415.577.7860


lewis@lewisdesoto.net



E d u c a t i o n:


Master of Fine Arts, Claremont Graduate School, Claremont, CA., 1981.

Bachelor of Art, (Studio Art , minor, Religious Studies), University of California, Riverside, 1978.

P r o f e s s i o n a l   P o s i t i o n s:


Professor of Art, Department of Art,  San Francisco State University, 1988-present



Se l e c t e d  S o l o  E x h i b i t i o n s:


2017        Chandra Cerrito Contemporary, Oakland, CA., “Arbor/Ardor,” February-March, Catalog

2016        Santa Barbara Museum of Art, Santa Barbara, CA., “Paranirvana,” April-July

2015        Robert and Francis Fullerton Museum of Art, CSU San Bernardino, CA., September-December, Catalog

2014        Chandra Cerrito Contemporary, Oakland, CA, December-January 2015

2012        Omi International Art Center, Ghent, New York, “Imperial America,” June-September

                Culver Center for the Arts, UC Riverside, “TAHQUITZ” collaboration with Erin Neff, January-March

2011        Palm Springs Museum of Art, “Ransom,” Installation, June- September

2009        Art Omi, Charles B. Benenson Gallery, Ghent, NY, March-May

                   San Jose Institute of Contemporary Art, BEFORE AFTER, January-March, Catalog

2008        Bowdoin College Museum of Art, “Paranirvana,” June-January 2009

                diRosa Preserve Gatehouse Gallery, “Tales of Power,” May-July

2006        Brian Gross Fine Art, San Francisco, California, September

2004        Museum of Contemporary Art, San Diego, San Diego, CA., “Paranirvana,” September-November, Catalog.

                John Michael Kohler Art Center,  Sheboygan, WI., “Paranirvana,” , September-November, Catalog.

                Columbus Museum of Art, Columbus, Ohio, “Paranirvana,” Sculpture, March-June, Catalog.

2003        Harn Museum of Art, University of Florida, Gainesville, FL,  “Paranirvana,” Sculpture,

                    September-October, Catalog.

                Arvada Center for the Arts and Humanities, Denver, CO. “Paranirvana,” Sculpture, June-August, Catalog

                Northern Illinois University Art Museum , Chicago, IL, “Paranirvana,” April-May, Catalog.

                 Vanderbilt University Art Gallery, Nashville, TN, “Paranirvana,” February-March, Catalog.

2002        Samek Art Center, Bucknell University, Louisville, PA., “Paranirvana,” Sculpture, Catalog

                    October-November, Catalog.

                 Cantor Art Gallery, Holy Cross College, Worcester, MA., “Recollection (Toward Oblivion,”

                     Installation, September-November.

                Bill Maynes Gallery, New York, NY, “New Work,” March.

2001        Worcester Museum of Art, Worcester, MA., “Paranirvana,” September-November. Catalog

                Headlands Center for the Arts, Sausalito, CA., Installation, November.

2000        Bill Maynes Gallery, “Ship,” Sculpture, New York, New York, September

                Museum of Contemporary Religious Art, St. Louis University, St. Louis, MO., “Paranirvana,”

                    Sculpture, April-June

                Cheryl Haines Gallery, San Francisco, CA, “Five Figures,” Sculpture, January-February.

1999        Bill Maynes Gallery, New York, NY, “Recumbent”, October-November.

                List Visual Art Center, Massachusetts Institute of Technology, Cambridge, “Recital”, Installation, 

                    October, catalog.

                I-Space Gallery, Chicago, Illinois, “Kalpa”, Sculpture, May.

                Christopher Grimes Gallery, “Ship”, Sculpture, March.

1997        Bill Maynes Gallery, New York, NY, April- May

                Christopher Grimes Gallery, Santa Monica, CA., April-May

                Metronòm, Barcelona, Spain, “Dervish” Sound Installation, February-March

1996        Nelson-Atkins Museum of Art, Kansas City, MI., “Tahquitz”, Installation, July-September, Catalog.

                ARTPACE, San Antonio, Texas, “The Sound of the Trumpet, Installation, May-July, Catalog.

1995        Christopher Grimes Gallery, Santa Monica, CA., “Site Works 1983-86” October-November.

                Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, “Observatory”, Video Installation,

                    September-October

                Des Moines Art Center,  Des Moines, Iowa, “Four Interventions”, Installations, Summer, Catalog.

                Cheryl Haines Gallery, San Francisco, California, “Interrogation”, Video Installation,

                     (for “Counterspace” Project), January

1994        Center for Contemporary Art, Santa Fe, N.M., “Crossing/Cruzandose”, Installation, August-

                    September, Catalog.

                Christopher Grimes Gallery, Santa Monica, CA., “Falling”, Installation, January-February.

1993        Moderna Museet, Stockholm, Sweden, “Tahualtapa Project and Video Room”, August-October, Catalog.

                Centro Cultural de la Raza, San Diego, CA., “Crossing/Cruzandose”, June-July.

                Nicole Klagsbrun Gallery, New York, NY, “Killing Time”, Installation, April-May.

                California Museum of Photography, Riverside, CA., “Observatory”, Video Installation, March-April.

