1955    Born Kenosha, Wisconsin, lives Palm Springs, CA

1977    BFA University of Wisconsin, Milwaukee

1980    MFA California Institute of the Arts, Valencia

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    Flowers, Kuhlenschmidt/Simon, Los Angeles

            Nu-Flowers, Patty Aande Gallery, San Diego, CA

1988    Kuhlenschmidt/Simon, Los Angeles 
            Josh Baer Gallery, New York

            Matching Chairs and Paintings, Feature, Chicago, IL

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    Handiwork, Feature, New York

            Handiwork, Richard Telles Fine Art, Los Angeles

            Highlights, Sue Spaid Fine Art, Los Angeles
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, IL 

            Studio Guenzani, Milan, Italy

            Ynglingagatan 1, Stockholm, Sweden 

            Robert Prime, London, UK

1998    Herringbone & Houndstooth, Richard Telles Fine Art, Los Angeles

1998–99   Fifteen: Jim Isermann Survey, curated by David Pagel, Institute of Visual Arts,   University of Wisconsin, Milwaukee; Diverse-Works Artspace, Houston, TX; The    University of North Texas Art Gallery, Denton, TX; Santa Monica Museum of Art, CA; Weatherspoon Art Gallery, University of North Carolina, Greensboro; Institute of Contemporary Art, Philadelphia, PA

1999    Vega, Le Magasin - Centre National 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, RISD Museum, Providence, RI

2001    Richard Telles Fine Art, Los Angeles 

            Feature Inc., New York

2002    Corvi-Mora, London, UK

            Hammer Projects wall installation, UCLA Hammer Museum, Los Angeles 

            Praz-Delavallade, Paris, France

2005    Corvi-Mora, London, UK 

            Deitch Projects, New York

2006    Richard Telles Fine Art, Los Angeles 

            Museum of Contemporary Art, Chicago, IL

2007    Vinyl Smash Up, 1999–2007, Deitch Projects, New York

            Jim Isermann (Chairs & Paintings, 1987), Praz-Delavallade, Paris, France

2008    Corvi-Mora, London, UK

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

            Art Kabinett, Praz-Delavallade, Art Basel, Miami Beach, FL

2011    Corvi-Mora, London, UK 

            Mary Boone Gallery, New York

2012    Reunion, Mary Boone Gallery, New York

2013    Corvi-Mora, London, UK

2014    Jim Isermann Paintings and Drawings, Richard Telles Fine Art, Los Angeles 

            Jim Isermann Paintings and Drawings, Studio Blomster, Guerneville, CA

2016    Jim Isermann. Constituent Components, organized by Henry Coleman and Rupert            Norfolk as part of the exhibition series Physical Information, Bloomberg Space, London, UK

            Jim Isermann @ Placewares: Patterns & Products, Placewares, Gualala, CA

2017    Jim Isermann Sculpture, Richard Telles Fine Art, Los Angeles

2019    My Show on Your Arm, Open Arms, Riverside, CA

2020    Jim Isermann: Copy. Pattern. Repeat., organized by Brooke Hodge, Palm Springs Art        Museum, Architecture and Design Center, Palm Springs, CA

2021    Hypercube, Praz-Delavallade, Los Angeles

2023    Miles McEnery Gallery, New York

2024    Wrapture, PDC  Design Gallery, West  Hollywood, CA

1982    Video sets for The Bangles and The Three O’Clock on MTV’s The Cutting Edge

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 (Cold Calm Press)

1986    TV Room, video screening room, Los Angeles Contemporary Exhibitions, Los Angeles       (destroyed 1994)

            Voices the character Eddie, a boy involved in a brief Oedipal story, in the Jim Shaw          animated segment “The Andersons,” part of the larger video work My Mirage

1987    Catalog cover, LA Hot & Cool: The Eighties, Massachusetts Institute of Technology,           Cambridge, MA

1988    TV Lounge, permanent installation at the American Museum of the Moving Image, Astoria, NY

1990    Calendar commissioned by Fuji Oil, Osaka, Japan

            Magazine cover, Shiny, the Magazine of the Future, New York

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 (Amethyst Press)

1992    Calendar commissioned by Fuji Oil, Osaka, Japan

1993    Los Angeles County Transportation Commission, permanent installation, Fifth Street        Station, Metro Blue Line, Long Beach, CA, commissioned 1993, completed 1995

1995    Artist project in L’Endroit Ideal (Ideal Place), ed. Eric Troncy, published by L’Ile du Roy,     Centre d’art et Jardin, Val de Reuil, France

1996    Throw, custom woven design for Art Matters

            Art & Design no. 51, Art & The Home, ed. David Greene, November– December 1996

1999    “Jim Isermann’s Top Ten,” Artforum, April

2000    Contravision, shopfront vinyl window treatment, Corvi-Mora, London, UK

2002    Wallwork, permanent installation, l.a. Eyeworks, Beverly Blvd., Los Angeles, CA 

            Suite of three silkscreen prints, Cirrus Gallery, Los Angeles, CA

            Elevator floor indicators, permanent installation in eight cans, Skadden, Arps, Slate,         Meagher, Flom, New York

            Designs a mouse pad for the Hammer Museum as a membership perk

2003    Five Pendant Chandelier and Carpet, the University of California, San  Francisco, Mission Bay Campus

            Vacuum form multiple, four panels, edition of fifty white and fifty 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 ten exterior balconies and the residential 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

2005    Vinyl link entrance mats, permanent installation, Albright-Knox Art Gallery, Buffalo, NY

            Cyber café ceiling project, Memorial Sloan Kettering Cancer Center, New York,     commissioned 2005, completed 2006

            Tilfords, a monumental architectural screen LA Metro Customer Service Center at            Wilshire and La Brea, Los Angeles, commissioned 2005, completed 2006, building demolished 2015

            Modular metal and light wall sculpture, Genomics Building, University of California,         Riverside, commissioned 2005, completed 2009

2006    Untitled (Greek Key), 200-foot-long chain link and 40,000 Put-In-Cup construction fence, UCLA Hammer Museum, Los Angeles

            Untitled, vacuum form wall, Palm Springs Art Museum, Palm Springs, CA
2007    Untitled (Love Letter to Louis Kahn), temporary installation, construction fence consisting of 15,000 Put-In-Cups and nine 8 × 10 chain link sections, Yale University Art Museum, New Haven, CT

            "Damn Everything but Sister Corita," email conversation between Pae White and Jim       Isermann, afterall.org

            Untitled (Piccadilly Line Tube Wrap), vinyl wrap of an underground train, April– October, London, UK

