Rapeport.com------ I can draw.net ----- stuart@rapeport.com #rapeport #stuartrapeport

statement and cv..(resume)

If I wanted to be a writer I wouldn't have been an artist, but...here

Artist’s statement:
One idea leads to another.
My artwork holds free expression and humor in a delicate equipoise. 
Earlier work flowed from one idea to the next without parameters, the Viet Nam War, Performance Art, text, found objects and the ability of drawing; all influenced the mode of fabrication I discovered drawing first when I was scolded as a kid for using the neighbors wall for a coloring book. At University High School Mrs. Bassler taught the eye hand co-ordination of contour drawing, at Cal State Hans Burkhardt taught expressionism with no erasers allowed, and Walter Gabrielson taught us to have fun and keep fingerprints to a minimum.  

Combining text with found objects on canvas, canvas stretched to resemble animal skins. The text was used to explain the motivation of the object on the canvas. The objects were replaced with representations of objects and the text was separated from the canvas as time went by. Little paintings with long titles grow from the early work. The diagnostic study of artwork led to the Line drawings and the “Rapeport” portfolio. The text became the “Alfandega Cattauragus” performance at the Newport Harbor Art Museum.

Drawn lines were taken off the paper and became three dimensional objects that could be placed in situ and turn an empty wall into a piece of art. The large freestanding lines moved the drawing beyond the surface, which revealed the content of the space between a viewer and the artwork. That space was energized when a viewer looked at a piece of work. That energy would vanish when another gallery occupant broke the “line of sight”.  

Placing figurative sculptures to appear to gaze at wall pieces was intended to artificially energize a gallery space. I placed wood a figure outside the new MOCA building, where it gazed at the multi-colored sign for a number of months. There at that downtown patio, people down on their luck also would sit, and soon pedestrians would ignore the energized field and walk with their heads down to quickly by-pass any panhandlers. Then the Omni Hotel was built and the Critic artwork disappeared, along with the panhandlers.
The outsider disappeared.

While LACMA was being remodeled I worried about Rodin’s Balzac. I reported on  the Ghost of Balzac as he wondered the city, Mister Balzac takes a Vacation. In a similar vain a few Dogs explored Hollywood and Fish left the Arroyo Secco to check out Highland Park. I also followed the Giant Grapefruit and documented its trek from citrus grove to LACMA.

 While downtown I would observe the feeding of the pigeons by some of local residents (this was before the “do not feed the birds” signs went up). The bird’s relationships to each other created harmonic compositions. These compositions were more balanced than the compositions created by audience members selecting seats in a movie theater. The flock compositions were translated into wall pieces.  Following the logic of flocks creating a balanced composition, I began to consider packs of dogs, schools of fish, groups of snails as inspiration for composition. Snails being natural artists, leaving trails, their trails of mucous were translating into abstract painting. Fish out of water created a narrative with an implied tension between large and small fish and the input of a house cat.  At a recent solo exhibit I brought in silhouettes of art critics to view the paintings. The interaction of the critics could be felt as they “viewed” the paintings. 

One thing leads to another.

