Editions can be purchased here. Shipping will be invoiced separately from the purchase price. For additional inquiry, a free shipping quote, or to schedule an appointment to view specific artworks, please contact LACE by email info@welcometolace.org.
Amy Adler
Hotel Room, 2005
Series of 5 duotone prints
12.5 x 16 in
$4,000.00
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Amy Adler was born and raised in New York City. She graduated from Cooper Union and received an MFA in Visual Art from UCLA and an MFA in Cinematic Arts from USC. She has had solo shows at the Museum of Contemporary Art Los Angeles, the Museum of Contemporary Art San Diego and The Aspen Art Museum as well as galleries worldwide. Her project, Amy Adler Photographs Leonardo DiCaprio, was shown at the UCLA Hammer Museum in Los Angeles in 2002. In the spring of 2005 Twin Palms Press released a monograph of her work entitled, Amy Adler Young Photographer. Her work is included in several permanent collections including The Broad Foundation, Los Angeles, The UCLA Hammer Museum, Los Angeles and The Museum of Contemporary Art Los Angeles. Amy Adler currently lives in Los Angeles and is Professor of Visual Art at the University of California San Diego.
Alexander Apostal
Think Blue, 2007
Giclee print on Hahnemuhle pearl paper
25.5 x 61 in
Edition of 25
$1,350.00
Alexander Apóstol studied photography with Ricardo Armas, and art history at the Universidad Central de Venezuela, Caracas. His focus is on the iconography of the urban landscapes in his native Venezuela and across South America, exposing fractures in modernist design. His 2012 video Chromosaturated Social Contract (Contrato colectivo cromosaturado) investigates the relationship between architecture, art, and urban planning in relation to Venezuelan history.
Carmen Argote
Bloat, 2020
Pigmented inkjet print, protein bar oil transfer, crayon, on Stonehenge Pearl Gray 250gsm Edition of 25 with 3 APs and 3 PPs
22 x 30 in
$1,200
Premiering July 22, 2020.
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Carmen Argote joins a long list of artists who have created a limited edition in support of LACE. In this new edition titled BLOAT, Argote explores notions of time, repetition, and language through mixed media, with food as a main mark-making tool. Join LACE in the unveiling of Argote’s limited edition print and a conversation between Carmen Argote and LACE Chief Curator and Director of Programming Daniela Lieja Quintanar, followed by a Q&A with guests. LACE Edition BLOAT was guided by Eric Gero Editions. Centering on the process of developing LACE edition BLOAT, Argote and Lieja Quintanar will discuss concepts of digestion, mark-making, the haptic, transferring, drawing as impulse and walking as an art practice. After revealing the LACE Edition, questions will be open to the public. “I started to work with the Rxbar/protein bars to create oil transfers that would seep the nut oils onto the paper’s surface. I would then trace these oil marks with a crayon, to reveal a sort of inherent language. I used rxbars/protein bars because of the branding structure around them and their positioning as a health food. I placed the bars from right to left onto the paper’s surface, giving them the spacing of text. The oil transfer marks looked like a written language, trying to communicate through the slow seepage of oil and the accumulation of time.” – Carmen Argote
Carmen Argote (b.1981, Guadalajara, Mexico; lives and works in Los Angeles) received her MFA in 2007 from the University of California, Los Angeles, where she also received her BFA in 2004. Recent solo exhibitions have been held at Visual Arts Center, University of Texas, Austin (2020); New Museum, New York (2019); PAOS, Guadalajara, Mexico (2019); Ballon Rouge Collective, Istanbul, Turkey (2019) and New York (2018); Instituto de Visión, Bogotá, Colombia (2018); Panel LA, Los Angeles (2017); Adjunct Positions Gallery, Los Angeles (2015); MAK Center, Los Angeles (2015); Human Resources, Los Angeles (2014); and Vincent Price Art Museum, Los Angeles (2013). Argote has been featured in group exhibitions at SculptureCenter, New York (2019); Hammer Museum, Los Angeles (2018); Orange County Museum of Art, Santa Ana (2017); Los Angeles County Museum of Art, Los Angeles (2017), Ballroom Marfa (2017); and Denver Art Museum (2017). She is the recipient of the Louis Comfort Tiffany Foundation Award (2019); Artadia Los Angeles award (2019), Artist Community Engagement Grant from the Rema Hort Mann Foundation (2015) and a California Community Foundation Fellowship for Visual Artists (2013).