2008    Untitled (SEAS/ORFE), thirty-foot-long, chrome plated aluminum and illuminated acrylic sculpture for the Fisher and Partners designed Sherrerd Hall, Princeton University, Princeton, NJ, commissioned 2007, completed August 2008

2009    Crump, vacuum-formed wall commission. Stanford University, Standford, CA, commissioned 2008, installed March 2009

2010    Untitled, vacuum-formed wall, Cowboys Stadium, Arlington, TX, commissioned    2009,   installed 2010

            Untitled (Screen/Sculpture), roto-molded polyethylene and bronze anodized aluminum wall for a McKim, Mead & White residence, New York, commissioned 2009, installed March 2010

            Untitled, vinyl wall work, Museum of Contemporary Art, Los Angeles

2011    Paperworks, temporary installation of custom poster/multiple/wallpaper, St. Austell, UK

2012    Petit Five, forty roto-molded polyethylene seating modules for the courtyard of Hagerty Hall at Ohio State University, Columbus, OH, commissioned 2011, installed 2012

            Untitled, limited edition digital print for the Albright-Knox Art Gallery’s 150th Anniversary, Buffalo, NY

            I-block, two open edition projects: I-block, a color integrated concrete block system and Utility (Happy) Blanket, a custom screen printed moving/pet blanket, The Workshop Residence, San Francisco, CA.

2013    Eyewear cleaning cloth, l.a. Eyeworks, Los Angeles

            Paint Job, painted facade, Craft and Folk Art Museum, Los Angeles

2014    Untitled (Cougar Pride), nineteen 8 × 8-foot mosaic/seeded concrete panels forming a wall and plaza, University of Houston TDECU Stadium, Houston, TX
2015    Cloverleaf, custom napkins, tablecloths, and rental chair covers for the annual CalArts     REDCAT Gala, Los Angeles

            Vinyl Rug, temporary installation of sixty-four 4 × 4-foot vinyl decal area rug defining the new foyer of the Palm Springs Art Museum, Palm Springs, CA

2016    Jim Isermann @ Placewares, open edition of molded, birch plywood trays, stools and 
coasters in five sizes and four patterns, tote, bag, and coffee mug collaboration with Placewares

2017    Dawn & Dusk, limited edition yoga mat design in two colorways for Infinity Strap,            Huntington Beach, CA

            Space Invader, exterior pavers and interior vinyl wall covering, Southmead Pathology, Bristol, UKUK

2019    Guest DJ and Playlist for Sad Tuesdays, KCHUNG Radio, Los Angeles, June 12, 2019

            Untitled (David’s Ceiling), permanent installation of 196 2 × 2-foot vacuum formed          translucent panels and an off-the-shelf drop ceiling grid, Pat’s International, Guerneville, CA

            Pool (beach) Towel, limited edition 35 × 70-inch terrycloth towel in two colorways, self-  produced to coincide with Jim Isermann. Copy. Pattern. Repeat, Palm Springs Art Museum, Architecture and Design Center, Palm Springs, CA

2020    Two concrete tile designs: Polygonal, a hexagon shaped tile in three colorways and          endless compositional possibilities, and Hedge, a square tile in four colorways and multiple prescribed compositions, Tesselle, Riverside, CA

            Cover, Palm Springs Life magazine, The Modernism Issue

            Redwood + River, two reopening graphic designs for vinyl banners, window decals, and   face masks commissioned by the Russian River and Monte Rio Chambers of Commerce, funded through Creative Sonoma, Sonoma County, CA

2021    Swim trunk design for NormalNot.com

2022    Umbrella, bath towel and pin designs, plus 2 open edition prints for Open-Editions, San Francisco

2024    Book cover, Sleeping with Bashō, haiku by David Trinidad (BlazeVOX Press)

            Palm Springs Pride Monument, commissioned 2024 for a 2025 completion.

1981    Southern California Artists, curated by Barbara Haskell, LAICA, Los Angeles 

            Some Painters, Security Pacific Plaza (now Bank of America 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    Group Show, Richard Kuhlenschmidt Gallery, Los Angeles

            Cultural Excavations: Recent and Distant, curated by Robert Pincus, Japanese American   Cultural and Community Center, Los Angeles

            Spy-Tiki Modern, installation with Jeffery Vallance and Mark Kroening, 

            Fun Gallery West, San Francisco, CA

1984    LA Apocalypse, Whiteley Gallery, Los Angeles

            Furniture, Furnishings: Subject and Object, Museum of Art, Rhode Island School of           Design, Providence, RI

            Contextual Furnishings: Isermann, McMakin, Vaughn, Mandeville Art Center, University of California, San Diego, CA

            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, CA

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, curated by John Baldessari and Bruce Yonemoto, Los Angeles      Contemporary Exhibitions, Los Angeles

            Greenberg's Dilemma, Loughelton Gallery, New York

1987    Nature, Feature, Chicago, IL

            Avant-Garde in the Eighties (with Ilene Segalove), Los Angeles County Museum of Art, Los Angeles

            A Different Corner, curated by Christian Leigh, US Pavilion, I Bienal Internacional de          Pintura, Museo de Arte Moderna, Cuenca, Ecuador

            CalArts: Skeptical Belief(s), curated by Suzanne Ghez, The Renaissance Society at the       University of Chicago; Newport Harbor Museum, Newport Beach, CA

            (of Ever-Ever Land i speak, curated by Christian Leigh, Stux Gallery, New York

            L.A. Hot & Cool: The Eighties, curated by Dana Friis-Hansen, List Visual Art Center,            Massachusetts Institute of Technology, Cambridge, MA

1988    LACA Boys, Feature, Chicago, IL

            Walk out to Winter, curated by Christian Leigh, Bess Cutler Gallery, New York 

            Home Show, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA 

            After Abstract, Art Center College of Design, Pasadena, CA

            Abstract Painting: Three Sensibilities, curated by Kimberley Burleigh, Siegfried Gallery, Ohio University School of Art, Athens, OH

1989    Temporary Installations 89, Manhattan Beach Public Arts Program, Children's Section, Public Library, Manhattan Beach, CA

            Recent Work from Los Angeles, curated by Elizabeth Shepard, Cleveland Center for          Contemporary Art, Cleveland, OH

1990    Representation-non-Representation, curated by Stephen Berens, Security Pacific Gallery, Costa Mesa, CA

            Material Conceits, curated by Mark Leach, Mint Museum of Art, Charlotte, NC

            Geometric Abstraction, Marc Richards Gallery, Los Angeles

1991    Office Party, Feature Inc., New York

            The Legacy of Hank Herron, Turner & Byrne Gallery, Dallas, TX

            Presenting Rearwards, curated by Ralph Rugoff, Rosamund Felsen Gallery, Los Angeles

