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Peter Alexander (born in Los Angeles in 1939, died in Santa Monica in 2020) is associated with the Light and Space movement that emerged as an important, innovative, and distinctly West Coast approach to art. Trained as an architect, his oeuvre includes paintings, drawings and sculptures. Later on he worked in sculptural forms reminiscent of his earliest work from 1965-1972, when he had developed a technique for casting resin. He was fascinated by the material that retains some of the visual properties of a liquid even after it has solidified. Resin was commonly used for surfboards, but artists used it as a material for exploring metaphors about California, its hedonism, industries, and environment.
In the 1970s, formal similarities between Alexander’s sculpture (along with Larry Bell, Robert Irwin, Craig Kauffman) and the work by Minimal artists in New York such as Carl Andre, Donald Judd, Sol LeWitt were noted. They too worked with non-traditional materials and eliminated traces of personal touch. The resin works’ luminous transparency, however, typifies the Light and Space movement. Alexander’s semi-transparent bar pieces, cubes, wedges and columns evoke both the purity and artificiality of the light and colors of California. The cubes, or Boxes, are sometimes intensely pigmented, almost glowing, sometimes pale and clear as they absorb, re-fracture and emanate light.
Critics have noted the visual appeal of the works, which are rooted in reality through their objecthood, but are ethereal in their beauty. Viewers are captivated by the experience of looking at and looking through the objects, in which surface and depth flow into each other. The difference is suspended especially in the tall Needles with their ascending translucency that makes the tip almost “disappear”, as the artist puts it.
Alexander’s work has been shown in exhibitions around the world. The Orange County Museum of Art hosted his retrospective in 1990, in 2011 he was part of three exhibitions associated with the Getty initiative Pacific Standard Time. He has received a National Endowment for the Arts Fellowship in 1980, and the California Art Award in 2014. His work is collected by museums such as Solomon R. Guggenheim Museum, New York, The Metropolitan Museum of Art, New York, Los Angeles County Museum of Art, and Museum of Modern Art, New York.
Born 1939 in Los Angeles, California, USA.
Died 2020 in Santa Monica, California, USA.
University of Pennsylvania, USA
Architectural Association, London, UK
University of California, Berkeley, USA
University of Southern California, Los Angeles, California
B.A., University of California, Los Angeles, California
M.F.A., University of California, Los Angeles, California
Award in Art, American Academy of Arts and Letters, New York
California Art Award, Laguna Art Museum, Laguna Beach, California
Fellowship, National Endowment for the Arts, Washington, D.C.
Peter Alexander, Pace Hong Kong, Central, Hong Kong
Peter Alexander, Pace New York, Chelsea New York, USA
ONLINE: Peter Alexander. In Focus, Pace New York, Chelsea New York, USA
Peter Alexander, Pace Gallery, New York, USA
Peter Alexander: Deep Dive, Brian Gross Fine Art, San Francisco, CA, USA
Light in Place: Peter Alexander Prints and Paintings, Cirrus Gallery, Los Angeles
Franklin Parrasch Gallery, New York
Parrasch Heijnen Gallery, Los Angeles
Franklin Parrasch Gallery, Los Angeles
Color, Brian Gross Fine Art, San Francisco
Peter Alexander, Galerie Thomas Zander, Cologne, Germany
Peter Alexander. Pre-Dawn L.A., Franklin Parrasch Gallery, New York
Peter Alexander. Sculpture 1966-2016: A Career Survey, Parrasch Heijnen Gallery, Los Angeles, California
Peter Alexander. Los Angeles Riots, Franklin Parrasch Gallery, New York
Laguna Art Museum, Laguna Beach, California
Nyehaus, New York
Franklin Parrasch Gallery (with Zach Feuer), New York
Franklin Parrasch Gallery, New York
Peter Alexander: Resin Works 1965-2009, Nyehaus, New York
Pasadena City College, College Art Gallery, Pasadena, California
90’s Painting 60’s Sculpture, Franklin Parrasch Gallery, New York
Franklin Parrasch Gallery, New York
Peter Alexander: Tropics, Crocker Plaza, San Francisco, California
