Lynn Aldrich

Last updated
Lynn Aldrich
Born1944
Bryan, Texas, United States
NationalityAmerican
Education Art Center College of Design; California State University, Northridge; University of North Carolina, Chapel Hill
Known forSculpture, installation, public art
Awards Guggenheim Fellowship, J. Paul Getty Trust, City of Los Angeles (COLA)
Website Lynn Aldrich
Lynn Aldrich, Breaker, steel, wood, fiberglass, garden hoses, 36" x 32" x 50", 1999. Collection of Los Angeles County Museum of Art. Lynn Aldrich Breaker 1999.jpg
Lynn Aldrich, Breaker, steel, wood, fiberglass, garden hoses, 36" x 32" x 50", 1999. Collection of Los Angeles County Museum of Art.

Lynn Aldrich (born 1944) is an American sculptor whose diverse works draw on a wide range of high and low cultural influences and materials. [1] [2] [3] [4] Her work can range from what art writers describe as "slyly Minimalist meditations" on color, light and space [5] to whimsical "Home Depot Pop" [3] that reveals and critiques the excesses—visual, formal and material—of unbridled consumption. [6] [2] [7] Critics Leah Ollman and Claudine Ise of the Los Angeles Times have described Aldrich's art, respectively, as a "consumerist spin on the assemblage tradition" [8] and a "witty and inventive brand of kitchen-sink Conceptualism" [5] LA Weekly critic Doug Harvey calls her "one of the most under-recognized sculptors in L.A.," whose hallmarks are the poetic transformation of found/appropriated materials, formal inventiveness and restless eclecticism. [9] Aldrich has exhibited at the Museum of Contemporary Art, Los Angeles (MOCA), Los Angeles County Museum of Art (LACMA), Hammer Museum, Santa Monica Museum of Art, and venues throughout the United States and Europe. [10] [11] [12] She has been recognized with a Guggenheim Fellowship (2014) and public art collection acquisitions by LACMA, MOCA Los Angeles and the Portland Art Museum, among others. [13] [14] [15] [16] [12]

Contents

Early life and career

Aldrich was born in Bryan, Texas into a military family that periodically moved throughout the United States. [10] [17] Her father was a veterinary pathologist at the Armed Forces Institute of Pathology and National Zoo (Washington, DC) and science was an influence on her early thought and interests and later art practice. [18] [19] She initially studied biology at Stetson University, working as a virology lab assistant at Smith, Kline & French Laboratories (Philadelphia) during college summers. [20] [17] After shifting to English Literature, she graduated from University of North Carolina, Chapel Hill (BA, 1966), where she met future husband, Michael Aldrich. [21] [18] After deciding to move west, they settled in Glendale, California in 1970, where they raised three sons, Jack, Matthew, and Daniel. [21] [18]

Always interested in visual art, Aldrich took painting and drawing classes at Glendale Community College, before studying art at California State University, Northridge (BA, 1984) with painter Marvin Harden and at Art Center College of Design (MFA, 1986) with artists Jeremy Gilbert-Rolfe and Stephen Prina. [22] [17] In graduate school she conceived a working strategy that emphasized materials, poetic allusions, three-dimensionality, shifts in scale and reductive simplicity rather than a signature style; her influences included theorist Paul Virilio, artist/writer Robert Smithson, minimalists Donald Judd and Anne Truitt, and Californians Robert Irwin and Ed Ruscha. [21] [23] [16] Aldrich exhibited widely in her first decade, gaining notice for solo shows at Krygier/Landau, Sue Spaid Fine Art, and Sandroni Rey (California), the Santa Monica Museum of Art, Cristinerose Gallery (New York) and Art Affairs Gallery (Amsterdam), as well as group shows at venues including MOCA Los Angeles, Los Angeles Municipal Art Gallery, San Francisco Art Institute, P.P.O.W. (New York), and Portland Institute of Contemporary Art. [22] [24] [25] [1] [26] [27] [10] [28]

