Born 1947, in Saarbruecken, Germany
Lives and works in Los Angeles


Professor of Fine Art, University of California, Los Angeles

MFA Akademie der Kuenste, Karlsruhe, Germany


Richard Telles Fine Art, Los Angeles (forthcoming)

Blumen, Galerie Lefebvre et Fils, Paris
Keramik, Feuer/Mesler, New York

Richard Telles Fine Art, Los Angeles

Paintings and Woodcuts from the 80s, Eaton Fine Art, Inc., West Palm Beach, Florida
Roger Herman: Ceramics, Carpenters Workshop Gallery, London, England

ACME, Los Angeles

Richard Telles Fine Art, Los Angeles

George Lawson Gallery, San Francisco

Pacific Design Center, Los Angeles
Paintings of the 80s, Jancar Gallery, Los Angeles
HEATH Ceramics Gallery, Los Angeles
RMCAD Philip J. Steele Gallery, Denver, Colorado

Galerie Gordon, Pym and Fils, Paris

INMO Gallery, Los Angeles
Mitsubishi Gallery, Tokyo, Japan

Guggenheim Gallery at Chapman University, Orange, California
Santa Monica Museum, Project room, Santa Monica
Galerie Gordon Pym & Fils, Paris, France

Atelier Richard Tullis, Santa Barbara
Galerie Schmidt/ Goldener Engel, Hall/Innsbruck, Austria

Black Dragon Society, Los Angeles

Galerie Peter Reich, Vienna, Austria

Susanne Vielmetter Projects, Los Angeles
Black Dragon Society, Los Angeles

Susanne Vielmetter Projects, Los Angeles

Ursula Krinzinger Galerie, Vienna, Austria

Ace Contemporary Exhibitions, Los Angeles

Ace Contemporary Exhibitions, Los Angeles

Lawing Gallery, Houston, Texas
Ace Contemporary Exhibitions, New York

Ace Contemporary Exhibitions, Los Angeles

Ace Contemporary Exhibitions, Los Angeles

Los Angeles County Museum of Art, Los Angeles

Galerie Froment Putman, Paris, France
Ace Contemporary Exhibitions, Los Angeles

Ace Contemporary Exhibitions, Los Angeles
Fuller Gross Gallery, San Francisco

Ace Contemporary Exhibitions, Los Angeles

Galerie Krinzinger, Innsbruck, Austria
Reed College, Portland, Oregon
Arte Contemporanea, Mexico City, Mexico
Nave Museum, Victoria, Texas

Larry Gagosian Gallery, Los Angeles

University of California, Riverside

Washington University, Bellingham, Washington
Mo David Gallery, New York
Fuller Goldeen Gallery, San Francisco
Larry Gagosian Gallery, Los Angeles

Hal Bromm Gallery, New York Roger
Ramsey Gallery, Chicago
Patty Aande Gallery, San Diego
Eaton-Shoen Gallery, San Francisco
Ulrike Kantor Gallery, Los Angeles

Eaton-Shoen Gallery, San Francisco
Ulrike Kantor Gallery, Los Angeles
La Jolla Museum of Contemporary Art, La Jolla
University of Redlands, Redlands, California

Akademie Der Kunst, Karlsruhe, Germany
Ulrike Kantor Gallery, Los Angeles

San Francisco Art Institute, San Francisco
Ulrike Kantor Gallery, Los Angeles

Jetwave Inc., San Francisco

Dana Reich Gallery, San Francisco

Goethe Institute, San Francisco

Galerie Am Neumarkt, Saarbruecken, Germany


Bound by Paper – Books, LMAK Gallery, New York
Admist, China Art Objects, Los Angeles
Hotel Kalifornia, Galerie Lefebvre et Fils, Paris

Love Potions, Michael Maloney, Los Angeles
Figure as Form, ltd., Los Angeles
Bottom Floor, Charlie James Gallery, Los Angeles
Between Something and Nothing, Richard Telles Fine Art, Los Angeles

And There is an End, Roberts and Tilton, Los Angeles
Vessels, Blackston Gallery, New York
WEST COAST, Lefebvre et Fils, Paris, France
Works on Paper, ACME, Los Angeles
Gesture, ARENA Gallery, Los Angeles