Peter Alexander: In This Light (retrospective), Orange County Museum of Art, Newport Beach, California (catalogue)
travelled to: Donna Beam Gallery, University of Nevada, Las Vegas, Nevada
Century: A Painting by Peter Alexander, Laguna Art Museum, Laguna Beach, California
ARCO Center for Visual Art, Los Angeles, California (catalogue)
Los Angeles Municipal Art Gallery, Los Angeles, California (catalogue)
University of Colorado, Boulder, Colorado
Los Angeles Institute for Contemporary Art, Los Angeles, California
Bowers Museum, Santa Ana, California
California State University, Long Beach, California
University of California, Irvine, California
Art in Progress, Munich, Germany
On The Edge: Los Angeles Art from The Joan And Jack Quinn Family Collection, Laguna Art Museum, CA, USA
Light, Space, Surface: Selections from LACMA’s Collection, LACMA, Los Angeles County Museum of Art, Los Angeles, CA, USA
A Particular Kind of Heaven, Parrasch Heijnen Gallery, Los Angeles, CA, USA
Framed 2, Brian Gross Fine Art, San Francisco, CA, USA
Light, Space, Surface: Works from the Los Angeles County Museum of Art, Frist Art Museum, Nashville, Tennessee, USA
Abstract Los Angeles: Four Generations, Brand Library and Art Center, Glendale, USA
Bending Light II, Pace Seoul, Yongsan-gu, Seoul, South Korea
Framed, Brian Gross Fine Art, San Francisco, California, USA
Light & Space, Copenhagen Contemporary (CC), Copenhagen, Denmark
Holding Light, Southern California Art Projects and Exhibitions, Corona Del Mar, CA, USA
Essentials, Galerie Thomas Zander, Cologne, Germany
Bloom of Joy, Pace Gallery, Hong Kong
Bending Light, Pace Gallery, Seoul, Korea
Emotion and Structure, Galerie Thomas Zander, Cologne, Germany
The Edge of Light: Historic and Contemporary Perspectives on California Abstraction, The Huntington Beach Art Center, California, USA
Closer Look: Intimate-Scale Sculpture from the Permanent Collection, Orange County Museum of Art, Santa Ana, Californi
Endless Summer, Museum of Contemporary Art, Chicago, Illinois
Elemental, LA Louver Gallery, Los Angeles, California
Burning Small Fires, Franklin Parrasch Gallery, New York
The True Form, Franklin Parrasch Gallery, New York
Night Begins the Day, Contemporary Jewish Museum, San Francisco, California
In Barcelona, Laguna Art Museum, Laguna Beach, California
The Last Plastics Show, Nyehaus/Dorfman Projects, New York
Environmental Impact, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California
Celebration, Inauguration of the Anderson Collection at Stanford University, Palo Alto, California
Overdrive: L.A. Constructs the Future, J. Paul Getty Museum, Los Angeles, California
Landscape Into Abstraction, Orange County Museum of Art, Newport Beach, California
Pacific Standard Time: Kunst in Berlin 1950-1980, Martin-Gropius Bau, Berlin, Germany
What’s New Pussycat, Torrance Art Museum, Torrance, California
Square Dancing, Nyehaus, New York
Venice in Venice, Foundation 2021, Venice, Italy
Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture 1950-1970, J.Paul Getty Museum, Los Angeles, California
Phenomenal: California Light, Space, Surface, Museum of Contemporary Art, San Diego, California
California Art, Frederick R. Weisman Museum of Art, Malibu, California
Elements of Nature, Carnegie Art Museum, Oxnard, California and City of Lancaster Museum, Lancaster, California
Outside the Box: Edition Jacob Samuel 1988-2010, Hammer Museum, Los Angeles, California
Elements of Nature, Frederick R. Weisman Museum of Art, Malibu, California
Let There Be Light, Raid Projects, Los Angeles, California
Eye on the Sixties: Vision, Body and Soul: American Art from the Harry W. and Mary Margaret Anderson Collection, de Saisset Museum, Santa Clara, California
Fresh Air, Brooke Alexander Editions, New York, New York
Imaging and Imagining California Modern, Orange County Museum of Art, Orange, California
SoCal, Los Angeles County Museum of Art, Los Angeles, California
Julius Shulman/Peter Alexander: Light and Space of California, Archer School for Girls, Los Angeles, California
Southern California Minimalism, Las Vegas Art Museum, Las Vegas, Nevada
Los Angeles 1955-1985, Centre Pompidou, Paris, France
Beyond Geometry, Miami Art Museum, Miami, Florida
Wilder, Franklin Parrasch Gallery and Joan Washburn Gallery, New York