1992    Studio to Station: Public Art on the Metro Blue Line, FHP Hippodrome Gallery, Long          Beach, CA

            Primi Pensieri, Christopher Grimes Gallery, Santa Monica, CA 

            Roy Boyd Gallery, Santa Monica, CA

            The Rosamund Felsen Clinic and Recovery Center, curated by Ralph Rugoff, Rosamund     Felsen Gallery, Los Angeles

1993    Project Unité, curated by Yves Aupetitaillot and Robert Fleck, Unité d'habitation, Firminy, France

            Technocolor: The Future That Never Was, Christopher Grimes Gallery, Santa Monica, CA
1994    Guys Who Sew, curated by Elizabeth Brown & Fran Segal, Art Museum, University of        California, Santa Barbara, CA

            Surface de Réparation, curated by Eric Troncy, FRAC Bourgogne, Dijon, France

            LAX 94, Los Angeles Municipal Art Gallery, Los Angeles

            Forging Ahead, curated by Al Harris, State University of Buffalo, Fine Arts Gallery,            Buffalo, NY

            Three Person Exhibition (with Tom Friedman and Jennifer Pastor), Richard Telles Fine Art, Los Angeles

            Difficult Conceptualists, curated by Paul Tzanetopoulos, The Brewery, Los Angeles

            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, curated by Tony Payne, Feature, New York

            Conceptual Textiles, John Michael Kohler Arts Center, Sheboygan, WI 

            Flowers, curated by Irit Krieger, Boritzer/Gray/Hamano, Santa Monica, CA

            I Gaze a Gazely Stare, Feature, New York

            Felicity, curated by Phyllis Green, Jan Baum Gallery, Los Angeles

            Gay Men Love Chairs, curated by Cary S. Leibowitz, Shoshana Wayne Gallery, Santa         Monica

            Very, Richard Telles Fine Art, Los Angeles

            Division of Labor: Women's Work in Contemporary Art, The Bronx Museum of the Arts, New York and Museum of Contemporary Art, Los Angeles

1996    Mod Squad, curated by Michael Darling, Spanish Box, Santa Barbara

            Ab Fab, Feature Inc., New York

            Some Grids, curated by Lynn Zelevansky and Carol Eliel, Los Angeles County Museum of Art, Los Angeles

            How will we behave?, Robert Prime, London, UK

            Just Past, Selections from the Permanent Collection 1976–1996, curated by Ann Goldstein, Museum of Contemporary Art, Los Angeles

            Patterns of Excess, Beaver College Gallery, Glenside, PA

1997    Lovecraft, Centre for Contemporary Art, Glasgow, Scotland

            Sunshine and Noir: Art in L.A. 1960–1997, curated by Lars Nittve and Helle Crenzien,        Louisiana Museum of Modern Art, Humlebaek, Denmark

            Women Work: Examining the Feminine in Contemporary Painting, Southeast Center for   Contemporary Art, Winston-Salem, NC

            Fake Ecstasy with Me, Museum of Contemporary Art, Chicago, IL

            Thread, Cristinerose Gallery, New York

            Dramatically Different, Le Magasin - Centre d'art Contemporain, Grenoble, France

            Maxwell's Demon, Margo Leavin Gallery, Los Angeles

1998    LA Times, curated by Francesco Bonami, Palazzo Re Rebaudengo, Guarene, Italy

            Pop Abstraction, curated by Sid Sachs, Pennsylvania Academy of Fine Art, Philadelphia, PA

            Homemade Champagne, curated by David Pagel, Peggy Phelps Gallery and East Gallery, The Claremont Graduate University, Claremont, CA

            Weather Everything, Galerie für Zeitgenönissische Kunst Leipzig, Germany

            Roommates, Museum van Loon, Amsterdam, Netherlands 

            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, TX

            In the Midst of Things, curated by Nigel Prince and Gavin Wade, Bournville, Birmingham, UK

            This Season, curated by Gemma de Cruz, Laure Genillard Gallery, London, UK

            Objecthood 00, Hellenic-American Union, Athens, Greece

2000    Ultralounge: The Return of Social Space (with cocktails), curated by Dave Hickey, University of South Florida Contemporary Art Museum, Tampa, FL

            Haute de Forme et Bas Fonds, Fonds Régional d’Art Contemporain 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, MA

            What If ?, Moderna Museet, Stockholm, Sweden

            Made in California: Now, Los Angeles County Museum of Art, Los Angeles

            Artworkers, Oriel Mostyn Gallery, Llandudno, Wales

            Pure De(sign), Otis Gallery, Otis College of Fine Art & Design, Los Angeles

2001    Drawings, Frith Street Gallery, London, UK

            Beau Monde: Toward a Redeemed Cosmopolitanism, The Fourth International Biennial, SITE Santa Fe, New Mexico

            The Magic Hour, curated by Alex Farquharson, Neue Galerie, Graz, Austria

            Tele(visions), curated by Joshua Decter, Kunsthalle Wien, Vienna, Austria

            Patterns: Between Object and Arabesque, Kunsthallen Brandts Klaedefabrik, Odense,       Denmark

2002    Crisp, Marianne Boesky Gallery, New York

            The Galleries Show, curated by Norman Rosenthal and Max Wigram, Royal Academy of   Fine Art, London, UK

            Trespassing: Houses by Artists, curated by Cara Mullio, The Bellevue Art Museum,            Bellevue, WA and MAK Center for Art and Architecture, Los Angeles, CA; University of South Florida, Tampa, FL; Contemporary Art Museum, Blaffer Art Gallery, Houston, TX; Palm Springs Desert Museum, CA, 2003–2005.

            Now Is the Time, Dorsky Gallery, Long Island City, NY

            Five Years, Praz-Delavallade, Paris, France

            Deluxe, Plaza de España Contemporary Art Centre, Madrid, Spain

            Flatlines, Cirrus Gallery, Los Angeles

2003    Jim Isermann / Monique Prieto, Corvi-Mora, London, UK

            Variance, Angles Gallery, Los Angeles 

            The LAPD Project: The Legacy of Pattern and Decoration, Rosamund Felsen Gallery,          Santa Monica

            Contemporaries: Five Years of Grant Making in the Visual Arts/California Community 
            Foundation, RedCat Gallery, Walt Disney Concert Hall, Los Angeles

            Of the Moment: Recent  Acquisitions from the Permanent Collection, Museum of Contemporary  Art San Diego, CA

            On the Wall: Wallpaper by Contemporary  Artists, RISD Museum, Providence, RI; The       Fabric Workshop, Philadelphia, PA

2004    Formes + Signes: Jim Isermann, Daniel Pflumm, Philippe Decrauzat, John Armleder, Praz- Delavallade, Paris, France.