In Aldrich's later career, Carl Berg Gallery, Ben Maltz Gallery, Edward Cella Art+Architecture, DENK Gallery (all Los Angeles) and Jenkins Johnson Gallery (New York), among others, have held solo exhibitions of her work; [9] [29] [4] [10] her group exhibitions include shows at LACMA, MOCA Pacific Design Center, the Hammer Museum, San Jose Museum of Art, Paula Cooper Gallery and Museum of Biblical Art (both New York). [11] [10] Aldrich has also taught art at Azusa Pacific University (2011–5), Mars Hill Graduate School (2002–7), Art Center College of Design (1987–1998), UCLA, Otis College of Art and Design, and Biola University. [21] [30] She lives and works in the Los Angeles area. [31]

Lynn Aldrich, Installation view from "Uncommon Objects" exhibition, Alyce de Roulet Williamson Gallery, Art Center College of Design, 2013. Pictured: Subdivision, 1990 (foreground, Collection MOCA Los Angeles); Worm Hole, 2003 (background, Collection of Cornell Fine Arts Museum, Winter Park, Florida); Shelf Life, 1992 (left wall); and Constellation, 2005/2013 (right wall). Lynn Aldrich Installation view 2013.jpg
Lynn Aldrich, Installation view from "Uncommon Objects" exhibition, Alyce de Roulet Williamson Gallery, Art Center College of Design, 2013. Pictured: Subdivision, 1990 (foreground, Collection MOCA Los Angeles); Worm Hole, 2003 (background, Collection of Cornell Fine Arts Museum, Winter Park, Florida); Shelf Life, 1992 (left wall); and Constellation, 2005/2013 (right wall).

Work and reception

Aldrich incorporates a wide range of reference points in her work: the excess and spectacle of consumer culture and life in Los Angeles, art and literary influences, natural and celestial phenomena, and Christian longing for revelation and transcendence. [19] [32] [33] [34] [23] Curator Stephen Nowlin wrote that Aldrich's "heterogeneous works fuse and defuse Duchamp, pop, and minimalist influences, at once both respectfully and irreverently, measuring the dimensions of contemporary existence by their use of a consumer's palette." [35] Critics often note various, resulting dualities in her work: banality and profundity, humorous spectacle and near-apocalyptic concern, scientific empiricism and faith. [1] [36] [11] [16]

Writers also emphasize Aldrich's playing of artistic influences (including the Light and Space movement) off of feminist strategies that inject everyday and domestic objects and notions into fine art. [36] [1] [37] She creates through processes of accumulation, repetition and placement that preserve the fundamental, recognizable nature of her source materials; [16] [38] the resulting works (and their punning titles) fuse, deconstruct or short-circuit form, function and meaning, [39] [5] creating physical and conceptual conundrums that reveal inherent metaphors and poetic essences in common objects. [40] [11] [7]

Early work (1987–1996)

Early reviews describe Aldrich's work as "tartly conceptual," [41] "stunningly formalist arrangements" [1] that transform mundane artifacts into inventive visual metaphors. [42] Meshing high-cultural minimalist form with the symbolism of mass-produced objects, works such as Subdivision (1990) or Shelf Life (1992) offered open-ended commentary on suburban domesticity, bourgeois humanism, and Modernist artistic practice. [1] [43] [37] [44] Subdivision featured sections of white picket fence arranged in a tight square formation that reviewers wrote signified both idealized suburban life and the claustrophobia or menace of pristine but squeezed living; [41] [1] [37] Shelf Life featured stacks of food cans stripped of labels and wedged into a cupboard–like space, a meditation on obsolescence and mortality that Artforum likened visually to "a miniature Louise Nevelson in metal." [1] [34]

