeles, CA

Ghislaine Hussenot & Philipe Rizzo, Brussels, Belgium

Patrick Painter, Santa Monica, CA

Baby Blue, Galerie Gisela Capitan, Cologne, Germany

Wool, Cotton, Latex, Wax & Steel, Friedrich Petzel Gallery, New York, NY

Kunstverein Ludwigsburg, Villa Franck, Ludwigsburg, Germany


1997   Lighthouse, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands

Musuem of Contemporary Art, Chicago, IL

Garnish and Landscape, with Tobias Rehberger, Gesellschaft fuer Gegenwartskunst, Augsburg, Germany


1996   It Hangs Out There, Friedrich Petzel Gallery, New York, NY

neugerriemschneider, Berlin, Germany


1995   Nafta, Tom Solomon's Garage, Los Angeles, CA

Borgmann Capitain Gallery, Cologne, Germany


1994   Zeichnungen, neugerriemschneider, Berlin, Germany

One Component of the Work Is That the Show Will Have Many Titles, One of Them Being: MoCA.Three Prints Per Second, Friedrich Petzel / Nina Borgmann, New York, NY

1993   Person's Weekend Museum, Tokyo, Japan (cat.)

Tom Solomon's Garage, Los Angeles, CA


1992   Terrain Gallery, San Francisco, CA


1991   Luhring Augustine Hetzler, Santa Monica, CA


1990   Tom Solomon's Garage, Los Angeles, CA

Petersburg Gallery, New York, NY


1988   Bliss Gallery, Pasadena, CA




2013    Abstract Generation: Now in Print, MoMA, New York, NY

2012   The Feverish Library, Friedrich Petzel Gallery, New York, NY

11th Bienal de la Habana, Havana, Cuba


2010   The Artist's Museum: Los Angeles Artists 1980-2010, MOCA, Los Angeles, CA

A Basic Impulse, Galleria Comunale d'Arte Contemporanea di Monfalcone, Monfalcone, Italy

The Jewel Thief, The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY


2009   The House the Cat Built, Galeria Salvador Diaz, Madrid, Spain


2008   Construction, 1301PE, Los Angeles, CA

Abstrakt/Abstract, Museum Kunst Krnten, Vienna, Austria

Celebrating the Lucelia Artist Award, 2001-2006, Smithsonian American Art Museum, Washington D.C.

theanyspacewhatever, Guggenheim Museum, New York, NY


2007   Exhibitionism: An Exhibition of Exhibitions of works from the Marieluise Hessel Collection, Bard College, Annandale-on-Hudson, New York, NY

Sculptors Drawing, Aspen Art Museum, CO

The Lath Picture Show, Friedrich Petzel Gallery, New York, NY

Door Cycle, Friedrich Petzel Gallery, New York, NY

Alone in the Jungle, Mandarin Gallery, Los Angeles, CA

Celebrating the Lucelia Artist Award, 2001-2006, Smithsonian American Art Museum, Washington, D.C.


2005   In Situ, Husler Contemporary, Munich, Germany

Fairy Tales Forever, AroS Aarhus Kunstmuseum, Arhos, Denmark

View Eight: A Few Domestic Objects Interrogate a Few Works of Art, curated by Bruce Ferguson, Mary Boone Gallery, New York, NY

Design Art, Museum of Design, Atlanta, GA; Aspen Art Museum, CO

.all Hawaii ENtrees / luNar reggae, Irish Museum of Modern Art, Dublin, Ireland

POPulence, Blaffer Gallery, University of Houston, Houston, TX

Hans Christian Anderson Group Show, Arhos, Denmark

Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, NY

Present Perfect, Friedrich Petzel Gallery, New York, NY

Ways of Living, Kettles Yard, Cambridge, UK

Think Blue, Blum & Poe, Los Angeles, CA

Galerie Meyer Kainer, Vienna, Austria


2004   26th Bienal de So Paulo, Fundao Bienal de So Paulo, Brazil

Trans/Migrations: Graphics at Contemporary Art, San Juan Poly/Graphic Triennial, Old San Juan, Puerto Rico

Nothing Compared to This, Contemporary Arts Center, Cincinnati, OH

Abstract Reality, Sead Gallery, Antwerp, Belgium

Off the Wall, Bruce Museum, Greenwich, CT

North Fork/South Fork: East End Art Now, Parrish Art Museum, Southampton, NY

Design Art, Smithsonian Cooper-Hewitt, National Design Museum, New York, NY

Taka Ishii Gallery, Tokyo, Japan

100 Artists See God, curated by John Baldessari and Meg Cranston, Independent Curators International, The Jewish Museum, San Francisco, CA; Laguna Art Museum, Laguna Beach, CA; Institute of Contemporary Arts, London, Engalnd; Contemporary Art Center of Virginia, Virginia Beach, VA; Albright College Freedman Art Gallery, Reading, PA; Cheekwood Museum of Art, Nashville, TN


2003   Jessica Stockholder: Table Top Sculpture, Gorney, Bravin + Lee, New York, NY

Gio Marconi, Milan, Italy

I Moderni/The Moderns, Castello di Rivoli Museo d'Arte Contemporanea, Rivoli, Italy

On The Wall, The RISD Museum, Providence, RI

It Happened Tomorrow, Lyon Biennale, France

Flower Power, Palais de Beaux-Arts, Lille, France


2002   Jorge Pardo & Philippe Parreno, 1301PE, Los Angeles, CA

Refraction, Jorge Pardo and Gerhard Richter, Dia Center for the Arts, New York, NY

No Return, Sammlung Haubrok, Stdtiches Museum Abteiberg, Mnchengladbach, Liverpool Biennial, UK

Culture meets culture, Busan Biennale, Busan, South Korea

touch, Relational Art from the 1990s to Now, San Francisco Art Institute, CA


2001   Active Ingredients, Copia, American Center for Food Wine & the Arts, Napa, CA

Reverb, Jorge Pardo and Gilberto Zorio, Dia Center for the Arts, New York, NY

Comfort, curated by Kristin Chambers, Cleveland Center for Contemporary Art, OH

Public Offerings, Museum of Contemporary Art, Los Angeles, CA

KolnSkulpture3, curated by Dr. Michael Stoffel, SkulptutenparkKoln, Cologne, Germany

In Between: Art and Architecture, MAK Center for Art and Architecture, Los Angeles, CA

The Beauty of Intimacy, Lens and Paper, Gemeentemuseum Den Haag, The Netherlands

Beau Monde: Toward a Redeemed Cosmopolitanism: SITE Santa Fe Forth International Biennal, Santa Fe, NM

Collaborations with Parkett, 1984 to Now, Museum of Modern Art, New York, NY


2000   Made in California: Art, Image and Identity, Los Angeles County Museum of Art, CA

1989, curated by Ilene Kurtz, David Kiehl & Patrick Moore, Curt Marcus Gallery, New York, NY

Talleres: Art from the Guadalajara Workshops, Mexican Cultural Institute, Washington, D.C.

Threads of Dissent, The Fabric Workshop, Philadelphia, PA

Against Design, curated by Steven Beyer, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA; Palm Beach Institute of Contemporary Art, Lake Worth, FL; Museum of Contemporary At, San Diego, CA; Kemper Museum of Contemporary Art, Kansas City, MO

Double Space, curated by A.S. Bessa, Apex Art Curatorial Program, New York, NY

Objecthood 00, Rethymnon Centre for Contemporary Art, Rethymnon, Greece

Strange Paradise, Casino Luxembourg, Luxembourg

Quoitidiana, Castello di Rivoli, Turin, Italy

Rags to Riches, curated by Petra Bungert and Alexandra Dimentieva, Center for Contemporary Non-Objective Art, Brussels, Belgium (cat.)

What If, curated by Maria Lind and Liam Gillick, Moderna Museet, Stockholm, Sweden

Quiet Life, Blickle Stiftung, Germany

Fast Forward, Kunstverein Hamburg, Germany

Strange Paradise, Casino Luxembourg, Luxembourg


1999   Threads of Dissent, The Isabella Stewart Gardner Museum, Boston, MA

Objecthood 00, Hellenic American Union, Athens, Greece

Comfort Zone: Furniture by Artists, curated by Amy Wolf, The Public Art Fund, Paine Webber Art Gallery, New York, NY (cat.)

Jorge Pardo and Bob Weber, China Art Objects, Los Angeles, CA

Drawn by, Metro Pictures, New York, NY

Talleres:  Art From Guadalajara Workshops, curated by Carlos Ashida, Track 16 Gallery, Santa Monica, CA

DConstructivism: life back in to art, Brisbane Convention and Exhibition Center, Australia

Wonder world notes for a solid collection, Newsantandrea, Savona, Italy

Konstruktionszeichnungen, Kunst-Werke, Berlin, Germany


1998   Light X Eight: The Hanukkah Project, Jewish Museum, New York, NY

Richard Hawkins/Jorge Pardo, Brent Petersen Gallery, Los Angeles, CA

Chaos, Control, Chaos, Control. You Like? You Like, curated by Anne Lemieux, Elias Fine Art, Boston, MA

artranspennine, with Atelier van Lieshout, Francoise Quardon, and Langlands and Bell, curated by Penelope Curtis, The Henry Moore Institute, Leeds, UK (cat.)

Dad's Art, neugerriemschneider, Berlin, Germany

___, 1994untitled,1994(meettim&burkhard)branusi,1997, Grazer Kunstverein, Austria

FAST FORWARD archives, Hamburger Kunstverein, Hamburg, Germany

Fast Forward / Body Check, Kunstverein Hamburg, Germany

Works for the Ideal Home, Art Metropole, Toronto, Canada

Scratches on the surface of things, Museum Boijmans Van Beuningen, Amsterdam, The Netherlands

Marienhof - Konzepte der Kunst, Rathaus, Munich, Germany

Kunst fr Bundestagsneubauten, Deutscher Bundestag, Berlin, Germany

Jason Meadows / Jorge Pardo, Brent Petersen Gallery, Los Angeles, CA

Mai '98, Kunsthalle Kln, Germany (cat.)