            Suburban House Kit: Adam Kalkin with Jim Isermann, Martin Kersels, Aernout Mik,           Tobias Rehberger, Haim Steinbach, Deitch Projects, New York

2005    In the Abstract, Angles Gallery, Santa Monica, CA

            Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, NY

            Bidibidobidiboo: La Collezione Sandretto Re Rebaudengo, Fondazione Sandretto Re          Rebaudengo, Milan, Italy

            LA, Lucas Schoormans Gallery, New York 

            Icestorm, Kunstverein, Munich, Germany 

            op…ish, Samson Projects, Boston, MA

2006    Unit Structures, organized by Pablo Lafuente, Lisboa 20, Lisbon, Portugal

2007    Painting < = > Design, organized by David Pagel, Peggy Phelps and East Galleries,             Claremont Graduate University, Claremont, CA

            PLASTIC / A Proposal of John Tremblay, 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, commissioned by Foreground, multiple sites, Frome, Somerset, UK

            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, Museum of Contemporary Art, Los Angeles

            Angels 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

            Art on the Underground: 100 Years, 100 Artists, 100 Works of Art, A Foundation Gallery, Rochelle School Arnold Circus, London, UK

            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 with Cornelia H. Butler, Museum of Modern Art, New York

            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, Museum of Contemporary Art, Los Angeles

2011    Moment—Ynglingagatan 1, curated by Thomas Ekström, Moderna Museet, Stockholm,   Sweden

2012    Post Pacific Standard Time: Three Artists from Los Angeles in the 1980s, University of C   alifornia, Riverside Sweeney Art Gallery, Riverside, CA

            Nouvelles boîtes!, Kunstmuseum Luzern, 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, Brazil

2013    Made in Space, curated by Peter Harkawik and Laura Owens, Night Gallery, Los Angeles, CA; 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    Jim Isermann and B. Wurtz, Mary Boone Gallery, New York, NY

            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    Jim Isermann & James and Tilla Waters, Corvi-Mora, London, UK

            Cut from the Same Cloth, curated by John Weston, Charlie James Gallery, Los Angeles

            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

            Super Superstudio: Radical Art and Architecture, curated by Andreas Angelidakis, Vittorio Pizzigoni, and Valter Scelsi., Padiglione d'Arte Contemporanea, Milan, Italy

            Geometric Obsession: American School 1965-2015, curated by Robert Morgan, 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, University of California, Riverside Sweeney Art Gallery, Riverside, CA

2017    I Love LA, Praz-Delavallade, Los Angeles
            Color Block, Triple V, Paris, France

            Dress Me Up, Praz-Delavallade, Paris, France

2018    Softcore, curated by Matt Paweski, South Willard, Los Angeles

            Welcome to the Dollhouse, curated by Rebecca Matalon, MOCA Pacific Design Center, Los Angeles

            West By Midwest, organized by Charlotte Ickes with Michael Darling, Museum of Contemporary Art, Chicago, IL

2020    Soft Vibrations, Praz-Delavallade, Los Angeles

            La terre est bleue comme une orange, Praz-Delavallade, Paris, France        

2022    Conversation Pit, curated by Marina Pinsky, Winona, Brussels, Belgium

            MIRROR I ЯOЯЯIM: American Self-Portraits in the Expanded Field, curated by Jonathan F. Waltz, The Bo Bartlett  Center, Columbus State University, Columbus, Georgia

            Perris, co-curated with The Fulcrum Press, Tyler Park Presents, Los Angeles

2023    Barrage I Bliss: Jessica Stockholder, Jim Isermann, Leo Koenig Inc., New York

            Shiny Happy People: Jim Isermann & Lily van der Stokker, Leo Koenig Inc., New York

2024    Geometrie a Mano, Circolo, Milan, Italy

            To Move Toward the Limits of Living: LGBTQ+ Works from the Collection, curated by 
            Robert J. Kett, Palm Springs Art Museum, Palm Springs

1984    Visual Artist’s Fellowship in sculpture from the National Endowment for the Arts

1986    Fellowship award Art Matters, Inc., New York

1987    Visual Artist’s Fellowship in painting from the National Endowment for the Arts

1999    California Community Foundation J. Paul Getty Fellowship for the Visual Arts

2001    Guggenheim Fellowship

Albright-Knox Art Gallery, Buffalo, NY 

Carnegie Museum of Art, Pittsburgh, PA

The Columbus Museum, Columbus, Georgia

Fonds Régional d’Art Contemporain Poitou-Charentes, Angouleme, France 

Le FRAC Poitou-Charentes, Poitier, France

Laguna Art Museum, Laguna, CA

Los Angeles County Museum of Art, Los Angeles

Masur Museum of Art, Monroe, LA

The Menil Collection, Houston, TX

Museum of Contemporary Art in Buenos Aires, Argentina

Museum of Contemporary Art, Chicago, IL

Museum of Contemporary Art, Los Angeles

Museum of Contemporary Art, San Diego, CA

Museum of Modern Art, New York NY

Palm Springs Art Museum, Palm Springs, CA

RISD Museum, Providence, RI

UCLA Hammer Museum, Los Angeles

San Francisco Museum of Modern Art, San Francisco, CA

Santa Barbara Museum of Art, Santa Barbara, CA

Worcester Museum of Art, Worcester, MA

Anderson, Michael. Review of Shag Paintings at Richard Kuhlenschmidt Gallery. Art Issues, February 1990, 24.

Angelidakis, Andreas, Vittorio Pizzigoni, and Valter Scelsi. Super Superstudio. Cinisello Balsamo: Silvana Editoriale, 2015.

Apfelbaum, Polly and Jeff Fleming. Women's Work: Examining the Feminine. Winston-Salem, NC: South Eastern Center for Contemporary Art, 1997.

Ashton, Dore. Home Show. Santa Barbara, CA: Santa Barbara Contemporary Arts Forum, 1988. 

Atkins, Robert. “Lesbian & Gay Whatzis.” The Village Voice, June 20, 1995, 71–72.

Auerbach, Lisa Anne. Review of Handiwork at Richard Telles Fine Art and Highlights at Sue Spaid Fine Art. Artforum, May 1994, 107.

