Born  in 1955 in Kenosha, Wisconsin
Lives and works in Palm Springs, California


University of Wisconsin, Milwaukee, Wisconsin, B.F.A.

California Institute of the Arts, Valencia California, M.F.A.


Jim Isermann Sculpture, Richard Telles Fine Art, Los Angeles

“Constituent Components”, Bloomberg Space, London
“Jim Isermann @ Placewares: Patterns & Products”, Placewares, Gualala, California

“Jim Isermann & James and Tilla Waters”, Corvi-Mora, London

“Jim Isermann and B. Wurtz”, Mary Boone Gallery, New York
“Paintings and Drawings”, Richard Telles Fine Art, Los Angeles
Studio Blomster, Guerneville, California

“Reunion”, Mary Boone Gallery, New York

Corvi-Mora, London
Mary Boone Gallery, New York

Praz-Delavallade, Paris, France

Richard Telles Fine Art, Los Angeles
“Plug In #52. Lily van der Stokker and guest: Jim Isermann”, Van Abbemuseum, Eindhoven, Netherlands

Corvi-Mora, London

“Vinyl Smash Up 1999-2007” Deitch Projects, New York

Richard Telles Fine Art, Los Angeles
Museum of Contemporary Art, Chicago, Illinois

Corvi-Mora, London
Deitch Projects, New York

Corvi-Mora, London
Hammer Projects, (wall installation), UCLA Hammer Museum, Los Angeles (brochure with essay by Dave Hickey)
Galerie Praz-Delavallade, Paris, France

Richard Telles Fine Art, Los Angeles
Feature, New York

Richard Telles Fine Art, Los Angeles
Galerie Praz-Delavallade, Paris, France
“Portikus,” Frankfurt am Main, Germany
Logic Rules,” The RISD Museum, Providence, Rhode Island

“Vega,” Le Magasin – Centre d’art Contemporain, Grenoble, France

“Herringbone & Houndstooth,” Richard Telles Fine Art, Los Angeles
“Fifteen: Jim Isermann Survey,” Institute of Visual Arts, University of Wisconsin, Milwaukee, curated by David Pagel, (cat.); traveled to Diverse-Works Artspace, Houston; The University of North Texas Art Gallery, Denton, Texas; Santa Monica Museum of Art, California; Weatherspoon Art Gallery, University of North Carolina,, Greensboro; Institute of Contemporary Art, Philadelphia, Pennsylvania (catalogue)

Studio Guenzani, Milan , Italy

“CubeWeave,” Feature, New York
“Isermann/Pardo,” Richard Telles Fine Art, Los Angeles

“Weaves,” Richard Telles Fine Art, Los Angeles

“Handiwork,” Richard Telles Fine Art, Los Angeles
“Handiwork,” Feature, New York

Roy Boyd Gallery, Santa Monica CA
Feature, New York

“Shag Paintings and Sculpture,” Feature, New York

“Shag Paintings,” Richard Kuhlenschmidt Gallery, Los Angeles

Kuhlenschmidt/Simon, Los Angeles
Josh Baer Gallery, New York
“Matching Chairs and Paintings,” Feature, Chicago


Slippies, South Willard, Los Angeles, curated by Matt Paweski

I Love L.A., Praz-Delavallade, Los Angeles

Folklore Planétaire, Galerie Frank Elbaz, Paris, France, curated by Arnauld Pierre
Instilled Life: The Art of the Domestic Object from the Permanent Collection of the UCR Sweeney Art Gallery, UCR Sweeney Art Gallery, Riverside, CA

Cut from the Same Cloth, Charlie James Gallery, Los Angeles, curated by John Weston
Nowhaus: Domestic Objects in the Modernist Tradition, Harris Gallery, University of La Verne, CA, curated by Dion Johnson and Jon Leaver
Super Superstudio, PAC, Milan, Italy

Decorum: Carpets and Tapestries by Artists, Power Station of Art, Shanghai, China

Decorum: Carpets and Tapestries by Artists, Musée D’Art Moderne De La Ville De Paris, Paris, France
Made in Space, Night Gallery, Los Angeles, curated by Laura Owens and Peter Harkawik; traveled to Gavin Brown’s Enterprise, New York, and Venus Over Manhattan, New York

“Post Pacific Standard Time, Three Artists from Los Angeles in the 1980s”,  UCR Sweeney Art Gallery, Riverside, CA.
“Nouvelles boîtes!”. Kunstmuseum Luzern (Museum of Art Luceren), Lucerne, Switzerland
“Your History is our History”, Praz-Delavallade, Paris, curated by René-Julien Praz,
“Buzz”, Curated by Vik Muniz. Galeria Nara Roesler, Roesler Hotel #21, Sao Paulo, Brazil
“Decade: Contemporary Collecting 2002-2012”. Organized by Douglas Dreishpoon, Louis Grachos and Heather Pesanti. Albright-Knox Art Gallery, Buffalo, NY
“TEXT TEXTILE TEXTURE”, Barbara Weiss, Berlin

Big New Field, Dallas Museum of Art, curated by Charles Wylie, December 5, 2010 – February 20, 2011
“Yinglingagatan 1.” Moderna Museet, Stockholm, Sweden, Curated by Thomas Ekström.

