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Institute of Contemporary Art ","type":"image","content":"01_BIRDHOUSEholecan_highresscan003.jpg","size":{"content":{"width":1435,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":214902},"searchable":true,"overrides":{},"linkTarget":"","dateAdded":"2017-05-23T17:50:28.000Z","filters":[]},"10955":{"id":10955,"label":"NECKWALLfootscreensleeper ","caption":"","type":"html","content":"The idea of a sculptural skin figuratively reflecting the living form is another theme that recurs in Shelton's sculptures. In a work such as NECKWALL, 1980-81, parchment colored cloth covers the skeletal structure of the architecture 'as if you were taking your skin off and stretching it onto a frame. . . a way of keeping that connection to the body. . . space in NECKWALL is layered and topsy-turvy, the viewer's feet hover above eye level. Just as in HEADROOM, the viewer standing inside NECKWALL becomes an important part of the sculpture. The transparent and floating qualities of the floor of NECKWALL, are worth noting, not only as being related to dreams—also suggested by the bed reference in sleeper—but as an early reference to water.
BIRDHOUSE appears to be very open but is, in fact, cage like, psychologically rather than physically trapping the viewer. By contrast, although holecan appears to be very claustrophobic and coffin-like, ample light and air enter through seven hundred small holes that map the bodies of twenty-five of Shelton's family members. Shelton's forms refer to skeleton and skin, further stressing the intimate relationship between his sculptures and the body.
Eight cast bronze sculptures are located in a walking park along Spring Street between 1st and 2nd Streets between the Los Angeles Police Department's new Police Administration Building and the Los Angeles Times Building in downtown Los Angeles, California. Six corpulent \"beasts\" form an elephantine procession contrasting the two lanky and attenuated \"monkeys\" that stand as animated sentinels at either end. Commissioned by the City of Los Angeles, Department of Cultural Affairs Public Art Program. Public dedication of sixbeastsandtwomonkeys, Saturday, 24 October 2009.
Based on the four by eight-foot proportions of the pedestals, I began to think about some bulky and perhaps slightly articulated volumetric animal forms as well as some contrasting thin and elongated forms. For a time, Eadweard Muybridge came to mind with one form animated along the entire streetscape but finally this seemed too literal. There is a long tradition of animal forms in public in Asia, Africa, Europe and our own country. These forms might signal authority or serve as guardians, but they may also speak to our primal and earth-bound bodies. For lack of a better word, I have begun calling them beasts because of their variously bison and elephantine qualities. They have a hump-like countenance and have a subtle figurative quality in their vestigial legs or limbs, heads and backsides. I have been thinking about them as a series of gestures or personalities where any sense of movement is quite compact. I propose to make six of these related forms on the six pedestals in front of the six seating galleries. They would be made of cast bronze and be roughly 3’ wide x 7’ long x 5’high.
At the north and south ends of Spring Street promenade there are two more pedestals that do not have the attendant seating gallery areas. Because their condition is somewhat removed and different from the galleried pedestals, I propose to create two more animated figurative forms that I have been calling monkeys. They might be seen almost as sentinels for the beastly procession between them looking, turning and moving out of the walkway into the city beyond. I like their extreme and attenuated proportions as much as and in contrast to the earth corpulent bulk of the beasts below.
At SeaTac Airport, my site was a light-filled solarium knuckle bend in an airport concourse. We clad the site floor with hot-rolled steel and constructed a set of steel stepping platforms in one corner. I created nine patterns that were used to cast a set of heavy cast iron and steel forms, clunkers, and then used the same patterns to create a set of translucent white clouds. The steel floor and steps helped to further define the contrast between the light and translucent clouds hanging overhead under the solarium glass ceiling and the weight and inertia of the cast iron and steel clunkers sitting on the steel floor below.
The steps serve both as a pedestal and as seating. We can sit among the iron forms out of the traffic of the concourse and regard the opposite light filled milk glass translucency of the clouds above us. I am very curious about how the two sets of forms generated from the same patterns can have very different material and associative qualities and differently occupy the two very distinct zones of the wedge space, the heavy floor under foot and the transparent glass ceiling and walls above.
Commissioned by the Port of Seattle for the Seattle-Tacoma International Airport Collection.
1951\tBorn January 18, Troy, OH
1973\tB.A. Pomona College, Claremont, CA
1974\tTrade certification: Hobart School of Welding Technology, Troy, OH
1979\tM.F.A., University of California, Los Angeles, CA
SOLO EXHIBITIONS:
2014\tPeter Shelton littleBIG, Jose Drudis-Biada Art Gallery, Mount St. Mary’s College, Los Angeles, CA, September 14 - October 25. (catalogue)
2012\tpowerhousefrenchtablenecklaces, Sperone Westwater Gallery, New York, NY, April 5 - 28.
2011\tPeter Shelton eyehand: Selected sculpture from1975 - 2011, L.A. Louver Gallery, Venice, CA, November 19, 2011 - January 14, 2012.
redpocket, blackslot, uheader and drawings, Portland Art Museum, Portland, Oregon, February 19 - June 5.
2010\tlittlethinman, L.A. Louver Gallery, Venice, CA, February 9 - April 10.
2008\tdogstar, L.A. Louver Gallery, Venice, CA, March 8 - May 15.
godspipes and other Major Projects, Herron Galleries, Herron School of Art and Design, Indianapolis, IN, March 21 - April 27.
2006\tgodspipes, L.A. Louver Gallery, Venice, CA, January 6 - February 11.
2005\tgogglelipsandgeogobals for Celebes, L.A. Louver Gallery, Venice, CA, January 21 - February 19.
2003\tovalglobal, L.A. Louver Gallery, Venice, CA, October 17 - November 15.
Recent Sculpture, Berggruen Gallery, San Francisco, CA, June 5 - July 12.
2002\tPeter Shelton, Peter Blake Gallery, Laguna Beach, CA. May 5 - 26.
Sculpture by Peter Shelton, Paintings by Domenico Bianchi, LA Louver Gallery, April 11 - May 11.
2001\tNew Work by Peter Shelton, Augustus St. Gaudens Historic Site, New Hampshire. (catalogue)
1999\tdmeanandlean, LA Louver, Venice, CA.
1998-99\tsixtyslippers, University of California Berkeley, Berkeley, CA; travels to Madison Arts Center, Madison, WI; and Contemporary Arts Museum, Houston, TX. (catalogue)
godspipes, Irish Museum of Modern Art, Dublin, Ireland. blackelephanthouse, Dean Clough, Henry Moore Sculpture Trust, Halifax, England. (catalogue)
1997\tsixtyslippers, L.A. Louver, Venice, CA.
Peter Shelton: Recent Sculpture, John Berggruen Gallery, San Francisco, CA.
Peter Shelton, Betty Moody Gallery, Houston, TX.
oldwetbrickhouse, Museum of Contemporary Art, San Diego, CA, December 17 1996 – March 26, 1997.
1996\tallarms, L.A. Louver, Venice, CA. mereubu, L.A. Louver, Venice, CA.
1995\thandbonesandthingsicanthrow, L.A. Louver, Venice, CA.
Peter Shelton, Gallery Sperone, Rome, Italy.
clearcannonbottles, L.A. Louver, Venice, CA
1994\tbottlesbonesandthingsgetwet, Los Angeles County Museum of Art, Los Angeles, CA, March 3 - May 15 (catalogue).
1993\tthingsgetwet: a work in progress, Louver Gallery New York, NY, May 1 – May 29.
1992\tPeter Shelton, Faith and Charity in Hope Gallery, Hope, ID. (catalogue)
Peter Shelton, Allen Memorial Art Museum, Oberlin Art Museum, Oberlin, OH.
Peter Shelton: Drawings and Sculptures, Arts Club of Chicago, Chicago, IL. (catalogue)
Peter Shelton: Sculpture, Sperone Gallery, Rome, Italy.
1991-92\tmonstermawbaggutheaderhead and shirts, L.A. Louver, Venice, CA.
1991\tPeter Shelton: Sculpture, Louver Gallery, New York.
1990\tPeter Shelton: Drawings, L.A. Louver, Venice, CA. (catalogue)
floatinghouseDEADMAN, Louver Gallery, New York. (catalogue)
1989\tbagBOXTUBtubesandpipes, Irvine Fine Arts Gallery, University of California, Irvine, CA.
Peter Shelton: Castings, L.A. Louver, Venice, CA.
floatinghouseDEADMAN, Herron Gallery, Herron School of Art, Indianapolis, IN.
1989-88\tPeter Shelton: Waxworks, La Jolla Museum of Contemporary Art, La Jolla, CA. Traveled to: San Jose Museum of Art, San Jose, CA; Des Moines Art Center, Des Moines, IA. (catalogue)
1988\tBLACKVAULTfalloffstone: Sculpture Inside Outside, The Walker Art Center, Minneapolis, MN. (catalogue)
STRETCHspread, Lannan Museum, Lake Worth, FL. (catalogue)
1987\tfloatinghouseDEADMAN, Wight Art Gallery, U.C.L.A., Los Angeles, CA, February 3 - March 8, 1987. (catalogue)
HARDSTRETCHdroop and TUBtubesandpipes; Elements: Five Installations, Whitney Museum of American Art, New York, NY. (catalogue)
BLACKMAN, The Walker Art Center, Minneapolis, MN.
1986\tPeter Shelton: Recent Sculptures, L. A. Louver, Venice, CA.
floatinghouseDEADMAN, University of Massachusetts, Amherst, MA . (catalogue)
1984\tpipegutwaterseatandSTANDSTILL, Portland Center for the Visual Arts, Portland, OR. (catalogue)
1983\tMAJORJOINTS hangersandsquat, Center of Contemporary Art, Seattle, WA; traveled to L. A. Louver and Malinda Wyatt Galleries, Los Angeles, CA. (catalogue)
1982\twhiteroundHEAD, Artists Space, New York, NY.
trunknutsWHITEHEADfloater, Open Space Gallery, Victoria, British Columbia, Canada. (catalogue)
SWEATHOUSEandlittleprincipals, (150 element version), Santa Barbara Contemporary Arts Forum, Santa Barbara, CA. (catalogue)
1981\tNECKWALLfootscreensleeper, Malinda Wyatt Gallery, Los Angeles, CA.
1980\tHEADROOM footspace, Artpark, Lewiston, NY. (catalogue)
BIRDHOUSEholecan, Chapman College, Orange, CA, in conjunction with L.A. Institute of Contemporary Art \"Architectural Sculpture\" exhibition. (catalogue)
BROWNROOMS 1977-78, Los Angeles Contemporary Exhibitions, Los Angeles, CA.
1979\tSWEATHOUSEandlittleprincipals (111 element version), Wight Gallery, University of California, Los Angeles, CA.
SELECTED GROUP EXHIBITIONS:
2025 L.A. Louver Celebrates 50 years 1975 to Now, February 15 - June 14, 2025, L.A. Louver, Venice, CA.
2023 13 Women: Variation II, Orange County Museum of Art, Costa Mesa, CA, February 14, 2023 - August 20, 2023.
Legacy, October 27 - December 31, 2023, Manhattan Beach Art Center, Manhattan Beach, CA.
Cup Show 2, November 17, 2023 - January 6, 2024, Space Ten Gallery, Hawthorne, CA.
2022 Sculpture, L.A. Louver Gallery, Venice, CA May 11 - July 15, 2022.
2021 Frieze Viewing Room IRL, L.A. Louver, Venice, CA, July 27– August 6.
2020 The Evolution of the \"Cool School” Small works by Ed’s chosen family, Telluride Gallery of Fine Art, December 15 – February 6.
HEAVY METAL, Denk Gallery, Los Angeles, CA, February 22 – April 11.
2019 The Iconic House, Assemblage, Lincoln, Nebraska, May 2019.
Sculptures That Tell Stories: Music, the Human and the Animal, Santa Barbara Museum of Art, Santa Barbara, CA, February 17.
2018 EVOLVER, L.A. Louver Gallery, Venice, CA, June 20, August 17.
EXTENT, Quotidian, Los Angeles. CA, April 14 – May 26.
My Kid Could Do That, The Underground Museum and Project Art. April, Los Angeles, CA, April 14 – May 27, 2018.
ELEMENTAL, L.A., Louver Gallery, Venice, CA, January 24 – March 3.
2017\tFrom Wendt to Thiebaud: Recent Gifts for the Permanent Collection. Laguna Art Museum, Laguna Beach, CA, February 18 – May 29.
2016\tTriples: Harry Dodge, Evan Holloway, Peter Shelton, Approach Gallery, London, United Kingdom, May 26 - June 26.
Round Things, Royale Projects, Los Angeles, CA, May 21 - June 30.
2015\tTOUCH, The L.A. Art Scene: Original Artworks Paired with Photographic Portraits of Artists by Jim McHugh, El Segundo Museum of Art, October 11, 2015 - January 31, 2016.
SUMMER GROUP EXHIBITION, Quint Gallery, La Jolla, CA, July 18 - August 29.
La Percezione del futuro - La collezione Panza di Biumo a Perugia, Galleria Nazionale dell'Umbria and Palazzo della Penna, Perugia, Italy, June 20 - November 8. (catalogue)
Six Sculptors, L.A. Louver Gallery, May 27 - July 2.
2014\tThe Avant-Garde Collection, Orange County Museum of Art, Newport Beach, CA, September 7, 2014 - January 4, 2015. (catalogue)
Time Capsule: Recently Acquired Works from 1970s and 1980s, Orange County Museum of Art, Newport Beach, CA, April 13 – July 27. (catalogue)
California Dreamin’ Thirty Years of Collecting, Palm Springs Art Museum, Palm Springs, CA, March 8 - July 31. (catalogue)
2013\tThe Nature of Abstraction, Peter Blake Gallery, Laguna Beach, CA, November 7 - December 7.
Assonanze/Dissonanze: lo stato dell’arte tra antico e contemporaneo, Galleria Sperone, Sent, Switzerland, August 2 - 30.
Aberrant Abstraction, Coagula Curatorial, Los Angeles, CA, June 15 - July 20.
CELEBRATING TWO DECADES: The Peggy and Eric Lieber Collection and Other Gifts, Frederick R. Weisman Museum of Art, Center for the Arts, Pepperdine University, Malibu, CA, May 11 - August 4.
Local Fish, Ernie Wolfe Gallery, Los Angeles, CA, April 13 - May 30.
2012
Ed’s Party: Spheres of Influence in the LA Art Scene, William Turner Gallery, Los Angeles, CA, March 3 - April 14.
It Happened at Pomona Part III: Art at Pomona College 1969-1973, Pomona College Museum of Art, March 10 - May 13.
Part of the Getty Museum’s Pacific Standard Time: Art in L.A. 1945-1980 exhibition series. (catalogue)
2011\tLoose Canon, L.A. Louver Gallery, October 13 - November 12.
2010\tHUNTERS & GATHERERS, Gian Enzo Sperone Gallery, Sent, Switzerland, December 29, 2010 - March 2011. (catalogue)
Artpark: 1974 -1984, University at Buffalo Art Gallery, Center for the Arts, Buffalo, New York, September 25 - December 18. (catalogue)
The Artist’s Museum: Los Angeles Artists 1980-2010, The Museum of Contemporary Art, Los Angeles, September 19, 2010 - January 24, 2011.
Tribute to Giuseppe Panza di Biumo. Donations to the Museo Cantonale d’Arte, Lugano, Switzerland, July 4 - September 26. (catalogue)
Outside the Box: Edition Jacob Samuel, 1988 - 2009, The Hammer Museum of Art and the Los Angeles County Museum of Art, May 22 - August 29. (catalogue)
blackslot and other work, L.A. Louver Gallery, Venice, CA, February 11 - April 3.
