JIM ISERMANN

  • Born
    • Kenosha, Wisconsin, 1955
  • Lives
    • Palm Springs, California

Education

  • 1977
    • University of Wisconsin, Milwaukee, Wisconsin, B.F.A
  • 1980
    • California Institute of the Arts, Valencia California, M.F.A

Solo Exhibitions

  • 1981
    • “Modern Tempo,” Riko Mizuno Gallery, Los Angeles
  • 1982
    • “Motel Modern,” The Inn of Tomorrow, Anaheim CA and Richard Kuhlenschmidt Gallery, Los Angeles
    • “Patio Tempo,” Artist’s Space, New York
  • 1984
    • “Suburban,” Richard Kuhlenschmidt Gallery, Los Angeles
  • 1985
    • Installation at West Beach Cafe, Venice CA
    • “Starburst,” Onyx Cafe, Los Angeles
  • 1986
    • “Nu-Flowers,” Patty Aande Gallery, San Diego CA
    • “Flowers,” Kuhlenschmidt/Simon, Los Angeles
  • 1988
    • Kuhlenschmidt/Simon, Los Angeles
    • Josh Baer Gallery, New York
    • “Matching Chairs and Paintings,” Feature, Chicago
  • 1989
    • “Shag Ptgs,” Richard Kuhlenschmidt Gallery, Los Angeles
    • “Shag Ptgs,” Feature, New York
  • 1991
    • “Shag Paintings and Sculpture,” Feature, New York
  • 1992
    • Roy Boyd Gallery, Santa Monica CA
    • Feature, New York
  • 1994
    • “Highlights,” Sue Spaid Fine Art, Los Angeles
    • “Handiwork,” Richard Telles Fine Art, Los Angeles
    • “Handiwork,” Feature, New York
  • 1995
    • Ynglingagatan 1, Stockholm, Sweden
    • “Weaves,” Richard Telles Fine Art, Los Angeles
  • 1996
    • “CubeWeave,” Feature, New York
    • “Isermann/Pardo,” Richard Telles Fine Art, Los Angeles
  • 1997
    • Project Space, Chicago Fine Arts Club, Chicago
    • Studio Guenzani, Milan, Italy
    • Ynglingagatan 1, Stockholm, Sweden
    • Robert Prime, London
  • 1998
    • “Herringbone & Houndstooth,” Richard Telles Fine Art, Los Angeles
  • 1998-99
    • “Fifteen: Jim Isermann Survey,” Institute of Visual Arts, University of Wisconsin, Milwaukee, curated by David Pagel, (cat.); traveled to Diverse-Works Artspace, Houston; The University of North Texas Art Gallery, Denton, Texas; Santa Monica Museum of Art, California; Weatherspoon Art Gallery, University of North Carolina, Greensboro; Institute of Contemporary Art, Philadelphia, Pennsylvania (catalogue)
  • 1999
    • “Vega,” Le Magasin - Centre d’art Contemporain, Grenoble, France
    • Camden Arts Center, London, UK
  • 2000
    • Richard Telles Fine Art, Los Angeles
    • Praz-Delavallade, Paris, France
    • Portikus, Frankfurt am Main, Germany
    • “Logic Rules,” The RISD Museum, Providence, Rhode Island
  • 2001
    • Richard Telles Fine Art, Los Angeles
    • Feature Inc, New York
  • 2002
    • Corvi-Mora, London
    • “Hammer Projects,” (wall installation) UCLA Hammer Museum, Los Angeles (brochure with essay by Dave Hickey)
    • Praz-Delavallade, Paris, France
  • 2005
    • Corvi-Mora, London
    • Deitch Projects, New York, NY
  • 2006
    • Richard Telles Fine Art, Los Angeles
    • Museum of Contemporary Art, Chicago, IL
  • 2007
    • Vinyl Smash Up, 1999 – 2007. Deitch Projects, New York, NY
    • Jim Isermann (Chairs & Paintings, 1987), Praz-Delavallade, Paris, France
  • 2008
    • Corvi-Mora, London
  • 2009
    • Richard Telles Fine Art, Los Angeles
    • “Plug In #52. Lily van der Stokker and guest: Jim Isermann”, Van Abbemuseum, Eindhoven, Netherlands.
  • 2010
    • Praz-Delavallade, Paris, France
    • “Jim Isermann,” Art Kabinett, Praz-Delavallade, Art Basel Miami Beach
  • 2011
    • Corvi-Mora, London
    • “Jim Isermann”, Mary Boone Gallery, New York, NY
  • 2012
    • “Reunion”, Mary Boone Gallery. New York, NY.
  • 2013
    • Corvi-Mora, London
  • 2014
    • "Jim Isermann and B. Wurtz", Mary Boone Gallery, New York, NY
    • "Jim Isermann Paintings and Drawings", Richard Telles Fine Art, Los Angeles
    • "Jim Isermann", Studio Blomster, Guerneville, CA
  • 2015
    • "Jim Isermann & James and Tilla Waters" Corvi-Mora, London, UK.
  • 2016
    • "Jim Isermann. Constituent Components", Physical Information. Bloomberg SPACE, London, UK
    • "Jim Isermann @ Placewares: Patterns & Products" Placewares, Gualala, CA
  • 2017
    • "Jim Isermann Sculpture". Richard Telles Fine Art, Los Angeles, CA