Aupetitallot, Yves. Magasin 1986–2006. Grenoble, France: Le Magasin—Centre National d’Art Contemporain and Geneva, Switzerland: JRP/Ringier, 2005.

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Auping, Michael, David Dillon, and David Pagel. Cowboys Stadium, Architecture, Art, Entertainment in the Twenty-First Century. New York: Rizzoli International Publications, 2009.

Baldessari, John and Bruce Yonemoto. TV Generations. Los Angeles: Los Angeles Contemporary Exhibitions, 1986.

Barragán, Paco. The Art to Come. Madrid: Subastas Siglo XXI, 2001. 

Barragán, Paco. “La obra total de Jim Isermann.” Lapiz 184, 2002, 56–61.

Barreneche, R. “The Big Picture Window: iT House,” Metropolitan Home, May 2005, 9.

Belcove, Julie. “Artists Are Turning to Big, Bold Abstractions to Create Some of the Freshest Work on Canvas”, Robb Report, January 28, 2024.

Bernard, Kate. “Jim Isermann.” Evening Standard Hot Tickets, January 8, 1998, 41.

Berry, Ian and Michael Duncan. Someday is Now: The Art of Corita Kent. New York: Prestel, 2013.

Biller, Steven. “Come On, Get Happy!” Palm Springs Life, February 2020, front and back cover, 60–69.

Birnbaum, Daniel, Hudson, and Per Gunnar Gustaffson. Ynglingagatan 1: 1993–1999. Stockholm, Sweden: Moderna Museet, 2011.

Blinderman, Barry and Tom Moody. Post-hypnotic. Normal, IL: University Galleries of Illinois State University, 1999.

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Boas, Natasha. “Conversation: Patterned Perfection.” Dwell, June 2006, 122, 124, 126.

Bonami, Francesco. LA times : arte da Los Angeles nella collezione Re Rebaudengo Sandretto. Torino, Italy: Fondazione Sandretto Re Rebaudengo per l’Arte, 1998.

Bonneti, David. Review of Jim Isermann and Michelle Grabner at Gallery 16. San Francisco Examiner, Friday, December 18, 1998, B2.

Bradbury, Dominic. “Modernist Masterpiece.” Telegraph Magazine, July 5, 2008, 80–83.

Brooks, Rosetta. “Artists Run Space.” Frieze 57, March 2001, 63.

Brooks, Rosetta. “Jim Isermann and Jorge Pardo at Richard Telles.” LA Weekly, December 27, 1996–January 2, 1997, 41.

Brown, Elizabeth. A. and Fran Seegull. Guys Who Sew. Santa Barbara, CA: University Art Museum, University of California, Santa Barbara, 1994.

Buck, Louisa. “Jim Isermann.” The Art Newspaper, February 2002, 14.

Buckley, Annie. Review of Jim Isermann at Richard Telles Fine Art. Artforum.com, 2009, https:// www.artforum.com/picks/jim-isermann-22761.

Burkard, Lene. Pattern: Between Object and Arabesque. Odense, Denmark: Kunsthallen Brandts Klaedefabrik, 2001.

Bussel, David. “born to be plaid.” i-D, February 2002, 175.

Butler, Brian. “Irony Masked as Emulation.” Artweek, July 9, 1988, 6.

Cameron, Dan, Peter B. Lewis, Toby Devan, and Mark Schwartz. Artworks: The Progressive Collection.New York: D.A.P./Distributed Art Publishers, 2007.

Cappellazzo, Amy. Glee: Painting Now. Ridgefield, CT: The Aldrich Museum of Contemporary Art, 2000.

Cheek, Lawrence W., Brett Daniels and David Pagel. Cowboys Stadium, Art + Architecture. Dallas: Dallas Cowboys, 2010.

Cherix, Christophe and Véronique Yersin, eds. Plastic : Christophe Cherix & John Tremblay. Geneva: Cabinet des estampes du Musée d’art et d’histoire and JRP/Ringier, 2007.

Cohen, Edie. “‘I’ is for eye-catching.” Interior Design, July 2005, 66, 68.

Coleman, Henry, Jim Isermann, and Rupert Norfolk. Jim Isermann: Constituent Components. London: Bloomberg Space, 2016.

Columbus, Nikki, ed. Live the Art: 15 Years of Deitch Projects. New York: Rizzoli International Publications, 2014.

Coomer, Martin. “Jim Isermann.” Time Out, January 14–21, 1998, 44. 

Coomer, Martin. “Jim Isermann.” Time Out, February 20–27, 2002, 51.

Cooper, Dennis. “Jim Isermann at Patty Aande.” Art in America, May 1987, 191.

Cooper, Dennis. “Jim Isermann’s Neo-Optimism.” LA Weekly, November 12–18, 1982, 22.

Cooper, Dennis. Review of TV Lounge at the American Museum of the Moving Image. Artscribe International, January/February 1988, 83.

Cotter, Holland. “Art in Review.” The New York Times, January 14, 1994, C29.

Cotter, Holland. “Eight Artists Interviewed.” Art in America, May 1987, 166–167, 199. 

Cotter, Holland. “Jim Isermann—Fifteen.” The New York Times, October 29, 1999, E39. 

Davis, Susan A., Douglas Huebler, Catherine Lord, John Miller, Stephen Prina, Howard Singerman, and Mark Stahl. CalArts: Skeptical Beliefs. Newport Beach, CA: Newport Harbor Art Museum and Chicago: The Renaissance Society at the University of Chicago, 1988.

Decter, Joshua. “New York in Review.” Arts, February 1990, 95.

 Decter, Joshua. Tele(visions). Vienna, Austria: Kunsthalle Wien, 2001.

Decter, Joshua and Helmut Draxler. Exhibition as Social Intervention: “Culture in Action” 1993. London: Afterall, 2014.

Decter, Joshua and Olivier Zahm. “Project Unité, Firminy.” Artforum, November 1993, 91–92, 131, 138.

Dillon, Tamsin, ed. Platform for Art, Art on the Underground. London: Black Dog Publishing, 2007.

Dillon, Tamsin, ed. The Roundel: 100 Artists Remake a London Icon, Art on the Underground. London: Art/Books, 2012.

Dreishpoon, Douglas, Louis Grachos, David Pagel, and Heather Pesanti. Decade: Contemporary Collecting 2002–2012. Buffalo, NY: Albright-Knox Art Gallery, 2012.

Dressen, Anne. Decorum: Carpets and Tapestries by Artists. Paris: Skira Flammarion. 2013.

Drohojowska, Hunter. “Artists Critics Are Watching: Los Angeles, Jim Isermann.” ARTnews, May 1986, 80.

