Peter Alexander
Peter Alexander is associated with Southern California’s “Light and Space” minimal artists. During the 1960s and 1970s, this loosely affiliated group of Los Angeles artists—including Larry Bell, Mary Corse, Robert Irwin, James Turrell, and Doug Wheeler—more intrigued by questions of perception than by the crafting of discrete objects, embraced light as their primary medium. Whether by directing the flow of natural light, embedding artificial light within objects or architecture, or playing with light through the use of reflective, translucent, or transparent materials, each of these artists created situations capable of stimulating heightened sensory awareness in the receptive viewer. Alexander experimented with casting polyester resin in different formats, creating works which explore the material’s ability to both contain and reflect light. For example, Untitled (Window) (1968), which consists of a transparent blue wedge, explores the synthetic material’s qualities in relationship to color and luminosity.
Alexander’s work has been the subject of retrospectives at the Orange County Museum of Art, the Los Angeles Institute for Contemporary Art, and the Laguna Art Museum, among others. His work has been included in group exhibitions at institutions such as the Museum of Modern Art in New York City, Documenta V in Kassel, The Corcoran Gallery …
Peter Alexander is associated with Southern California’s “Light and Space” minimal artists. During the 1960s and 1970s, this loosely affiliated group of Los Angeles artists—including Larry Bell, Mary Corse, Robert Irwin, James Turrell, and Doug Wheeler—more intrigued by questions of perception than by the crafting of discrete objects, embraced light as their primary medium. Whether by directing the flow of natural light, embedding artificial light within objects or architecture, or playing with light through the use of reflective, translucent, or transparent materials, each of these artists created situations capable of stimulating heightened sensory awareness in the receptive viewer. Alexander experimented with casting polyester resin in different formats, creating works which explore the material’s ability to both contain and reflect light. For example, Untitled (Window) (1968), which consists of a transparent blue wedge, explores the synthetic material’s qualities in relationship to color and luminosity.
Alexander’s work has been the subject of retrospectives at the Orange County Museum of Art, the Los Angeles Institute for Contemporary Art, and the Laguna Art Museum, among others. His work has been included in group exhibitions at institutions such as the Museum of Modern Art in New York City, Documenta V in Kassel, The Corcoran Gallery of Art in Washington DC, and Brooklyn Museum of Art.
Courtesy of David Zwirner
Corcoran Gallery of Art, Washington D.C.
Flint Institute of the Arts, Flint, MI
Fogg Art Museum, Harvard University, Cambridge, MA
Fort Worth Art Museum, Fort Worth,TX
Getty Museum, Los Angeles, CA
Henry Art Gallery, Seattle, WA
Voorhees Art Museum, Rutgers University, New Brunswick, NJ
Laguna Art Museum, Laguna Beach, CA
Los Angeles County Museum of Art, CA
Metropolitan Museum, New York, NY
Minneapolis Institute of Contemporary Art, MN
Museum of Contemporary Art, Honolulu, HI
Museum of Modern Art, New York, NY
New Orleans Museum of Art, New Orleans, LA
New York Public Library, New York, NY
Norton Simon Museum of Art, Pasadena, CA
Orange County Museum of Art, Newport Beach, CA
Oakland Museum, Oakland, CA
Picker Art Gallery, Colgate University, Hamilton, NY
Princeton University Art Museum, Princeton, NY
San Diego Museum of Fine Art, San Diego, CA
San Diego Museum of Contemporary Art, La Jolla, CA
San Francisco Museum of Modern Art, CA
Solomon R. Guggenheim Museum, New York, NY
Stanford University Art Museum, Palo Alto, CA
Vancouver Museum of Art, British Columbia, Canada
Walker Art Center, Minneapolis, MN