“The Artist’s Museum”, Museum of Contemporary Art, Los Angeles, October 31, 2010 – January 31, 2011
Contemplating the Void: Interventions in the Guggenheim Museum”, Solomon R. Guggenheim Museum, NY
“Haute,” curated by Roman Stollenwerk. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA

“Collecting California. Selections from Laguna Art Museum”, Laguna Art Museum, Laguna Beach, CA
“yield” Curated by Dana turkovic, Schmidt Contemporary Art, St.Louis, MO
“Round Up,” Richard Telles Fine Art, Los Angeles
“Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection”, Organized by Christian Rattemeyer, with Cornelia H. Butler, Museum of Modern Art, New York

“Intervention/Decoration”, New Contemporary Art commissioned by Foreground, Multiple Sites, Frome, Somerset, United Kingdom
“A Colour Box”, Arcade, London, UK
“Downtown Le Havre” Curated by le Spot. Exhibition in/on the Oscar Neimeyer designed Le Volcan’s Cabaret Electrik. La Havre, France.
“Living Box” Curated by Laurence Gateau. Frac des Pays de la Loire, Nantes, France.
“Index: Conceptualism in California from the Permanent Collection”, MOCA, Los Angeles
“Angles in America” Curated by Terry R. Myers. Rhona Hoffman Gallery, Chicago, IL.
“these are the people in your neighborhood”, Gallery 16, San Francisco
“20 years ago today, supporting visual artists in LA”, Japanese American National Museum, Los Angeles
“Art on the Underground: 100 years, 100 Artists, 100 Works of Art”, A Foundation Gallery, Rochelle School Arnold Circus, London
“Los Vinilos” Curated by Henry Coleman, Zoo Art Fair, London

“Post Dec: Beyond Pattern and Decoration”, Hartford Art School, University of Hartford, Connecticut
“The Handmaking,” Abington Art Center, Jenkintown, Pennsylvania
“Painting <=> Design”, Peggy Phelps and East Galleries, Claremont Graduate University (catalogue)
“If Everybody had an Ocean: Brian Wilson: An Art Exhibition.” Curated by Alex Farquarson. Tate St.Ives, Cornwall,
UK and CAPC Musée d’Art Contemporain, Bordeaux, France
“Sculptor’s Drawings: Ideas, Studies, Sketches, Proposals, and More.” Angles Gallery, Santa Monica, CA

“Unit Structures”, organized by Pablo Lafuente, Lisbon, Portugal. Foundation Vasarely’s Birthday Party, organized by Xavier Douroux.
Foundation Vasarely, Aix-en-Provence, France

Albright Knox Art Gallery, Buffalo, New York, Extreme Abstraction,
“Trespassing: Houses by Artist,” Palm Springs Desert Museum, curated by Cara Mullio (catalogue) (traveling exhibition: 2002, The Bellevue Art Museum, Bellevue, Washington & MAK Center for Art and Architecture, Los Angeles)
“In the Abstract,” Angles Gallery, Santa Monica
“Extreme Abstraction,” Albright Knox Art Gallery, Buffalo
“L.A.,” Lucas Schoormans Gallery, New York
“Icestorm,” Kunstverein, Munich
“Faces in the Crowd: Picturing Modern Life from Manet to Today,” Castello di Rivoli, Turin, Italy

“Formes + Signes: Jim Isermann, Daniel Pflumm, Philippe Decrauzat, John Armleder,” Galerie Praz Delavallade, Paris
“Suburban House Kit: Adam Kalkin with Jim Isermann. Martin Kersels, Aernout Mik, Tobias Rehberger, Haim Steinbach,” Deitch Projects, New York

“Jim Isermann / Monique Prieto,” Corvi-Mora, London
“The LAPD Project: The Legacy of Pattern and Decoration,” Rosamund Felsen Gallery, Santa Monica
“On the Wall: Wallpaper by Contemporary Artists,” The Fabric Workshop, Philadelphia (traveling exhibition: 2002, RISD Museum, Providence)

“Crisp,” Marianne Boesky Gallery, New York
“Five Years,” Galerie Praz-Delavallade, Paris
“Deluxe,” Plaza de España Contemporary Art Centre, Madrid (catalogue)

“Beau Monde: Toward a Redeemed Cosmopolitanism,” The Fourth International Biennial, SITE Santa Fe, New Mexico, curated by Dave Hickey
“The Magic Hour,” Neue Galerie, Graz, curated by Alex Farquharson
“Tele(visions),” Kunsthalle Wien, Vienna, curated by Joshua Decter (catalogue)
“Patterns: Between Object and Arabesque,” Kunsthallen Brandts Klaedefabrik, Odense, Denmark (catalogue)

