Peter Alexander

Biography

Peter Alexander (born in Los Angeles in 1939, died in Santa Monica in 2020) is associated with the Light and Space movement that emerged as an important, innovative, and distinctly West Coast approach to art. Trained as an architect, his oeuvre includes paintings, drawings and sculptures. Today he works in sculptural forms reminiscent of his earliest work from 1965-1972, when he had developed a technique for casting resin. He was fascinated by the material that retains some of the visual properties of a liquid even after it has solidified. Resin was commonly used for surfboards, but artists used it as a material for exploring metaphors about California, its hedonism, industries, and environment. 

In the 1970s, formal similarities between Alexander’s sculpture (along with Larry Bell, Robert Irwin, Craig Kauffman) and the work by Minimal artists in New York such as Carl Andre, Donald Judd, Sol LeWitt were noted. They too worked with non-traditional materials and eliminated traces of personal touch. The resin works’ luminous transparency, however, typifies the Light and Space movement. Alexander’s semi-transparent bar pieces, cubes, wedges and columns evoke both the purity and artificiality of the light and colors of California. The cubes, or Boxes, are sometimes intensely pigmented, almost glowing, sometimes pale and clear as they absorb, re-fracture and emanate light.

Critics have noted the visual appeal of the works, which are rooted in reality through their objecthood, but are ethereal in their beauty. Viewers are captivated by the experience of looking at and looking through the objects, in which surface and depth flow into each other. The difference is suspended especially in the tall Needles with their ascending translucency that makes the tip almost “disappear”, as the artist puts it.

Alexander’s work has been shown in exhibitions around the world. The Orange County Museum of Art hosted his retrospective in 1990, in 2011 he was part of three exhibitions associated with the Getty initiative Pacific Standard Time. He has received a National Endowment for the Arts Fellowship in 1980, and the California Art Award in 2014. His work is collected by museums such as Solomon R. Guggenheim Museum, New York, The Metropolitan Museum of Art, New York, Los Angeles County Museum of Art, and Museum of Modern Art, New York.


Biography

Born 1939 in Los Angeles, California, USA.

Died 2020 in Santa Monica, California, USA.

Education

1957 – 1960

University of Pennsylvania, USA

1960 – 1962

Architectural Association, London, UK

1962 – 1963

University of California, Berkeley, USA

1963 – 1964

University of Southern California, Los Angeles, California

1964 – 1965

B.A., University of California, Los Angeles, California

1965 – 1966

M.F.A., University of California, Los Angeles, California

Grants and Awards

2017

Award in Art, American Academy of Arts and Letters, New York

2014

California Art Award, Laguna Art Museum, Laguna Beach, California

1980

Fellowship, National Endowment for the Arts, Washington, D.C.

Selected Solo Exhibitions

2024

Peter Alexander, Pace Hong Kong, Central, Hong Kong

2022

Peter Alexander, Pace New York, Chelsea New York, USA

ONLINE: Peter Alexander. In Focus, Pace New York, Chelsea New York, USA

Peter Alexander, Pace Gallery, New York, USA

2021

Peter Alexander: Deep Dive, Brian Gross Fine Art, San Francisco, CA, USA

2020

Light in Place: Peter Alexander Prints and Paintings, Cirrus Gallery, Los Angeles

Franklin Parrasch Gallery, New York

Parrasch Heijnen Gallery, Los Angeles

2019

Franklin Parrasch Gallery, Los Angeles

Color, Brian Gross Fine Art, San Francisco

2018

Peter Alexander, Galerie Thomas Zander, Cologne, Germany

2017

Peter Alexander. Pre-Dawn L.A., Franklin Parrasch Gallery, New York

2016

Peter Alexander. Sculpture 1966-2016: A Career Survey, Parrasch Heijnen Gallery, Los Angeles, California

2015

Peter Alexander. Los Angeles Riots, Franklin Parrasch Gallery, New York

2014

Laguna Art Museum, Laguna Beach, California

2013

Nyehaus, New York

2011

Franklin Parrasch Gallery (with Zach Feuer), New York

2010

Franklin Parrasch Gallery, New York

2009

Peter Alexander: Resin Works 1965-2009, Nyehaus, New York

2007

Pasadena City College, College Art Gallery, Pasadena, California

90’s Painting 60’s Sculpture, Franklin Parrasch Gallery, New York

2004

Franklin Parrasch Gallery, New York

2002

Peter Alexander: Tropics, Crocker Plaza, San Francisco, California

1999

Peter Alexander: In This Light (retrospective), Orange County Museum of Art, Newport Beach, California (catalogue)

travelled to: Donna Beam Gallery, University of Nevada, Las Vegas, Nevada

1992

Century: A Painting by Peter Alexander, Laguna Art Museum, Laguna Beach, California

1982

ARCO Center for Visual Art, Los Angeles, California (catalogue)

Los Angeles Municipal Art Gallery, Los Angeles, California (catalogue)