Critics suggested that in Aldrich's best work, the merger of materials and concept seemed effortless; [26] [45] David Pagel described Waxing and Waning (1990)—two dozen strips of wax paper hanging between plastic dispensers on adjoining walls—as a graceful, "ghostly send-up of Robert Morris’s seminal felt pieces" alluding to the invisibility and power of domestic labor. [46] The nested, resin-starched t-shirts of Shell Collection (1993–4) referenced the life cycle and natural forms such as tree rings, organic sheddings, or chrysalises; ARTnews's Suzanne Muchnic described such works as "unusual think pieces" whose light touch, wry humor, and ephemerality made their "ideas all the more memorable because they seem weightless." [43] [37]

Lynn Aldrich, Starting Over: Neo-Atlantis, Sponges, scrubbers, scouring pads, mop heads, brushes, plastic gloves, plungers, plumbing parts, 54" x 96" x 66", 2008. Lynn Aldrich Starting Over Neo Atlantis 2008.tiff
Lynn Aldrich, Starting Over: Neo-Atlantis, Sponges, scrubbers, scouring pads, mop heads, brushes, plastic gloves, plungers, plumbing parts, 54" x 96" x 66", 2008.

Mature work (1997– )

Reviews of Aldrich's major mid-career shows (1997–2008) suggest that she embraced a more assertive theatricality and sensual extravagance, mining consumer society's inadvertent beauty and revealing its perils. [40] [9] [47] More whimsical, busier in its color, spatial and textural range, this work pushed further against minimalist restrictions concerning narrative and referential content, connecting more strongly to bodily and connotative associations [6] [2] [9] [8] and yielding more overtly philosophical and theological themes involving the earth and cosmos, society, and perception. [6] [48] [38] [49]

In Designer's Choice (Genesis) (1997; a floor grid of 125 faux-fur upholstery fabric swatches) and Worm Hole (2003; a tunnel of concrete casting tubes lined with a spectrum of faux-fur), Aldrich mixed low-end, near-garish consumer products, minimalist form and spiritual, scientific and metaphysical allusions. [2] [9] [50] For Breaker (1999), Serpentarium (2002) and Drench (2008), she re-contextualized common garden hoses, using their aqua-to-green hues like pigments and conjuring allusions to water, poised snakes in paradise, suburban backyards, and abstract stripe paintings, among others; [39] [9] [31] Breaker suggested a large, playfully menacing wave that rose from the floor like a Hokusai etching, its gleaming brass fittings resembling flecks of foam. [48] [39] [40]

Several tragicomic works mimicked aquatic life with commercial products (often from the petroleum economy that threatens oceanic life), offering ironic, furtive critiques of consumer society. [8] [51] [52] Sea Change (2003) is a Day-Glo diorama of undersea life constructed out of kitchen sponges and scrub pads; Starting Over: Neo-Atlantis uses cleaning products and toilet plungers to create a hyperbolic, synthetic undersea world whose riot of color rivals nature's chromatic range. [9] [45] [8] [53] Leah Ollman described such work as packing "a cartoon-like pow [that] resonate[s] powerfully—and whimsically—with both natural and unnatural worlds, the domestic sphere and global trauma." [8]

Lynn Aldrich, Bouquet, steel downspouts, plastic flex elbow, exterior enamel, roof shingles, 28" x 19" x 12", 2009. Collection of Ahmanson Art Gallery, Irvine. Lynn Aldrich Bouquet 2009.jpg
Lynn Aldrich, Bouquet, steel downspouts, plastic flex elbow, exterior enamel, roof shingles, 28" x 19" x 12", 2009. Collection of Ahmanson Art Gallery, Irvine.

In the later-2000s, Aldrich explored metaphors involving water, thirst and longing in works using galvanized steel rain gutters whose meaning (and titles) balanced between formal object, suburban vernacular and metaphor. [54] [19] [7] Silver Lining (2009) is a large array of shiny metal downspouts suspended at varying heights from above, their open insides painted shades of blue suggesting rain streaks, organ pipes, and the sacramental. [54] [13] [47] In Desert Springs (2006–9) and Bouquet (2009), Aldrich upended the function of downspouts, arranging them like springs, cacti, animal eyestalks or bursting flowers. [19] [7] Hydra Hydrant (2010) features a trunk of white downspouts extending up in a twisting, lyrical multi-headed frenzy. [29] [55] [7]