Projects

  • 1982
    • Video sets for MTV’s “The Cutting Edge,” for the Bangles and the Three O’Clock
  • 1984
    • Art Direction and sets for Lin Hixon’s “Hey John, Did You Take the El Camino Far?,” Art of the Spectacle, Los Angeles Contemporary Exhibitions (LACE)
  • 1985
    • Book cover, “Monday, Monday,” writings by David Trinidad
  • 1986
    • “T.V. Room,” Los Angeles Contemporary Exhibitions, Los Angeles, video screening room (destroyed 1994)
  • 1987
    • Catalogue cover, “L.A. Hot & Cool,” Massachusetts Institute of Technology, Cambridge MA
  • 1988
    • “T.V. Lounge,” American Museum of the Moving Image, Astoria NY (permanent installation)
  • 1990
    • 1990 Calendar commissioned by Fuji Oil, Osaka, Japan Magazine cover, “Shiny,” New York
  • 1991
    • 1991 Calendar commissioned by Fuji Oil, Osaka, Japan
    • Silkscreen print edition published by Turner & Byrne Gallery, Dallas TX
    • Book cover, “Hand over Heart,” writings by David Trinidad
  • 1992
    • 1992 Calendar commissioned by Fuji Oil, Osaka, Japan
  • 1993
    • Los Angeles County Transportation Commission, Metro Blue Line, Fifth Street Station, Long Beach CA (permanent installation), commissioned 1993, completed
  • 1995
    • “L’Endroit Ideal (Ideal Place),” edited by Eric Troncy, published by L’Ile du Roy, Centre d’art et Jardin, Val de Reuil, France (artist’s project, pp.80-81)
  • 1996
    • “Art & The Home,” Art & Design, edited by David Greene, Vol.11 November-December 1996, pgs 82 - 89 (plus cover)
  • 1999
    • Isermann, Jim, “Jim Isermann’s Top Ten,” ARTFORUM, April, page 40
  • 2000
    • Contravision, Vinyl Window Treatment, Shopfront window, Corvi-Mora, London
  • 2002
    • Wallwork, (commissioned permanent installation), l.a. Eyeworks, Beverly Blvd., Los Angeles, CA
    • 3 silkscreen print suite, Cirrus Gallery, Los Angeles, CA
    • Elevator floor indicators (commissioned permanent installation in 8 cans), Skadden, Arps, Slate, Meagher, Flom, New York, NY
  • 2003
    • Five Pendant Chandelier and Carpet, Commission for The University of California, San Francisco, Mission Bay Campus
    • Vacuum form multiple; 4 panel multiple, edition of 50 white and 50 silver, Los Angeles Contemporary Exhibitions, Los Angeles
    • Art + Architecture, portfolio and postcard, Los Angeles Forum for Architecture and Urban Design
  • 2004
    • I – Tile; custom shaped tile commissioned for 10 exterior balcony facades and the residential interior lobby of a mixed use building in North Hollywood, CA. Tile manufactured by Heath Ceramics.
    • Upholstery Textile; commissioned by Rosenthal Einrichtung, Germany, for the “Flying Carpet” Chair
    • “IT House”; custom vinyl graphic applique for TK Architecture’s off-the-shelf featherweight aluminum and glass house, Los Angeles, CA
  • 2005
    • Vinyl Link Entrance Mats; commission for the Albright Knox Art Gallery, Buffalo, NY. (NOTE: The concurrent “Extreme Abstraction” exhibition features a decal piece. The project of the mats is a permanent installation.)
    • Memorial Sloan Kettering Cancer Center – Cyber Café Ceiling Project, New York, NY. Commissioned 2005, projected completion 2006.
    • LA Metro Customer Service Center at Wilshire and La Brea, Los Angeles, CA. Monumental architectural screen. Commissioned 2005, projected completion 2006.
    • UCR Genomics Building, modular metal and light wall sculpture, Riverside, CA. Commissioned 2005, projected completion 2009.
  • 2006
    • “Untitled (Greek Key),” 200 foot long chain link and 40,000 Put-In-Cup construction fence commissioned for the UCLA Hammer Museum, Los Angeles
    • “Untitled,” vacuum form wall commission. Palm Springs Art Museum. Commissioned early 2006, installed September 2006.
  • 2007
    • Untitled (Love Letter to Louis Kahn), Yale University Art Museum. Commissioned construction fence consisting of 15,000 put-in-cups and nine 8 x 10 chain link sections, temporary installation.
    • Damn Everything But Sister Corita. An email conversation between Pae White and Jim Isermann. Afterall.org
    • Piccadilly line Tube wrap. Vinyl wrap of an underground train, April – October 2007.
  • 2008
    • “Untitled (SEAS/ORFE),” 30 foot long, chrome plated aluminum and illuminated acrylic sculpture for the Fisher and Partners designed Sherrerd Hall, Princeton University. Commissioned 2007, completed August 2008.
  • 2009
    • “Crump”, Vacuum formed wall commission. Stanford University. Commissioned 2008, installed March 2009.
  • 2010
    • “Untitled”, Vacuum formed wall commission. Cowboys Stadium, Arlington, Texas. Commissioned 2009, installed 2010.
    • “Untitled, (Screen/Sculpture).” Site specific, roto-molded polyethylene and bronze anodized aluminum wall for private collection in an interior renovation of a McKim, Mead & White mansion, New York. Commissioned 2009, installed March 2010.
    • “Untitled”, Temporary decal lobby commission. MOCA, Museum of Contemporary Art, Los Angeles, CA.
  • 2011
    • “Paperworks” Custom poster/multiple/wallpaper, temporary installation. St. Austell, UK.
  • 2012
    • “Petit Five”, 40 roto-molded polyethylene seating modules for the courtyard of Hagerty Hall at the Ohio State University. Columbus, Ohio. Commissioned 2011, installed 2012.
    • “Untitled”, Limited edition digital print for the Albright Knox Art Gallery’s 150th Anniversary, Buffalo, NY.
    • "I-block", a color integrated concrete block system and "Utility (Happy) blanket", a custom screen printed moving/pet blanket. Two open edition products for The Workshop Residence, San Francisco, CA.
  • 2013
    • Artist-designed Eyewear Cleaning Cloth. l.a. Eyeworks.
    • "Paint Job". Craft and Folk Art Museum's Wilshire Blvd painted facade design. CAFAM, Los Angeles, CA.
  • 2014
    • "Untitled (Cougar Pride)". 19 - 8 x 8 ft mosaic/seeded concrete panels that form a wall and plaza. University of Houston Football Stadium, Houston, TX.
  • 2016
    • "Space Invader". Custom exterior pavers and interior vinyl wall covering. Southmead Pathology, Bristol, England.
    • "Cloverleaf". Custom napkins, tablecloths and rental chair covers for the annual CalArts REDCAT Gala, Los Angeles, CA. Napkins produced in two colorways by and available via open-editions.com
    • "Jim Isermann @ Placewares". Open edition molded, birch plywood trays, stools and coasters in 5 sizes and 4 patterns, tote, bag and coffee mug collaboration with Placewares.
    • "Vinyl Rug". Approximately 32' x 32', custom, temporary, 64 - 4' x 4' vinyl decal area rug defining the new foyer of the Palm Springs Art Museum. Palm Springs, CA