Top Coat, The PIT, Glendale, California
Another Cats Show, 356 Mission, Los Angeles
Vienna for Art’s sake, Winter Palace, Belverdere, Vienna, Austria
ACME 20 Years,  Acme Gallery, Los Angeles
Archive Austria, curated by Peter Noefer, Trienale de Milano, Italy
George Nakashima in conversation, UNTITLED, New York
Looks on Paper, Ditch Projects, Springfield, Oregon

Object Salon, Roberts & Tilton, Los Angeles
Paper, The Prospectus, Pacific Design Center, Los Angeles
Aspects of Drawing, Orange Coast College, Costa Mesa
Wir Drei, Guggenheim Gallery, Chapman University, Orange, CA

Venice Beach Biennial, Venice, California
Curatorial Exchange, Irvine Arts center, Irvine, California
Mr. Natural, Gallery KM, Santa Monica, California
Sexy Boyfriend, JB Jurve, Los Angeles
Nice to meet me, Hayama Projects, Yokohama, Japan
The Nudes Painting Show, 3704 Figueroa, Los Angeles
The Cactus Painting Show, 3704 Figueroa, Los Angeles
Landscape and Portraiture, Irvine Art Center, Irvine, California
The Holodek, Post, Los Angeles, California
Selected works on paper, George Lawson Gallery, Los Angeles, California
Chasm of the Supernova, Center for the Arts, Eagle Rock, Los Angeles

Under the Big Black Sun, Museum of Contemporary Art, Los Angeles
RCM Galerie, Paris, France
Works on Paper, ACME, Los Angeles, California
Role Reversal, Mount St. Mary’s College, Los Angeles, California
Los Angeles Museum of Ceramic Art, ACME, Los Angeles, California

KERAMIKS, Pacific Design Center, Los Angeles, California

Hang the Curator, Museum of Contemporary Art, Detroit, Michigan
International Large Scale Print Show, Orange Coast College, Costa Mesa, California
Lovable Like Orphaned Kitties And Bastard Children, Green Gallery, Milwaukee
Exposition en el Instituto des Artes Graficas de Oaxaca, Oaxaca, Mexico

LA Weekly Annual Biennial, Tack 16, Santa Monica, California
RAID Projects, Los Angeles, California
Pruesspress, Rental Gallery, New York, New York
Karyn Lovegrove Gallery, Los Angeles, California

Grand Gesture, University Art Museum, CSULB, Long Beach, California
Material Affinities, USC Fisher Gallery, Los Angeles, California
Soft Core, Kim Light Gallery, Los Angeles, California
American Symposium, Armory Center for the Arts, Pasadena, California

INMO Gallery, Los Angeles, California
Daniel Hug Gallery, Los Angeles, California

Frank Pictures, Santa Monica Flux Gallery, Los Angeles, California

Nature Study, Cal State Bakersfield University Art Museum, UCSB, Santa Barbara, California
Galerie im Museum Ludwig, Saarlouis, Germany

Crocker Art Museum, Sacramento Butler Institute of American Art, Youongstown, Ohio
Museum of Southern Texas, Corpus Christi, Texas
Diannepruess Gallery, Los Angeles Drunken Masters, Gallery C, Hermosa Beach, California

Drawings, Low Gallery, Los Angeles, California
Albertina, Vienna, Austria
Works On Paper Gallery, Los Angeles, California
Guggenheim Gallery at Chapman University, Orange, California
Atelier Richard Tullis, Santa Barbara, California
Hayworth Gallery, Los Angeles, California
Crocker Art Museum, Sacramento, California
Ursula Krinzinger Galerie, Vienna, Austria

Galerie im Museum Ludwig, Saarlouis, Germany
Cirrus Gallery, Los Angeles, California
Galerie Peter Reich, Vienna, Austria
The Good, the Bad and the Ugly, Miauhaus Studio, Los Angeles, California
Black Dragon Society, Los Angeles, California
Continuous Surface, University Art Museum, Long Beach, California
CAA Foundation, Beverly Hills, California
The Matrix and the Monoprint, Santa Barbara Arts Comission, Santa Barbara, California
Miller-Durazo Gallery, Los Angeles, California

Ace Contemporary Exhibitions, Los Angeles, California
BIG 2, Bank of America Collection, Plaza Gallery, San Francisco

Fresh Ink, Austin Museum of Art, Austin, Texas
Eaton Fine Art Inc., West Palm Beach, Florida

Wrestling with the Sublime, California State University of Fullerton, Fullerton, California

