Alex Couwenberg: Revisited by Bruno David Gallery

AL E X CO U W E N BE RG REVISITED

bruno david gallery

ALEX COUWENBERG REVISITED

September 11 - October 10, 2015 Bruno David Gallery 3721 Washington Boulevard Saint Louis, Missouri 63108, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Owner/Director: Bruno L. David This catalogue was published in conjunction with the exhibition “Alex Couwenberg: Revisited” at Bruno David Gallery. Editor: Bruno L. David Catalogue Designer: Ashley Lee and Alex DeRosa Designer Assistant: Claudia R. David Printed in USA All works courtesy of Alex Couwenberg and Bruno David Gallery Photographs by Bruno David Gallery and Steve Scudder Cover image: Alex Couwenberg: Revisited (Installation view) First Edition Copyright © 2015 Bruno David Gallery All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery

CONTENTS

ALEX COUWENBERG BY COOPER JOHNSON Afterword BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

ALEX COUWENBERG BY COOPER JOHNSON

Making art requires iteration. Whether it’s rearranging a mental composition, refining a concept or sketch, or adding paint to a canvas – there is always that step, in between each change of the image or contact with the painting, where the painter looks at the previous step, mentally reacts, and physically responds with paint. But the mental image of what the artist wants the painting to be is not bound by the material constraints of paint and canvas. You can’t think in paint, and thought is not a physical medium. There is always translation. And it’s never perfect. So, you are forced to put onto the canvas something you can’t control. The image that is created through the medium is not the failed one, though, but a richer, subtler version of what you had planned – something you could not have imagined. Los Angeles based artist Alex Couwenberg’s third solo exhibition with the gallery entitled “Revisited” is about this very idea of translating mental imagery through the medium of paint. Among the many other things that Couwenberg’s paintings do, at their core is his fascination with how an image is created. In “Revisited” you can see how he has pushed the conversation of aestheticized process into new territory, addressing not only physical, but mental process, weaving elements of digital imagery, and conflating the accidental with the intentional. The paintings are about process in many forms. They often contain a spectrum of moments recording how the paint was applied, ranging from immaculate surfaces to deliberate imperfections. In “Lola,” you can see the gritty striations from the where the paint was pulled across the surface with a broom. You can see where the stroke pattern starts to curl from when the brush lifted off the canvas. You can see the thickness change from the variations in pressure. You can see the paint cavitate. You can see ridges form from where the tool was pulled up. The turbulence in the paint makes you think about the interstice between the surface and the tool, how that reveals the unevenness and imperfections both. Some of the paint in “Lola” catches light like it’s still wet, like it was just put on the canvas and barely moved around. The paintings at times even allude to the milling and construction of the frame itself, even leaving preliminary pencil marks. Couwenberg’s paintings say more about process than rough brushstrokes and unfinished surfaces. Process can sometimes be about negation, too, like in “FUHM” where he paints over “finished” layers with a base coat, selecting only portions to remain visible in the negative space. Although many of the visuals concern physical process and application of paint, Couwenberg is just as astute in aestheticizing mental process as well. The challenge is that in the mental process of forming a composition, shape and contour can arrange themselves in multiple ways at once. Thought is not constrained to a fixed form, and doesn’t have a single way of being said.

