Born in Kenosha, Wisconsin, 1955.
EDUCATION
University of Wisconsin, Milwaukee, Wisconsin, B.F.A., 1977.
California Institute of the Arts, Valencia, California, M.F.A., 1980.
Lives in Palm Springs, California.
SELECTED SOLO SHOWS
1981
Riko Mizuno Gallery, Los Angeles, California. Modern Tempo.
1982
The Inn of Tomorrow, Anaheim, California, and Richard Kuhlenschmidt Gallery, Los Angeles, California. Motel Modern.
1984
Richard Kuhlenschmidt Gallery, Los Angeles, California. Suburban.
1985
West Beach Café, Venice, California. Installation.
Onxy Café, Los Angeles, California. Starburst.
1986
Patty Aande Gallery, San Diego, California. Nu-Flowers.
Kuhlenschmidt/Simon, Los Angeles, California. Flowers.
1988
Kuhlenschmidt/Simon, Los Angeles, California.
Josh Baer Gallery, NYC, NY.
Feature, Chicago, Illinois. Matching Chairs and Paintings.
1989
Richard Kuhlenschmidt Gallery, Los Angeles, California. Shag Ptgs.
Feature, NYC, NY. Shag Ptgs.
1991
Feature, NYC, NY. Shag Ptgs and Sculpture.
1992
Roy Boyd Gallery, Santa Monica, California.
Feature, NYC, NY.
1994
Sue Spaid Fine Art, Los Angeles, California. Highlights.
Richard Telles Fine Art, Los Angeles, California. Handiwork.
Feature, NYC, NY. Handiwork.
1995
Ynglingagatan 1, Stockholm, Sweden.
Richard Telles Fine Art, Los Angeles, California. Weaves.
1996
Feature, NYC, NY. CubeWeave.
Richard Telles Fine Art, Los Angeles, California. Isermann/Pardo.
1997
Project Space, Chicago Fine Arts Club, Chicago, Illinois.
Studio Guenzani, Milan, Italy.
Ynglingagatan 1, Stockholm, Sweden.
Robert Prime, London, England.
1998
Richard Telles Fine Art, Los Angeles, California. Herringbone & Houndstooth.
Institute of Visual Arts, University of Wisconsin, Milwaukee, Wisconsin. Fifteen: Jim Isermann Survey.
Diverse-Works Artspace, Houston, Texas. Fifteen: Jim Isermann Survey.
1999
The University of North Texas Art Gallery, Denton, Texas. Fifteen: Jim Isermann Survey.
Santa Monica Museum of Art, Santa Monica, California. Fifteen: Jim Isermann Survey.
Weatherspoon Art Gallery, University of North Carolina, Greensboro, North Carolina. Fifteen: Jim Isermann Survey.
Institute of Contemporary Art, Philadelphia, Pennsylvania. Fifteen: Jim Isermann Survey.
Le Magasin – Centre d’Art Contemporain, Grenoble, France. Vega.
Camden Arts Center, London, England.
2000
Richard Telles Fine Art, Los Angeles, California.
Galerie Praz-Delavallade, Paris, France.
Portikus, Frankfurt am Main, Germany.
The RISD Museum, Providence, Rhode Island. Logic Rules.
2001
Richard Telles Fine Art, Los Angeles, California.
Feature Inc., NYC, NY.
2002
Corvi-Mora, London, England.
UCLA Hammer Museum, Los Angeles, California. Hammer Projects.
Galerie Praz-Delavallade, Paris, France.
2005
Corvi-Mora, London, England.
Deitch Projects, NYC, NY.
2006
Richard Telles Fine Art, Los Angeles, California.
Museum of Contemporary Art, Chicago, Illinois.
2007
Deitch Projects, NYC, NY. Vinyl Smash Up, 1999-2007.
Galerie Praz-Delavallade, Paris, France. Jim Isermann: Chairs & Paintings, 1987.
2008
Corvi-Mora, London, England.
2009
Richard Telles Fine Art, Los Angeles, California.
Van Abbemuseum, Eindhoven, The Netherlands. Plug In #52: Lily van der Stokker and Guest: Jim Isermann.
2010
Galerie Praz-Delavallade, Paris, France.
2011
Corvi-Mora, London, England.
Mary Boone Gallery, NYC, NY.
2012
Mary Boone Gallery, NYC, NY.