1992        Cheryl Haines Gallery, San Francisco, “Alas    Time”, Installation, September.

                Mesa College Art Gallery, San Diego, CA., “Kísh Tétayawet/Dream House/Wampkísh”,

                    Installation with James Luna, August-September.

                Wise Taylor Partnerships @ Rose Court, London, UK, “OFFICE”, Installation,  JanuaryMarch, Catalog.

1991        Artists Space, New York, NY., “The Language of Paradise”, Installation,  September-October, Catalog.

                Christopher Grimes Gallery, Santa Monica, CA., “The Songs of Menil”, September-October.

                San Jose Museum of Art, “Pé Túkmiyat, Pé Túkmiyat (Darkness, Darkness):, June-July, Catalog.

                Matrix Gallery, University Art Museum, U.C. Berkeley, “The Language of Paradise”,  Installation,

                    April-May.   Catalog

                San Francisco Art Commission Gallery, “Háypatak, Witness, Kansatsusha”, Video Installation, 

                    October-November.

                Secession Gallery, San Francisco, CA., with Dale Kistemaker, “Garage”, Audio Installation.

                    August-September.

                Headlands Center for the Arts, Fort Barry, Sausalito, CA., “Air”, Audio Installation, December, “Aviary”,

                    Audio Installation, June-August, “The Language of Paradise”, Installation, April-May, “Edison Song (Tesla

                        Sings for a Deaf Edison)” Audio Installation, March-April.

1989        Silver Image Gallery, Seattle, WA., “Spectacle of the Real”, June.

1988        University Art Gallery, California State University, San Bernardino, “Tahualtapa Project”,

                    January- February.

1987        Jones/Troyer Gallery, Washington D.C., “Selected Work”, June-July.

                 Intersection for the Arts, San Francisco, CA., “Tahualtapa Project”, January.

1986        Nine-One-One Contemporary Arts Center, Seattle, WA., “Tahualtapa Project”, October.

                Los Angeles Municipal Art Gallery, Barnsdall Park, “Site Projects”, September-October.

                The Friends of Photography, Carmel, CA., “Heaven and Earth” (With Don Antón),  March-April.

                Oregon Gallery, Museum of Art, University of Oregon, Eugene, “Botanica”, March.


S e l e c t e d  G r o u p   E x h i b i t i o n s:


2016        When I Remember I See Red, University Art Gallery, San Francisco State University, San Francisco, CA.,

                        September-October (TRAVELS)

                Site Santa Fe: Much Wider Than a Line, Site Santa Fe, Santa Fe, NM,  July-January 2017

                Cinco Y Cinco, The Mexican Museum, San Francisco, July-November

                Post Colonial Contemporary, Incline Galelry, San Francisco, June-July

                Changing the Tone: Contemporary American Indian Photographers, Palm Springs Art Museum, May-June

                From Sand to Stone: Contemporary Native American Art in Joshua Tree, Joshua Tree National Monument

                             and Twenty-Nine Palms Art Gallery, Nay-November

2015       Indigenous Contemporary, Tacher Gallery, University of San Francisco, November-February-2016

                Objects of Contemplation, Chandra Cerrito Contemporary, Oakland, CA December-January 2016

                LUMA at Ten: Greatest Hits, Loyola University Museum of Art, Chicago, Illinois, August-October

                Blow Up, The Bedford Center for the Arts, Walnut Creek, CA., April-June, TRAVELS

2014        Being Here and There, Museum of Art and History, Lancaster, CA., November-January 2015,

                        Catalog

                20@20: Twenty Artists at Twenty Years, Paradise Ridge Sculpture Park, Santa Rosa, CA.,

                        “Klage/Lament,” June-May 2015

2013        California Landscape into Abstraction: Works from the Orange County Museum of Art,

                        Orange County Museum of Art, Newport Beach, CA., November-March 2014

                Thresholds, Museum of Contemporary Religious Art, St. Louis, University, St. Louis, MO., October-

                        January 2014

                Sound/Sculpture, Beall Center for Art + Technology, UC Irvine, Irvine, CA., October-January 2014

                All That Remains, Yale Institute of Sacred Music, September-October

                Thresholds, Museum of Contemporary Religious Art, September-December

2011        The Missing Peace, San Antonio Museum of Art, March-July, Catalog

2010        The Missing Peace, Nobel Museum, Stockholm, Sweden, October-January 2011, Catalog

2009        Alterned States, diRosa Gatehouse Gallery, November-January 2010

                Attempt To Raise Hell, Museum of Contemporary Art, San Diego, CA., July- September

                mylar/paper/vellum, Brian Gross Fine Art, San Francisco, CA., July-August

                Cosmologies: Anything that exists has a beginning, Vancouver Centre for Contemporary

                        Asian Art, Vancouver, B.C. July-August, Catalog

2008        The Question is Known (w)Here is Latin American/Latino Art?, Mission Cultural Center,

                        San Francisco, CA, April-May

                Muse Among the Vines, Oakland Museum of California/Oakland International Airport,

                        April-July

2007        There’s No Place Like Here, University Art Gallery, Sonoma State University, Rohnert

                        Park, CA., November-December

                Home Sweet Home, San Jose Institute of Contemporary Art, San Jose, CA., June-August

                Excavations, Johansson Projects, Oakland, CA., May-June

2006        No Reservations, Aldrich Museum of Art, Ridgefield, Connecticut, August-December  Catalog

                The Missing Peace: The Dalai Lama Portrait Project, Fowler Museum of Cultural History,

                        University of California, Los Angeles, June-September, Catalog. Travels.