“Ultralounge: The Return of Social Space (with cocktails),” University of South Florida Contemporary Art Museum, Tampa, FL., curated by Dave Hickey.
“Haute de Forme et Bas Fonds,” frac Poitou-Charentes, Angouleme, France
“From Rags to Riches,” Fondation de la Tapisserie, Brussels, Belgium
“What If?” Modern Museum Stockholm, Sweden
“Made in California: Now,” Los Angeles County Museum of Art

“L.A. Times,” Palazzo Re Rebaudengo, Guarene, curated by Francesco Bonami (catalogue)
“Roommates,” Museum van Loon, Amsterdam

“Lovecraft,” Center for Contemporary Art, Glasgow
“Sunshine and Noir: Art in L.A. 1960-1997,” Louisiana Museum of Modern Art, Humlebaek, Denmark; curated by Lars Nittve (catalogue)
“Fake Ecstasy With Me,” Museum of Contemporary Art, Chicago
“Dramatically Different,” Le Magasin-Centre d’art Contemporain, Grenoble
“Maxwell’s Demon,” Margo Leavin Gallery, Los Angeles

“Ab Fab,” Feature, New York
“Some Grids,” Los Angeles County Museum of Art, Los Angeles, curated by Lynn Zelevansky & Carol Eliel
“Just Past, Selections from the Permanent Collection 1976-1996,” Museum of Contemporary Art, Los Angeles, curated by Ann Goldstein

“Crystal Blue Persuasion,” Feature, New York
“Smells Like Vinyl,” Roger Merians Gallery, New York
“The Moderns,” Feature, New York, curated by Tony Payne
“I Gaze a Gazely Stare,” Feature, New York
“Very,” Richard Telles Fine Art, Los Angeles
“Division of Labor: Women’s Work in Contemporary Art,” The Bronx Museum of the Arts, New York & The Museum of Contemporary Art, Los Angeles (catalogue)

“Surface de Réparation,” FRAC Bourgogne, Dijon, curated by Eric Troncy
Three Person Exhibition (with Tom Friedman and Jennifer Pastor), Richard Telles Fine Art, Los Angeles

“Project Unité,” Unité d’Habitation, Firminy, France, curated by Yves Aupetitaillot and Robert Fleck (catalogue)

Primi Pensieri,” Christopher Grimes Gallery, Santa Monica
Roy Boyd Gallery, Santa Monica
“The Rosamund Felsen Clinic and Recovery Center,” Rosamund Felsen Gallery, Los Angeles, curated by Ralph Rugoff

“Office Party,” Feature, New York
“Presenting Rewards,” Rosamund Felsen Gallery, Los Angeles, curated by Ralph Rugoff (catalogue)

“Walk Out to Winter,” Bess Cutler Gallery, New York, curated by Christian Leigh
“LA CA Boys,” Feature, Chicago

“Nature,” Feature, Chicago
“Avant-Garde in the 80’s,” Los Angeles County Museum of Art,
“A Different Corner,” US Pavilion, I Bienal Internacional de Pintura, Museo de Arte Moderna, Ecuador, curated by Christian Leigh (catalogue); with essay, Tomorrow never Knows: Jim Isermann Flower, curated by Dennis Cooper
“CalArts: Skeptical Belief(s),” The Renaissance Society at the University of Chicago; Newport Harbor Museum, Newport Beach, curated by Suzanne Ghez (catalogue)
“L.A. Hot & Cool,” List Visual Art Center, MIT, Cambridge


Knight, Christopher, “At Richard Telles Fine Art, Jim Isermann’s Illusions Stack up”, Los Angeles Times, Feb 25

Nichols, Kimberly, “Beyond Mod with artist Jim Isermann”, The Desert Sun, January 26

Knight, Christopher, “Paintings in a fresh dimension”, Los Angeles Times, pD3, Saturday, May 3
Drohojowska-Philp, Hunter, “Jim Isermann at Telles”,, Thursday, May 15
“Jim Isermann at Richard Telles”, Contemporary Art Daily, May 31

Smith, Roberta, “Review: ‘Made in Space’”, The New York Times, August 1st, 2013
Russeth, Andrew, “Made in Space at GBE and VOM”,, web only, published July 23
Berry, Ian and Duncan, Michael. “Someday is Now, The Art of Corita”, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Sarasota Springs, NY, (254 pages) p. 178
“Made in Space at Gavin Brown”, Contemporary Art Daily, August 6

Davis, Jeff. “Foundations of Design.” Wadsworth Cengage Learning. (134 pages) p. 3.
Johnson, Ken. “Are You Experienced? How Psychedelic Consciousness Transformed Modern Art.” Prestel Publishing. (240 pages) frontispiece.
“Yinglingagatan 1. 1993-1999.” Moderna Museet, Stockholm, Sweden. (214 pages) pp. 46-47, 86, 92, 93, 104, 105 & 194.
Reddy, Sameer, “Autumn Ideas On the Walls”, The Wall Street Journal, 26 October 2011, p. A22.
Smith, Roberta, “Jim Isermann”, The New York Times, 9 December 2011, p. C25
“Jim Isermann at Mary Boone”, Contemporary Art Daily, November 16