2014
Mary Boone Gallery, NYC, NY. (with B. Wurtz)
Richard Telles Fine Art, Los Angeles, California. Jim Isermann: Paintings and Drawings.
2015
Corvi-Mora, London, England. Jim Isermann & James and Tilla Waters.
Bloomberg SPACE, London, England. Jim Isermann - Constituent Components.
SELECTED GROUP SHOWS
1980
Otis/Parsons, Los Angeles, California. Furnishings by Artists.
Otis/Parsons, Los Angeles, California. The Young/The Restless.
1981
LAICA, Los Angeles, California. Southern California Artists.
Security Pacific Plaza, Los Angeles, California. Some Painters.
Hallwalls, Buffalo, New York. Fictive Victims.
LACE, Los Angeles, California. The Fix-It-Up Show. (work altered by Jeffery Vallence and Michael Uhlenkott)
1983
Richard Kuhlenschmidt Gallery, Los Angeles, California.
Japanese American Cultural and Community Center, Los Angeles, California. Cultural Excavations: Recent and Distant.
Fun Gallery West, San Francisco, California. Spy-Tiki Modern. (installation with Jeffery Vallance and Mark Kroening)
1984
Whiteley Gallery, Los Angeles, California. L.A. Apocalypse.
Museum of Art, Rhode Island School of Design, Providence, Rhode Island. Furnishings: Subject, Object.
Mandeville Art Center, University of California, San Diego, California. Contextual Furnishings: Isermann, Mc Makin, Vaughn.
Vickman’s Restaurant, Los Angeles, California. Spies and Boyfriends.
1985
Richard Kuhlenschmidt Gallery, Los Angeles, California.
LAICA, Los Angeles, California. Fashion.
Newport Harbor Art Museum, Newport Beach, California. Future Furniture.
1986
Kuhlenschmidt/Simon, Los Angeles, California. Meanwhile Back at the Ranch….
Cirrus Gallery, Los Angeles, California. A Southern California Collection.
Aspen Art Museum, Aspen, Colorado. California Chairs.
LACE, Los Angeles, California. TV Generations.
Loughelton Gallery, NYC, NY. Greenberg’s Dilemma.
1987
Feature, Chicago, Illinois. Nature.
Los Angeles County Museum of Art, Los Angeles, California. Avant-Garde in the 80’s. (with Irene Segalove)
US Pavilion, I Bienal Internacional de Pintura, Museo de Arte Moderna, Cuence, Ecuador. A Different Corner.
The Renaissance Society at the University of Chicago, Chicago, Illinois. CalArts: Skeptical Belief(s).
Newport Harbor Art Museum, Newport Beach, California. CalArts: Skeptical Belief(s).
Stux Gallery, NYC, NY. (of Ever-Ever Land I speak).
List Visual Art Center, Massachusetts Institute of Technology, Cambridge, Massachusetts. L.A. Hot & Cool.
1988
Security Pacific Gallery, Costa Mesa, California. Representation-non-Representation.
Siegfried Gallery, Ohio University School of Art, Athens, Ohio. Abstract Painting: Three Sensibilities.
1989
Bess Cutler Gallery, NYC, NY. Walk Out to Winter.
Feature, Chicago, Illinois. LA CA Boys.
Cleveland Center for Contemporary Art, Cleveland, Ohio. Recent Work from Los Angeles.
Art Center College of Design, Pasadena, California. After Abstract.
Santa Barbara Contemporary Arts Forum, Santa Barbara, California. The Home Show.
1990
Manhattan Beach Public Arts Program, Children’s Section, Public Library, Manhattan Beach, California. Temporary Installations 89.
Mint Museum of Art, Charlotte, North Carolina. Material Conceits.
Marc Richards Gallery, Los Angeles, California. Geometric Abstraction.
1991
Feature, NYC, NY. Office Party.
Turner & Byrne Gallery, Dallas, Texas. The Legacy of Hank Herron.
Rosamund Felsen Gallery, Los Angeles, California. Presenting Rewards.
1992
HP Hippodrome Gallery, Santa Monica, California. Studio to Station: Public Art on the Metro Blue Line.
Christopher Grimes Gallery, Santa Monica, California. Primi Pensieri.
Roy Boyd Gallery, Santa Monica, California.
Rosamund Felsen Gallery, Los Angeles, California. The Rosamund Felsen Clinic and Recovery Center.
1993
Unité d’Habitation, Firminy, France. Project Unité.
