James Gilbert is a Los Angeles-based artist whose work lies at the intersection of enduring narratives, spanning historical epochs and contemporary realities, addressing persistent challenges without easy resolutions. His artistic practice involves creating work in substantial quantities with subtle variations, akin to an anthropological study, extracting themes that encapsulate human-created dilemmas without straightforward solutions.
Guided by a profound commitment to exploring the multifaceted territory of sculpture, installation, and drawing, Gilbert’s practice defies conventional boundaries. It incorporates a rich variety of materials and techniques, with a primary focus on fostering socially responsible ideas and stimulating meaningful conversations about pressing issues. His process is rooted in a philosophical sense of responsibility—to himself, his audience, and the community, addressing injustice, tending to the environment, and embracing the human experience.
Gilbert selects materials like wood, industrial plastic sheeting, fabric, and plaster for their metaphorical significance, considering their connotations of time, aging, rejuvenation, authenticity, and artificiality. He embraces material imperfections, commemorating the inherent flaws of humanity, and uses labor-intensive hand tools that leave visible marks, enhancing the authenticity of his pieces.
His work addresses complex and often disheartening subjects, such as sorrow, loneliness, and discomfort, with a blend of humor, humility, and respect. Through witty forms and a light-hearted palette, he makes these issues visually accessible. Amidst the challenges of social and racial injustice, political discord, and environmental concerns, Gilbert balances these with the potential for compassion, generosity, and goodwill, underscoring the complexity of our shared history.
Gilbert's work continues to provoke thought and dialogue, urging us to consider our roles within historical and contemporary cultural contexts. His exploration of identity, social responsibility, and the human experience remains a testament to the enduring power of art to address complex societal issues.
Curriculum vitae
JAMES GILBERT
Lives and works in Los Angeles, CA
SOLO EXHIBITIONS
2022
I Don’t Know, You Don’t Know, They Don’t Know, Erin Cluley Gallery, Dallas TX
2018
Vowed to Learn Blood Type After a Near Fatal Nosebleed, PYO Gallery, Seoul, South Korea
2016
A Historic Point of Interest and other Landmarks, PYO Gallery, Los Angeles, CA
2015
Sledgehammer.Bullet.Bomb, Manhattan Beach Art Center, Manhattan Beach, CA
No Shame in Them Thar Woods, Woven, West Hollywood, CA
2011
Worker, Pontificia Universidad Javeriana, Bogota, Colombia
Worker, Pitzer College, Claremont, CA
2010
Warnings & Instructions, Dallas Contemporary, Dallas, TX
2008
The Privacy of Underpants, Part II – PYO Gallery 798, Beijing, China
The Privacy of Underpants – PYO Gallery South, Seoul, South Korea
I Know Everything About You and We Haven’t Met – Light & Sie Gallery, Dallas, TX
(Don’t) Want to be Anonymous?, Couturier Gallery, Los Angeles, CA
GROUP EXHIBITIONS
2023
Baker’s Dozen, Torrance Art Museum, Torrance, CA
Summer, Erin Cluley Gallery, Dallas TX
2022
4Ground Midwest Land Art Biennial, Franconia Sculpture Park, MN
Summer, Erin Cluley Gallery, Dallas TX
2021
Nomad, organized by the Torrance Art Museum, Torrance, CA
2020
Chrysalistas, Lyons Wier Gallery, New York, NY
2019
A Short Survey of Contemporary Abstraction, Sandy Bennett Gallery, Bergan Center for Performing Arts, Englewood, NJ
2018
Thrive, Avenue des Arts, Los Angeles, CA
2017
On Bodies, The Goss-Michael Foundation, Dallas, TX
A Narrow Passage, Noysky Projects, Los Angeles CA
Plastic Primitive, LeStudio, Paris, France
2016
LA Art Show, Los Angeles, CA
2015
Women’s Work: Masculinity and Gender in Contemporary Fiber Arts, San Diego Art Institute, San Diego, CA
Moist, Orange County Center for Contemporary Art, Santa Ana, CA