Pleasure Point: Celebrating 25 Years of Contemporary Collectors, Museum of Contemporary Art San Diego, La Jolla, CA, February 19 - May 16.
3X3, L.A. Louver Gallery, Venice, CA, January 14 - February 13.
2009\tGroup Show, L.A. Louver Gallery, Venice, CA, November 12 - December 31.
The Passionate Pursuit, Palm Springs Art Museum, Palm Springs, CA, March 17 - (catalogue)
POSTURE, Peter Blake Gallery, Laguna Beach, CA, April 2 - 26.
2008\tHighlights from the Permanent Collection, 1980-2005, Museum of Contemporary Art, Los Angeles, CA, May 19 - August 11.
Collecting Collections, Museum of Contemporary Art, Los Angeles, CA, February 10 - May 19.
2007\tSEA: Cultural Symposium of Alicante, Panza Collection, Castillo de Santa Barbara, Alicante, Spain, March 30 - September 30. (catalogue)
Summer Sculpture Show, Quint Contemporary Art.
2006\tSeven Rooms Seven Artists, L.A. Louver Gallery, Venice, CA, July 13 - September 2.
Group Show, L.A. Louver Gallery, Venice, CA Los Angeles Art Scene, 1955 – 1985, Centre Pompidou, Paris, France, March 8 - July 17. (catalogue)
The Senses, Pomona College Art Museum, January 21 - April 9.
2005\tAfter Cezanne, Museum of Contemporary Art, Los Angeles, November 20, 2005 - June, 19, 2006.
Nine Sculptors: Fellows of the Augustus Saint-Gardens Memorial, The UBS Art Gallery, New York, September 22 - December. (catalogue)
2004\tMaking the Body in Contemporary Space, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio, February 10 - June 6, 2004
Bioballistic, Barnsdall Art Park Exhibitions, September 24 - December 31.
Monochromos de malevich al presente, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, June 15 - September 6. (catalogue)
Sculpture and Form, John Berggruen Gallery, San Francisco, CA.
The LA that Influenced My Eye, Sullivan Goss Gallery, Santa Barbara, CA, June 22 - September 22.
Somethings Happening 25 Years Herron Gallery Exhibits, Indiana State Museum and Historic Sites, June 1 - September 30.
Sculpture, L.A. Louver, Venice, CA, July 9 - August 28.
25th Anniversary Exhibition, University Art Gallery, Sonoma State University, Sonoma, CA, February - March 21.
2003\tNavy Pier Walk 2003, The Chicago International Sculpture Exhibition, Chicago, IL, May 8 - October 19. (catalogue)
Le Stanze dell’Arte, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, illus., p. 425. (catalogue)
From Modernism to the Contemporary, 1958 - 1999, The Allen Memorial Art Museum, Oberlin, OH.
The Not-So-Still Life: A Century of California Painting and Sculpture, San Jose Museum of Art, San Jose, CA, traveling to; Pasadena Museum of California Art, November 22, 2003 - February 15, 2004 .(catalogue)
2002\tPrimal Screams and Songs, Museum of Contemporary Art - North Miami (MOCA), Miami, FL, Summer 2002.
L.A. Louver, Venice, CA, August 1 - 31.
Smile, Oceanside Museum of Art, Oceanside, CA, April 6 – May 26. (catalogue)
Sculpture, C. Grimaldis Gallery, Baltimore, MD, May 8 – June 8
Sculpture, G. Fine Art, Washington DC.
2001\tMOCA - Selections from the Permanent Collection, Museum of Contemporary Art - North Miami (MOCA), Miami, FL.
Art in the Circle, Manhattan Heights Annex, Manhattan Beach, CA, February 25 - March 16.
Contemporary Collectors XVI, Museum of Contemporary Art San Diego - MCASD La Jolla, La Jolla, CA.
Fast Forward, Berkeley Art Museum and Pacific Film Archive BAM/PFA, Berkeley, CA.
Invitational Exhibition of Painting and Sculpture, American Academy of Arts and Letters, New York, March 5 – April 1.
2000\tPanza: The Legacy of a Collector, Museum of Contemporary Art, Los Angeles, CA, January 30 - April 30. (catalogue)
Peter Shelton, Jonathan Borofsky, LA Louver Gallery, Venice, CA.
A Tribute Robert Hopper, Yorkshire Sculpture Park, Wakefield, Yorkshire, United Kingdom, April 14 - June 25.
Silver + Gold, Baldwin Gallery, Aspen, CO, July 28 - September 7. (catalogue)
Peter Shelton Sculpture, The Picture Gallery, Saint-Gaudens National Historic Site, Cornish, New Hampshire, July 14 - August 19.
1999\tCONTEMPORARY COLLECTORS XIV, Museum of Contemporary Art San Diego - MCASD La Jolla, CA.
littlesister, L.A. Louver Gallery, Venice, CA, June 29 - August 28.
The Foundry Fifty, The Art Foundry Gallery, Sacramento, CA, January 5 - February 6.
1998\tCleveland Collects Contemporary Art, The Cleveland Museum of Art, Cleveland, OH.
Artranspennine 98, Tate Gallery Liverpool and The Henry Moore Sculpture Institute. (catalogue)
Peter Shelton - Matrix 177, Berkeley Art Museum and Pacific Film Archive BAM/PFA, Berkeley, CA (catalogue)
The Edward R. Broida Collection, Orlando Museum of Art, Orlando, FL (catalogue) Spatiotemporal, Magasin 3 Stockholm Konsthall, Stockholm, Sweden. (catalogue)
From Head to Toe: Concepts of the Body in Twentieth Century Art, Los Angeles County Museum of Art, Los Angeles, CA. (catalogue)
1997\tElusive Paradise: Los Angeles Art from The Permanent Collection, Museum of Contemporary Art, Los Angeles, October 5, 1997 - November 21, 1999.
Book Obsession, Tel Aviv Museum of Art, Tel Aviv, Israel. (catalogue)
Colleccio Panze Di Biumo 80’s and 90’s, The Edifice de Sa Llonja, Mallorca, Spain. (catalogue)
Cast Contemporary Sculpture, Sheehan Gallery, Whitman College, Walla Walla, WA.
20/20: CAP Looks Forward and Back, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA.
1996\tSelections from the Nisenson Collection, Los Angeles County Museum of Art, Los Angeles, CA.
Recent Past, Museum of Contemporary Art, Los Angeles, CA, September 29 - January 19, 1997.
Art on Paper, Weatherspoon Art Gallery, The University of North Carolina at Greensboro, Greensboro, NC.
The Empowered Object, Hunsaker/Schlesinger Gallery, Los Angeles, CA November 2 - December 21.
Shirts and Skins, The Contemporary Museum, Honolulu, HI, December 4, 1996 - February 9, 1997.
A New Look at the Permanent Collection from the Museum of Contemporary Art, Museum of Contemporary Art, San Diego, CA.
La Collezione Panze Di Biumo: Artist Degli Anni ‘80 E ‘90, Museo Arte Moderna E Contemporanea di Trento E Rovereto, Trento, Italy, September 13 - December 1. (catalogue)
Drawn from LA, The Armory Center for the Arts, Pasadena, CA.
Six Projects: Colson, Moses, Shelton, Therrien, Bobbie Greenfield Gallery, Los Angeles, CA.
Continuity and Contradiction, Miami Art Museum, Miami, FL, December 19, 1996 - February 23, 1997.
Acquiring Minds: Contemporary Art in Santa Barbara Collections, Contemporary Arts Forum, Santa Barbara, CA.
1995\tBody, Mind and Spirit: Eight Sculptors, Ruth Chandler Williamson Gallery, Scripps College, Claremont, CA.
From Warhol to Baule: Unexpected Selections from the University Art Museum, University Art Museum, University of California, Santa Barbara, CA.
Group Exhibition, LA Louver Gallery, Los Angeles, CA. California: In Three Dimensions, California Center for the Arts Museum.
1994\tBasic Black & White, Herbert Palmer Gallery, Los Angeles, CA.
1993\telegant, irreverent & obsessive: Drawing in Southern California, Main Art Gallery, California State University, Fullerton, CA. (catalogue)
Mol, Nash, Shelton, Louver Gallery New York, NY. Prospect 93, Frankfurter Kunstvereins, Frankfurt, Germany (catalogue)
1992\tLAX: The Los Angeles Exhibition, Los Angeles Municipal Art Gallery, Los Angeles, CA.
Recent Acquisitions, The Museum of Modern Art, New York, NY
\"Panza Di Biumo: The Eighties and the Nineties from the Collection, Museo Cantonale D'Arte, Lugano, Switzerland. (catalogue)
Recent Acquisitions, Museum of Contemporary Art Los Angeles, CA, February 9 - May 17, 1992.
Selections from the Collection of Contemporary Painting and Sculpture, The Museum of Modern Art, New York, NY.
1991\tL.A. 1990: Selected Views, Cal State Bakersfield, Bakersfield, CA, January 24 - February 24.
Individual Realities in the California Art Scene, Sezon Art Museum of Art, Tokyo, Japan. (catalogue)
The Artist's Hand: Drawings from the Bank of America Art Collection, San Diego Museum of Contemporary Art, La Jolla, CA.
Selections from the Permanent Collection, San Diego Museum of Contemporary Art, La Jolla, CA
1990\tSpirit of Our Time, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA, November 6 - December 27.
Louver Gallery, New York, NY, August 4 - September 1.
Selections from the Carnation Company Collection, Carnation Company, Los Angeles, CA. (catalogue)
Sculptor's Drawings, L.A. Louver, Venice, CA, June 2 - June 30.
Territory of Desire, Louver Gallery, New York NY, February 17 - March 10.
1989\tConstructing a History: A Focus on the Permanent Collection, The Museum of Contemporary Art, Los Angeles, CA .
Art in the Public Eye - Selected Developments, Security Pacific Gallery, South Metro Center, Costa Mesa, CA.
Sculture Da Camera, Chamber Sculptures, Fisher Gallery, University of Southern California, Los Angeles, CA.
1988\tSculpture Inside Outside, Walker Art Center, Minneapolis, MN. (catalogue) Models: Handheld Ideas, Cal State University, Fullerton, Fullerton, CA.
Pomona College Alumni Artists: A Centennial Exhibition, Montgomery Gallery, Pomona College, Claremont, CA, March 6 - April 17. (catalogue)
Striking Distance, Museum of Contemporary Art, Los Angeles, CA. Traveled to Fresno Art Museum, Fresno, CA, Triton Museum, Santa Clara, CA, University Gallery, California State University, Sonoma, CA. (catalogue)
1987-88\tElements: Five Installations, Whitney Museum of American Art at Phillip Morris, New York, NY, December 18 - February 18, 1988. (catalogue)
Abstract Expressions: Recent Sculpture, Lannan Museum, Lake Worth, FL. (catalogue)
1987\tAvant-Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles, CA. (catalogue)
Bronze, Plaster, and Polyester: A Selection of Cast Sculpture, The Galleries at Moore, Moore College of Art and Design, Philadelphia, PA, November 6 - December 12. (catalogue)
California Figurative Sculpture, Palm Springs Desert Museum, Palm Springs, CA . (catalogue)
Sculpture and Drawings by Sculptors, L.A. Louver, Venice, CA.
1986\tAmerican/European Painting and Sculpture 1986, Part II, L.A. Louver, Venice, CA.
1985\tAnniottanta, Museum of Modern Art, Bologna, Italy. (catalogue)
American/European Painting and Sculpture 1985, Part I, L.A. Louver, Venice, CA.
1984\tConstructed Metal: Modern Sculpture, College of Creative Studies, U.C. Santa Barbara, CA. (catalogue)
Aperto '84, The Venice Biennale, Venice, Italy. (catalogue)
1983\tPublic Comments, Center on Contemporary Art, Seattle, WA.
1982\tUne Experience Museographique, Echange Entre Artistes 1931-1982 Pologne-U.S.A., Musee d'Art Moderne de la Ville de Paris and the Ulster Museum, Belfast, Ireland. (catalogue)
Forgotten Dimension, Fresno Art Center, Fresno, CA. (catalogue)
1981\tDivola, Picot, Shelton, Libra Gallery, Claremont Graduate School of Fine Arts, Claremont, CA.
With More than One Sense, Los Angeles County Museum of Art, Los Angeles, CA.
The Intimate Object, Downtown Gallery, Los Angeles, CA.
1980\tSculpture 1980, The Maryland Institute, College of Art, Baltimore, MD. (catalogue)
Maquettes and Models: Art with Architectural Concerns, Los Angeles Municipal Art Gallery, Los Angeles, CA. (catalogue)
Architectural Sculpture: History and Documents, Los Angeles Institute of Contemporary Art, Los Angeles, CA. (catalogue)
1977\tArt in Public Places, Cheney Cowles Memorial Museum, Spokane, WA. (catalogue)
PROJECTS/PUBLIC COMMISSIONS:
2009\tsixbeastsandtwomonkeys, commission for the City of Los Angeles, Los Angeles Police Administration Bldg.
2009\tthinmanlittlebird, commission for The Indianapolis-Marion County Public Library, IN.
2004 - 05\tcloudsandclunkers, commission for the Seattle-Tacoma International Airport, Seattle, WA
2002\tgandhiG, commission for the Museum of Contemporary Art, San Diego, CA. ROCKshadow, commission for Seattle, WA, Seahawk Stadium
1985\tlightmanBLACKMAN, commission State of California, Exposition Park, Los Angeles, CA.
AWARDS AND GRANTS:
2023\tPomona College Blaisdell Award
2010\tPublic Art Network 2010 Year in Review Awards for sixbeastsandtwomonkeys, Los Angeles, CA and thinmanlittlebird, Indianapolis, IN.
2000\tSt. Gaudens Memorial Fellowship - New Hampshire
1999\tFlintridge Foundation Visual Artists Award
1994\tIndividual Artist Fellowship Grant, National Endowment for the Arts
1989\tJohn Simon Guggenheim Memorial Foundation Fellowship
1987\tLouis Comfort Tiffany Foundation Grant
1985\tYoung Talent Award, Los Angeles County Museum of Art, Los Angeles, CA
1984\tIndividual Artist Fellowship Grant, National Endowment for the Arts
1982\tIndividual Artist Fellowship Grant, National Endowment for the Arts
1980\tIndividual Artist Fellowship Grant, National Endowment for the Arts
1977\tPurchase Award: \"Art in Public Places Exhibition\" Cheney Cowles Memorial Art Museum, Spokane, WA
PUBLIC COLLECTIONS:
The Akron Art Museum, Akron, OH
The Art Museum, University of Mexico, Albuquerque, NM
The Allen Memorial Art Museum, Oberlin, OH
The Berkeley Art Museum, University of CA, Berkeley, CA
The Ed Broida Foundation, Miami, FA
The Cedar-Sinai Art Collection, Los Angeles, CA
The Cheney Cowles Museum of Art, Spokane, WA
The Chiat Foundation, Los Angeles, CA
The City of Chicago, IL
The City of Indianapolis, IN
The City of Irvine, CA
The City of Los Angeles, CA
The City of Seattle, WA
The Cramer Foundation, Los Angeles, CA
The Frederick R. Weisman Museum of Art, Malibu, CA
The J. Paul Getty Museum, Los Angeles, CA
The Hammer Museum and Grunwald Center for the Graphic Arts, Los Angeles, CA
The Henry Art Museum, University of Washington, Seattle, WA
The J.P. Speed Museum, Louisville, KY
The Laguna Art Museum, Laguna Beach, CA
The Lannan Foundation, Los Angeles, CA
The Los Angeles County Museum of Art, Los Angeles, CA
The Magasin 3 Konstall, Stockholm, Sweden
The Mayo Clinic Art Collection, Rochester, MN
The Microsoft Corporation, Seattle, WA
The Museo di Arte Moderna e Contemporanea di Trento e Rovereto
The Museo Cantonale D'Arte, Lugano, Switzerland
The Museum of Contemporary Art, San Diego, CA
The Museum of Contemporary Art, North Miami, FA
The Museum of Contemporary Art, Los Angeles, CA
The Museum of Fine Arts, Houston, TX
The Museum of Modern Art, New York, NY
The Museum of Modern Art, Lodz, Poland
The National Academy Museum and School, New York, NY
The New York Public Library, New York, NY
The Norton Family Foundation, Santa Monica, CA
The Orlando Art Museum, Orlando, FL
The Orange County Museum of Art, Santa Ana, CA
The Panza Foundation, Milano, Italy
The Palm Springs Museum of Art, Palm Springs, CA
The Pomona College Museum of Art, Pomona, CA
The Smithsonian Museum of American Art, Washington DC
The San Francisco Museum of Modern Art, San Francisco, CA
The San Jose Museum of Art, San Jose, CA
The Santa Barbara Museum of Art, Santa Barbara, CA
The State of California
The Stewart Collection, San Diego, CA
The University Art Museum, University of CA, Santa Barbara
The University Art Museum, University of CA, Berkeley, CA
The United States Federal Art Collection
The Walker Art Center, Minneapolis, MN
The Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC
2025\t\"Exhibitions Celebrate Fifth Anniversary of the Nancy and Rich Kinder Building.\" ArtDaily, August 15, 2025. Rounding the Circle: The Legacy of Mary an Al Shands, Great Meadows Foundation, Louisville, KY, pp. 40, 41, 92, 97-99, illus. \"Daily Inspiration: Meet Peter Shelton.\" Voyage LA, December 29, 2025.