Christopher Grimes Gallery, Santa Monica, California. Technicolor: The Future That Never Was.
1994
Art Museum, University of California Santa Barbara, Santa Barbara, California. Guys Who Sew.
FRAC Bourgogne, Dijon, France. Surface de Réparation.
Los Angeles Municipal Art Gallery, Los Angeles, California. LAX 94.
State University of Buffalo, Fine Arts Gallery, Buffalo, New York. Forging Ahead.
Richard Telles Fine Art, Los Angeles, California. Three Person Exhibition. (with Tom Friedman and Jennifer Pastor)
The Brewery, Los Angeles, California. Difficult Conceptualists.
Sue Spaid Fine Art, Los Angeles, California. Sour Ball.
1995
Feature, NYC, NY. Crystal Blue Persuasion.
Roger Merians Gallery, NYC, NY. Smells Like Vinyl.
Feature, NYC, NY. The Moderns.
John Michael Kohler Arts Center, Sheboygan, Wisconsin. Conceptual Textiles.
Boritzer/Gray/Hamano, Santa Monica, California. Flowers.
Feature, NYC, NY. I Gaze a Gazely Stare.
Jan Baum Gallery, Los Angeles, California. Felicity.
Shoshana Wayne Gallery, Santa Monica, California. Gay Men Love Chairs.
Richard Telles Fine Art, Los Angeles, California. Very.
The Bronx Museum of the Arts, Bronx, New York. Division of Labor: Women’s Work in Contemporary Art.
Museum of Contemporary Art, Los Angeles, California. Division of Labor: Women’s Work in Contemporary Art.
1996
Spanish Box, Santa Barbara, California. Mod Squad.
Feature, NYC, NY. Ab Fab.
Los Angeles County Museum of Art, Los Angeles, California. Some Grids.
Robert Prime, London. England. How will we behave?.
Museum of Contemporary Art, Los Angeles, California. Just Past: Selections from the Permanent Collection 1976-1996.
Beaver College Gallery, Glenside, Pennsylvania. Patterns of Excess.
1997
Centre for Contemporary Art, Glasgow, Scotland. Lovecraft.
Louisiana Museum of Modern Art, Humlebaek, Denmark. Sunshine and Noir: Art in L.A. 1960-1997.
Southeast Center for Contemporary Art, Winston-Salem, North Carolina. Women’s Work: Examining the Feminine in Contemporary Painting.
Museum of Contemporary Art, Chicago, Illinois. Fake Ecstasy With Me.
Cristenrose Gallery, NYC, NY. Thread.
Le Magasin - Centre d’art Contemporain, Grenoble, France. Dramatically Different.
Margo Leavin Gallery, Los Angeles, California. Maxwell’s Demon.
1998
Palazzo Re Rebaudengo, Guarene, Italy. L.A. Times.
Pennsylvania Academy of Fine Art, Philadelphia, Pennsylvania. Pop Abstraction.
Peggy Phelps Gallery and East Gallery, The Claremont Graduate University, Claremont, California. Homemade Champagne.
Galerie für Zeitgenönissische Kunst, Leipzig, Germany. Weather Everything.
Museum van Loon, Amsterdam, The Netherlands. Roommates.
Gallery 16, San Francisco, California. Michelle Grabner & Jim Isermann.
South London Gallery, London, England. Lovecraft.
1999
Spacex Gallery, Exeter, England. Etcetera.
The Mc Kinney Avenue Contemporary, Dallas, Texas. Post-Hypnotic.
Bournville, Birmingham, England. In the Midst of Things.
Laure Genillard Gallery, London, England. This Season.
Hellenic-American Union, Athens, Greece. Objecthood 00.
2000
University of South Florida Contemporary Art Museum, Tampa, Florida. Ultralounge: The Return of Social Space (with cocktails).
FRAC Poitou-Charentes, Angouleme, France. Haute de Forme et Bas Fonds.
Fondation de la Tapisserie, Brussels, Belgium. From Rags to Riches.
Judy Ann Goldman Fine Art, Boston, Massachusetts. Work on Paper from California.
Moderna Museet, Stockholm, Sweden. What If?.
Los Angeles County Museum of Art, Los Angeles, California. Made in California: Now.
Oriel Mostyn Gallery, Wales. Artworkers.
Otis Gallery, Otis College of Fine Art & Design, Los Angeles, California. Pure De(sign).