We can’t actually see the single shape in the artist’s head, swiveling, hinging into various compositions, settling into fixed form. There is a simultaneity and multiplicity of thought that is hard to translate into the physical world of the single affixed image. Yet, the shifting possibilities of composition don’t come out as chaos in his paintings, but find some form of meditative Zen. They don’t appear as rough or unfinished either, but instead, polished, meticulous and ordered. By repeating the same shape on the canvas, Couwenberg alludes to the iterative process of forming a composition by reacting to the shapes that are previously laid on the paintings surface. As each possible placement for the next shape might effervesce at once in the artist’s head, we can almost see this happening on the canvas, like every possibility is crystalizing into a fixed image. Some of Couwenberg’s earlier work exposed the stages of painting as a linear process where the beginning layers are on the bottom, and the final layers are closer to the surface. This can still be seen in “Revisited,” but Couwenberg has developed a more intricately convoluted process: every layer overlaps and collides into the others; every stage happens at once or out of order. The more polished, finished contours and shapes interact with the more inchoate, or even contours that have been coated again and buried. In many of the paintings, you can see how the lines left from the bristles of a brush lead to the perfect lines that have been taped out and meticulously planned. In “Puma,” pinstripes angle back into the negative space and disappear into obscured layers. Sometimes, with paintings like “In The Rear View,” the layers are so inextricable that it’s impossible to discern the order in which they were painted. In “Double Dutch,” the textures created by the bottommost layer are the most prominent; the coats of paint covering them have been sanded down to reveal the buried surface. In all of these images, the timeline of making the painting is deliberately tangled. You can crawl through Couwenberg’s experience of creating the image, not as a progression of stages, but as synchronous events. Couwenberg paints the dismantled moment. Sometimes, experiencing his paintings is like pulling back the panels of a machine to reveal an elaborate circuitry or delicately engineered system. But unlike components that can be detached from their adjoining parts, irregular and out of context, every line, shape, and edge depends on – and might actually be a part of – its neighboring forms. This is more than a visual balance of color and form that arguably is sought in every painting, this is a complex system of discrete and interlocking, functioning parts. And the “system” implies more than what’s in the visual field: you can see traces of buried layers, possibly several paintings deep, you can see contours echoing shapes that aren’t there, parts “functioning” with forms that aren’t there – the paintings are molded by the enormity of the unseen or the covered up.

Plenty can be said about how the use of the iterated shape adds to the discussion of modular imagery common to modern aesthetic, or even that art or design can be systematized or manufactured. More interesting, though, is Couwenberg’s discussion of process and “the moment” in the context of digital imagery and the scaffolding of three-dimensional space. And this goes beyond the abstraction of a representational image or an analog mark. In “Double Dutch,” the iterated shape is only a hexagon, but the angles of the edges imply cubes, and when overlapped, they all start to echo one another, like in an exploded view – your mind wants to connect all of the edges into isometric cubes. “Paloma” take the idea to another level by hanging nonobjective forms on the imaginary lines of a one-point-perspective system, which is used for framing three-dimensional space. The palette chosen for these lines even suggests a binary system or discrete set of repeated colors, like some form of rudimentary digital system. But these paintings are more than what a computer could generate. Couwenberg has infused them with the element of human touch and the instantaneous application of paint. Alex Couwenberg’s paintings compress the time span and spatial possibilities of artistic process into a single image. Yet, even with the sense of everything at once, there is still a gravity to his compositions. And the image doesn’t cave-in under the weight of everything overlapping simultaneously. Where we would expect to find chaos in those places of collision, we instead find a sense of deliberateness, something planned. We find that feeling, for just a moment, of mistaking control for coincidence.

Cooper Johnson is a Los Angeles based writer. This text is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.

Afterword BY BRUNO L. DAVID

I am pleased to present a new exhibition by Los Angeles-based artist Alex Couwenberg. Marking the artist’s third solo exhibition with the gallery, Alex Couwenberg’s paintings explore “process” and the “moment” through tightly controlled compositions of paint and mark making. Couwenberg creates images that are inspired by the elements indigenous to his surroundings. The work references and suggests the aesthetic associated with custom car culture, surfing, skateboarding, and music, while glossed over with the sensibility of mid-century modernist design. Couwenberg’s work gives a nod and pays homage to the historical styles of post-war art making associated with Los Angeles and Southern California. His paintings indicate whispers of the visual language used by the hard-edge geometric abstractionist, the Finish Fetish, and Light and Space artists who were influential in shaping the aesthetic of Los Angeles art during the 1950’s, 60’s, and 70’s. Not content to replicate, he uses Eames-era design and hard edge geometric abstraction as points of departure for creating his paintings. His process, an additive and reductive series of moves and passes, creates multilayered environments that are deep and sensual. He harnesses these ideas into harmonious results, reflecting the visual landscape of the world around him. Alex Couwenberg received his B.F.A. from Art Center College of Design, Pasadena, California and his M.F.A. from the Claremont Graduate School, Claremont, California. He has exhibited his work nationally and internationally. He lives and works in Los Angeles. Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Cooper Johnson for writting the essay. I am deeply grateful to Ashley Lee and Alex DeRosa, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Laine Johnson, Ashley Lee, Orianna Montenegro and, Alex DeRosa.