West! Frank Gehry and the Artists of Venice Beach, 1962-1978, Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis, Minnesota
California Landscapes, Long Beach Museum of Art, Long Beach, California
Safe and Warm in L.A., Franklin Parrasch Gallery, New York
Cities of Promise: Imaging Urban California, Orange County Museum of Art, Newport Beach, California
Los Angeles Artist, Bakersfield Museum of Art, Bakersfield, California
Beyond Geometry, Los Angeles County Museum of Art, Los Angeles, California
100 Artists See Satan, Grand Central Art Center, Santa Ana, California
Above Ground Level, Los Angeles International Airport-Terminal One, Los Angeles, California
Made in California: Selections from the Frederick R. Weisman Art Foundation Collection, Contemporary Arts Center, New Orleans, Louisiana and Todd Madigan Gallery at California State University, Bakersfield
L.A.’s Finish Fetish, Franklin Parrasch Gallery, New York
Velvet Kruise, Self Help Graphics, Los Angeles, California
Dutched: A Personal Touch, Art Galleries of California State University Northridge, and Grand Central Art Center, Santa Ana, California
Arte Terciopelo Negro/Black Velvet Art, Galeria ICBC Tijuana, Instituto de Cultura de Baja California, Tijuana, B.C., Mexico
Cowboys, Indians and the Big Picture, McMullen Art Gallery, Boston College, Chestnut Hill, Massachusetts
Surf Culture, Laguna Art Museum, Laguna Beach, California
California Art from the Collection of Frederick R. Weisman, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California
Representing L.A., Art Museum of South Texas, Corpus Christi, Texas
California Contemporary Art Collection 2001, The California State Senate, State Capitol, Sacramento, California
Representing L.A., Laguna Art Museum, Laguna Beach, California
Made in California: Art, Image and Identity 1900-2000, Los Angeles County Museum of Art, Los Angeles, California
Celebrating Modern Art: The Anderson Collection, San Francisco Museum of Modern Art, San Francisco, California
Minimalism, Then and Now, Berkeley Art Museum, University of California, Berkeley, California
Representing L.A., Frye Art Museum, Seattle, Washington
Contemporary Configurations, Santa Cruz Museum of Art and History, Santa Cruz, California
Eclectic Eye: Selections from the Frederick R. Weisman Collections, California Center for the Arts, Escondido, California
Radical Past: Contemporary Art and Music in Pasadena, 1960-74, Norton Simon Museum of Art, Pasadena, California
Digital Frontiers: Photography’s Future at Nash Editions, Monterey Museum of Art, Monterey, California
18th Century High Tech-Angeles Press at the End of the 20th Century, Hiromi Paper International, Santa Monica, California
Digital Frontiers: Photography’s Future at Nash Editions, International Museum of Photography and Film, Rochester, New York; Gallery of Contemporary Art, University of Colorado at Colorado Springs; College of Fine Art, Gainesville, Florida; Bergstrom-Mahler Museum, Wisconsin; Canton Art Institute, Canton, Ohio; Indianapolis Art Center, Indianapolis, Indiana
Light and Space, Orange County Museum of Art, Newport Beach, California
L.A. Current: A Media Fusion, Armand Hammer Museum of Art and Cultural Center, Art Rental and Sales Gallery, Los Angeles, California
Los Angeles Printmaking Society 14th National Exhibition, Laband Art Gallery, Loyola Marymount University, Los Angeles, California
Peter Alexander, Billy Al Bengston, Jessie Homer, Don Bachardy, Westfall Art, Venice, California (opening exhibition)
California Art from the Frederick R. Weisman Collections, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California
Graham Nash/Nash Editions, Butler Institute of American Art, Youngstown, Ohio
Grounded: Suburban Landscapes, Orange County Museum of Art, Newport Beach, California
Shoes or No shoes, Provincial Museum of Modern Art, Oostende, Belgium Presence in Minimal and Postminimal Art: Selections from the Permanent Collection, Ellen Johnson Gallery of Modern Art, Allen Memorial Art Museum, Oberlin College, Ohio
P.L.A.N.: Photography Los Angeles Now, Los Angeles County Museum of Art, Los Angeles, California
Between Reality and Abstraction: California Art at the End of the Century, Art Museum of South Texas, Corpus Christi, Texas; travelled to: Contemporary Art Museum, Honolulu, Hawaii and museums in Pittsburgh, Pennsylvania; Scottsdale, Arizona; Las Vegas, Nevada and St. Petersburg, Florida