2014
UnDressed:An Eposé of Conceptual Garments and Accessories, Santa Cruz Institute of Contemporary Art, Santa Cruz, CA
2013
Acceleration, Dallas Contemporary, Dallas TX
2012
Eye Candy, Couturier Gallery. Los Angeles, CA
Show & Tell: the art of pop culture, Zimmer Childrens’ Museum, Los Angeles, CA
Outfitters: The Contemporary Art of Clothing, Bedford Gallery,Lesher Center for the Arts, Wanut Creek, CA
2011
An Exchange with Sol LeWitt, Massachusetts Museum of Contemporary Art, North Adams, MA
2010
The Social Graph, Hyperallergic, Brooklyn, NY
Unrealised Potential, Cornerhouse Gallery, Manchester, UK
Instructions, Platform4, Aaloborg, Denmark
Transitive Pairings:Body Objects, Centraltrak, University of Texas, Dallas, TX
2009
Manifold: An Exhibition of Editioned Works, The Public Trust, Dallas, TX
Our History, Light & Sie, Dallas, TX
Tigersprung: Obscure Couture in the Now-Time, The McKinney Avenue Contemporary, Dallas, TX
MOCA Fresh, Museum of Contemporary Art, Los Angeles, CA
We Are Here, PYO Gallery, Los Angeles, CA
What’s the Matter with Mommy, The Hangover, curated by Shana nys Damdrot, Phantom Gallery, Los Angeles, CA
Heaven and Hell, Christie’s, Beverly Hills, CA
2008
Aqua, Light & Sie, Miami, FL
Gracias a la Vida, Couturier Gallery, Los Angeles, CA
What’s the Matter With Mommy, curated by Shana nys Dambrot, Salon Oblique, Los Angeles, CA
Gastronomia | erótica y estimulante, The McKinney Avenue Contemporary, Dallas, TX
Heaven, Christies, Beverly Hills, CA
Los Angeles Art Fair, Couturier Gallery, Los Angeles, CA
2007
Present Art XIV A Small Show of Small Works, Couturier Gallery, Los Angeles, CA
PERFORMANCES
2013
Acceleration, Dallas Contemporary, Dallas, TX
2010
Privacy is Dead Because We Said So, Museum of Contemporary Art Santa Barbara, CA
RESIDENCIES
2019
University of British Columbia, Okanagan Campus
2018
University of British Columbia, Okanagan Campus
2012
Bemis Center for Contemporary Art, Omaha, NE
2011
Pitzer College, Claremont, CA
2009-10
Centraltrak: The University of Texas at Dallas Artists Residency, Dallas TX
AWARDS
2022
CERF+ Grant, Montpelier, VT
2021
Center for Cultural Innovation Quick Grant, Los Angeles/San Francisco
2012
Ruth and Harold Chenven Foundation Grant, New York, NY
2010
City of Los Angeles Department of Cultural Affairs Cultural Exchange
International Grant
2009
The Danish Arts Council, International Artist Grant
ARTIST LECTURES
2022
I Don’t Know, You Don’t Know, They Don’t Know, Dallas Contemporary, Dallas TX
2015
Sledgehammer.Bullet.Bomb, Manhattan Beach Art Center, CA
2012
Bemis Center for Contemporary Art, Omaha, NE
Bedford Gallery, Lesher Center for the Arts, Wanut Creek, CA
Southern Methodist University, Dallas, TX
2011
Worker, Pitzer College, Claremont, CA
2010
Sundays With Andy: Andy Warhol: The Last Decade, Modern Art Museum of
Forth Worth, Fort Worth, TX
Warnings & Instructions, Dallas Contemporary, Dallas, TX
2009
Dallas Contemporary, Dallas, TX
Mount Saint Mary’s, College, Los Angeles, CA
2009
I Know Everything About You and We Haven’t Met , Light & Sie, Dallas, TX
(Don’t) Want to Be Anonymous?, Couturier Gallery, Los Angeles, CA
SELECTED BIBLIOGRAPHY/PRESS
“Meet James Gilbert,” BoldJourneyMagazine.com, October 17, 2023
Rahmalaroglu, Tolga, “Merger of the Artistic Flux / Interview with James Gilbert”, Luxiders.com, September 19, 2023
Smart, Lauren, “The 10 Must-See Dallas Art Shows This Fall”, DMagazine.com, Arts & Entertainment, November 2, 2022
Moya Ford, Lauren, “Why Are You Drawing Faces Like That?” Hyperalleric.com, November 1, 2022
Sarradet, William, “Synaptic Notes: Recent Exhibitions in Dallas and Houston,” Glasstire.com, October 28, 2022
Smart, Lauren, “You Look Familiar,” Dallas Morning News, October 16, 2022, 3E, p.66
“Meet James Gilbert/Sculptor & Installation Artist” ShoutoutLA.com, August 24, 2020
Bahadur, Tulika, “Natural Disasters, The Destruction of Heritage: Installations by James Gilbert,” OnArtandAesthetics.com, August 30, 2017