Selected Group Exhibitions

  • 1980
    • “Furnishings by Artists,” Otis/Parsons, Los Angeles
    • “The Young/The Restless,” Otis/Parsons, Los Angeles
  • 1981
    • “Southern California Artists,” LAICA, Los Angeles, curated by Barbara Haskell
    • “Some Painters,” Security Pacific Plaza, Los Angeles
    • “Fictive Victims,” Hallwalls, Buffalo NY, curated by Robert Longo
    • “The Fix-It-Up Show,” LACE, Los Angeles. Work altered by Jeffery Vallence and Michael Uhlenkott
  • 1983
    • Richard Kuhlenschmidt Gallery, Los Angeles
    • “Cultural Excavations: Recent and Distant,” Japanese American Cultural and Community Center, Los Angeles, curated by Robert Pincus (catalogue)
    • “Spy-Tiki Modern,” Fun Gallery West, San Francisco (installation with Jeffery Vallance and Mark Kroening)
  • 1984
    • “L.A. Apocalypse,” Whiteley Gallery, Los Angeles
    • “Furniture, Furnishings: Subject, Object,” Museum of Art, Rhode Island School of Design, Providence RI
    • “Contextual Furnishings: Isermann, McMakin, Vaughn,” Mandeville Art Center, University of California, San Diego
    • “Spies and Boyfriends,” Vickman’s Restaurant, Los Angeles
  • 1985
    • Richard Kuhlenschmidt Gallery, Los Angeles
    • "Fashion," LAICA, Los Angeles
    • "Future Furniture," Newport Harbor Art Museum, Newport Beach (catalogue); essay by Thomas Heller
  • 1986
    • "Meanwhile Back at the Ranch..." Kuhlenschmidt/Simon, Los Angeles
    • "A Southern California Collection," Cirrus Gallery, Los Angeles
    • "California Chairs," Aspen Art Museum, Aspen CO
    • "TV Generations," LACE, Los Angeles, curated by John Baldessari and Bruce Yonemoto (catalogue)
    • "Greenberg's Dilemma," Loughelton Gallery, New York
  • 1987
    • "Nature," Feature, Chicago
    • "Avant-Garde in the 80's," (with Irene Segalove), Los Angeles County Museum of Art, Los Angeles
    • "A Different Corner," US Pavilion, I Bienal Internacional de Pintura, Museo de
    • Arte Moderna, Cuence, Ecuador, curated by Christian Leigh (catalogue); essay
    • Tomorrow never Knows: Jim Isermann Flower, curated by Dennis Cooper)
    • "CalArts: Skeptical Belief(s)," The Renaissance Society at the University of Chicago; Newport Harbor Museum, Newport Beach CA, curated by Suzanne Ghez (catalogue)
    • "(of Ever-Ever Land I speak)," Stux Gallery, New York, curated by Christian Leigh
    • "L.A. Hot & Cool," List Visual Art Center, Massachusetts Institute of Technology, Cambridge MA, curated by Dana Friis-Hansen (catalogue)
  • 1988
    • "Representation-non-Representation," Security Pacific Gallery, Costa Mesa; curated by Stephen Berens (catalogue)
    • "Abstact Painting: Three Sensibilities," Siegfried Gallery, Ohio University School of Art, Athens, Ohio; curated by Kimberley Burleigh
    • 1989 "Walk Out to Winter," Bess Cutler Gallery, New York, curated by Christian Leigh
    • "LA CA Boys," Feature, Chicago
    • "Recent Work from Los Angeles," Cleveland Center for Contemporary Art Cleveland OH, curated by Elizabeth Shepard
    • "After Abstract," Art Center College of Design, Pasadena CA (catalogue)
    • "The Home Show," Santa Barbara Contemporary Arts Forum, Santa Barbara CA (catalogue)
  • 1990
    • "Temporary Installations 89," Manhattan Beach Public Arts Program, Children's Section, Public Library, Manhattan Beach CA
    • "Material Conceits," Mint Museum of Art, Charlotte NC, curated by Mark Leach (brochure)
    • "Geometric Abstraction," Marc Richards Gallery, Los Angeles
  • 1991
    • "Office Party," Feature, New York
    • "The Legacy of Hank Herron," Turner & Byrne Gallery, Dallas TX
    • "Presenting Rewards," Rosamund Felsen Gallery, Los Angeles, curated by Ralph Rugoff (catalogue)
    • 1992 "Studio to Station: Public Art on the Metro Blue Line," FHP Hippodrome Gallery, Santa Monica CA
    • "Primi Pensieri," Christopher Grimes Gallery, Santa Monica CA
    • Roy Boyd Gallery, Santa Monica CA
    • "The Rosamund Felsen Clinic and Recovery Center," Rosamund Felsen Gallery, Los Angeles CA, curated by Ralph Rugoff
  • 1993
    • "Project Unité," Unité d'Habitation, Firminy, France, curated by Yves Aupetitaillot and Robert Fleck (catalogue)
    • "Technicolor: The Future That Never Was," Christopher Grimes Gallery, Santa Monica CA
  • 1994
    • "Guys Who Sew," Art Museum, University of California Santa Barbara, curated by Elizabeth Brown & Fran Segal (catalogue)
    • "Surface de Réparation," FRAC Bourgogne, Dijon, curated by Eric Troncy
    • "LAX 94," Los Angeles Municipal Art Gallery, Los Angeles (catalogue)
    • "Forging Ahead," State University of Buffalo, Fine Arts Gallery, Buffalo NY, curated by Al Harris
    • Three Person Exhibition (with Tom Friedman and Jennifer Pastor), Richard Telles Fine Art, Los Angeles
    • "Difficult Conceptualists," The Brewery, Los Angeles, curated by Paul Tzanetopoulos
    • "Sour Ball," Sue Spaid Fine Art, Los Angeles
  • 1995
    • "Crystal Blue Persuasion," Feature, New York
    • "Smells Like Vinyl," Roger Merians Gallery, New York
    • "The Moderns," Feature, New York, curated by Tony Payne
    • "Conceptual Textiles," John Michael Kohler Arts Center, Sheboygan, WI
    • "Flowers," Boritzer/Gray/Hamano, Santa Monica CA, curated by Irit Krieger
    • "I Gaze a Gazely Stare," Feature, New York
    • "Felicity," Jan Baum Gallery, Los Angeles , curated by Phyllis Green
    • "Gay Men Love Chairs," Shoshana Wayne Gallery, Santa Monica, curated by Cary S. Leibowitz
    • "Very," Richard Telles Fine Art, Los Angeles
    • "Division of Labor: Women's Work in Contemporary Art," The Bronx Museum of the Arts, New York (catalogue). Traveled to the Museum of Contemporary Art, Los Angeles, Traveled to the Museum of contemporary Art, Los Angeles
  • 1996
    • "Mod Squad," Spanish Box, Santa Barbara, curated by Michael Darling
    • "Ab Fab," Feature, New York
    • "Some Grids," Los Angeles County Museum of Art, Los Angeles, curated by Lynn Zelevansky and Carol Eliel
    • "How will we behave?," Robert Prime, London
    • "Just Past, Selections from the Permanent Collection 1976 - 1996," Museum of Contemporary Art, Los Angeles, curated by Ann Goldstein
    • "Patterns of Excess," Beaver College Gallery, Glenside, PA
  • 1997
    • "Lovecraft," Centre for Contemporary Art, Glasgow
    • "Sunshine and Noir: Art in L.A. 1960 - 1997," Louisiana Museum of Modern Art, Humlebaek, Denmark; curated by Lars Nittve (catalogue)
    • "Women Work: Examining the Feminine in Contemporary Painting," Southeast Center for Contemporary Art, Winston-Salem, N.C.
    • "Fake Ecstasy With Me," Museum of Contemporary Art, Chicago, IL
    • "Thread," Cristenrose Gallery, New York, NY
    • "Dramatically Different," Le Magasin - Centre d'art Contemporain, Grenoble
    • "Maxwell's Demon," Margo Leavin Gallery, Los Angeles
  • 1998
    • "L.A. Times," Palazzo Re Rebaudengo, Guarene, curated by Francesco Bonami (catalogue)
    • "Pop Abstraction," Pennsylvania Academy of Fine Art, Philadelphia (catalogue), curated by Sid Sachs
    • "Homemade Champagne," Peggy Phelps Gallery and East Gallery, The Claremont Graduate University, Claremont, CA (catalogue); curated by David Pagel
    • "Weather Everything," Galerie für Zeitgenönissische Kunst Leipzig
    • "Roommates," Museum van Loon, Amsterdam
    • "Michelle Grabner & Jim Isermann," Gallery 16, San Francisco, CA
    • "Lovecraft," South London Gallery, London, UK
  • 1999
    • "Etcetera," Spacex Gallery, Exeter, UK
    • "Post-Hypnotic," The McKinney Avenue Contemporary, Dallas, Texas
    • "In the Midst of Things," Bournville, Birmingham, UK; curated by Nigel Prince and Gavin Wade
    • "This Season," Laure Genillard Gallery, London (curated by Gemma de Cruz)
    • "Objecthood 00," Hellenic-American Union, Athens, Greece
  • 2000
    • "Ultralounge: The Return of Social Space (with cocktails)," University of South Florida Contemporary Art Museum, Tampa, FL., curated by Dave Hickey.
    • "Haute de Forme et Bas Fonds," frac Poitou-Charentes, Angouleme, France
    • "From Rags to Riches," Fondation de la Tapisserie, Brussels, Belgium
    • "Work on Paper from California," Judy Ann Goldman Fine Art, Boston