CHECKLIST & IMAGES OF THE EXHIBITION

Paloma, 2015 Acrylic on canvas, mounted on panel 66 x 80 inches (167.64 x 203.2 cm)

Double Dutch, 2015 Acrylic on canvas, mounted on panel 66 x 80 inches (167.64 x 203.2 cm)

Rifle, 2015 Acrylic on canvas, mounted on panel 48 x 34 inches (121.92 x 86.36 cm)

Delux, 2015 Acrylic on canvas, mounted on panel 48 x 34 inches (121.92 x 86.36 cm)

Makue, 2015 Acrylic on canvas, mounted on panel 72 x 66 inches (182.88 x 167.64 cm)

In the Rearview, 2015 Acrylic on canvas, mounted on panel 30 x 32 inches (76.2 x 81.28 cm)

May Day, 2015 Acrylic on canvas, mounted on panel 34 x 30 inches (86.36 x 76.2 cm)

The Tahitian, 2011 Acrylic on canvas, mounted on panel 60 x 58 inches (152.4 x 147.32 cm)

Barbican, 2015 Acrylic on canvas, mounted on panel 48 x 46 inches (121.92 x 116.84)

Because I Do, 2015 Acrylic on canvas, mounted on panel 48 x 46 inches (121.92 x 116.84)

FUHM, 2015 Acrylic on canvas, mounted on panel 48 x 46 inches (121.92 x 116.84)

Lola, 2015 Acrylic on canvas, mounted on panel 60 x 58 inches (152.4 x 147.32 cm)

Blue-Green Pulse, 2015 Acrylic on canvas, mounted on panel 22 x 20 inches (55.88 x 50.8)

Puma, 2015 Acrylic on canvas, mounted on panel 30 x 32 inches (76.2 x 81.28 cm)

FUHM, 2015 (detail)

Rifle, 2015 (detail)

Alex Couwenberg: Revisited (installation view)

ALEX COUWENBERG Born 1967, Upland, California Lives and works in Los Angeles, California

EDUCATION 1997 1995

MFA, Claremont Graduate School, Claremont, CA BFA, Art Center College of Design, Pasadena, CA

SOLO EXHIBITIONS 2015 2014 2013 2012 2011 2010 2009

Bruno David Gallery, Revisited, St. Louis, MO (catalogue) Azusa Pacific University, Byway, Azusa, CA Jennifer Kostuik Gallery, California, Vancouver, CA Launch LA, Inform / Form, Los Angeles, CA Bruno David Gallery, Swell, St. Louis, MO (catalogue) Andrea Schwartz Gallery, Cross Current, San Francisco, CA Jennifer Kostuik Gallery, Paintings, Vancouver, Canada William Turner Gallery, Alex Couwenberg and Karl Benjamin: Influence, Divergence, & the Evolution of an Idea, Los Angeles, CA Andrea Schwartz Gallery, New Paintings, San Francisco, CA David Richard Contemporary, Trajectory, Santa Fe, NM Peter Blake Gallery, New Paintings, Laguna Beach, CA Markel Fine Arts, New Paintings, New York, NY Royale Projects, Waimea, Indian Wells, CA San Luis Obispo Art Center, Morphic Traces, San Luis Obispo, CA William Turner Gallery, A Bit Left of All Right, Los Angeles, CA Gilman Contemporary, Singles, Ketchum, ID