Minis, Midis & Maxis, Knstlerhaus Palais Thurn und Taxis, Bregenz, Austria


1997   Angel Hair EX. LA., Dogenhaus Galerie, Leipzig, Germany

Check in, Museum fr Gegenwartskunst, Basel, Switzerland

Hospital, Galerie Max Hetzler, Berlin, Germany

Kunst..Arbeit, Aus der Sammlung SudWest LB, Stuttgart, Germany (cat.)

KolnSkulptur 1, Kunsthalle Kln, Germany (cat.)

Kevin Appel, Francis Cape, Jorge Pardo, curated by Margaret Murray, Janice Guy, New York, NY

Assuming Positions, Institute of Contemporary Art, London, UK (cat.)

Home Sweet Home, Deichtorhallen, Hamburg, Germany (cat.)

Rooms With a View: Environments for Videos, curated by Nancy Spector, Guggenheim Museum Soho, New York, NY

Laying Low: Postminimalism/Scatter Art, Kunstnernes Hus, Oslo, Norway (cat.)

Bastards of Modernity, Angles Gallery, Santa Monica, CA

Skulptur. Projekte in Munster 1997, Munster, Germany (cat.)

Cruising L.A., Galeria Soledad Lorenzo, Madrid, Spain (cat.)


1996   True Bliss, Los Angeles Contemporary Exhibitions, CA (cat.)

Just Past: Contemporary and Permanent Collection 1975-1996, MoCA Los Angeles, CA

Friedrich Petzel Gallery, New York, NY

Ab Fab, Feature Inc., New York, NY

Blum & Poe, Santa Monica, CA

Defining the 90's, Museum of Contemporary Art, Miami, FL (cat.)

Projekte/Projects: Art at the New Trade Fair of Leipzig, Leipzig, Germany (cat.)

Multiple Pleasure, Tanya Bonakdar Gallery, New York, NY

Dark Memories Hovering, Marc Foxx Gallery, Santa Monica, CA

Traffic, CAPC Musee d'Art Contemporain, Bordeaux, France (cat.)

le labyrinthe moral, Centre d'Art Contemporain, Dijon, France

nach Weimar, Kunstsammlung zu Weimar, Weimar, Germany (cat.)

wunderbar, Hamburger Kunstverein, Hamburg, Germany (cat.)

Faustrecht der Freiheit, Sammlung Volkmann, Kunstsammlung Gera, Germany

Alle Neune, ACC Galerie, Weimar, Germany

groupshow, Friedrich Petzel Gallery, New York, NY

Ranch, Peter Strauss Ranch, Santa Monica, CA

Jim Iserman, Jorge Pardo, Richard Telles Fine Art, Los Angeles, CA

Affairs, Institut fr Gegenwartskunst, Vienna, Austria

Der Umbau Raum, Knstlerhaus Stuttgart, Germany

Legende I, Museet for Samtidskunst, Roskilde, Denmark


1995   Affairs, Institut fuer Gegenwartskunst, Vienna, Austria

Hawaii, with Pae White, Mitchell Kane, and Mythter, Friedrich Petzel Gallery, New York, NY

Alles was modern ist, Galerie Baerbel Graesslin, Frankfurt, Germany

Dark Memories Hovering Below the Transparent Screen of the Present Will Project Images of Reality in Sharp Silhouette, to Create the Pleasurable Effect of a Double World, Marc Foxx, Santa Monica, CA

Le Consortium, Dijon, France


1994   Filmcuts, neugerriemschneider, Berlin, Germany

Das Ende der Avantgarde - Kunst als Dienstleistung, Sammlung Schuermann, Kunsthalle der Hypo-Kulturstiftung, Munich, Germany (cat.)

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

Interdisciplinary, Woodbury University, Burbank, CA

Temporary Translation(s) -  Kunst der Gegenwart und Fotografie, Sammlung Schuermann, Deichtorhallen Hamburg, Germany (cat.)

Neue Moebel fuer die Villa, Villa Merkel, Esslingen, Germany

Lost Paradise, Kunstraum Wien, Vienna, Austria

Pure Beauty: Some Recent Work From Los Angeles, curated by Ann Goldstein, Museum of Contemporary Art, Los Angeles, CA; American Center, Paris, France

Backstage, Kunstmuseum Luzern, Switzerland

Untitled Groupshow, Metro Pictures, New York, NY

Love in the Ruins, Long Beach Museum of Art, CA (cat.)

Breakdown, MOCA San Diego, CA (cat.)

Museum auf Zeit, slide projections at Museum Fridericianum, Kassel, Germany


1993   Backstage, Kunstverein Hamburg, Germany

Pardo- Segar- Rirkit Tiravanija- Tobier, 1301, Santa Monica, CA

Displace, Michael Cohen Gallery, New York, NY

Summer Group Exhibition, Anderson O'Day Gallery, London, UK

11 Artists, organized by Tim Neuger, Kunstlerhaus Bethanien, Berlin, Germany

Six Artists, organized by Tim Neuger, Galerie Max Hetzler, Berlin, Germany


1992   Gallery Artists Group Show, Thomas Solomon's Garage, Los Angeles, CA

Tele Mundo, Terrain Gallery, San Francisco, CA

Very, Very, Very, Shoshana Wayne Gallery, Santa Monica, CA

5 Artists Summer Show, Terrain Gallery, San Francisco, CA

Mars Gallery, Tokyo, Japan

Object/objet, with Stephen Berens, Elizabeth Bryant, and Anne Walsh, El Camino College Art Gallery, Torrance, CA

California: North and South, Aspen Museum of Art, CO

Art Center College of Design, Pasadena, CA (cat.)


1991   Phenon/Phenotype: A Group Therapy, Terrain Gallery, San Francisco, CA

L.A. Times, curated by Jackie Christ, Boise Museum of Modern Art, ID

Facing the Finish, curated by John Caldwell and Robert Riley, San Francisco Museum of Modern Art, San Francisco, CA; Santa Barbara Contemporary Arts Forum, CA (cat.)


1990   Omnia ad Majorem Dei Gloriam, curated by Peter Wright, Grace Cathedral, San Francisco, CA

Improvements on the Ordinary, curated by Dan Peterman, Randolph Street, Chicago, IL

Luhring Augustine Hetzler, Santa Monica, CA

New Sculpture, with Craig Watson, Terrain Gallery, San Francisco, CA


1989   H20, curated by Thomas Solomon, Beverly Hills, CA


1987   Graduate Group Show, Art Center College of Design, Pasadena, CA





2010   Coles, Alex. "Jorge Pardo: Living (in) Sculpture." Phillips de Pury & Company: Latin America September 2010: 24-29.


2009   Between the Lines: a coloring book of drawings by contemporary artists. vol. 2 New York: RX Art, 2009.

Bochynek, Martin. "Jorge Pardo: Freizeit Fr die grauen Zellen." Klner Stadt-Anzeiger 12 May 2009.

Clearwater, Bonnie. "Celebrity Equinox." International Corporate Art 2009: 58-59.

Edwards, Geof. "Enlightened Conversion." Texas Architect 6 May 2009: 50-55.

Herrera, Adriana. "Rosa De la Cruz: And her new bet on contemporary art." Arte Al Dia Internacional issue 129 December 2009.

Holzwarth, Hans W., ed. 100 Contemporary Artists (L-Z). Cologne: Taschen, 2009. 460-467.

Kelsey, John. "theanyspacewhatever." Artforum International March 2009: 236-237.

Klein, Cecilia F. "In the Belly of the Beast." Artforum International, January 2009: 85-90.

Krystof, Doris. "Jorge Pardo. K21 Kunstsammlung Nordrhein-Westfalen." Texte zur Kunst 2009.

Kutscher, Barbara. "Der Gewalt Einer Lawine." 20_21 Das Magazin Der Kunstsammlung Nordrhein-Westfalen no. 10 Spring 2009: 10-15.

Last, Nana. "Jorge Pardo. K21 Kunstammung Nordrhein-Westfalen." Artforum International January 2009.

Molesworth, Helen. "Social Problem." Artforum International March 2009: 101-102.

Simblist, Noah. "Theanyspacewhatever." Art Papers January/February 2009: 61-62.

Simon, Jane. "Return to Function." Madison Museum of Contemporary Art 2009: 15-41, 60-61.

Sntgen, Beate. "Der Bildermacher Oder: Wie Man Die Dinge In Der Bar Betrachten Soll, ber Jorge Pardo im K21." Texte zur Kunst vol. 19 issue 75 September 2009: 202-205.

Zsolnay, Robert. "Not a Museum Man." Mercedes Magazine Fine Arts April 2009: 52-56.


2008   Amerikaner, Andres. "Aventura Mall Displays High-End Art." Miami Herald 2 May 2008.

Carrier, David. "Review: Cleveland, Jorge Pardo, Museum of Contemporary Art." Artforum December 2008: 306-307 (ill.)

Cooke, Lynne. "Best of 2008: #1Jorge Pardo (Los Angeles County Museum of Art)." Artforum December 2008: 260 (ill.)

Cotter, Holland. "Ancient Art, Served on a Present-Day Platter." The New York Times 27 August 2008: E1 &E5 (ill.)

Dunlop, Beth. "This House is Art: Think About It." HOME Miami January 2008: 52-57 (ill.)

Hubbard, Sue. "Jorge Pardo, Haunch of Venison, London: When high art is more like Ikea." 9 April 2008.

"Jorge Pardo." Abstract. Klagenfurt: MMKK, 2008. 104-105 (ill.)

"Jorge Pardo: Art Basel Miami Beach." Elle Decor February 2008: 83 (ill.)

Knight, Christopher. "Jorge Pardo's Pre-Columbian art installation at LACMA." Los Angeles Times 1 August 2008 (ill.)

Kraus, Chris, Lane Relyea, and Christina Vegh. Jorge Pardo. New York: Phaidon, 2008.

McMullan, Patrick. "Moon over Miami and Santa Monica." Interview Magazine March 2008: 5 (ill.)

O'Connor, Anne-Marie. "Sculptor Jorge Pardo: Is it art or furniture?" Los Angeles Times 8 June 2008.

Pardo, Jorge. "Jorge Pardo: On blurring the boundaries between art, architectue and design." Liberate the Home online 24 April 2008 (ill.).

Ratcliff, Carter. "House Proud." Art in America November 2008: 174-179, 207 (ill.)