                Never Leaving Atzlan, Museo de las Americas, Denver, CO., February-May

                Measure of Time, University Art Museum, University of California, Berkeley, February-April

2005        High Five, San Francisco Art Commission/San Francisco Foundation, Installation/Sculpture: 

                    CONQUEST installed at CARS Dawydiak, Franklin and Bush Streets, San Francisco, October-

                    November.

2004        Barely Legal: Danger, Signal 66, Washington, D.C., September-October.

                Sound in the Landscape,  Art Omi,  The Fields Sculpture Park, Ghent, New York, June-May 2006.

2003        Time/Place/Sequences, Sonoma Museum of Visual Art, Santa Rosa, California,

                    December-January 2004.

                Defying Gravity: Contemporary Art and Flight, North Carolina Museum of Art, Raleigh, NC.,

                    November-March, 2004, Catalog.

                The Invisible Thread: Buddhist Spirit in Contemporary Art, Newhouse Center for Contemporary

                    Art, Snug Harbor Cultural Center, Staten Isalnd, New York, September-February 2004,

                    Catalog,

                Bytes and Pieces, San José Institute of Contemporary Art, February-March

2002        Permeable Boundaries, Wave Hill, Bronx, NY, June-September

                Organic/Mechanic, John Michael Kohler Arts Center, Sheboygan, WI., March-June

                Conceptual Color: After Albers, San Francisco State University Art Gallery, San Francisco, CA.,

                    September-October.

                Performing Photography, Henry Art Gallery, Seattle, WA., February-June

                Eureka, Too, San Jose Institute of Contemporary Art, San Jose, CA., January-March.

2000        Made in California, Los Angeles County Museum of Art, November-February 2001. Catalog

                Eureka Fellowship Award Artists, San Jose Museum of Art, December-February 2001. Catalog. 

                    Travels

                Double Trouble: The Patchett Collection, Sala Amós Salvador, Logrono, Spain. November-

                    February 2000. Also at Auditorio de Galicia and Iglesia San Domingos de Bonaval,

                    Santigo de Compestela, Spain, July-September, Museo de Monterrey, Mexico, February-April,

                    Museuo Universitario Contemporáneo de Arte, Mexico City, April-June.Catalog.

                Mir: Art In Space, Museums of the City of Bolzano, Italy, November-December, Catalog                   

                Bay Area Now 2, Center for the Arts, San Francisco, CA., November-February 2000, Catalog

                Noisemakers, Blackwood Gallery, University of Toronto at Mississauga, Mississauga, Ontario,

                    Canada, October.  Catalog.

                Arboresence, Paradise Ridge Sculpture Park, Santa Rosa, CA., May-February 2000, Catalog.

1998        Back Room Noise, Refusalon, December-January 1999

                Plugged In, Cheryl Haines Gallery, San Francisco, September-October

                Double Trouble: The Patchett Collection, Museo de las Artes and Instituto Cultural Cabanas,

                    Guadalajara, Mexico, September-November and Museum of Contemporary Art, San Diego,

                    June-September, Catalog.

                Paullina Cupana, Bill Maynes Gallery, New York, NY, June-July

                Dromology: Ecstacies of Speed, New Langton Arts, San Francisco, CA., May-July

                Landscape and Memory, Cheryl Haines Gallery, San Francisco, CA, May-June

                When Borders Migrate, San Francisco Art Commission Gallery, January-February

                Best of the Season: Selected Work from 1996-97 Gallery Exhibitions, Aldrich Museum of

                    Contemporary Art, Ridgefield, CT, September-November

1996        Brazil-USA Exchange, Galeria Camargo Vilaça, Sao Paulo, Brazil,  December-January 1997

                NowHere, Louisiana Museum of Modern Art, Humlebæk, Denmark, May-September, Catalog.

                Fragments, Museu D’Art Contemporani, Barcelona, March-May and Koldo Metxelena,

                    San Sebastián, Spain, October-January 1997   Catalog

                Almaraz to Zuniga: Hispanic Artists from the BankAmerica Collection, A.P. Giannini

                    Gallery, Bank of America World Headquarters, San Francisco, CA., May-July.

                Matters of the Heart, Cheryl Haines Gallery, San Francisco, February-March

                Points of Entry: Tracing Cultures, National African American Museum Project, Smitsonian  

                    Institution, Washington, DC, August, catalog, travels.

1995        Ex-Teresa Arte Alternativo ex Templo de Santa Teresa la Antigua, Mexico City, Mexico,  August-

                    September.

                Threshold/Limiares, Fundação De Serralves, Porto, Portugal, June-August, Catalog.

                Facing Eden, DeYoung Museum, San Francisco, June-September, Catalog.                    

1994        Los Angeles  Mind Quakes, DeBeyerd Center For Contemporary Art, Breda, Netherlands, July-

                Issues of Image, Cheryl Haines Gallery, San Francisco, July-August.

                Marking Time, Sigma Gallery, New York, New York, May-June.

