TRANSFORMATIONS IN ART & DESIGN AT THE WENDE SHANA NYS DAMBROTMAY 6, 2021ARTS TRANSFORMATIONS: Living Room → Flea Market → Museum → Art is an inventive and high-spirited exhibition that does what the Wende Museum does best. It mines the rich archive of Cold War art, design, media and ephemera in its remarkable collection and contextualizes […]
Vessels Nina Johnson Gallery Feb 11 – May 1, 2021 When I visited Betty and George in Italy, the first thing I noticed were all the Betty Woodman’s littered around the garden, kitchen and studio. We ate off them, she planted in them, and yet, they were inextricably linked to the precious sculptures I had […]
Bari Ziperstein Stages for Flowers, 2020 Stoneware, underglaze, and glaze 96″ x 25″ UCR, University of CA at Riverside, Public Art around Campus, Riverside, CA Bari Ziperstein is pleased to share a new outdoor sculpture commissioned for the University of California, Riverside, on view at the campus for the next two years, Stages for Flowers, […]
Wende Museum Transformations: Living Room -> Flea Market -> Museum -> Art The Armory, Culver City, California October 4, 2020 – April 11, 2021 Family is the Law is a life-size ceramic sculpture in-the-round, and the largest piece made by Los Angeles based artist Bari Ziperstein. This figurative piece began as a small sculpture based […]
Charles Moffett is pleased to present 19 new ceramic paintings by Los Angeles-based artist Bari Ziperstein, for the first edition of UNTITLED Online. This series of wall works include 17 small and 2 large, which are both paintings and sculptures. Ziperstein’s newest body of work is a continuation of her ongoing investigation of Soviet-era textile […]
Bari Ziperstein Patterns of Propaganda at Charles Moffett Gallery Opening reception: February 1, 2019, 6-8pm Exhibition on view through March 22, 2019 265 Canal Street Third Floor New York, NY 10013 Charles Moffett is pleased to present Patterns of Propaganda, a one-person exhibition of recent works by Los Angeles-based artist Bari Ziperstein. The exhibition […]
Bari Ziperstein Patterns of Propaganda at Charles Moffett Gallery Opening reception: February 1, 2019, 6-8pm Exhibition on view through March 22, 2019 265 Canal Street Third Floor New York, NY 10013 Charles Moffett is pleased to present Patterns of Propaganda, a one-person exhibition of recent works by Los Angeles-based artist Bari Ziperstein. The exhibition […]
Link to full article These 20 Artists Are Shaping the Future of Ceramics, Artsy February 26, 2017 Artists and artisans working with ceramics have steadily contributed to the art world for centuries. From prehistoric pottery to ancient Greek amphoras, from the rise of porcelain in Asia and Europe to the Arts and Crafts movement in […]
Link to full audio review Art Talk by Hunter Drohojowska-Philp, Bari Ziperstein at Mier Gallery, KCRW Jan 2018 Bari Ziperstein, who for a few years has concentrated her energies on a line of production pottery called BZippy, returns this month to her fine art background. The artist, who grew up in the Chicago area, came […]
Link to full review With ‘Propaganda Pots’, Bari Ziperstein gives Cold War message a new dimension, by Leah Ollman LA TIMES Feb 12, 2018 Bari Ziperstein’s rollicking “Propaganda Pots” at Nino Mier come by their collective title honestly. Just after the Bolshevik Revolution in 1917, a government-run porcelain factory began producing plates emblazoned with quotations […]
Form Follows Fiction: Trolling Bari Ziperstein’s “Propaganda Pots” Written by Michael Slenske “All art is propaganda, and ever must be, despite the wailing of the purists.” — W. E. B. Du Bois “A lie told often enough becomes the truth.” — Vladimir Ilyich Lenin When Bari Ziperstein was invited, five years ago, to do a […]
Nino Mier Gallery is pleased to present Los Angeles-based artist Bari Ziperstein’s first solo show at the gallery, Propaganda Pots, opening January 20 and on view until March 3, 2018. With an installation of over twenty-five new figurative ceramic sculptures on view, Ziperstein’s work references 1980’s propaganda posters from former Eastern Bloc countries adapted onto […]
Fair Trade Artist-in-Residence: Bari Ziperstein Art, Design, & Architecture Museum // UC Santa Barbara Friday, January 27, 2017 to Sunday, April 30, 2017 Join us on January 27, 2017 @ 5:30pm for the opening reception February 4 @ 2pm: Walk-through & Conversation with Bari Ziperstein and Prof. Jenni Sorkin February 23 @ 5:30pm: Film Screening, […]
Link to full article on Purple Magazine.