Writers suggest that Aldrich's work often brings the transcendent or majestic into intimate, common domestic space, as in My Niagara (2012) or Ray (2005/2013), a restrained, ceiling-to-floor, sunbeam-like sculpture of 150 unique colors of sewing threads suggesting illumination or epiphany. [47] [52] [56] [23] Her "Lampshade" wallworks (The Violet Hour (for T.S. Eliot); Constellation) likewise transform the mundane—cheap, partially filled lampshades affixed top-side to walls with subtly painted interiors—into celestial bowls of color and light [2] [39] [40] [52] that Susan Kandel said suggest "that revelation is available even, or maybe especially, at the 99-cent store." [6] The installation Rosy Future (2015) re-imagined the awe and light of stained glass cathedral interiors, using drywall, tar paper and paint; [57] [18] Hermitage (2019), a fourteen-foot telescope-shaped column that viewers can enter, uses simple materials and low-tech construction to recreate the meditative, high-tech light effects of James Turrell's skyspaces. [58] [59]

Public recognition

Aldrich has been recognized with fellowships from the John S. Guggenheim Foundation (2014), J. Paul Getty Trust (2000), and City of Los Angeles (COLA, 1999). [12] [10] She has also received a Communication Arts Design Award for Un/Common Objects: Lynn Aldrich (2014), a United States Artists Project Award (2014), a Christians in the Visual Arts (CIVA) Award (2007), and a Florence Biennale prize for sculpture (2001), among others. [10]

Aldrich's work belongs to the public collections of LACMA, MOCA Los Angeles, New York Public Library, Portland Art Museum, Ahmanson Art Gallery (Irvine, CA), Calder Foundation, Cornell Fine Arts Museum (Winter Park, FL), and Westmont Ridley-Tree Museum of Art (Santa Barbara, CA), as well as many private collections. [13] [10] [12] She has also received public art commissions from the Los Angeles Metro Transit Authority (for Blue Line Oasis, 1994, Artesia Blue Line station) [60] and the Armory Center for the Arts (for the temporary public installation, Three Founts, 2010). [61] [62] [63]

Related Research Articles

Michael Max Asher was a conceptual artist, described by The New York Times as "among the patron saints of the Conceptual Art phylum known as Institutional Critique, an often esoteric dissection of the assumptions that govern how we perceive art." Rather than designing new art objects, Asher typically altered the existing environment, by repositioning or removing artworks, walls, facades, etc.

<span class="mw-page-title-main">Museum of Contemporary Art, Los Angeles</span> Art museum in California , U.S.

The Museum of Contemporary Art, Los Angeles (MOCA) is a contemporary art museum with two locations in greater Los Angeles, California. The main branch is located on Grand Avenue in Downtown Los Angeles, near the Walt Disney Concert Hall. MOCA's original space, initially intended as a temporary exhibit space while the main facility was built, is now known as the Geffen Contemporary, in the Little Tokyo district of downtown Los Angeles. Between 2000 and 2019, it operated a satellite facility at the Pacific Design Center facility in West Hollywood.

Alison Saar is a Los Angeles, California based sculptor, mixed-media, and installation artist. Her artwork focuses on the African diaspora and black female identity and is influenced by African, Caribbean, and Latin American folk art and spirituality. Saar is well known for "transforming found objects to reflect themes of cultural and social identity, history, and religion."

Salomón Huerta is a painter based in Los Angeles, California. Huerta was born in Tijuana, Mexico, and grew up in the Boyle Heights Projects in East Los Angeles. Huerta received a full scholarship to attend the Art Center College of Design in Pasadena and completed his MFA at UCLA in 1998. Huerta gained critical acclaim and commercial attention in the late 1990s for his minimalist portraits of the backs of people's heads and color-saturated depictions of domestic urban architecture. He was included in the 2000 Whitney Biennial and has been featured in numerous exhibitions around the US, Europe, Latin America, The Gagosian Gallery in London England, and Studio La Città in Verona, Italy.