2023\tAdler, Esther. New Ground: Jacob Samuel and Contemporary Etching, The Museum of Modern Art, New York, p. 163, #54, illus. Barrie, Lita. \"I am a mockingbird in a painter's space: Peter Shelton discusses his love of making improbable sculptures,\" Whitehot Magazine, July 2023; \"Notice Board: Congratulations to Our 2023 Alumni Award Winners,\" Pomona College Magazine, Summer 2023, p. 36.
2022\tGoodman, Neil. \"EYEHAND: The sculpture of Peter Shelton,\" New Art Examiner, Summer Quarter 2022, pp. 26-32.
2021\tRees, Brenda. “How to Move a Museum,” College Magazine Pomona, Fall/Winter 2021, pp. 22-27.
2020\tBerggruen, John. Berggruen, Olivier. Trumbull, Morgan. Nash, Stephen. Berggruen Gallery 50 Years 1970-2020. Berggruen Gallery, San Francisco, CA. pp. 412, 419.
2019\tCheng, Scarlet. “Jill Moniz,” Artillery, Los Angeles, CA Nov/Dec 2019, pp. 62.
2018\tRupp, James. Art in Seattle’s Public Spaces, University of Washington, Seattle, WA. pp. 55, 293, illus. 1.26 Jeffery, Melinda. Shelton, Peter. “HIWT Graduate goes on to be an Award-Winning American Sculptor,” World of Welding, Summer 2018, pp. 6-7, cover. DiMichele, David. “ELEMENTAL, LA Louver,” Artillery, March-April 2018. pp. 47.
2017\tSellars, Beth. Suyama Space 1998-2017. Suyama Space, Seattle, WA. p. 223. “Gilding Peter Shelton’s Sculpture sundog,” The Gilders Tip, Journal of the Society of Gilders, Minneapolis, MN, Summer 2017, Volume 31, No. 2, p.19, illus. Nieto Ruiz, Carolina. \"Continuity and Contrast in an Airport’s Art Installation,” unpublished thesis. 2017. Walker, Alisa. “Inside Merry Norris’s art-filled sanctuary in Hollywood Hills,” Curbed Los Angeles, April 26, illus.
2016\tBarrie, Lita. “Betye Saar: A Living Legend’s Survey at Roberts & Tilton,” Huffington Post, December 14. O’Brien, John David. “Public Display, SoCal Sculptures That Don’t Disappoint,” Artillery. March-April 2016, Vol. 56, pp. 34-34, illus.
2015\tMagnifico, Marco. De Chirico, Fabio. Panza di Biumo, Giuseppina Caccia D. La Percezione del futuro - La collezione Panza di Biumo a Perugia, Galleria Nazionale dell'Umbria and Palazzo della Penna, Perugia, Italy. Illus. pp. 52, 155-59.
2014\tKing, John. “Time has left Berkeley Art Museum’s bold design behind,” SF Gate, San Francisco Chronicle, Wednesday, December 17, 2014, pp. Illus. Drohojowska-Philp, Hunter. “Peter Shelton: littleBIG,” Art Talk, KCRW, Los Angeles, Online review, illus. Berson, Nina. Peter Shelton littleBIG, Jose Drudis-Biada Art Gallery, Mount St. Mary’s College, Los Angeles, CA. illus. Cameron, Dan. Manalili, Fatima. The Avant-Garde Collection. The Orange County Museum of Art, Newport Beach, CA. p. 77 The Times editorial board. “Where's our public art? Wrapped up in red tape. It was a smart idea to set up the Arts Development Fee Trust Fund. But it's dumb not to spend it,” Los Angeles Times, Opinion, April 16. Illus. Mike Boehm. “L.A. moving to get $7.5 million in public art funds off starting block,” Los Angeles Times, Culture Monster, April 16, illus. Hough, Katherine. California Dreamin’ Thirty Years of Collecting, Palm Springs Art Museum, Palm Springs, CA. illus. California Dreamin’ Thirty Years of Collecting, InSight, Palm Springs Art Museum, Palm Springs, CA. Jan-Apr 2014, pp.6-7, illus.
2013 Pagel, David. “'Local Fish' at Ernie Wolfe casts a wide, fun net,” Los Angeles Times, Culture Monster, August 15.
2012\tKnight, Christopher. “Art review: ‘It Happened at Pomona’ shows a brief, enduring period,” Los Angeles Times, Culture Monster, May 11. Melrod, George. “Interview: Peter Shelton,” art ltd., May/June 2012. pp. 50-54, illus. Doktorczyk-Donohue, Marlena. \"Simple Simply Isn't. A Conversation with Peter Shelton,\" Sculpture, International Sculpture Center, Hamilton, New Jersey, April, Vol. 31, No. 3, pp. 38-45, illus. Ollman, Leah. “Peter Shelton,” Art in America, New York, NY, March, No. 3, p. 173 , illus. Tracey Harnish. “Peter Shelton,” LA Art Diary, laartdiary.com, Los Angeles, CA. January 22, illus.
2011\tGeoff Tuck. “Peter Shelton’s holecan, among other things,” Notes on Looking, notesonlooking.com, Los Angeles, CA. December 9, illus. “Peter Shelton: eyehand,” Artweek LA, November 14, illus. Marlena Donohue. “Peter Shelton,” Art Scene, December, Vol. 31, No. 4. pp. 15-16 illus. Muchnic, Suzanne. “How it Happened Again,” Pomona College Magazine, Fall 2011. pp. 32-35. McGrew, Rebecca. Phillips, Glen. It happened at Pomona, Art at the Edge of Los Angeles 1969-1973, Pomona College Museum of Art, Claremont, CA, pp. 292-97, illus. Motley, John. “Peter Shelton experiencing a body of work,” The Oregonian, OregonLive.com. Thursday, May 26. p. 46, illus. Boehm, Mike. “some public artworks in L.A. don’t credit artists,” Los Angeles Times, March 28.
2010\tWestwater, Angela. HUNTERS & GATHERERS, Gian Enzo Sperone Gallery, Sent, Switzerland, p. 8 illus. Bellinski, Elizabeta. Kienholz, Lyn. Nelson, Corinne. L.A. Rising Art and Artists Before 1980, California International Art Foundation, Los Angeles, CA. illus. Kahn-Rossi, Manuela. Franciolli, Mark. Donate Panza di Biumo, Art Museum of Lugano (Museo Cantonale d’Arte), Lugano, Switzerland, illus. Firmin, Sandra Q. Artpark 1974-1984, University at Buffalo Art Galleries, The State University of New York, Princeton Architectural Press, Princeton, New Jersey, p.134, illus. Considine, Brian. Wolfe, Julie. Posner, Katrina. Bouchard, Michel. Conserving Outdoor Sculpture, The Stark Collection at the Getty Museum, The Getty Conservation Institute, Los Angeles. pp. illus. multiple. Marvin, Mary. “it happened at Pomona….,” Pomona College Magazine, Claremont, CA, Spring/Summer, p.17. Hoppe, David. “thinmanlittlebird honored, “ NUVO, Arts Blog, Indianapolis, IN, June 30, illus. Knight, Christopher. “Public sculptures dissed by LAPD chief win award,” Los Angeles Times, Culture Monster, June 24, illus. and Friday, June 25, D3. Lynch, Elizabeth. \"Peter Shelton. sixbeastsandtwomonkeys,\" Sculpture Magazine, Commissions, Vol.29 No.6, International Sculpture Center, Washington, D.C. July/August, pp. 20-21, illus. Burlingham, Cynthia. Outside the Box, Edition Jacob Samuel, 1988-2010. Hammer Museum and the Los Angeles Museum of Art, Los Angeles. illus. Pincus, Robert L. “Pleasure principals: Contemporary Collectors behind MCASD, The San Diego Union-Tribune, Sunday March 28. Saunders, Wade. Rochette, Anne. “Making Connections. Simon Starling,” Art in America, New York. February 2010, p. 104.
2009\tCornell, Daniel. The Passionate Pursuit, Palm Springs Museum of Art, Palm Springs, CA. Hackett, Regina. “Peter Shelton and the peanut gallery,” ArtsJournal, November, 16. illus. Catania, Sara. “sixbeaststwomonkeys and more,” Los Angeles Times, Op-Ed, November 15, p. A37. Hawthorne, Christopher. “a neighborly new police headquarters,” Los Angeles Times, October 13, illus. “L.A. unveils $437M police headquarters,” Troy Daily News, Miami Valley Sunday News, Troy, Ohio. October 25, p. A8, illus. “New Headquarters for LAPD dedicated,” Associated Press. San Diego Union Tribune, October 25. Graves, Jen. “Fun with Public Sculpture,\" The Stranger, Seattle, WA, October 28, illus. Goldman, Edward. “Encountering Art, Police Chief Gets Egg on His Face,” KCRW, Los Angeles, October 27, illus. Knight, Christopher. “Animal power is on the march,” Los Angeles Times, October 24, pp. A12-13, illus. Knight, Christopher. “LAPD’s public art has weathered storms,” Los Angeles Times, October 23, illus. Manning, Sue. “Bratton, artist at odds over sculpture at LAPD HQ, Associated Press, appeared in Mercury News, October 21, San Francisco Examiner, October 21, KGW.com, October 21, San Francisco Chronicle, October 21. Villarreal, Yvonne. “Artistic visions for LAPD’s new headquarters, “ Los Angeles Times, Culture Monster, October 21, illus. Lopez, Steve. “LAPD gets ‘cow splat’ for art,” Los Angeles Times, October 21, p. A2, illus. “Weighty Endeavor,” Los Angeles Times, October 16, p. A13, illus. Thomas, Elizabeth. Matrix/Berkeley: A Changing Exhibition of Contemporary Art, University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA. pp. 372-73, illus. Shelton, Peter. Junker, Howard, editor. \"BIGBLACKT,\" ZYZZYZA, San Francisco, 85 Spring 2009, XXV, no.1, p. 36, illus. Hoppe, David. “Best of Indy, Editor’s picks Arts and Culture, Best Public Art: thinmanlittlebird,” NUVO, Arts and Entertainment, Indianapolis, IN, July 29-Aug 5, p. 6. Art & Architecture, Indianapolis-Marion County Public Library, p. 2, illus. Hoppe, David. “thinmanlittlebird land at the Library,” NUVO, Arts and Entertainment, Indianapolis, IN, May 6, p. , illus. Hoppe, David. “Public Icons, Peter Shelton’s library sculptures cast Indy in a new light,” NUVO, A&E Reviews, Indianapolis, IN, April 29, 2009, cover and pp. 10-12 17, illus. Hoppe, David. “Indy gets and Icon,” NUVO, A&E Reviews, Indianapolis, IN, April 29, 2009, page 17, illus. Cheng, Scarlet. “Whimsy, all in a row,” The Los Angeles Times, Arts and Books, In the Studio, April 26, 2009, page E4, illus. “Central Library’s Finishing Touches,” The Indianapolis Star, Thursday, April 24, 2009, Page A1, illus. “Putting Art on the Pedestal,” The Indianapolis Star, Metro and State Section, Friday, April 10 2009, Page A21, illus.
2008\tZelevansky, Lynn. The Broad Contemporary Art Museum at the Los Angeles County Museum of Art, The Los Angeles County Museum of Art, CA, pp. 181-82, illus. Weinberg, Adam D., and Shamim M. Momin. Whitney Museum of American Art at Altria 25 Years. New York: The Whitney Museum of American Art, 2008, p. 25, illustrated. Lloyd, Christopher. “Sculpture close chapter for Downtown library, “ Indystar. March 15, 2008.illus. Hoppe, David. “Peter Shelton comes to town,” NUVO, Indianapolis, IN., March 19-26, 2998, p.16, illus. Bostrom, Antonia, editor. The Fran and Ray Stark Collection of 20th Century Sculpture at the J. Paul Getty Museum, The J. Paul Getty Museum, Los Angeles, CA, pp. xi, 1, 11,151-153, illus. Panza, Giuseppe. Memories of a Collector. Abbeville Press Publishers, New York. pp. 240-41, illus. 338, 354; plate 68. Cohen, Edie. “mover shaker, Merry Norris in the public eye,” Interior Design, November 10, p. 76, illus.
2007\tHackett, Regina. “Seattle is a Virtual Outdoor Museum, Outdoors is public palette-all for our enjoyment,“ Seattle Post-Intelligencer, What’s Happening section, Seattle, WA, July 13, 2007, p. 32, illus. Kricki, Tony. “New art comes to museum,” The Claremont Courier, Claremont, CA, March 7, 2007, p. 6, illus. Collins, Judith. Sculpture Today, Phaidon Press, London, U.K., pp. 373-74, illus. p. 374. Harth, Marjorie. “Art Space,” The Pomona College Magazine, Winter, 2007, p. 12, illus. Bratten, Dawna. “Quint show Summer Sculpture,” San Diego News, San Diego, CA.
2006\tGrenier, Catherine. Fox, Howard N. Los Angeles 1955-1985, Centre Pompidou, Paris, France. p. 46, 302, 317, 328, 354, illus. Adams, Brooks. “The School of L.A.,” Art in America, November 2006, p. 166. Rochette, Anne. Saunders, Wade. “Place Matters: Los Angeles Sculpture Today,” Art in America, November 2006, pp. 180-81, illus. Melrod, George. “Peter Shelton, L.A. Louver,” Sculpture Magazine, June 2006, Vol. 25, No. 5, pp. 69-70, illus. Freudenheim, Tom L. “After Cezanne, Museum of Contemporary Art, Los Angeles,” ARTNEWS, May 2006, Vol. 105, Number 5, p. 175. Donohue, Marlena. “Peter Shelton, L.A. Louver Gallery,” Artscene, Los Angeles, June, 2006. Frank, Peter. “Peter Shelton at LA Louver,” ARTNEWS, May 2006, Vol. 105, Number 5, p. 174-75, illus. Pagel, David. “A creation Story Winningly told,” The Los Angeles Times Calendar, Friday, January 20, 2006, E24, illus. Brumer, Andy. “Peter Shelton,” Art Scene, January 2006, Vol. 25, No.5, p. 18-19, illus.