                Landscape As Metaphor, Visions of America in the Late Twentieth Century, Denver Art Museum,

                    May-September & The Columbus Museum of Art,  Columbus, Ohio,  October to January 1995.

                    Catalog. 

                Home Video: Redefined, Center for Contemporary Art, Miami, FL., February-March.  Catalog.

                Color in the Shadows: Bay Area Cyberart, Oliver Art Center, Oakland, CA., January-March.

1993        Indian Territories, Renée Fotouhi Gallery, East Hampton, NY., July-August.

                Contemporary Identities, Phoenix Art Museum, August-October.  Catalog.

                Bas Jan Ader, Lewis deSoto, David Deutch, Maureen Gallace, Rodney Graham,

                    Mary Lucier, Nicole Klagsbrun Gallery, New York, NY., June-July.

                Multiple World: An International Survey of Artist Books, The Atlanta College of Art Gallery,

                    Atlanta, GA,  January-March, Catalog.

                Producing Columbus, Claremont Colleges Art Galleries, January-February.   Catalog.

1992       The Spatial Drive, The New Museum of Contemporary Art, New York, NY., September-January

                    1993. Catalog.

               Turning The Map, Camerawork Limited, London, U.K., February-April (Travels through 1993).                     

                    Catalog.

1991        Three Archaeologies, California Museum of Photography, University of California, Riverside,

                    January-February.

1990        Biennial I, California Museum of Photography, University of California, Riverside, 

                    August-December. Catalog.

                Waterworks, Long Beach Museum of Art, Long Beach, Ca., July-August.  Catalog.

                Earth Day 1990: Artists Respond To The Environment, Palo alto Cultural Center,  Palo Alto,

                    CA.,  March-May.

                 Night Light, Nelson-Atkins Museum of Art, Kansas city, MI., January-February, (Travels through

                    1991).  Catalog.

                Photographic Memory, Seattle Art Museum, Seattle, WA., September-October and Presentation House Gallery, Vancouver, B.C., January-February 1989.  Catalog.

                Natural Selection: The Terrain of Southern California, Riverside Art Museum, Riverside, CA.,

                Sum of the Parts, Greg Kucera Gallery, Seattle, WA., July-August.

                Visual Paradox, John Michael Kohler Art Center, Sheboygan, WI., December-February 1988.  Catalog.

P u b l i c   P r o j e c t s:


2009        Artist, City of New York, Roberto Clemente Plaza, Bronx, NY

2007        Artist, City of San Francisco, Laguna Honda Hospital History Project, tapestries.

                Artist, City of San Francisco, International Airport Terminals A&G, “Shining Paths: San Francisco

                    Sister Cities,” fourteen light projections.

2006        Artist, City of Oakland, California, Lake Merritt Estuary; collaboration with John Roloff.  Project

                    Architects: Sasaki and Associates.

2004        Artist, City of San José, Animal Care Center, San José, CA., “Shelter,” Frieze, sculpture and wall works.

2003        Artist, University of Texas, San Antonio, Downtown Campus, “Labyrinth Gateway”, Sculpture.

2002        Artist, STart-Sound Transit Light Rail Project, First Hill Station, Seattle, Washington,

                    Collaboration  with Nobuho Nagasawa

2000        Artist, San Francisco State University College of Creative Arts Complex, San Francisco, California,

                    Exterior and Interior Architectural Treatments Design.

1999        Artist, Sony Corporation Regional Headquarters, San Jose, California, Courtyard Design and Sculpture.

                Artist, Seattle Art Commission, Seattle, WA., Sand Point Naval Station.  Project Funded: “Liberty”

                    Sound work for outdoor area.

1998        Core Artist, San Francisco Arts Commission, Civic Center Historic District Improvement

                    Project, Architects: Andy Maloney, John Thomas, San Francisco Department of Public Works,

                    Simon, Martin-Vegue, Winkelstein,Moris with Lori Olsen. 

                Artist, San Francisco Arts Commission, International Airport Design Team (Artists: Vito Acconci,

                    Jamie Carpenter and SuChen Hung  Architects: Skidmore, Owings & Merrill,).

                    Project funded: “On The Air”, 12,000 square foot terrazzo floor.

                Core Artist, San Francisco Arts Commission, Court House Design Team (Architects, Mark

                    Cavagnero, Hood/Miller, Ross/Druliss) Project funded: Jury Assembly Room.

1992        Artiist, Phoenix Arts Commission, Phoenix International Airport, “A Lineage of Wings”,

                    44 laser-etched glass panels spanning 760’ skybridge.

                San Francisco Arts Commission, Market Street Art in Transit Program, “Crossings: Native

                    Lives and Junipero Serra,” Bus Kiosk Poster, 4’x6’.

1989        San Francisco State University.  “The Creative Presence”, Digital Photo-Mural, 19’x6’

1987        Nine-One-One Contemporary Arts Center, Seattle, WA., August-October, Homes for Art,                                

                    “Apparition of Passion, (St. Joan of Arc)”, The Ventura House (former convent for the

                    Immaculate Conception Church), Seattle, WA., Projection,  electronics and lighting.


A r t i s t   I n  R e s i d e n c e:


-Headlands Center for the Arts, Fort Barry, Sausalito, CA., 2000: 1 month residency.