2001
Frith Street Gallery, London, England. Drawings.
The Fourth International Biennial, SITE Santa Fe, Santa Fe, New Mexico. Beau Monde: Toward a Redeemed Cosmopolitanism.
Neue Galerie, Graz, Austria. The Magic Hour.
Kunsthalle Wien, Vienna, Austria. Tele(visions).
Kunsthallen Brandts Klaedefabrik, Odense, Denmark. Patterns: Between Object and Arabesque.
2002
Marianne Boesky Gallery, NYC, NY. Crisp.
Royal Academy of Fine Art, London, England. The Gallery Show.
The Bellevue Art Museum, Bellevue, Washington. Trespassing: Houses x Artists.
Dorsky Gallery, Long Island City, New York. Now is the Time.
Galerie Praz-Delavallade, Paris, France. Five Years.
Plaza de España Contemporary Art Centre, Madrid, Spain. Deluxe.
The RISD Museum, Providence, Rhode Island. On the Wall: Wallpaper by Contemporary Artists.
Cirrus Gallery, Los Angeles, California. Flatlines.
2003
MAK Center for Art and Architecture, West Hollywood, California. Trespassing: Houses x Artists.
Corvi-Mora, London, England. Jim Isermann/Monique Prieto.
Angles Gallery, Los Angeles, California. Variance.
Rosamund Felsen Gallery, Santa Monica, California. The LAPD Project: The Legacy of Pattern and Decoration.
University of South Florida Contemporary Art Museum, Tampa, Florida. Trespassing: Houses x Artists.
REDCAT Gallery, Walt Disney Concert Hall, Los Angeles, California. Contemporaries: Five Years of Grant Making in the Visual Arts/California Community Foundation.
Museum of Contemporary Art San Diego, San Diego, California. Of the Moment: Recent Acquisitions from the Permanent Collection.
The Fabric Workshop, Philadelphia, Pennsylvania. On the Wall: Wallpaper by Contemporary Artists.
2004
Blaffer Art Gallery, University of Houston, Houston, Texas. Trespassing: Houses x Artists.
Galerie Praz-Delavallade, Paris, France. Formes + Signes: Jim Isermann, Daniel Pflumm, Philippe Decrauzat, John Armleder.
Deitch Projects, NYC, NY. Suburban House Kit: Adam Kalkin with Jim Isermann, Martin Kersels, Aernout Mik, Tobias Rehberger, Haim Steinbach.
2005
Palm Springs Desert Museum, Palm Springs, California. Trespassing: Houses x Artists.
Angles Gallery, Santa Monica, California. In the Abstract.
Albright-Knox Art Gallery, Buffalo, New York. Extreme Abstraction.
Fondazione Sandretto Re Rebaudengo, Milan, Italy. Bidibidobidiboo: La Collezione Sandretto Re Rebaudengo.
Lucas Schoormans Gallery, NYC, NY. L.A..
Kunstverein München, Munich, Germany. Icestorm.
Samson Projects, Boston, Massachusetts. op…ish.
2006
Lisboa 20, Lisbon, Portugal. Unit Structures.
2007
Peggy Phelps and East Galleries, Claremont Graduate University, Claremont, California. Painting < = > Design.
Cabinet des estampes, Museé d’art et d’histoire, Geneva, Switzerland. PLASTIC/A proposal of John Trembley. Works in vacuum-formed plastic from the 1960s to today.
Tate St. Ives, Cornwall, England. If Everybody had an Ocean: Brian Wilson: An Art Exhibition.
CAPC Musée d’Art Contemporain, Bordeaux, France. If Everybody had an Ocean: Brian Wilson: An Art Exhibition.
Angles Gallery, Santa Monica, California. Sculptors’ Drawings: Ideas, Studies, Sketches, Proposals, and More.
Joseloff Gallery, Hartford Art School, University of Hartford, West Hartford, Connecticut. POST DEC: Beyond Pattern and Decoration.
El Basilisco, Buenos Aires, Argentina. Los Vinilos.
Le Spot, Le Havre, France. Stephanie Dafflon/Jim Isermann/Olivier Mosset.
2008
Frome, Somerset, England. Intervention/Decoration, New contemporary art commissioned by Foreground.
Arcade, London, England. A Colour Box.
Le Volcan, Espace Oscar Niemeyer, Le Havre, France. Downtown Le Havre.
FRAC des Pays de la Loire, Nantes, France. Living Box.