Abstraction from Two Coasts, Lawing Gallery, Houston, Texas

Physical Abstraction, Blum Helman Gallery, New York

Individual Realities, Saison Museum of Art, Tokyo, Japan
Individual Realities, Tsukashin Hall, Osaka, Japan, Curated by California-International Arts Foundation

Physical Abstraction – Paintings 1990, Ace Contemporary Exhibitions, Los Angeles, California
Woodcuts, Raleigh Enterprises, Los Angeles, California
LA/Brazil Projects 1990, Los Angeles Municipal Art Gallery, Los Angeles, California
The Eighties, National Gallery of Art, Washington, D. C.
John Bergruen Gallery, San Francisco, California
In Perfect Silence, Art Center College of Design, Pasadena, California

Art of the Eighties, Montclair Art Museum, Montclair, New Jersey

Profound Visions, Ace Contemporary Exhibitions, Los Angeles, California
Monkey Sculpture And Baroque Paintings, Ace Contemporary Exhibitions, Los Angeles, California

Avant-Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles, California

Stadt Galerie, Saarbruecken, Germany
New Prints, Hamilton Gallery, New York
UC Collects, University of California, Berkeley, California
Issues, Newspace, Los Angeles, California
California Biennial, Museum of Modern Art, Indianapolis, Indiana
Inaugural Show, Ace Contemporary Exhibitions, Los Angeles, California

Institute for Contemporary Art, Philadelphia, Pennsylvania
Fisher Art Gallery, University of Southern California, Los Angeles, California
Image Abstract, 38 Crosby Street Gallery, New York
Larry Gagosian Gallery, Los Angeles, California

Fuller Goldeen Gallery, San Francisco, California
Portraits, P.S. 1, New York
Painters Who Print, Walker Art Museum, Minneapolis, Minnesota
III Biennial, San Francisco Museum of Modern Art, San Francisco, California
American Center, Paris, France

Urgent Painting, Jetwave, San Francisco, California
Goethe Institute, San Francisco, California

Gestures, Center For Visual Arts, Oakland, California

New Talent Award, Los Angeles County Museum, Los Angeles, California
Palm Springs Desert Museum, Palm Springs, California
New Paintings, Hal Bromm Gallery, New York
Huntington Gallery, University of Texas, Austin, Texas

Figuration, University Art Museum, Santa Barbara, California
Fresh Paint, San Francisco Museum of Modern Art, San Francisco, California
Four LA Painters, Pasadena City College, Pasadena, California
Critics Choice, Eaton-Shoen Gallery, San Francisco, California
California State University of Northridge, Northridge, California
New Painting and Sculpture, San Francisco Art Institute, San Francisco, California

California Individualism, LA Louver Gallery, Los Angeles, California
New Fauves, California State University of Los Angeles, California
Southern Exposure Gallery, San Francisco, California
Kunstverein Heidelberg, Heidelberg, West Germany
Biennial Der Ostseestaaten, Rostock, Germany


Leah Ollman, “Critic’s Choice Roger Herman Ceramics: bold, bawdy and … is that a little bondage sketched on there?”, Los Angeles Times, January 15, 2016

David Pagel, “Los Angeles Museum of Ceramic Art”, Los Angeles Times, Calendar January 13, 2011
Lyra Kilston, ”LA Museum of Ceramic Art,” Critics Pick, Artforum, January 2011
Hunter Drohojowska Philp, “ Critics Pick, Art News Magazine, March 2011
Adam Fischer, “ The Last Boho Standing”, New York Times, Style Magazine, March 13, 2011

George Melrod, Painter’s Profiles: Roger Herman, LTD Magazine, May 2010
Christopher Miles , “What Roger Herman Paints, “ Catalogue for show at George Lawson Gallery, San Francisco, 2010

Doug Harvey,” Let the Season Begin,” Paintings from the 80’s, LA Weekly, Sept.11-17, 2009
Kyle Mc Millan, Article “Roger Herman’s steadfast talent”, Denver Post, Friday July 10, 2009
Donna Westermann, IMPACT “ The BIG PRINT”, Catalogue, Orange Coast College, 2009
Leah Ollman, “ Roger Herman at Jancar Gallery”, Los Angeles Times, Calendar Art Review. Oct.9, 2009
Christopher Knight, Reprinted article for catalogue “ Roger Herman, Paintings of the 80’s, Jancar Gallery, 2009