“Tweeted, Googled, Inappropriately Touched – James Gilbert, Artist to Watch/Visual Artist,” NakidMagazine.com, June 28, 2016
Goldman, Edward, “Art of War and Peace,” Art Talk, KCRW, kcrw.com, November 25, 2015
Wyszpolski, Bondo, “Protective Devices,” Easy Reader, November 19, 2015, Vol. XLVI-No.16, p.21, 24
Barton, Dave, “OCCCA Get’s ‘Moist'” OC Weekly, June 25, 2015
Solis, Chenoa, “Chenoa Solis Interviews Saatchi Online Artist James Gilbert in LA,”Saatchi Online Magazine, April 1, 2011
Terranova, Charissa, “James Gilbert,” Sculpture Magazine, March 2011, Vol. 30, No. 2, p. 70-71
Michno, Christopher, “James Gilbert and Jennifer Vanderpool,” Artillery, March/April, 2011, Vol. 5 Issue 4
Woods, Wes, “Pitzer College exhibit showcases different themes,” Inland Valley Dailey Bulletin, March 23, 2011
Cuevas, Steven, “Art exhibit at Pitzer College immerses visitors in a virtual sweatshop,” KPCC, www.scpr.org, February 15. 2011
Widdick, Richard, “Worker,” exhibition essay, Lenzner Gallery, Pitzer Art Galleries, January 27–March 25, 2011
Mills, Ted, “Full Exposure,” Santa Barbara Independent, August 27–September 2, 2010, p. 45
Odom, Michael, “James Gilbert,” Artforum, v. XLVII, NO. 10, Summer 2010, p.359-360
Terranova, Charissa, PhD “Orange Alert: Fashion, Frivolity in the Age of Terror” exhibition catalogue, Dallas Contemporary, Dallas, TX
Gleeson, Scott, “James Gilbert: Padding the Walls of the Labyrinth,” www,ovac-ok.org
Terranova, Charissa, PhD “James Gilbert Warnings & Instructions” A+C Magazine, March 2010, p. 26
Simek, Peter “The Modern Problems of the Dallas Contemporary,” D Magazine, March 2010
Arbery, Joan, “Melrose Place for Artists,” D Magazine, February 2010 p. 57-58
Carter, Steve, “The New Iconoclasts,” Dallas Modern Luxury, December 2009 p. 54-58
Nys Dambrot, Shana, Daily Dose Pick: James Gilbert, August 19, 2009, www.flavorwire.com
Terranova, Charissa, PhD “Celebrity Dread: Angst, Fame and the End of Privacy in the Work of James Gilbert,” exhibition catalogue, PYO Gallery South, Seoul, South Korea
Sparling, Gretchen, “High-Style Hideout,” Dallas Child, December 29, 2008
Terranova, Charissa, PhD “Privacy is a Perishable Commodity at Light & Sie,” review, The Dallas Morning News, July 7, 2008, 1E, 4E
Ingram, Kaitlin, “Stalking Art, Gilbert Doesn’t Know Us, But We’re Watching His Work,” Dallas Observer, June 22-28, 2008
Tellez, Lesley, “James Gilbert Talks Art, Underwear,” Quick, The Dallas Morning News, June 11, 2008
Quandri, Stephanie, “James Gilbert: Fashionable Art, “ FrontBurner, Dmagazine.com , June 4, 2008
Sheeler, Jason, “Meet the Artist,” FDluxe, The Dallas Morning News, June 2008, p. 6
VIDEO INTERVIEWS
Conforti, Carolina, Art Talk Live with Artist James Gilbert and Gallerist Erin Cluley, “I Don’t Know, You Don’t Know, They Don’t Know.” ArtTalkLive.com, October 8, 2022
Vartarian, Hrag, “James Gilbert On Tweeted, Googled and Inappropriately Touched,” November 23, 2010, Hyperallergic TV, Hyperallergic.com
Mathews, Quin, “James Gilbert, Warnings & Instructions” documentary to accompany Dallas Contemporary Exhibition, February 16 – May 15, 2010
Art this Week, “Dallas Contemporary, James Gilbert,” February 2010, Episode 35, www.artthisweek.com
RADIO INTERVIEWS
Cuevas, Steven, “Art exhibit at Pitzer College immerses visitors in a virtual sweatshop,” 89.3 KPCC, Southern California Public Radio, www.scpr.org, February 15. 2011
PUBLICATIONS/CATALOGUES
James Gilbert & Garth Bowden – Plastic Primitive, Limited Edition Coloring Book, Ed.100
James Gilbert – Warnings & Instructions, Dallas Contemporary, exhibition brochure
Heaven and Hell, The Art of Elysium, Los Angeles,
Privacy of Underpants, exhibition catalogue, PYO Gallery South, Seoul, South Korea
Heaven, Celebrating Ten Years of The Art of Elysium, Los Angeles
PUBLIC COLLECTIONS
The Goss-Michael Foundation, Dallas, TX
The Kinsey Institute, Indiana University, IN