Drohojowska-Philp, Hunter. “He Will Keep You in Stitches.” The Los Angeles Times, March 20, 1994, 87, 90.

Drohojowska-Philp, Hunter. "Jim Isermann at Telles and Renee Petropoulos' Public Art." Art Talk, KCRW 89.9 FM, Thursday, May 15, 2014.

Drohojowska-Philp, Hunter. "Joe Zucker and Jim Isermann." Art Talk, KCRW 89.9 FM, March 2, 2017.

Duncan, Michael. “Beau Monde: Toward a Redeemed Cosmopolitanism.” Artforum, October 2001, 153–154.

Duncan, Michael. “From Bauhaus to Jim’s House.” Art in America, September 1999, cover, 100–103, 137.

Duncan, Michael. Review of Highlights at Sue Spaid Fine Art and Handiwork at Richard Telles Fine Art. Art in America, October 1994, 143.

Duncan, Michael. Review of Technicolor: The Future That Never Was. Frieze, November/December 1993, 62.

Farquharson, Alex. If Everybody Had an Ocean: Brian Wilson: An Art Exhibition. London: Tate St. Ives in association with Tate Publishing, 2007.

Farquharson, Alex. The Magic Hour: The Convergence of Art and Las Vegas. Graz, Austria: Neue Galerie Graz am Landesmuseum Joanneum, 2001.

Ferris, Alison. Conceptual Textiles: Material Meanings. Sheboygan, WI: The John Michael Kohler Arts Center, 1996.

Fletcher, Anne, Christiane Berndes, and Lynn George. Plug in to Play. Eindhoven, The Netherlands: Van Abbemuseum. 2009.

Fox, Howard. Avant-garde in the Eighties. Los Angeles: Los Angeles County Museum of Art, 1987.

Frank, Peter. Manhattan Beach Public Arts Program. Manhattan Beach, CA: City of Manhattan Beach, 1989.

Freund, Jesse. “Peek-a-Boo House (iT House).” Wired, April 2005, 27.

Freidman, Julia. “A Cleaner Slate.” The New Criterion, March 5, 2021, https://newcriterion.com/ blogs/dispatch/a-cleaner-slate.

Friis-Hansen, Dana. LA Hot and Cool. Cambridge, MA: MIT List Visual Art Center, 1987.

Gaztambide, Maria C. On Site: 50 Years of Public Art of the University of Houston System. London: Scala Arts Publishers, 2019.

Gladstone, Neil, moderator. “‘Space Frontiers’: Jim Isermann and Virgil Marti talk about the art of the interior.” Philadelphia City Paper, September 10–16, 1999.

Glen, Colin. “Intervention/Decoration.” Art Monthly, June 2008, 30–31. 

Gardner, Colin. “Jim Isermann.” LA Reader, October 26, 1986.

Glasner, Barbara, Petra Schmidt, and Ursula Schöndeling. Patterns 2: Art and Architecture. Boston: Birkhäuser, 2008.

Grachos, Louis and Karen Lee Spaulding. Extreme Abstraction Revisited. Buffalo, NY: Albright- Knox Art Gallery, 2012.

Greene, David A. Art and Design: Art & the Home. London: Academy Editions, 1996.

Greene, David A. “Jim Isermann.” Review of Weaves at Richard Telles Fine Art. Art + Text 53, 1996, 80.

Greene, David A. “Technicolor Hero: The Snap, Crackle, and Pop of Jim Isermann.” LA Reader, March 18, 1994, 21.

Gudis, Catherine, Sherri Schottlaender, and Edward G. Leffingwell. LAX/94: The Los Angeles Exhibition. Los Angeles : LAX, Los Angeles Exhibition, 1994.

Hainley, Bruce. Review of Fifteen. Artforum, Summer 1999, 159–160.

Hamilton, William L. “New Art’s Interior Motive.” The New York Times Design Notebook, February 3, 2000, https://archive.nytimes.com/www.nytimes.com/library/home/020300art-design. html.

Heffley, Lynne. “In the NoHo Arts District, ‘I’ stands for Isermann.” The Los Angeles Times, June 1, 2005, E18.

Heffley, Lynne. “Once-proud façade gets a saving grace.” The Los Angeles Times, October 8, 2006, E38.

Heller, Thomas. Future Furniture. Newport Beach, CA: Newport Harbor Art Museum, 1985.

Hettig, Frank-Alexander. “Sooner or Later, Everything Comes Back.” Metropolis M 6, December 1998/January 1999, 54–57.

Hickey, Dave. Beau Monde: Toward a Redeemed Cosmopolitanism. Santa Fe, NM: SITE Santa Fe, 2001.

Hickey, Dave and Jim Isermann. Jim Isermann. Los Angeles: UCLA Hammer Museum, 2002.

Hodge, Brooke. Jim Isermann: Copy. Pattern. Repeat. Palm Springs, CA: Palm Springs Art Museum Architecture and Design Center, 2020.

Hoos Fox, Judith. Furniture, Furnishings: Subject and Object. Providence, RI: Museum of Art, Rhode Island School of Design, 1984.

Hough, Jessica and Monica Ramirez-Montagut, eds. Revisiting the Glass House, Contemporary Art and Modern Architecture. New Haven: Yale University Press in association with The Aldrich Contemporary Art Museum and Mills College Art Museum, 2008.

Houston, Joe. Optic Nerve, Perceptual Art of the 1960’s. Columbus, OH: Columbus Museum of Art and New York: Merrell, 2007.

Iannaccone, Carmine. “Jim Isermann.” Art Issues, November/December 2001, 45. 

Iannaccone, Carmine. “Jim Isermann and Jorge Pardo.” Frieze 33, March–April 1997, 83–84.

Ise, Claudine. “Back and Forth: ‘Herringbone + Houndstooth.’” The Los Angeles Times, May 1, 1998, F24.

Ise, Claudine. Contemporaries: Five Years of Grantmaking in the Visual Arts. Los Angeles: California Community Foundation, 2003.

Johnson, Ken. Are You Experienced? How Psychedelic Consciousness Transformed Modern Art. New York: Prestel Publishing, 2011.

Johnson, Ken. “Jim Isermann at Feature.” Art in America, March 1991, 201.

Johnson, Ken. Review of Jim Isermann at Deitch Projects. The New York Times, September 23, 2005, E34.

Jouannais, Jean-Yves. Review of Project Unité. Art Press, July–August 1993, 80–81. 

Jusidman, Yishai. “Jim Isermann Weaves.” Poliester 1995, 56–57.