-List Visual Arts Center, MIT, Cambridge, MA, 1997-98

-Artpace, San Antonio, Texas, 3 month residency 1996

-Headlands Center for the Arts, Fort Barry, Sausalito, CA., 1990: 10 month residency.



F e l l o w s h i p s :


2004Flintridge Foundation Award for Visual Artists

1999Eureka Fellowship, Fleishhacker Foundation, Visual Arts

1996-97National Endowment for the Arts, Artist Fellowship/Other Genres

1992California Arts Council Fellowship for Installation/New Genre


P u b l i c a t i o n s:


EMPIRE, Photographs and Essays, Lewis deSoto, Forewords by Paul Chaat Smith and Sant Khalsa, Heyday Books,            

    108 pages, 2016

The DeSoto Conquest, Jordan Biren, Video, 21 minutes, 2005.

Lewis deSoto: Spirit and Matter, Helaine Posner, Stephanie Hanor with forward by Dan Mills, Bucknell

    University Press, 48 Pages.  2003.

Lewis deSoto: Ship,  Cameron, Dan, “Total Immersion”, SmartArt Press, 40 pages, 18 color illustrations,1998

Anthology of Artists’ Writings, “Wandering,” Lewis deSoto with Eve Andrée Laramée, Maurizio Pelligrin, editor,

    Trieste Contemporanea, Italy, 1998

Grand Street #62 (Identity), “Kalpa [portfolio], pages 88-92, September 1997

Tate (UK), “Heat and Cold”, Artist project with Dorothy Cross, Issue 10, Winter 1996, 48-52.

KINGDOMS, Lewis deSoto & Rebecca Solnit, 50 pages, California Museum Of Photography  Press, 1993

BLAST: Remaking Civilization, Contributor, edited and published by X-Art Foundation, New York, 1993

Blast: The Spatial Drive, Contributor, edited and published by X-Art Foundation, New York, 1992

S e l e c t e d  B i b l i o g r a p h y:


2009        Smith, Paul Chaat, Everything You Know about Indians is Wrong, University of Minnesota

                    Press, cited: “Americans Without Tears,” page 69

                Humphrey, David, Blind Handshake, Periscope Press, 239 pages, article: page 195

                Thomas, Elizabeth with Project Projects, Matrix/Berkeley: A Changing Exhibition of

                    Contemporary Art, University of California Press, 558 pages, cited page 297

                Suarez De Jesus, Carlos, “World Leaders Should See the Frost Art Museum’s Latest Exhibits,”

                    New Miami Times, November 5th

                Roth, David M., “Paper/Mylar/Vellum at Brian Gross,” Square Cylinder, August 10th

                Roth, David M., “Lewis deSoto at San Jose ICA,” Artweek, April

                Goodwin-Guerrero, Erin, “Before After,” Artshift, March

2008        Villano, Matt, “Di Rosa Preserve Shows Cars As Art,” San Francisco Chronicle,  July 11th

                        Paglia, Michael, “Magnolia Tapestry Project, Fort Collins Museum of Contemporary Art,”

                    Westword, June 26th

2007        Torres, Anthony, “Obsession: Art & Artifacts from Sonoma County Private Collections,” White

                    hot Magazine, November

                Morris, Barbara, “3x3 at the diRosa Preserve,” Artweek, November, Volume 38, Issue 9

                Shuster, Robert, “The Icon’s Icon,” The Village Voice, July 31st.

                Lentini, Lara Kristin, “No Reservations: Native American History and Culture in American Art,”

                    Art Papers, January/February.

2006        Hawkings, Margaret, “Dalai Lama Tribute Uneven, But Brilliant at Best,” Chicago Sun-Times,

                    December 1st.

                Rosenberg, Randy, The Missing Peace, Artists and the Dalai Lama, 2006, 171 pages.

                Malooley, Jake, “Artists Give Peace a Chance,” Time Out/Chicago, Issue 87, Oct. 26th-Nov. 1st

                Artner, Alan G., “Art of Peace: 88 Views on the Dalai Lama,” Chicago Tribune, November 2nd

                Baker, Kenneth, “Galleries, Patrick Wilson, Paintings, Lewis deSoto, Recent Works,”

                    San Francisco Chronicle, October 21st

                Gennochio, Ben, “Visions of Native Americans in Today’s Wolrd, New York Times, September 16th

                Giuliano, Charles, “The Aldrich Museum Combines Native and Non Native Artists,”  Big Red & Shiny,

                    Issue #48.

                Cowin, Jennifer Leigh, “A Pile of Blankets . . .,” New York Times, August 25th

                M. du Tan, S.A., “The Missing Peace-88 Artists Consider the Dalai Lama,” Coagula, June

2005        Cohn, Terri, “Off Site: ‘High Five’: Celebrating the Reopening of the de Young Museum with

                    Five Site-Specific Installations,” Artweek, December

                Garfinkel, Perry, “Buddha Rising,” National Geographic Magazine, December, pages 88-109.

                Baker, Kenneth, “Public Art On A Short Lease,” The San Francisco Chronicle, November 1.

                Wei, Lilly, Olivia Georgia, The Invisible Thread, Buddhist Spirit In Contemporary Art,

                    Newhouse Center for Contemporary Art, 112 pages.

