A curious title welcomes visitors to Gerald Clarke’s website: Falling Rock Homepage. An explanatory tab tells a story of the artist as a child, riding home to the Cahuilla Indian reservation with his father: “[W]e would pass several ‘falling rock’ warning signs. Not knowing what they meant, I asked my dad about them. He told me that Falling Rock was
Diane Best has been coming to the desert since the 1980s. She became so enchanted with it that she eventually took up residence, first in the mountains above Pioneertown, then in Joshua Tree, where she lives today. Best embarked on a journey of making art that reflects her experience; she creates rich, meditative paintings that capture the endless roll of
In the art world, a rising tide of exhibitions focuses on female artists. Although group and solo art exhibitions by women are nothing new, the trend seems to favor a deeper and more rigorous engagement with female artists’ contributions to historical and contemporary art practice. The Los Angeles gallery Hauser Wirth & Schimmel drew attention earlier this year with its
Coachella Walls is a stunning collection of murals in by artists who hail from around the world, spread throughout downtown Indio’s 10-block radius.
Armando Lerma and Carlos Ramierz, also know as the Date Farmers based in Coachella, have amassed critical and popular acclaim.
Bernard Leibov enjoys making things happen in the arts. So he began mounting exhibitions of Joshua Tree artists in his New York apartment. And now he hosts artists for residencies in the High Desert community.
For the painter, sculptor, and writer Jeff Lipschutz, the desert is not so much an excursion or a dialectical canvas as it is seed material that informs his own DNA.
Nicole Antebi, who lives in Los Angeles and teaches in Monterey, uses a variety of media for projects that often take the form of multifaceted installations.
The desert has long exerted a powerful magnetism on artists. By 1900, painters seeking a fresh source of inspiration and a healthier climate came to the Palm Springs area to work en plein air and contribute a chapter to the story of early California Impressionism.
For a long time, Jesse Reding Fleming had no interest in the desert; he thought of it as a “dead place.”
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