1980

University of Colorado, Boulder, Colorado

1976

Los Angeles Institute for Contemporary Art, Los Angeles, California

1975

Bowers Museum, Santa Ana, California

California State University, Long Beach, California

1974

University of California, Irvine, California

1972

Art in Progress, Munich, Germany

Selected Group Exhibitions

2024

On The Edge: Los Angeles Art from The Joan And Jack Quinn Family Collection, Laguna Art Museum, CA, USA

2023

Light, Space, Surface: Selections from LACMA’s Collection, LACMA, Los Angeles County Museum of Art, Los Angeles, CA, USA

A Particular Kind of Heaven, Parrasch Heijnen Gallery, Los Angeles, CA, USA

2022

Framed 2, Brian Gross Fine Art, San Francisco, CA, USA

Light, Space, Surface: Works from the Los Angeles County Museum of Art, Frist Art Museum, Nashville, Tennessee, USA

Abstract Los Angeles: Four Generations, Brand Library and Art Center, Glendale, USA

Bending Light II, Pace Seoul, Yongsan-gu, Seoul, South Korea

Framed, Brian Gross Fine Art, San Francisco, California, USA

2021 – 2022

Light & Space, Copenhagen Contemporary (CC), Copenhagen, Denmark

2021

Holding Light, Southern California Art Projects and Exhibitions, Corona Del Mar, CA, USA

Essentials, Galerie Thomas Zander, Cologne, Germany

2020

Bloom of Joy, Pace Gallery, Hong Kong

Bending Light, Pace Gallery, Seoul, Korea

Emotion and Structure, Galerie Thomas Zander, Cologne, Germany

2019

The Edge of Light: Historic and Contemporary Perspectives on California Abstraction, The Huntington Beach Art Center, California, USA

Closer Look: Intimate-Scale Sculpture from the Permanent Collection, Orange County Museum of Art, Santa Ana, Californi

2018

Endless Summer, Museum of Contemporary Art, Chicago, Illinois

Elemental, LA Louver Gallery, Los Angeles, California

2016

Burning Small Fires, Franklin Parrasch Gallery, New York

2015

The True Form, Franklin Parrasch Gallery, New York

Night Begins the Day, Contemporary Jewish Museum, San Francisco, California

In Barcelona, Laguna Art Museum, Laguna Beach, California

2014

The Last Plastics Show, Nyehaus/Dorfman Projects, New York

Environmental Impact, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California

Celebration, Inauguration of the Anderson Collection at Stanford University, Palo Alto, California

2013

Overdrive: L.A. Constructs the Future, J. Paul Getty Museum, Los Angeles, California

Landscape Into Abstraction, Orange County Museum of Art, Newport Beach, California

2012

Pacific Standard Time: Kunst in Berlin 1950-1980, Martin-Gropius Bau, Berlin, Germany

2011

What’s New Pussycat, Torrance Art Museum, Torrance, California

Square Dancing, Nyehaus, New York

Venice in Venice, Foundation 2021, Venice, Italy

Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture 1950-1970, J.Paul Getty Museum, Los Angeles, California

Phenomenal: California Light, Space, Surface, Museum of Contemporary Art, San Diego, California

California Art, Frederick R. Weisman Museum of Art, Malibu, California

2010

Elements of Nature, Carnegie Art Museum, Oxnard, California and City of Lancaster Museum, Lancaster, California

Outside the Box: Edition Jacob Samuel 1988-2010, Hammer Museum, Los Angeles, California

2009

Elements of Nature, Frederick R. Weisman Museum of Art, Malibu, California

Let There Be Light, Raid Projects, Los Angeles, California

2008

Eye on the Sixties: Vision, Body and Soul: American Art from the Harry W. and Mary Margaret Anderson Collection, de Saisset Museum, Santa Clara, California

Fresh Air, Brooke Alexander Editions, New York, New York

2007

Imaging and Imagining California Modern, Orange County Museum of Art, Orange, California

SoCal, Los Angeles County Museum of Art, Los Angeles, California

Julius Shulman/Peter Alexander: Light and Space of California, Archer School for Girls, Los Angeles, California

2006

Southern California Minimalism, Las Vegas Art Museum, Las Vegas, Nevada

Los Angeles 1955-1985, Centre Pompidou, Paris, France

2005

Beyond Geometry, Miami Art Museum, Miami, Florida

Wilder, Franklin Parrasch Gallery and Joan Washburn Gallery, New York

West! Frank Gehry and the Artists of Venice Beach, 1962-1978, Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis, Minnesota

California Landscapes, Long Beach Museum of Art, Long Beach, California

Safe and Warm in L.A., Franklin Parrasch Gallery, New York

2004

Cities of Promise: Imaging Urban California, Orange County Museum of Art, Newport Beach, California

Los Angeles Artist, Bakersfield Museum of Art, Bakersfield, California

Beyond Geometry, Los Angeles County Museum of Art, Los Angeles, California

100 Artists See Satan, Grand Central Art Center, Santa Ana, California

Above Ground Level, Los Angeles International Airport-Terminal One, Los Angeles, California