Doug Harvey, The Third L.A. Weekly Annual Biennial, LA Weekly , Jan 11-17, 2008

Peter Frank,” Feats of Clay”, LA Weekly, Oct 19-25, 2007
David Pagel, ” Art Review”, Los Angeles Times, Calendar, September 25. 2007
Laurie Monahan, Catalogue essay for ” Grand Gestures” The Gordon Hampton Collection, 2007, Catalogue
Julie Joyce, Catalogue essay for “ Material Affinities, to clay and back” 2007

Doug Harvey, “Roger Herman Woodcuts :1982- 2002”, LA Weekly, March 24- 30,
Chris Miles, “ What Roger Herman Paints “ Essay for Exhibition at Guggenheim Gallery at Chapman University. Orange.

Daniella Walsh, “Expansive Body of Work”, Orange County Register.

Victor Berann,” Latest in Contemporary Art”, The RUNNER.
Schlocker, “ Duell von zwei Erotomanen”, Kultur und Medien, Tageszeitung, Innsbruce Austria
“Barfout” Magazine, Tokyo, “Roger Herman”

Wood, Eve. “Naked Bunch,” Art Net.Com. May 2002.
John Fitz Gibbons, The Pilot Hill Collection of Contemporary Art, Page 120, 127 – 137. 2002 Catalogue

Pagel, David. “Playfully Unruly,” Los Angeles Times-Calendar. June 8, 2001.
Scarborough, James. “Roger Herman,” NY Arts. Vol. 6 No. 6. June 2001.
Art On Paper Magazine. November/December 2001.
Quack, Brigitte. Saarbruecker Zeitung. Germany. September 22 –23, 2001.
Sullivan, Eve. “Many Pretexts To Paint A Picture,” City Magazine. May/June

Drohojowska-Philp, Hunter. “Pulling Out the Heavy Artillery,” Los Angeles Times. June 11, 2000.
Frank, Peter. “Art Pick of the Week,” LA Weekly. June 23 – 29, 2000.
Goldman, Edward, “Art Talk,” KCRW . Los Angeles, California. June 2000. (Review)
“Highlights,” UCLA Fall Newsletter. Los Angeles, California. 2000.
Hilger, Stephen. “Roger Herman At Susanne Vielmetter Los Angeles Projects,” Art Issues. September/October 2000. (Review)
Thornberg, Barbara. Los Angeles Times Magazine. September 2000. (Article)
Maas, Claudia. “Kunst-Bau, Kunstsammlung der Landeszentralbank in Rheinland-Pfalz und im Saarland,” Institut fuer aktuelle Kunst im Saarland.                                     Saarbruecken, Germany. 2000. PP 62 – 63. (Catalogue)
Pagel, David. “Themes Out Of School,” Creative Artist Agency Collection. Los  Angeles, California. 2000. (Catalogue)
Clothier, Peter. “Roger Herman: Susanne Vielmetter Los Angeles Projects,” Art News. October 2000. (Review)
Drohojowska, Hunter. “Herman Monster,” Art Net. Los Angeles, California.October 17, 2000.

Moure, Nancy. “California Art And Other Media,” Dustin Publication. California. PP 509 – 509.
Stepling, John. “Roger Herman,” Wohngebauede. Vienna, Austria. 1999. (Catalogue)

“Galerie Krinzinger,” Weiner Zeitung. December 18, 1998. (Review)

Smith, Mark. “Fresh Ink,” Austin Museum of Art. Austin, Texas. 1997. (Catalogue Essay)
Miles, Christopher. “A Converstion With Roger Herman, Painter,” Art Week. September 1997. (Interview)
Kandel, Susan. “Art Review: Setting A Table Filled With Versatility,” Los Angeles Times. August 22, 1997. (Review)
Art Das Kunstmagazin. NR 12. December 1997.

Johnson, Patricia. “Art Review,” Houston Chronicle. June 20, 1996. (Review)
Ansporn, Catherine. “Roger Herman: Recent Paintings,” Public News. Houston, Texas. June 19, 1996. (Review)
Corn, Alfred. “Roger Herman,” Art In America. October 1996. (Review)
Curtis, Cathy. “Living Large,” Los Angeles Times. November 26, 1996. (Review)
Walsh, Daniella. “Art Review,” Orange County Register. November 17, 1996.  (Review)
Blashy, Barbara. “Germans Get Sublime In Southern California,” LA Weekly. November 29, 1996. (Article)
Centell, Linda and Kirsch, Eva. “Wrestling With The Sublime,” California State University of Fullerton. 1996 (Curators Statement Catalogue)