Knight, Christopher. “An L.A. Assembly”,  Los Angeles Times, p. D6, November 1, 2010.
Spector, Nancy. “Contemplating the Void: Interventions in the Guggenheim Museum.” 8 page exhibition brochure.
Cheek, Lawrence W., Daniels, Brett and Pagel, David, “Cowboys Stadium, Art + Architecture” (60 pages) pp. 30-31.
Auping, Michael, Dillon, David and Pagel, David. “Cowboys Stadium, Architecture, Art, Entertainment in the Twenty-First Century” Rizzoli International Publications. (188 pages) Back cover, pp 58-59, 75, 79, 106-107 & 183.
Berndes, Christiane. “Plug In to Play” Vanabbemuseum. (112 pages) p.70.
Art Basel Miami Beach, 2-5 Dec 2010, Art Kabinett, catalog. (50 pages) pp. 40-41

Buckley, Annie. “Jim Isermann. Richard Telles Fine Art”.
Pagel, David. “Regularly doing the impossible.” Los Angeles Times, p. D12, May 8, 2009.
Miles, Christopher. “Jim Isermann at Richard Telles Fine Art.” LA Weekly, p. 44, May 15-21, 2009.
Rattemeyer, Christian. “Compass in Hand. Selections from The Judith Rothschild Foundation Contemporary Drawing Collection.” The Museum of Modern Art, New York. (320 pages) p. 222, 2009.
Rattemeyer, Christian. “The Judith Rothschild Foundation Contemporary Drawing Collection. Catalog Raisonné” The Museum of Modern Art, New York. (296 pages) pp. 32, 33 + 153, 2009.
“Hammer Projects 1999 – 2009” Hammer Museum, University of California Los Angeles. (428 pages) Cover and pp. 158 – 161, 2009.
“Collecting California: Selections from Laguna Art Museum” Laguna Art Museum. (144 pages) . p. 107, 2009
“Jim Isermann at Richard Telles”, Contemporary Art Daily, April 26

Glasner, Barbara, Schmidt, Petra, Schöndeling, Ursula, eds. Patterns 2. Art and Architecture. Birkhäuser Verlag AG, (335 pages) pp. 172-175, 2008.
Morrissey, Simon. Intervention/Decoration, (28 pages) pp. 14, 15 & 20, 2008.
Glen, Colin. Intervention/Decoration, Art Monthly, pp. 30 & 31, June, 2008.
Bradbury, Dominic. Modernist Masterpiece. Telegraph Magazine, pp. 80-83, July 5, 2008.
Wade, Gavin. Thin Cities. Art on the Underground. (88 pages) pp. 70-77, 87 and dust jacket. 2008
Hough, Jessica, Ramirez-Montagut, Monica. “Revisiting the Glass House, Contemporary Art and Modern Architecture”. The Aldrich Contemporary Art
Museum, Mills College Art Museum, Yale University Press. (134 pages) pp. 90-93, 130. 2008

Goodbody, Bridget L., Jim Isermann, The New York Times, p. E31. Friday, July 13, 2007.
Pagel, David. Painting < = > Design, Claremont Graduate University, (54 pages) pp. 31-34, 2007.
Cherix, Christophe and Tremblay, John. PLASTIC / A proposal of John Trembaly, Cabinet des estampes du Musée d’art et d’histoire, Geneva, jrp/ringier, (64 pages) 20 & 21, 2007.
Fraquharson, Alex. If Everybody Had An Ocean: Brian Wilson: An Art Exhibition. Tate St. Ives in association with Tate Publishing, a division of Tate Enterprises Ltd, Millbank, London. (pamphlet , portfolio, poster, sleeve and album jacket, 14 pages), 2007.
Houston, Joe. Optic Nerve, Perceptual Art of the 1960’s, Columbus Museum of Art /Merrell. (208 pages) pp. 159 & 160, 2007.
Laubard, Charlotte, ed. Masterpieces, CAPC Musée d’art contemporain de Bordeau, Cinq Sens, (240 pages) pp. 210 & 211, 2007.
Dillon, Tamsin, ed. Platform for Art, Art on the Underground. Black Dog Publishing Limited, (172 pages) pp. 41 & 110, 2007.
Cameron, Dan, Lewis, Peter B., Lewis, Toby Devan, Morrison, Toni, and Schwartz, Mark.
ARTWORKS, The Progressive Collection, D.A.P./Distributed Art Publishers, Inc. (292 pages) p. 54, 2007.
Dormont, Linda, “The Handmaking’, Art Matters, Jun 2007, p. 22- 25
Aupetitallot, Yves, Magasin 1986- 2006, 2006, pps. 70-73.
Pagel, David, “Art to live with, full of wonder,” Los Angeles Times, January 20, 2006, p.E26.
Boas, Natasha, “Patterned Perfection,” Dwell, June, p. 122-126.
Komaiko, Leslee, “The ultimate cup holder,” Los Angeles Times, July 27.
Heffley, Lynne, “Once-proud façade gets a saving grace,” Los Angeles Times, October 8, 2006.