Robinson, Walter. "Space Cadets." 30 October 2008 (ill.)

Shattuck, Kathryn. "Shining a Light On a Movement That Maybe Isn't." New York Times 26 October 2008: 23 (ill.)

Taschen, Angelika. "The Magic of the Sea." Taschen Spring/Summer 2008: 44-45 (ill.)


2007   Alzola, Concha. "La Sexta Edicion de una de las Principales Ferias de arte en el Mundo." Vanidades 2007 (ill.)

Arango, Jorge S. "Shock To The System." House & Garden September 2007: 182-195 (ill.)

Buck, Louisa. "Jorge Pardo: artist in the house." The Art Newspaper: Miami Beach Daily Edition 5 December 2007: 10 (ill.)

Camhi, Leslie. "Playing House." Vogue December 2007: 275 (ill.)

Cooke, Lynne. "Gerhard Richter and Jorge Pardo: Refraction." Dia Art online 1 August 2007.

Dugan, Owen. "Wine Storage as Art." Wine Spectator 30 June 2007: 18 (ill.)

Ebony, David. "Report from Lisbon: Sailing into the 21st Century." Art in America April 2007: 52- 57 (ill.)

"Featured Exhibitions." Florida International Magazine 10th Anniversary Year November 2007 (ill.)

Finkel, Jori. "Here's the Show, The Works Are Elsewhere." The New York Times 2 December 2007: 33 (ill.)

Gillick, Liam. "Ice Sculpture/Important Postmen." Proxemics: Selected Writings 1988-2006. Zurich: JRP Ringier, and Dijon: Les Presses du reel, 2007. 248-255 (ill.)

Hanaor, Ziggy. "The Cutting Edge of Wallpaper." Blackdog Publishing January 2007: 112-113 (ill.)

Kuang, Cliff. "Home Depot." Art & Auction December 2007: 64 (ill.)

Loers, Veit. "Jorge Pardo, Tomatensuppe." 10 Jahre Skulpturenpark Cologne. Catalogue 2007: 128-131 (ill.)

MacMillan, Kyle. "Draw closer and take a look." The Denver Post 31 August 2007: 3FF.

McCormick, Carlo. "Jorge Pardo." Interview Magazine December 2007-January 2008: 58 (ill.)

Melendez, Franklin. "Jorge Pardo's Manifesto: Boldly Bridging Art and Design Under the California Sun." Soma: The Design Issue August 2007: 52-53 (ill.)

"Pleasure Principle." Modern Painters December 2007: 33 (ill.)

Rosenberg, Karen. "At Fairs by the Beach, The Sands of Creativity." New York Times 8 December 2007.

Saltz, Jerry. "Biennial Culture." 2 July 2007.

Schjeldahl, Peter. "Critic's Notebook: Design for Living." The New Yorker 16 April 2007.

Slyce, John. "all hawaii eNtrees/LuNar ReGGae." Art Monthly February 2007: 26-28.

Smith, Roberta. "In These Shows, the Material Is the Message." New York Times 10 August 2007: E27, 29 (ill.)

Suqi, Rima. "As You Leave the Gallery, Please Close the Art Behind You." New York Times 5 July 2007: F3 (ill.)

Tumlir, Jan. "Jorge Pardo." Artforum September 2007: 158 (ill.)

Turner, Elisa. "Season of the Arts, Looking inward as outside world arrives." The Miami Herald 16 September 2007 (ill.)

Williamson, Damien. "One Art Museum, Two Exhibits, One Fundraiser." Time Out 3-9 August 2007 (ill.)

Wulff, Friederike. "Jorge Pardo." Art Investor no. 4 2007 (ill.)

Yablonsky, Linda. "Scene & Herd: The Hole Shebang." Artforum online 28 March 2007.


2006   "Ausstellungen." Monopol April/May 2006: 134.

Bloemink, Barbara. "Use and Enthuse." ArtReview April 2006: 29.

Colman, David. "Jorge Pardo." Elle Decor May 2006: 66-68.

Egan, Maura. "Artistic License." The New York Times Style Magazine Spring 2006: 134-139 (ill.)

Egan, Maura. "Ein Kunstwerk in Extralarge." Architectural Digest (German) June 2006: 142-149.

Falconer, Morgan. "Everything must go." ArtReview April 2006: 35.

"In the Air." Art + Auction December 2006: 27 (ill.)

Louie, Elaine. "CURRENTS: Murals; The Transformative Power of a Fresh Coat of Paint." New York Times 23 February 2006.

Rochette, Anne and Wade Saunders. "Place Matters: Los Angeles Sculptors Today." Art in America November 2006: 184-186 (ill.)


2005   CAP Collection. Dublin: CAP Art Limited, 2005. 212-213.

Coles, Alex. "Jorge Pardo's Lifestyle as an Ethnography of Design." Ways of Living. Cambrdige: Kettle's Yard, 2005. 35-38 (ill.)

Davis, Nicole. "The New York List." January 2005.

Extreme Abstraction. Buffalo: Albright-Knox Art Gallery, 2005. 70.

Falconer, Morgan. "Beyond the Yard." Art + Auction September 2005: 158.

Grosenick, Uta, ed. Art Now Vol. 2. Cologne: Taschen, 2005. 380-383.

Hirsch, Faye. "Abstract Generations." Art in America October 2005: 123-128, 191.

"Jorge Pardo." Texte Zur Kunst issue 59 September 2005: 244-245.

Kino, Carol. "Changes at the Top." Art +Auction February 2005, p. 129.

Last, Nana. "Function and Field: Demarcating Conceptual Practices." Theory in Contemporary Art since 1985. Eds. Zoya Kocur and Simon Leung. Osxford: Blackwell Publishing, 2005.

"The Originals." The New York Times Style Magazine Fall 2005: 137.

Pagel, David. "The Hyper-Refined Simplicity of Ravishing Craftiness." Populence. Catalogue. Houston: Blaffer Gallery and The Art Museum of the University of Houston, 2005. 52-64 (ill)

Sanders, Constanze. "Ohne private Spenden luft nichts mehr in der Kultur." RAG-Magazin April 2005: 8-13.

Spiegler, Marc. "Safety First." ArtReview October 2005: 45-46.

Wright, Karen. "California Dreaming." Modern Painters October 2005: 96-99.


2004   26a Bienal de Sao Paulo. Sau Paulo: Sao Paulo Bienal, 2004. 187-188.

Alfano, Jennifer. "Lifestyle: The World of Kim Heirston." Harper's Bazaar November 2004: 134 (ill.)

"Arte e Cultura." September 2004.

Bloemink, Barbara. "The Continuum Between, and Transformations of, Art and Design." Design Art 2004: 142-145 (ill.)

Coles, Alex. "The Plywood and Rubber Plant School of Art and Design." Contemporary issue 61 2004: 38-41.

Ewing, John. "Jorge Pardo." ArtNexus July-September 2004: 135-136.

Gershon, Stacey B. and Nancy Hall-Duncan. Off the Wall Works for the JP Morgan Chase Collection. Greenwich: Bruce Museum, 2004. 48.

Gilmore, Jonathan. "Jorge Pardo." Art in America no. 8 September 2004: 122-123 (ill.)

Heeger, Susan. "Wild Things." Los Angeles Times Magazine 1 August 2004: 18.

It Happened Tomorrow. Lyon: Lyon Biennale, 2004. 24.

"Jorge Pardo Penelope." Tate Liverpool Exhibitions and Events July-September 2004: 60.

La Fuente, Pablo. "Light Fantastic." ArtReview February 2004: 155f.

"Light entertainment for Lever House lobby." ArtReview vol. 2 no. 5 2004: 16.

Longwell, Alicia G. North Fork/South Fork: East End Art Now. Southampton: Parrish Art Museum, 2004. 63 (ill.)

Lorenzoni, Rogrio. "Jorge Pardo diz que Pichao legal e estranha." Diversao 29 September 2004 (ill.)

"Mary Zlot Shaping a Collecction." Art + Auction August 2004: 69.

Mnig, Roland, ed. "Michel Majerus." Plum Collection: Museum Kurhaus. Kleve: Museum Kurhaus Kleve, 2004. 108-109.

"North Fork South Fork, The Parrish Museum's Summer Show." Avenue July 2004: 8 (ill.)

Prince, Nigel. "Jorge Pardo Haunch of Venison." Untitled no. 32 Summer 2004: 60.

Ruyter, Lisa. Catalogue of The Armory Show 2004: The International Fair of New Art. New York: The Armory Show, 2004 (ill.)

Schwendener, Martha. "Fully Furnished." Time Out New York 30 September-7 October 2004: 70 (ill.)

Tumlir, Jan. "Jorge Pardo Gagosian Gallery." Artforum February 2004: 155f.


2003   AVANT. Lyon: 7e Biennale D'Art Contemporain de Lyon, 2003. 142f.

Bayliss, Sarah. "Walking on Lucas Samaras." ARTnews December 2003: 98-100.

Beatrice, Luca. "I Moderni." Flash Art 2003.

Beccaria, Marcella. "Jorge Pardo, l'arte come luogo capace di appartenere alla vita." Abitare vol. 429 June 2003: 182-185.

Bradley, Will. "Giovanni Intra 1968-2002." Frieze no. 73 March 2003: 54-55.

Downey, Anthony. "New York: DIA: Chelsea." Contemporary issue 52 2003: 68f.

Ebner, Jorg. "Ruine auf Auenposten, Londoner Galerien: Pardo, Dack, Gillick und Shonibare." Frankfurter Allgemeine Zeitung 13 December 2003.

Gonzalez, Veronica and Lara Stapleton, eds. Juncture. New York: Soft Skull, 2003. 155.

"If He Builds It..." ArtReview vol. 1 no. 12 2003: 18.

Jongbloed, Marjorie, Brigitte Oetker, and Christiane Schneider, eds. Jahresring 50: Jahrbuch fr Moderne Kunst. Cologne: Oktagon, 2003. 114-121.

Kotler, Steven. "Jorge Pardo." Art + Auction December 2003: 32-36.

Last, Nana. "Conceptualism's (Con)quests." Harvard Design Magazine Fall 2003-Winter 2004: 14-21.