The Geffen Contemporary at MOCA, Los Angeles, California. Index: Conceptualism in California from the Permanent Collection.
Rhona Hoffman Gallery, Chicago, Illinois. Angles in America.
Gallery 16, San Francisco, California. These are the People in Your Neighborhood.
Japanese American National Museum, Los Angeles, California. 20 Years Ago Today, Supporting Visual Artists in L.A..
A Foundation Gallery, Rochelle School, Arnold Circus, London, England. Art on the Underground: 100 Years, 100 Artists,100 Works of Art.
Zoo Art Fair, London, England. Los Vinilos.
2009
Schmidt Contemporary Art, Saint Louis, Missouri. Yield.
The Museum of Modern Art, NYC, NY. Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection.
Laguna Art Museum, Laguna Beach, California. Collecting California: Selections from Laguna Art Museum.
2010
Solomon R. Guggenheim Museum, NYC, NY. Contemplating the Void: Interventions in the Guggenheim Museum.
The Museum of Contemporary Art, Los Angeles, California. The Artist’s Museum.
2012
Kunstmuseum Luzern, Lucerne, Switzerland. Nouvelles Boîtes!.
2013
Venus Over Manhattan, NYC, NY. Made in Space.
MACBA - Museo de Arte Contemporaneo Buenos Aires, Buenos Aires, Argentina. Geometric Obsession. American School 1965-2015.
SELECTED PUBLIC PROJECTS
1982
Video sets for MTV’s The Cutting Edge for the Bangles and The Three O’Clock.
1984
Art Direction and sets for Lin Hixon’s Hey John, Did You Take the El Camino Far?, Art of the Spectacle, Los Angeles Contemporary Exhibitions (LACE), Los Angeles, California.
1985
Book cover, Monday, Monday, writings by David Trinidad.
1986
T.V. Room, video screening room, Los Angeles Contemporary Exhibitions (LACE), Los Angeles, California. (destroyed 1994)
1987
Catalogue cover, L.A. Hot & Cool, Massachusetts Institute of Technology, Cambridge, Massachusetts.
1988
T.V. Lounge, American Museum of the Moving Image, Astoria, NewYork. (permanent installation)
1990
1990 Calendar, commissioned by Fuji Oil, Osaka, Japan.
Magazine cover, Shiny, NYC, NY.
1991
1991 Calendar, commissioned by Fuji Oil, Osaka, Japan.
Silkscreen print edition published by Turner & Byrne Gallery, Dallas, Texas.
Book cover, Hand over Heart, writings by David Trinidad.
1992
1992 Calendar, commissioned by Fuji Oil, Osaka, Japan.
1993
Los Angeles County Transportation Commission, Metro Blue Line, Fifth Street Station, Long Beach, California. (permanent installation, commissioned 1993)
1995
L’Endroit Ideal (Ideal Place), edited by Eric Troncy, published by L’Ile du Roy, Centre d’art et Jardin, Val de Reuil, France. (artist’s project, pp. 80-81)
1996
Art & The Home, Art & Design, edited by David Greene, Volume 11, November-December 1996. (Cover, pp. 82-89)
1999
Isermann, Jim, Jim Isermann’s Top Ten, ARTFORUM, April 1999, p. 40.
2000
Contravision, vinyl window treatment, shopfront window, Corvi-Mora, London, England.
2002
Wallwork, L.A. Eyeworks, Beverly Boulevard, Los Angeles, California. (commissioned permanent installation)
Suite of three silkscreen prints, Cirrus Gallery, Los Angeles, California.
Elevator floor indicators, Skadden, Arps, Slate, Meagher, Flom, NYC, NY. (commissioned permanent installation)
2003
Five-Pendant Chandelier and Carpet, commission for The University of California, San Francisco, Mission Bay Campus.
Vacuum form multiple: 4 panel multiple, edition of 50 white and 50 silver, Los Angeles Contemporary Exhibitions (LACE), Los Angeles, California.
Art + Architecture, portfolio and postcard, Los Angeles Forum for Architecture and Urban Design, Los Angeles, California.
2004
I–Tile: custom-shaped tile commissioned for 10 exterior balcony façades and the residential interior lobby of a mixed-use building in North Hollywood, California. Tile manufactured by Heath Ceramics.