Frank, Peter. “Art Pick of the Week: Painting Beyond The Idea,” LA Weekly. Oct 20, 1995.
Knight, Christopher. “Art With An Appealling Tilt,” Los Angeles Times. July 29, 1995. (Review)
Iannacone, Carmine. “Roger Herman At Ace Contemporary Exhibitions,” Art Issues. November 1995. (Review)
Green, David A. “It’s the Art, Not the Artist: Roger Herman Lets His Paintings Do  the Talking,” Los Angeles Reader. September 15, 1995. (Review)

Pagel, David. “When Opposites Attract,” Los Angeles Times. April 28, 1994. (Review)
Verdugo, Kenneth. “Roger Herman ‘Vision’,” Art Quarterly. Winter 1994.  (Review)

Rayne, Joel. “Hiding From History And All Its Isms,” Picturebook. 1993. (Interview)
Pagel, David. “The New Physical Abstraction in Los Angeles,” Tema Celeste. Winter 1993. PP. 79.

Pagel, David. “Big Sensations,” Los Angeles Times. August 7, 1992
Scarborough, J. “Agnostic Abstraction,” Artspace. September – October 1992. PP. 49 – 51.
Maleski, Stash. “Painting The Town: Conceptual Art Meets the Paintbrush at Ace Gallery,” Village View. September 11 – 17, 1992.
Peterson, William. “Physical Abstraction: On Some Abstract Painting in Los Angeles,” Artspace. December 1992. PP. 53 – 60.

“Angeles,” The Art of Living in L. A., August 1991.
Nowlin,Stephen. “In Perfect Silence,” Artspace. V15 N2: January-February 1991.PP. 53 – 57. (Review)

Appelton, Steve. “Consideration Of The Historical,” Artweek. V21 N16: Apri 26, 1990. PP. 11 – 12. (Article)
Pagel, D. “Roger Herman,” Lapiz. Spain. October 1990. P.76. (Article)
Roger Herman, “Brazil Projects,” 1990.
“Private Art Public Vision,” Western Washington University. Bellingham, Washington. (Exhibition Catalogue)
“The Eighties: Prints From The Collection of Joshua Smith,” National Gallery of Art. Washington, D. C. 1990. (Exhibition Catalogue)
Wilson, W. “Abstractions: Contrasting Temperaments,” Los Angeles Times.March 16, 1990.

“Art Of The 80’s—Collection Of The Chemical Bank,” Montclair Art Mueum, Montclair, New Jersey. 1989. (Exhibition Catalogue/Poster)
“Artists In Printmaking,” Archer Huntington Art Gallery, University of Texas, Austin, Texas. 1989. (Exhibition Catalogue)

Flam, J. “LA’s Growing Art Scene,” Wall Street Journal. March 9, 1988. (Review)
Proyen, M. “The Static And The Architecture,” Artweek. 1988. (Review)
“Painter’s Heavy Brush On City Architecture,” San Francisco Chronicle. May 26, 1988. P. E6. (Review)
Rugoff, R. “Checking Messages,” LA Weekly. November 11 –17, 1988. (Article)
“The Galleries,” Los Angeles Times. November 18, 1988. (Review)
“”Inside the L.A. Artist,” Marva Morrow, 1988.
“California Painters,” New Work, Henry T. Hopkins. (Review)

Goddar, D. “Prints Larger Than Life,” Express News. San Antonio, Texas, January 20, 1987. (Review)
Drohjowska,H. “Artist Who Matter—LA Scene Makes History,” Antique And Fine Art. June 1987. PP. 48 – 49. (Article)
Christs, M. A. “Acquiring A Taste For Art,” Diverison Magazine. February 1987, P. 161. (Article)
“The Galleries,” Los Angeles Times. February 12, 1987. (Review)
McCombrie, M. “One Of The World’s Largest Woodcut Prints Owned By University of Texas,” Austin American Statesman. September 24, 1987. (Review)

