Jim Isermann (original) (raw)

From Wikipedia, the free encyclopedia

American artist

Jim Isermann (born 1955, Kenosha, Wisconsin) is an American artist. He is based in Palm Springs and Guerneville, California. In 1977 he graduated from University of Wisconsin-Milwaukee and then received an MFA from CalArts in 1980. His artwork has focused on post-war industrial design and architecture.[1][2][3] He has participated in numerous exhibitions in art galleries and museum, and has also created large scale commissioned projects utilizing industrial manufacturing processes. His work has been presented in solo exhibitions at Richard Telles, Los Angeles (2017, 2014, 2009, 2000, 1998, 1994),[4] Praz-Delavallade, Paris (2010), Corvi-Mora, London (2011), Mary Boone Gallery, New York (2011 & 2012) and others. Recent commissioned projects include works for the Hammer Museum in Los Angeles, CA, Yale University Art Museum in New Haven, CT, University of California, Riverside, Los Angeles Metro, and an installation for the Cowboys Stadium in Dallas, TX.[5][6][7][8][9]

Isermann grew up in a 1922 Prairie Home in Wisconsin, and moved to Los Angeles, California to attend graduate school at Calarts. In 1997, with David Blomster, Isermann purchased a prefabricated steel and glass houses in Palm Springs that had been designed by Donald Wexler, and after refurbishing the building, eventually moved from Los Angeles to the property full time in 2000.[10][11][12][13]

Education and Teaching

[edit]

In 1977 he graduated from University of Wisconsin-Milwaukee and then received an MFA from CalArts in 1980.[14]

Isermann is a professor of Art at UC Riverside where he has taught since 2006, and has also taught at Occidental College, Otis College of Art and Design, and UCLA.[13]

In 1982 Jim Isermann created Motel Modern, an exhibition in a room at the Inn of Tomorrow, a hotel across the street from Disneyland. Isermann re-furnished the room with his own re-created 50's and 60's furniture and décor, including a giant chartreuse TV console.[15][16] Much of the discussion around Isermann's work from this period focuses on the cyclical nature of style, taste, fashion, camp and kitsch. In 1987 the Isermann stated, "My art is about fine art becoming popular culture and then coming back around to fine art."[15][17][18]

Crafts & the Construction of Pattern

[edit]

Since the 90s Isermann's work has frequently been discussed as addressing issues of style and decoration at the intersection between art and applied design.[19] Christopher Knight described "The domestic realm animates Isermann's art. He had spent the prior half-dozen years teaching himself a number of homespun craft techniques, gleaned from how-to handbooks. Stained glass panels, wall hangings of pieced fabric, woven textiles and hand-braided rugs are techniques that embrace a homey, lived-in, DIY aesthetic for objects, crossing art and design, functional and not."[11]

In a revue of Isermann's 1994 retrospective of hand made objects including, a clock, a lamp, stained glass, shag rugs, and more Lisa Anne Auerbach writes, "Though these pieces border on craft, their high quality, size, and careful fabrication gives them an industrial air. Untitled, 1989, is an eight-foot-square wall-piece, half painting and half rug-hooking. The acrylic yarn matches the enamel paint, and the design flows almost seamlessly among the different surfaces..." Arbauch goes on to write of Isermann's Quilts from 1994, "A one hundred year old, lifetime quilter could not have made seams more perfect, and if stitches were brush strokes, Dutch still lifes wouldn't even come close to the precision of these works. "[20]

Commercial Fabrication

[edit]

By the new century Iserman began increasingly incorporating commercial fabrication into the production of his work. Beginning with vinyl decals of repeating patterns that were placed on the walls like wallpaper.[21] These installations include an exhibition at the Portikus, Frankfurt, Germany in 2000, and the Hammer Museum, Los Angeles in 2002.[22]

Painting has been reoccurring mode of production for the artist since the beginning of his career. The paintings are hard edge geometric abstractions that artist produces himself with multiple layers of house paint applied by hand.[23][24][25][26]

Queer Sensibilities

[edit]

Isermann's work is frequently referred to as having a strong relationship queerness and camp.[17] In 1998 Rhonda Lieberman wrote "It's as if the artist asked: 'How faggy could I make a minimalist object?'[27] Notions of Camp are also frequently brought up in relation to Iserman's work.[23]

Iserman has contributed two panels to the NAMES Project AIDS Memorial Quilt

Iserman's work is most commonly discussed in a lineage that engages in both abstraction, referencing Jean Arp, Anni Albers and Marimekko. The artist has also frequently mentioned how Sister Corita had a significant influence on him[28] Andy Warhol had a significant impact on the artist and Iserman's vinyl wall coverings are often discussed in relation to Warhols wall paper.[15]