Landscape: A Concept, Stephen Oliver Art Center, California College of Arts and Crafts, Oakland, California
Made in LA: The Prints of Cirrus Editions, Los Angeles County Museum of Art, Los Angeles, California
Shape: Forming the L.A. Look, Main Art Gallery, California State University, Fullerton, California
75 Works, 75 Years: Collecting the Art of California, Laguna Art Museum, Laguna Beach, California
Selected Works on Paper, Modernism, San Francisco, California
The Frederick Weisman Collection, San Diego Museum of Art, San Diego, California
75 Works, 75 Years: Collecting the Art of California, Laguna Art Museum, Laguna Beach, California
Abstraction in the Collection, Laguna Art Museum, Laguna Beach, California
Individual Realities in the California Art Scene, Sezon Museum of Art, Tokyo and Seibu Tsukashin Hall, Amagasaki, Japan
California Cityscapes, San Diego Museum of Art, San Diego, California
Smarts c/o SMMoA, City of Santa Monica Art Bank Collection, Santa Monica, California
Selections from the Frederick R. Weisman Gallery for Contemporary Art, San Diego Museum of Art, San Diego, California
Selections from the Frederick R. Weisman Art Foundation, Neuberger Museum, Purchase, New York
Artists Artists, Long Beach Museum of Art, Long Beach, California
Selections from the Carnation Company Collection, the Armory Center for the Arts, Pasadena, California
Collectors Choice for the Nineties, Santa Monica Heritage Museum, Santa Monica, California
Selections from the Frederick R. Weisman Gallery for Contemporary Art, San Diego Museum of Art, San Diego, California
Finish Fetish: LA is Cool School, Fisher Gallery, University of Southern California, Los Angeles, California
Los Angeles Today: Contemporary Visions, Amerika Haus, Berlin, Germany
Selections from the Permanent Collection, Walker Art Center, Minneapolis, Minnesota
Spectrum: Los Angeles, Hartje Gallery, Berlin, Germany
Made in India, Museum of Modern Art, New York
The Golden Land, San Diego Museum of Art, San Diego, California
An International Survey of Recent Painting and Sculpture, Museum of Modern Art, New York
Corcoran Biennial, Corcoran Gallery of Art, Washington, D.C.
Echange Entre Artistes, 1931-1982: Pologne – USA, Musée d’Art Moderne, Paris, France
and Museum of Modern Art, Lodz, Poland
The Weisman Collection, California State University, Long Beach, California
Painting and Sculpture in California: The Modern Era, San Francisco Museum of Modern Art, San Francisco, California
The State of California Painting, Auckland City Art Museum, New Zealand
Documenta 5, Kassel, Germany
Transparency, Reflection, Light, Space, UCLA Art Galleries, Los Angeles, California
300: New Multiple Art, Whitechapel Art Gallery, London, UK
New Materials and Methods, Museum of Modern Art, New York
Here and Now, Washington University, St. Louis, Missouri
Whitney Annual, Whitney Museum of American Art, New York
Fourteen Sculptors: The Industrial Edge, Walker Art Center, Minneapolis
Small Images, California State College, Los Angeles, California
Commissioned mural for the Walt Disney Concert Hall, Music Center of Los Angeles, California (architect Frank Gehry)
Commissioned sculpture for the 777 Building, Los Angeles, California (architect Cesar Pelli)
Commissioned mural for Pacific Enterprises, Los Angeles, California
Commissioned painting for Santa Monica Municipal Airport, Santa Monica, California
Commissioned art for Rebecca’s Restaurant (architect Frank Gehry)
Visual images in collaboration with Frank Gehry and Ron Hays
Kitnick, Alex, “Peter Alexander: Los Angeles Riots”, Art Forum Summer 2015 (ill.).
Baker, Kenneth, “By Alexander’s Lights”, San Francisco Chronicle, May 14, 2014.
Pilar Viladas, “Full House” W Magazine: Art”, June/July 2014, pp. 72-76 (ill.).
Pagel, David, “From the Past with Nuance”, Los Angeles Times, Jan. 15, 2010, pp. D3.
Schjeldahl, Peter, “Way Out West”, The New Yorker, Jan. 25, 2010. pp. C76-77.
Viveros-Faune, Christian”,California Sweet”, Village Voice, Jan. 27-Feb 5, 2010. pp. 28.
Esplund, Lance, “California Gleaming”, Wall Street Journal, Jan. 30-31, 2010. pp. W14.
Baron, Joan Boycoff and Reuben M, “West Coast Minimalism: Four New York Shows”, artcritical.com, February 2010.
