• Jim Isermann

    Richard Telles Fine Art

    In two shows, two blocks apart, 12 years of Jim Isermann’s multicolored work was on display. “Highlights,” a miniretrospective at Sue Spaid Fine Art, showcased chairs, rug hookings, a clock, a lamp, a stained-glass window, two wacky bean bag chairs, and some bold geometric paintings. Isermann’s work has the overwhelming flavor of homemade, handcrafted Op Art, probably because he made everything himself (except the chairs). In this survey of eleven works, the variety of materials suggested a frenetic manufacturing.

    Though these pieces border on craft, their high quality, size, and careful fabrication

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  • “Love in the Ruins”

    Long Beach Museum of Art

    To most people, Los Angeles is a city of perpetual sunshine and eternal optimism. Historically, artists and the art business have stuck to the East Coast and West Coast art has always enjoyed a strangely tangential relationship to this “center” of the art world. Embracing a refreshing sense of the absurd that contrasts with the high-seriousness of the New York art world, and framed by a culture of unreality (the film business), art in California has often seemed like an antidote to the high-art ideals of the mainstream art world.

    Artists like Edward Ruscha, John Baldessari, Alexis Smith, Llyn

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