Selected Permanent Public Commissions

[edit]

  1. ^ "Bruce Hainley on Jim Isermann". www.artforum.com. 29 June 1999.
  2. ^ Johnson, Ken (23 September 2005). "ART IN REVIEW; Jim Isermann". The New York Times.
  3. ^ Wallach, Amei (29 November 1998). "ART/ARCHITECTURE; Vision of the Void Behind the California Sun". The New York Times.
  4. ^ "Jim Isermann - Telles Fine Arts". tellesfineart.com.
  5. ^ "Lisa Anne Auerbach on Jim Isermann". www.artforum.com. 3 May 1994.
  6. ^ Iannaccone, Carmine. "Jim Isermann and Jorge Pardo". Frieze (33).
  7. ^ a b c "Artist - Jim Isermann". www.metro.net. 23 May 2023.
  8. ^ a b Zeller, Heidi (29 June 2015). "Artwork by renowned California artist on the move!".
  9. ^ a b "Cowboys Stadium doubles as art gallery". Dallas News. 10 March 2010.
  10. ^ "Archived copy" (PDF). Archived from the original (PDF) on 2016-08-09. Retrieved 2021-12-28.{{[cite web](/wiki/Template:Cite%5Fweb "Template:Cite web")}}: CS1 maint: archived copy as title (link)
  11. ^ a b "In 1997 Jim Isermann slipcovered a Minimalist cube. The rest is queer art history". Los Angeles Times. November 12, 2021.
  12. ^ "Journeyman Architect: The Life and Work of Donald Wexler | L.A. Weekly". Archived from the original on 2019-05-31. Retrieved 2021-12-28.
  13. ^ a b "Jim Isermann on Creating Public Art". UCR Magazine.
  14. ^ "West-By-Midwest". MCA.
  15. ^ a b c "ART REVIEW : ISERMANN KNOWS HOW TO GIVE FLOWERS POWER". Los Angeles Times. January 6, 1987.
  16. ^ "ART : He Will Keep You in Stitches : Jim Isermann's world encompasses decoration, design and '50s kitsch--he's into sewing right. There's something high-end about the lowest common denominator of popular design". Los Angeles Times. March 20, 1994.
  17. ^ a b Hugo, Juan. "Division of Labor:'Women's Work' in Contemporary Art". Frieze (26) – via www.frieze.com.
  18. ^ "Susan C. Larsen on Jim Isermann". www.artforum.com. 9 April 1982.
  19. ^ Iannaccone, Carmine. "Jim Isermann and Jorge Pardo". Frieze (33) – via www.frieze.com.
  20. ^ "Lisa Anne Auerbach on Jim Isermann". www.artforum.com. 3 May 1994.
  21. ^ "At Richard Telles Fine Art, Jim Isermann's illusions stack up". Los Angeles Times. February 25, 2017.
  22. ^ "Hammer Projects: Jim Isermann | Hammer Museum". hammer.ucla.edu. 6 August 2002.
  23. ^ a b https://www.alexandergray.com/attachment/en/594a3c935a4091cd008b4568/Press/59dcf174c8d750114a829ae9 [_bare URL PDF_]
  24. ^ "CONTENTdm". artic.contentdm.oclc.org.
  25. ^ "No. 527: Jim Isermann, Women Artists in Italy, 1500-1800". December 9, 2021.
  26. ^ Friedman, Julia (5 March 2021). "A cleaner slate". newcriterion.com.
  27. ^ Lieberman, Rhonda. "Handled With Care". Frieze (41) – via www.frieze.com.
  28. ^ "Afterall - Damn Everything But Sister Corita: Pae White and Jim Isermann". Afterall.
  29. ^ "Petit Five - Columbus Makes Art". ColumbusMakesArt.com.
  30. ^ "Untitled (ORFE/SEAS) | Princeton University Art Museum".
  31. ^ "Jim Isermann on Creating Public Art". UCR Magazine.
  32. ^ "Miracle Mile Historical Photo Collection". 24 October 2010.
  33. ^ Editor (15 November 2013). "Tilford's Restaurant, circa 1949/Metro Customer Service Center, 2013".
  34. ^ Miles, Christopher (14 May 2008). "Maya Emsden". L.A. Weekly.
  35. ^ "Jim Isermann - UCSF Art Collection". artcollection.ucsf.edu.
  36. ^ Janet Wiscombe, “A Line of Vision,” Press-Telegram, October 4, pp. J1, J5