Rugoff, R. “Roger Herman,” LA Style. V2 N2: 1986. PP. 22 – 23. (Article)
Knight, C. “Roger Herman Woodcuts,” Galleria Arte Contemporaneo. Mexico City, Mexico. 1986. (Exhibition Catalogue)
De Vega, T. P. “Acordanza,” El Los de Mexico. July 12, 1986. (Review)
Gallardo, V. “Expo De Roger Herman,” El Universal. July 12, 1986. (Review)
“Roger Herman Expone,” Excelsior. July 13, 1986. (Review)
“Exposicion De Roger Herman En La Galeria De Arte Contemporaneo,” El Heraldo De Mexico. July 12, 1986. (Review)
Liss, A. “Roger Herman Woodcuts,” Nave Museum. Victoris, Texas and University Art Gallery, Southwest Texas State University, San Marcos, Texas.                                     1986. (Exhibition Catalogue)
Harsdorff, L. “New Nave Show Is Spectacular,”Advocate. 1986. (Review)
Scholoker, E. “Expressive Zustandsbildr Eines Deutschen in Amerika,” Neue Tiroler Zeitung. April 29, 1986. (Review)
Garner, C. “Los Angeles, Roger Herman, Larry Gagosian Gallery,” Artforum,  September 1986. (Review)
McDonald, R. “Herman’s Enormous Cool Works,” Los Angeles Times. November, 1986. (Review)
Pincus, R. “Roger Herman,” San Diego Union. November 20, 1986. (Review)
“Roger Herman, ‘Fatherland/Mothertongue’,” Western Gallery News. VIII NI: 1986. P. 4. (Work Illustrated)
Visual Arts, Vollum Center Gallery. 1986. (Notice)
Town And Country. May 1986. (Article)
Dunham, J. “Print News,” International Journal For Contemporary Prints. V8 N2: 1986. PP. 14 – 15. (Article)
Dunham, J. “La Gravure Dur Bois Aux Etas-Unis,” Cahiers 29 Des ARt: Visuels Au Quebec. 1986. PP. 12 – 16. (Article)
Weber, J. S. “Bemerkungen Zu Olbildern Und Hozachnitten Von Roger Herman,” Stadtgalerie. Saabruecken, Germany. 1986 (Exhibition Catalogue)
“Wiedersehen Mit Den Freunden,” “Vier Von Hier-Gemeinsam,” Saarbbrucker Seitung. April 11, 1986. (Reviews)
“Broad Spectrum of Art Exhibited in Cal Collects 1,” University Art Museum Calendar. May 1986. (Review)
Muchnic, S. “The Art Galleries,” Los Angeles Times. June 6, 1986. (Review)

Archer, M. “First City Purchases Work for Michener Collection,” Huntington Art Gallery Newsletter. Fall 1985. (Notice)
Adams, M. “Roger Herman at Larry Gagosian,” LA Weekly. June 28 – July 4, 1985. (Review)
Knight, C. “Bad News for the Adams Family,” LA Weekly. August 2 – 8, 1985, (Letter to Editor)
Adams, M. “Morgan Adams Replies,” LA Weekly. August 2 – 8, 1985. (Reply from Letter to Editor)
Knight, C. “Haven’t We Seen These Somewhre Before?” Los Angeles Herald Examiner. August 11, 1985. P. E2 (Review)
Mallinson, C. “Roger Herman at Larry Gagosian,” Art In America. December, 1985. P. 135. (Review)
McKenna, K. “Galleries, La Cienega Area,” Los Angeles Times. June 21, 1985, Part VI, PP. 11, 17. (Review)
Jan, A. “Roger Herman, Fuller-Goldeen, San Francisco,” Flash Art, October/November 1985. (Review)
Rugoff, R. “The Hottest New Artists In Town,” Los Angeles Magazine. November, 1985. PP. 242- 244. (Review)
“Roger Herman, Houdini Series,” Print Collectors Newsletter. 1985. PP. 178, (Review)
Bank of America Corporation Art Program 1985. 1985. (Acquisition Catalogue)
Brody, J. “Roger Herman: A New Expressionist?,” The Print Collector’s Newsletter. January/February 1985. PP. 200 – 205. (Interview)
Heartney, E. “Walker Art Center Celebrates Contemporary Prints,” Print News,  January/February 1985. PP.4 – 6. (Review)
Simon, H. “Rummaging For The Real Meaning,” The Press Enterprise. March 3, 1985. (Review)
Liss, A. “Romantic Conflict,” Artweek. May 11, 1985. (Review)
Cotter, H. ARTS. April 1985. P. 44. (Review)
Larson, P. “New (SIC) Expressionism,” The Print Collector’s Newsletter, January/February 1985. PP. 198 – 200. (Review)
Nathanson, D. “An Emotional Relationship with the Image,” University of California, Riverside. Riverside, California. 1985, (Exhibition Catalogue)
Deschamps, M. “Expressions New York,” American Center. Paris, France. 1985, (Exhibition Catalogue)
Larsen, S. C. “Sunshine and Shadow: Recent Painting in Southern California,” Fisher Gallery, University of Southern California. Los Angeles, California. 1985.                                     (Exhibition Catalogue)
Szymanski, J. “Western Gallery Woodcuts Transform Baggage Into Icons,” The Bellingham Herald. February 1, 1985. (Review)
Hertz, R. Theories of Contemporary Art: Anthology. 1985. (Book)