2005\tNiven, Lisa. Nine Contemporary Sculptors, UBS Galleries, Augustus St. Gaudens Memorial. illus. Glueck, Grace. “Nine Contemporary Sculptors,” The New York Times, October 14, 2005. Timberg, Scott. “Affordable Art? Right This Way,” The Los Angeles Times Calendar, Thursday, August 25, 2005, pp. E28-31. Farr, Sheila. “Is public art disappearing?” The Seattle Times Entertainment and the Arts, May 9, 2205. Frank, Peter. “Peter Shelton at LA Louver,” Artweek, May, 2005, p. 21, illus. Muchnic, Suzanne. “Starks’ Estate to Give Getty 28 Sculptures,” Los Angeles Times Calendar, section E, Friday, April 15, 2005, pp. 1, 27. Griffis, Ryan. “BioBallistic,” Art US, Issue 7, March-April 2005, p. 6. Berne, Terry. “In the Age of the Monochrome,” Art in America, January 2005, p. 98-103. (color illus. p. 100).
2004\tOllman, Leah. “The double helix,” Los Angeles Times Calendar, Tuesday, November 2, 2004. “Making use of group dynamics,” Los Angeles Times, Around the Galleries, Part I, Friday, July 30, 2004. Rose, Barbara. Monocromos de malevich al presente, Museo Centro de Arte Reina Sofia, Madrid Spain, 2004, p. 95. Dannatt, Adrian. “Miami Collectors: Marti Margulies,” The Art Newspaper, December 2, p. 5, illus.
2003\tBaker, Kenneth. “Reviews/ National: Peter Shelton, John Berggruen, San Francisco,” ARTNEWS, December, p. 122, illus. Landauer, Susan. The Not-So-Still Life: A Century of California Painting and Sculpture. San Jose Museum of Art, University of California Press Berkeley and Los Angeles, CA, p. 171, 176, 178 – 80, 199, 215, illus. Belli, Gabriella. Le Stanze dell’Arte, Figure e Immagini del XX Secolo. Baker, Kenneth. “Shadows on a funhouse wall,” San Francisco Chronicle, June 14, D 10, illus. Pagel, David. Navy Pier Walk 2003: The Chicago International Sculpture Exhibition, The Navy Pier (MPEA). p. 37.
2002\tHackett, Regina. “Public art commitment adds passion to stadium,” Seattle Post-Intelligencer, Friday, July 19, 2002. Guiliano, Mike. “Two of a Kind,” Baltimore City Paper, Arts Section, May 15, p. illus. Smile, Oceanside Museum of Art, Oceanside, CA. illus. Vargas, Lance. “Newest resident art project makes a giant impression: Museum officials say response to GhandhiG is positive,” La Jolla Light, December 5, p. 4. Panza di Biumo, Giuseppe. The Panza Collection, p. 222, illus. Panza di Biumo, Giuseppe. L’arte del colore: America anni Ottanta e Novanta, Le Stanze dell’Arte: Figure e immagini del XX secolo, p. 419, 425, illus.
2001 Hackett, Regina. “Shelton’s metal resounds with irrepressible life,” Seattle Post-Intelligencer, January 26, 2001, illus. “STRETCHspread,” The Stranger, The Henry Art Gallery University of Washington, Seattle, WA, January 25-31, 2001, illus. Carasso, Roberta. “Peter Shelton’s works get to the head of the matter,” Laguna News-Post, May 31. Princenthal, Nancy. Dowley, Jennifer. Artists’ Artists: The NEA Visual Artists’ Fellowship Program, A Creative Legacy: A History of The National Endowment for The Arts Visual Artists’ Fellowship Program, Harry N. Abrams, New York, p.146, 198, illus. Tanselle, G. Thomas. Kardon, Peter F. Schwager, Eunice R. The John Simon Guggenheim Memorial Foundation 1925-2000, A Seventy-Fifth Anniversary Record, John Simon Guggenheim Memorial Foundation, New York, NY. p.159, 460. Hopper, Robert. Second Sight, The Henry Moore Foundation, p. 184 – 198, illus. Taplin, Robert. “Keith Sonnier at Marlborough Chelsea,” Art in America, New York, January, 2001.
2000 Gamblin, Noriko. Jacobson, Karen. Flintridge Foundation Awards for Visual Arts 1999/2000, Flintridge Foundation, Pasadena, CA, pp 44-47, illus. Spadoni, Claudio. Arte Americana, Ultimo Decennio, Edizioni Gabriele Mazzotta, Milano, Italy, p. 112, 113, illus. Panza di Biumo, Giuseppe. Collection contemporary art, The Panza di Biumo Collection Works from the 80’s and 90’s, illus. Minola, Anna. Gian Enzo Sperone. Torino Roma New York: 35 Anni Di Mostre Tra Europa E America, p.421, illus. Devon, Marjorie. Tamarind: Forty Years, University of New Mexico Press, p. 151, illus. (catalogue) Deitz, Paula. “In the Line of Beauty,” Gardens Illustrated, June, p. 46, illus. Dunlop, Jennifer. “Peter Shelton at L.A. Louver, 22 October – 27 November,” Art Issues, Los Angeles, CA, March/April, p. 48, illus. \"Peter Shelton-Fellow of the Saint-Gaudens Memorial,\" The Saint-Gaudens Memorial Foundation, New Hampshire, illus. Taplin, Robert. “Harry Bertoia at Robert Miller, “Art in America, New York, July, 2000. Knight, Christopher. \"Panza's Two Divergent Worlds,\" L.A. Times Calendar, Saturday, Feb. 5, p. F1, F10, illus. Baker, Kenneth. Panza: The Legacy of a Collector, Museum of Contemporary, Los Angeles, CA, p. 132, 139, 194 - 201 illus.
1999\tUpdike, Robin. “Artists chosen for stadium project,” Seattle Times, March 26, 1999. Johnstone, Mark, Contemporary Art in Southern California, Craftsman House, p. 168 - 170. Donahue, Marlena. “Peter Shelton,” Artscene. Donahue, Marlena. \"Sculpture in L.A. Today. A View from Above.\" Sculpture Magazine, Vol. 18, No. 9, November 5, p. F26 illus. Pagel, David. \"Shelton's Surrealistic Forms are Energized by Whimsy,\" L.A. Times Calendar, Friday, November 5, p. F26, illus. Noxon, Christopher. “Art Homeworks,” Los Angeles Magazine, November, 1999, Los Angeles, CA, p. 82 Donahue, Marlena. \"Space and Form are signs of Intelligent Life,\" L.A. Times Santa Monica Our Times, Thursday, November 4, p.6, illus. Frank, Peter. \"Peter Shelton,\" LA Weekly Art Pick of the Week, Nov. 2 - December 2, p. 176, illus. Aehi, John. \"Hung by a Thread,\" Wisconsin State Journal, May 30, p. illus. Lynch, Kevin. \"sixtyslippers a meditation on physicality,\" The Capitol Times, Madison, WI, June 9, 1999, LifeStyle, p. 1, back page, illus. Auer, James. \"Subtle Serenity,\" Milwaukee Journal Sentinel, Monday, July 12, Section E p. 3 - 4, illus. Cozzolino, Robert. \"sixtyslippers,\" Isthmus, Madison, WI, Culture Sect., p. 23, illus.
1998\tHopper, Robert. Biggs, Lewis. leaving tracks: arttranspennine ‘98, Tate Gallery Liverpool ant the Henry Moore Sculpture Institute, Leeds, England, p. 182-185 illus. Brown, Neal. “Peter Shelton,” Frieze Magazine, Issue 42, Sept.-October, 1998, p., illus. Robinson, Jamie. “Four Days, A Thousand, the Gazza Diet & Artranspennine98,” BLUEPRINT, London, United Kingdom, August 1998, p.29, illus. Hammond, David. “Time is running out for the art tourists,” Huddersfield Examiner, July 17 1998, United Kingdom. Hodge, Neil. “The Art of Creation,” Yorkshire Post, Leeds, United Kingdom, July 29, 1998. illus. MacRitchie, Lynn. “Artistic journey through the north,” Financial Times, London, United Kingdom, July 28, 1998. “Artranspennine assessed,” The Art Newspaper, No. 83, July-August, 1998, illus. Woods, Margaret. “Carving out a new future,” Evening Courier, Halifax, United Kingdom, July 4, 1998, illus. Hammond, David. “Art trail leads everywhere except here,” Huddersfield Examiner, May 29, 1998, United Kingdom. Searle, Adrian. “Flotsam and jetsam,” The Guardian, London, United Kingdom, May, 26, 1998. “get out and find yourselves,” Artscene, Yorkshire, United Kingdom, May, 1998, illus. Mullins, Charlotte. artranspennine 98, an exhibition of international contemporary visual art, exhibition guide, Aspen Publishing, London and artranspennine98, Manchester, United Kingdom, p. 135, illus. (catalogue) Baas, Jacquelynn. sixtyslippers, Berkeley Art Museum, University of California, illus. Neuman, David. Spatiotemporal Mars 10, Magasin 3 Stockholm Konsthall, Stockholm, Sweden. Knight, Christopher. “bodyknowledge,” godspipes blackelephanthouse, Irish Museum of Modern Art, Henry Moore Sculpture Institute, Dublin, Ireland, Leeds, United Kingdom, illus. Disch, Maddalena. The Panza di Biumo donation to the Museo Cantonale d’Art, Museo Contonale d’Arte, Lugano, Switzerland, pp. 30-31, 162-168, 256-257, illus. Pagel, David. “Gravity Suspended,” Los Angeles Times, December. Baas, Jacquelynn. “Peter Shelton: Soul Soundings,” Essays in the Study of Sculpture, Henry Moore Sculpture Trust & the author. Lewallen, Constance. Peter Shelton Matrix/Berkeley177, Berkeley Art Museum, University of California, illus. Clancy, Lucy, “Tubes and chambers, pipes and arteries,” The Irish Times, March 26. Dunne, Aidan. “Going with the IMMA flow,” The Sunday Tribune, March 22. Brooks, Rosetta. “Peter Shelton,” Artforum, March. pp. 105-106, illus. Clothier, Peter. “Peter Shelton,” ARTnews, March. Frank, Peter. “Peter Shelton, Victor Estrada,” LA Weekly, January 23 - 29. Taplin, Robert. “The fleeting image-sculpture, Medardo Rosso, Kent Gallery and Guggenheim Museum; New York, New York,” Art in America, New York, January, 1998.
1997\tMoshenson, Edna. Book Obsession, Tel Aviv Museum of Art, Tel Aviv, Israel, p. 22, 28, illus. Russell, Fionna. “sculptureinsideout,” Modern Painters, December. Drohojowska Philp, Hunter. “A Welder of Metal and Fervid Imaginings,” Los Angeles Times, Calendar, November 30 Donajgrodzka, Antonia. “Pod-u-like,” Yorkshire Post, Yorkshire Live, November 28. Jenkins, Steven. “Peter Shelton,” Artweek, November.
1996\tDiMichele, David. “A Conversation with Peter Shelton,” Artweek, December. Dreishpoon, David. Art on Paper, Weatherspoon Art Gallery, The University of North Carolina at Greensboro, Greensboro, NC.
1995\tMacNaughton, Mary Davis. Body, Mind and Spirit: Eight Sculptors, Ruth Chandler Williamson Gallery, Scripps College, Claremont, CA. illus. Smith, Edward Lucie. Art Today, Phaidon Press, London. Blumberg, Roger B. “Ex Libris,” The Sciences, Vol. 35, No. 5, Sept - Oct., NY. Pincus, Robert. “Accessible ‘California’ sculpture proves novel without being; California in Three Dimensions,” California Center for the Arts Museum, Escondido, CA.
1994\tEliel, Carol. bottlesbonesandthingsgetwet, Los Angeles County Museum of Art. Illus. Becker, Shizuyo. “bottlesbonesandthingsgetwet,” Bijutsu Techo, Vol. 46, No. 690, July. Vogel, Carol. “Inside Art- A gift from the Panzas,” The New York Times. Muchnic, Suzanne. “MOCA gets Major Gift- Works by 10 Local Artists,” The Los Angeles Times, Calendar, Section F, Wednesday, October 26. Frank, Peter. “Pablo Picasso, Peter Shelton,” The LA Weekly, Vol. 16, No. 22, April - May. Rico, Diana. “How to Dance like Buddha,” Artnews, Vol. 93, No. 8. pp. 170-173, illus. Wilson, William. “meettheaccomplishedpetershelton,” The Los Angeles Times, Calendar, Section F, Wednesday, March 9. Pincus, Robert. “Shelton works are inspired playfulness,” The San Diego Union-Tribune, The Arts, Section E, Sunday, April 10. Emerson, Robin. “Peter Shelton,” Strobe, Vol. 1, No. 5 March/April. Guenther, Bruce. The Essential Gesture, The Newport Harbor Art Museum, Newport, CA. Jarrell, Joe. “Peter Shelton,” Sculpture Magazine, July/August. Cavazos, Nicole. “Interpret this: ‘bottlesbonesandthingsgetwet’,” Daily Bruin, A & E, Thursday, May 12. DiMichele, David. “Stiff Competition,” Artweek, Vol. 25, No. 6, March.
1993\tTurner, Jonathan. “The Berlingieris: A Nun, an Eskimo and Elvis,” Artnews, Vol. 92, No. 5, May. Levin, Kim. “Voices Choices: Art,” Village Voice 15, June. Bourdon, David. \"Peter Shelton at Louver,\" Art in America, September. DiMichele, David. “Hand, Eye and Brain. The Elegant, The Irreverent and The Obsessive: Drawings in Southern California,\" Artweek, Vol. 24, No. 13. Duncan, Michael. “‘LAX’ Lifts Off,” Art in America, April. Taplin, Robert. “Loren Madsen at McKee,” Art in America, New York, March 1, 1993. Knight, Christopher. “A Satellite Museum Lands in Downtown San Diego,” The Los Angeles Times, Calendar, Tuesday, February 2. McGee, Mike. “elegant, irreverent & obsessive: drawing in southern california,” Art Gallery, California State University, Fullerton, CA.
1992\tEliel, Carol S. \"PETER SHELTONsculptor'sDRAWINGS,\" The Arts Club of Chicago, Chicago, IL. illus. \"Kienholz, Edward, Peter Shelton, Faith and Charity in Hope Gallery,\" Hope, ID., illus. Ianco-Starrels, Josine. \"Facets of the Gas Company Collection,\" The Gas Company, Los Angeles, illus. De Dominicis, D. “Peter Shelton at Galleria Sperone, “ Flash Art, n. 170, October/November, illus. Kahn-Rossi, Manuela. \"Panza di Biumo: The Eighties and the Nineties from the Collection, Museo Cantonale D'Arte,\" Lugano, Switzerland, illus. (catalogue). Michaels, Donna. \"Realism and Abstraction Learn to Coexist in Today's Sculpture in Public Places,” Art Talk, January. Kandel, Susan. \"L.A. In Review,\" Arts Magazine, March, illus. Barrie, Lita. \"Peter Shelton,\" Artspace, May/June, illus. Brougher, Nora Halpern. \"Peter Shelton - L.A. Louver,\" Flash Art, May/June, 1992, illus.