    • "What If?" Modern Museum Stockholm, Sweden
    • "Made in California: Now," Los Angeles County Museum of Art.
    • "Artworkers," Oriel Mostyn Gallery, Wales
    • "Pure De(sign)," Otis Gallery, Otis College of Fine Art & Design, Los Angeles
  • 2001
    • "Drawings," Frith Street Gallery, London
    • "Beau Monde: Toward a Redeemed Cosmopolitanism," The Fourth International Biennial, Site, Santa Fe, New Mexico
    • "The Magic Hour," Neue Galerie, Graz, curated by Alex Farquharson
    • "Tele(visions)," Kunsthalle Wien, Vienna, curated by Joshua Decter (catalogue)
    • "Patterns: Between Object and Arabesque," Kunsthallen Brandts Klaedefabrik, Odense, Denmark (catalogue)
  • 2002
    • "Crisp," Marianne Boesky Gallery, New York
    • "The Gallery Show," Royal Academy of Fine Art, London, curated by Norman Rosenthal and Max Wigram
    • "Trespassing: Houses by Artist," The Bellevue Art Museum, Bellevue, Washington and MAK Center for Art and Architecture, Los Angeles, CA, curated by Cara Mullio (catalogue) (traveling exhibition)
    • "Now is the Time," Dorsky Gallery, Long Island City, NY
    • "Five Years," Galerie Praz-Delavallade, Paris
    • "Deluxe," Plaza de España Contemporary Art Centre, Madrid (catalogue)
    • "On the Wall: Wallpaper by Contemporary Artists," The RISDI Museum, Providence, RI (brochure) (traveling exhibition)
    • "Flatlines," Cirrus Gallery, Los Angeles
  • 2003
    • "Jim Isermann / Monique Prieto," Corvi-Mora, London
    • "Variance," Angles Gallery, Los Angeles, CA
    • "The LAPD Project: The Legacy of Pattern and Decoration," Rosamund Felsen Gallery, Santa Monica, CA
    • "Trespassing: Houses by Artist," University of South Florida, Contemporary Art Museum; Blaffer Art Gallery, Houston; curated by Cara Mullio (cataogue) (traveling exhibition)
    • "Contemporaries: Five Years of Grant Making in the Visual Arts/California Community Foundation," RedCat Gallery, Walt Disney Concert Hall, Los Angeles (catalogue)
    • "Of the Moment: Recent Acquisitions from the Permanent Collection," MCASD, San Diego, CA
    • "On the Wall: Wallpaper by Contemporary Artists," The Fabric Workshop, Philadelphia (traveling exhibition)
  • 2004
    • "Formes + Signes: Jim Isermann, Daniel Pflumm, Philippe Decrauzat, John Armleder," Galerie Praz Delavallade, Paris
    • "Trespassing: Houses by Artist," Blaffer Art Gallery, Houston; Palm Springs Desert Museum, CA; curated by Cara Mullio (catalogue) (traveling exhibition)
    • "Suburban House Kit: Adam Kalkin with Jim Isermann. Martin Kersels, Aernout Mik, Tobias Rehberger, Haim Steinbach," Deitch Projects, New York
  • 2005
    • "Trespassing: Houses by Artist," Palm Springs Desert Museum, CA; curated by Cara Mullio (catalogue) (traveling exhibition)
    • "In the Abstract," Angles Gallery, Santa Monica
    • "Extreme Abstraction," Albright Knox Art Gallery, Buffalo
    • "Bidibidobidiboo: La Collezione Sandretto Re Rebaudengo, Fondazione Sandretto Re Rebaudengo, Milan
    • "L.A.," Lucas Schoormans Gallery, New York
    • "Icestorm," Kunstverein, Munich
    • "op…ish," Samson Projects, Boston
  • 2006
    • "Unit Structures," organized by Pablo Lafuente for Lisboa 20, Lisbon, Portugal
  • 2007
    • Painting < = > Design. Organized by David Pagel. Peggy Phelps and East Galleries, Claremont Graduate University.
    • PLASTIC / A proposal of John Trembley. Works in vacuum-formed plastic from the 1960s to today. Cabinet des estampes, du Museé d'art et d'historie, Geneva, Switzerland.
    • If Everybody had an Ocean: Brian Wilson: An Art Exhibition. Curated by Alex Farquharson. Tate St. Ives, Cornwall, UK and CAPC Musée d'Art Contemporain, Bordeaux, France
    • Sculptors' Drawings: Ideas, Studies, Sketches, Proposals, and More. Angles Gallery, Santa Monica, CA
    • POST DEC: Beyond Pattern and Decoration. Joseloff Gallery, Hartford Art School, University of Hartford, West Hartford, CT
    • "Los Vinilos". Curated by Henry Coleman. El Basilisco, Buenos Aires, Argentina
    • "Stephanie Dafflon/Jim Isermann/Oiliver Mosset," Le Spot, Le Havre, France
  • 2008
    • "Intervention/Decoration, New contemporary art commissioned by Foreground." Multiple sites, Frome, Somerset, Great Britain, (catalog).
    • "A Colour Box," Arcade, London, UK
    • "Downtown Le Havre," Curated by le Spot. Exhibition in/on the Oscar Neimeyer designed Le Volcan's Cabaret Electrik. La Havre, France
    • "Living Box" Curated by Laurence Gateau. Frac des Pays de la Loire, Nantes, France
    • "index: conceptualism in california from the permanent collection," MOCA, Los Angeles, CA
    • "Angles in America." Curated by Terry R. Meyers. Rhona Hoffman Gallery, Chicago IL
    • "these are the people in your neighborhood," Gallery 16, San Francisco, CA
    • "20 years ago today, supporting visual artists in LA." Japanese American National Museum, Los Angeles, CA
    • "Art on the Underground: 100 Years, 100 Artists, 100 Works of Art." A Foundation Gallery, Rochelle School Arnold Circus, London
    • "Los Vinilos." Curated by Henry Coleman. Zoo Art Fair, London, UK
  • 2009
    • "yield" Curated by Dana Turkovic. Schmidt Contemporary Art, St. Louis, MO.
    • "Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection." Organized by Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator of Drawings, with Cornelia H. Butler, The Robert Lehman Foundation Chief Curator of Drawings. MOMA, the Museum of Modern Art, New York, NY.
    • "Collecting California. Selections from Laguna Art Museum." Laguna Art Museum, Laguna Beach, CA.
  • 2010
    • "Haute," curated by Roman Stollenwerk. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA
    • "Contemplating the Void: Interventions in the Guggenheim Museum," Solomon R. Guggenheim Museum, New York
    • "The Artist's Museum," MOCA, Los Angeles
  • 2011
    • Yinglingagatan 1.” Moderna Museet, Stockholm, Sweden. Curated by Thomas Ekström.
  • 2012
    • “Post Pacific Standard Time, Three Artists from Los Angeles in the 1980s”. UCR Sweeney Art Gallery, Riverside, CA.
    • “Nouvelles boîtes!”. Kunstmuseum Luzern (Museum of Art Luceren), Lucerne, Switzerland.
    • "Decade: Contemporary Collecting 2002-2012". Organized by Douglas Dreishpoon, Louis Grachos and Heather Pesanti. Albright-Knox Art Gallery, Buffalo, NY.
    • "Your History Is Our History". Curated by Rene-Julien Praz. Praz-Delavallade. Paris, France.
    • "buzz". Curated by Vik Muniz. Galeria Nara Roesler, Roesler Hotel #21, Sao Paulo, Brasil.
  • 2013
    • "Made in Space". Curated by Peter Harkawik and Laura Owens. Night Gallery, Los Angeles, CA, and a summer version at Gavin Brown's Enterprise and Venus Over Manhattan, New York.
    • "DECORUM, Carpets and Tapestries by Artists". Musee D'Art Moderne De La Ville De Paris, Paris, France.
  • 2014
    • "california dreamin', Thirty Years of Collecting". Palm Springs Art Museum, Palm Springs, CA.
    • "Philippe Decrauzat, Julian Hoeber, Jim Isermann, Johannes Wohnseifer" Praz-Delavallade, Paris, France.
  • 2015
    • "Cut From The Same Cloth" Curated by John Weston. Charlie James Gallery, Los Angeles, CA.
    • "NOWHAUS: Domestic Objects in the Modernist Tradition" Harris Gallery. University of La Verne, La Verne, CA.
    • "Recent Acquisitions & Favorites" Masur Museum of Art, Monroe, LA.
    • "Seeing The Light: Illuminating Objects" Palm Springs Art Museum, Architecture and Design Center, Palm Springs, CA.
    • "radical art and architecture, SUPER SUPERSTUDIO" Curated by Andreas Angelidakis, Vittorio Pizzigoni and Valter Scelsi. PAC, Padiglione d'Arte Contemporanea, Milan, Italy.
    • "Geometric Obsession. American School 1965-2015." Curated by Robert Morgan. MACBA - Museum of Contemporary Art in Buenos Aires, Buenos Aires, Argentina.
  • 2016
    • “Folklore Planétaire”. Curated by Arnauld Pierre. Galerie Frank Elbaz, Paris, France.
    • "Instilled Life. The Art of the Domestic Object from the Permanent Collection of the UCR Sweeney Art Gallery". UCR Sweeney Art Gallery, Riverside, CA.
  • 2017
    • "I Love L.A.". Praz-Delavallade Los Angeles, Los Angeles, CA
    • "Color Block". Triple V, Paris, France.