John Baldessari
The Intersection Series: Statue/Bound Person, 2002
Iris print (unframed)
15 3/4 x 13 in (paper)
11 7/8 x 10 1/4 in (image)
Edition of 20
$4500 / Member: $3825
John Baldessari is a major figure in contemporary art. He has had numerous solo exhibitions including shows at the Reykjavik Art Museum in Iceland, the Marian Goodman Gallery in New York, the Sprengel Museum in Hanover, Germany, and the Margo Leavin Gallery in Los Angeles. His work has been included in group shows across the U.S. and abroad including exhibits at the Getty Museum, Los Angeles, Museu d’Art Contempoari de Barcelona, the Armand Hammer Museum in Los Angeles, and the Venice Biennial.
For this print, John Baldessari used two found images: one, a portion of a movie still that features the figure of a naked man, supine and loosely coiled in thick rope; the other, a photograph of an Art Nouveau-inspired female nude wearing nothing but a look of glee.
Jeff Burton
Untitled (K.C.), 1996, 2005
Cibachrome
9 3/4 x 14 in
Edition of 50
$750.00 / Member: $637.50
After receiving an MFA in painting from CalArts in 1989, Jeff Burton began a career as a stills photographer on the sets of adult movies. Untitled (K.C.) demonstrates Burton’s careful attention to the compositional possibilities of the pornographic scene. In K.C., as with much of Burton’s work, bodies hold more than the promise of sex – they offer the opportunity to reinvest in the urgent pleasure of looking. While genres collide and attentions wander, Burton’s work advocates for a desire that reaches beyond the proscribed boundaries of sex into the landscape of the everyday.
Jeff Burton lives in Los Angeles. He has had numerous solo shows in the U.S., Japan, and Europe. His work has also been included in many group exhibitions, including Beau Monde/Site Santa Fe 4th International Biennial (2001), curated by Dave Hickey, and Stills: Emerging Photography in the 1990s (Walker Art Center, 1997). Burton’s photographs are collected in three monographs: Untitled (Composite Press/Hougado Corp., 1998), Dreamland (powerHouse Books, 2001), and The Other Place (Twin Palms Publishers, 2005), which includes an essay by Bruce Hainley. He is represented by Casey Kaplan, New York and Sadie Coles HQ, London.
This edition was generously printed by Weldon Color Lab.
Meg Cranston
Untitled (Onion Rings), 2005
Light-jet print with matte laminate
20 x 14 in
Edition of 20
$600.00
Meg Cranston’s work often combines text and imagery from popular culture. In producing these two prints for Contemporary Editions Los Angeles, Cranston took inspiration from posters in donut shops. In contrast to the slick and highly produced product shots that are seen in mainstream food advertising, Cranston selected her subjects, onion rings and a stick for their “grubby” appeal. She made the artwork by literally putting the onion rings directly on her scanner. Same for the stick. Each artwork reflects a deep appreciation for the texture of our everyday lives.
Meg Cranston
Untitled (Stick), 2005
Light-jet print
20 x 14 in
Edition of 20
$600.00
Meg Cranston’s work often combines text and imagery from popular culture. In producing these two prints for Contemporary Editions Los Angeles, Cranston took inspiration from posters in donut shops. In contrast to the slick and highly produced product shots that are seen in mainstream food advertising, Cranston selected her subjects, onion rings and a stick for their “grubby” appeal. She made the artwork by literally putting the onion rings directly on her scanner. Same for the stick. Each artwork reflects a deep appreciation for the texture of our everyday lives.
Lawrence Gipe
Apotheosis, 1993
Lithograph (unframed)
15 x 19 1/4 in
Edition of 25
$900.00
Lawrence Gipe is an American painter. He derives his paintings from an “irredeemable” image pool of ideological photographs. Since the 1980s, every work has come from an archive of propaganda tracts, social realist photography books and other art “approved” by politically driven authorities. Appropriating imagery from photo journals and magazines from the 1930s to the 1970s, his paintings translate small black and white images into large, visually seductive color works. Radically severed from their original contexts, the intention is for these reinterpretations to actively force the spectator to reconstruct the images’ ideological significance.