1991\tDecter, Joshua. \"New York in Review,\" Arts Magazine, May. Melrod, George. \"Peter Shelton - Louver,\" Artnews, May, pp. 149 - 150, illus. Pagel, David. \"Reviews,\" Los Angeles Times, Thursday, December 26, illus. Kosenko, Peter. \"Pete Shelton,\" Artweek, December 26, illus. Brenson, Michael. \"Peter Shelton at Louver Gallery,\" New York Times, Friday, March 1, Weekend, p. C25. Marks, Ben. \"Peter Shelton: Body Language,\" Angeles, January, pp. 32 - 35, illus. Shimizu, Tetsuro. Individual Realities in the California Scene, Sezon Museum of Art, Tokyo, Japan, illus.
1990\tHammond, Pamela. \"Peter Shelton, L.A. Louver,\" Artnews, November, p. 178-80, illus. Onorato, Ronald J. San Diego Museum of Contemporary Art Selections from the Permanent Collection, p. 37, frontice (catalogue). Shelton, Peter. \"kettlehouseICEHOUSEironhouse,\" ZYZZYZA, San Francisco, Fall, Vol. VI, No. 3, pp. 6 - 67, illus. Whiteson, Leon. \"Artful Lodgings: Merry Norris' Canyon Retreat,\" Angeles, September, pp. 101,107 & 162. McKenna, Kristine. \"Bodywork: Peter Shelton,\" Los Angeles Times, Tuesday, August 21, Calendar Section, p. F4. Snow, Shauna. \"The Scene: Peter Shelton Drawings at L.A. Louver,\" Los Angeles Times, Sunday, August 12, p. 102. Zeichner, Arlene. \"L.A. Louver's Soho Gamble,\" L.A. Style, June, p. 62, illus. Kachur, Lewis. \"New York: Revivals and Survivals,\" Art International, summer, N. 11, p. 71, illus. Morsiani, Paolo.\"Peter Shelton-Louver Gallery,\" Juliet Art Magazine, June, N. 48, pp. 46 - 47. Kalina, Richard. \"Peter Shelton-Louver Gallery,\" Tema Celeste, April-June 1990, N. 25, p. 69. Heartney, Eleanor. \"New York,\" Contemporanea, Paris, May 1990, p. 55, illus. Melrod, George.\"Peter Shelton-Louver Gallery New York,\" Contemporanea, Paris, May, p. 98, illus. Mahoney, Robert. \"Peter Shelton - floatinghouseDEADMAN,\" Arts Magazine, New York, April, p. 109. Johnson, Ken. \"Peter Shelton at Louver,\" Art in America, New York, March, pp. 195 - 197, illus. Levin, Kim. \"Peter Shelton, Louver Gallery,\" The Village Voice, New York, January 30, Vol. XXXV, No. 5, p. 93, illus. Larson, Kay. \"Upon Reflection,\" New York Magazine, January 29, Vol. 23, No. 4, p. 60. Smith, Roberta. \"Fresh, Hot and Headed For Fame. These Are the Faces to Watch,\" The New York Times, Friday, January 5, Weekend, p. C21, illus. Clothier, Peter. \"Motivated By Passion, Persistence and Knowledge Rather than Big Budgets: The New Breed of L.A. Collector is an Enthusiastic Risk Taker,\" Artnews, December 1, pp. 131 - 135.
1989\tPincus, Robert. \"1989. The State of the Arts,\" The San Diego Union, Thursday, Dec. 28, p. E5. Clothier, Peter. \"L.A.: Outward Bound,\" Artnews, December, p. 130. Curtis, Cathy. \"Simple Sculpture Exhibit Fills Austere Surroundings With Bold Presence,\" Los Angeles Times, Monday, November 20, p. F3, illus. O'Douherty, Brian. 27 Installations Portland Center for the Visual Arts, Portland, OR. Oregon Art Institute, illus. Princenthal, Nancy. \"The Body in Question,\" Sculpture, September/October, pp. 24 - 29, illus. Tadeschi, Pierparide. \"The Panza di Biumo Collection,\" Contemporanea, September, p. 48 - 55. Britton, Donald. \"Peter Shelton at LJMOCA,\" Art Issues, September/October, p. 26, illus. Ballatore, Sandy. \"The Body Architecture of Peter Shelton,\" Artspace, September/October, p. 52 - 57. Garmel, Marion.\"Life's Insecurity Revealed in Floatinghouse's Halls,\" The Indianapolis News, March 23, illus. Mannweiler, David. \"House Seems to Float,\" The Indianapolis News, March 13. Dreishpoon, Douglas. \"The Minneapolis Sculpture Garden,\" Sculpture inside Outside”, March/April, pp. 24 - 25. Johnstone, Mark. Art in the Public Eye: Selected Developments, Security Pacific Gallery, Los Angeles, illus. Calhoon, Sharon. \"Peter Shelton,\" Dialogue, An Art Journal, July/August, Vol. 2, No. 4, p. 30, illus. Stephens, Richard. \"Peter Shelton-Waxworks,\" New Art Examiner, Summer, p. 48, illus. Morgan, Stuart. \"Past Present Future-Count Giusseppe Panza di Biumo interviewed by Stuart Morgan,\" Artscribe, summer, pp. 53 - 56, illus. Curtis, Cathy. \"Security Pacific Banks on a New Gallery,\" Los Angeles Times, June 13, Tuesday, Part VI. Curtis, Cathy. \"Peter Shelton's Eccentric Shapes in La Jolla,\" Los Angeles Times, Calendar, Thursday, May, p. 12, illus. Curtis, Cathy. \"Venice-The Galleries,\" Los Angeles Times, Calendar, Friday, June 2. Baker, Kenneth. \"Seductive Sculpture in San Jose,\" San Francisco Chronicle, Thursday, March 16, E5, illus. Timberman, Marcy. \"The Body Language of Peter Shelton,\" Galleries Magazine, April/May, FF 37, pp. 76 - 77, illus. Knight, Christopher. \"Shelton's Sculptural Delights,\" Los Angeles Herald Examiner, Sunday, April 23, E-2, illus. Deragon, Rick. \"Equivocal, Provocative Form,\" Artweek, March 11, illus. Pincus, Robert L. \"In Waxworks, Body Parts Make a Whole Exhibit,\" The San Diego Union, Sunday, April 23, Section E-1, 4, illus. Burkhart, Dorothy. \"San Jose Museum Strikes a Balance,\" San Jose Mercury News, Friday, February 24, p. 12E. Ayres, Jane. \"Mythic look to Waxworks exhibit,\" Times Tribune, San Jose, Sunday, March 12, illus. Riddle, Mason. \"A Modernist Museum Without Walls,\" New Art Examiner, January, pp. 36 - 37. Turner, Elisa. \"Walls Without a Museum,\" The Nation, January, pp. 21 - 32. Mannheimer, Steve. Artist's Installation Combats Weightiness,\" The Indianapolis Star, Sunday, March 19, p. E-12, illus. Stern, William F. \"Sculpture Inside Outside,\" Cite, Houston, Spring-Summer, Citeations, pp. 20 - 21.
1988\tByal, Christopher D. “Models and Hand Ideas,” Art Gallery, Cal State University, Fullerton, CA, illus. Nusbaum, Eliot. \"Shelton 'floats' his sculpture show,\" Des Moines Sunday Register, October 2, p. 8F. De Long, Lea. \"Peter Shelton's 'Waxworks' Engages the Viewer,\" Skywalker, October 5-11. Friedman, Mildred. \"Minneapolis Sculpture Garden,\" Design Quarterly, MIT Press, winter 141, illus. Beebe, Marjorie Harth. Art at Pomona 1987-1987, A Centennial Celebration, Galleries of the Claremont Colleges, Trustees of Pomona College, Pomona, CA. Johnson, Patricia C. \"Sculpture isn’t always what it seems to be,” Houston Chronicle, Saturday, December 7, Section D 1,3, illus. The Louis Comfort Tiffany Foundation: Awards in Painting, Sculpture, Printmaking, and Craft Media, The Louis Comfort Tiffany Foundation, Associated Press. \"The Rule Here is First Look and Then Touch: Sculpture Garden Park Encourages Hands-On Visits,\" The San Diego Union, Sunday, Sept. 4. Brenson, Michael. \"Coming to Grips with Contemporary Sculpture,\" The New York Times, Sunday, June 19, Section 2, p. 33. Brenson, Michael. \"Fossilization Evolves into a Modern Metaphor,\" The New York Times, Sunday, January 31. Brenson, Michael. \"Art: From Robert Morris,\" The New York Times, January 16. Brenson, Michael. \"A Transient Art Form with Staying Power,\" The New York Times, Sunday, January 10, p. 33 - 36. Butler, Cornelia. Peter Shelton - Waxworks, Des Moines, Iowa: Des Moines Art Center, 1988, illus. Friedman, Martin. Sculpture, Inside and Outside, Minneapolis, MN: Walker Art Center, Rizzoli, illus. Knight, Christopher. \"Contemporary Art Concerns,\" Los Angeles Herald Examiner, April 3, p. F4. Levin, Kim. \"Elements: Five Installations,\" The Village Voice, New York City, January 5, p. 84. Levin, Kim. “Artwalk,” The Village Voice, New York City, January 5, p. 85. “Elements: Five Installations,” Choices: Art, The Village Voice, January 5, p. 40. Kaufman, Jason Edward. “Four American Artists Show. Their Earthiness in Dual Locale Whitney Exhibition,” New York city Tribune, January 14, p. 14. “Five Installations Exhibition, “ Antiques and Collectibles, Issue 90, January 11. Martin, Mary Abbe. \"Walker's Sculpture Show Provocative, Grand in Scale,\" Star Tribune, Friday, May 27, p. 2E, illus. Muchnic, Suzanne. \"Cohesive Show Looks at Life from Distance,\" New Art Examiner, June, p. 33 - 35. Raczka, Robert. \"MOCA Sights Local Art in 'Striking Distance',\" New Art Examiner, June, Vol. 15, No. 10, p. 39 - 40. Rand, David. \"Aesthetic Anarchy: The Walker Art Center Turns Contemporary Sculpture Inside Out in an Exuberant Exhibition,\" Horizon, June, pp. 33 - 35. Saunders, Wade. “Portfolio,” BOMB Magazine, #22, Winter, 1988, p. 82 , illus.
1987\tTemko, Susannah. \"Three Shows Open Tuesday At MOCA,\" The Outlook, March 18, p. D16. Baltierra, Miguel. \"floatinghouseDEADMAN,\" L.A. Architect, March, p. 7, illus. “The Whitney at Phillip Morris: Installations by Hamilton and Shelton,” 100 Park Report, Philip Morris, Winter 1987, p. 4. Anderson, Michael. L.A. Weekly Pick of the Week, February 27 - March 5, illus. Bijvoet, Marga. \"Engaging the Viewer/Participant,\" Artweek, February 28, p. 1, illus. Bulmer, Marge. \"Peter Shelton's floatinghouseDEADMAN,\" Reader, February 27, p. 21, illus. Clearwater, Bonnie. Abstract Expressions in Recent Sculpture, Lake Worth, Florida: The Lannan Museum, illus. Clothier, Peter. \"Peter Shelton,\" Artnews, September, p. 82 - 83, illus. Comi, Enrico. \"Peter Shelton,\" Spazio Umano, Milano, February, illus. Conrad, Barnaby, III. \"Los Angeles: The New Mecca,\" Horizon, January/February, p. 30, illus. Drohojowska, Hunter. \"The Artists Who Matter: L.A.'s New Scene Makes History,\" Antiques and Art, June, p, 49-55, illus. Fox, Howard. \"Avant-Garde in the Eighties, Los Angeles,\" Los Angeles County Museum of Art, illus. Longhauser, Elsa. \"Bronze, Plaster, and Polyester: A Selection of Cast Sculpture,\" The Galleries at Moore, Moore College of Art and Design, Philadelphia, PA. Gardner, Colin. \"Peter Shelton-UCLA Wight Art Gallery,\" Artforum, May, p. 158, illus. Knight, Christopher. \"Deadman Exhibit Exudes Life,\" Los Angeles Herald Examiner, Thursday, February 26, p. B-7, illus. Mallinson, Constance. \"Peter Shelton at L.A. Louver,\" Art in America, February, p. 154 - 155, illus. Monaghan, Kathleen. \"Elements: Five Installations, New York City.\" Whitney Museum of American Art, illus. Muchnic, Suzanne. \"Exploring a House that Floats,\" Los Angeles Times, Monday, March 2, Calendar, illus. Muchnic, Suzanne. \"The Way We Are Figuratively,\" Los Angeles Times, Tuesday, March 3, Calendar, p. 1 and 4. Mahoney, Robert. \"floatinghouseDEADMAN,\" Arts, April, p. 109, illus. Tonelli, Dr. Edith A. floatinghouseDEADMAN, Los Angeles: Wight Art Gallery, University of California, Los Angeles, illus. Wakefield, Sanford Suzan. \"Shelton's Installation: Light, Blond and Buoyant,\" The Outlook, Friday, February 27, illus. Zakian, Michael. California Figurative Sculpture, Palm Springs, CA: Palm Springs Desert Museum, illus
1986\tArtner, Alan G. \"What's New In Art? 20 Insiders Tell Who's Hot---And Why,\" Chicago Tribune, Sunday, June 29, Section 13, p. 26-29. Holland, Laura. \"Peter Shelton: U. Mass Amherst,\" Art New England: A Resource for the Visual Arts, March, p. 10, illus. McKenna, Kristine. “Peter Shelton,” Los Angeles Times, December 5, Part VI, p. 11 - 14. Russell, Gloria. \"Sculpture, Drawings Complement Each Other at UM,\" The Sunday Republican, March 9, p. F - 7, illus. Wright, Patricia. \"A House Levitates,\" The Hampshire Gazette, Springfield, MA. February 25, 1986, illus.
1985\tBodino, di Maristella. \"I Doptutto,\" Epoca, Milano, Italy, July 19, p. 42 - 51, illus. Cabutti, Lucio. \"Uno Squardo Sugli Anni Ottanta-Bologna E Altre Citta,\" Arte, Grandi Mostre Section, July/August 1985, p. 26, illus. Drohojowska, Hunter. \"The Prize,\" Los Angeles Herald Examiner, June 25, p. C - 3, illus. Muchnic, Suzanne. \"Two Sculptors Earn Young Talent Prize,\" Los Angeles Times, June 24, Calendar, p. 1,5. Pietrantonio, Giancito Di. I Luoghi Mobili Dell Indefinito: Neoinformale, Postastrazione E Neominimalismo, Anniottanta, Mazzotta, Milano, Italy, p. 123, 152, 161, illus. Rico, Diana. \"Young Talent Gets Award, Showing From Museum,\" Daily News, L.A. Life Section, June 24, p. 21, illus.
1984\tPanza di Biumo, Giuseppe. \"La Biennale,\" Domus, Art Section, August, p. 72. Caroli, Flavio. “Pittura Veloce, Post-Astrazione E Post- Naturalismo,\" Catalogo Generale 1984, La Biennale di Venezia, Venice, Italy, p. 201, 213, illus. Colpitt, Francis. \"Constructed Metal: Modern Sculpture,\" College of Creative Studies, University of California, Santa Barbara, CA, illus. (catalogue) Gardner, Colin. \"Peter Shelton at L.A. Louver and Malinda Wyatt Galleries,\" Images and Issues, July/August, p. 41, illus. Gendel, Milton. \"Report from Venice, Cultured Pearls at the Biennale,\" Art in America, September, p. 51, illus. McMarron, Megan. \"Visual Arts Center Found a Good Cement Mixer,\" After Five, The Business Journal, Portland, Oregon, April 9, p. 14. Glowen, Ron. \"Morphology and Material,\" Artweek, Vol. 15, No. 21, May 26, p. 5, illus. Groot, Paul. \"Closed Quotes,\" Artforum, September, p. 107. Delgado, Michael. \"Peter Shelton at L.A. Louver,\" Pick of the Week, LA Weekly, March 29. Pincus, Robert L. Los Angeles Times Calendar, March 23, Part VI, p. 14. Schipper, Merle. \"MAJORJOINTS, hangers and squat,\" Arts and Architecture, winter. Tripp, Julie. \"Business, Labor Join to Bring Sculpture to Life,\" The Sunday Oregonian, April 29, p. D1. Wortz, Melinda. Selections from the Merry and Bill Norris Collection, Irvine, CA: Regents of the University of California, pp. 80 - 81, illus.