"Noisy Sale at Phillips." 12 November 2003.

Pilson, John. "The Moderns." World of Art vol. 3 issue 7 April 2003.

"Sculpture Forever." Flash Art no. 231 July - September 2003: 105.

Sharp, Amanda. "Shop Talk." Frieze no. 74 April 2003: 52-53.

Sheets, Hilarie M. "There's No Piece Like Home." ARTnews December 2003: 102-103.

Spiegler, Marc. "Miami Beach." Art & Auction February 2003: 100-101.

Woolford, Donelle and Miljohn Ruperto, eds. "4166 Sea View Lane, A Reader." Commerce Winter 2003.


2002   Adler, Vanessa. The Object Sculpture. Leeds: Henry Moore Institute, 2002. 156-159, 169, 192.

Angio, Joe, ed. "West 22nd Street." Time Out New York 20-27 June 2002: 18.

Baker, Kenneth. "Viewers experience artist's loss by eating his candy." San Francisco Chronicle 2 November 2002.

Blickle, Ursula, ed. 10 Jahre 1991-2001. Kraichtal: Urusal Blickle Stiftung, 2002. 48.

Cobb, Chris. "Touch." Stretche November 2002.

Culture Meets Culture. Busan: Busan Biennale, 2002. 60.

De Cecco, Emanuela. Total Living. Gardena: Charta, 2002. 154-155.

Eskin, Blake. "Making More Andys Possible." ARTnews May 2002: 48, 50.

Grosenick, Uta and Burkhard Riemschneider, eds. Art Now. Cologne: Taschen, 2002. 272-275.

Guzik, Jon Alain.  "More Art About Buildings and Food." SOMA vol. 15 10 December 2001-January 2002: 34-35.

Higgie, Jennifer. "Jennifer Higgie on Pae White." Frieze issue 86 April 2002: 64-69.

"Jorge Pardo." BT Monthly vol. 54 no. 818 April 2002: 130-137.

Landi, Ann. "The Power of Suggestion." ARTnews Summer 2002: 164-165.

Lloyd, Ann Wilson. "Art is a Necessity Among Techies Too." New York Times 15 December 2002: 50-51.

MacKenzie, Julie, ed. Spoon. New York: Phaidon, 2002. 292-295.

Morton, Tom. "The Object Sculpture." Frieze no. 69 September 2002: 103.

No Return. Mnchengladbach: Sammlung Haubrok, Stdtiches Museum Abteiberg, 2002. 71-73, 153.

Pappalardo, Bethany Anne. "Jorge Pardo." Tema Celeste no. 89 January-February 2001: 113.

Peyton, Elizabeth. 16 Artists. Salzburg: Salzburg Kunstverien, 2002. 17.

Pini, Ivonne, ed. "News." ArtNexus vol. 1 no. 43 January-May 2002.

Schmid, Doreen, ed. Active Ingredients. Napa: Copia, 2001-2002. 15, 26, 27, 52-53, 58.

"Shining Armory Show." Time Out New York no. 336 7-14 March 2002.

Tumlir, Jan. "Jorge Pardo: The Butler Did It." Flash Art vol. 35 no. 227 November-December 2002: 90-93.

Vendrame, Simona, ed. "News & Around." Tema Celeste no. 93 September-October 2002: 114.

Vincent, Steven. "Collective Obsessive." Smock vol. 2 no. 1 Winter 2002: 82-91.

Vogel, Sabine B. "Vienna Critic's Picks." January 2002.


2001   Berwick, Carly. "A House, a Boat, a Bar." ARTnews December 2001: 112-113.

"Calendar, Comfort" Dwell March 2001.

Campbell, Clayton. "Beau Monde." Flash Art October 2001: 98.

Cambell, Clayton. "Public Offerings." D'Art International Fall 2001: 25, 27.

Chambers, Kristin. Comfort: Reclaiming Place in a Virtual World. Cleveland: Cleveland Center for Contemporary Art, 2001. 37, 63-66.

Chang, Krystal. "Architectural Survey." Metropolis May 2001.

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

Delson, Susan, ed. "Inspirations." Museums Los Angeles vol. 3 no. 1 Spring/Summer 2001: 128E.

Drohojowska-Philp, Hunter. "It's a Beautiful World." 17 July 2001.

"The Future of Comfort." Flash Art International March-April 2001.

Geer, Suvan. "Viewpoint." Artweek 12 July 2001: 5.

Glueck, Grace. "Jorge Pardo." The New York Times 2 February 2001: E37.

Goodman, Wendy. "White Hot." Elle Decor October 2001: 223-227.

Gopnik, Blake. "Pardo Wins First Lucelia Artist Award." The Washington Post 24 May 2001: c5.

Gregos, Katerina. "New York Now." Contemporary Visual Arts issue 34 2001: 53-57.

Griffin, Tim. "Electrify Me." Time Out New York no. 303 July 2001: 12-19.

Grosenick, Uta and Burkhard Riemschneider, eds. Art Now! Icons. Cologne: Taschen, 2001.

Harris, Susan. "Beau Monde." Tema Celeste September-October 2001: 100.

Hornbrook, Kathy. "Museum of Contemporary Art Reclaiming the 'Comfort Zone.'" The Plain Dealer 27 April 2001.

Johnson, Ken. "Jorge Pardo." The New York Times 2 November 2001: E37.

Kaufman, Kim. "Number 4." 6 March 2001.

Klein, Jennie. "It's a beautiful Morning." New Art Examiner November-December 2001: 74-81.

Knight, Christopher. "Art For School's Sake." Los Angeles Times Calendar 8 July 2001: 67.

"Lamps in the Lobby." Artnet online 3 May 2001.

Litt, Steven. "A Spunky Vision of Domestic Future in The Modem Age." The Plain Dealer 18 March 2001.

Loers, Veit. Jorge Pardo. Cologne: Koln Skulptur 3, 2001.

Ltticken, Sven. "Het schilderi en de afvalbak." De Witte Raaf 89  January-February 2001: 11-13 (ill.)

MacAdam, Barbara. "Electrify Me!" ARTnews October 2001: 171 (ill.)

Mitchell, Charles D. "Making the Case  for Pleasure." Art in America November 2001: 122-130.

"MOCA Examines Points of Emergence Of Today's Significant Artists." Antiques & The Arts Weekly 30 March 2001.

Muchnic, Suzanne. "That 90's Show." Los Angeles Times Sunday Calendar 1 April 2001: 4-5, 75.

Nico, Israel. "Public Offerings." Artforum September 2001: 190.

Pagel, David. "Before Their Art Was Famous." Los Angeles Times 4 April 2001: F8.

"Pardo House." October 2001.

Parkett, Collaborations & Editions Since 1984. New York: Museum of Modern Art, 2001. 186-7.

Relyea, Lane. "What You Say Is What You See." Artforum October 2001: 51-52.

Richard, Frances. "Electrify Me." Artforum online July 2001.

Rizk, Mysoon. "Comfort." New Art Examiner July-August 2001: 90.

Roberts, James, ed. "If You Could Have Any Five Artworks" Frieze November-December 2001: 65-80.

Schjeldal, Peter. "Desert Songs." The New Yorker 13 August 2001: 82-83.

Simpson, Bennett. "The Sociology of Jorge Pardo." ArtNexus no. 40 May-July 2001: cover, 48-52.

Simpson, Bennett. "Specific Spectacles: Art & Entertainment." Art & Text no. 71 November 2000-January 2001: 70-77.

Spaid, Sue. "Comfort." ArtText no.74 2001: 82-83.

Troncy, Eric. "L'art pour territoire." Numro no. 27 Winter 2001: 296-301.

Tumlir, Jan. "90s Art in Los Angeles." Art & Text no. 71 November 2000-January 2001: 42-51.

Utter, Dougla M. "Cold Comfort." Cleveland Free Times 14-20 March 2001: 26.

Vendrame, Simona. "Hybrids." Tema Celeste no. 85 May-June 2001: 108.

Vogel, Carol. "Atrium Attractions." The New York Times 27 April 2001: E32.

Von Bonin, Cosima. Bruder Poul Sticht In See. Cologne: DuMont Buchverlag, 2001. 68.

Yannopoulos, Charles. "Digital Discomfort." 29 March 2001.


2000   Against Design. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2000.

Attias, Laurie. "Elysian Fields." Frieze November-December 2000: 109.

Barron, Stephanie, Sheri Bernstein and Ilene S. Fort. Made in California: Art, Image and Identity. Los Angeles: Los Angeles County Museum of Art, 2000. 269.

Blair, Dike. "Thinking Outside the Box." Time Out New York 14-21 September 2000: 111.

Erikson, Emily. "Preview: U.S. Shorts." Artforum January 2001.

Hamilton, William. "New Art's Interior Move." The New York Times 3 February 2000: F1, F8.

Miles, Christopher. "Flat Wares." Artforum May 2000: 87.

Muller, Markus. "Outside Event." Space issue 3 2000: 26-28.

Plagens, Peter. "Against Design." 2000.

Poels, Jan-Willem. "On The Cusp." Frame no. 18 January-February 2001: 14.

Relyea, Lane. "L.A.-Based and Superstructure." Public Offerings. Los Angeles: Museum of Contemporary Art, 2000. 263, 266.

Schafaff, Jorn and Barbara Steiner, eds. Jorge Pardo. Ostfildern: Hatje Cantz Verlag, 2000.

Siegel, Katy. "Best of 2000." Artforum December 2000: 116.

Singerman, Howard. "Jorge Pardo." Public Offerings. Los Angeles: Museum of Contemporary Art, 2000. 120-127 (ill.)

Sozanski, Edward. "Along the Fuzzy Boundary between Art and Design." The Philadelphia Inquirer 13 February 2000: A11.

"Very New Art:  Jorge Pardo." Monthly Art Magazine Bijitsu Techno vol. 52 no. 782 January 2000: 180-181.


1999   Argyropoulou, Nadia, Stergios Delialis, Yorgos Tzirtzikalis and Dmitra Vamilai. Objecthood 00. Athens: Hellenic American Union, 1999. 62-65.

Brackman, Yvette. "Maximizing the Pastoral." ARTBYTE April-May 1999: 62.