Kalmar, Stefan and Daniel Pies. Be Nice Share Everything Have Fun. Cologne, Germany: Verlag der Buchhandlung Walther König, 2010.

Kandel, Susan. “Isermann: Mutations of Art and Design.” The Los Angeles Times, March 25, 1994, F20.

Klausner, Amos. Heath Ceramics: The Complexity of Simplicity. San Francisco: Chronicle Books, 2006.

Kley, Elizabeth. “Jim Isermann at Feature.” Artnet, December 1996, http://www.artnet.com/magazine_pre2000/reviews/kley/kley12-02-96.asp.

Knight, Christopher. "A balancing act of industrial form." The Los Angeles Times, February 27, 2017, E3.

Knight, Christopher. “The Cube Redefined. Jim Isermann’s slipcovered 90’s sculptures upended an established artistic form. The  rest is queer history.” The Los Angeles Times, November 21, 2021.

Knight, Christopher. “Decals Stand Alone.” The Los Angeles Times, January 21, 2000, F26.

Knight, Christopher. "Jim Isermann gives paintings a fresh dimension." The Los Angeles Times, May 2, 2014, D 3.

Knight, Christopher. “Jim Isermann’s latest is richly mixed up.” Los Angeles Herald Examiner, June 24, 1988.

Knight, Christopher. “Lots of ‘Sunshine,’ Little Light.” The Los Angeles Times, July 27, 1997, 4–5, 85.

Knight, Christopher. “The Material Pleasures of Sculptor Isermann.” The Los Angeles Times, April 3, 1999, F1, F14.

Knight, Christopher. “The Return of Flower Power: Jim Isermann taps a rich vein of 60’s-style psychedelia.” The Los Angeles Herald Examiner, January 26, 1986.

Knight, Christopher. “Shags Show Vulgar Kind of Beauty. Isermann work: Balance without idealization.” The Los Angeles Herald Examiner, June 24, 1989.

Knight, Christopher. “Suburban Bauhaus.” Art Issues, May/June 1994, cover, 29–31.

Knight, Christopher. “‘Women’s Work’ is Never Done at MOCA.” The Los Angeles Times, October 1, 1995, 62.

Knight, Christopher, and John Burtle, Jim Isermann, Santa Fe, NM: Radius Books

Lafuente, Pablo. Review of Jim Isermann at Corvi-Mora. Art Review, May 2005, 102.

Lamprecht, Barbara. “Three Classic Houses, California.” Architectural Record, November 2003, 158–63.

Larsen, Susan C. Review of Jim Isermann at Riko Mizuno Gallery. Artforum, April 1982, 85.

Laubard, Charlotte, ed. Masterpieces. Bordeaux, France: CAPC Musée d’art contemporain de Bordeaux, Cinq Sens, 2007.

Leigh, Christian and Dennis Cooper. A Different Corner. Cuenca, Ecuador: Museo De Arte Moderno, 1988.

Leigh, Christian, et al. (of Ever-Ever Land i speak. New York: Stux Gallery, 1987. 

Lewis, James. “Home Boys.” Artforum, October 1991, 101–105.

Lieberman, Rhonda. “Handled with Care.” Frieze 41, June–August 1998, 58-61.

Lind, Maria. What If: Art on the Verge of Architecture and Design. Series of thirty-one posters. Stockholm, Sweden: Moderna Museet, 2000.

Mahoney, Robert. “New York in Review.” Arts, April 1991, 105.

Miles, Christopher. “Jim Isermann at Richard Telles Fine Art.” LA Weekly, May 15–21, 2009, 44.

Mitchell, Charles Dee. “Making the Case for Pleasure.” Art In America, November 2001, 122–129. 

Moody, Tom. Thread. New York: Christinerose Gallery, 1997.

Moody, Tom. “What You See is What You Saw.” Dallas Observer, May 9, 1991, 19. 

Morrissey, Simon. Intervention/Decoration. Frome, Somerset, UK: Foreground, 2008. 

Mullio, Cara. Trespassing: Houses × Artists. Berlin: Hatje Cantz, 2002.

Myers, Terry R. “Jim Isermann.” Lapiz, March 1991, 77.

Myers, Terry. “Painting Camp: The Subculture of Painting, the Mainstream of Decoration.” Flash Art, November/December 1994, 73–76.

Myers, Terry. Review of Handiwork at Feature. The New Art Examiner, May 1994, 47.

Nash, Steven A., et al. 75 Years, 75 Artworks: Selections from the Permanent Collection, Celebrating the Diamond Anniversary of the Palm Springs Art Museum. Palm Springs, CA: Palm Springs Art Museum, 2013.

Nichols, Kimberly. "Beyond Modernism with Artist Jim Isermann." Desert Magazine, February 2015, 82–85.

Nittve, Lars. Sunshine & Noir: Art in LA, 1960–1997. Humlebæk, Denmark: Louisiana Museum of Modern Art, 1997.

Nolert, Angelika and Kasper König. Jim Isermann: Vinyl Works. Frankfurt, Germany: Portikus Am Frankfurt, 2001.

Noor, Tausif, “Live with it,” Jim Isermann, New York: Miles McEnery Gallery, 2023.

Pagel, David. “Art to live with, full of wonder.” The Los Angeles Times, January 20, 2006, E26.

Pagel, David. “Form and Function: Jim Isermann and Jorge Pardo at Richard Telles Fine Art.”
The Los Angeles Times, Friday Nov. 29,1996, F30.

Pagel, David. Homemade Champagne. Claremont, CA: Claremont Graduate University, 1998. 

Pagel, David. “In Living Color.” Review of Technicolor: The Future That Never Was.
The Los Angeles Times, April 15, 1993.

Pagel, David. “Jim Isermann: The Best of Both Worlds,” Art + Text 57, May–July 1997, 66-73.

Pagel, David. “Jim Isermann, the Playful Wallpaperer.” The Los Angeles Times, August 30, 2002, F1, F26.

Pagel, David. “Jim Isermann’s Windows on the Imagination.” The Los Angeles Times, September 24, 1992, F4.

Pagel, David. “New York Fax.” Art Issues, May/June 1992, 25–26.

Pagel, David. Painting < = > Design. Claremont: CA: Claremont Graduate University, 2007. 

Pagel, David. “Regularly doing the impossible.” The Los Angeles Times, May 8, 2009, D12.

Pagel, David. Themes out of School: Art and Education in Los Angeles. Los Angeles: The CAA Foundation, 2000.

Pagel, David. “Weavings That Weave a Magical Spell.” The Los Angeles Times, September 22, 1995, F20.