Evan Holloway
Free Space Meter Boot, 2000
Steel box
18 1/4″ x 8″ x 9″ (installed interlocking)
Color photograph
8 x 10 in
Edition of 15
$1,500.00
Evan Holloway has made an object entitled Free Space Meter Boot. It is a steel box reminiscent of a Serra maquette — it is a finely scaled rectangle with an industrial patina. The box is designed to fit over a parking meter. Once in place, it cannot be removed unless the meter is actually cut away — thus offering a free (albeit temporary) parking space. Like much of Holloway’s work, this piece offers a kind of renegade hospitality or a small utopic gesture.
The steel sculpture consists of two interlocking five-sided steel boxes. Each box has a u-shaped cutout at one end with a diameter of approximately 3 1/2″. The work is installed by pressing the two box halves around meter or a single vertical pole until they snap together. Flexible 20 gauge interlocking tabs on the interior of each component prevent the box halves from being separated once installed. The sculpture has been chemically patinated on the outside and rubbed with linseed oil. Each edition includes an 8″ x 10″ color photograph documenting the installation of the Meter Boot Prototype on 29 March 2000.
Evan Holloway has had solo exhibitions at Marc Foxx, Los Angeles, where he is represented, and at Arts Commission Gallery and Galaxy Bizarre in Tacoma, WA. In addition, he has participated in such notable group shows as Standing Still & Walking In Los Angeles at Gagosian Gallery, Caught at 303 Gallery in New York, Play Mode at University of California, Irvine and University of Michigan, Ann Arbor, Brighten the Corners at Marianne Boesky in New York, Malibu Sex Party at PURPLE in Los Angeles, and Work and Progress at Los Angeles Contemporary Exhibitions.
Jim Isermann
Untitled, 2003
silver vacuum formed plastic
34 x 34 in
$750.00
Balancing composition and mathematical proportion, Jim Isermann employs methods of industrial design to create patterned murals, wall hangings, textile works, and sculptural installations. Isermann’s use of saturated color and industrial materials, such as vinyl and enamel, yield a Minimalist aesthetic that merges formal concerns with utilitarian design applications. For example, in an untitled installation made in 2000 at the Rhode Island School of Design, Isermann fabricated a tile pattern in nylon carpet, which served as the flooring of the school’s gallery space. In more recent years, Isermann has continued to explore the fusion of art and design through site-specific installations, his work often taking the form of large-scale, modular wall reliefs.
Barbara Kruger
Untitled (Platter War), 2018
Glazed Earthenware
15 in (diameter)
$6,000.00
Barbara Kruger is an American artist who challenges cultural assumptions by manipulating images and text in her photographic compositions. She attended Syracuse (New York) University and continued her training in 1966 at New York City’s Parsons School of Design. By the late 1970s Kruger had developed her trademark style: large-scale photographic works that appropriate anonymous cultural images and text and juxtapose them in unexpected ways. Kruger’s work appears in the permanent collections of several major museums, including the Whitney Museum of American Art and the Museum of Modern Art.
Barbara Kruger generously donated this artwork to Los Angeles Contemporary Exhibitions in conjunction with LACE’s 40th Anniversary in 2018. This edition is unsigned. It is Barbara Kruger’s practice not to sign her artworks.
Published by Los Angeles Contemporary Exhibitions (LACE)
Project coordination by Eric Gero Editions
Ceramic production by Creative Fire Studio
Monica Majoli
Study for “Hanging Rubberman #1”, 2005
Original lithograph with multiple plates
30 x 22 in
Edition of 20 + 2 AP
$3,500.00
Monica Majoli’s artwork hauntingly engages issues of sexuality, mortality and transcendence. Since 1999, she has created an extensive series of watercolor and gouache drawings of men engaged in forms of fetish bondage that involve the wearing of rubber suits. Majoli created this print from one of her visually arresting images of a male subject suspended vertically in a harness. Her edition employs lithography printing techniques to capture the man’s fluid, disembodied consciousness encased within the confining rubber skin.
Astrid Preston
Artist Project Prints, 2002
Silkscreen Print
30 x 38.5 in (76.2 x 97.79 cm)
10 of 50
Signed on recto
$1000.00
Astrid Preston (Swedish, b. 1945) received her B.A. in English Literature from UCLA in 1967. Her work has been exhibited in galleries and museums throughout the United States and Asia. Solo exhibitions include the Laguna Art Museum, Saginaw Art Museum, Wichita Falls Museum, Ella Sharp Museum and Arts College International. Numerous articles and reviews of her work have been published in the Los Angeles Times, Art in America and ArtForum. Preston received an NEA Fellowship Grant in Painting in 1987 and an artist residency from Lux Art Institute in 2008. Her work is in many public and private collections, including the Orange County Museum of Art, Long Beach Museum of Art, UCLA Hammer Museum, McNay Art Museum, Oakland Museum and Nevada Museum of Art. She lives and works in Santa Monica, California, where she is represented by the Craig Krull Gallery.