Hirsch, Faye, “Abstract Generations”, Art in America, October, 2005, p. 123-128, illus.
“iT House,” WIRED, April, p. 27
Thatcher, Jennifer, Review, Art Monthly, April, No. 285, pp.18-19.
Lafuente, Pablo, Review, Art Review, May, Vol. LVI, p. 102.
“iT House” Metropolitan Home, May, p. 9
Heffley, Lynne. “In the NoHo Arts District, ‘I’ stands for Isermann,” Los Angeles Times, June 1, p. E18.
Edie Cohen, “’I’ is for Eyecatching,” Interior Design, pp. 66 + 68, July 2005.

Gordon, Alistair, “Absolutely prefab,” The New York Times, Home Design Magazine, Spring, pp. 100-103

Middleton, William, “The New Mod Squad: Reviving the 60’s,” Harper’s Bazaar, September, pp. 384-89
Lamprecht, Barbara, “Three Classic Houses, California,” Architectural Record, November, pp.158-63
Rosa, Joseph, “Next Generation Architecture: Folds, Blobs and Boxes,” Rizzoli, pp. 6, 7, 68 -71

Pagel, David, “Jim Isermann, the Playful Wallpaperer,” Los Angeles Times, August 30, pgs. F1 & F26
Stephen Mitchell, “Jim Isermann,” Evening Standard, January 14, p.51
David Bussel, “born to be plaid,” i-D, February, p.175
Louisa Buck, “Jim Isermann,” The Art Newspaper, February, p.14
Morgan Falconer, “Jim Isermann,” What’s On, February 13-20, p.24
Martin Coomer, “Jim Isermann,” Time Out, February 20-27, p.51
Paco Barragán, “The Art To Come,” pp.142-143
Paco Barragán, “La obra total de Jim Isermann,” Lapiz, Issue 184, pp.56-61
Jan-Willem Poels, “l.a. eye candy,” Frame, September/October, pp.72-77
Michael Webb, “Los Angeles Insight,” Domus, October, Issue 852, pp.136-143
Prohl, Undine, “Come Back to the Springs,” DECORS, September-, October, November, cover and pp.137-48

Rosetta Brooks, “Artists Run Space,” Frieze, March 2001, p.63
Michael Duncan, “Beau Monde: Toward a Redeemed Cosmopolitanism,” Artforum, October, pp. 153-154
Charles Dee Mitchell, “Making the Case for Pleasure,” Art In America, November, p.122-129
Carmine Iannaccone, “Jim Isermann,” Art Issues, November/December 2001, p.45

“Datebook,” The New York Times, (Providence, RI, edition), Dec. 1
William L. Hamilton, “New Art’s Interior Motive,” The New York Times, Thursday February 3, Design Notebook Section
Valerie Reardon, “Artworkers,” Review, Art Monthly, April 2000, p.22-23

Christopher Knight, “The Material Pleasures of Sculptor Isermann,” Los Angeles Times, April 3, pp. F1 & F12
“Weather Everything,” Galerie für Zeitgenössische Kunst Leipzig, Cantz
Bruce Hainley, review of “Fifteen,” Artforum, Summer, pp159-160
Vena-Mondt, “Jim Isermann at the scale of Magasin,”Mag,” October, pp. 2-3
Cotter, Holland, Review (“15”), The New York Times, Oct 29, page B37
Duncan, Michael, “From Bauhaus to Jim’s House,” Art in America, cover and pages 100-103, 137
Zellen, Jody, “Fifteen: Jim Isermann Survey, ” d’ Art International, Spring/Summer, page 25

Bonneti, David, Review, San Francisco Examiner, Friday, December 18, p. B2
Hettig, Frank-Alexander, “Sooner or Later, Everything comes Back,” Metropolis M, Dec/Jan 1998/1999, pp. 54-57
Martin Coomer, “Jim Isermann,” Time Out, January 14-21, p.44
Kate Bernard, “Jim Isermann,” Evening Standard: ‘Hot Tickets,’ January 8, p.41
Ise, Claudine, Los Angeles Times, May 1, page F24
Rhonda Lieberman, “Handled with Care,” Frieze, no. 41, June-August, pp. 58-61
Jim Isermann, Fifteen, Institute of Visual Arts, University of Wisconsin-Milwaukee 1997
Christopher Knight, “Lots of Sunshine, Very Little Light,” Los Angeles Times, July 27, pp.4, 5, 85
Carmine Iannacone, “Jim Isermann & Jorge Pardo,” Frieze, March – April
Maia Damiancovic, “Painting Beyond Limits,” Tema Celeste, March – April, p. 111
David Pagel, Jim Isermann “The Best of Both Worlds,” Art & Text, no. 57, May – July, pp. 66-73