2003

Made in California: Selections from the Frederick R. Weisman Art Foundation Collection, Contemporary Arts Center, New Orleans, Louisiana and Todd Madigan Gallery at California State University, Bakersfield

L.A.’s Finish Fetish, Franklin Parrasch Gallery, New York

2002

Velvet Kruise, Self Help Graphics, Los Angeles, California

Dutched: A Personal Touch, Art Galleries of California State University Northridge, and Grand Central Art Center, Santa Ana, California

Arte Terciopelo Negro/Black Velvet Art, Galeria ICBC Tijuana, Instituto de Cultura de Baja California, Tijuana, B.C., Mexico

Cowboys, Indians and the Big Picture, McMullen Art Gallery, Boston College, Chestnut Hill, Massachusetts

Surf Culture, Laguna Art Museum, Laguna Beach, California

California Art from the Collection of Frederick R. Weisman, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California

2001

Representing L.A., Art Museum of South Texas, Corpus Christi, Texas

California Contemporary Art Collection 2001, The California State Senate, State Capitol, Sacramento, California

Representing L.A., Laguna Art Museum, Laguna Beach, California

2000

Made in California: Art, Image and Identity 1900-2000, Los Angeles County Museum of Art, Los Angeles, California

Celebrating Modern Art: The Anderson Collection, San Francisco Museum of Modern Art, San Francisco, California

Minimalism, Then and Now, Berkeley Art Museum, University of California, Berkeley, California

Representing L.A., Frye Art Museum, Seattle, Washington

Contemporary Configurations, Santa Cruz Museum of Art and History, Santa Cruz, California

1999

Eclectic Eye: Selections from the Frederick R. Weisman Collections, California Center for the Arts, Escondido, California

Radical Past: Contemporary Art and Music in Pasadena, 1960-74, Norton Simon Museum of Art, Pasadena, California

Digital Frontiers: Photography’s Future at Nash Editions, Monterey Museum of Art, Monterey, California

18th Century High Tech-Angeles Press at the End of the 20th Century, Hiromi Paper International, Santa Monica, California

1998

Digital Frontiers: Photography’s Future at Nash Editions, International Museum of Photography and Film, Rochester, New York; Gallery of Contemporary Art, University of Colorado at Colorado Springs; College of Fine Art, Gainesville, Florida; Bergstrom-Mahler Museum, Wisconsin; Canton Art Institute, Canton, Ohio; Indianapolis Art Center, Indianapolis, Indiana

Light and Space, Orange County Museum of Art, Newport Beach, California

1997

L.A. Current: A Media Fusion, Armand Hammer Museum of Art and Cultural Center, Art Rental and Sales Gallery, Los Angeles, California

Los Angeles Printmaking Society 14th National Exhibition, Laband Art Gallery, Loyola Marymount University, Los Angeles, California

1996

Peter Alexander, Billy Al Bengston, Jessie Homer, Don Bachardy, Westfall Art, Venice, California (opening exhibition)

California Art from the Frederick R. Weisman Collections, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California

Graham Nash/Nash Editions, Butler Institute of American Art, Youngstown, Ohio

Grounded: Suburban Landscapes, Orange County Museum of Art, Newport Beach, California

1995

Shoes or No shoes, Provincial Museum of Modern Art, Oostende, Belgium Presence in Minimal and Postminimal Art: Selections from the Permanent Collection, Ellen Johnson Gallery of Modern Art, Allen Memorial Art Museum, Oberlin College, Ohio

P.L.A.N.: Photography Los Angeles Now, Los Angeles County Museum of Art, Los Angeles, California

Between Reality and Abstraction: California Art at the End of the Century, Art Museum of South Texas, Corpus Christi, Texas; travelled to: Contemporary Art Museum, Honolulu, Hawaii and museums in Pittsburgh, Pennsylvania; Scottsdale, Arizona; Las Vegas, Nevada and St. Petersburg, Florida

Landscape: A Concept, Stephen Oliver Art Center, California College of Arts and Crafts, Oakland, California

Made in LA: The Prints of Cirrus Editions, Los Angeles County Museum of Art, Los Angeles, California

Shape: Forming the L.A. Look, Main Art Gallery, California State University, Fullerton, California

1994

75 Works, 75 Years: Collecting the Art of California, Laguna Art Museum, Laguna Beach, California

Selected Works on Paper, Modernism, San Francisco, California

The Frederick Weisman Collection, San Diego Museum of Art, San Diego, California

1993

75 Works, 75 Years: Collecting the Art of California, Laguna Art Museum, Laguna Beach, California

1992

Abstraction in the Collection, Laguna Art Museum, Laguna Beach, California

Individual Realities in the California Art Scene, Sezon Museum of Art, Tokyo and Seibu Tsukashin Hall, Amagasaki, Japan