2004        Panicelli, Ida, “The Invisible Thread,” Artforum International,  February, page 153.

                Cox, Lynne, “The Future of BMW Design,” European Car, Web Publication

2003        Farrington, Susan, “Climbing Above Clouds Into The Farthest Reaches of Space,”

                    The Sanford  Herald, November 25th

                Cotter, Holland, “Finding Surprises as They Are Turned Up by the Karma Wheel,”

                     New York Times, November 7th. 

                Polidori, Ambra, “Words Fly Away, and So Do Texts,” La Pala (The Shovel) 

                Macmillian, Kyle, “Inflatable Buddha (with goatee) transcends traditional sculpture,” 

                    Denver Post, August 15, 2003  

                Hawkins, Margaret, “Exhibit’s True Meaning is Only a Breath Away,” Chicago Suntimes, April 25th. 

                Arttner, Alan G., “DeSoto’s Buddha dazzling and disarming,”  The Chicago Tribune,                    

                    April 11th. 

                Pace, Linda, Jan Jorboe Russell, Eleanor Heartney, Kathryn Kanjo, Dreaming Red, Creating Art                    

                    Pace, Distributed Art Publishers, 320 pages.

                Fischer, Jack, “Cutting Edge Collage,” The Mercury News, March 13th.

                Holzman, Leslie Aboud, Johnstone, Mark, Epicenter, San Francisco Bay Area Art Now,            

                    Chronicle Books, 275  pages.

2002        Posner, Helaine, Lewis deSoto: Spirit and Matter, Bucknell University Press, 48 pages.

                    With essays by Stephanie Hanor, Forward by Dan Mills.

                Fisher, Barbara, Noisemakers, Blackwood Gallery, Universita of Toronto, 46 pages.

                Rapko, John, “Lewis deSoto at the Headlands Center for the Arts,” Artweek, Feb, pages 22-23.

2001        Duckett, Richard, “A New Face of Buddha Coming to Worcester,” Worcester Telegram &

                    Gazzette.August 30.

                Dover, Caitlin, “Magic Shows,” Print, July/August, pages 97-101

                Fisher, Ann Lloyd, “Art Under the Arch,” Art in America, July, pages 43-46 & 112.

                 Bonetti, David, “Eureka Exhibition Much Improved,” San Francisco Chronicle, February 1st, page  E2.

        Fischer, Jack, “Artists to Keep an Eye On,” San Jose Mercury News, January 10th.

2000        Castro, Jan Garden, “Lewis deSoto,”  Sculpture, December, Pages 70, 71.

        Berk, Amy, “Forever on the Move,” World Scultpure News, Winter Issue               

                Humphrey, David, “Fax from New York,” Art Issues, November, December, pages 40, 41.

        Johnson, Ken, “Matt Magee and Lewis deSoto,” New York Times, September 29th.

        Daniel, Jeff, “Buddhist Concept is in the Air,” St. Louis Post Dispatch, June 4, page F1,

1999        Pritikin, Renny, “Lewis deSoto,” Bay Area Now 2, Yerba Buena Center for the Arts, page 23.

        Johnson, Ken, “Lewis deSoto”, The New York Times, Friday, October 29.

1998        Riddell, Jennifer, Recital, Catalog, List Visual Art Center, MIT

        Sherman, Mary, “Lewis deSoto: Recital,” The Boston Herald, October 18, Arts and Life; page 76

        Mattessich, Stefan, “Dromology: Ecstasies of Speed”, Art Papers, November-December, page 41

        Geer, Suvan, “Installation’s Expanded Field,” Artscene, November

        Cohn, Terri, “Light as Medium”, Artweek, October, pages 13, 14.

        Baker, Kenneth, “Racing to Keep Pace With A Restless World,” San Francisco Chronicle, July     2nd, E1.

        Cameron, Dan, “Total Immersion”, Lewis deSoto: Ship, SmartArt Press, 40 pages, 18 color

                    illustrations.

        Willis, Holly, “Lewis deSoto”, Artweek, May, page 25.

1997        Zimmer, William, “A Gallery Sampler at the Aldrich”, New York Times,  December 19th, page     20.

        Tromble, Meredith, “Time and the Artist”, Artweek, December, pages 12,13.

        Geer, Suvan, “Knowing and Naming: The Search for Tangible Meaning,” Artweek, June 1997,     pages 18-19.

                Giralt-Miracle, Daniel, “La Magia de Lewis deSoto,” ABC Cultural, 3.7.97

                Badia, Montse, “Els sons envoltants de Lewis deSoto,” DiJous/Cultura Avui, 3.6.97

                Serra, Catalina, “Metrònom presenta una instalación de Lewis deSoto inspirada en los derviches,” El Pais

                    Cataluña, 3.4.97, page 8.

        Geer, Suvan, “Installation’s Expanded Field,”  ArtScene  (internet only)

                Bufill, Juan, “Una Danza de Sonidos, Lewis deSoto: Dervish”, LaVanguardia, 2.7.97, page 49.

        Solnit, Rebecca, “Walking and Thinking and Walking*”, Kunstforum, February-May 1997,

                    pages 117-131 (*Translated into German).