Bush, Kate. "4160 Sea View Lane." Parkett no. 56 1999: 152-159.

"Edition for Parkett: Jorge Pardo." Parkett no. 56 1999: 160.

Ferguson, Russell. "What is Lost for Art is Gained for Life." Parkett no. 56 1999: 122-129.

Frangenberg, Frank. "Raise High the Room Beam." Parkett no. 56 1999: 148-150.

Gantz, Jeffrey. "Threads of Dissent." Boston Phoenix 29 October 1999: 1, 15.

Goldsmith, Diane. "It's all in how you see it." The Philadelphia Inquirer Home & Design Friday 28 May 1999: Front page, E8.

Grosenick, Uta, Lars Bang Larsen, and Burkhard Riemschneider. Art at the turn of the Millennium. Cologne: Taschen, 1999. 374.

Haeg, Fritz. "Interview with Jorge Pardo." L.A. Design May-June 1999: 13-15.

Hainley, Bruce. "Jorge Pardo." Artforum December 1998.

Herbstreuth, Peter. "Jorge Pardo." Kunstforum July-August 1999: 351-352.

Kwon, Miwon. "Richard Serra & Jorge Pardo." Documents Winter 1999: 48-54.

Murphy, Dominic. "Rogue's Gallery." The Guardian Weekend 22 May 1999: 60-61.

Ouroussoff, Nicolai. "Jorge Pardo." Art Issues no. 57 March-April 1999: 41.

Pardo, Jorge. "La Oficina." Trans vol. 6 1999.

Sanders, Joel. "Frames of Mind." Artforum November 1999: 126-131, 157.

Sherman, Mary. "Weaving a Lasting Message." Boston Sunday Herald 31 October 1999: 76.

Temin, Christine. "Warning: Threads of Dissent May Irritate Skin." Boston Globe 3 November 1999.

Tumlir, Jan. Jorge Pardo. London: The Royal Festival Hall, 1999.

Van Winkel, Camiel. "Off the Table."  Parkett no. 56 1999: 142-47.

Vegh, Christina. "4166 Sea View Lane-ein Kunstlerhaus von Jorge Pardo." Werk, Bauen+Wohnen vol. 3 March 1999: 46-51.

Vegh, Christina. "The Tonality of Contradictory Settings." Parkett no. 56 1999: 130-139.


1998   Avgikos, Jan. "The Shape of Art at the End of the Century." Sculpture April 1998: 46-53.

Basualdo, Carlos. "Jorge Pardo." Cream Contemporary Art in Culture 1998: 320-323.

Codrington, Andrea. "Public Eye:  Furniture in Art." The New York Times January 1998: F2.

DeBord, Matthew. "LA casual + NY critical = a New Urbanity." Siksi Summer 1998: 56-61.

Drohojowska-Philp, Hunter. "Welcome to the House that Jorge Built." Los Angeles Times Calendar 11 October 1998: 62, 82.

Dziewior, Yilmaz. "Interview mit Jorge Pardo." Kunsthalle Koln May 1998.

Firpo, Erica. "Home Improvement." Los Angeles Downtown News vol. 27 no. 45 26 October 1998: 10.

Frangenbuerg, Frank. "Die Moral der Kunst." Kolner Stadt-Anzeiger no. 50 28 February-1 March 1998: 39.

Hainley, Bruce. "Jorge Pardo." Artforum December 1998: 135-6.

Holmqvist, Karl. "Hospital." Flash Art vol. XXXI no. 199 March-April 1998: 79.

Ise, Claudine. Los Angeles Times Friday 18 September 1998.

"Jorge Pardo:  'Lighthouse.'" Art Now  International Gallery Guide February 1998: 10-11.

Kandel, Susan. "Home Work." Artforum November 1998: 92-93.

Knight, Christopher. "Stay-at-Home Artist." Los Angeles Times Calendar 17 October 1998: F14

Levere, Jane. "Artist on the Edge." Robb Report April 1998: 133.

Lewis, Christopher. "Pardo's House on a Hill." Art in America December 1998: 35.

Liebmann, Lisa. "Jorge Pardo." Artforum December 1998: 96.

Rossmann, Andreas. "Landnahme fur die Kunst." Frankfurter Allegmeine Zeitung 10 August 1998: 35.

Schneider, Iris. "Noon Art." Los Angeles Times Best Bets 10-11 October 1998.

Schulze, Karin. "Welcome to the Sculpture." Spiegel November 1998: 6-10.

Smith, Roberta. The New York Times 12 June 1998: E37.

Steiner, Barbara. "Ein Haus, Das Kein Haus Ist." Neue Bildende Kunst August-September 1998: 24-29.


1997   Brooks, Rosetta. "Jim Iserman and Jorge Pardo at Richard Telles." LA Weekly 27 December-2 January 1997: 41.

Buchloh, Benjamin. "Sculpture Projects in Muenster." Artforum September 1997: 115-117.

Bush, Kate. "Design for Life." Frieze Issue 36 September-October 1997: 52-57.

Decter, Joshua. Artforum Summer 1997: 142.

Feaver, William. "Frankly, this Place is Going Down the Drain." The Observer 20 July 1997.

"Is this the Cutting Edge." The Guardian 22 July 1997.

Grabner, Michelle. "Jorge Pardo:  Living Without Boundaries." Sculpture Magazine December 1997: 38-41.

Hainley, Bruce. "Bastards of Modernity." Artforum March 1997: 98-9.

Hixson, Kathryn. New Art Examiner June 1997: 36.

Iannaccone, Carmine. Frieze March-April 1997: 83-4.

Ingleby, Richard. "Down the Pan." The Independent 25 July 1997.

Killiam, Brad. "Veneer Plywood." Art Muscle January-February 1997: 22.

Musgrave, David. Art Monthly no. 209 September 1997: 40-42.

"Position of Pretension." Hampstead & Highgate Express 1 August 1997.

Sherlock, Maureen. "The Sentimental Education of a Solitary Walker." New Art Examiner September 1997: 25-31, 69.

Slyce, John. What's On 27 August 1997: 17.

Smith, Roberta. "A Channel-Surfing Experience with Beanbag Chairs and Gym." The New York Times 25 April 1997: C22.

Sonna, Birgit. "Kunst mit Altmuhl und Amobe." Suddeutsche Zeitung no. 27 1997: 14.


1996   Guth, Peter. "Menschenstroeme im Licht-Atem." Frankfurter Allgemeine Zeitung 20 March 1996: 37.

Hegewisch, Katherina. "Die Kunst der drei Grazien." Wochenpost 21 March 1996: 38-39.

Herbstreuth, Peter. "The First Summer of Art in the Nineties." Atelier International no. 831 November 1996: 17-36.

Herbstreuth, Peter. "In ig fuereinander bestimmt." Der Tagesspiegel no. 15567 15 March 1996: 23.

Herbstreuth, Peter. "Jorge Pardo in der Galerie neugerriemschneider." Das Kunst Bulletin no. 10 1996: 36.

Husemann, Ralf. "Schrille Toene: Die Kunst in neuen Leipziger Messebau." Sueddeutsche Zeitung 15 March 1996: 14.

Manetas, Miltos. "Jorge Pardo." Flash Art Summer 1996: 132-133.

Pagel, David. Los Angeles Times 27 November 1996: F30.

Schmerler, Sarah. "4 Rms,Video Vu." Time Out New York 1-8 May 1996: 36.

Volk, Gregory. "Jorge Pardo at Friedrich Petzel." Art in America December 1996: 93.

Walker, Hamsa. Dialogue May-June 1996: 25.

Ziegler, Ulf Erdmann. "Open City: Report from Munster." Art in America no. 9 September 1997: 34-39.


1995   Dziewior, Yilmaz. "Jorge Pardo." Artforum vol. 34 no. 3 November 1995: 100.

Greene, David A. "I Saw the Light (and Space)...and It Was Good." Los Angeles Reader 21 April 1995: 24.

Mueller, Sabine. "Der Betrachter Prallt Zurueck." Koelner Stadt-Anzeiger 2 June 1995: 14.

Schneider, Christiane. "Jorge Pardo." Frieze September-October 1995: 81-83.


1994   Avgikos, Jan. Artforum April 1994.

Choon, Angela. "Openings." Art & Antiques February 1994: 26.

Clothier, Peter. "Pure Beauty." ARTnews vol. 94 no. 2 February 1994:132.

Cohen, Michael. "Pachuco Style." Flash Art vol. 27 no. 176 May-June 1997: 87-90.

Fricke, Harald. "Kunst in Berlin jetzt: Jorge Pardo." die tageszeitung May 1994: 18.

Goldstein, Ann. Pure Beauty. Paris: The American Center, 1994.

Reader 21 April 1994: 24.

Kanjo, Kathryn. Breakdown. San Diego: San Diego Museum of Art, 1994.

Pinkus, Robert L. "Show's ideas are too clever, too obvious and forgettable." San Diego Union Tribune 5 May 1994: 32.

Schmidt-Wulffen, Stephan. "Notizen Zu Skulptur Und Gegenwart." Neue Bildenede Kunst February-March 1994: 16-21.

Schneider, Christiane. "Jorge Pardo." Jahresring 41 1994: 34-35.

Texte zur Kunst November 1994 (cover ill.)

Wilson, William. "Pure Beauty: Irony Becomes Stale Second Time Around." Los Angeles Times 27 September 1994: F14.


1993   Bellars, Peter. "A Four-Man Show with New Ideas." Asahi Evening News 21 March 1993: 9.

Blum, Timothy and George Porcari. Jorge Pardo. Tokyo: Person's Weekend Museum, 1993.

Greene, David A. "Jorge Pardo at Thomas Solomon's Garage." Art Issues 29 September-October: 38.

Pagel, David. "Young Lamplighter." Los Angeles Times 12 April 1993: F8.

Scarbourough, James. "Jorge Pardo: Thomas Solomon's Garage." Flash Art vol. 26 no. 172 October 1993: 88-89.


1992   Kane, Mitchell. Pressure on the Public. Hillsboro, WI: The Hirsch Farm Project, 1992.

Knight, Christopher. "10 California Artists: 'Facing the Finish.'" Los Angeles Times 1 May 1992: F24.