BOX PROJECT: reluctant monument recycled, 2007 Reluctant Monument Recycled is a series of photographs which are the final phase of Ziperstein’s Box Project. Photo documentation by Craig Havens.
1,095: One Year’s Worth of Other People’s Plate, mandala. 2010 In conjunction with Let Them Eat LACMA. curated by Fallen Fruit, LACMA, Los Angeles, CA Part of Fallen Fruit’s Let Them Eat LACMA on Sunday November 7th, 2010 LA artist Bari Ziperstein invited the public to contribute their dinner plates to 1,095: One Years […]
BOX PROJECT: 4 x 9: 1 Day Lease | 3rd Incarnation | 2003 – 04 Cardboard boxes, neon paint & custom plywood dolly 5 h x 4 w x 9′ d Supersonic Exhibition, 2004 Art Center College of Design, South Campus Wind Tunnel, Pasadena, CA.
BOX PROJECT: 10 x 5: 5 Week Lease (Sandwich) | 4th Incarnation | 2003-05 Cardboard boxes, neon paint, aqua foam pallets & neon pink mason twine 8 h x 5 w x 10’d Exhibition at Bank, Los Angeles, 2005
GROWING BEAMS: collages, 2006-08 Bari Ziperstein uses landscape and architecture as metaphor in her collage work. This series of collages depict idealized domestic scenes selected from home décor magazines. Within these scenes she adds stark white beams mutating from objects in the room, creating an environment that is overgrown, monumental and artificial.
GROWING BEAMS: photography, 2007 This fantastical series of hand cut photographs were taken at St Vincent DePaul Thrift Store in Los Angeles and juxtaposed with improvised drawn architecture.
GROWING BEAMS: photography & sculpture, 2006-08 Bari Ziperstein’s artistic practice is engaged with the architectural history of Los Angeles and can be read as an investigation of how urban landscapes are defined by consumerism. In 2006, she created a series of intimate collages that deconstruct idealized domestic scenes selected from home décor magazines such as […]
BACKSTOCK: photograph, 2009 The original images were shot at a Rose Bowl Flea Market lamp vendors backroom in Santa Ana, CA. Ziperstein transforms these cluttered spaces into hand cut photographs of environments that are overgrown and illusionary.
BACKSTOCK: installation, 2009 BACKSTOCK is a site-specific immersive environment created in an enclosed mirrored space at the Pacific Design Center at Seeline Gallery. A collaged photograph of a cluttered Rose Bowl Flea Market lamp vendor’s backroom enveloped a mirrored room creating an environment that is overgrown and illusionary.
Thrift Store Pinatas, 2009-10 Custom made pinatas based on thrift store lamps; cardboard, paper mache, and tissue paper.