California Cityscapes, San Diego Museum of Art, San Diego, California

Smarts c/o SMMoA, City of Santa Monica Art Bank Collection, Santa Monica, California

1991

Selections from the Frederick R. Weisman Gallery for Contemporary Art, San Diego Museum of Art, San Diego, California

1990

Selections from the Frederick R. Weisman Art Foundation, Neuberger Museum, Purchase, New York

Artists Artists, Long Beach Museum of Art, Long Beach, California

Selections from the Carnation Company Collection, the Armory Center for the Arts, Pasadena, California

Collectors Choice for the Nineties, Santa Monica Heritage Museum, Santa Monica, California

Selections from the Frederick R. Weisman Gallery for Contemporary Art, San Diego Museum of Art, San Diego, California

Finish Fetish: LA is Cool School, Fisher Gallery, University of Southern California, Los Angeles, California

1987

Los Angeles Today: Contemporary Visions, Amerika Haus, Berlin, Germany

Selections from the Permanent Collection, Walker Art Center, Minneapolis, Minnesota

1985

Spectrum: Los Angeles, Hartje Gallery, Berlin, Germany

Made in India, Museum of Modern Art, New York

The Golden Land, San Diego Museum of Art, San Diego, California

1984

An International Survey of Recent Painting and Sculpture, Museum of Modern Art, New York

1983

Corcoran Biennial, Corcoran Gallery of Art, Washington, D.C.

1982

Echange Entre Artistes, 1931-1982: Pologne – USA, Musée d’Art Moderne, Paris, France

and Museum of Modern Art, Lodz, Poland

1978

The Weisman Collection, California State University, Long Beach, California

1976

Painting and Sculpture in California: The Modern Era, San Francisco Museum of Modern Art, San Francisco, California

1973

The State of California Painting, Auckland City Art Museum, New Zealand

1972

Documenta 5, Kassel, Germany

1971

Transparency, Reflection, Light, Space, UCLA Art Galleries, Los Angeles, California

1970

300: New Multiple Art, Whitechapel Art Gallery, London, UK

1969

New Materials and Methods, Museum of Modern Art, New York

Here and Now, Washington University, St. Louis, Missouri

Whitney Annual, Whitney Museum of American Art, New York

Fourteen Sculptors: The Industrial Edge, Walker Art Center, Minneapolis

1967

Small Images, California State College, Los Angeles, California

Special Projects

2003

Commissioned mural for the Walt Disney Concert Hall, Music Center of Los Angeles, California (architect Frank Gehry)

1994

Commissioned sculpture for the 777 Building, Los Angeles, California (architect Cesar Pelli)

1990

Commissioned mural for Pacific Enterprises, Los Angeles, California

1989

Commissioned painting for Santa Monica Municipal Airport, Santa Monica, California

1985

Commissioned art for Rebecca’s Restaurant (architect Frank Gehry)

Visual images in collaboration with Frank Gehry and Ron Hays

Selected Bibliography

2015

Kitnick, Alex, “Peter Alexander: Los Angeles Riots”, Art Forum Summer 2015 (ill.).

2014

Baker, Kenneth, “By Alexander’s Lights”, San Francisco Chronicle, May 14, 2014.

Pilar Viladas, “Full House” W Magazine: Art”, June/July 2014, pp. 72-76 (ill.).

2010

Pagel, David, “From the Past with Nuance”, Los Angeles Times, Jan. 15, 2010, pp. D3.

Schjeldahl, Peter, “Way Out West”, The New Yorker, Jan. 25, 2010. pp. C76-77.

Viveros-Faune, Christian”,California Sweet”, Village Voice, Jan. 27-Feb 5, 2010. pp. 28.

Esplund, Lance, “California Gleaming”, Wall Street Journal, Jan. 30-31, 2010. pp. W14.

Baron, Joan Boycoff and Reuben M, “West Coast Minimalism: Four New York Shows”, artcritical.com, February 2010.

Stillman, Nick, “The Blobs Aren’t Talking”, New York Times, July 30, 2010.

Smith, Roberta, “When Artists and Surfers Were Best Buddies”, New York Times, July 23, 2010.

Conner, Jill, “Swell”, Art in America, July 2010.

Madden, Kathleen, “Peter Alexander and Sarah Braman: Franklin Parrasch Gallery”, Artforum.com, December 2010.

2009

Isenberg, Barbara, “Conversations with Frank Gehry”, New York, 2009, pp. 54, 57 (ill.).

Marcellino, Elizabeth, “Alexander’s Velvets and Palms at g169 in the Canyon”, Palisadian Post, Pacific Palisades, Calif., May 28, 2009, p.12 (ill.).

Laguna Art Museum, Collecting California, Laguna Beach, California, 2009, pp. 84.

2007

Panuco, Jose, “The Artist in Residence Working on Campus”, PCC Courier, Pasadena, California, Mar 22, 2007, p. 5.