1996        Fioravante, Celso, “Americanos Trazem Nova Abstraçao”, Folha de S.Paulo, 12.10.96, page 4/10.

        Chaimovich, Felipe, “O Estilo De Vida Californio Em Exposição” Jornal Da Tarde, 12.10.96, page 8C.

        Picazo, Glòria, “Photography: New Territories for Reality”, catalog essay in Fragments

                    Museu D’Art Contemporani, Barcelona, pages 115, 120.

                Cross, Dorothy and Lewis deSoto, “Heat and Cold”, tate, Issue 10, Winter 1996, 48-52.

                Freeman, David, “New Works: 96.2 at ArtPace”, Voices of Art, July/August, Vol.4, No. 2, pgs.22,23

        Bowyer, Leslie, “Getting Coexistence”, PitchWeekly, August 1st, pages 26,27.

        Alice Thorson, “Legends of Cahuillan Indians Come to Life in ‘Tahquitz’”, Kansas City Star, July

    5, in “Preview”, page 24.

        Sodders, Lisa, “Man-made Magic and Myths”, The Capital-Journal, June 30th, The Arts, page 1.

        Martin, Victoria, “‘Tracing Cultures’ at the Museum of Photographic Arts,” Artweek,    

                    February, Vol.  27, No.  2, page 22.

1995        Cohn, Terri, “Points of Entry: Tracing Cultures,” Afterimage, November/December, page 15.

        José Luis Brea, “Threshold”, Artforum, November, pages 97, 98.

        Nusbaum, Eliot, “Art’s Space”, Des Moines Sunday Register, July 16, pages F1 & F5.

        Cameron, Dan, “On Crossing Boundaries. . .” Threshold/Limares, Fundaçao de Serralves, pages     17-29.

        Robinson, Joan Seeman, “Landscape As Metaphor”, Artforum, Summer 1995, page111

        Rapoport, Sonya, “Color in the Shadows”, Leonardo, Vol.  28, No.  1, pages 77, 78.

1994        Hummer, Tracey C., “Landscape As Metaphor”, dialogue, November-December 1994, pages 13-15

        Litt, Steven, “Museum, Artists Explore New Vistas”, Plain Dealer, November 1994.

        Hall, Jacqueline, “Landscape On Massive Scale,” Columbus Dispatch, October 23rd, page 9H.

        Dickinson, Carol V., “Landscape As Metaphor,” Art News,  October, page 194, 196.

        Wilson, Malin, “Art Explores Religion, Culture,” Journal North, September 1,  page 6.

        Clemmer, David, “Lewis deSoto, Crossing/Cruzandose,” THE Magazine, page 57

        Deats, Suzanne, “Tension Symbolism Permeate CCA Show,” Albuquerque Journal, August 18,E16

        Barnet-Sanchez, Holly, “Interview with Lewis deSoto”, Crossing/Cruzandose, Center for

                    Contemporary Art, Santa Fe, 6 pages.

        Mason, Marilynne, “Landscapes With New Vistas”, Christian Science Monitor, May 16, pgs. 16,17

        Friedman, Martin, Visions of America, Landscape as Metaphor in the Late Twentieth Century,                    

                    essays by John Beardsley, Martin Friedman, Lucinda Furlong, Rebecca Solnit, et. al.,                    

                    Denver Art Museum/Columbus Museum of Art, 255 pages.

        Meyers, Kingsley, Home Video Redefined: Media, Sculpture and Domesticity,  Center of

                    Contemporary Art, Miami, Florida, 24 pages.

        Hårleman, Carl-Frederik, Erik van der Heeg, Sven-Olov Wallenstein, “Kameran Som En Metafor För  Livet”, Material, October

        Beck, Ingama, “En Doft Av Paradiset-I Enkel Gestalt”, Aftonbladet, August 29th

        Tarschys, Rebecka, “Berget Som Försvann”, Dagens Nyheter, August 27th

        Lundström, Jan-Erik, Lewis deSoto, Fotografiska Museet i Moderna Museet, Stockholm, Sweden,

  12  pages.

        Greenstein, M.A., “Lewis deSoto, Rebecca Solnit”, New Art Examiner, September, page 34.

        Nielsen, Richard, “Exhibiting Tolerance”, The Phoenix Republic, August 22nd, page E-1, E-3.

        Knaff, Devorah L., “Quiet Intelligence on Exhibit, Riverside Press Enterprise, April 4th, page G-2

        Geer, Suvan, “Said and Unsaid”, Artweek, March 18, Vol. 24, No. 6, pages 10,11.

        MacNaugton, Mary, editor,  The Columbian Quincentenary: A Reappraisal,  Articles by Elazar

    Barkan, Mary MacNaugton, Dominique Blain, Rupert Garcia, Kerr+Malley, Lewis deSoto, 15 pgs

1992         Rinder, Lawrence, “Interview, Lewis deSoto”, Shift, #14,  pages 58-63.

        Cotter, Holland, “Abstractly to Zealously, a Glossary of Ways to Use Space”,

                     New York Times, October 3rd.

        Pincus, Robert L., “Artful Apartment a Collision of Cultures”, San Diego Union, September 3,                    

                    Night & Day Section, page 45.

        Ollman, Leah, “American Indians: Dream, Reality”, Los Angeles Times, August 26, pages F1, F6 &                    

                    F7.