Chinese lantern & Architecture pinatas, 2011 PINATAS & BUSTS: Pop-up Dinner, curated by Emma Gray, Patrick Painter Gallery, Santa Monica, CA Funded by the Young Presidents Organization, Malibu Chapter
1,095: One Year’s Worth of Other People’s Plate, donation process. 2010 In conjunction with Let Them Eat LACMA. curated by Fallen Fruit, LACMA, Los Angeles, CA Part of Fallen Fruit’s Let Them Eat LACMA on Sunday November 7th, 2010 LA artist Bari Ziperstein invited the public to contribute their dinner plates to 1,095: One Years […]
1,095: One Year’s Worth of Other People’s Plate II, donated plates. 2012 In conjunction with the Bristol Biennial, Bristol, England, 2012. LA artist Bari Ziperstein invited the community of Bristol to contribute their dinner plates to 1,095: One Years Worth of Other People’s Plates II —a temporary, interactive three-dimensional installation of one year’s worth of […]
1,095: One Year’s Worth of Other People’s Plate II, mandala. 2012 In conjunction with the Bristol Biennial, Bristol, England, 2012. LA artist Bari Ziperstein invited the community of Bristol to contribute their dinner plates to 1,095: One Years Worth of Other People’s Plates II —a temporary, interactive three-dimensional installation of one year’s worth of other […]
1,095: One Year’s Worth of Other People’s Plate, donated plates. 2010 In conjunction with Let Them Eat LACMA. curated by Fallen Fruit, LACMA, Los Angeles, CA Part of Fallen Fruit’s Let Them Eat LACMA on Sunday November 7th, 2010 LA artist Bari Ziperstein invited the public to contribute their dinner plates to 1,095: One […]
MAPPING HISTORY: workshops / 2012 Artist in Resident Exhibition. Mapping History: A Collaborative Project with Marlborough School Art Students. Seaver Gallery, Los Angeles, CA Funded by Philip and Muriel Berman Foundation. Mapping Histories was Ziperstein’s year-long collaboration with five Marlborough Visual Arts classes that utilized Marlborough 125 year old archival imagery to produce projects […]
MAPPING HISTORY: installation Artist in Resident Exhibition. Mapping History: A Collaborative Project with Marlborough School Art Students. Seaver Gallery, Los Angeles, CA Funded by Philip and Muriel Berman Foundation. Mapping Histories was Ziperstein’s year-long collaboration with five Marlborough Visual Arts classes that utilized Marlborough 125 year old archival imagery to produce projects related to […]
RECOLLECTED: deinstallation RECOLLECTED: longing for a home. 2011-12 Mobile Storefront Exhibition, Long Beach, CA 620 South Street Long Beach, CA RECOLLECTED: longing for a home, was a site-specific public art installation in Long Beach that was funded by the Arts Council of Long Beach. With this project, Ziperstien is primarily concerned the absurd culture […]
RECOLLECTED: installation RECOLLECTED: longing for a home. 2011-12 Mobile Storefront Exhibition, Long Beach, CA 620 South Street Long Beach, CA RECOLLECTED: longing for a home, was a site-specific public art installation in Long Beach that was funded by the Arts Council of Long Beach. With this project, Ziperstien is primarily concerned the absurd culture […]
DECORATIVE PROTECTION < PROTECTING DECORATION, 2010 Influenced by a 1980’s decorative metal gate advertisement urging Los Angeles residents to buy ‘non prison-looking bars’ for a key to their own security, Ziperstein’s mutated tableaux depicts a pair of skewed windows transposed with a photographic view of a lusciously overgrown domestic garden in L.A., decades of […]
DECORATIVE PROTECTION: Models, 2011