Selected Bibliography

  • 1982
    • Dennis Cooper, L.A. Weekly, November 12-18, p.22
    • Susan C. Larson, review, Artforum, April 1983
    • Robert Pincus, review, Art in America, March, p.164
  • 1984
    • Colin Gardner, review, L.A. Reader, October 26
    • Robert Pincus, review, Artforum, October 1986
    • Hunter Drohojowska, “Artists Critics Are Watching,” Artnews, May, p/80
    • Christopher Knight, “The Return of Flower Power,” The Los Angeles Herald Examiner, January 26
    • Robert Pincus, “Flower Art Digs Into 60’s,” San Diego Union, December 18, p. C-8
  • 1987
    • Duncan, Michael, review (Technicolor), Frieze, November/December, p. 62
    • Dennis Cooper, review, Art in America, May, p.191
    • Mathew A. Weinstein, review, Artforum, October, p.150
    • Ralph Rugoff, “Pop Goes the Easel,” LA Style, November, pp.135-138
    • Pagel, David, review, (Technicolor), Los Angeles Times, April 15
    • “News of the Print World,” Print Collectors Newsletter, Sept/Oct, pg. 143
    • Rattenbury, Kester, “Bringing New Life To Le Corbusier’s Lost City,” Blueprint
    • July/August, Cooper, Dennis, review Art In America, May, pg. 191 (reproduction)
    • Holland Cotter, “Eight Artists Interviewed,” Art in America, May, pp. 166-167, 199, (reproduction)
    • Jouannais, Jean-Yves, review (unite), Art Press, July-August, pages 80-81
  • 1988
    • Brian Butler, “Irony Masked as Emulation,” Artweek, July 9, p.6
    • Christopher Knight, The Los Angeles Herald Examiner, June 24
  • 1989
    • Dennis Cooper, review, Artscribe International, January/February, p.83
    • Sponsored page, dialogue, November/December, p.65
    • Christopher Knight, “Shags Show Vulgar Kind of Beauty,” The Los Angeles Herald Examiner, June 24
  • 1990
    • Michael Anderson, review, Art Issues, February, p.24
    • Joshua Decter, “New York in Review,” Arts, February, p.95
    • New Art, eds., Eric Himmel and others, Harry N. Abrams Inc., New York, pp.92-93
    • Ken Johnson, review, Art in America, March, p.201
    • Marc Selwyn, review, Flash Art, January/February, p.136
  • 1991
    • James Lewis, “Home Boys,” Artforum, October, pp101-105
    • Robert Mahoney, “New York in Review,” Arts, April, p.105
    • Tom Moody, review, Art Paper, July/August, p.65
    • Tom Moody, “What You See is What You Saw,” Dallas Observer, May 9, p.19
    • Terry R. Myers, review, LAPIZ, March, p.77
    • Janet Tyson, “Modern Muscle,” Fort Worth Star-Telegram, May 26, section E, p.10
    • Anderson, Michael, review, Art Issues, February, page 24
    • Johnson, Ken, Art in America, March, page 201
    • Selwyn, Marc, review, Flash Art, January/February, page 136
  • 1992
    • David Pagel, “New York Fax,” Art Issues, May/June, pp. 25-26
    • David Pagel, The Los Angeles Times, September 24, p.F4
    • Peter Schjedahl, “Trend: Sweetness and Light,” The Village Voice, April 14, p.105
    • Mark Stevens, “Design Invitational,” Vanity Fair, December, p.200
    • Janet Wiscombe, “A Line of Vision,” Press-Telegram, October 4, pp. J1, J5
  • 1993
    • Joshua Decter and Olivier Zahm, Artforum, November, pp. 91-92;131;138
    • Michael Duncan, review (Technicolor), Frieze, November/December, p.62
    • Jean-Yves Jouannais, review (Unité), Art Press, July/August
    • David Pagel, review (Technicolor), The Los Angeles Times, April 15
    • News of the Print World,” Print Collector’s Newletter, September/October, p.143
    • Kester Rattenbury, “Bringing New Life to Le Corbusier’s Lost City,” Blueprint, July/August
    • James Roberts, “Down With the People,” Frieze, September/October, pp.26-27
    • James Scarborough, review (Technicolor), art press, July/August, p.89
    • Eric Troncy, “Spotlight: Project Unité,” Flash Art, October, p.117
    • Eric Troncy, “Naakt en Kneedbaar,” Metropolis M, number 3, pp.33-37
  • 1994
    • Lisa Anne Auerbach, review, Artforum, May, p.107
    • Holland Cotter, “Art in Review,” The New York Times, January 14, p. C29
    • Michael Duncan, review, Art in America, October p.143
    • Hunter Drohojowska-Philp, March 20, pp.87;90
    • David A. Greene, “Critics Choice,” Los Angeles Times Los Angeles Reader, September 29, p.14
    • David A. Greene, “Technicolor Hero,” Los Angeles Reader, March 18, p.21
    • Susan Kandel, Los Angeles Times, March 25, p.F20
    • David Pagel, Los Angeles Times, September 22, p.F20
    • Christopher Knight, “Suburban Bauhaus,” Art Issues, May/June, cover and pp.29-31
    • Kim Levin, “Art in Brief,” The Village Voice, February 8, p.72
    • Terry Myers, review, The New Art Examiner, May, p.47
    • Terry Myers, “Painting Camp,” Flash Art, November/December, pp.73-76
    • Ralph Rugoff, “Fun with Formalism,” LA Weekly, April 22-28, p.33
  • 1995
    • Robert Atkins, “Lesbian & Gay Wahtzis,” The Village Voice, June 20, pp.71-72
    • Christopher Knight, “Women’s Work is Never Done at MOCA,” Los Angeles Times, October 1, p.62
    • David Pagel, “Weaves That Weave A Magic Spell,” Los Angeles Times, September 22, p. F20
  • 1996
    • David Pagel, Los Angeles Times, Friday Nov. 29, p.F30
    • Elizabeth Kley, Artnet Worldwide, (www.artnet.com), December
    • Rosetta Brooks, LA Weekly, December 27 - 2 January p. 41
  • 1997
    • Christopher Knight, “Lots of Sunshine, Very Little Light,” Los Angeles Times, July 27, pp.4, 5, 85
    • Carmine Iannacone, “Jim Isermann & Jorge Pardo,” Frieze, March - April
    • Maia Damiancovic, “Painting Beyond Limits,” Tema Celeste, March - April, p. 111
    • David Pagel, Jim Isermann “The Best of Both Worlds,” Art & Text, no. 57, May - July, pp. 66-73
  • 1998