Jeffrey Vallance
Man & Beast, 1993
Lithograph
35 x 28.5 in (88.9 x 72.39 cm)
Edition of 50
$750.00
Jeffrey Vallance is a contemporary artist who lives and works in Los Angeles, California. Vallance received a BA in Art from California State University, Northridge, in 1979, and an MFA from the Otis Art Institute, Los Angeles in 1981. Best known for projects that blur the lines between object-making, installation, performance, curation and anthropological study, Vallance’s work has long challenged critics to define the artist’s unique multidisciplinary cross-pollination.
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Kevin Appel
House Rotation Blue: West View, North View, East View, South View, 2000
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Kevin Appel has produced an intaglio print with hand-applied aquatint and photo-engraving on Sommerset satin paper. Each edition consists of four separate images rendered in an ethereal, cool blue. The images are of an imaginary, idealized glass structure viewed from four different angles which represent a full rotation, (west, north, east, south), around the “house.” Appel’s challenge was to inspire the sense of a transparent material, glass, by subduing the opaque nature of ink and paper. This great technical challenge was overcome through layering ink in multiple printing processes and through the skills of master printer Anthony Zepeda under Appel’s direction.
Each edition is comprised of four elements of 11 3/4″ x 17 3/4″ each which hang in a straight line with approximately 4-5″ between each frame (framing instructions included). The order may begin with any print and follow the compass in a clockwise rotation (i.e., west, north, east, south or east, south, west, north, etc.). It is accompanied by an 8 1/2″ x 11″ color photocopy of a plan view from which the image was derived.
In 1999, Kevin Appel was awarded the Citibank Emerging Artist Award by the Museum of Contemporary Art, Los Angeles where Appel mounted his first solo museum show last winter. Additionally, Appel has had his work exhibited at Angles Gallery, Santa Monica; Food House, Santa Monica; South London Gallery, London; Galerie Peter Kilchmann, Zurich; Deitch Projects, New York; and Los Angeles Contemporary Exhibitions. Appel is represented by Angles Gallery in Santa Monica.
Chris Burden
Mini Skyscraper On Little Mesa, 2003
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“Mini Scraper On Little Mesa” relates both formally and conceptually to “Small Skyscraper,” the building/sculpture that was on view at Los Angeles Contemporary Exhibitions from 1 May through 27 July 2003. The edition uses one of Burden’s “Site-Possibility” drawings — a series that depicts the small skyscraper in various locations on Burden’s property in Topanga Canyon. The image of the building/mini scraper is embossed to lift it from the landscape. Printed in 4-color process, the interior of the mini scraper is green and blue and denotes the floor and glass respectively. The print is signed and numbered with finished edges and is ready to hang.
Well-known for creating work that is challenging, provocative, and even dangerous, Chris Burden has been exhibited nationally and internationally since 1971. Most recently his work appeared in a solo show titled “Bridges and Bullets” at Gagosian Gallery, Beverly Hills. He is currently a professor and Head of New Media at the University of California, Los Angeles.
Mike Kelley
Street Sign, 2004
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Martin Kersels
Angry Horde, 1998
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Much of the work of Martin Kersels embodies a humorous contrast between awkwardness and grace. Angry Horde is no exception. The piece consists of an orange tree branch with a hole drilled through it vertically from top to approximately one-third from the bottom. Threaded through the hole is a rubber hose connected to a torch head embedded in the top of the branch and, at the other end, to a small propane tank that sits on the floor. Accompanying the piece is a striker like those used in labs to ignite bunsen burners; embedded in the branch is hardware that offers the option of hanging the piece on a wall. Kersels has created an amusing, poignant, and utterly non-partisan object that can function as easily for a member of rioting mob as it can for the collector who needs an elegant poolside torch.
A multi-media visual artist, Martin Kersels’s work has been exhibited across the country and worldwide, in such shows as “Defining the Nineties: Consensus-Making in New York, Miami, and Los Angeles” at the Museum of Contemporary Art in Miami, the 1997 Whitney Biennial, “La Belle et La Bete: Un Choix de Jeunes Artistes Americains” at the Musee d’Art Moderne Ville de Paris in France. He is represented in Los Angeles by ACME.