Stillman, Nick, “The Blobs Aren’t Talking”, New York Times, July 30, 2010.
Smith, Roberta, “When Artists and Surfers Were Best Buddies”, New York Times, July 23, 2010.
Conner, Jill, “Swell”, Art in America, July 2010.
Madden, Kathleen, “Peter Alexander and Sarah Braman: Franklin Parrasch Gallery”, Artforum.com, December 2010.
Isenberg, Barbara, “Conversations with Frank Gehry”, New York, 2009, pp. 54, 57 (ill.).
Marcellino, Elizabeth, “Alexander’s Velvets and Palms at g169 in the Canyon”, Palisadian Post, Pacific Palisades, Calif., May 28, 2009, p.12 (ill.).
Laguna Art Museum, Collecting California, Laguna Beach, California, 2009, pp. 84.
Panuco, Jose, “The Artist in Residence Working on Campus”, PCC Courier, Pasadena, California, Mar 22, 2007, p. 5.
Frank, Peter, “Still Waters and Restless Currents”, LA Weekly, Aug. 3-9, 2007, p 62.
Pagel, David, “Collective Fantasies Take Flight” (reference), Los Angeles Times, Aug. 31, 2007, p. E28.
Webb, Michael, “Work, Rest, Stop”, Los Angeles Times West Magazine, June 11, 2006.
Pagel, David, “Optically Oriented” (review of Translucence at Norton Simon Museum), Los Angeles Times, July 25, 2006.
Keeps, David A., “Cape Cod Meet Marrakech”, Los Angeles Times, p. F1 (ill.).
“To Get Creative, Just Look at Your Surroundings”, Los Angeles Times, Aug. 1, 2006, p. E14.
Vogel, Carol, “At the Pompidou: The Case of the Fallen Artworks”, New York Times, Aug. 4, 2006, p. B24.
Reynolds, Christopher, “Paris Exhibit”, Los Angeles Times, Aug. 4, 2006, pp. 1, 5.
Reynolds, Christopher, “Museum Quality Art”, Los Angeles Times, Aug. 7, 2006, p. E1.
Reynolds, Christopher, “Pompidou Tries to Pick Up the Pieces”, Los Angeles Times, Sept. 8, 2006, p. E22.
Pagel, David, “Like a Plunge into Rippling Blue”, Los Angeles Times, Sept. 15, 2006, p. E24.
Johnson, Ken, “Wilder”, New York Times, May 13, 2005, p. E36.
Vure, Sarah and Bruegmann, Robert, “Cities of Promise: Imaging Urban California”, Orange County Museum of Art, Newport Beach, California, 2004 (catalogue).
Baker, Kenneth, “Trachtenberg and Alexander at Gross”, San Francisco Chronicle, July 17, 2004.
Schoenkopf, Rebecca, “100 Artists See Satan Gives Lucifer the Beauty Treatment”, OC Weekly, Vol. 9, No. 45, July 16-22, 2004.
Grand Central Art Center, Santa Ana, California, “100 Artists See Satan”, with essay by Mike McGee, 2004 (catalogue).
Johnson, Ken, Review, New York Times, April 2, 2004, p. B29.
Review, Los Angeles Times, Aug. 20, 2004. p. E28.
Twardy, Chuck, “Two Visions Two Shows”, Las Vegas Weekly (online), Aug. 12-Aug. 18, 2004.
Review, Artscene, September, 2004.
Thornburg, Barbara, “Afloat in Creativity”, Los Angeles Times Magazine, Dec. 19, 2004, p. 29.
“From the P.O.P. Pier to MOMA: Beginnings”, Venice Paper, Feb. 2003, p. 4.
Sturak, Clara; “Painting Paradise”, Santa Monica Mirror, May 8-14, 2002, p. 13 (ill.).
Clothier, Peter; “Reflections From a Pool”, Los Angeles Times Magazine, May 12, 2002, pp. 22-25 (ill.).
Pagel, David, “Another in a Cresting Wave of Exhibitions”, Los Angeles Times, Aug 2, 2002.
Fryer, Heather, “Expanding the Visual Frontier: Art and Artists of the American West, 1830-2002”, Boston College, Chestnut Hill, Massachusetts (catalogue).
Baker, Kenneth, “Darkness and Light in Crocker Lobby”, San Francisco Chronicle, Aug. 31, 2002.