McCready, E. “New American Painting: A Tribute To James and Mari Michener,” Huntington Gallery, University of Texas. Austin, Texas. 1984. (Exhibition                                     Catalogue)
Irving, F. “Images and Impressions, Painters Who Print,” Walker Art Museum, Minneapolis, Minnesota. 1984. (Exhibition Catalogue)
Drohojowska, H. “Roger Herman,” Artnews. February 1984. (Review)
Jan, A. “Roger Herman, Eaton-Shoen Gallery,” Vanguard Magazine. October, (Review)
Regan, K. “Roger Herman’s Energetic and Bold Explorations,” San Francisco Chronicle. July 23, 1984. (Review)
Wolf, L. “Landscapes 1884 – 1984 At Ulrike Kantor Gallery,” LA Weekly. July 29, 1984. (Review)
Regan, K. “A Broad View Of An Art Movement,” San Francisco Chronicle. July 2, 1984. (Review)
Thibean, A. “The Human Condition,” San Francisco Magazine. September 1984, (Review)
“The Go-Betweens,” Vogue. September 1984. (Article)
Baldwin, W. “Roger Herman: I’m So Normal, It Drives Me Crazy,” No. October 1984. (Review)
Nelsen, S. “A Broad Spectrum: Contemporary Los Angeles Painter and Sculptors ’84,” The Desing Center. Los Angeles, California 1984. (Review)
Opincar, R. “Gloom and Relief,” Reader. San Diego, California. September 6, 1984. (Review)
Kelley, J. “Prints: Veneer of Expressionism,” Los Angeles Times. December 22, 1984. (Review)
Lugo, M. E. “Gallery Guide,” The Tribune. San Diego, California. September 14, 1984. (Review)
Heartney, E. “Appropriation and the Loss of Authenticity,” New Art Examiner, March 26 – 30, 1984. (Article)
“SFMOMA’s Biennial III Is Sponsored by the Collector’s Forum,” San Francisco Magazine. September 1984. (Review)

Selz, P. “The Past Recaptured,” Ulrike Kantor Gallery. Los Angeles, California, 1983. (Exhibition Catalogue)
Wolf, L. “Roger Herman: A Few Questions,” Roger Herman Woodcuts. Peppers Art Gallery, University of Redlands. 1982. (Exhibition Catalogue)
Hough, K. P. “Intorduction,” Downtown LA Between The Freeways. Palm Springs Museum. 1983. (Exhibition Catalogue)
Knight, C. “Los Angeles Art On The Move,” Artnews. January 1983. PP. 72 – 75,  (Review)
Albright, T. “Two Artists ‘Relearning’ How To Paint,” San Francisco Chronicle, February 14, 1983. (Review)
Roder, S. “From Maelstrom to Melting Pot,” Artweek. March 5, 1983. (Review)
Liss, A. “New Bay Area Painting and Sculpture,” Images And Issues. May/June 1983. (Review)
Kelley, J. “New Bay Area Painting,” Vanguard. April 1983. (Review)
Albright, T. “New Bay Area Painting And Sculpture,” Artnews. April 1983. (Review)
Muchnic, S. “Two Artists Outside The Pigeonhole,” Los Angeles Times. June 20, 1983. (Review)
Krumpak, T. “Paint, Passion and the New Image,” Designers West. November 11, 1983. (Article)
“Downtown Renaissance,” Brutus Magazine. Tokyo, Japan. September 1, 1983, (Article)
Wolf, L. “Roger Herman: The Refined Anarchist,” LA Weekly. October 14 – 20, 1983. (Article)
Knight, C. “Two Artists Live at Opposite Poles of the Same World,” Herald Examiner. October 30, 1983. (Review)
Kelley, J. “Works Express Size And Power,” Los Angeles Times. November 1983. (Review)
Selz, P. “Roger Herman,” Arts. December 1983. (Review)
Liss, A. “Roger Herman,” Images and Issues. November/December 1983, (Review)
Wolf, L. “Nervous Emblems,” Artweek. November 1983. (Review)
Simon, J. “Expressionism in Woodcuts,” The Press Enterprise. November 2, 1983. (Review)
Johnston, B. “Roger Herman and Harry Kipper Interview,” Bomb. 1983. (Review)

