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Peter Frank
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PETER FRANK is Associate editor for Fabrik Magazine and former Senior Curator at the Riverside (CA) Art Museum, He has served as Editor of THEmagazine Los Angeles and Visions Art Quarterly and as critic for Angeleno magazine and the L.A. Weekly. Frank was born in 1950 in New York, where he wrote art criticism for The Village Voice and The SoHo Weekly News, and moved to Los Angeles in 1988. He contributes articles to numerous publications and has written many catalogues for one‑person and group exhibitions. Frank has also organized numerous theme and survey shows, including “Driven to Abstraction: Southern California and the Non-Objective World, 1950-1980,” for the Riverside Art Museum; "Artists' Books U.S.A.", "Mapped Art: Charts, Routes, Regions" and "Line and Image: The Northern Sensibility in Recent European Drawing", all for Independent Curators Inc.; “Fluxus Film and Video” for the Museo Reina Sofia in Madrid; "Young Fluxus" for Artists' Space in New York; "To the Astonishing Horizon" for Los Angeles Visual Arts; "Southern Abstraction" for the Raleigh (NC) City Gallery of Contemporary Art; "The Theater of the Object, 1958‑1972" for New York's Alternative Museum; "Visual Poetry" for the Otis/Parsons Art Institute in Los Angeles; "Multiple World" for the Atlanta College of Art; and, most notably, "19 Artists – Emergent Americans," the 1981 Exxon National Exhibition mounted at the Guggenheim Museum.

Frank has taught at Pratt Institute, Columbia University's School of the Arts, the Tyler School of Art, the University of California Irvine, Claremont Graduate School, California State University Fullerton, the University of California Santa Barbara, the University of California Los Angeles, Laguna College of Art and Design, Mt. San Antonio College, and other institutions. McPherson & Co.‑Documentext published his Something Else Press: An Annotated Bibliography in 1983. A cycle of poems, The Travelogues, was issued by Sun & Moon Press in 1982. Abbeville Press released New, Used & Improved, an overview of the New York art scene co-written with Michael McKenzie, in 1987. Frank has also published many artists’ monographs, including Roller: The Paintings of Donald Roller Wilson in 1988 and Robert De Niro, Sr. in 2004.

Entries by Peter Frank

Haiku Reviews: ART 2014 Roundup VII

(0) Comments | Posted January 16, 2015 | 11:30 AM

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MATT MAGEE, Green Litmus, 2014, Oil on panel, 20 x 16 inches

Matt Magee's art evinces a wide array of sources, but a focused sensibility - one that allows him access to many different materials, formats, and effects while keeping his formal language...

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Haiku Reviews: ART 2014 Roundup VI

(0) Comments | Posted January 15, 2015 | 6:38 PM

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ROBERT ADAMS, from A Road Through Shore Pine (image 9), 2013, Gelatin-silver print, 11 x 14 inches

Robert Adams' contribution to contemporary photographic practice, especially in the U.S., cannot be underestimated, no matter its modest appearance or echoes of the private and personal....

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Haiku Reviews: ART 2014 Roundup V

(0) Comments | Posted January 14, 2015 | 10:47 AM

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PAUL BURLIN, Said Couldn't Be Done, 1959, Oil on canvas, 78 x 72 inches

Paul Burlin played an odd role in abstract expressionism - indeed, in American art as a whole. His best known work is clearly abstract expressionist, but, for all its...

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Haiku Reviews: ART 2014 Roundup IV

(0) Comments | Posted January 12, 2015 | 3:11 PM

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DAVID JOHNS, Canyon Reflection, 2014, Acrylic on canvas, 55½ x 40 inches

David Johns practices abstract expressionism without apology, breathing new life into a time-honored but clichéd style by putting its tenets unselfconsciously to his personal use. Johns does not rely on gesture...

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Haiku Reviews: ART 2014 Roundup III

(0) Comments | Posted January 9, 2015 | 3:57 PM

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HOSSEIN KHOSROJERDI, Rain, 2014, Acrylic and pen on cardboard, 38 x 54 inches

Hossein Khosrojerdi is best known for the work he produced in Iran, digitally composited paintings that spoke to social and political conditions under the Ahmadinejad regime. After that regime consolidated...

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Haiku Reviews: ART 2014 Roundup II

(0) Comments | Posted January 7, 2015 | 5:46 PM

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YVETTE GELLIS, 1000 Ways to See It, mixed-media installation at Garboushian

Yvette Gellis paints with such energy and ambition that the very boldness of her approach becomes its own raison d'être. Gellis does not simply capitalize on her own fervor, however, but puts...

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Haiku Reviews: ART 2014 Roundup I

(1) Comments | Posted January 5, 2015 | 3:56 PM

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NANCY GROSSMAN, For David Smith, 1965, Mixed media assemblage on canvas mounted on plywood, 85 x 85 x 6¾ inches

Nancy Grossman's best known work is centered on the human head and face, but her transition to those leather masks of hers was...