Chang, Richard, “Art comes of age in L.A.”, Orange County Register, Nov. 4, 2001, pp. F8 9, (ill.).
The California State Senate, “California Contemporary Art Collection 2001”, Sacramento, California, p. 9 (ill.).
Ringwald, Lydia E., “Two lights illuminate Peter Blake Gallery” (review), Laguna News-Post, July 20, 2000, p. 30.
McKenna, Christine, “California Dreamin’”, Los Angeles, November 2000, p. 121.
Fuglie, Gordon, “Representing L.A. ”, Frye Art Museum, Seattle, Washington, 2000, pp. 47-48, ill. (catalogue).
Barron, Stephanie et.al., “Reading California: Art, Image, and Identity”, 1900-2000, pp. 295-296, (ill.).
Dave Hickey und Naomi Vine, “Peter Alexander: In this Light”, New York: Hudson Hills Press, 1999.
Fuglie, Gordon, “Representing L.A.: Pictorial Currents in Contemporary Southern California Art”, September 1999, p. 27, (ill.).
Drohojowska-Philp, Hunter, “Translating Memories With a Light Touch”, Los Angeles Times, May 16, 1999, Calendar, pp. 56, 88.
“Peter Alexander Exhibits in Newport Beach”, ArtDaily, May 25, 1999 (online).
Walsh, Daniella, “An artist shaped by his environment” (review), Orange County Register, May 30, 1999, p. SHOW 26.
Schoenkopf, Rebecca, OC Weekly, June 4-10, 1999, p. 29 (review).
Knight, Christopher, Los Angeles Times, June 15, 1999, pp. F1, 9 (review).
Moore, Leela, “Visions of Light, Digital Arts”, Summer 1999, pp. 20-24.
Knaff, Devorah L., “One-two Punch”, The Riverside Press-Enterprise, Riverside, California, June 13, 1999, p. F-24.
Author unknown, “Visual Arts: In This Light”, California Homes, Summer 1999, pp. 98-100.
Johnstone, Mark, “Contemporary Art in Southern California”, 1999, Craftsman House, Sydney, Australia, pp. 28-31 (ill.).
Anderson, Isabel, “Peter Alexander at the Orange County Museum of Art”, Artweek, September 1999, p. 27 (ill.).
Turner, John & Escalante, Greg, Leeteg of Tahiti: Paintings from the Villa Velour, San Francisco, 1999, p. 20 (ill.).
Davis, Phil, “Va-Va-Velvet”, Los Angeles Times, Aug. 19, 1998, pp. E1-E2.
Moure, Nancy D.W., California Art: 450 Years of Painting and Other Media, Los Angeles, 1998. pp. 407, 443, ill. p. 442.
Tapley, George, “urban/sub/urban at Louis Stern Fine Arts”, Artweek, February, 1997, no. 2, p. 25.
Baker, Kenneth, “Peter Alexander’s Overviews”, San Francisco Chronicle Datebook, June 10, 1997, p. 1.
Karlstrom, Paul, “On the Edge of America: California Modernist Art and Culture”, The Sydney Papers, Vol. 9, No. 2, Autumn, 1997, p. 43.
Khal, Helen, “Taste of L.A. Beirutis Should Respond To”, The Daily Star, Beirut, Lebanon, Nov. 11, 1997.
Bazoun, Ahmad, Review, As Safir, Beirut, Lebanon, Dec. 15, 1997.
Critic Review, Al Ousbouh Al Arab, Beirut, Lebanon, Dec. 1, 1997.
Critic Review, Al Kifah Al Arabi, Beirut, Lebanon, Dec. 7, 1997.
Ghonem, Zuhair, Review, Al Liwa, Beirut, Lebanon, Dec. 17, 1997.
Critic Review, Al Nahar, Beirut, Lebanon, Dec. 1, 1997.
Ghandour, Maya, “Peter Alexander a la galerie Janine Rubeiz”, L’Orient le Jour, Beirut, Lebanon, Nov. 8, 1997.
Wilson, William, “A Lore-Filled Blast from the Eternally Cool Past of the L.A. Art Scene”, Los Angeles Times, July 7, 1996, pp. F1-5.
Muchnic, Suzanne, “Hot Off the Inkjet”, Los Angeles Times, June 6, 1996, pp. F1-6.
Donohue, Marlena, “The Zen of Art”, The Outlook, Feb. 24, 1995, p. D15-D16.
Wilson, William, “Puddles: Light, Space and Zen Beat Bard”, Los Angeles Times, Feb. 24, 1995, p. F22.