Pagel, David and Michael Darling. Fifteen: Jim Isermann Survey. Milwaukee, WI: Institute of Visual Arts, University of Wisconsin, 1998.

Philbin, Ann, Christopher Miles, James Elaine, and Lauren Bonn. Hammer Projects 1999–2009. Los Angeles: Hammer Museum, 2009.

Pincus, Robert. “Flower Art Digs into ‘60s.” San Diego Union, December 18, 1986, C8. 

Pincus, Robert. Review of Motel Modern at the Inn of Tomorrow and Richard Kuhlenschmidt. Art in America, March 1982, 164.

Pincus, Robert. Cultural Excavations. Los Angeles: Japanese American Cultural and Community Center, 1983.

Pincus, Robert. Review of Jim Isermann at Richard Kuhlenschmidt Gallery. Artforum, October 1984, 97.

Poels, Jan-Willem. “l.a. eye candy.” Frame, September/October 2002, 72–77.

Prince, Nigel and Gavin Wade. In the Midst of Things. London: August Media Ltd, 2000.

Prohl, Undine. “Come Back to the Springs.” Decors, September–November 2002, cover, 137–48.

Rattemeyer, Christian. Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawing Collection. New York: The Museum of Modern Art, 2009.

Rattemeyer, Christian. The Judith Rothschild Foundation Contemporary Drawing Collection: Catalog Raisonné. New York: The Museum of Modern Art, 2009.

Rattenbury, Kester. “Bringing New Life to Le Corbusier’s Lost City.” Blueprint, July/August 1993. 

Reardon, Valerie. “Artworkers.” Art Monthly, April 2000, 22–23.

Riggs, Brent. Contextual Furnishings: Isermann, McMakin, Vaughn. San Diego: Mandeville Art Gallery, University of California, San Diego, 1984.

Roberts, James. “Down with the People.” Frieze, September/October 1993, 26–27.

Rosa, Joseph. Next Generation Architecture: Folds, Blobs and Boxes. New York: Rizzoli, 2003. 

Rugoff, Ralph. “Fun with Formalism.” LA Weekly, April 22-28, 1994, 33.

Rugoff, Ralph. “Pop Goes the Easel: Jim Isermann fashions the high art of low culture.” LA Style, November 1987, 135–138.

Rugoff, Ralph. Presenting Rearward. Los Angeles: Rosamund Felsen Gallery, 1993.

Rugoff, Ralph and Jim Isermann. Failed Ideals. Los Angeles: LACMTA A-R-T Program, 1995. 

Sachs, Sid. Pop Abstraction. Philadelphia, PA: Pennsylvania Academy of the Fine Arts, 1998.

Scarborough, James. Review of Technicolor: The Future That Never Was. art press, July/August 1993, 89.

Schaffner, Ingrid. Patterns of Excess. Philadelphia, PA: Beaver College Art Gallery, 1996. 

Schjeldahl, Peter. “Trend: Sweetness and Light.” The Village Voice, April 14, 1992, 105.

Schneider, Claire and Louis Grouchos. Extreme Abstraction. Buffalo, NY: Albright-Knox Museum, 2005.

Selwyn, Marc. “Jim Isermann at Richard Kuhlenschmidt.” Flash Art, January/February 1991, 136.

Seno, Ethel, et al. The MOCA Index 2010–13. Los Angeles: The Museum of Contemporary Art, 2013.

Shutt, Craig A. "Aggregate Innovation." Ascent: Designing with Precast, Spring 2015, 48–51. 

Singerman, Howard. Furnishings by Artists. Los Angeles: Otis/Parsons Gallery, 1980.

Smith, Roberta. "Made in Space." The New York Times, August 1, 2013. 

Smith, Valerie. Fictive Victims. 1981. Buffalo, NY: Hallwalls, 1981.

Spector, Nancy. “Contemplating the Void: Interventions in the Guggenheim Museum.” New York: Guggenheim Museum exhibition brochure, 2010.

Stevens, Mark. “Design Invitational.” Vanity Fair, December 1992, 200.

Tannenbaum, Judith and Jim Isermann. Jim Isermann: Logic Rules. Providence, RI: Museum of Art, Rhode Island School of Design, 2001.

Tannenbaum, Judith and Marion Boulton Stroud. On The Wall: Wallpaper by Contemporary Artists. Providence, RI: Museum of Art, Rhode Island School of Design, 2004.

Thatcher, Jennifer. Review of Jim Isermann at Corvi-Mora. Art Monthly, April 2005, 18–19.

Troncy, Éric. Dramatically Different. Grenoble, France: Centre National D’Art Contemporain, 1997.

Troncy, Éric. L'endroit Ideal (ideal place). Val de Reuil, France: L'Ile du Roy, Ventre d'Art et Jardin, 1993.

Troncy, Éric. “Naakt en Kneedbaar.” Metropolis M, Summer 1993, 33-37. Troncy, Éric. “Spotlight: Project Unité.” Flash Art, October 1993, 117.

Troncy, Éric. Surface de Reparations. Bourgogne, France: Ministere de la Culture (DRAC), 1994.

Troncy, Éric. Weather Everything. Leipzig, Germany: Galerie für Zeitgenössische Kunst and Ostfildern-Ruit: Cantz, 1999.

Tyson, Janet. “Modern Muscle.” Fort Worth Star-Telegram, May 26, 1991, E10. 

Vamiali, Sophia, et al. Objecthood 00. Athens, Greece: Hellenic American Union, 2000. 

Van Loon, Philippa. Roommates. Amsterdam: Museum van Loon, 1998.

Vena-Mondt, Carol. “Jim Isermann at the scale of Magasin.” Mag, Journal d’ Contemporain, October 1999, 2–3.

Wade, Gavin. Thin Cities: 100 Years of the Picadilly Line. London: Art on the Underground, 2008. 

Weinstein, Mathew A. Review of Jim Isermann at Josh Baer Gallery. Artforum, October 1988, 150. 

Wiscombe, Janet. “A Line of Vision.” Long Beach Press-Telegram, October 4, 1992, J1, J5.

Yee, Lydia. Division of Labor: “Women’s Work” in Contemporary Art. New York: The Bronx Museum of the Arts, 1995.

Zellen, Jody. “Cook, Herman and Isermann: ‘Soft Vibrations.’” Art Now LA, https://artnowla. com/2020/08/29/cook-herman-and-isermann-soft-vibrations/.

Zellen, Jody. “Jim Isermann, Sharon Ellis and Lynn Aldrich.” Dart International, Spring/Summer, 1999, 25.
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