    • Bonneti, David, Review, San Francisco Examiner, Friday, December 18, p. B2
    • Hettig, Frank-Alexander, “Sooner or Later, Everything comes Back,” Metropolis M, Dec/Jan 1998/1999, pp. 54-57
    • Martin Coomer, “Jim Isermann,” Time Out, January 14-21, p.44
    • Kate Bernard, “Jim Isermann,” Evening Standard: ‘Hot Tickets,’ January 8, p.41
    • Ise, Claudine, Los Angeles Times, May 1, page F24
    • Rhonda Lieberman, “Handled with Care,” Frieze, no. 41, June-August, pp. 58-61
    • Jim Isermann, Fifteen, Institute of Visual Arts, University of Wisconsin-Milwaukee
  • 1999
    • Christopher Knight, “The Material Pleasures of Sculptor Isermann,” Los Angeles Times, April 3, pp. F1 & F12
    • “Weather Everything,” Galerie für Zeitgenössische Kunst Leipzig, Cantz
    • Bruce Hainley, review of “Fifteen,” Artforum, Summer, pp159-160
    • Vena-Mondt, “Jim Isermann at the scale of Magasin,”Mag,” October, pp. 2-3
    • Cotter, Holland, Review (“15”), The New York Times, Oct 29, page B37
    • Duncan, Michael, “From Bauhaus to Jim’s House,” Art in America, cover and pages 100-103, 137
    • Zellen, Jody, “Fifteen: Jim Isermann Survey, “ d’ Art International, Spring/Summer, page 25
  • 2000
    • “Datebook,” The New York Times, (Providence, RI, edition), Dec. 1
    • William L. Hamilton, “New Art’s Interior Motive,” The New York Times, Thursday February 3, Design Notebook Section
    • Valerie Reardon, “Artworkers,” Review, Art Monthly, April 2000, p.22-23
  • 2001
    • Rosetta Brooks, “Artists Run Space,” Frieze, March 2001, p.63
    • Michael Duncan, “Beau Monde: Toward a Redeemed Cosmopolitanism,” Artforum, October, pp. 153-154
    • Charles Dee Mitchell, “Making the Case for Pleasure,” Art In America, November, p.122-129
    • Carmine Iannaccone, “Jim Iserman,” Art Issues, November/December 2001, p.45
  • 2002
    • Pagel, David, “Jim Isermann, the Playful Wallpaperer,” Los Angeles Times, August 30, pgs. F1 & F26
    • Stephen Mitchell, “Jim Isermann,” Evening Standard, January 14, p.51
    • David Bussel, “born to be plaid,” i-D, February, p.175
    • Louisa Buck, “Jim Isermann,” The Art Newspaper, February, p.14
    • Morgan Falconer, “Jim Isermann,” What’s On, February 13-20, p.24
    • Martin Coomer, “Jim Isermann,” Time Out, February 20-27, p.51
    • Paco Barragán, “The Art To Come,” pp.142-143
    • Paco Barragán, “La obra total de Jim Isermann,” Lapiz, Issue 184, pp.56-61
    • Jan-Willem Poels, “l.a. eye candy,” Frame, September/October, pp.72-77
    • Michael Webb, “Los Angeles Insight,” Domus, October, Issue 852, pp.136-143
    • Prohl, Undine, “Come Back to the Springs,” DECORS, September, October, November, cover and pp.137-48
  • 2003
    • Middleton, William, “The New Mod Squad: Reviving the 60’s,” Harper’s Bazaar, September, pp. 384-89
    • Lamprecht, Barbara, “Three Classic Houses, California,” Architectural Record, November, pp.158-63
    • Rosa, Joseph, “Next Generation Architecture: Folds, Blobs and Boxes,” Rizzoli, pp. 6, 7, 68 -71
  • 2004
    • Gordon, Alistair, “Absolutely prefab,” The New York Times, Home Design Magazine, Spring, pp. 100-103
  • 2005
    • “iT House,” WIRED, April, p. 27
    • Thatcher, Jennifer, Review, Art Monthly, April, No. 285, pp.18-19.
    • Lafuente, Pablo, Review, Art Review, May, Vol. LVI, p. 102.
    • “iT House” Metropolitan Home, May, p. 9
    • Heffley, Lynne, “In the NoHo Arts District, “I” stands for Isermann” Los Angeles Times, p. E18, June 1, 2005
    • Aupetillot, Yes. Magasin 1986-2006, Le Magasin – Centre National d’Art
    • Contemporain, JRP/Ringier, pp. 70-73 & 157, 2005.
  • 2006
    • Pagel, David, Art to live with, full of wonder, Los Angeles Times, p. E26. Friday, January 20, 2006.
    • Boas, Natasha. Dwell magazine. Conversation: Patterned Perfection. Pp. 122, 124 & 126, June 2006.
    • Heffley, Lynne, Once-proud façade gets a saving grace, Los Angeles Times, p. E38, Sunday October 8, 2006.
    • Klausner, Amos. Heath Ceramics, The Complexity of Simplicity, Chronicle Books, (192 pages) p. 118, 2006.
  • 2007
    • Goodbody, Bridget L., Jim Isermann, The New York Times, p. E31. Friday, July 13, 2007.
    • Pagel, David. Painting < = > Design, Claremont Graduate University, (54 pages) pp. 31-34, 2007.
    • Cherix, Christophe and Tremblay, John. PLASTIC / A proposal of John Trembaly, Cabinet des estampes du Musée d’art et d’histoire, Geneva, jrp/ringier, (64 pages) pp. 20 & 21, 2007.
    • Fraquharson, Alex. If Everybody Had An Ocean: Brian Wilson: An Art Exhibition. Tate St. Ives in association with Tate Publishing, a division of Tate Enterprises Ltd, Millbank, London. (pamphlet , portfolio, poster, sleeve and album jacket, 14 pages), 2007.
    • Houston, Joe. Optic Nerve, Perceptual Art of the 1960’s, Columbus Museum of Art /Merrell. (208 pages) pp. 159 & 160, 2007.
    • Laubard, Charlotte, ed. Masterpieces, CAPC Musée d’art contemporain de
    • Bordeau, Cinq Sens, (240 pages) pp. 210 & 211, 2007.
    • Dillon, Tamsin, ed. Platform for Art, Art on the Underground. Black Dog Publishing Limited, (172 pages) pp. 41 & 110, 2007.
    • Cameron, Dan, Lewis, Peter B., Lewis, Toby Devan, Morrison, Toni, and Schwartz, Mark.
    • ARTWORKS, The Progressive Collection, D.A.P./Distributed Art Publishers, Inc. (292 pages) p. 54, 2007.
  • 2008
    • Glasner, Barbara, Schmidt, Petra, Schöndeling, Ursula, eds. Patterns 2. Art and Architecture. Birkhäuser Verlag AG, (335 pages) pp. 172-175, 2008.
    • Morrissey, Simon. Intervention/Decoration, (28 pages) pp. 14, 15 & 20, 2008.
    • Glen, Colin. Intervention/Decoration, Art Monthly, pp. 30 & 31, June, 2008.