2009 2008 2007 2006 2005 2004 2003 2002 2001 1999 1997 1996

Peter Blake Gallery, Arcade, Laguna Beach, CA Bruno David Gallery, Working Space, St. Louis, MO (catalogue) Markel Fine Arts, Bypassing Referents, New York, NY d.e.n. Contemporary, Cosmetically, Aesthetically, Unregrettably, Los Angeles, CA Gilman Contemporary, New Paintings, Ketchum, ID Peter Blake Gallery, New Paintings, Laguna Beach, CA Peter Blake Gallery, New Paintings, Laguna Beach, CA Dolby Chadwick Gallery, Black Labeled, San Francisco, CA University Gallery, CSUS, Alex Couwenberg: a ten year evolution, Turlock, CA Markel Fine Arts, de Stad, New York, NY 455 Market Street Lobby Gallery, Metropolitan, San Francisco, CA Ruth Bachofner Gallery, tussenruimte, Los Angeles, CA Ruth Bachofner Gallery, Primo, Los Angeles, CA Gensler, Paintings, San Francisco, CA Riverside Art Museum, Paintings; a seven year survey, Riverside, CA Ruth Bachofner Gallery, New Paintings, Los Angeles, CA Ruth Bachofner Gallery, New Paintings, Los Angeles, CA Ruth Bachofner Gallery, New Paintings, Los Angeles, CA East Gallery, Claremont Graduate School, The Hot Rod Series, Claremont, CA Dillingham/Caples Gallery, New Paintings, Claremont, CA

SELECTED GROUP EXHIBITIONS 2015 2014 2013 2012 2011 2010 2009

and / or, Bruno David Gallery, St. Louis, MO Unlimited Potential, Lyons Wier Gallery, New York, NY Artist of the Film MANA, Villa di Donato, Napoli, Italy LA / SF, Andrea Schwartz Gallery, San Francisco, CA OVERVIEW_2014, Bruno David Gallery, St. Louis, MO Selections From The Permanent Collection, Laguna Art Museum, Laguna Beach, CA Shift - Five Decades of Contemprary California Painting, Monterey Musum of Art, Monterey, CA Celebrating The Spirit of Summer, Lancaster MOAH, Lancaster, CA LA Abstract, Red Pipe Gallery, Chinatown, Los Angeles, CA BLUE-WHITE-RED, Bruno David Gallery, St. Louis, MO Mas Attack 2, Torrance Art Museum, Torrance, CA Mana, Gallery MELD, Kailua-Kona, HI Smooth Operations, Lancaster Museum of Art & History, Lancaster, CA W.O.P. I, Bruno David Gallery, St. Louis, MO The Gleam In the Young Bastards Eye, William Turner Gallery, Los Angeles, CA OVERPAPER, Bruno David Gallery, St. Louis, MO (catalogue) Chain Letter, Shoshana Wayne Gallery, Los Angeles, CA Tel-Art-Phone, Beacon Arts Center, Los Angeles, CA A Generous Spirit, Robert and Francis Fullerton Museum of Art, CSUSB, CA OVERVIEW_10, Bruno David Gallery, St. Louis MO Karl Benjamin: Under The Influence, Royale Projects, Indian Wells, CA OVERPAPER, Bruno David Gallery, St. Louis, MO Line, Curve, Form, David Richard Contemporary, Santa Fe, NM Claremont Modernism, OBJCT Gallery, Claremont, CA What, Andrea Schwartz Gallery, San Francisco, CA The New Irascibles, AC Projects, Pomona, CA Rant, Pacific Design Center, Los Angeles, CA Los Angeles Currents, Courier Gallery, Los Angeles, CA