Franzke, A. “Introduction,” Akademie Der Kunst. Karlsruhe, Germany. 1982, (Exhibition Catalogue)
Plous, P. “Introduction For Figuration,” University Art Museum. Santa Barbara, 1982. (Exhibition Catalogue)
Neuber, G.W. “Resource/Response, Fresh Paint: Fifteen California Painters,” San Francisco Museum of Art. 1982. (Exhibition Catalogue)
Brown, C and Dunham, J. “New Bay Are Painting And Sculpture.” 1982. (Book)
Weisberg, R. “Synthesizing Figurative Refernces.” Artweek. January 30, 1982, (Review)
Drohojowska, H. “Beyond Good And Evil: the Art of Roger Herman,” LA Weekly, November 5 – 11, 1982. (Review)
Curtis, C. “Seeking the New Bay Area,” Artweek. December 25, 1982. PP. 1, 16, (Review)
Pincus, R. L. “Galleries,” Los Angeles Times. September 24, 1992. PP. 7 – 9, (Review)
Norklun, K. “Pick Of The Week,” LA Weekly. September 17 – 24, 1982. (Review)
Knight, C. “Labe His Paintings ‘Exceptional’,” Herald Examiner. September 26, 1982. (Review)
Singerman, H. “Roger Herman, Ulrike Kantor Gallery,” Artforum. December 1982. (Review)

Forde, E. “New Fauve Painting,” California State University of Los Angeles. 1981,  (Exhibition Catalogue)
Burstein, J. Artweek. 1981 (Review)
Danieli, F. “Mainstream California Individualism,” Artweek. September 12, 1981, (Review)
Albright, T. “Esthetic of the Fake: Two Views,” San Francisco Chronicle. August 1981. (Review)
Drohojowska, H. “Pick Of The Week,” LA Weekly. September 18 – 24, 1981,  (Review)
Muchnic, S. “Cal State LA Unleashes ‘New Fauve Painting’,” Los Angeles Times, October 20, 1981. (Review)
Knight, C. “In Art, There Are No ‘Wild Beasts’ Anymore,” Herald Examiner, October 21, 1981 (Review)
West Art. November 13, 1981. (Review)
Atkins, R. “Beyond Good And Evil,” Bay Guardian. November 25 – December 22, 1981. (Review)

Albright, T. Artnews. January 1980. (Review)
Albright, T. “New Kind of Daring: A Pinter’s Monumental Arena of Action,” San Fransico Chronicle. May 28, 1980. (Review)
Albright, T. Horizon. July 1980. P. 34 (Review)

Franzke, A. “Introduction,” Dana Reich Gallery. San Francisco, California. 1979, (Exhibition Catalogue)
Albright, T. “German Artist’s Doubleheader,” San Francisco Chronicle. Oct. 24, 1979
Brown, C. “Into The Basics,” Artweek. October 1979. (Review)

Heipe, R. “Das Politische Verstandnis Von Malerei,” Tendenzen. 1973. V14, N7: PP 30 – 34. (Articles)
Wilke, P. “Bericht Uber Die Staatliche Akademie Der Bildenden Kunste Karlsruhe.”


DAAD Grant from Germany
National Endowment for the Arts Fellowship Grants


The Los Angeles County Museum of Art, Los Angeles, California
The Museum of Contemporary Art, Los Angeles, California
The Orange County Museum of Modern Art, Newport Beach, California
The Walker Art Center, Minneapolis, Minnesota
The Museum of Modern Art, San Francisco, California
The Achenbach Foundation, San Francisco, California
The Denver Art Museum, Denver, Colorado
The Museo del Arte Contemporanea, Mexico City, Mexico
The Robert Rifkind Collection
The Gordon Hampton Collection
The Eli Broad Collection
The Dallas Price Collection
The Gruenewald Center at the Hammer Museum, Los Angeles, California
The Achenbach Foundation, San Francisco, California
The Albertina, Vienna, Austria