Frank, Peter, “Still Waters and Restless Currents”, LA Weekly, Aug. 3-9, 2007, p 62.

Pagel, David, “Collective Fantasies Take Flight” (reference), Los Angeles Times, Aug. 31, 2007, p. E28.

2006

Webb, Michael, “Work, Rest, Stop”, Los Angeles Times West Magazine, June 11, 2006.

Pagel, David, “Optically Oriented” (review of Translucence at Norton Simon Museum), Los Angeles Times, July 25, 2006.

Keeps, David A., “Cape Cod Meet Marrakech”, Los Angeles Times, p. F1 (ill.).

“To Get Creative, Just Look at Your Surroundings”, Los Angeles Times, Aug. 1, 2006, p. E14.

Vogel, Carol, “At the Pompidou: The Case of the Fallen Artworks”, New York Times, Aug. 4, 2006, p. B24.

Reynolds, Christopher, “Paris Exhibit”, Los Angeles Times, Aug. 4, 2006, pp. 1, 5.

Reynolds, Christopher, “Museum Quality Art”, Los Angeles Times, Aug. 7, 2006, p. E1.

Reynolds, Christopher, “Pompidou Tries to Pick Up the Pieces”, Los Angeles Times, Sept. 8, 2006, p. E22.

Pagel, David, “Like a Plunge into Rippling Blue”, Los Angeles Times, Sept. 15, 2006, p. E24.

2005

Johnson, Ken, “Wilder”, New York Times, May 13, 2005, p. E36.

2004

Vure, Sarah and Bruegmann, Robert, “Cities of Promise: Imaging Urban California”, Orange County Museum of Art, Newport Beach, California, 2004 (catalogue).

Baker, Kenneth, “Trachtenberg and Alexander at Gross”, San Francisco Chronicle, July 17, 2004.

Schoenkopf, Rebecca, “100 Artists See Satan Gives Lucifer the Beauty Treatment”, OC Weekly, Vol. 9, No. 45, July 16-22, 2004.

Grand Central Art Center, Santa Ana, California, “100 Artists See Satan”, with essay by Mike McGee, 2004 (catalogue).

Johnson, Ken, Review, New York Times, April 2, 2004, p. B29.

Review, Los Angeles Times, Aug. 20, 2004. p. E28.

Twardy, Chuck, “Two Visions Two Shows”, Las Vegas Weekly (online), Aug. 12-Aug. 18, 2004.

Review, Artscene, September, 2004.

Thornburg, Barbara, “Afloat in Creativity”, Los Angeles Times Magazine, Dec. 19, 2004, p. 29.

2003

“From the P.O.P. Pier to MOMA: Beginnings”, Venice Paper, Feb. 2003, p. 4.

2002

Sturak, Clara; “Painting Paradise”, Santa Monica Mirror, May 8-14, 2002, p. 13 (ill.).

Clothier, Peter; “Reflections From a Pool”, Los Angeles Times Magazine, May 12, 2002, pp. 22-25 (ill.).

Pagel, David, “Another in a Cresting Wave of Exhibitions”, Los Angeles Times, Aug 2, 2002.

Fryer, Heather, “Expanding the Visual Frontier: Art and Artists of the American West, 1830-2002”, Boston College, Chestnut Hill, Massachusetts (catalogue).

Baker, Kenneth, “Darkness and Light in Crocker Lobby”, San Francisco Chronicle, Aug. 31, 2002.

2001

Chang, Richard, “Art comes of age in L.A.”, Orange County Register, Nov. 4, 2001, pp. F8 9, (ill.).

The California State Senate, “California Contemporary Art Collection 2001”, Sacramento, California, p. 9 (ill.).

2000

Ringwald, Lydia E., “Two lights illuminate Peter Blake Gallery” (review), Laguna News-Post, July 20, 2000, p. 30.

McKenna, Christine, “California Dreamin’”, Los Angeles, November 2000, p. 121.

Fuglie, Gordon, “Representing L.A. ”, Frye Art Museum, Seattle, Washington, 2000, pp. 47-48, ill. (catalogue).

Barron, Stephanie et.al., “Reading California: Art, Image, and Identity”, 1900-2000, pp. 295-296, (ill.).

1999

Dave Hickey und Naomi Vine, “Peter Alexander: In this Light”, New York: Hudson Hills Press, 1999.

Fuglie, Gordon, “Representing L.A.: Pictorial Currents in Contemporary Southern California Art”, September 1999, p. 27, (ill.).

Drohojowska-Philp, Hunter, “Translating Memories With a Light Touch”, Los Angeles Times, May 16, 1999, Calendar, pp. 56, 88.

“Peter Alexander Exhibits in Newport Beach”, ArtDaily, May 25, 1999 (online).

Walsh, Daniella, “An artist shaped by his environment” (review), Orange County Register, May 30, 1999, p. SHOW 26.

Schoenkopf, Rebecca, OC Weekly, June 4-10, 1999, p. 29 (review).