Meg Cranston is an American artist who works in sculpture and painting. She is also a writer.

Mark Dean Veca is an American artist based in Altadena, California. He creates paintings, drawings and large-scale installations.

Steve Roden was an American contemporary artist and musician. He worked in the fields of sound and visual art, and is credited with pioneering lowercase music, a compositional style where quiet and usually unheard sounds are amplified to create complex and rich soundscapes. His discography of multiple albums and works of sound art includes Forms of Paper, which was commissioned by the Los Angeles Public Library.

<span class="mw-page-title-main">Frederick Hammersley</span> American painter

Frederick Hammersley was an American abstract painter. His participation in the 1959 Four Abstract Classicists exhibit secured his place in art history.

Lari George Pittman is a Colombian-American contemporary artist and painter. Pittman is an Emeritus Distinguished Professor of Painting and Drawing at the UCLA School of the Arts and Architecture.

Renée Petropoulos is a contemporary artist who currently lives and works in Venice, California.

Pacific Standard Time: Art in L.A., 1945–1980 was a scholarly initiative funded by the J. Paul Getty Trust to historicize the contributions to contemporary art history of artists, curators, critics, and others based in Los Angeles. Planned for nearly a decade, PST, as it was called, granted nearly 60 organizations throughout Southern California a total of $10 million to produce exhibitions that explored the years between 1945 and 1980. Underscoring the significance of this project, art critic Roberta Smith wrote in The New York Times:

Before [PST], we knew a lot [about the history of contemporary art], and that lot tended to greatly favor New York. A few Los Angeles artists were highly visible and unanimously revered, namely Ed Ruscha and other denizens of the Ferus Gallery, that supercool locus of the Los Angeles art scene in the 1960s, plus Bruce Nauman and Chris Burden, but that was about it. After, we know a whole lot more, and the balance is much more even. One of the many messages delivered by this profusion of what will eventually be nearly 70 museum exhibitions is that New York did not act alone in the postwar era. And neither did those fabulous Ferus boys.

<span class="mw-page-title-main">Stephen Nowlin</span> American curator/artist

Stephen Nowlin is an American curator/artist whose practice superimposes art and science and is associated with the national ArtScience movement. He is a vice president at Art Center College of Design and founding director of the college's Alyce de Roulet Williamson Gallery.

<span class="mw-page-title-main">Phyllis Green</span> Artist

Phyllis Green is an artist and educator based in the Los Angeles area. She has largely focused on sculpture using a wide range of materials and fabrication techniques to explore objects and their social context, gender politics, consumerism and spirituality, but has also produced video, installation and performance art. Critics characterize her work by its craft and engagement with surface appearance, diverse sources, unconventional juxtapositions, and grounding in the female body and metaphorical content. Her early work grew out of 1970s feminism and consciousness-raising, while her later work has taken inspiration from the Vedanta branch of Hindu spirituality. In 2018, Sculpture critic Kay Whitney wrote, "Green's polymorphously perverse and experimental thinking counters art historical assumptions regarding gender and culture, while her pun-making glittering and whimsical imagery acts as a shadow-screen for the serious and profound."

Kay Rosen is an American painter. Rosen's paintings are included in the collections of the Art Institute of Chicago, the Museum of Contemporary Art, Los Angeles, and the Museum of Modern Art, Whitney Museum of American Art in New York City, and The Blanton Museum of Art in Austin, Texas. Rosen lives in Gary, Indiana, and New York.

Helen Anne Molesworth is an American curator of contemporary art based in Los Angeles. From 2014 to 2018, she was the Chief Curator at The Museum of Contemporary Art (MOCA) in Los Angeles.

<span class="mw-page-title-main">Roberto Esteban Chavez</span>

Roberto Chavez is an American artist. known for his personally symbolic portraits, public murals and "funny-grotesque" paintings that reflect the multicultural landscape of Los Angeles. He was recently included in the Getty Center's Pacific Standard Time: Art in L.A., 1945-1980 and the Smithsonian’s Our America: The Latino Presence in American Art exhibits.