1991   Geer, Suvan. "Jorge Pardo Gets Honest About Hype." Los Angeles Times 2 August 1991: F18.

Kandel, Susan. "L.A. in Review: Jorge Pardo." Arts October 1991: 102-3.

Riley, Robert. "Remodeling: Notes on Nayland Blake, Jim Campbell, James Luna, Jorge Pardo, and Millie Wilson." Facing the Finish. San Francisco: San Francisco Museum of Modern Art, 1991.

Van Proyen, Mark. "Born to Shop: 'Facing the Finish' at the San Francisco Museum of Modern Art." Artweek 24 October 1991: 1, 15-16.


1990   Brougher, Nora Halpern. "Jorge Pardo." Flash Art vol. 23 no. 154 October 1990: 156-157.

Knight, Christopher. "Impressive Debut." Los Angeles Times 27 April 1990.

Kornblau, Gary. "Jorge Pardo at Thomas Solomon Gallery." Art Issues September-October 1990: 35.



Public Collections


Boijmans Van Beuningen Museum, Rotterdam, Holland

Museum of Contemporary Art, Chicago

Museum of Contemporary Art, Los Angeles

Museum of Contemporary Art, Miami

Museum of Modern Art, New York

Museum van Hedendaagse Kunst, Ghent, Belgium



Selected Public Projects and Commissions


Untitled, Guajataca, 2005

Penelope Revealed, Wolstenholme Square, Liverpool, 2004

Untitled, Lever House, New York, 2004

Untitled, Stndehaus Dsseldorf Museum K 20/21, 2003

Delegates Dining Room, German Parliament, Paul-Lbe-Haus, Berlin, 2003

Historic Turbine-Hall of the Stadtwerke Dsseldorf, 2003

Caf, Bundestaag, Berlin, 2002

Kitchen at Copia: The American Center for Food, Wine and the Arts, Napa, 2001

Dormitory, Krabbesholm, Hojskole, Skive, 2001

Bar, Center for Contemporary Art, Glasgow, 2001

Dormitory, Massachusetts Institute of Technology, Cambridge, 2001

Lamps, Sotheby's, New York, 2001

Project, Dia Center for the Arts, New York, 2000

Autobahn-Raststatte, Pratteln, 2000

Fabric Workshop & Museum, Philadelphia, 1999

4166 Sea View Lane, Los Angeles, 1998

Pier, Muenster, 1997

Tomatensuppe, Koln, 1997

Lighthouse, Museum Boijmans-van Beuningen, 1997

Clock, clock, clock, clock, clock (you have to say it fast), Stuttgart, 1997

Reading Room, Boijmans Van Beuningen Museum, Rotterdam, 1996

East Meets West Restaurant, The Leipzig Expo Center, Leipzig, 1996





Smithsonian American Art Museum Lucelia Award

The Louis Comfort Tiffany Foundation


Jorge Pardo gets 2010 MacArthur 'genius' award

September 27, 2010 |  9:01 pm


Pardodia Jorge Pardo, 47, has some serious fans. He's a darling of certain design magazine editors because of his art-architecture-design crossover appeal. He got a glowing review this summer for his show at Gagosian Gallery Beverly Hills from the Times' David Pagel. And the powers-that-be behind the MacArthur awards have just named the L.A. artist a 2010 fellow, which carries with it a $500,000 grant.


Pardo made his name in the art world in the 1990s by working the fine (or post-Duchamp, vigorously erased but ever visible) lines between art and design, and also craft and commodity. In 1998, he opened what would become his home, at 4166 Sea View Lane in Los Angeles, as a work of art (MOCA presented the "exhibition"), before settling in himself. A couple of years later, he famously covered the lobby and bookstore of Dia Center for the Arts in New York in glossy, colorful tiles that made a painting out of the building's interior. And for years he has been making his signature hanging lamps for public spaces or the hideaways of wealthy art collectors.


His work was early on grouped with Andrea Zittel, who also rethinks domestic spaces. But over the years she has in some ways grown more philosophical, and he more technological in emphasis. Being an artist for Pardo means, among other things, being a fabricator. The last time I visited his studio he had a dozen employees running various work stations: It was part woodworking shop, part plastics manufacturer, and part graphic design outfit, complete with laser cutters and a wood router to turn computer images into three dimensions.


In 2007, LACMA director Michael Govan tapped Pardo to design LACMA's pre-Columbian galleries, and he  produced a series of undulating wood cabinets to display the artifacts. In this paper, Christopher Knight called the installation  "conceptually sophisticated and visually smashing."


When I interviewed Govan around the same time for a 2008 Esquire magazine feature, he picked Pardo as one of five artists who will be remembered 75 years from now. (Yes, it was their 75th-anniversary issue.) "People think Jorge Pardo's work is about furniture because it's made of wood," Govan said. "That's such a red herring. He's really working on the boundaries of art, architecture, and design - crossing genres and asking the question: What is art?"


Govan also pointed out that most of Pardo's work is just plain gorgeous.


- Jori Finkel, LA Times Blog

Art and Commerce: loud paper interviews Jorge Pardo
by Mimi Zeiger

Los Angeles artist Jorge Pardo creates spaces and the objects that go in them - a renovation of the Dia Foundation's bookstore in New York, a set of hanging lamps for Sotheby's headquarters, restaurant furnishings for a trade show in Leipzig, a modernist bungalow (his own) in the Los Angeles hills. Just don't call him an architect.

LP: So how do you view this weird crossover thing that is going on between artists and architects?

JP: I don't see it as a crossover at all. I mean, I think of myself as somebody who is strictly making sculpture. I am involved with a lot of different aesthetic problematics. I certainly don't think that there is anything idealistic in joining these things. I don't believe that these things lack anything. I think that's ridiculous.

If art's going to be about a complicated cultural discursive, you're going to deal with space in a way that it really hasn't at this point. In order to do that it has to engage in the world. Not necessarily the world of architecture, because I think the world of architecture is even more deficient. Art has to enter cities and places. You do that by negotiating buildings. I have no interest in architecture as an artisan. I think what I am interested in are buildings, structure and civic space, and people's of images of themselves.

LP: Do people approach you and say, "What are you now, an architect?"

JP: People do that all the time.

LP: What do you say to that?

JP: I don't know, I think that you have to look at the projects that have architectural components in the same way that you look at other images. At the end of the day it's a convoluted mimetic operation.

LP: How would you explain what you do as an artist?

JP: Art is kind of boring and esoteric. Having a career as an artist, showing in galleries and things like that doesn't interest me. I have a gallery, so I don't mean to say I am outside the system. Projects that make problems in the world are interesting. Case in point being the house up in Sea View, where there are very strange forms of mediation that happen, and I actually can observe the work and there is a certain kind of behavior that is discursive.

LP: Can you program that?

JP: I don't think you can program that. You can sort of set up a frame and a vantage point to look at things.

LP: What is an example of that?

JP: Well there is a consciousness with which a project is made. A museum comes up to an artist and says, do you want to do a show, and you say, well I want to make a house. And I don't want to make a house that goes in a museum, and I don't want to make a house that something weird is going to happen, I want to just make a house and see what happens. It's a very blunt quotidian exercise. I mean, obviously if one follows a more interesting logic you realize the strangeness of the project is about observation and how people behave in relation to something.

LP: So what is part of the artwork then? How people came to the house as an artwork?

JP: That is the artwork.

LP: So [the house] is just a frame.

JP: It's discursive product. That's all it is. The artwork is as many contingencies as come from the experience. I don't think as a structure it is anything anyone can manage. You can't think about it formally unless you're an idiot. Like thinking that by making something green something is going to happen. That is not the way it works. You can think about it in terms of, what would be an interesting sort of gesture to make, what would be a way to sort of address a museum exhibition, or what would be an interesting way for an artist to make a house, or for a painting to be made after this house. Not of the house but as within the same line of sight. You know, you make a house, you make a painting, you make a pair of shoes, you make a drawing. It's like what happens when you try to discern these as anything other than sculpture and painting. It's not making ready-mades. It's something else.

LP: There is this blurring between artwork and product. I mean, you could talk about Andrea Zittel, and her work is a lot about making product, making artwork that comments on product. You’re actually making artwork that becomes a product.

JP: I think that I am involved in a practice that highly problematizes those kinds of notions. And makes it impossible for me to say things like what she says. For many different reasons. I don't think that art gets made with your hands, as a primary mode.

I don't have any faith in the idea that an object can transform at the rate that a discursive can. Many things are set up that can ask questions from different points of view, that is what I am interested in. Objects are things that I read as very conventional things in that their essence is very problematic to begin with. I don't think that things have essences. Or any of these kinds of properties. That is not a model for an artwork for me.

LP: So how do you deal with then, someone coming to you and saying, I want a lamp.

JP: I give them a lamp. They want a lamp, I want to make a lamp. I like making lamps.

LP: So when you make a lamp, it's a lamp.

JP: It's a lamp and it's an artwork. Because they only come through me because of other projects that I have done. They don't want a lamp. They want a Jorge Pardo. They get a lamp and I get to make a lamp. I get to design a lamp. Maybe I get to use the lamp in some other installation. Maybe it's research for something else.

LP: I've been reading a little about your work and it seems that everyone tries to couch it within the formal elements.

JP: Because I think that's the dominant mode of discourse for art criticism. And that's not going to change any time soon. There is a whole industry that supports it. It's a matter of legacy. People who spend a lot of money on works of art, people who spend millions of dollars on a painting, they want a Marxist discourse. It goes way back. Like they want to buy a Mercedes Benz. It is really that simple. I think art criticism is - and I don't know any artist who would disagree with me - is one of the most impoverished cultural fields that is out there right now.

LP: Except maybe architecture criticism.

JP: Except maybe architecture criticism. It really doesn't say anything, doesn't do anything. What it does is it does this, you know, flat kind of celebratory - it's not describing what's happening when you are in front of a work of art. It's not describing what isn't happening.

LP: It's not describing the artwork.

JP: It can do that but only in the way you describe a shoe. …

It is what architecture is, though. I am not saying that to be facetious. I am saying that the kind of things that seem ancillary are actually what it is.

LP: It's not the work itself, it's the profession?

JP: Yeah. You end up having discussions about professionalism.