David Pagel, Los Angeles Times, Friday Nov. 29, p.F30
Elizabeth Kley, Artnet Worldwide, (, December
Rosetta Brooks, LA Weekly, December 27 – 2 January p. 41

Robert Atkins, “Lesbian & Gay Wahtzis,” The Village Voice, June 20, pp.71-72
Christopher Knight, “Women’s Work is Never Done at MOCA,” Los Angeles Times, October 1, p.62
David Pagel, “Weaves That Weave A Magic Spell,” Los Angeles Times, September 22, p. F20

Lisa Anne Auerbach, review, Artforum, May, p.107
Holland Cotter, “Art in Review,” The New York Times, January 14, p. C29
Michael Duncan, review, Art in America, October p.143
Hunter Drohojowska-Philp, , March 20, pp.87;90
David A. Greene, “Critics Choice,” Los Angeles Times Los Angeles Reader, September 29, p.14
David A. Greene, “Technicolor Hero,” Los Angeles Reader, March 18, p.21
Susan Kandel, Los Angeles Times, March 25, p.F20
David Pagel, Los Angeles Times, September 22, p.F20
Christopher Knight, “Suburban Bauhaus,” Art Issues, May/June, cover and pp.29-31
Kim Levin, “Art in Brief,” The Village Voice, February 8, p.72
Terry Myers, review, The New Art Examiner, May, p.47
Terry Myers, “Painting Camp,” Flash Art, November/December, pp.73-76
Ralph Rugoff, “Fun with Formalism,” LA Weekly, April 22-28, p.33

Joshua Decter and Olivier Zahm, Artforum, November, pp. 91-92;131;138
Michael Duncan, review (Technicolor), Frieze, November/December, p.62
Jean-Yves Jouannais, review (Unité), Art Press, July/August
David Pagel, review (Technicolor), The Los Angeles Times, April 15
News of the Print World,” Print Collector’s Newletter, September/October, p.143
Kester Rattenbury, “Bringing New Life to Le Corbusier’s Lost City,” Blueprint, July/August
James Roberts, “Down With the People,” Frieze, September/October, pp.26-27
James Scarborough, review (Technicolor), art press, July/August, p.89
Eric Troncy, “Spotlight: Project Unité,” Flash Art, October, p.117
Eric Troncy, “Naakt en Kneedbaar,” Metropolis M, number 3, pp.33-37

David Pagel, “New York Fax,” Art Issues, May/June, pp. 25-26
David Pagel, The Los Angeles Times, September 24, p.F4
Peter Schjedahl, “Trend: Sweetness and Light,” The Village Voice, April 14, p.105
Mark Stevens, “Design Invitational,” Vanity Fair, December, p.200
Janet Wiscombe, “A Line of Vision,” Press-Telegram, October 4, pp. J1, J5

James Lewis, “Home Boys,” Artforum, October, pp101-105
Robert Mahoney, “New York in Review,” Arts, April, p.105
Tom Moody, review, Art Paper, July/August, p.65
Tom Moody, “What You See is What You Saw,” Dallas Observer, May 9, p.19
Terry R. Myers, review, LAPIZ, March, p.77
Janet Tyson, “Modern Muscle,” Fort Worth Star-Telegram, May 26, section E, p.10
Anderson, Michael, review, Art Issues, February, page 24
Johnson, Ken, Art in America, March, page 201
Selwyn, Marc, review, Flash Art, January/February, page 136

Michael Anderson, review, Art Issues, February, p.24
Joshua Decter, “New York in Review,” Arts, February, p.95
New Art, eds., Eric Himmel and others, Harry N. Abrams Inc., New York, pp.92-93
Ken Johnson, review, Art in America, March, p.201
Marc Selwyn, review, Flash Art, January/February, p.136

Dennis Cooper, review, Artscribe International, January/February, p.83
Sponsored page, dialogue, November/December, p.65
Christopher Knight, “Shags Show Vulgar Kind of Beauty,” The Los Angeles Herald Examiner, June 24

Brian Butler, “Irony Masked as Emulation,” Artweek, July 9, p.6
Christopher Knight, The Los Angeles Herald Examiner, June 24

Duncan, Michael, review (Technicolor), Frieze, November/December, p. 62
Dennis Cooper, review, Art in America, May, p.191
Mathew A. Weinstein, review, Artforum, October, p.150
Ralph Rugoff, “Pop Goes the Easel,” LA Style, November, pp.135-138
Pagel, David, review, (Technicolor), Los Angeles Times, April 15
“News of the Print World,” Print Collectors Newsletter, Sept/Oct, pg. 143
Rattenbury, Kester, “Bringing New Life To Le Corbusier’s Lost City,” Blueprint July/August
Cooper, Dennis, review, Art In America, May, pg. 191 (reproduction)
Holland Cotter, “Eight Artists Interviewed,” Art in America, May, pp. 166-167, 199, (reproduction)
Jouannais, Jean-Yves, review (unite), Art Press, July-August, pages 80-81