“Plaza Puddles Whet Appetite for Art”, Los Angeles Times, March 5, 1995, p. W8.
Curtis, Cathy, “Surfboards Installation Goes Beneath Surface”, Los Angeles Times, November 14, 1995, p. F1-2.
Karlstrom, Paul J., “A Modernist Context for California Art and A Conversation With Peter Alexander”, The Picker Art Gallery Journal 1994-1995, Vol. 4, No. 2.
Hodder, Monroe, “Unto Caesar: Peter Alexander at Brian Gross Fine Art”, Artweek, Oct. 20, 1994. Vol. 25, No. 20, p. 18.
Newhall, Edith, “Peter Alexander at Barbara Mathes”, Art News, December 1994, p. 140.
Edelman, Robert G., “Peter Alexander at Barbara Mathes”, Art in America, December 1994.
Wilson, William, “Ten Vegas Visions”, Los Angeles Times, November 20, 1993.
Skolnick, Arnold, “Paintings of California”, New York, 1993, p. 114 (ill).
Littlefield, Kinney, “Artist Holds a Burning Image of L.A.”, The Orange County Register, May 10, 1992, p. H26.
Curtis, Cathy, “Curious Work Showcased in a Curious Way”, Los Angeles Times, May 19, 1992.
Wilson, William, “Seeing the Light of Day”, Los Angeles Times, May 1992.
Dubin, Zan, “L.A. Artist Alexander Plays with Fire”, Los Angeles Times, May 16, 1992.
Scarborough, James, “Peter Alexander’s Velvet Paintings: Kitsch and Cowabunga, Not!”, Visions, Summer 1992, pp. 53-54.
Wilson, William, “The Riots in Paint”, Los Angeles Times, July 29, 1992.
Kimmel, Roberta. In Artists’ Homes, New York, 1992.
Varnadoe, Kirk and Gopnik, Adam. Modern Art and Popular Culture: Readings in High and Low. Museum of Modern Art, New York, 1991, p. 227.
Wilson, William, “The Powerful Plasticity of Alexander”, Los Angeles Times, Feb. 19, 1991.
Schottlanger, Sherrie, “Sculpted from Light”, Artweek, March 14, 1991.
Pagel, David, “Peter Alexander”, Lapiz, Year 9, Vol. 78, June 1991.
Channin, Richard, “Review of Exhibitions”, Art in America, February 1990.
Smith-Lucie, Edward, “Art in the Eighties”, New York, 1990, pp. 90-91.
Quinn, Joan, “Studio Visit-They Los L.A.”, Contemporanea, January/February 1989, p. 86.
Geer, Suvan, “The Galleries-Santa Monica (review)”, Los Angeles Times, Oct. 27, 1989.
Hopkins, Henry, “California Painters-New Work”, Chronicle Books, San Francisco, 1989, pp. 9, 19, 20 (ill.).
Wilson, William, “The Galleries (review)”, Los Angeles Times, July 22, 1988.
Salzman, Linda Sher, “A Disregard for Formal Issues”, Artweek, August 6, 1988.
Rice, William, “Feasts for the Eye”, Connoisseur, February 1987, p. 74.
Tuohy, William, “L.A. Artists at Berlin Celebration”, Los Angeles Times, May 5, 1987.
Price, Susan, “Behind the Studio Door”, Los Angeles Times Magazine, May 24, 1987, p. 24.
Wilson, William, “The Galleries (review)”, Los Angeles Times, November 27, 1987.
Wilson, William, “Jungles at the Corcoran Gallery”, Los Angeles Times, June 13, 1986.
Vilada, Pilar, “Introduction: What You Didn’t Know You Question”, Progressive Architecture, October 1986, p. 69.
Wilson, William, “A Place for Modern Art to Hang Out”, Los Angeles Times, Nov. 16, 1986.
Spalding, Jill, “Glitz Wanes, Big Waxes”, Vogue, December 1986.
Muchnic, Suzanne, “Exhibit Mines Golden Land”, Los Angeles Times, December 29, 1986.
Pincus, Robert, “Art Projects for Horton Plaza Complex Are Shown”, San Diego Magazine, March 23, 1985.
Preston, Malcolm, Review, Newsday, September 3, 1985.
Lewinson, David, “A Look At Horton’s Three Major Works of Art”, San Diego Magazine, August, 1985.
Gardner, Colin, Review, Los Angeles Times, October 18, 1985.