Resume-&- Exhibition history
One Person Exhibits
2014 itmarskthespot, New York, NY 
2012 Bleicher Gallery, Los Angeles, CA
2009 Phantom Gallery-the Pike, Long Beach, CA
2008 Dangerous Curve, Los Angles, CA 
2006 Home Box Office, Santa Monica, CA
2006 Future Studio, Highland Park, CA
1988 Hilbie's Corner Cafe, Los Angeles, CA
1985 CA State University Los Angeles, CA
1982 Art Space Gallery, Los Angeles, CA
1980 Los Angeles Institute of Contemporary Art, Los Angeles, CA
1976 Newport Harbor Art Museum, Newport Beach, CA
Group Exhibitions
2016 Sam Maloof Botanical Garden, Alta Loma, Ca 
2014 Valley Vista, Cal State University Northridge, Ca
2014 El Camino College, Torrance ,Ca 
2013 Manhattan Graphics Center, New York. NY
2012 USC/County Hospital, Violence Intervention Program
2010 Bliecher Caporale Gallery, Los Angeles, CA
2009 Calif State College, Los Angeles, Concrete Drawings
2008 Avenue 50 Studio, Los Angeles, Ca
2007 Phantom Gallery, ”School” Pasadena, CA 
2006 Eagle Rock Center for the Arts, “Flock”, Los Angeles, CA
2006 CA State University, Los Angeles, “Duchamp’s Leg”
2005 OCCCA, curator Peter Clothier, Santa Ana, CA
2004 Absolut Chalk. Light Bringer Project, Pasadena CA
2003 Brea Center for the Arts, Plein Aire Painting, Brea, CA
2002 Cheap Art Show 4th St gallery. Los Angeles, Ca 90012
2002 Mama's Tamales-Tamale festival, Macarthur Park, LA, Ca
2001 Absolut Chalk. Light Bringer Project, Pasadena CA
2001 Mail Art Exchange, Los Angeles County Museum of Art, Los Angeles, Ca
1999 Edinburgh Art Festival, Edinburgh, Scotland
1999 RICO Gallery, Downtown,Outsider Art, Santa Monica, CA
1998 DADA-Downtown Arts Development. Los Angeles ,CA
1998 All City Open Los Angeles Municipal Art Gallery, L A, CA
1991 Art Space Gallery, Los Angeles, CA
1978 CLOSE Radio KPFK Alfandega Cattauragus
1979 ARCO Biennial Exhibition, ARCO Center for the Arts LA, CA
1979 Barnsdale Art Park, Los Angeles, CA
1978 Newport Harbor Art Museum, Newport Beach, Ca 
1975 Janus Gallery, L A CA
     Betty Gold Fine Modern Print, L A, CA
     Newspace Gallery, L A, CA
1974  Hygiene de L'Art Galerie la Bretesca, Geneva,  Switzerland
1973 Newport Harbor Art Museum, Balboa Island, Ca 
1974  Los Angles Institute of Contemporary Art,Centuy City   CA
1972  Saloon RR Raphael Rosario, Hollywood, CA
1971  Brand Library and Art Center, Burbank, CA
1970 Gallery West Los Angeles, CA

2009 Los Angeles World Airport the 99 Cent Show co-curator Barry Markowitz
2008 Future Studio, “Stuff George Found”
2007 Phantom Gallery Pasadena, Window hopping
1983 Barry Markowitz. Paintings -Red Squirrel Gallery
1982 Bill Anderson, paintings -Red Squirrel Gallery
1978 Paul McCarthy-Contemporary Cure-all performance

2007 Reinventing Trading Dirt grant from Getty, MOCA, LA DCA and the Kaprow Foundation, with Avenue 50  Studio and Kathy Gallegos
2009  Guest Curator LAX Airport art display, DCA and LAWA administation

Internet Documentations
1997-2000  Spiral Yucca, the Yucca's Progress, www.spiralyucca.com, 

1997  Red Squirrel Gallery SoHo Geocities Web Site
1994 "Maybe it's only art if there are no ideas"  Downtown Arts Development
1993 "time bomb" American Film and Video Festival
1992 "eat" Freewaves Celebration of Independent Video, sponsored by EZTV,
          City of Los Angels Cultural Affairs Department
1997- 2002 www.spiralyucca.com - the Yucca's Progress Man and Nature documented

1982 MFA Program -CA State University-Los Angeles, CA
1975 MFA Lowell Darling's Master of Find Arts-Correspondence School
1971 Graduate Program CA Institute of the Arts-Valencia, Califronia
1970 BA CA State College-Northridge,CA 
More Other Stuff 2012 Future Studio
Los Angeles Rising = 1950-1980 published 2010 Lyn Kienholz
Arroyo Secco Arts Journal, 2006 Lynda Hoag
Los Angeles Times July 30, 1979. William Wilson
Images and Issues January, 1983. V J Burke
Los Angeles Times January, 1981. Suzanne Muchnic

Getty Archives, Close Radio




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