Hunter Drohojowska, “Artists Critics Are Watching,” Artnews, May, p/80
Christopher Knight, “The Return of Flower Power,” The Los Angeles Herald Examiner, January 26
Robert Pincus, “Flower Art Digs Into 60’s,” San Diego Union, December 18, p. C-8

Colin Gardner, review, L.A. Reader, October 26
Robert Pincus, review, Artforum, October

Robert Pincus, review, Art in America, March, p.164

Dennis Cooper, L.A. Weekly, November 12-18, p.22
Susan C. Larson, review, Artforum, April


Guggenheim Fellowship

California Community Foundation, J.P. Getty Fellowship for the Visual Arts

National Endowment for the Arts, Visual Artist’s Fellowship, Painting

Art Matters, Inc., New York, NY, Fellowship

National Endowment for the Arts, Visual Artist’s Fellowship, Sculpture


Albright-Knox Art Gallery, Buffalo, NY
Art Institute of Chicago, Chicago, IL
Le FRAC Poitou-Charentes, Poitier, France
FNAC, Fonds National d’Art Contemporain, France
LACMA, Los Angeles County Museum of Art, Los Angeles CA
Laguna Art Museum, Laguna, CA.
MCA, Museum of Contemporary Art, Chicago IL
MOCA. Museum of Contemporary Art, Los Angeles CA
MCASD, Museum of Contemporary Art, San Diego, CA
MOMA, Museum of Modern Art, New York NY
Palm Springs Art Museum, Palm Springs, CA
SFMOMA, San Francisco Museum of Modern Art, San Francisco CA
The Hammer Museum, Los Angeles, CA
Van Abbemuseum, Eindhoven, Netherlands
Worcester Museum of Art, Worcester MA


Paint Job, Craft and Folk Art Museum’s Wilshire Blvd painted facade design, CAFAM, Los Angeles

Petit Five, 40 roto-molded polyethylene seating modules for the courtyard of Hagerty Hall at the Ohio State University. Columbus, Ohio.
Commissioned 2011, installed 2012
Untitled, Limited edition digital print for the Albright Knox Art Gallery’s 150th Anniversary, Buffalo, NY.
I-block, a color integrated concrete block system and “Utility (Happy) blanket”, a custom screen printed moving/pet blanket. Two open edition products for
The Workshop Residence, San Francisco, CA.

“Paperworks”, Custom poster/multiple/wallpaper, temporary installation. St. Austell, UK.

“Untitled”, Vacuum formed wall commission. Dallas Cowboys Stadium, Arlington,Texas. Commissioned 2009, installed 2010
“Untitled, (Screen/Sculpture).” Site specific, roto-molded polyethylene and bronze anodized aluminum wall for private collection in an interior renovation
of a McKim, Mead & White mansion, New York. Commissioned 2009, installed March 2010.
“Untitled”, Temporary decal lobby commission. MOCA, Museum of Contemporary Art, Los Angeles, CA.

“Crump”, Vacuum formed wall commission,  Stanford University, Commissioned 2008, installed March 2009.

“Untitled (SEAS/ORFE),” 30 foot long, chrome plated aluminum and illuminated acrylic sculpture for the Fisher and Partners designed Sherrerd Hall,
Princeton University,  Commissioned 2007, completed August 2008.

“Untitled (Love Letter to Louis Kahn)”, Yale University Art Museum. Commissioned construction fence consisting of 15,000 put-in-cups and nine
8 x 10 chain link sections, temporary installation.
Damn Everything But Sister Corita. An email conversation between Pae White and Jim Isermann.
Piccadilly line Tube wrap. Vinyl wrap of an underground train, April – October 2007.

Memorial Sloan Kettering Cancer Center (MSKCC), Cyber Café Ceiling Project, New York, NY, 42 powder coated aluminum modular units.
Approximately 25” x 53” x 45” each.
LA Metro Customer Service Center at Wilshire and La Brea, Los Angeles, CA. 459 powder coated aluminum panels, approx. 20” x 20” x 3” each.
Palm Springs Art Museum. Commissioned 235-panel, 10 module vacuum formed wall, site-specific permanent installation.
Untitled (Greek Key), UCLA Hammer Museum. Commissioned construction fence consisting of 40,000 put-in-cups and twenty 8 by 10 ft chain link sections, temporary  installation

Vinyl Link Entrance Mats; commission for the Albright Knox Art Gallery, Buffalo, NY. (NOTE: The concurrent “Extreme Abstraction” exhibition
features a decal piece. The project of the mats is a permanent installation.)
UCR Genomics Building, Modular metal and light wall sculpture, Riverside, CA. Commissioned 2005, projected completion 2007.