Upholstery textile commissioned by Rosenthal Einrichtung, Germany, for the Flying Carpet chair.
iT House; custom vinyl graphic appliqué for Taalman Koch Architecture’s off-the-shelf featherweight aluminum and glass house, Los Angeles, California.
2005
Vinyl Link Entrance Mats, commission for the Albright-Knox Art Gallery, Buffalo, New York. (permanent installation concurrent with the exhibition Extreme Abstraction)
Memorial Sloan Kettering Cancer Center – Cyber Café Ceiling Project, NYC, NY. (commissioned 2005, completed 2006)
Monumental architectural screen, LA Metro Customer Service Center at Wilshire and La Brea, Los Angeles, California. (commissioned 2005, completed 2006)
Modular metal and light wall sculpture, UCR Genomics Building, Riverside, California. (commissioned 2005, completed 2009)
2006
Untitled (Greek Key), 200 foot chain-link and 40,000 Put-In-Cup construction fence commissioned for the UCLA Hammer Museum, Los Angeles, California.
Untitled, vacuum form wall commission, Palm Springs Art Museum, Palm Springs, California. (commissioned early 2006, installed September 2006)
2007
Untitled (Love Letter to Louis Kahn), Commissioned construction fence consisting of 15,000 Put-In-Cups and nine 8 x 10 chain-link sections, Yale University Art Museum, New Haven, Connecticut. (temporary installation)
Damn Everything But Sister Corita, Afterall.org., an email conversation between Pae White and Jim Isermann.
Piccadilly line Tube wrap, London Underground, London, England. Vinyl wrap of an underground train, April–October 2007.
2008
Untitled (SEAS/ORFE), 30 foot, chrome-plated aluminum and illuminated acrylic sculpture for the Fisher and Partners designed Sherrerd Hall, Princeton University. (commissioned 2007, completed August 2008)
Crump, Vacuum formed wall commission, Stanford University, Palo Alto, California. (commissioned 2008, installed March 2009)
2010
Untitled, Vacuum formed wall commission, Cowboys Stadium, Arlington, Texas. (commissioned 2009, installed 2010)
Untitled, roto-molded polyethylene and aluminum screen/sculpture commissioned for the interior renovation of a Mc Kim Mead & White neo-classical mansion, NYC, NY. (commissioned 2009, installed March 2010)
Wall decal Installation, K & L Gates, Irvine, California. (Installed November 2012)
2015
Cougar Pride, cast concrete panels with glass aggregate, outdoor art installation for University of Houston football stadium. (Installed May 2015)
Cloverleaf, custom napkins, tablecloths, and chair covers for annual CalArts REDCAT Gala, Los Angeles, California.
SELECTED BIBLIOGRAPHY
Larson, Susan C., Jim Isermann/Riko Mizuno Gallery, ARTFORUM, April 1982, p. 85.
Cooper, Dennis, Jim Isermann, LA WEEKLY, 12 November 1982, p. 22.
Pincus, Robert, Jim Isermann at The Inn of Tomorrow and Richard Kuhlenschmidt, ART IN AMERICA, March 1983, p. 164.
Pincus, Robert, Jim Isermann/Richard Kuhlenschmidt, ARTFORUM, October 1984, p. 97.
Gardner, Colin, Review, L.A. READER, 26 October 1984.
Knight, Christopher, The Return of Flower Power, THE LOS ANGELES HERALD EXAMINER, 26 January 1986.
Drohojowska, Hunter, Los Angeles: Jim Isermann, ART NEWS, May 1986, p. 80.
Pincus, Robert, Flower Art Digs Into the 60s, SAN DIEGO UNION, 18 December 1986, p. C-8.
Pagel, David, Technicolor, LOS ANGELES TIMES, 15 April 1987.
Cooper, Dennis, Jim Isermann, ART IN AMERICA, May 1987, p. 191.
Cotter, Holland, Eight Artists Interviewed, ART IN AMERICA, May 1987, pp. 166-167, 199.
Weinstein, Matthew A., Review, ARTFORUM, October 1987, p. 150.
Rugoff, Ralph, Pop Goes the Easel, LA STYLE, November 1987, pp. 135-138.
Knight, Christopher, Shags Show Vulgar Kind of Beauty, THE LOS ANGELES HERALD EXAMINER, 24 June 1989.
Decter, Joshua, New York in Review, ARTS MAGAZINE, February 1990, p. 95.
Selwyn, Marc, Jim Isermann, FLASH ART, January 1991, p. 136.