Knight, Christopher, Los Angeles Times, June 15, 1999, pp. F1, 9 (review).

Moore, Leela, “Visions of Light, Digital Arts”, Summer 1999, pp. 20-24.

Knaff, Devorah L., “One-two Punch”, The Riverside Press-Enterprise, Riverside, California, June 13, 1999, p. F-24.

Author unknown, “Visual Arts: In This Light”, California Homes, Summer 1999, pp. 98-100.

Johnstone, Mark, “Contemporary Art in Southern California”, 1999, Craftsman House, Sydney, Australia, pp. 28-31 (ill.).

Anderson, Isabel, “Peter Alexander at the Orange County Museum of Art”, Artweek, September 1999, p. 27 (ill.).

Turner, John & Escalante, Greg, Leeteg of Tahiti: Paintings from the Villa Velour, San Francisco, 1999, p. 20 (ill.).

1998

Davis, Phil, “Va-Va-Velvet”, Los Angeles Times, Aug. 19, 1998, pp. E1-E2.

Moure, Nancy D.W., California Art: 450 Years of Painting and Other Media, Los Angeles, 1998. pp. 407, 443, ill. p. 442.

1997

Tapley, George, “urban/sub/urban at Louis Stern Fine Arts”, Artweek, February, 1997, no. 2, p. 25.

Baker, Kenneth, “Peter Alexander’s Overviews”, San Francisco Chronicle Datebook, June 10, 1997, p. 1.

Karlstrom, Paul, “On the Edge of America: California Modernist Art and Culture”, The Sydney Papers, Vol. 9, No. 2, Autumn, 1997, p. 43.

Khal, Helen, “Taste of L.A. Beirutis Should Respond To”, The Daily Star, Beirut, Lebanon, Nov. 11, 1997.

Bazoun, Ahmad, Review, As Safir, Beirut, Lebanon, Dec. 15, 1997.

Critic Review, Al Ousbouh Al Arab, Beirut, Lebanon, Dec. 1, 1997.

Critic Review, Al Kifah Al Arabi, Beirut, Lebanon, Dec. 7, 1997.

Ghonem, Zuhair, Review, Al Liwa, Beirut, Lebanon, Dec. 17, 1997.

Critic Review, Al Nahar, Beirut, Lebanon, Dec. 1, 1997.

Ghandour, Maya, “Peter Alexander a la galerie Janine Rubeiz”, L’Orient le Jour, Beirut, Lebanon, Nov. 8, 1997.

1996

Wilson, William, “A Lore-Filled Blast from the Eternally Cool Past of the L.A. Art Scene”, Los Angeles Times, July 7, 1996, pp. F1-5.

Muchnic, Suzanne, “Hot Off the Inkjet”, Los Angeles Times, June 6, 1996, pp. F1-6.

1995

Donohue, Marlena, “The Zen of Art”, The Outlook, Feb. 24, 1995, p. D15-D16.

Wilson, William, “Puddles: Light, Space and Zen Beat Bard”, Los Angeles Times, Feb. 24, 1995, p. F22.

“Plaza Puddles Whet Appetite for Art”, Los Angeles Times, March 5, 1995, p. W8.

Curtis, Cathy, “Surfboards Installation Goes Beneath Surface”, Los Angeles Times, November 14, 1995, p. F1-2.

1994

Karlstrom, Paul J., “A Modernist Context for California Art and A Conversation With Peter Alexander”, The Picker Art Gallery Journal 1994-1995, Vol. 4, No. 2.

Hodder, Monroe, “Unto Caesar: Peter Alexander at Brian Gross Fine Art”, Artweek, Oct. 20, 1994. Vol. 25, No. 20, p. 18.

Newhall, Edith, “Peter Alexander at Barbara Mathes”, Art News, December 1994, p. 140.

Edelman, Robert G., “Peter Alexander at Barbara Mathes”, Art in America, December 1994.

1993

Wilson, William, “Ten Vegas Visions”, Los Angeles Times, November 20, 1993.

Skolnick, Arnold, “Paintings of California”, New York, 1993, p. 114 (ill).

1992

Littlefield, Kinney, “Artist Holds a Burning Image of L.A.”, The Orange County Register, May 10, 1992, p. H26.

Curtis, Cathy, “Curious Work Showcased in a Curious Way”, Los Angeles Times, May 19, 1992.

Wilson, William, “Seeing the Light of Day”, Los Angeles Times, May 1992.

Dubin, Zan, “L.A. Artist Alexander Plays with Fire”, Los Angeles Times, May 16, 1992.

Scarborough, James, “Peter Alexander’s Velvet Paintings: Kitsch and Cowabunga, Not!”, Visions, Summer 1992, pp. 53-54.

Wilson, William, “The Riots in Paint”, Los Angeles Times, July 29, 1992.

Kimmel, Roberta. In Artists’ Homes, New York, 1992.

1991

Varnadoe, Kirk and Gopnik, Adam. Modern Art and Popular Culture: Readings in High and Low. Museum of Modern Art, New York, 1991, p. 227.