<span class="mw-page-title-main">Jody Zellen</span> American painter (born 1961)

Jody Zellen is an American artist and educator. Her practice, consisting of digital art, painting, video art, and drawing, has been showcased by way of interactive installations, public art, and curated exhibitions. She is also known for her art criticism.

<span class="mw-page-title-main">Arlene Shechet</span> American sculptor

Arlene Shechet is an American artist known for her inventive approach to sculpture. Her work is often described as polymorphous, combining materials, styles and finishes in unconventional ways. Of particular note is her extensive use of fired clay as a sculptural medium, as porcelain and ceramic have a long history of exclusion in contemporary art due to their association with practical and decorative objects.

Cindy Bernard is a Los-Angeles based artist whose artistic practice comprises photography, video, performance, and activism. In 2002, Cindy Bernard founded the Society for the Activation of Social Space through Art and Sound, which presents site-relational experimental music. Her numerous Hitchcock references have been discussed in Dan Auiler's Vertigo: The Making of a Hitchcock Classic (1998), essays by Douglas Cunningham and Christine Spengler in The San Francisco of Alfred Hitchcock’s Vertigo: Place, Pilgrimage and Commemoration (2012) and Spengler's Hitchcock and Contemporary Art (2014).

Erkki Huhtamo is a media archaeologist, exhibition curator, and professor at the University of California, Los Angeles in the Departments of Design Media Arts and Film, Television, and Digital Media.