2009 2008 2007 2006

Enduring Legacy, Claremont Museum of Art, Claremont, CA ONA2X2, Cypress College, Cypress, CA Liquid Light, Modern Masters Gallery, Palm Desert, CA Between the Lines, William Turner Gallery, Santa Monica, CA 15 Years, 15 Artists, Peter Blake Gallery, Laguna Beach, CA The Finish Fetish, Melissa Morgan Fine Art, Palm Desert, CA Keeping It Straight, Riverside Art Museum, Riverside, CA Works on Paper, Gilman Contemporary, Ketchum, ID West Coast Abstraction, Peter Blake Galley, Laguna Beach, CA Liquid Light, DBA256, Pomona, CA Off the Grid, William Turner Gallery, Santa Monica, CA Paintings Edge, Riverside Art Museum, Riverside, CA Inland Emperors, DBA256, Pomona, CA Group Exhibition, Orange County Museum of Art, Newport Beach, CA Inaugural Exhibition, Gilman Contemporary, Ketchum, ID Decade, Dolby Chadwick Gallery, San Francisco, CA Out of Line, Cal State Stanislaus, University Gallery, Turlock, CA Grey Scale, Peter Blake Gallery, Laguna Beach, CA Summer Group Show, Peter Blake Gallery, Laguna Beach, CA Art Auction 12, Long Beach Museum of Art, Long Beach, CA Art Auction = Stimulus, Laguna Art Museum, Laguna Beach, CA Let There Be Light, Phantom Galleries, Los Angeles, CA Aligning With Abstract Los Angeles, d.e.n. Contemporary, Los Angeles, CA Landscape Perspectives, Art + Industry, Palm Springs, CA Summer Abstraction, Peter Blake Gallery, Laguna Beach, CA Monotype, d.e.n. Contemporary, Los Angeles, CA 2nd Gwang Hwa Moon International Arts Festival, Sejong Center, Seoul, Korea Flow: Fine Lines on Water, Peter Blake Gallery, Laguna Beach, CA Flow: Fine Lines on Water, Lisa Coscino Gallery, Pacific Grove, CA Recent Acquisitions, Riverside Art Museum, Riverside, CA

2006 2005 2004 2003

Border Crossing, Sopa Fine Arts, British Columbia, Canada Out of Line, Parks Exhibition Center, Idyllwild Arts Academy, Idyllwild, CA Inaugural Exhibition, Sopa Fine Arts, British Columbia, Canada A Common Thread, Soho Myriad, Atlanta, GA Out of Line, Riverside Art Museum, Riverside, CA Out of Line, Brandstater Gallery, La Sierra University, Riverside, CA Abstract Los Angeles, Louisiana Tech University Galleries, Ruston, LA Theories: LA Paint, Post, Los Angeles, CA Monothon, Riverside Art Museum, Riverside, CA Luster, Gensler, San Francisco, CA Abstract Work from the Permanent Collection, Long Beach Museum of Art, Long Beach, CA Continental Divide: LA/NYC, Planet Thailand, Brooklyn, NY Abstract Los Angeles, Soho Myriad, Atlanta, GA 20th Anniversary Exhibition, Ruth Bachofner Gallery, Los Angeles, CA No Chaser; Straight Ahead Abstract Painting, Post, Los Angeles, CA

2002 2001 2000 1999

Group Show, Dolby/Chadwick Gallery, San Francisco, CA Black and White, Ruth Bachofner Gallery, Los Angeles, CA New Paintings, Soho Myriad, Atlanta, GA California Dream, Il Museo I Magli di Sarezzo, Brescia, Italy Sam Maloof and Friends, dA Center for the Arts, Pomona, CA New American Paintings Group Show, OSP Gallery/Open Studio Press, Boston, MA Homage: Roland Reiss, Claremont Graduate School alumni show, dA Center for the Arts, Pomona, CA Monothon, 2001, Riverside Art Museum, Riverside, CA Sequence, Mt. San Antonio College Art Gallery, Walnut, CA Art 2000: Applauding Revolutionary Talent, Millard Sheets Gallery, Pomona, CA Faculty Exhibition, Mt. San Antonio College Art Gallery, Walnut, CA Faculty Exhibition, Chaffey College, Ontario Museum of Art, Ontario, CA

1998 1997 1996 1995 1994

Six Gallery Artist, Ruth Bachofner Gallery, Los Angeles, CA Synchronicity, Mt. San Antonio College Art Gallery, Walnut, CA Contemporary Works of the Ruth Bachofner Gallery, Antelope Valley College, Lancaster, CA Convergent Abstraction, Ruth Bachofner Gallery, Los Angeles, CA L.A. Emerging, Marcia Wood Gallery, Atlanta, GA 3 Weeks in L.A., Richard Heller Gallery, Los Angeles, CA Recent Paintings, Marcia Wood Gallery, Atlanta, GA Fringe of the Fringe, dA Gallery Benefit Art Auction, dA Center for the Arts, Pomona, CA 42.2 - CGS to Paradiso, Gallery Paradiso, Newport Beach, CA Painting and Sculpture, Art Center Alumni Show, Thousand Oaks Municipal Art Gallery, Thousand Oaks, CA Raw Data, East Gallery, Claremont Graduate School, Claremont, CA Recent Work, Art Center College of Design, Pasadena, CA Youth Culture, Lava Room, Costa Mesa, CA