Wilson, William, “The Powerful Plasticity of Alexander”, Los Angeles Times, Feb. 19, 1991.

Schottlanger, Sherrie, “Sculpted from Light”, Artweek, March 14, 1991.

Pagel, David, “Peter Alexander”, Lapiz, Year 9, Vol. 78, June 1991.

1990

Channin, Richard, “Review of Exhibitions”, Art in America, February 1990.

Smith-Lucie, Edward, “Art in the Eighties”, New York, 1990, pp. 90-91.

1989

Quinn, Joan, “Studio Visit-They Los L.A.”, Contemporanea, January/February 1989, p. 86.

Geer, Suvan, “The Galleries-Santa Monica (review)”, Los Angeles Times, Oct. 27, 1989.

Hopkins, Henry, “California Painters-New Work”, Chronicle Books, San Francisco, 1989, pp. 9, 19, 20 (ill.).

1988

Wilson, William, “The Galleries (review)”, Los Angeles Times, July 22, 1988.

Salzman, Linda Sher, “A Disregard for Formal Issues”, Artweek, August 6, 1988.

1987

Rice, William, “Feasts for the Eye”, Connoisseur, February 1987, p. 74.

Tuohy, William, “L.A. Artists at Berlin Celebration”, Los Angeles Times, May 5, 1987.

Price, Susan, “Behind the Studio Door”, Los Angeles Times Magazine, May 24, 1987, p. 24.

Wilson, William, “The Galleries (review)”, Los Angeles Times, November 27, 1987.

1986

Wilson, William, “Jungles at the Corcoran Gallery”, Los Angeles Times, June 13, 1986.

Vilada, Pilar, “Introduction: What You Didn’t Know You Question”, Progressive Architecture, October 1986, p. 69.

Wilson, William, “A Place for Modern Art to Hang Out”, Los Angeles Times, Nov. 16, 1986.

Spalding, Jill, “Glitz Wanes, Big Waxes”, Vogue, December 1986.

Muchnic, Suzanne, “Exhibit Mines Golden Land”, Los Angeles Times, December 29, 1986.

1985

Pincus, Robert, “Art Projects for Horton Plaza Complex Are Shown”, San Diego Magazine, March 23, 1985.

Preston, Malcolm, Review, Newsday, September 3, 1985.

Lewinson, David, “A Look At Horton’s Three Major Works of Art”, San Diego Magazine, August, 1985.

Gardner, Colin, Review, Los Angeles Times, October 18, 1985.

1984

Wilson, William, Review, Los Angeles Times, March 9, 1984.

Wilson, William, “They Didn’t Mess Up this MoMA”, Los Angeles Times, May 20, 1984.

Hoving, Thomas, “Our Best Artworks”, Connoisseur, July 1984.

Soderberg, Agnets, “Peter blev miljonar part sine sonnedgangar”, Expressen Kalifornien, July 29, 1984.

Ballatore-Nelson, Sandy, “Celebrating Los Angeles Art”, Images and Issues, July/August, 1984.

1983

Wilson, William, “The Poetic Moods of Peter Alexander”, Los Angeles Times, Feb. 6, 1983.

Richard, Paul, “The Range of the West”, The Washington Post, February 2, 1983.

Schipper, Merle, “Sunsets and Velvets: A Ten Year Survey”, Images and Issues, July/August 1983.

Fudge, Jane, “The Second Western States/38th Corcoran Biennial Exhibition”, Artspace, Fall, 1983.

Muchnic, Suzanne, Review, Los Angeles Times, December 16, 1983.

Wilson, William, “Musing on an Inspired Year’s Gifts”, Los Angeles Times, Dec. 18, 1983.

1982

McDonald, Robert, Review, Artweek, April 3, 1982.

Miller, Elise, Review, Los Angeles Times, January 17, 1982.

Wortz, Melinda, Review, Art News, March 26, 1982.

Muchnic, Suzanne, Review, Los Angeles Times, March 26, 1982.

Norklun, Kathi, Review, Artweek, April 3, 1982.

1981

Armstrong, Richard, Review, Flash Art, March-April 1981, Vol. 102.

Knight, Christopher, “Light and Space”, Los Angeles Herald-Examiner, June 28, 1981.

Wilson, William, Review, Los Angeles Times, June 19, 1981.

Knight, Christopher, “Artists’ Quilts”, Los Angeles Herald-Examiner, June 1981.

Schjeldahl, Peter, “Demystifying Los Angeles”, Village Voice, June 1981.

Knight, Christopher, Review, Los Angeles Herald-Examiner, June 28, 1981.

Knight, Christopher, “Is There A California School?”, Portfolio Magazine, Sept.-Oct. 1981.

Wortz, Melinda, Review, Art News, September 1981.

Knight, Christopher, Review, Artforum, November 1981.

1980

Leites, Edmund, Review, Art in America, October 1980.