1983\tDonnelly, Micky. \"An Artistic Conversation 1931-1982: Poland/USA, Ulster Museum, Belfast,\" Circa, Belfast, March - April. Fallon, Brian. \"Polish-US Exhibition at Ulster Museum,\" Irish Times, Belfast, Ireland, March 1. Glowen, Ron. \"Public Comments exhibit is more than a reflection,\" The Herald, Everett, WA, Thursday, December 8, p. 3C, illus. Hackett, Regina. \"Public Comments,\" Seattle Post-Intelligencer, Seattle, December 7, p. C-12. Hicks, Mary. \"Peter Shelton at Contemporary Arts Forum, Santa Barbara,\" Images and Issues, Vol. 3, No. 5, March/April, p. 63 - 64, illus. Smallwood, Lyn. \"COCA's 'Public Comments'\" an Old Warehouse for New Art,\" The Weekly, Seattle, December 7 - 14, pp. 40 - 41, illus. Wortz, Melinda. \"Peter Shelton-Contemporary Arts Forum, Santa Barbara: SWEATHOUSE and little principals 1977 - 82,\" Artnews, May, p. 133 - 136, illus.
1982\tTimberman, Marcy. \"Peter Shelton: The Power of the Ordinary,\" Artweek, Volume 13, No. 40, November 27, cover, p. 16, illus. Une Experience Museographique: Echange Entre Artistes 1931 - 1982 Pologne-USA., Musee D'Art Moderne de la Ville de Paris, illus. (catalogue). \"Forum-Museums and Galleries,\" Domus, no. 627, April, p. 77, illus. Amos, Robert. \"Peter Shelton at Open Space Gallery,\" Vanguard, Vol. 11, Numbers 8 and 9, October/November 1982, pp. 27 - 28, illus. Bolomey, Roger. Forgotten Dimension, Fresno Art Center, 1982, p. 38, illus. Harwig, Michael R. Editor. \"Peter Shelton,\" The List, Independent Curators Incorporated, New York, illus. Knight, Christopher. Peter Shelton Sculpture, Open Space Gallery, Victoria, British Columbia, illus. Shelton, Peter. \"NECKWALL, footscreen, sleeper,\" DREAMWORKS, Spring, No. 3, p. 203 - 207, cover, illus. Wilson, Raymond L. \"Small Metaphors,\" Artweek, Vol. 13, No. 17, p. 4, May 1, illus.
1981\tArtpark. Artpark 1980, Visual Arts, Lewiston, New York, illus. (catalogue). Blaine, Michael. \"Formalist Shelter,\" Artweek, Vol. 12, No. 18, May 16, illus. Drohojowska, Hunter. \"Peter Shelton-Art Pick of the Week,\" L.A. Weekly, May 1, illus. Knight, Christopher. \"Your Place or Shelton's,\" Herald Examiner, May 10, p. E-3, illus. Lewinson, David. \"With Another Sense,\" Artweek, Vol. 12, No. 37, November 7, illus. Perreault, John. \"Park's Lot,\" The Soho News, August 25, p. 23. Pincus, Robert L. Los Angeles Times, May 1, Calendar, p. 8. Schipper, Merle. \"Peter Shelton's Places and Spaces,\" Images and Issues, Vol. I, No. 4, Spring 1981, pp. 24 - 25, illus. Wortz, Melinda. \"A Tropical Sleeper,\" Artnews, October, p. 189.
1980\tBranche, Bill. \"Artpark Sculpture Evokes Simplicity, Strength,\" Niagara Gazette, August. Branche, Bill. \"Artpark works Provide view of Their Creators,\" Niagara Gazette, September. Brodhead, Wendy. \"Protection and Entrapment,\" Artweek, Vol. II, No. 39, November 22, illus. Fahr, Barry. \"Enigmatic Architecture,\" Artweek, Vol. II, No. 23, June 21 , illus. Huntington, Richard. \"Artpark Does Its Best to Get Rid of the Middleman,\" Buffalo Courier-Express, July 13, illus. Larson, Kay. \"Is There a Crimp in the Beauty Parlor,\" The Village Voice, September. Maryland Institute, College of Art. Sculpture 1980, Maryland Institute, College of Art, illus. Muchnic, Suzanne. \"Sprawling Sculptures,\" Los Angeles Times, November 2, Calendar. Lippard, Lucy. \"The Inside Picture from the Outside,\" Architectural Sculpture, Los Angeles Institute of Contemporary Art, pp. 25, 87, illus. (catalogue). Turner, Richard. \"Peter Shelton,\" Architectural Sculpture-Projects, Los Angeles Institute of Contemporary Art, pp. 29-31, illus.
1977\tArt in Public Places, Cheney Cowles Memorial Museum, Spokane, WA FILM AND VIDEO: 2009\tthinmanlittlebird installation, Indianapolis Marion County Public Library, Indianapolis, IN. 20 min.
2002 Shelton, Peter. Artist in Residence. A video by Pilchuck Glass School, WA. Shelton, Peter. Sculptor 1977-2002,. DVD multimedia. 120 min.
1989\tShelton, Peter. floatinghousDEADMAN, a 6:30 minute videotape, Los Angeles.
1984\tShelton, Peter. pipegutwaterseatandSTANDSTILL, a 3 minute videotape, Los Angeles. Shelton, Peter. MAJORJOINTShangersandsquat, a minute videotape, Los Angeles.
1981\tShelton, Peter. NECKWALLfootscreen sleeper, a 10 minute videotape, Los Angeles.
1979\tPeter Shelton-SWEATHOUSEandlittleprincipals, New American Artists Series, produced by Helicon Video, Los Angeles.
\"I've spent five decades trying to understand how sculpture can register in the body before the brain organizes it into language.\"
— Peter Shelton, Voyage LA, December 2025 (interview)
“I am a mockingbird in a painter’s space: Peter Shelton discusses his love of making improbable sculptures\"
— Lita Barrie, Whitehot Magazine, July 2023
\"Peter’s work varies from large-scale installations to more succinct individual objects. In an overview of his work, there is an amazing variation in style and a sensibility distinctively his that is at the core of his sculpture... Like a magician, he reveals the secret life of objects, and through his forms as a sculptor, reinvents a world that we both know and imagine.\"
— Neil Goodman, \"EYEHAND: The sculpture of Peter Shelton,\" New Art Examiner, Summer 2022
\"Peter Shelton’s sculptures incorporate both abstracted and figurative forms along with anatomical as well as architectural motifs. He works in metal and fiberglass, in large and small scale, commenting—at once seriously and with humor—on the human condition. \"
— Carol S. Eliel, Curator of Modern Art, Los Angeles County Museum of Art, LACMA Unframed, June 29, 2017
\"Shelton's sculptures are painted- thus they are simultaneously painting and sculpture, which are perfectly wedded in his art because the colors applied to the forms are an expression of the meaning that the forms themselves imply.\"
— Rosa Giovanna Magnifico Panza di Biumo and PanzaCollection
Pacific Standard Time, A to Z: \"It Happened at Pomona Exhibition Part III,\" Sharon Mizota, Los Angeles Times, September 10, 2012
\"Everything about Peter Shelton (pristine studio, stunning preparatory drawings, conversation sprinkled with Latin terms) suggests a combination of obsessive technician and daring poet willing to risk it all for an idea.\"
— Marlena Doktorczyk-Donohue \"Simple Simply Isn't: A Conversation with Peter Shelton,\" Marlena Doktorczyk-Donohue, Sculpture Magazine, April 1, 2012 (click here for the entire article on L.A. Louver's blog)
\"Peter Shelton’s sculpture has made deviously and delightfully clear for more than 30 years that physical space is, inevitably, also psychical space.\"
— Leah Ollman \"Peter Shelton L.A. Louver, \" Art in America, March 2012
Click here to read It Happened at Pomona Exhibition Part III review in Los Angeles Times Culture Monster
Click here for Feature in Sculpture Magazine (full article on L.A. Louver blog)
The brownrooms are a series of works that grew out of a desire to make simple enclosures that one could enter. I needed to make something that was inexpensive to fabricate and could be collapsed, folded up and put away. They were meant to focus on the simple circumstances of our physical orientation, posture, and containment. I like to use the word conditional.
The components of pipegutwaterseatandSTANDSTILL are derived from three simple postures: lying, sitting, standing. Hanging from the gallery's ceiling, pipegut is a steel framed tube covered with shellacked cloth. A set of tracks running through its 100-foot length convey a small, wheeled car upon which one may travel hand over hand. The tube curves slightly so that in the center, the ends are not visible, and one is enveloped in the orange-brown glow of the tube's skin. A conventionally proportioned and functional chair, waterseat is made of plate glass filled with water. STANDSTILL is a cast concrete monolith (96\" x 48\" x 13\") weighing more than two tons with a central negative describing my frontal profile up into which one may step.
I am more interested in the sense rather than the meaning of a work. Its form, structure and scale are often set up so that one's presence and movement are essential in completing the work. That one might literally enter or merge with the sculpture is not so much about any common utility as it is a desire to have the experience understood in the whole body, and thereby, to intensify the dialog and possibly invert the relationship between the subject and object.
pipegut: soft/skin, hard/skeleton, macro/outside, micro/inside, move/work, digest/shit, birth/baby, curve/cycle, continuous/time
waterseat: fluid/water, crystalline/glass, inviting/immersion, threaten/shattering, sit in/womb, sit on/throne, ethereal/it, coarse/me, rest/time.
STANDSTILL: heavy/concrete, light/air, solid frame, void/center, stationary tomb, moving through/door, permanent/it, fragile/me, alive/artist, dead/sculpture, outside/hole, inside/whole, momentary / time.
cannonbottle is a work that has grown out of my preoccupation with sculpture operating on a threshold between our sense of inside, our spatial temporal selves and our sense of outside, our objective concrete selves. I have worked with these special kinds of vessels through my career in all different sizes from the nearly architectural to the imitate and anatomical. They are hollow and open and contained and full. The lips on the bottles create a transition as our own lips function between inside and outside. We are drawn in and pushed out again. The bottles have a posture, gesture and dialogue between them and our own bodies next to them. We move, they move. We stand back, they are at least things if not personages. We come close and circle them and as we touch their skin, we touch our own skin. At times, my work appears to be \"near figures\" in a conventional representational sense, but ultimately their transitive nature, their \"membrainess\" and our inability to separate ourselves fully from them as simple objects force us to complete their meaning in the whole of our bodies. At some point they turn inside out, and we cannot separate their corporality from ours and our mind within them. They make us breath in and breath out and then all over again.
3x3: Sculpture by Richard Deacon, Joel Shapiro and Peter Shelton, Painting by: Imi Knoebel, Robert Mangold, and Jason Martin
L.A. Louver Gallery, Venice, CA, January 14-February 13, 2010
blackslot
A thin membrane separates what is in and what is out, what is empty but has a form because it is contained and what is a form because it is clearly everything that it is not. They might be surfaces deep from within or canyons that contain us wholly out with our bodies perfectly intact.
Through the years I have made several proposals for commissions that would use a glacial tilt boulder. As they slowly move down mountain valleys under the pressure of prehistoric glaciers like giant ball bearings, these huge rocks have been rounded into more or less spherical shapes. In 1987, for example I proposed to use a 100,000-pound boulder mounted on a bearing at the Walker Art Center that could be turned by hand like a giant megalithic prayer wheel. The slow-to-move boulder would have been contrasted by a spinning electric light standard uprooted from its normal position on the sidewalk and elevated overhead.
In ROCKshadow, I propose to use an 85,000-pound white granite glacial tilt boulder measuring roughly fourteen feet tall and nine feet around as a pattern to build its shadow in black bronze. It is common in my work to contrast and compare seemingly opposite values like inside and outside, big and small, heavy and light, transparent and opaque, space and object. In this work I am fascinated with the idea of using the boulder as a dressmaker would use a manikin to create a coat and stand the original boulder and its ersatz bronze cloak together in a Seattle plaza. I am curious about how having them together would reveal their relative sense of weight and solidity or lack thereof. Would the white boulder, ROCK, feel lighter than its black, bronze shadow even though we know that it is many times heavier? Would the boulder feel obdurately solid or spongy like a marshmallow? Would the black “skin” of the bronze clinging to the interior ribbed support structure make the shadow feel hollow like a tent? Would this skin feel taught and tensile like a drum head next to impossibly soft white granite? Would it be clear that the ROCK was used as a pattern to fashion its shadow. I am interested in how the original form would feel standing next to what is essentially a mold of it that now becomes a once-removed and materially distinct replica. Would we ask which came first?
Procedurally, I propose to stand a glacial boulder on end and not unlike a contour map, draw with chalk on it surface lines that reveal and even exaggerate the shapes of the ROCK. Over these lines we will lay preheated ½” round bars of wax and join them with crossing wax lines. Over this cage-like grid we will heat sheets of wax and rub them onto the cage such that the grid beneath is revealed as it resists the softened sheet wax. Finally, the wax is removed in many pieces and is run through a lost-wax casting process. Reassembled with a black patina, these bronze parts become what I call the shadow.
Finally, both the ROCK and its shadow are installed in the plaza to become ROCKshadow.
thinmanlittlebird proposes a work for each pedestal of the Library. On the left is thinman and on the right is littlebird. thinman is a very tall figure that both exceeds the Library’s frame, attenuates its bulk, leans out of the classical plumb line and organically grows up from its inorganic base. Cast in bronze, it rises 30 feet extending beyond the decorative fascia of the building. Obviously, little can compete with heft and the breadth of the Library but thinman is tall enough to draw us up and out of the building and gaunt and wobbly enough to substantially differ from its massive right rectilinear background.
On the right side, in contrast to the arboreal thinman , I had originally considered a second figure, one stout, ponderous and almost shrouding its pedestal. This kind if duality between light and heavy, thin and thick, tall and short, organic and inert, open and closed is common in my work. But I began to think further about the Platonic purity of the Library and the idea of finding a form that while being similarly perfect would contrast the pervasive cubical surroundings.
I have worked with toroid forms for many years, i.e. floater, 1982. A torus has an everting nature where its surface turns inside out endlessly. It appears both full and buoyant and heavy and hollow. I thought to have littlebird, cast in bronze eight to ten feet in diameter, attached to the wall hovering above its pedestal like a giant halo. If the structure of the building does not allow, I could also see the littlebird sitting on its pedestal leaning casually against the wall. The name littlebird comes from thinking about how the torus, once installed, may attract a little bird to perch on it. I started thinking about casting a small bird (a sparrow?) in bronze and fixing it on the top edge of the torus of littlebird. I have sometimes thought to call this part of the commission proposal “little bird perched at the edge of the universe” (littlebirdperchedattheedgeoftheuniverse) as the torus is often used to describe certain concepts in astronomy. We are not unlike this little bird.
thinman extends our physical selves to the literally improbable. littlebird is the self-contained model of our insideoutsidein selves, spatial, temporal, solid and empty, heavy and light, full and full of holes. It is Platonically pure and indivisible but organically continuous. thinman is all about place while littlebird seems a momentary visitor. In the end, thinmanlittlebird tries to address differently the two pedestals in ways that hopefully respect the building and still extend, challenge, lighten and even “play” with its seriousness.
