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Craig Kauffman and Larry Bell were included in the exhibition Time and Place: Los Angeles 1957-1968 at the Moderna Museet in Stockholm, Sweden. The show, curated by Director Lars Nittve, acknowledges that "from a European perspective, Los Angeles has a special position. Some of the artists were active internationally even in the early 1960s or before then." The exhibit at the Moderna Museet can be accessed on their website: www.Moderna Museet.se

Larry Bell, Craig Kauffman and Ed Moses were included in the exhibition Los Angeles 1955—1985, at the Centre Pompidou, Paris. This major survey of the art of Los Angeles was curated by Catherine Grenier of the Pompidou, and provides an in-depth look at the development of various aspects of the Los Angeles scene, including Assemblage, Light and Space, Minimalism, and the so-called Finish Fetish movements. Larry Bell's work emerged in the mid-1960's, and is often included in major exhibitions of Minimal art. His work was shown in the first exhibit to focus on Minimal art, Primary Structures, at the Jewish Museum in 1966. Bell's work was also included in the seminal Museum of Modern Art exhibit, The Responsive Eye in 1965. According to all reports, the exhibit at the Pompidou was the most popular show ever presented at the Paris landmark museum.

Translucence: Southern California Art from the 1960s and 1970s featured the work of Larry Bell in the context of the Light and Space movement. Four works by Larry Bell were presented in the show, which were on view at the Norton Simon Museum in Pasadena, California. Bell's works included an early work, A Wisp of the Girl She Used to Be, from 1963. Also on view were three of Bell's signature glass cubes from the 1960s. Other artists in the show included Craig Kauffman, Peter Alexander, Robert Irwin, and DeWain Valentine, among others.

We are pleased to report that an interview with John Mason was conducted by Paul Smith for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project. A transcript can be viewed on the Archives of American Art website.

John Mason has also been interviewed by Hunter Drohowjowska-Philp for Artscene Visual Radio, and the recording will be available soon for download or podcast at the Artscene Visual Radio website.

Larry Bell's very successful show at Frank Lloyd Gallery received a glowing review in the February 15, 2008 issue of the LA Times. As critic David Pagel has written, "At the Frank Lloyd Gallery, 17 abstract images compress seemingly infinite expanses of space into razor-thin planes without being overcrowded or congested or suggestive of any sort of claustrophobic confinement. The effect is eye-opening and mind-blowing, a deliciously hedonistic spin on the old Modernist platitude that less is more." He goes on to note:

From a distance, Bell's rectangular works on jet black and bright red grounds resemble portals -- doors or windows that interrupt the time-space continuum we call everyday reality. Each opens onto a dazzling, often fabulously beautiful space where several sunrises and sunsets seem to be happening simultaneously, alongside a stunning variety of extreme weather conditions, including dust storms, downpours, fog banks and blinding blizzards.

In close-up, the sharp lines and hard edges that are part and parcel of the way traditional collages are made -- by cutting, ripping and overlapping different sheets -- dissolve into one another. In Bell's hands, the fragments essential to collage fuse into single, unruptured planes of iridescent colors that shift and shimmer with every twitch of the eye.

To achieve this mesmerizing effect, Bell coats sheets of film, acetate and paper with vaporized metallic particles and then laminates the variously translucent and opaque layers. The heat and the pressure of the table-size device he uses cause the materials to melt and mix, changing their chemical makeup. Mongrel cocktails result, which make a mess of spatial recession and leave viewers standing before unexpectedly breathtaking settings.

Think virtual architecture. Or futuristic Zen gardens. Or deconstructed rainbows, made palpable and permanent. Or two-dimensional riffs on John Chamberlain's crumpled car-part sculptures. No matter how Bell's newfangled collages are described, words only hint at the visual richness they deliver.

The Ceramics Research Center at Arizona State University is a national and international destination for the hands-on study and enjoyment of ceramics. Established in 2002, it houses and displays the ASU Art Museum's extensive ceramic collection of more than 3,000 objects. The international holdings demonstrate the full range of technique, aesthetic approaches and possibilities within the medium. To learn more, please visit the CRC website .

The Ruth Chandler Williamson Gallery at Scripps College in Claremont, California is home to the Marer Collection of Contemporary Ceramics. The collection, which includes nearly 900 works by American, British, Chinese, Korean, and Japanese artists, is focused on West Coast ceramics and the work of those artists involved in the ceramic revolution of the 1950s. The collection is available for viewing online through the Williamson Gallery website.