Wilson, William, “LAICA Exhibition”, Los Angeles Times, May 14, 1980.

Schipper, Merle, Review, Art Week, May 24, 1980, Vol. 2, No. 2.

1976

Perlmutter, Elizabeth, “Clear, Cloudy and Smoggy”, Art News, January 1976, vol. 75, pp. 68-70.

1975

Seldis, Henry J., “Art Walk” (review), Los Angeles Times, Nov. 7, 1975, Part 4, p. 4.

Plagens, Peter, “The Sunshine Muse”, 1975, pp. 30-34.

1974

Wilson, William, “Exhibition at Jack Glenn Gallery”, Los Angeles Times, Nov. 18, 1974.

Wilson, William, “California Art”, Domus, October 1974, Vol. 45, No. 3.

1971

Wight, Frederick, “Transparency, Reflection, Light, Space: Four Artists”, UCLA Art Galleries (catalogue), 1971, ill., pp. 9-33.

Seldis, Henry J., “Four Artists in Space Exploration at UCLA Art Galleries”, Los Angeles Times, January 24, 1971, p. 49.

Review, “Peter Alexander at Elkon Gallery”, Art News, January 1971, Vol. 69, p. 16.

Plagens, Peter, “Peter Alexander at Elkon Gallery”, Artforum, March 1971, p. 68.

Terbell, Melinda, “Los Angeles: UCLA Art Galleries”, Arts Magazine, March 1971, Vol. 45, No. 5, ill. p. 47.

Plagens, Peter, “Five Artists: Ace Gallery, Los Angeles”, Artforum, October 1971, Vol. 10, p. 86.

Baker, E.C., “Los Angeles, 1971”, Art News, September 1971, Vol. 70, p. 30.

Knapp, Dan, “PBS Examines the Artists”, Los Angeles Times, July 16, 1971.

1970

Friedman, Martin, “14 Sculptors: The Industrial Edge”, Art International, February, 1970, Vol. 14, No. 2, p. 36-38.

Plagens, Peter, “The Sculpture of Peter Alexander”, Artforum, October 1970, Vol. 9, No. 2, ill., pp. 48-51.

1969

Livingston, Jane, “Two Generations in L.A.”, Art in America, Jan.-Feb 1969, Vol. 57, No. 1, ill. pp. 92-97.

Review, “Peter Alexander at Robert Elkon Gallery”, Artnews, Vol. 68, No. 2, p. 8.

Wasserman, Emily, “Peter Alexander at Elkon Gallery”, Artforum, May 1969, Vol. 7, No. 9, ill. p. 65.

Schjeldahl, Peter. “New York Letter, ” Art International, May 1969, Vol. 13, No. 5, p. 37.

1968

Danieli, Fidel, “Some New Los Angeles Artists”, Artforum, March, 1968, Vol 6, No. 7, ill. pp. 45-46.

Livingston, Jane. Review “Plastics: L.A.”, Artforum, March 1968, Vol 6, No, 7, p. 65.

Public Collections

Akron Art Institute, Akron, Ohio

Allen Memorial Art Museum, Oberlin, Ohio

Anderson Collection at Stanford University, Palo Alto, California

Corcoran Gallery of Art, Washington, D.C.

Des Moines Art Center, Iowa

Broad Foundation, Santa Monica, California

Flint Institute of the Arts, Flint, Michigan

Fogg Art Museum, Harvard University, Cambridge, Massachusetts

Fort Worth Art Museum, Forth Worth, Texas

Fresno Art Museum, California

Getty Museum, Los Angeles, California

Henry Art Gallery, Seattle, Washington

Voorhees Art Museum, Rutgers University, New Brunswick, New Jersey

J.B. Speed Museum, Louisville, Kentucky

Joslyn Art Museum, Omaha, Nebraska

Laguna Art Museum, Laguna Beach, California

Lannan Foundation, Los Angeles, California

Los Angeles County Museum of Art, California

Metropolitan Museum of Art, New York

Minneapolis Institute of Contemporary Art, Minnesota

Museum of Contemporary Art, Honolulu, Hawaii

Museum of Modern Art, New York

New Orleans Museum of Art, New Orleans, Louisiana

New York Public Library, New York

Norton Simon Museum of Art, Pasadena, California

Orange County Museum of Art, Newport Beach, California

Oakland Museum, Oakland, California

Picker Art Gallery, Colgate University, Hamilton, New York

Princeton University Art Museum, Princeton, New Jersey

Rochester Memorial Art Gallery, Rochester, New York

San Diego Museum of Fine Art, San Diego, California

San Diego Museum of Contemporary Art, La Jolla, California

San Francisco Museum of Modern Art, San Francisco, California

Solomon R. Guggenheim Museum, New York

Stanford University Art Museum, Palo Alto, California

University of California, Berkeley, California

University of California, Santa Barbara, California

Vancouver Museum of Art, British Columbia, Canada

Walker Art Center, Minneapolis, Minnesota

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