    • Bradbury, Dominic. Modernist Masterpiece. Telegraph Magazine, pp. 80-83, July 5, 2008.
    • Wade, Gavin. Thin Cities. Art on the Underground. (88 pages) pp. 70-77, 87 and dust jacket. 2008
    • Hough, Jessica, Ramirez-Montagut, Monica. “Revisiting the Glass House,
    • Contemporary Art and Modern Architecture”. The Aldrich Contemporary Art Museum, Mills College Art Museum, Yale University Press. (134 pages) pp. 90-93, 130. 2008
  • 2009
    • Buckley, Annie. “Jim Isermann. Richard Telles Fine Art”, 'artforum.com/picks
    • Pagel, David. “Regularly doing the impossible.” Los Angeles Times, p. D12, May 8, 2009.
    • Miles, Christopher. “Jim Isermann at Richard Telles Fine Art.” LA Weekly, p. 44, May 15-21, 2009.
    • Rattemeyer, Christian. “Compass in Hand. Selections from The Judith Rothschild Foundation Contemporary Drawing Collection.” The Museum of Modern Art, New York. (320 pages) p. 222, 2009.
    • Rattemeyer, Christian. “The Judith Rothschild Foundation Contemporary Drawing Collection. Catalog Raisonné” The Museum of Modern Art, New York. (296 pages) pp. 32, 33 + 153, 2009.
    • “Hammer Projects 1999 – 2009” Hammer Museum, University of California Los Angeles. (428 pages) Cover and pp. 158 – 161, 2009.
    • “Collecting California: Selections from Laguna Art Museum” Laguna Art Museum. (144 pages). p. 107, 2009
  • 2010
    • Spector, Nancy. “Contemplating the Void: Interventions in the Guggenheim Museum.” 8 page exhibition brochure.
    • Cheek, Lawrence W., Daniels, Brett and Pagel, David, “Cowboys Stadium, Art + Architecture” (60 pages) pp. 30 & 31.
    • Auping, Michael, Dillon, David and Pagel, David. “Cowboys Stadium, Architecture, Art, Entertainment in the Twenty-First Century” Rizzoli International Publications. (188 pages) Back cover, pp 58, 59, 75, 79, 106, 107 & 183.
    • Berndes, Christiane. “Plug In to Play” Vanabbemuseum. (112 pages) p.70.
    • Art Basel Miami Beach, 2-5 Dec 2010, Art Kabinett, catalog. (50 pages) pp. 40 & 41.
    • Kalmar, Stefan and Pies, Daniel. "Be Nice Share Everything Have Fun" Kunstverein Munich. Verlag der Buchhandlung Walther Konig, Cologne, Germany. 2 pages.
  • 2011
    • Davis, Jeff. “Foundations of Design.” Wadsworth Cengage Learning. (134 pages) p. 3.
    • Johnson, Ken. “Are You Experienced? How Psychedelic Consciousness Transformed Modern Art.” Prestel Publishing. (240 pages) frontispiece.
    • “Yinglingagatan 1. 1993-1999.” Moderna Museet, Stockholm, Sweden. (214 pages) pp. 46, 47, 86, 92, 93, 104, 105 & 194.
  • 2012
    • Dillon, Tamsin, ed. "The Roundel, 100 Artists Remake a London Icon". Art on the Underground. Art/Books. (160 pages) pp. 67 & 149.
    • Dreishpoon, Douglas; Grachos, Louis; Pagel, David; Pesanti, Heather. "Decade: Contemporary Collecting 2002-2012". Albright-Knox Art Gallery, Buffalo, NY. pp. 14, 29, 45, 260, 261, 268, 298, 307, 337 & 391.
    • Grachos, Louis and Spaulding, Karen Lee. "Extreme Abstraction Revisited". Albright -Knox Art Gallery, Buffalo, NY. (194 pages) pp. 10, 130, 132 & 133.
  • 2013
    • Russeth, Andrew. "'Made In Space' at Gavin Brown's Enterprise and Venus Over Manhattan". online at GalleristNY. July 23, 2013.
    • Smith, Roberta. "Made In Space", The New York Times. August 1, 2013.
    • Berry, Ian and Duncan, Michael. "Someday is Now, The Art of Corita". The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Sarasota Springs, NY. (254 pages) p. 178.
    • "DECORUM, Carpets and Tapestries by Artists". Musee D'Art Moderne De La Ville De Paris, Paris, France. Skira Flammarion. (224 pages) p.18.
    • Nash, Steven A., Cornell, Daniell, Giles, Christine, Gladstone, Mara, Hough, Katherine Plake, Williams, Sidney. "75 years, 75 artworks: selections from the permanent collection, celebrating the diamond anniversary of the Palm Springs Art Museum". Palm Springs Art Museum, Palm Springs, CA. (176 pages) pp. 100 &101.
    • "The MOCA Index 2010-13" The Museum of Contemporary Art, (212 pages) p. 14.
  • 2014
    • Plake Hough, Katherine. "california dreamin': Thirty Years Of Collecting". Palm Springs Art Museum, Palm Springs, CA. (48 pages) pp. 26 + 27.
    • Knight, Christopher. "Jim Isermann gives paintings a fresh dimension" LA Times. May 2, 2014, section D, page 3.
    • Drohojowska-Philip, Hunter. "Jim Isermann at Telles and Renee Petropoulos' Public Art" Art Talk on KCRW 89.9 FM. Thursday, May 15, 2014.
    • Decter, Joshua, Draxler, Helmut. "Exhibition as Social Intervention 'Culture in Action' 1993" Exhibition Histories, An After all Book. (224 pages) pp. 60 + 61.
    • Columbus, Nikki, editor. "Live the Art. 15 Years of Deitch Projects" Rizzoli International Publications, Inc. (450 pages) pp. 160, 180, 181, 183, 226, 227, 294 & 295.
    • Clarke, Simon. "Print: Fashion, Interiors, Art" Laurence King Publishing Ltd. (272 pages) pp. 214 - 221.
  • 2015
    • Nichols, Kimberly. "Beyond Modernism with artist Jim Isermann" Desert Magazine, February 2015, pp. 82 - 85.
    • Shutt, Craig A. "Aggregate Innovation" ASCENT Designing with Precast. Precast/Prestressed Concrete Institute. Spring 2015. pp. 48 - 51.
    • Angelidakis, Andreas; Pizzigoni, Vittorio; Scelsi,Valter. "Super Superstudio" Padiglione d'Arte Contemporanea, Silvana Editoriale, 2015. (336 pages) pp. 17, 299 & 316.
  • 2016
    • Coleman, Henry; Isermann, Jim; Norfolk, Rupert. "Jim Isermann. Constituent Components" Physical Information, Bloomberg SPACE. 24 pages.
  • 2017
    • Knight, Christopher. "A balancing act of industrial form" Los Angeles Times, February 27, 2017, section E, Page 3.
    • Drohojowska-Philip, Hunter. "Joe Zucker and Jim Isermann" Art Talk on KCRW 89.9 FM. Thursday, March 2, 2017.