I – Tile; custom shaped tile commissioned for 10 exterior balcony facades and the residential interior lobby of a mixed use building in North Hollywood, CA.
Tile manufactured by Heath Ceramics. Project completed September
Upholstery Textile; commissioned by Rosenthal Einrichtung, Germany, for the “Flying Carpet” Chair, project on going.
Vinyl Link Entrance Mats; commission for the Albright Knox Art Gallery, Buffalo, NY. (NOTE: The concurrent “Extreme Abstraction” exhibition features
a decal piece. The project of the mats is a permanent installation.) (Invited December 2003, Designed Spring 2004, will be executed in 2005)
“IT House”; custom vinyl graphic appliqué for TK Architecture’s off-the-shelf featherweight aluminum and glass house, Los Angeles, CA
(Invited and Designed in Spring 2004, scheduled to be executed in Fall 2004)

UCSF Commission: Genentech Hall, Mission Bay Campus. Chandelier Project: 5 pendant chandelier, carpet tile, furniture selection,  2003
Vacuum form multiple; 4 panel multiple, edition of 50 white and 50 silver, Los Angeles Contemporary Exhibitions, Los Angeles, CA, October 2003
Art + Architecture, portfolio and postcard, Los Angeles Forum for Architecture and Urban Design, Los Angeles, CA
Card: September 2003, Portfolio: October 2003

L.A. Eyeworks, Wallwork (commissioned permanent installation), Beverly Blvd., Los Angeles, CA
Skadden, Arps, Slate, Meagher, Flom; Elevator floor indicators (commissioned permanent installation in 8 cans), New York, NY
Cirrus Gallery, 3 print, silkscreen edition, Los Angeles, CA 2002

Corvi-Mora, Contravision, Vinyl Window Treatment, Shopfront window, London, England

ARTFORUM, Isermann, Jim, “Jim Isermann’s Top Ten,” April, page 40

Los Angeles County Transportation Commission, Metro Blue Line, Fifth Street Station, Long Beach, CA (set of 6 stained glass panels, permanent installation), commissioned 1993, completed,
Centre d’art et Jardin, “L’ Endroit Ideal (Ideal Place),” edited by Eric Troncy, published L’Ile du Roy, Val de Reuil, France (artist’s project, pp. 80-81)
Art & Design, “Art & The Home,” edited by David Greene, Vol.11 pgs 82 – 89 (plus cover) November-December 1996

Calendar commissioned by Fuji Oil, Osaka, Japan

Calendar commissioned by Fuji Oil, Osaka Japan
Silkscreen print edition published by Turner & Byrne Gallery, Dallas TX
Book cover, “Hand over Heart,” writings by David Trinidad

Calendar commissioned by Fuji Oil, Osaka, Japan
Magazine cover, “Shiny,” New York

American Museum of the Moving Image, “T.V. Lounge,” Astoria, NY (permanent installation)

Massachusetts Institute of Technology, Catalogue cover, “L.A. Hot & Cool,” Cambridge, MA

Los Angeles Contemporary Exhibitions, “T.V. Room,” video, screening room (destroyed 1994), Los Angeles, CA

Book Cover, “Monday, Monday,” writings by David Trinidad

Art Direction and sets for Lin Hixon’s “Hey John, Did You Take the El Camino Far?” as part of LACE series Art of the Spectacle

Video sets for MTV’s “The Cutting Edge,” for the Bangles and the Three o’Clock


Isermann, Jim. Jim Isermann, UCLA Hammer Museum, essay by Dave Hickey (6 page brochure)
Mullio, Cara. Trespassing: Houses X Artists, Hatje Cantz (156 pages) pp.56–65,  2002

Isermann, Jim. Jim Isermann: Vinyl Works, Portikus Am Frankfurt, Essay by Angelika Nollert (32 pages)
Isermann, Jim. Jim Isermann: Logic Rules, The RISD Museum. Interview with Judith Tannebaum, (10 page brochure), 2001

Prince, Nigel and Wade, Gavin. In the Midst of Things, August Media Ltd, (127 pages) pp. 54 –57, 2000-1998
Isermann, Jim. Fifteen: Jim Isermann Survey, Institute of Visual Arts, University of Wisconsin – Milwaukee, essays by David Pagel and
Michael Darling (50 pages) 1998

Isermann, Jim. Failed Ideals, LACMTA, A-R-T Program. Essay by Ralph Rugoff, (28 pages)

Aupetitallot, Yves. Unite Project, Ministere de la Culture et de la Francophonie- Delegation aux Arts Plastiques Vol. 1., Vol. 2., Vol. 3., Appt.371
Troncy, Eric. l’endroit Ideal (ideal place), L’Ile du Roy, Ventre d’Art et Jardin, Val de Reuil (176 pages) pp. 80 –81