Addendum:
I am a little wary of discussing my work in symbolic terms. As wistful and needy as I am for content in my work, I try to stay focused on my intuitive and formal senses in approaching a work. Even though there may appear to be a clear meaning by the shear physical presence of my sculptural form in space, I have never viewed my work as a \"certifying\" process. I want to be as open to the possibilities as the viewer. One of the ways to continue to have a work be \"experienced in the whole body\" is to keep some distance from a cerebral approach. It is important that the work be intelligent, but my best work is always as much mental as physical.
Forgive the digression and possible pretension here stated. I have written a few additional comments:
I think of a library as a kind of field, a universe, vast and varied in its expression of our humanity. In this context, I have submitted two contrasting propositions for the pedestals at the Library. As I discussed in my proposal, my Lannan Foundation Commission presented one work, stretch, that operated literally in space, using the pedestal as a launching pad and most importantly drawing our bodies up into the architecture. Could it embody ideas of transcendence, longing, striving? Yes, it is so, especially in the sense of breaking the hermetic nature of the pedestal. It defies its pedestal, gravity and containment. Does this relate to the human condition? It at least points to the tension between our immaterial and dimensionless spirits that reside in our defined, heavy and mortal bodies.
The spread element was meant to occupy an ambiguous space above its pedestal. Its relationship to \"place\" is on the border between our minds and our bodies. Are we looking at neuronal paths, vascular systems or a floating body that spreads horizontally in space while its counterpart stretch reaches toward the ceiling? Is stretch about consciousness and spread about unconsciousness? A sculptor as Pygmalion, to quote myself, \"tries to bring the dead to life\". To claim that I can really do this is pretentious if not blasphemous. As wistful as I am as a human being, as a sculptor I try to stay in the world of \"concrete dreaming.\"
As for thinmanlittlebird, it is impossible to not take into account the long tradition of and expectation for a \"significant figure\" in such a significant position as a pedestal in front of this neoclassical Library. It calls to mind the original plans for this Library's exterior and the long history of such circumstances. But we live in a time where the confidence in our bodies as a unified, undivided spiritual whole has been shattered by industrialization, science and mass culture. I believe this is why in our times there is such difficulty with and scarcity of credible representations of the whole human figure. We often experience our bodies as fragments and mechanical parts. thinman could be read as more of a gesture, on the threshold between our bodies and space. It is impatient with the confines of its pedestal and the library in the background. Its relationship to the pedestal is tenuous and fragile. The lack of \"body\" in thinman pushes us to the ethereal and sublime while simultaneously acknowledging our own physical doubt.
This proposal almost suggests two world views and maybe two different ways that we adapt to life.... East and West. With the acknowledgement of our current condition, thinman recalls our Hellenic past where the perfection of matter was a firm belief, the classical ideal. This kind of optimism is today touched with a pathos and sense of loss. thinman tentatively occupies its pedestal and the Library behind and stretches to escape these limits. It teeters against the inertia and cubic solidity of its material context. The muscular \"heroic\" past gives way to the extreme extension of thinman as a gaunt, lean, maybe even wasted figure starkly contrasting the robust background Library. Conversely, littlebird is almost an Eastern idea. The Indian stupa is a touch point for me. We understand it as a primary solid form, massive and earthbound. But as we walk around it, contemplate it, it becomes spatial and temporal and strangely light, even hollow. It is solid and hollow like an egg. It is a graven tomb and fecund womb. The torus defies its pedestal too but in a different less literal way. It has no anchoring surface as it endlessly turns in and out of itself.
I worked briefly with Jim Turrell as a student and I remember his observation. In the East, in such a situation as Ryoangi Temple in Kyoto, one can \"go to the moon by contemplating a rock\" but in the West (re the Hellenic classical), we have to be very concrete and literally construct a rocket to go to the moon.
Both thinman and littlebird are types of transcendence but go about it in very different ways. Both have a kind of delicacy and strength. Both have a kind of pathos. One carries on with the impossible literal bridge to the universe both inside and out, the other finds us miniscule and light at the edge of its unfathomable and continuous breadth.
EXTENT. A Quotidian Project, Los Angeles, CA, April 14-May 26, 2018
Extent, began as an exhibition about negative space in sculptural form. When my mother, Francine Kelly, director emeritus of Featherstone Center for the Arts, came to California to start Quotidian with me, we were investigating the commonalities of our aesthetics. With our shared interest in richly tactile, self-referential forms, we focused on Peter Shelton's foundational work.
Shelton (b. 1951) once described his practice as \"a threshold between in and out, object and space, heavy and light.\" His pieces are potent examples of a California aesthetic tradition that merges meaning and form and provides the opportunity for weighted content conveyed through a surprisingly contradictory materiality.
When we conceived of Extent we wanted to highlight how Shelton's work made space for other investigations of juxtaposing signifying forms, bringing together members of my community of Los Angeles based artists: Blue McRight, Lisa Bartleson, Joe Davidson, Duane Paul, Nike Schroeder and Lisa Soto, whose sculptures weighed objects with formal and narrative relationships to volume.
Then my mother's lupus attacked her heart, and she died on January 8, 2017. These artists who are also my friends, supported me when she was in hospice and after she was gone and allowed me to reconsider the weight of their objects in the chasm of my sorrow. We talked about their own stories of love and loss narratives that resonate through clear aesthetic decisions about process and practice.
The more I tried to situate my mother and our vision of Extent, the more the negative space of the sculptures took on a greater consequence and seemed to echo my loss, shifting the meaning away from what is to what is implied. Conceived as ex-tent - the amount to which something is or is believe to be the case. The physical weight and weightlessness of the objects become a tragically heavy framework contextualizing deeply personal emotions-- the artists' and my own.
Extent expresses a visual language of content and form that highlights permanence and ephemerality, gesture and absence. From titles to materials and color palettes, McRight, Bartleson, Davidson, Paul, Schroeder and Soto engage in a call and response with Shelton's seminal irondress and longbag and with each other. Mounted in a location of L.A.'s historic past, Extent speaks of memory, of the spaces we remember and the emptiness we cannot forget. It is a tribute to friendship, and to an unyielding aesthetic of the West, where transformational ideas can be observed in and around objects.
This exhibition is made possible by a community dedicated to the arts. Thanks to Tom Gilmore of OBD, Allison Agsten, executive director of Main Museum, Ben Milch and his team at Secure Installations, Jennifer Brown at J Brown Signs, LA Louver, Fresh Paint, Walter Maciel Gallery, and of course, the artists themselves.
Curated by jill moniz
I began SWEATHOUSEandlittleprincipals in 1977 and exhibited it first at UCLA (Wight Art Gallery, 1979) in a 111-element version and again in 1982 in Santa Barbara with additional elements, which brought the total to 150. It looked back to my early drawings and notebooks and has figured into every major work since. It is very much like a writer's first novel in that it has the unruly and naive energy, as well as the breadth and completeness of one's first grand effort.
The elevation and layering of the forms in space—forms which often mirror parts and zones of my body—led both to installations involving collections of objects in space (e.g., MAJORJOINTShangersandsquat) and my recent mixed media studio works, as well as, to works with the layers or zones expanded to an architectural scale (e.g., footspace, NECKWALLfootscreensleeper). In the latter, one's physical presence is to the surrounding space as a little principal support pole is to the steel form that it pierces.
SWEATHOUSEandlittleprincipals is a veritable mine field for the mind and body. Every part of us is touched and referred to. We are taken apart and put back together. The littleprincipals range from the graphic, e.g., a brain or a loaf of bread, to the abstract, e.g., a box on a pole at heart level, to just a simple vertical steel tube—drilled, punched and welded.
HEADROOMfootspace stacks two rooms one on top of the other. The floor of the lower room, HEADROOM, is five feet below grade and is entered by two stairways on opposite sides. A one-foot-wide open band puts your head on the ground amongst the grass, weeds and the feet of people on the outside. The earth is no longer an abstract plane but is fragrant, densely packed matter. The feet of people in the room above are resting on your head.
This upper room, footspace, has proportions like the room below but one is instead contained from above. The room floats above the floor with one's feet in the breeze of the open band at the wall's bottom. Like the dinger in a bell, one's lower body is strangely unattached. Feet touch heads below. The tree grows upside down.
floatinghouseDEADMAN originated from my reaction to the specific qualities of the University of Massachusetts Gallery. This Gallery, a ponderous, dense, concrete tomb of a space in the basement of a supra-human-scale concrete building, is further defined and dominated by four concrete support columns in its center. My first response was to build something light, blond, and buoyant in the heavy center. As I had previously been involved with suspending or elevating objects and had become fascinated with wooden structures in Japan where I've travelled several times, I began thinking about suspending from the ceiling a wooden building that could be entered. A dead-hung structure seemed too static and might further reinforce the gallery center, so the idea of attaching it via cables to heavy counterweights (deadweights) throughout the space evolved. The overall gallery space would then be strongly woven together, and the central dominant weight would be redistributed to many peripheral areas.
I depend on reversals and contrasts. Things that are heavy should be down around your feet, but you could unexpectedly find them up around your ears. Concepts that are thought to have no physical weight can achieve major mass. Space that is thought to surround becomes a stone at your feet. What you think is inside is the outside of something else. A gigantic thing may become small at the right distance. Certainly, a house cannot float?
My interest in elevating, dislocating or suspending things, i.e., floating as in water, is perhaps an attempt to mediate between the constant sinking and disintegrating of the physical and the buoyancy of the non. Sculpture is a Pygmalion enterprise in which you are constantly trying to bring the dead to life.
Though not a conscious or literal goal, there are inescapable associations in floatinghouseDEADMAN. One cannot avoid the East/West contrast of the elegant, luminous, ethereal and empty interiority of floatinghouse with the heavy, dark, material, exterior, and mortal weights (\"deadmen\") that support it.
floatinghouse has an anthropomorphic floor plan. I laid down in the gallery and drew out a floor plan by extending my arms and legs. A long one-end-rounded room was added, as if I had swallowed a small nave and apse of a church. One may enter floatinghouse through a leg and exit via an arm. The cabled connection of the floatinghouse with the gallery structure and the counterweights creates a strange dependency and balance between a very disparate and uncooperative group of objects. There are 14 counterweights (deadweights) supporting floatinghouse. They all have unique identities. Some may relate to the architecture of floatinghouse but others are harder to connect. GATE is a form I've used in many works (e.g., SWEATHOUSE and little principals), and its latticed structure relates to the hanging hall main entrance into floatinghouse. The steel mattress of holebed has several thousand perforations drawn from the touch of fingertips. HEAVYSEAT is 1,300 pounds of cast iron.
I wanted to make a chair of conventional dimensions that was so dense that one would have difficulty sitting solidly down on it. One would tend to float off the chair. Emotionally and physically, one could never sit as heavily as it could. The sunkenhouse in its tank of water is a further play on the sinking and rising of the exhibition structure. I also liked the idea that floatinghouse, which is too large to be perceived as a whole and is instead absorbed as a series of fragments, could be clearly seen as a discrete and complete object in model form, i.e., sunkenhouse. In a further reversal, ironsight peers down at a small fragment of the sunkenhouse. To wrap a single point of view with a massive straitjacket of steel is to give the sense of vision an unexpected physicality. Though arbitrarily chosen, the model fragment viewed through this densely exclusive ironsight becomes ironically substantial and whole itself.
heavycorner, the most non-objective object in floatinghouseDEADMAN, was placed close to bones, the most graphic, concrete, and objective counterweight, because, despite their superficial difference, together they encompass my curiosity and confusion about the continuity /disjunction of space and body. DEADMAN is a two-ton cast concrete weight whose spread-eagle plan is related to the plan of floatinghouse but whose inert mass is clearly earthbound.
I find that the perception of phenomena and the presence of memory are interdependent in the conception of my sculpture, and that the physical, sculptural, and pragmatic considerations in making the work are inseparable from its image or significance. In floatinghouseDEADMAN, heavy objects support a building, and this fact can't be separated from the images. What makes sculpture strong is that it deals in the most physical way with the least physical of things—ideas. It is at once felt and graphic. Living in a body that eats, sleeps, defecates, reproduces, and dies, and yet is full of soaring imagination, evolved concepts, and strong emotions is our concrete experience of this tension and connection. I like the idea that if there is a narrative aspect to my work, it is totally grounded in matter. The virtue of sculpture is its solidity, its physicality, its literalness. If you don't attend to that, then you're just missing the boat.
trunknutsWHITEHEADfloater captured the nebulous Open Space Gallery with three large distinct and seemingly disparate works.
trunknuts replaced a standard wood support post with a raw tree trunk girdled by a massive charm bracelet of steel and cement forms. WHITEHEAD condensed the vast proportions of the gallery to a two-ton cast-in-place plaster room surrounding your ears. This mass of compressed whiteness rendered our heads into lumps of matter and aurally tinned our voices as if we stood in a diving bell. In contrast, floater, an 18-foot diameter steel and cloth torus, was a buoyant contrast and a space shrinking presence.
trunknutsWHITEHEADfloater was particularly significant to me as I allowed the elements to develop organically, through feeling and intuition rather than form. Their connections emerged through contrast rather than resemblance, bonded by opposition rather than similarity. The work's success defied prediction or rationalization, a result both unexpected and deeply satisfying.
Peter Shelton. eyehand: selected sculpture from 1975 - 2011, L.A. Louver, Venice, CA, November 19, 2011-January 14, 2012
Part of Pacific Standard Time: Art in L.A. 1945-1980, a Getty initiative with arts institutions across Southern California
A lot of my early work started off nominally geometric and constructed,
but I would sneak in a reference to the body without depicting the body,
which was a way of creating a kind of subversive connection. Desire,
memory, humor, even wistfulness are powerful psychic qualities that
I do not avoid. I wanted to enter the work directly and have its narrative
understood as much in the body as the mind.
—Peter Shelton
eyehand demonstrates the evolution of Shelton’s development as an artist of international stature. Early works include flattop, 1975, and cheesestick, 1977, that Shelton created while at UCLA, as well as a selected group of forms from his 1979 MFA thesis exhibition, SWEATHOUSEandlittleprincipals. Major bodies of work are represented, such as Shelton’s waxworks sculptures, previously exhibited at the Des Moines Center, Iowa and the La Jolla Museum of Contemporary Art (now the San Diego Museum of Art) in 1989; bronze sculptures that featured water elements in thingsgetwet, presented at LACMA in 1994; godspipes that were first seen at the Irish Museum of Modern Art, Dublin in 1998; and works relating to cloudsandclunkers, Shelton’s 2004-2005 commission for the SeaTac Airport, Seattle, Washington. eyehand also debuts Shelton’s most recent sculptures, including a gold-leafed torus form, entitled fatangel, 2011.
\"The Panza Collection is entirely a couple's affair. When my wife Giovanna and I discover works by a new artist, I look at her and she looks at me. I can see in her eyes if she wants to buy or not. So even between my wife and me, \"looking\" is an issue.\"
\"As a collector, I feel to have an educational duty towards the public. My educational approach resides not in words, like a teacher, but in my exhibitions.\"
—Giuseppe Panza di Biumo
Giuseppe Panza di Biumo, along with his wife Giovanna, is recognized as one of the world’s foremost collectors of contemporary art. The collection, originally composed of around 2,500 works of art, is mainly representative of the most significant developments in American art from postWorld War II to the 21st century. Along with a need to fulfill spiritual and inner quests, both intuition and reflection have inspired the collectors’ choice that would demonstrate, retrospectively, their farsightedness. By devoting themselves to an in-depth focus on emerging artists and specific creative periods, the Panzas contributed to acknowledging the new art forms among both the general public and the art market.