Awards

  • 1984
    • National Endowment for the Arts, Visual Artist’s Fellowship, Sculpture
  • 1986
    • Art Matters, Inc., New York, NY, Fellowship
  • 1987
    • National Endowment for the Arts, Visual Artist’s Fellowship, Painting
  • 1999
    • California Community Foundation, J.P. Getty Fellowship for the Visual Arts
  • 2001
    • Guggenheim Fellowship

Permanent Collections

    • Albright-Knox Art Gallery, Buffalo, NY
    • Art Institute of Chicago, Chicago, IL
    • Carnegie Museum of Art, Pittsburgh, PA
    • CU Art Museum, University of Colorado, Boulder CO
    • Le FRAC Poitou-Charentes, Poitier, France
    • FNAC, Fonds National d’Art Contemporain, France
    • LACMA, Los Angeles County Museum of Art, Los Angeles CA
    • Laguna Art Museum, Laguna, CA
    • Masur Museum, of Art, Monroe, LA
    • The Menil Collection, Houston, TX
    • MACBA, Museum of Contemporary Art in Buenos Aires, Argentina
    • MCA, Museum of Contemporary Art, Chicago IL
    • MOCA. Museum of Contemporary Art, Los Angeles CA
    • MCASD, Museum of Contemporary Art, San Diego, CA
    • MOMA, Museum of Modern Art, New York NY
    • Palm Springs Art Museum, Palm Springs, CA
    • RISD Museum, Providence, RI
    • SBMA, Santa Barbara Museum of Art, Santa Barbara, CA
    • SFMOMA, San Francisco Museum of Modern Art, San Francisco, CA
    • UCLA Hammer Museum, Los Angeles, CA
    • UCR Sweeney Art Gallery, Riverside, CA
    • Van Abbemuseum, Eindhoven, Netherlands
    • Worcester Museum of Art, Worcester MA