References

  1. 1 2 3 4 5 6 7 8 Jones, Amelia. "Lynn Aldrich," Artforum, Summer 1992, p. 115.
  2. 1 2 3 4 5 Nolan, Timothy. "Lynn Aldrich," New Art Examiner, July–August 1997, p. 47.
  3. 1 2 Frank, Peter. "Objects of Affection," LA Weekly, January 18–24, 2008.
  4. 1 2 Ollman, Leah. "Lynn Aldrich transforms the physical in ‘Velvet Painting: Ascension’," Los Angeles Times, November 6, 2015. Retrieved January 13, 2020.
  5. 1 2 3 Ise, Claudine. "Shifting Perceptions," Los Angeles Times, " April 2, 1999. Retrieved January 10, 2020.
  6. 1 2 3 4 Kandel, Susan. "Intriguing Concepts, Los Angeles Times, May 2, 1997. Retrieved January 9, 2020.
  7. 1 2 3 4 5 Valentine, Christina. "The uncommon life of objects and meaning," Lynn Aldrich: Un/Common Objects, Pasadena, CA: Art Center College of Design/Alyce de Roulet Williamson Gallery, 2013. Retrieved January 9, 2020.
  8. 1 2 3 4 5 Ollman, Leah. "Aldrich is Such a Natural at Fakery," Los Angeles Times, January 18, 2008. Retrieved January 13, 2020.
  9. 1 2 3 4 5 6 7 Harvey, Doug. "The Sculptures of Lynn Aldrich," LA Weekly, November 7–13, 2003, p. 35.
  10. 1 2 3 4 5 6 7 8 Otis College of Art and Design/Ben Maltz Gallery. 3 Solo Projects, Los Angeles: Otis College of Art and Design/Ben Maltz Gallery, 2009.
  11. 1 2 3 4 Romano, Karen. "Lynn Aldrich," COLA 2000, Los Angeles: Los Angeles: City of Los Angeles Cultural Affairs Department, 2000, p. 20–1.
  12. 1 2 3 4 John Simon Guggenheim Memorial Foundation. "Lynn Aldrich," Guggenheim Fellows. Retrieved January 9, 2020.
  13. 1 2 3 Calder, Diane. "Lynn Aldrich," ArtScene, November 2013, p. 12.
  14. ↑ The Museum of Contemporary Art Los Angeles. "Lynn Aldrich," Collection. Retrieved January 19, 2020.
  15. ↑ Los Angeles Museum County of Art. Breaker, Lynn Aldrich, Collections. Retrieved January 19, 2020.
  16. 1 2 3 4 Hause, Melissa. "Enthralled with Being in the World," The Creative Spirit, Fall 2004, p. 26–31.
  17. 1 2 3 Timberg, Scott. "Romantic and Realist: Lynn Aldrich," Art Center Dot Magazine, Fall 2019, p. 2–3.
  18. 1 2 3 4 Melrod, George, "Artist Profile: Lynn Aldrich," Art Ltd, November 6, 2015.
  19. 1 2 3 4 Chattopadhyay, Collette. "Collecting Specimens: A Conversation with Lynn Aldrich," Sculpture, March 2010, p. 58–63.
  20. ↑ Greenstein, M.A. "The Meeting of Disciplines: Lynn Aldrich and Margaret Honda," World Sculpture News, Summer 1998, p. 33–7.
  21. 1 2 3 4 Timberg, Scott. "Concepts Are Not Enough: Aldrich Finds Beauty in the Physical Nature of Things," Art Center Dot Magazine, July 9, 2019.
  22. 1 2 Moreland, Patricia. "Making a Name for Themselves: 2-Location Exhibition Shows the Diversity of CSUN’s Art Graduates," Los Angeles Times, February 19, 1988. Retrieved January 9, 2020.
  23. 1 2 3 Shorb, John. "An Interview with Lynn Aldrich." Arts in Religious and Theological Studies, V. 27, No. 1, p. 40–44.
  24. ↑ Curtis, Cathy. "Santa Monica," Los Angeles Times, July 14, 1989. Retrieved January 9, 2020.
  25. ↑ Spaid, Susan. "Flora at Krygier Landau," Visions, Fall 1990.
  26. 1 2 Pagel, David. "Flying Blind," Los Angeles Times, April 29, 1993.
  27. ↑ Tanner, Marcia. "Five Artists in Search of an Exhibition," Artweek, November 3, 1994, p. 10.
  28. ↑ Levin, Kim, "The Short List: ‘Postmarked, L.A.’", The Village Voice, July 5, 1995, cover.
  29. 1 2 Ollman, Leah. "3 Solo Projects at Ben Maltz Gallery," Los Angeles Times, May 1, 2009. Retrieved January 13, 2020.
  30. ↑ Biola University. "Lynn Aldrich," Visionaries. Retrieved January 9, 2020.
  31. 1 2 Hart, Hugh. "Artist Turns Garden Hoses, Toilet Plungers, Rain Spouts into 'Suburban Angst' Art", Co.Create, October 2013.
  32. ↑ Curtis, Cathy. "Lynn Aldrich’s Winging Streak: Artist Uses Audubon Drawings to Show Irony in Our Worship of the Wild," Los Angeles Times, September 24, 1991. Retrieved January 9, 2020.