Wilson, William, Review, Los Angeles Times, March 9, 1984.
Wilson, William, “They Didn’t Mess Up this MoMA”, Los Angeles Times, May 20, 1984.
Hoving, Thomas, “Our Best Artworks”, Connoisseur, July 1984.
Soderberg, Agnets, “Peter blev miljonar part sine sonnedgangar”, Expressen Kalifornien, July 29, 1984.
Ballatore-Nelson, Sandy, “Celebrating Los Angeles Art”, Images and Issues, July/August, 1984.
Wilson, William, “The Poetic Moods of Peter Alexander”, Los Angeles Times, Feb. 6, 1983.
Richard, Paul, “The Range of the West”, The Washington Post, February 2, 1983.
Schipper, Merle, “Sunsets and Velvets: A Ten Year Survey”, Images and Issues, July/August 1983.
Fudge, Jane, “The Second Western States/38th Corcoran Biennial Exhibition”, Artspace, Fall, 1983.
Muchnic, Suzanne, Review, Los Angeles Times, December 16, 1983.
Wilson, William, “Musing on an Inspired Year’s Gifts”, Los Angeles Times, Dec. 18, 1983.
McDonald, Robert, Review, Artweek, April 3, 1982.
Miller, Elise, Review, Los Angeles Times, January 17, 1982.
Wortz, Melinda, Review, Art News, March 26, 1982.
Muchnic, Suzanne, Review, Los Angeles Times, March 26, 1982.
Norklun, Kathi, Review, Artweek, April 3, 1982.
Armstrong, Richard, Review, Flash Art, March-April 1981, Vol. 102.
Knight, Christopher, “Light and Space”, Los Angeles Herald-Examiner, June 28, 1981.
Wilson, William, Review, Los Angeles Times, June 19, 1981.
Knight, Christopher, “Artists’ Quilts”, Los Angeles Herald-Examiner, June 1981.
Schjeldahl, Peter, “Demystifying Los Angeles”, Village Voice, June 1981.
Knight, Christopher, Review, Los Angeles Herald-Examiner, June 28, 1981.
Knight, Christopher, “Is There A California School?”, Portfolio Magazine, Sept.-Oct. 1981.
Wortz, Melinda, Review, Art News, September 1981.
Knight, Christopher, Review, Artforum, November 1981.
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Akron Art Institute, Akron, Ohio
Allen Memorial Art Museum, Oberlin, Ohio
Anderson Collection at Stanford University, Palo Alto, California
Corcoran Gallery of Art, Washington, D.C.
Des Moines Art Center, Iowa
Broad Foundation, Santa Monica, California
Flint Institute of the Arts, Flint, Michigan
Fogg Art Museum, Harvard University, Cambridge, Massachusetts
Fort Worth Art Museum, Forth Worth, Texas
Fresno Art Museum, California
Getty Museum, Los Angeles, California
Henry Art Gallery, Seattle, Washington
Voorhees Art Museum, Rutgers University, New Brunswick, New Jersey
J.B. Speed Museum, Louisville, Kentucky
Joslyn Art Museum, Omaha, Nebraska
Laguna Art Museum, Laguna Beach, California
Lannan Foundation, Los Angeles, California
Los Angeles County Museum of Art, California
Metropolitan Museum of Art, New York
Minneapolis Institute of Contemporary Art, Minnesota
Museum of Contemporary Art, Honolulu, Hawaii
Museum of Modern Art, New York
New Orleans Museum of Art, New Orleans, Louisiana
New York Public Library, New York
Norton Simon Museum of Art, Pasadena, California
Orange County Museum of Art, Newport Beach, California
Oakland Museum, Oakland, California
Picker Art Gallery, Colgate University, Hamilton, New York
Princeton University Art Museum, Princeton, New Jersey
Rochester Memorial Art Gallery, Rochester, New York
San Diego Museum of Fine Art, San Diego, California
San Diego Museum of Contemporary Art, La Jolla, California
San Francisco Museum of Modern Art, San Francisco, California
Solomon R. Guggenheim Museum, New York
Stanford University Art Museum, Palo Alto, California
University of California, Berkeley, California
University of California, Santa Barbara, California
Vancouver Museum of Art, British Columbia, Canada
Walker Art Center, Minneapolis, Minnesota
Zander Galerie
Schönhauser Straße 8
50968 Cologne
Germany
Zander Galerie
6 Rue Jacob
75006 Paris
France