DECORATIVE PROTECTION, 2011-13 In Decorative Protection, Bari Ziperstein collapses the female figure by creating connections between the urban environment and decoration, while simultaneously wishing to protect and exalt the role of decoration, in both the arts and society at large. Ziperstein examines how simple objects such as fences and iron window bars relate to […]
DECORATIVE PROTECTION, 2011-13 In Decorative Protection, Bari Ziperstein collapses the female figure by creating connections between the urban environment and decoration, while simultaneously wishing to protect and exalt the role of decoration, in both the arts and society at large. Ziperstein examines how simple objects such as fences and iron window bars relate to the […]
STARS AND STRIPS, 2008 Collaboration with Jed Lind + Jasmin Shokrain. Comprised of old American Flags, Site specific, 6 x 8 ft Exhibited in INTERSECTION at Outpost for Contemporary Art, Los Angeles, CA
Wall Works: Zippy’s Nicknacks, Tonics, & Magical Gadgets. 2010 – 2011 Santa Monica Museum of Art, Santa Monica, CA Organized by Asuka Hisa, director of education at the SMMoA Santa Monica Museum’s biannual Wall Works program paired Ziperstein with four hundred K-12th grade kids to transform an ordinary hallway into a site-specific installation of […]
TOTEMS IN INDIGO / 2013 TOTEMS IN INDIGO, by Bari Ziperstein Commissioned by the LOS ANGELES COUNTY ARTS COMMISSION CIVIC ART PROGRAM TOTEMS IN INDIGO is a series of temporary, site-specific sculptures at Arcadia Community Regional County Park that mark the entrance of the newly constructed Norman S. Johnson Aquatic Center. Historically, wooden totem […]
FURNITURE COMBINES: ceramics, 2009 In PERK, 2009, at Seeline Gallery in the Pacific Design Center, Ziperstein created a site-specific installation that transformed an empty design showroom into an uncanny quintessential model domestic space. Influenced by found objects, the exhibition featured a collection of handmade altered slip cast ceramic sculptures displayed in conjunction with reconstructed domestic […]
CERAMIC ENGINEERING MODELS, 2012
Link to full article on Design Sponge. // Feb 2016 The things we love find their way into our homes. My own home is filled with stacks of interior design magazines. For acclaimed fine artist and designer Bari Ziperstein, it’s handmade ceramic pieces that bring personality and life to her space. Her award-winning work isn’t just […]
SANTA MONICA MUSEUM OF ART, 2005, Kids’ Art Station, Held workshop based on ‘Box Project’, Santa Monica, CA Students used Ziperstein’s boxes from her ‘Box Project’ to construct there own architectural monuments at the Santa Monica Museum of Art.
KNITWIT, Winter 2015
Link to full article at Architectural Digest.
BOX PROJECT: 10 x 10: 8 Week Lease (Reluctant Monument) | 5th Incarnation | 2003 – 05 Cardboard boxes, neon paint, tape, velcro & custom plywood dollies 11 h x 10 w x 10′ d San Francisco Arts Commission Gallery, San Francisco, CA
Link to full article at Brooklyn Rail.
BOX PROJECT: 10 x 20: 11 Week Lease | 2nd Incarnation | 2003 – 04 Cardboard boxes, neon paint, tape, velcro & custom plywood dollies 9 h x 20 w x 10′ d Supersonic Exhibition, 2004 Art Center College of Design, South Campus Wind Tunnel, Pasadena, CA.
BOX PROJECT: 10 x 20: 1 Week Deposit | 1st Incarnation | 2003 – 04 Cardboard boxes, neon paint, neon tape & custom plywood dollies 9 h x 20 w x 30′ d MFA Thesis Exhibition, 2004 California Institute of the Arts, Gallery A402, Valencia, CA.