  33. ↑ Johnson, Ken. "New Artists Motivated by Christianity," The New York Times, August 19, 2005, p. E33. Retrieved January 13, 2020.
  34. 1 2 Fox, Howard N. Lynn Aldrich: Un/Common Objects, Pasadena, CA: Art Center College of Design/Alyce de Roulet Williamson Gallery, 2013. Retrieved January 9, 2020.
  35. ↑ Nowlin, Stephen. "Foreword," Lynn Aldrich: Un/Common Objects, Pasadena, CA: Art Center College of Design/Alyce de Roulet Williamson Gallery, 2013. Retrieved January 9, 2020.
  36. 1 2 Chattopadhyay, Collette. "Lynn Aldrich at Gallery LASCA," Artweek July 1997, p. 25.
  37. 1 2 3 4 Linwood, Elliott. "Lynn Aldrich & Janet Biggs," Forms of Address, San Francisco: San Francisco Art Institute, 1994, p. 11.
  38. 1 2 Stringer, Catherine (ed). Contemporaries, Los Angeles: California Community Foundation, 2004, p. 62.
  39. 1 2 3 4 Zellen, Jody. "Out of House and Home," dArt International, Summer 1999, p. 27.
  40. 1 2 3 4 Duncan, Michael. "Lynn Aldrich at Sandroni Rey," Art in America, January 2000, p. 127.
  41. 1 2 Curtis, Cathy. "Artists’ Inventive Metaphors Save Poorly Focused Exhibit," Los Angeles Times, January 15, 1990. Retrieved January 9, 2020.
  42. ↑ Kandel, Susan. "Tricking the Eye," Los Angeles Times, January 27, 1994. Retrieved January 10, 2020.
  43. 1 2 Muchnic, Suzanne. "Lynn Aldrich," ARTnews, May 1994, p. 166.
  44. ↑ Wilson, William. "'Means' Finds New Meanings in Old Schools of Thought," Los Angeles Times, September 7, 1996. Retrieved January 9, 2020.
  45. 1 2 Knight, Christopher. "Reflections on Water," Los Angeles Times, October 31, 2003, p. E26. Retrieved January 10, 2020.
  46. ↑ Pagel, David. "Ephemerality is Essential in 'Raw' Exhibit," Los Angeles Times, August 8, 1991. Retrieved January 9, 2020.
  47. 1 2 3 Mizota, Sharon. "Lynn Aldrich retrospective channels inventive spirit," Los Angeles Times, December 16, 2013. Retrieved January 9, 2020.
  48. 1 2 Newhouse, Kristina. "Lynn Aldrich," Art/Text, August–October 1999, p. 79.
  49. ↑ California Institute of Technology/Art Center College of Design. Observe, Pasadena, CA: Nasa/JPL Spitzer Science Center/Alyce de Roulet Williamson Gallery, 2008.
  50. ↑ Daichendt, G. James. "The evolution of an artist," Lynn Aldrich: Un/Common Objects, Pasadena, CA: Art Center College of Design/Alyce de Roulet Williamson Gallery, 2013. Retrieved January 9, 2020.
  51. ↑ Von Taube, Annika. "Multiple Chaos," Sleek, Spring 2008.
  52. 1 2 3 Michno, Christopher. "Lynn Aldrich: 'Un/Common Objects' at Williamson Gallery," Art Ltd., January 2014.
  53. ↑ Porges, Maria. "Lynn Aldrich and Sabina Ott @ Bedford," SquareCylinder, April 25, 2017. Retrieved January 9, 2020.
  54. 1 2 O'Brien, John. "Lynn Aldrich," 3 Solo Projects, Los Angeles: Otis College of Art and Design/Ben Maltz Gallery, 2009.
  55. ↑ Daichendt, G. Jim. "Death and Life of an Object," ArtScene, March 2012.
  56. ↑ O'Brien, John. "Lynn Aldrich," Artillery, January 7, 2014. Retrieved January 13, 2020.
  57. ↑ Will, Rachel, "Stained Glass and the Expanding Universe Inspire Lynn Aldrich’s New Sculptures," Artsy, November 4, 2015.
  58. ↑ Zellen, Jody. "Pick of the Week: Lynn Aldrich at DENK Gallery," What’s On Los Angeles, July 4, 2019. Retrieved January 13, 2020.
  59. ↑ Rubin, David. "Lynn Aldrich at DENK Gallery," Visual Art Source, June 14, 2019.
  60. ↑ Los Angeles Metro. "Blue Line Oasis," Artworks. Retrieved January 19, 2020.
  61. ↑ Knight, Christopher. "Lynn Aldrich @ One Colorado," Los Angeles Times, August 20, 2010. Retrieved January 13, 2020.
  62. ↑ Cheng, Scarlet. "A Competition That Plumbs Pools of Talent," Los Angeles Times, January 6, 2002. Retrieved January 13, 2020.
  63. ↑ Armory Center for the Arts. "Lynn Aldrich: Three Founts," Exhibitions. Retrieved January 19, 2020.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.