BIBLIOGRAPHY Johnson, Cooper “Alex Couwenberg”, Bruno David Gallery Publications, Catalogue: “Alex Couwenberg: Revisited”, Essay, December 2015 Mahoney, Monica L. “Listening: On New Work by Alex Couwenberg”, Bruno David Publications, Catalogue, Essay, April 2013 Frank, Peter. “Alex Couwenberg: Zen and the Art of Im-Perfection”, Essay, Catalogue: “Alex Couwenberg: Selections from 2009 to 2013”, March 2013 Yood, James. “Alex Couwenberg”, Essay, Catalogue: “Alex Couwenberg: Selections from 2009 to 2013”, March 2013 Swenson, Eric. “Alex Couwenberg: Swell”, video-interview (4:14 min.), April 2013. http://www.youtube.com/watch?v=l4TLmGoXLyk Frank, Peter Huffington Post, January 2012 Moret, A. Art LTD., March 2012 Frank, Peter Fabrik, January 2012 Swenson, Eric. “The Making of La Fonda”, Documentary (20:31 min.), April 2013. http://vimeo.com/39522771#at=0 __________ Art Week LA, January 2012 Carasso, Roberta “Colors, Shapes, and Light,” Coast Magazine, October 2011 Walsh, Daniella Riviera Magazine, Spring 2011 Davies, Stacy “OC Weekly,” October 2011 Walters, Danielle “Creating Balance,” Beverly Hills Lifestyle, Spring 2011 Roth, David Square Cylinder, February 2011 Yood, James Art Institute of Chicago, Catalogue Essay, 2011 Spector, Buzz “OVERPAPER,” Essay, Bruno David Gallery Publications, January 2011 ___________ “Left Coast Look,” California Home and Design, February 2011 Dambrot, Shana Nys “New Paintings,” Flavorpill New York, March 2011 __________ “New Paintings” Artdailey.org, March 2010 Zimmermann, Mark Art: Theories and Provocations, March 2010 Biller, Steven “Game On: The ‘Arcade Paintings’,” Palm Springs Life, November 2009 Nichols, Kimberly “Art For Now,” Desert Magazine, November 2009 Melrod, George “Under the Radar,” ArtLTD., May 2009 Myers, Holly Los Angeles Times, January 30, 2009 Frank, Peter “Alex Couwenberg: Working Space”, Essay, Catalog, Bruno David Gallery Publication, April 2008 Frank, Peter “Zen and the Art of Im-perfection,” Catalogue Essay, 2008

Harris, Freddie “Gallery Openings,” Sun Valley Magazine, Winter 2008 ___________ “Art and Antiques,” California Home and Design, September 2008 Gay, Malcom “St. Louis Art Capsules,” Riverfront Times, May 20, 2008 Grossman, Emily “The Straight Take,” Art and Living, March 20, 2008 __________ “Brother Culture,” The New York Sun, January 25, 2008 Biller, Steven “Critics Pick,” Palm Springs Life, January, 2008 Davies, Stacy “Everything Old Is New Again,” IE Weekly, January 17, 2008 Myers, Holly. “Like 50’s lounge music, remixed,” Los Angeles Times, August 17, 2007 Gleason, Mat. ArtScene, July/August 2007 ___________ Artdaily.org, July 2007 ibbitz, Ashley. Flavorpill, July 17-23, 2007. ___________ “Pulse”, ARTltd, July 2007 Bossick, Karen. “Buzzer, Gilman Contemporary”, Wood River Journal, August 1, 2007, Carasso, Roberta. Coast Magazine, September, 2007 Frank, Peter. “Grids Unlocked”, LA Weekly, June 6, 2007 Jit Fong Chin. “Grey Matters”, SqueezeOC, January, 2007 Walsh, Daniella. “Shades of Gray”, Orange County Register, January 14, 2007 Carasso, Roberta. “Artwaves”, Laguna News Post, January 4, 2007 Walsh, Daniella. “The Radar Art”, Riviera Magazine, January, 2007 Rupe, Cynthia. “Picks of the Week”, SqueezeOC, January 4, 2007 Mckenna, John Page. Palm Springs Life, Winter/Spring 2007 Daniels, Diana Asst. Curator, Crocker Art Museum, Catalogue Essay, 2007 Melrod, George. “Culver City: Chelsea West?”, Art Ltd., October, 2006 Cripps, Mick “Artist Profile”, Lifescapes, September, 2006 Allen, Bobbie “Seven Abstractionists for summer”, Coastline Pilot, July 6, 2006 Frank, Peter Muckenfuss, Mark Simou, Alexandra Kugelman, Kerry