Anderson, Michael, Review, ART ISSUES, February 1991, p. 24.
Johnson, Ken, Jim Isermann, ART IN AMERICA, March 1991, p. 201.
Mahoney, Robert, New York in Review, ARTS MAGAZINE, April 1991, p. 105.
Moody, Tom, What You See is What You Saw, DALLAS OBSERVER, 9 May 1991, p. 19.
Tyson, Janet, Modern Muscle, FORT WORTH STAR-TELEGRAM, 26 May 1991, Section E, p. 10.
Lewis, James, Home Boys, ARTFORUM, October 1991, pp. 101-105.
Schjeldahl, Peter, Trend: Sweetness and Light, THE VILLAGE VOICE, 14 April 1992, p. 105.
Pagel, David, New York Fax, ART ISSUES, May 1992, pp. 25-26.
Wiscombe, Janet, A Line of Vision, PRESS-TELEGRAM, 4 October 1992, pp. J1, J5.
Stevens, Mark, Design Invitational, VANITY FAIR, December 1992, p. 200.
Rattenbury, Kester, Bringing New Life to Le Corbusier’s Lost City, BLUEPRINT, July 1993.
Scarborough, James, Technicolor, ART PRESS, July-August 1993, p. 89.
Jouannais, Jean-Yves, Review (Unité), ART PRESS, July-August 1993, pp. 80-81.
Decter, Joshua, and Olivier Zahm, Back to Babel, ARTFORUM, November 1993, pp. 91-92, 131, 138.
Roberts, James, Down with the People, FRIEZE, September 1993, pp. 26-27.
Troncy, Eric, Spotlight: Project Unité, FLASH ART, October 1993, p. 117.
Cotter, Holland, Art in Review, THE NEW YORK TIMES, 14 January 1994, p. C29.
Levin, Kim, Art in Brief, THE VILLAGE VOICE, 8 February 1994, p. 72.
Rugoff, Ralph, Fun with Formalism, LA WEEKLY, 22 April 1994, p. 33.
Myers, Terry, Review, NEW ART EXAMINER, May 1994, p. 47.
Knight, Christopher, Suburban Bauhaus, ART ISSUES, May 1994, pp. 29-31.
Auerbach, Lisa Anne, Jim Isermann/Richard Telles Fine Art, ARTFORUM, May 1994, p. 107.
Duncan, Michael, Jim Isermann at Sue Spaid Fine Art and Richard Telles Fine Art, ART IN AMERICA, October 1994, p. 143.
Myers, Terry, Painting Camp, FLASH ART, November 1994, pp. 73-76.
Atkins, Robert, Lesbian and Gay Wahtzis, THE VILLAGE VOICE, 20 June 1995, pp. 71-72.
Pagel, David, Weaves That Weave a Magic Spell, LOS ANGELES TIMES, 22 September 1995, p. F20.
Knight, Christopher, Women’s Work is Never Done at MOCA, LOS ANGELES TIMES, 1 October 1995, p. 62.
Iannaccone, Carmine, Jim Isermann & Jorge Pardo, FRIEZE, March-April 1997.
Damiancovic, Maia, Painting Beyond Limits, TEMA CELESTE, March-April 1997, p. 111.
Pagel, David, and Jim Isermann, The Best of Both Worlds, ART & TEXT, Number 57, May-July 1997, pp. 66-73.
Knight, Christopher, Lots of Sunshine, Very Little Light, LOS ANGELES TIMES, 27 July 1997, pp. 4-5, 85.
Bernard, Kate, Hot Tickets, EVENING STANDARD, 8 January 1998, p. 41.
Coomer, Martin, Jim Isermann, TIME OUT, 14 January 1998, p. 44.
Lieberman, Rhonda, Handled with Care, FRIEZE, June 1998, pp. 58-61.
Hettig, Frank-Alexander, Sooner or Later, Everything Comes Back, METROPOLIS M (Utrecht), December 1998, pp. 54-57.
Bonneti, David, Review, SAN FRANCISCO EXAMINER, 18 December 1998, p. B2.
Zellen, Jody, Fifteen: Jim Isermann Survey, DART INTERNATIONAL MAGAZINE (Toronto), Spring/Summer 1999, p. 25.
Knight, Christopher, The Material Pleasures of Sculptor Isermann, LOS ANGELES TIMES, 3 April 1999, pp. F1, F12.