        Lloyd, Ann Wilson, “Restoring The Mystery of Nature”, Garden Design, June pages 14-17.

        Darwent, Charles, “Art Falls Through The Office Floor”, Blueprint, March, page 38.

        Solnit, Rebecca, “Living Places”, Artspace, January/April, cover & pages 36-40.

        Melhuish, Clare, “Perishable Goods”, Building Design UK, February 7, page 20.

        Fisher, Jean, “Fragments of a Fictional Body/Lewis deSoto”, Turning The Map,  Camerawork Ltd.,

                    UK, 90 pages.

1991        Pagel, David, “Myth Modernized”, Los Angeles Times, October 3, pages F-6.

        Geer, Suvan, “Lewis deSoto”, ArtScene, September, Vol. 11, No. 1, pages 23, 24.

        Rinder, Lawrence, The Language of Paradise, 8 pages, Artists Space, New York.

        Burkhart, Dorothy, “Out of the Darkness”, San Jose Mercury, July 7, Arts & Books,

        Cohn, Terri, “Ritual Acts”, Artweek, June 20, pages 10, 11.

        Mahaffey, Patrick and Rebecca Solnit, Pé Túkmiyat, Pé Túkmiyat (Darkness, Darkness), 28 pages

                     with fold-out picture insert, San Jose Museum of Art.

        Rinder, Lawrence, MATRIX 144/Lewis deSoto, 4 pages, University Art Museum, U.C. Berkeley.

        Lazzari, Margaret, “On View/Los Angeles”, New Art Examiner, pages 30, 31.

        Knaff, Devorah, “Through the Eyes of Others”, Artweek, March 7, pages 13, 14.

        Pincus, Robert L., “Shots In The Dark”, The San Diego Union, February 15, pages, C-1, C-13.

        Minton, Torri, “Retreats For The Artists Among Us”, San Francisco Chronicle, December 19,

1990        Ianco-Starrels, Josine, Waterworks, Long Beach Museum of Art, 6 pages.

        Cohn, Terri, “Interior Destinations”, Artweek, August 30, pages 15, 16.

        Ross Jeannette, “Intrinsic Value Of The Ordinary”, Artweek, April 5, pages 1 & 24.

1989        Earle, Edward W., Biennial I, California Museum of Photography, October, 51 pages.

        Biren, Jordan, “Before Thought”, Reflex, July/August, Vol. 3, No. 4, page 26.

        Davis, Keith, Night Light, A survey of 20th Century Night Photography, 26 pages, Hallmark

                    Photographic Collection.

1988        Cubbs, Joanne, Visual Paradox, 72 pages, John Michael Kohler Arts Center.

        Slemmons, Rod, Photographic Memory, 16 pages, Seattle Art Museum.

        Reed, Jim,Natural Selection: The Terrain of Southern California, 38 pages,  Riverside Art Museum.

1987        Slemmons, Rod, “Clarifying Reality”, Reflex, May/June, page 19.

       Nagase Galleries (Tokyo/Osaka), “Color Photographs/Lewis deSoto” Selections 1986, pages,

                    84 & 85,133 pages.

S e l e c t e d  C o l l e c t i o n s:


-Atlantic Richfield Corporation, Los Angeles, CA.

-René di Rosa, Sonoma, CA.

-California Museum of Photography, Riverside, CA.

-Center for Creative Photography, Tuscon, AZ.

-Des Moines Art Center, Des Moines, IA.

-Los Angeles Center for Photographic Studies

-Los Angeles County Museum of Art

-Los Angeles Museum of Contemporary Art

-Long Beach Museum of Art, Video Collection, Long Beach, CA.

-Media Foundation, San Francisco, CA.

-Microsoft Corporation, Bellevue, WA.

-Joel and Sherry Mallin, New York, NY.

-Joseph and Elaine Monsen, Seattle, WA.

-Museum of Contemporary Art, San Diego, CA.

-Museum of History and Art, Fribourg, Switzerland

-Museum of Modern Art, New York

-Museum of Photographic Arts, San Diego

-David O’Mara, San Jose, CA.

-Nelson-Atkins Museum, Kansas City, MO.

-Neuberger Berman, New York

-Orange County Museum of Art, Newport Beach, CA.

-Tom Patchett, Los Angeles, CA.

-Phoenix Arts Commission, AZ.

-Safeco Corporation, Los Angeles, CA.

-San Francisco Art Commission

-San Jose Museum of Art, San Jose, CA.

-Seattle Art Museum, Seattle, WA.

-Serralves Foundation, Oporto, Portugal

-Southern California Gas Company, Los Angeles, CA.

-Syntex Laboratories, Palo Alto, CA.

-Rafael Tous, Barcelona, Spain

-University Art Museum, Berkeley, CA.

-Weisman Museum at Pepperdine University, Malibu, CA.

-Robert Wilson, New York, NY.

R e p r e s e n t a t i o n :


Bill Maynes, Inc.

55 Bethune  Street 324A

New York, NY 10014

212.741.3318

www.billmaynes.com

Brian Gross Fine Art

49 Geary Street, Fifth Floor

San Francisco, CA 94108

415.788.1050

www.briangrossfineart.com

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