Sharon Lockhart
Ben Gazzara, 1998
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In a rare black-and-white portrait, artist Sharon Lockhart creates a quiet yet intensely provocative character study. The subject is actor Ben Gazzara, a well-known colleague of director John Cassavettes, whose films have greatly influenced Lockhart. This photograph is unusual within the artist’s impressive body of work because of its subtle scale, which matches nearly one-to-one the size of the subject’s head. The image was captured using an 8″ x10″ camera, which offers intriguing and at times unsettling detail (including the reflection of the camera in the eyes of the subject). Like much of Lockhart’s work, this photograph invites quiet contemplation and rewards sustained viewing. The carefully calibrated size of the image, combined with the rich use of black and white, make this photograph unique — an intimate exposure of the subject in repose as well as of the artist’s passion for her mentor, the great filmmaker Cassavettes.
Sharon Lockhart’s work has been seen in numerous prestigious group exhibitions and film festivals such as “Hall of Mirrors: Art & Film Since 1945” at the Los Angeles Museum of Contemporary Art, the 1997 Whitney Biennial, Sundance film festivals, and “New Directors/New Films” at the New York Museum of Modern Art. In 2000 she will have a solo exhibition at the Museum Boijmans van Beuningen in Rotterdam. She is represented by Blum & Poe of Santa Monica.
Jason Meadows, Tony Alva
Skateboard (Deluxe), 2008
Alva deck, powder coated steel bracket, hand painted stencils and silkscreen
7 x 31 x 26″
Edition of 25
$2,000
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Jason Meadows is an artist based in Los Angeles, CA. He received his BFA from the School of the Art Institute of Chicago and his MFA from the University of California, Los Angeles, and since 1997 has exhibited his work in Los Angeles, New York, Chicago, London, Milan, and Athens. Characterized by a put-together quality, his sculptures combine abstract gesture, iconic subjects and common, everyday materials. These include sculptures of Greek mythological beings composed of particle board, a Spiderman constructed from basketball nets that represent the superhero’s characteristic web-slinging ability, and works inspired by Frankenstein, among many others. With his sculpture, Meadows also explores the idea of functionality, reconfiguring or recreating everyday objects from materials that are decidedly unsophisticated and in ways that deny their implied purpose. Tony Alva was born in 1957, in Santa Monica California. In 1968, Alva got his first surfboard and skateboard and developed a passion for surfing, skateboarding and rock-n-roll. In 1972, he joined the legendary Z-Boys skateboard team along with Jay Adams and Stacy Peralta. Alva later went on to win the Men’s World Overall Professional Skateboard Championship in 1977. In the 1980s, Tony formed the infamous “Alva Posse” and sponsors innovative skaters including: Christian Hosoi, Ray Barbee, Mark Gonzalez, Dave Duncan, Eddie Reategui, Chris Cook, John Thomas, Jeff Hartsel, Craig Johnson, John Gibson, Bill Danforth, Fred Smith III, and Jim Murphy. In 1999, he was presented the X Games Life Time Achievement Award from Tony Hawk, and in 2000, he received the Legend Award from Transworld Skateboard Magazine. Recently he was featured in the Sundance and Independent Spirit award-winning documentary “Dogtown and Z-Boys” (2002). Tony Alva was an authenticity consultant and stunt coordinator on the upcoming Sony feature film, “Lords Of Dogtown” (2005), based on his life with the Z-Boys. The first skateboarder to successfully market himself as a brand name, Tony Alva continues to own and operate the innovative Alva Skateboard Company in Oceanside, California. Considered the originator of vertical skateboarding, Alva continues to develop new technology to advance the sport he loves. Staying true to his roots, Tony Alva surfs and skates pools almost everyday.
Laura Owens
Untitled, 2002
Framed xerox transfer, watercolor, colored pencil on paper
14×10”
Ed 1 of 9 AP
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Laura Owens produced a series of monoprints, each of which combine the technology of color Xerox reproduction with unique hand-drawn touches. Each print was individually enhanced with watercolor and colored pencil to create a slightly different, yet unique image. The result is a fanciful depiction of a tree surrounded by birds perched on branches and in flight.