PanzaCollection is dedicated to fostering knowledge and appreciation of the artworks collected by Giuseppe and Giovanna Panza. The mission of PanzaCollection is to cooperate with museums and cultural institutions, fulfilling the purpose of its founders.
Peter Shelton. littleBIG, September 14-October 25, 2014
An exhibition of 17 sculptures and 12 drawings at the José Drudis-Biada Art Gallery, Mount Stain Mary's College
In this show, Shelton’s sculptures meld seemingly contradictory forces such as weightlessness and weight. They are tough and tender, sober and funny, elevated and base. Many of his works are based on identifiable aspects of the human body such as vertebrae or organs such as mouthheader, (1987-91) a cast steel spinal cord suspended from the ceiling, pinkloaf (1999-2000) resembles the top half of a headless fleshy torso, the cropped arms dangling at the sides. It is off-putting yet also has the comic appeal of an inflated giant balloon in the Macy’s parade.
redtop (1992-2002) is a bulbous crimson dome that is mounted on the wall. The surface is burnished, brushed and drawn with a patina that underscores the hand-made nature of Shelton’s work. These large-scale sculptures are interspersed with objects of modest size, some small enough to be held in the hand. Hence the title of the show: littleBIG. In this show, most of the work is experienced frontally, not in the round, so that it hovers between two and three dimensionality. A number of drawings demonstrate how closely his final sculptures follow his use of line. Shelton’s work can have a metaphysical quality, too. The sculpture godshole (2003), an alabaster colored sphere indented in the center was termed a “cosmic orifice” by Leah Ollman, perfect for a show being held at the gallery of a Catholic college.
Hunter Drohojowska-Philp
KCRW | ART TALK
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Louver Gallery, Venice, CA May 27-June 24, 1989
L.A. Louver is pleased to announce an exhibition of two California masters. Recent paintings by Ed Moses compliment new castings by Peter Shelton.
The recent paintings of Ed Moses continue to place him at the forefront of abstract painting in California. Biomorphic, fluid forms dominate these new canvases, layered on floating fields of color. Moses pushes and loosens the grid of his earlier oeuvre, while keeping the complexity and intensity.
New castings by Peter Shelton will also be on view. In this work, Shelton continues his exploration of abstracted body forms and biomorphic shapes. The show includes pieces in bronze, copper, and cast iron with hand applied patinas. Coming on the wave of his tremendously successful exhibition \"Waxworks,\" which travelled from The Des Moines Art Center to The San Jose Museum of Art and the La Jolla Museum of Contemporary Art, this is an excellent opportunity to see recent work by a recognized master of contemporary sculpture.
Triples: Harry Dodge, Evan Holloway, Peter Shelton, May 28–July 3, 2016, The Approach, London, UK
In an age when the virtual is often privileged over the actual, the works by Harry Dodge (b. 1966), Evan Holloway (b. 1967) and Peter Shelton (b. 1951) make a case for the delight in object-making as opposed to conceptual and de-materialised art. Since the 1990s, Holloway has advocated for an “analogue counter-revolution” through his commitment to the material experience of objects as the primary site of art practice. The physical object stubbornly occupies space and can only be experienced by proximity. Although the three artists emerged from slightly different worlds at different times, their practice shares the importance of building a corporeal relationship between the artwork and the viewer. This space becomes a site for engaging ideas about time passing, being physically human, and the pleasure of experiencing materials holding space.
Shelton’s weighty ironlongbag from the late 1980s is scaled to the body and made manifest by the visitor’s motion in space, in what the artist calls a “tight-fitting architecture.” The work occupies a realm between abstraction and figuration; where it functions not as a depiction, but clearly speaks to bodily empathies. ironlongbag recalls art historian Briony Fer’s description of Eva Hesse’s visceral works, where an abstract semisphere, albeit a material substitution, is more like a breast than a picture of a breast could ever be. The ironlongbag , a soft vessel or a solid organ, resembles the body not in an anthropomorphic way, but in how it occupies space with the mass and weight of its voluptuous form. The work presents a juxtaposition between the physical weight of the bodily form and the existential lightness of what it means to be a body.
The metal joint of Holloway’s Faces (described by the artist as an elbow), functions not only as a support for the plaster appendages but recognizes the human body as a set of possibilities for the engineering of sculptures. As in Shelton’s work, the formalist steel structure nods to abstraction, whilst making reference to the human figure. Wheel features pigs’ trotters arranged on a set of spokes. Some touch the floor, performing as supports, while others reach out to the viewer as if beckoning or threatening. Reminiscent of the Orwellian metaphor in Animal Farm, this work might induce a self-reflexive awareness of our own savage or barbarian animality, even down to our beast-like appendages.
Dodge’s Emergency Weapons, made in response to the USA Patriot Act of the early 2000s and addressing the controversial Second Amendment of the right to keep and bear arms, appear as desperate, whimsical extensions of the human body. During a short time period, the artist’s daily practice was supplanted by the compulsive construction of an urgent, scrappy armory. The tool or weapon, as the most archaic form of prosthetics, is a supplement to our hands, allowing them to exceed our corporeal boundaries. In the face of an ever-present politics of fear, Dodge’s weapons offer a combination of wit, paranoia and comic resolve.
Classical sculptural materials such as iron or bronze are juxtaposed with ordinary materials and found objects in this exhibition, where the makeshift meets a polished finish reminiscent of industrial manufacture. Holloway's sculptures include hand-made plaster faces, pigs feet, and stacks of heads, which are treated like found objects incorporated into formalist structures. Dodge’s weapons were each made in under five minutes and with items found at his house – rusty nails, broom handles, butter tins, paper cups. The resulting contraptions are dirty, brutal, humorous, pathetic and decisive, recalling freakish, beggarly hand-tools.
In both Dodge’s and Holloway’s works, references within and outside the Western art historical canon are at play. The cast aluminium Head-Stack is a totem referencing vertical hierarchies, but also a distribution of power through the light traveling up and down the caricature-like bulb noses. Dodge’s tools resemble archaeological findings that could attest to a high level of human advancement, but appear absurdly analogue in light of the threats of the virtual age. Similarly, Shelton’s work evokes archaeology or primitivism: the beginnings of evolution, when beings were barely formed amoebic entities, limbless encased organs.
Triples immediately nods to the 'golden rule of three' with its inclusion of three artists; but – in a more abstract sense – to illuminate the binary between the virtual and the physical. Importantly, a triple is at once the subject and object, as well as the relationship that exists in the space between those two things. If a triple is always the state of being, then one always exists in relation to something else/Other. Similarly, metadata (that is, stored data used to make information findable by algorithmic search functions) is based on ‘triples', and can be thought of in terms of recognisability: a face, interface, or a kind of metaphorical sociality. Triples extends to both the direct relationship between the viewer's visceral encounter with an art object, as well as to the group show scenario, where artists’ works are brought together in a space based on the intuition that they will ‘speak to each other.’
LA Today: Kenneth Capps, James Hayward, Gary Lang, Ed Moses, Gwynn Murrill, Ruth Pastine, Peter Shelton, Phillip K. Smith III, and Matt Wedel, May 22-July 17, 2016, Royale Projects, Los Angeles, CA
LA TODAY showcases works across generations of Los Angeles artists from a seasoned and engaged perspective. This exhibition provides a glimpse into the diverse and powerful ways artists are pushing the traditions of painting and sculpture. Included here are immersive colorfield oil paintings by Ruth Pastine juxtaposed to quirky ceramic heads and plant life by Matt Wedel. In a formal conversation around circles, scale, and color variation are the immense, round acrylic paintings by Gary Lang and the largest fiberglass, kinetic lightwork by Phillip K Smith III. The tall grid of impasto paintings by James Hayward reveals the artist’s experimentation with white oil mediums thickly caked onto wood. Angular paintings by Ed Moses are installed unorthodoxly across the corner of the gallery, creating a geometric puzzle or mask out of an abstract, vine-like pattern. Kenneth Capps’ colossal, painted steel sculpture looks like a gigantic ink drop turned on its side yet becomes a smooth black sphere when approached. Peter Shelton’s alien objects seem to allude to hybrid lifeforms, while Gwynn Murrill’s apparitional, bronze feline provides a dignified contrast—bringing us back to Earth.
For over 44 years, private art dealer Carl Schlosberg curated numerous exhibitions of works by leading contemporary artists in Los Angeles, Malibu, Beverly Hills at The Peninsula Hotel, and New York. He is chair of the Sculpture Committee of the Arts Council of the Century City Chamber of Commerce and served as the curator of Century City Sculpture 2015. Schlosberg is a charter member of The Los Angeles County Museum of Art, a founder of The Museum of Contemporary Art, Los Angeles, and a founder of the Skirball Cultural Center. In the 1980s, he served as chair of the Sculpture Garden Committee of American Jewish University. At age 80, Schlosberg’s vitality in this collaboration with Royale Projects genuinely exemplifies his own unquenchable thirst for contemporary art.
Peter Shelton: powerhousefrenchtableecklaces, Sperone Westwater Gallery, New York, April 5-28, 2012
Sperone Westwater is pleased to present a survey of sculptures by Peter Shelton. These corporeal and architectural works from 1989 to the present are both abstract and referential. Their materiality and subject matter elicit a physical, emotional, and psychic engagement—making the visual experience tactile and tangible.
In powerhousefrenchtablenecklaces (1994-2012), spatial tension is created by precariously balancing a bronze model of an uprooted and upended 19th-century powerhouse on a small French table. Water runs slowly over a massive cluster of necklaces gathered around the building’s smokestack. Made variously of bronze, water, copper, and wood, additional works from the series thingsgetwet (1989-1994) are included. In boots (1989), Shelton animates ordinary objects (his work boots) by filling and overflowing their interiors with water. In pagodawindowskull (1993), water drips from the finial of a hanging inverted model of the Ishiyama-dera pagoda into the trepanned opening of an ancient Peruvian skull. Throughout Shelton’s work, water evokes all its possible associations from bodily fluids to gravity and time. To Shelton, water can be entropic and erosive, vivifying and ameliorative, animating and abstracting. It can connect the disparate and soften the hard.
Three large-scale, bubble-like sculptures, appointed by various openings that protrude from the wall, are installed in the gallery’s Moving Room. Alternately anatomical and industrial, these works have hydraulic and pneumatic associations. The bulbous form, bigfrenchvent (2003-2012), appears to have a coarse and graphic exterior, but smooth lips draw attention to its interior surfaces. Skin and surface are important in Shelton’s work as he explains: I try to think of materials as not just a surface or treatment, but part in parcel to what the work is. Sometimes, of course, it’s a skin, so it’s very much about that surface. However, I like to think it’s like the skin that contains us again and so it’s not like something that’s applied and arbitrary, but very much a part of what gives us definition.
L.A. Louver celebrated its 30th anniversary with the first U.S. presentation of Peter Shelton’s one hundred and eighty-eight-part work entitled, godspipes. These translucent fiberglass, hollow forms, which are ribbed with lead, possess hydraulic and pneumatic references that also allude to elements of the human body, including torsos, limbs, vertebrae, joints, and bodily organs. The sculptures are intimate in scale and delicate in appearance. Their power is defined both by their interrelationship, and by the framework in which they are viewed. Although hung on the gallery walls as disjointed fragments, in the aggregate, they become an exotic bio catalogue of structures of containment, transition and transmission. They may be viewed either as the veinial and arterial micro world within us, or as monster conveyances or retorts in the house of Gargantua. The spectator is at once enlarged and reduced in their presence.
Created during the 1990s, godspipes references, by fragmentation, many of the sculptures Shelton had made in the twenty years leading up to their creation, as well as heralding forms that he has made in the new millennium. Formerly exhibited at the Irish Museum of Modern Art, Dublin in 1998, the presentation of godspipes at L.A. Louver redefined the gallery space. The catalogue Peter Shelton godspipes blackelephanthouse, published in 1998 by the Irish Museum of Modern Art and the Henry Moore Sculpture Fund accompanied the exhibition.
Peter Shelton: Recent Sculpture, Berggruen Gallery, San Francisco, CA, June 5-July 12, 2003
The sculptures in this show raise the issue of inside versus outside, in terms of an object (the human body, for example) and its space, as well as the more psychological question of subjective versus objective. Many of these pieces take anthropomorphic shapes and have an organic quality to them. They are significant in their physicality and the way in which they look like interiors or exteriors; but they also have a generality, as though they could be arbitrary structures in the universe.
60 cast iron low aspect cones hang just a fraction above the floor of the Gallery. When a viewer first encounters these works, they appear to be firmly planted on the floor but as you still yourself, one realizes that they are all in constant, very subtle motion perpetuated air currents, traffic on the outside street and other factors. The experience is akin to sitting in a train on a rail siding and either your train or the one next to you begins to move and you are unable to know which train is in motion. Looking at the slippers in motion shifts to the perception that the floor is moving and back again. This work subverts our assumption of the attachment of our feet to the earth below us.
In a quarry in South Seattle, BLACKVAULT was cast with black granite cement shot into an earth and gravel mold not unlike the making of a swimming pool. Its black interior was troweled smoothly, but its exterior surface took its rough rock-embedded impression from its quarry mold. Weighing some twenty tons, it was then excavated, turned over and mounted on steel legs three feet above the ground. Viewers could duck under its lower open edge and stand up in its black interior. The idea was to create a very heavy earth cast and graven vault that, when turned over, would create a dense and massive lid for us replacing the otherwise limitless celestial sky above. On a dark night, it was hard to distinguish between the starless sky above and the nearly imperceptible yet defined opaque definition of the BLACKVAULT overhead. falloffstone, alternately, consisted of a human sized and scaled aluminum enclosure that launched off a boulder. A viewer could lie down in this structure floating off the edge of the rock attached only at its feet with their bodies uncovered and open to the sky. So, as is typical in my work, the two structures contrasted in being open and closed, heavy and light, earthbound and untethered, protected and vulnerable and each reversed our normal expectations.
“Sculpture Inside Outside,” 1988 Walker Art Center, Minneapolis, MN
Commission by the Lannan Foundation
Exhibitions include:
\"thingsgetwet: a work in progress,\" May 1-29, 1993
Louver Gallery, New York
\"bottlesbonesandthingsgetwet,\" March 3-May 15, 1994
Los Angeles County Museum of Art, Los Angeles, CA
\"powerhousefrenchtablenecklaces,\" April 5-28, 2012
Sperone Westwater Gallery, New York, NY
\"bottlesbonesandthingsgetwet,\" Los Angeles County Museum of Art, Los Angeles, CA, March 3–15 May 15, 1994
At a time when much contemporary sculpture is conceptual or deconstructive in nature, Peter Shelton is concerned with both form and meaning in his work. His sculptures, at times abstracted but never abstract, refer both to the human figure and to architecture (often simultaneously). A resident of Los Angeles and recipient in 1985 of the museum's Young Talent Purchase Award, sponsored by the department of twentieth century art's Modern and Contemporary Art Council, Shelton is one of this country's most thought-provoking sculptors. In the nine years since the award Shelton's work has become increasingly ambitious as the artist has successfully challenged himself in terms of use of materials as well as scale and sculptural complexity. The richness of his work, which as first glance appears to be very easily readable and accessible, fully manifests itself to the viewer only after serious engagement and careful reflection.
This exhibition is an important component of the museum's ongoing program focusing on art of the present. Carol S. Eliel, associate curator of twentieth-century art, organized the exhibition. For her dedication to this show and for her thoughtful catalogue essay, which is the first comprehensive consideration of Shelton's work, we are most grateful.
—Stephanie Barron
Los Angeles County Museum of Art
Excerpt from the exhibition catalogue:
Eliel, Carol S. Peter Shelton: bottlesbonesandthingsgetwet. Los Angeles, Los Angeles County Museum of Art: 1994.