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Haiku Reviews: ART December 2014 (Still on View)

(0) Comments | Posted December 31, 2014 | 12:02 PM

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MARTIN FACEY, Ink Ginkgo, 2013, Acrylic, mixed media, fabric on panel, 68 x 42 inches

Martin Facey was long known as a colorist, straddling figuration and abstraction in the realization of large, intricately mapped paintings; the influence of Richard Diebenkorn - for whom...

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In Memoriam: Mark Wiener (1951-2012)

(1) Comments | Posted October 9, 2012 | 11:14 AM

Writing about the urban fabric, Jane Jacobs cited what she called "public characters" as humans in the thick of that fabric who find, or appoint, themselves its custodians. Public Characters galvanize and guide communities, through their presence, their example, and their usually tireless interventions. The best of them do it...

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'Visual Chronicles': Braille, Hieroglyphics And The Pictorial Language

(1) Comments | Posted September 12, 2012 | 12:35 PM

An excerpt from 'Visual Chronicles: Art in a literary content,' by saltfineart, Delia Cabral and Peter Frank. The exhibition is on view until September 30, 2012 at saltfineart in Laguna Beach, CA.


One picture, goes the saw, is worth a thousand words. But each...

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Franklyn Liegel Memorial Exhibition Opens At AndrewShire Gallery

(0) Comments | Posted June 25, 2012 | 2:08 PM

When Franklyn Liegel passed away in March of this year, the Los Angeles art world lost one of its most inspiring teachers, gentlest eccentrics, and most underknown talents. A master of color, form, and texture, Liegel was able to fuse paint, drawing media, and collage almost magically into a perfect...

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Lucknow, Sense Later: Mughal India At LACMA, Midcentury South America At MOCA | Blague D'Art

(2) Comments | Posted February 25, 2011 | 3:20 PM

Yesterday's centers are today's outliers. But today's outliers are tomorrow's centers. Who would have thought - from the vantage, at least, of Euro-American superiority - that northern India and various South American cities were vital artistic loci once upon a time? That concept has finally re-entered our thick skulls. Of...

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Blague d'Art: Architecture for the Ears

(9) Comments | Posted February 3, 2011 | 2:25 AM

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IANNIS XENAKIS in his studio, Paris, early 1960s, archival exhibition print, 35 x 35 inches, collection of Francoise Xenakis, Photo by Adelmann

"I call architecture frozen music," Goethe declared. Almost two centuries later, Iannis Xenakis defrosted architecture, and a new kind of music...

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Blague d'Art: Getting (and Going) Out of the Way @ LACMA

(1) Comments | Posted January 11, 2011 | 7:17 AM

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WILLIAM EGGLESTON, Untitled, from Paramount Pictures, 2000, Ink jet print, 30 x 24 inches, (c)Eggleston Artistic Trust, Memphis, courtesy Cheim & Read, New York

We have to take William Eggleston at his word: his photographs may be primarily about the American South, but...

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Blague d'Art: Goldberg's Variations

(1) Comments | Posted December 15, 2010 | 2:56 PM

Friends with a vast circle of artists and culturati, passionate and yet logical about his "job" as a maker of paintings, Michael Goldberg was the emblem of a mid-century New York that (to use Yvonne Rainer's phrase) regarded the mind as a muscle. The six decades of paintings he left...

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Blague d'Art: American Masters, American Dreams

(7) Comments | Posted November 2, 2010 | 9:13 AM

"What are masterpieces?" asked Gertrude Stein in the very title of one of her best known books. "What is mastery?" she could have been asking. Can one separate the art from its maker, the dancer (as Yeats asked in turn) from the dance? A masterpiece can only be made, logically,...

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Blague d'Art: Moving Pictures, Frozen Music

(5) Comments | Posted October 19, 2010 | 12:39 AM

Is the medium still the message? Is it still possible to admire and evaluate the mediation of experience, or are we so far inside that mediation that our lives are no longer distinct from it? Is the unexamined medium not worth living? Then perhaps one of art's principal purposes is...

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Blague d'Art: Brion Gysin, Together at Last

(3) Comments | Posted October 2, 2010 | 11:27 AM

Brion Gysin did indeed let the mice in (as one of his books proclaims in its title). Known now mostly as cohort to William S. Burroughs, Gysin was the one who introduced Burroughs to the cut-up method. He was also a writer, a painter, a poet, a "sound poet," a...

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Blague d'Art: Star Qualities

(13) Comments | Posted September 21, 2010 | 6:37 PM

The Los Angeles art world's discomfort with the idea of Jeffrey Deitch -- not the reality, mind you, the idea -- came to a head this summer when poor Jeffrey played into our worst expectations, or at least he seemed to. Discounting the bulk of his 35-year career -- during...

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Blague d'Art: First Impressions

(7) Comments | Posted September 20, 2010 | 4:10 AM

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ALFRED SISLEY, The Barge During the Flood, Port-Marly, 1876, Oil on canvas, 19 7/8 x 24 inches

Impressionism is art's easiest sell, at least nowadays. What once was taken as an affront to propriety is now regarded as the most natural and pleasing...

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