2005, 16 pages of color reproductions & essay by Bill Wheelock, ed. 325 5 1/2 x 8 1/2″
Link to full article on In the Make. “There is a freedom in having multiple practices in which I can discern specific topics instead of squashing all of my ideas into one body of work. Often times the different practices loop back into each other; that’s when the lines start to dissolve and things […]
DnA – Design & Architecture // KCRW Nov 12, 2013 Link to podcast on KCRW Bari Ziperstein puts the feminist and the feminine into striking ceramic objects, some of which are currently on show as part of Arts ReSTORE LA in Westwood Village. Alissa Walker takes us into her world. The Glassell Park space of […]
Studio Visit | Bari Ziperstein, Ceramics Artist // 02.20.13 — By Su Wu of I’m Revolting Full studio visit and images can be seen on Sight Unseen. Wiring the first lamp in a new series, based on a pyramid form like an inverted lampshade with the drips of automatic gesture. “I’m coming to design through […]
BOX PROJECT: schematics, 2003-07
Wagley, Catherine. ‘Five Artsy Things to Do This Week,’ LA Weekly, September 12, 2012 5. Paper girls in a dress shop In Satine Boutique on Third Street, artist Bari Ziperstein’s 3-D girl made of newspaper-colored paper is doing an arabesque on a table covered with designer shoes. Another paper girl perches on a cabinet and […]
Americantowns.com, October 30, 2010 Santa Monica Museum Of Art Unveils Wall Works: Zippy’s Nicknacks, Tonics And Magical Gadgets www.americantowns.com | October 30, 2010 A Public Art Installation Pairing LA Artist Bari Ziperstein with Local Students Santa Monica – More than a hundred students, teachers, and parents from the Santa Monica-Malibu area gathered at the Santa […]
“Artistic Kids,” Santa Monica Daily Press, Friday October 29, 2010 (Cover Image)
Artist interview on LACMA blog in conjunction with digital commission in response to Fashioning Fashion
Muchnic, Suzanne. “Design Loves Art program brings dealers, artists to the Pacific Design Center,” LA Times, September 23, 2009 (reproduction)
Casagrande, Reggie. “For Display Purposes Only: Interview with Bari Ziperstein,” www.lipsticktracez.
Neel, Tucker. “Bari Ziperstein Review at PDC,” Art Lies, Winter 2009 (reproductions).
Hebron, Micol. “Review: Drama of the Gifted Child: The Five Year Plan,” X-TRA Volume 12 Number 2 Winter 2009, pp. 44 – 47 (reproduction)
Miles, Christopher. “Bitch is the New Black at Honor Fraser,” LA Weekly, August 26, 2009 Though the title of this exhibition might leave one expecting some kind of curatorial polemic on bad-girl behavior, fashion, post-feminism and post-blackness, curator Emma Gray had something else in mind. She lifts the line from a 2008 campaign-season SNL diatribe […]
Myers, Holly. “Attitude and talent to spare,” LA Times, August 21, 2009 “Bitch Is the New Black,” at Honor Fraser, does just what a good summer group show should do: present an entertaining sampler of artists — in this case, young female L.A. artists of “a certain maverick outlook”– whom you should be paying attention […]
Ceramic Breast Plates, 2015 Human scale ceramic breast plates based on Japanese Armor and imagery from Cold War propaganda poster from the Wende Museum collection.
Tuesday, February 12, 2008 / Interview Bari Ziperstein i heart photograph: i’d like to ask you about this picture, untitled (hallway). i’m wondering about the image in relation to modernism and minimalism. a lot of the forms that appear in the image look like early minimalist sculpture. what role does minimalism and art/architecture history play […]
Beil, Kim. ’Young Art: 15 Artists under 35,’ Art LTD, May 2008 (reproductions) p. 60-61.