And then there are these few people who kind of - you know, I like Rem Koolhaas, because he is such a freak and he is at least saying things like "C'mon guys, architecture isn't about space anymore. Let's go work with Prada. Let's look at trends or something like that."

I don't think that the architectural community has really processed what it might mean for a whole set of new agendas to be what drives it, you know, like the progressive wing or something like that. You know, I like what Koolhaas is doing, or not doing.

LP: Otherwise it becomes a sort of formalist "you like or you don't" sort of thing?

JP: Yeah. And generally architects are people who have always by necessity needed a parasitic relationship to art. It's like a lot of kids become architects because their father says they have to make money. In their head they are thinking they are making art where they can make money. It is not a coincidence that a large number of architects, once they are far enough in their career and they get bored, they start painting. It's retarded but it happens.

LP: What about someone like Frank Gehry?

JP: I like Frank Gehry's early work a lot. I am not interested in another building that looks like a whale or anything like that. But I think he's a serious architect. He did some really interesting things at certain times.

LP: And what about when he talks about himself as an artist?

JP: I don't know why he would want to do that. It doesn't make any sense to me, he seems like a fine architect. Why he needs to feel like he is an artist? I don't know where that impulse comes from. For me, I studied art after I studied biology. It seemed to me what kept my desire to learn, within an art department or with artists around, is that I didn't really have a sense of how I would be formed. And that was just really interesting to me, that being an artist is by nature stepping into what could be a very productive and ambiguous field. And when people like Frank Gehry use the term, it seems like it's for a completely opposite reason.

LP: It's like he looks up to you guys.

JP: I don't know why architects would look up to artists. They're different things. There's a sense of impoverishment making architecture versus making art, that they're not really real. If they would engage the problems of practice in a serious way you wouldn't have these problems, you know? You'd be working. You would try to improve your situation. You'd try to make it more complicated. And actually deal with the world.

LP: What kind of means do you use to engage the outside world?

JP: Well, I make a lot of public art projects. I do things, get asked to do things, and people don't even go through a gallery. And they are asking me to sort of fix [a space] - nobody likes to be here, nothing happens here, maybe you could do something interesting and make something happen here. And that is really interesting to me 'cause it is so fucking open. What would make somebody engage with this space?

LP: And what is your process for that?

JP: I have my assistant visit the place, then I go and I start to talk to people and then I think about culture and I look at my lamps and I look at my drawings and think, well, it would be neat to do that. What would happen if this was here? What happens if you make people look at this? And what happens if the light is like this? What happens to the rest of the area?

It's always a question of a speculative kind of problem solving. Maybe I go somewhere and there's a bunch of beautiful trees, and I wonder, why are they here? And I start to understand maybe why they were planted and how they were planted and how they affect their relationship to the building becomes clear. And that for me is the ideal way to sort of unravel what I do. Proposing a kind of potential for that. And that is very different than decoding, because that implies that there is a key that is a priori

LP: That is something I found in reading about your work - no one gets that. There is something missing, I guess, without actually occupying the artwork.

JP: Well, the artwork is never the actual experience of being in the work. Or being adjacent to the work is never really addressed. Art criticism treats art objects as though people don't really exist. All the walls are painted white, the dealer is five miles away, the guy watching the building, all the things that are really significant to consuming that kind of experience of the artwork are things that are not really made present when somebody criticizes a work of art. And those are the things that I am interested in. When I go somewhere, I have an experience of some sort, I feel like I have engaged in a kind of a multiplicitous kind of sense of being lost.

LP: I like that idea about being lost. I don't quite know where to take it, tell me a little more about that.

JP: Well, I think interesting situations make space for you to wander. When you see an interesting movie you start to leave the film, you start to think about scenarios in your life, places that you have been. You start to think about literature, stories that you've read. You go off. An interesting art work can hopefully make the space where a similar poetic can happen. It happens by there being things that happen all at the same time, where you can't really discern where the work starts and where the work ends.

I mean, where does the work start? At the theater? It is completely transient. It is like being stuck in a tunnel. Like a piece of glass. The history of that space, what Gluckman did before me. There are so many things that constitute what the experience is.

LP: And you are grabbing at every one of those.

JP: And I think you can do that. I think you can work with things like that. That is a more ambitious way to think about art.

LP: I think it is a really ambitious way.

JP: And it is not something you can take away with you. It is not something you can have a punch line for. It's not something you can paraphrase.

LP: It's not something you can sell.

JP: You can sell anything. But you are selling it in terms of fractions. It is not a question of selling or not selling. It is a question of living.


Why quibble? The Cuban-born artist's fanciful imagination knows no bounds, and his works, no boundaries.


PERHAPS IT is the polymorphic exuberance of Los Angeles sculptor Jorge Pardo that made him seem such a natural to reinvent L.A. County Museum of Art's display of pre-Columbian art.


Pardo has spent his career so restlessly straddling the borders of sculpture, design and furniture that he has drawn humorous comparisons to IKEA and Martha Stewart. If you can't afford his luminous, geometric outdoor installations in massive concrete, you can always hope for a lamp. His lush colors and dancing forms make their way into houses, interiors, chairs, even clocks. If you flip through the new Phaidon book "Jorge Pardo," his innumerable mutations feel like a Disney "Fantasia" in which lamps float away as glowing butterflies. Plant-like shapes loom somewhere between Fred Flintstone and the Jetsons, with sprightly touches reminiscent of Picasso cohort Wilfredo Lam. Massive concrete geometric forms are illuminated with warm colors.


Now Pardo has fused sculpture and cabinetry, with wavy wooden cases that will cradle the midsummer reinstallation of LACMA's pre-Columbian display, which curators term "Art of the Ancient Americas."


The pieces LACMA has to choose from are themselves ravishing, like a clay warrior from western Mexico, or the small clay pyramids, which, according to a spec sheet, "may enclose earth-womb shrines and establish an axis with the heavens." But Pardo's massive display cases -- whose wooden ridges seem to roll with movement, with warm interiors glowing with bright Pardo tangerines, limes and lemony yellows -- will also intrigue the eye. Pardo admits that not everybody at the museum is happy about this work-in-progress and that the support of director Michael Govan, along with some "good arguments," helped make the project move ahead.


Some questioned whether his cases would overshadow the pre-Columbian gods and incense burners inside. "I don't think that's possible," Pardo, 45, said, striding around his enormous workshop in El Sereno, trailed by his lanky 4-month-old mutt, Dandelion, talking over the whirring machines. "These objects are so old, and so intrinsically interesting," said the artist, dressed in jeans and an old shirt, his hair a curly mass over a soft, kind face. "I want to animate them in a different way."


Perhaps to some American curators, the cabinets -- with their wavy jigsaws that seem to shimmer with movement -- would seem like a departure from the sober tradition of archaeological display. In Mexico, with the leading displays of such art, however, Pardo might seem a traditionalist. At the National Museum of Anthropology in Mexico City, an Olmec caiman smiles toothily from a hot-pink pedestal. An angry "wrestler" glowers on a burnt-orange base bathed in emerald-green light. Grinning clay toy dogs with wheels on their paws sit in a display of bright pastel mint.


At Oaxaca's Rufino Tamayo Museum, the subtle tan and reddish clays of ancient gods bask in a cerulean purplish-blue. The voluptuous color seduces the eye enveloping the ceramic in its own narcotic mystique. "It's a Mexican tradition they embrace," Pardo said. "Everything that is used to frame them signifies their importance."


At LACMA under Govan, inviting artists to collaborate with museum design is becoming a tradition. Santa Monica-based John Baldessari recently worked with the 2X4 design firm on LACMA's new logo, and in 2006, on the installation of the big Magritte show, and Govan has said he wants to recruit artists to illuminate "as many genres of art as possible. Govan said Pardo deftly uses color and form to transport the viewer of the pre-Columbian pieces into a unique visual experience. "He's an amazing creative asset for Los Angeles," Govan said. "We're very excited about our work with him."


LACMA spokeswomen declined to make pre-Columbian curator Virginia Fields available or discuss details of the Pardo work until just before the opening of the new galleries, which is set for late July.


Govan's relationship with Pardo goes back to Pardo's redesign of Manhattan's DIA Center for the Arts first floor, unveiled in 2000 in buttery yellow, sky blue, orange and browns, with phantom-like abstract forms looming overhead.


Such insistent unpredictability befuddled some critics in the early days. Los Angeles art dealer Patrick Painter wrote in Artforum International in 1998 that Pardo's "stripped-down simplicity is IKEA by way of Martha Stewart, with pretensions to the rigorous elegance of Eames and Neutra."


At this point, many are content to give Pardo free rein. A Pardo one-man show at the Museum of Contemporary Art in North Miami earlier this year commingled his lamps, chairs and traditional sculpture.


"Jorge adopts the idea of taking the artwork off the pedestal and putting it in everyday space," said Bonnie Clearwater, the museum director. "What happens when that sculpture looks like a table or a chair? How do you know it's artwork?" she said. "It's that philosophical questioning that has propelled him from the beginning of his career to the present. I love the fact that he gets under my skin with these questions, and I think that it's brilliant that he's doing this at L.A. County Museum of Art."


Don't box him in.


IF PARDO has become known for resisting easy characterization, that tendency extends to his most basic self-definition as an artist.


Though he is Cuban-born and grew up in a Spanish-speaking household, "I wouldn't define myself as a Hispanic or Latino artist," he said. "I'm an American artist." As an artist, his ethnicity is "kind of second- or third-tier information; I've never wanted to be associated with this kind of typecasting. It closes you down in a lot of important ways, to be cast in an ethnic type. If you don't want to be in it, you fall into it by default, and that's kind of disturbing."


"The funny thing is, culturally I'm incredibly Latin," he added. "I'm totally fluent in Spanish. But I think that's American. That's the thing about this country -- that you get people like me over and over again."

Pardo's family immigrated when he was 6. He grew up in a working-class home in Chicago, fueled in part, he jokes, by the life-sustaining, adrenaline-jolting elixir known as Cuban coffee. "Cubans give cafe con leche to kids when they're, like, 4," he said. Still, "I don't necessarily believe that because I come from a certain place that I'm expected to represent it," he said. "I'm from Cuba. I have a strange relationship with the American dream."