Laura Owens’ work has been widely exhibited nationally and internationally. Her most recent work was included in “Cave Painting” at the Santa Monica Museum of Art and “Urgent Painting” at the Musee d’Art Moderne de la Ville de Paris. She has also been included in exhibitions at Museum of Contemporary Art, Los Angeles, the Walker Art Center, the Guggenheim, New York and San Francisco Museum of Modern Art. Her first highly anticipated solo show was held at Museum of Contemporary Art, Los Angeles in 2003.
Jorge Pardo
Eucalyptus, 1997
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Jorge Pardo’s interest in the peculiar landscape of southern California and the play of modernist forms has resulted in these 135 unique botanical studies. The entire edition was made from twelve silkscreens that have been layered and reconfigured in different colors and combinations. The result is fifteen exquisite portfolios, each comprised of nine monoprints in combinations set by the artist. Because Pardo reconfigured the templates each time a print was pulled, every print — and thus every portfolio — is unique. The edition in its entirety was exhibited in “Home Sweet Home” at the Hamburg Deichtorhallen last autumn. Pardo is represented by Patrick Painter Inc., Santa Monica.
Jorge Pardo, a Cuban-born, Los Angeles-based artist, is widely known for producing artwork that combines elements of sculpture, design, and architecture. In 1998, the Museum of Contemporary Art Los Angeles unveiled one of his largest projects to date — 4166 Sea View Lane, a house in the Mount Washington area of Los Angeles that the artist designed, built, and in which he resides. Pardo’s work has been included in numerous group exhibitions around the world, including, “KolnSkulptur 1” in Cologne; “Assuming Positions” at the Institute of Contemporary Art, London; “Rooms with a View — Environments for Videos” at the Guggenheim Soho in New York, and many others.
Raymond Pettibon
Untitled, 2002
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This edition was produced for the 23rd Annual Benefit Art Auction for Los Angeles Contemporary Exhibitions.
Raymond Pettibon is a cult figure among underground music devotees for his early work associated with the Los Angeles punk rock scene. He acquired an international reputation as one of the foremost contemporary American artists working with drawing, text, and artist’s books. Pettibon is as likely to explore the subject of surfing as he is typography; themes from art history and nineteenth-century literature appear in the same breath with American politics from the 1960s and contemporary pop culture. Pettibon is represented by Regen Projects (Los Angeles) and David Zwirner (New York). Retrospectives of his work have been held at the Philadelphia Museum of Art, the Santa Monica Museum of Art, and the Museum of Contemporary Art, Los Angeles. In 2002, an exhibition of his drawings, Plots Laid Thick, was organized by the Museu d’Art Contemporani de Barcelona, Spain, and traveled to the Tokyo Opera City Art Gallery, and the Haags Gemeentemuseum in the Netherlands. Pettibon’s work was also featured at Documenta XI in Kassell, Germany. Pettibon lives and works in Hermosa Beach, California.
James Welling
Lock, 1998-2000
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James Welling has produced a new color photograph. As Welling has not worked in color photography since the early 1980s, this is very exciting return to a photographic exploration, as well as the beginning of a new body of work. The image Welling has produced is a verdant-saturated landscape, investigating his interest in the challenge of capturing the color green on film. A fastidious technician, Welling devised a technique for rendering the image by exposing three pieces of 8″ x 10″ Tri-X black-and-white film through red, green, and blue Kodak separation filters. The photograph was made by scanning the three separate negatives, then assigning them their corresponding color (R, G or B) and layering them in Photoshop®. The image was directly output to a Roland printer by Muse [x] Editions. The overall result is a composite color image of a landscape. Where the color at first glance seems plausibly “normal,” it reveals itself upon further examination to offer extraordinary color distortions. Like all of Welling’s work, what at first appears conventional and straightforward becomes odd and unexpected upon further viewing.
James Welling is a notable Conceptualist, graduating from CalArts with such other luminaries of that movement as Mike Kelley, Tony Oursler, and Matt Mullican. In his near-thirty year career, Welling has developed international success mounting solo exhibitions at the Sprengel Museum Hannover, Hannover; the Carnegie Museum of Art, Pittsburgh; the Kunstmuseum Luzern, Luzern; Metro Pictures, New York; The Arts Club of Chicago; among many others. In addition, Welling will have a major mid-career retrospective at the Museum of Contemporary Art, Los Angeles this winter. James Welling is represented in Los Angeles by Regen Projects.