Graves, Jen. ‘A Spectral Glimpse,’ The Stranger, Wednesday November 7, 2007 (reproductions) The word “glimpse” is onomatopoetic: a couple of consonants not quite there, and then a sizzling disappearance. A glimpse sounds prurient (a body part briefly exposed), or dangerous (redacted government documents). But the real dazzle of the glimpse is that it’s a moment […]
Krainak, Paul. Review, Art Papers, July/August, 2007, pp.73-4 White Flag Projects’ second exhibition affirms the presence of St. Louis’ newest art space. Its Chelsea-style restoration boasts a spacious, clean, muscular interior with high ceilings and polished concrete floors. The windows above a central black l-beam flood the space with ashy light of the gallery’s mixed-use […]
Asher, R. Review, artUS, Issue 18, May/June, 2007, p. 29 (reproduction). I once knew an acting teacher who, in the name of keeping it real, claimed it was impossible for an actor to do two things at once. I don’t know if it’s the same for artists, but Ziperstein is certainly one exception that proves […]
Beil, Kim. “Bari Ziperstein at Bank,” Artweek, April 2007, pp. 18-19 (reproductions) Bari Ziperstein’s first solo show at BANK, (This Isn’t Happening) Popular Hallucinations for Your Home, consists of three parts: large-scale sculpture, collage and photographic documentation of a site-specific installation that Ziperstein staged in her Los Angeles home during 2006. Taken together, these elements […]
Lo, Melissa. “At the Galleries, Los Angeles,” Flash Art, March/April 2007, p. 73 (reproduction)
Myers, Holly. “Feminist art exhibit measures magic, beauty “Multiple Vantage Points” dynamically captures the feminist spirit,” LA Times, Tuesday March 13, 2007. Thanks to an impressive display of trans-institutional organizing, feminist fever is sweeping the Southland this season, with female-centered exhibitions and events cropping up all over town. “Multiple Vantage Points: Southern California Women Artists, […]
Mizota, Sharon. Review, Art LTD, West Coast Art & Design, March 2007. In her latest show—consisting of seven large photographs, five sculptures, and a selection of small drawings––Bari Ziperstein takes a humorous look at the juncture of modernist aesthetics and consumerism. Having filled her own home with perfectly white, utterly pointless architectural forms––reminiscent of Kurt […]
Bonetti, David. “Galleries showcase the new and the vintage,” St. Louis Today, Sunday February 4, 2007. Two local galleries are showing art made in the country’s two major art centers — New York and Los Angeles — offering a rare bicoastal experience. The Los Angeles show at nonprofit White Flag Projects is the more relevant […]
“Hell-Sinky,” Downtown News, Monday January 22, 2007; p. 26 (reproduction)
Knight, Christopher. “Artists who stand out from the group,” LA Times, Friday August 11, 2006 Finally, at the nearby Bank Gallery, “Sprawl” brings together five artists who work at the intersection of landscape and urbanism. Virtual space is a leitmotif. It takes low-tech form in Keith Lord’s small mirrored boxes filled with artificial landscape dioramas. […]
Roth, Charlene. Review, Artweek, May 2005, p. 19, 20 The whole science (art) is nothing more than a refinement of everyday thinking. -Albert Einstein, Physics and Reality (1936) The now overused and often misused term “postmodernism,” which trails a retinue of sometimes contradictory discourses, can be use to define an art-making genre popular during the […]
Windborne, Jamie. Review, Art News Extra, Saturday June 25, 2005 (reproduction). City curator Rupert Jenkins hosts last show at SFAC Gallery. CIVIC CENTER — Rupert Jenkins, gallery director for the San Francisco Arts Commission Gallery, is curating his last exhibition for the municipal space. Amid many hugs and goodbye kisses, Jenkins paid many of his […]
Baker, Kenneth. Review, The San Francisco Chronicle, Saturday July 23, 2005, p. E1 Los Angeles artist Bari Ziperstein gets a room to herself at the SFAC in her first San Francisco outing. Ziperstein can claim a context for what she does in work by such artists as Joseph Beuys, Imi Knoebel, Jason Rhoades and Jessica […]
Wheelock, Bill. “The Serial Box Attitude,” artist book, June 2005, ed. 325 In On Beyond Zebra, Dr. Seuss tells the story of child who, having mastered all twenty-six letters in the alphabet, claims to command all that can be known. Similarly in an old Monty Python skit, a Shakespearian actor comments on the difficulty of […]
Knight, Christopher. “Artworks With Wattage,” review & photo, LA Times, Monday June 21, 2004 (reproduction). “Limelight,” a two-screen video projection by Jed Lind, creates an incisive mythology for something mysterious yet mundane. I don’t know whether Lind made this work specifically for “Supersonic,” the sprawling exhibition that inaugurates the 16,000-square-foot gallery at the new South […]