His version of that dream was nurtured at the Art Center College of Design in Pasadena in the mid-1980s. Rising up through the gallery scene, he was asked to create an experimental Mount Washington house as a five-week exhibit for the Museum of Contemporary Art in 1998. The design puzzle is now a 3,200-square-foot home, which he shares with his wife, Veronica Gonzalez, author of the 2007 novel "twin time: or, how death befell me," who has similarly cosmopolitan roots, in Mexico City and Athens, Ohio. They have a 6-year-old daughter, Penelope, and two dogs: Blinker, whom they found in Tijuana, and Dandelion, an abandoned puppy they rescued outside Merida, Mexico, where Pardo is refitting an old hacienda. The couple is at the annual Art Basel fair in Switzerland, where Pardo will lecture and show a clock and some of his three-dimensional portraits.


Pardo doesn't deny the echoes of the pre-fab modernism some see in his work, but he finds the "celebratory nature of modern retro movement a little strange," especially the current love affair with what is currently termed "midcentury modern." "The more-dirty parts of these objects are kind of cleaned up by fetishizing them," he said. "They're not looking at the history these objects represent. It was horrible to be black or to be a woman in the '50s, or Latino," he said. "All these conservatives were thriving in the '50s. Nostalgia trivializes these aspects."


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Yet he clearly loves some of the modernist lines and shapes popularized in the 1950s. His luminous, large outdoor sculptures -- such as the massive, warmly lit concrete geometric "Guadalajara Light Piece" for the Solares Foundation in Guadalajara -- have a direct relationship with smaller pieces, like lamps. The smaller pieces allow him to quickly explore ideas that may eventually become large sculptures -- or may simply remain lamps.


"Artists traditionally make drawings to sharpen use of form or color. The lamps are like drawings," he explained. "The smaller things inform the larger ones. They're small trials. When it works well, everything kind of communicates with one another."


His use of color is more than just a language; it's a way of seducing the eye, including his own. "Color is something that I use as a lure," he said. "You kind of need this artifice to attract and engage the work. It kind of keeps people there, and you start to unfold the other elements of the pieces." His bright colors, he said, are "not used as a litmus test for seriousness. I happen to like these colors, and I use them because there is a certain amount of pleasure to using them."


The reinstallation of the pre-Columbian exhibit will unveil a much more ambitious display of LACMA's arsenal, which includes some strong pieces from western Mexico. It will be unveiled in the "Art of the Americas" hall, a rebaptism of the Anderson building that is a next step in the reorganization of the museum. Pardo collaborated with LACMA's Fields, and of course, Govan. "I love working with Michael," Pardo said. "He's a director who has a lot of hands-on with the artists. In Europe there's more of a tradition of that."


Pardo said Govan was "very deferential" to Fields, whose background is in archaeology. "We really had to work with her and show her that we were as serious about what we do as what she does," he said. "Archaeologists aren't trained aesthetically. They're trained historically."


Pardo balanced such concerns with his attempt "to showcase these objects in a different environment, an environment that is more dynamic." One immediate objection was "that 'these are not the colors you show these things in,' " he said. " 'This is not a serious way of showing these.' There were a lot of negotiations."


Connecting with the past


PARDO HAS always prayed to different gods. In the end, he was himself seduced by the serpent rattle from Teotihuacan, the jadeite masks, the vessels of supernatural beings who could be tapped as mighty intermediaries to sacred powers.


"I don't think those objects are that different than what I'm trying to do," he said. "They're made with the same empathy with form." Pardo was intrigued by their mystery: Some seem tied to ritual, others utilitarian, and in some cases, "someone had given this thing tremendous consideration for reasons that we will probably never know," he said. "People used them to do things," Pardo said, suggesting mischievously: "They could have been like IKEA."


- Anne-Marie O'Connor, Los Angeles Times

Here's the Show, the Works Are Elsewhere

Jorge Pardo's house, located on Sea View Lane on a hill in Los Angeles.

SINCE it was built a decade ago, Jorge Pardo's house at 4166 Sea View Lane has already had several lives. A redwood structure that snakes around central gardens on a hill above downtown Los Angeles, the house began as a work of art, designed by Mr. Pardo and "exhibited" for five weeks in 1998 by the Museum of Contemporary Art here, complete with docents. Then the artist moved in and made the place his bachelor pad. Now the 3,200-square-foot artistic experiment is a family home, down to his 5-year-old daughter's art on the refrigerator door.

But Mr. Pardo says his home still means something to him aesthetically. "I didn't want its status as an artwork to come just from me calling it art; I wanted to see what happened to the house," he said. "Would it be interesting architecturally? As an artwork? What would it be like for me to live in, with this history? Would it be comfortable or uncomfortable? Would I want to move?"

So far, he reported, the home has worked out well. He has no plans to move. And the very notion of home is the organizing theme of his new exhibition, a midcareer survey that opens Tuesday at the Museum of Contemporary Art, North Miami.

Bonnie Clearwater, the director of the museum and the curator of the show, said she has followed Mr. Pardo's work since the early 1990s, when she lived in Los Angeles. Given his penchant for making architectural or contextual work - from the pier he built on a German lake for the Munster Sculpture Project in 1997 to the one-room colonial house he is now remodeling in Merida, Mexico - she knew the exhibition could not be conventional or comprehensive.

"We recognized from the start that much of his work cannot be borrowed or collected," she said. "Too much of his work takes place outside of a museum context."

So the curator and the artist developed another idea: creating nearly a dozen large photomurals of site-specific projects to define different rooms in an open 7,400-square-foot exhibition space. The rooms will also display sculptures from different stages of Mr. Pardo's career.

"It's a great way to organize objects that have tentacles to certain places," Mr. Pardo said in a recent interview.

It's also a way to rethink the cool, supposedly neutral institutional space of a museum. If the artist once turned his house into a museum, he's now turning the museum into a house.

"I'm not a white cube kind of guy; I don't think you can be a white cube guy if you're an immigrant," Mr. Pardo said, referring to his Cuban roots.

Visitors will enter the show in the front "garden," featuring the artist's interpretation of a Chinese-style lacquered bed. The space is defined by a large photomural of the courtyard at 4166 Sea View Lane.

"It's a very traditional interior courtyard, but what makes it dramatic is that the house has such a dependency on it," Mr. Pardo said, noting that early visitors had wondered why his house did not have better views of the city. "Once the gardens grew in, the logic of the house became clear: each room offers views of other rooms, or the courtyard."

On top of the photomural, Mr. Pardo plans to hang some of his colorful silkscreened flower paintings, shown recently at the Friedrich Petzel Gallery in New York. Sometimes, he said, a smaller object "can introduce this really intense form of absorption, compared to something really big you get lost in."

Deeper into the museum show, the "kitchen" includes a set of glass bowls designed by Mr. Pardo in 1996 and a refrigerator he painted a robin's-egg blue in 1993. (Ms. Clearwater likened its composition, with its strong horizontal separating the two planes of the freezer and refrigerator compartments, to a Mark Rothko painting.) Nearby is an evocation of the Mountain Bar, which Mr. Pardo designed in the Chinatown section of Los Angeles, complete with glossy red tiles and his signature lamps.

It all adds up to a rather abstract notion of a house. "These are not the French period rooms at the Met," Ms. Clearwater said. "Rooms are not being set up like someone might have lived in them."

Walking through his studio last month, his chinos and pink shirt still wrinkled from a flight from Mexico, Mr. Pardo showed off the room where his lampshades are made. He passed a laser- cutting machine, which looks like a menacing photocopier and can cut through paper, leather and plastic. Egg-shaped lamps with clear, skeinlike plastic shades, developed for the house in Merida, hung from the studio ceiling.

"This isn't like Dan Flavin; I don't think about lighting within art history," he said. "I think about lighting in a space, or how the light produced by that lamp is going to cast shadows and draw on the wall."

Drawings also play a role in the genesis of Mr. Pardo's sculptures. He created the patterns for the Merida lampshades by manipulating images of his flower paintings on a computer.


For Mr. Pardo this sort of fluidity - moving back and forth from two to three dimensions, or from craft to computer - is typical. Most of his works are made by machine and finished by hand. He has a CNC wood router along with the laser cutter, and counts a machinist and a printer among his 10-person staff. "I'm very comfortable moving between different planes and different sources," he said.


He is also comfortable with ambiguity, whether creating art that borders on the functional or placing work in settings where it is both framed and not framed as art. His two earliest exhibitions took place in garages. The first, in 1988 at a Pasadena home he shared with another art student, featured everyday objects like a disposable cup turned into a pinhole camera. The second, at the legendary Los Angeles gallery Thomas Solomon's Garage, featured altered versions of things you might find in a garage, like modified wrenches and a ladder that he tweaked by replacing one leg with rare African bubinga wood.


Because of this emphasis on domestic objects, Mr. Pardo is often cast as an artist who doubles as a designer. But Ms. Clearwater sees it differently.


"The work is part of a movement from the 1990s that I think is only now coming into relief, which involves dissolving boundaries between art and life," she said, also mentioning the artists Felix Gonzalez-Torres and Rirkrit Tiravanija. "I want to go beyond the usual discussion of whether his work is art, architecture or design."


So what's the point of rethinking a ladder or a lamp? "The issues I'm interested in have more to do with pictorial, spatial, perceptual traditions," Mr. Pardo said. "I'm talking about aesthetics, not a cool toaster."


He says he is especially interested in the way we "absorb" the visual spectacle around us. His house on Sea View Lane has deliberately clumsy passages to slow you down, including a staircase set in an unlikely place. And his recent project for the Aventura Mall, a 15-minute drive from the Miami museum, consists of a startling explosion of butterflies: 96 lamps suspended at different heights from a three-story atrium, each like a set of four butterflies radiating from a central bulb.


Mr. Pardo said he hoped to make shoppers stop in their tracks, if only for a moment. "A lot of people want to take pictures of themselves in front of the butterflies," he said. "In that sense it's really cool, because it works like a traditional monument."


At the same time, this colony of butterflies creates a new social space, something distinct from (yet part of) the mall. Something like a room in a house. Or, as Mr. Pardo put it, "I can see a bunch of kids saying, 'I'll meet you where the butterflies are.'"

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