Hainley, Bruce, Fifteen: Jim Isermann Survey, ARTFORUM, Summer 1999, pp. 159-160.
Cotter, Holland, Fifteen: Jim Isermann Survey, THE NEW YORK TIMES, 29 October 1999, p. B37.
Duncan, Michael, From Bauhaus to Jim’s House, ART IN AMERICA, September 1999, pp. 100-103, 137. (Cover)
Hamilton, William L., New Art’s Interior Motive, THE NEW YORK TIMES, 3 February 2000.
Reardon, Valerie, Artworkers, ART MONTHLY, April 2000, pp. 22-23.
Brooks, Rosetta, Artists Run Space, FRIEZE, March 2001, p. 63.
Duncan, Michael, Beau Monde: Toward a Redeemed Cosmopolitanism, ARTFORUM, October 2001, pp. 153-154.
Mitchell, Charles Dee, Making the Case for Pleasure, ART IN AMERICA, November 2001, pp. 122-129.
Iannaccone, Carmine, Jim Isermann, ART ISSUES, November-December 2001, p. 45.
Mitchell, Stephen, Jim Isermann, EVENING STANDARD, 14 January 2002, p. 51.
Bussel, David, Born to be Plaid, i-D (London), February 2002, p. 175.
Buck, Louisa, Jim Isermann, THE ART NEWSPAPER, February 2002, p. 14.
Falconer, Morgan, Jim Isermann, WHAT’S ON, 13 February 2002, p. 24.
Coomer, Martin, Jim Isermann, TIME OUT, 20 February 2001, p. 51.
Barragán, Paco, La obra total de Jim Isermann, LAPIZ (Madrid), Number 184, June 2002, pp. 56-61.
Pagel, David, Jim Isermann, the Playful Wallpaperer, LOS ANGELES TIMES, 30 August 2002, pp. F1, F26.
Poels, Jan-Willem, L.A. Eye Candy, FRAME, September 2002, pp. 72-77.
Prohl, Undine, Come Back to the Springs, DECORS, September 2002, pp. 137-148. (Cover)
Webb, Michael, Los Angeles Insight, DOMUS, Issue 852, October 2002, pp. 136-143.
Middleton, William, The New Mod Squad: Reviving the 60s, HARPER’S BAZAAR, September 2003, pp. 384-389.
Lamprecht, Barbara, Three Classic Houses, California, ARCHITECTURAL RECORD, November 2003, pp. 158-163.
Gordon, Alistair, Absolutely Prefab, THE NEW YORK TIMES, Home Design Magazine, April 2004, pp. 100-103.
Staff, iT House, WIRED, April 2005, p. 27.
Thatcher, Jennifer, Review, ART MONTHLY, April 2005, pp. 18-19.
Lafuente, Pablo, Review, ART REVIEW, May 2005, p. 102.
Staff, iT House, METROPOLITAN HOME, May 2005, p. 9.
Heffley, Lynne, In the NoHo District, ‘I’ stands for Isermann, LOS ANGELES TIMES, 1 June 2005, p. E18.
Pagel, David, Art to Live With, Full of Wonder, LOS ANGELES TIMES, 20 January 2006, p. E26.
Boas, Natasha, Conversation: Patterned Perfection, DWELL MAGAZINE, June 2006, pp. 122-126.
Heffley, Lynne, Once-proud façade gets a saving grace, LOS ANGELES TIMES, 8 October 2006.
Goodbody, Bridget L., Jim Isermann, THE NEW YORK TIMES, 13 July 2007, p. E31.
Glen, Colin, Intervention/Decoration, ART MONTHLY, June 2008, pp. 30-31.
Bradbury, Dominic, Modernist Masterpiece, TELEGRAPH MAGAZINE, 5 July 2008, pp. 80-83.
Pagel, David, Regularly Doing the Impossible, LOS ANGELES TIMES, 8 May 2009, p. D12.
Miles, Christopher, Jim Isermann at Richard Telles Fine Art, LA WEEKLY, 15 May 2009.
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.
Staff, Jim Isermann and B. Wurtz, TIME OUT NEW YORK, 10-16 April 2014, p. 35.
Knight, Christopher, Jim Isermann Gives Paintings a Fresh Dimension, LOS ANGELES TIMES, 2 May 2014.
Nichols, Kimberly, Beyond Modernism with artist Jim Isermann, DESERT MAGAZINE, February 2015, pp. 82-85.