“Art Pick of the Week”, LA Weekly, October 2005 Press Enterprise, September, 2005 New York Sun, January 26, 2005 Art Circles, fall 2004

Cullum, Jerry Gilbert, Debora. Gleason, Ma Frank, Peter Novick, La Rue Litz, Paige Moyle, Andrew Nelson, Harold Alfred, E. Anne Dennison, Lisa Roth, Charlene Frank, Peter Johnstone, Mark

Atlanta Journal Constitution, Review, August 29, 2004 Greenline, March, 2004 Artscene, February, 2004 “Art pick of the week” LA Weekly, February, 2004 Daily Bulletin, February, 2004 “Going Beneath the Surface”, Los Angeles Times, October 10, 2003 210 Magazine, October, 2003 Director, Long Beach Museum of Art, Statement, 2002 Asst. Director, Riverside Museum of Art, Statement, 2002 New American Paintings, vol. 37, 2001-02 “Alexander Couwenberg at Ruth Bachofner Gallery”, Artweek, March, 2001 “Art pick of the week”, LA Weekly, January, 2001 ART 2000: Applauding Revolutionary Talent, Millard Sheets Gallery Catalog

VISITING ARTIST / LECTURER Azusa Pacific University, Azusa, CA Donkey Mill Art Center, Honualoa, HI Colorado State University, Fort Collins, CO Honolulu Museum of Art, Honolulu, HI Claremont Graduate University, Claremont, CA California State University, Northridge, CA Paintings Edge, Idyllwild Arts Academy, Idyllwild, CA Long Beach Museum of Art, Long Beach, CA Riverside Art Museum, Riverside, CA Otis College of Art and Design, Los Angeles, CA California State University Stanislaus, Turlock, CA Summer Arts, California State University Northridge, Monterey, CA Idyllwild Arts Academy, Idyllwild, CA Millard Sheets Gallery, Pomona, CA

AWARDS 2007

Joan Mitchell Foundation Painters and Sculptors Grant

SELECTED PUBLIC COLLECTIONS Azusa Pacific University, Azusa, CA California State University, Stanislaus, Turlock, CA Crocker Art Museum, Sacramento, CA Daum Museum of Contemporary Art, Sedalia, MO Georgia Tech University, Atlanta, GA Laguna Art Museum, Laguna Beach, CA Lancaster Museum of Art & History, Lancaster, CA Long Beach Museum of Art, Long Beach, CA Pitzer College, Claremont, CA Pomona College, Claremont, CA Riverside Art Museum, Riverside, CA Robert and Francis Fullerton Museum of Art, California State Univeristy San Bernardino, CA University of La Verne, La Verne, CA

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ARTISTS Laura Beard Heather Bennett Lisa K. Blatt Michael Byron Bunny Burson Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Beverly Fishman Damon Freed

Douglass Freed Ellen Jantzen Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Leslie Laskey Patricia Olynyk Gary Passanise Judy Pfaff

Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Shane Simmons Buzz Spector Cindy Tower Ken Worley Monika Wulfers