San Francisco, b.1943

James Hayward

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James Hayward received his Bachelor of Fine Arts degree in 1966 from San Diego State University, and attended graduate school at the University of California, Los Angeles from 1966 to 1969. He then received his Master of Fine Arts from the University of Washington in 1972.

Recent solo exhibitions include “Paintings: 1987–2016,” Telluride Fine Art Gallery, Telluride, CO; “New Work,” James Harris Gallery, Seattle, WA; “At Last,” Roberts & Tilton Gallery, Los Angeles, CA; “Last Waltz,” Peter Blake Gallery, Laguna Beach, CA; “Silence Technology,” Modernism, San Francisco, CA; “Variations on the Annunciation,” Anna Meliksetian & Michael Briggs, Los Angeles, CA; “Primary/Formal,” Modernism, San Francisco, CA; “Nothing’s Perfect,” Peter Blake Gallery, Laguna Beach, CA; “James Hayward: Paintings from the ’70s,” Richard Telles Fine Art, Los Angeles, CA; “The Prodigal Paints: 1972–2011,”...

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Biography

James Hayward received his Bachelor of Fine Arts degree in 1966 from San Diego State University, and attended graduate school at the University of California, Los Angeles from 1966 to 1969. He then received his Master of Fine Arts from the University of Washington in 1972.

Recent solo exhibitions include “Paintings: 1987–2016,” Telluride Fine Art Gallery, Telluride, CO; “New Work,” James Harris Gallery, Seattle, WA; “At Last,” Roberts & Tilton Gallery, Los Angeles, CA; “Last Waltz,” Peter Blake Gallery, Laguna Beach, CA; “Silence Technology,” Modernism, San Francisco, CA; “Variations on the Annunciation,” Anna Meliksetian & Michael Briggs, Los Angeles, CA; “Primary/Formal,” Modernism, San Francisco, CA; “Nothing’s Perfect,” Peter Blake Gallery, Laguna Beach, CA; “James Hayward: Paintings from the ’70s,” Richard Telles Fine Art, Los Angeles, CA; “The Prodigal Paints: 1972–2011,” R.B. Stevenson Gallery, La Jolla, CA; and “Asymmetrical Chromacords,” Modernism, San Francisco, CA.

Recent group exhibitions include “One Way or Another,” Roberts Projects, Culver City, CA; “Nonobjective Paintings,” Telluride Fine Art Gallery, Telluride, CO; “Calm, Cool, Collected,” Peter Blake Gallery, Laguna Beach, CA; “L.A. Today” (curated by Carl Schlosberg), Royale Projects, Los Angeles, CA; “A Tribute to Kiyo Higashi,” Peter Blake Gallery, Laguna Beach, CA; “Hayward, Heywood, Miller,” Peter Blake Gallery, Laguna Beach, CA; “Black & White Mike” (curated by Benjamin Weissman), Center for the Arts, Eagle Rock, CA; “Inaugural Exhibition,” Austin Art Projects, Palm Desert, CA; “Nature/Nurture: Eloise Granger Hall & James Hayward,” Tom’s, Santa Monica, CA; “Thick: Jimi Gleason, James Hayward, Michael Reafsnyder,” R.B. Stevenson Gallery, La Jolla, CA; “Local Fish: Piscatorial Perceptions,” Ernie Wolfe Gallery, Los Angeles, CA; “Sam Falls, Mark Hagen, James Hayward, Mary Weatherford,” International Art Objects, Los Angeles, CA; “Under the Big Black Sun: California Art 1974–1981” (curated by Paul Schimmel), Museum of Contemporary Art, Los Angeles, CA; “California Abstract Painting: 1952 to 2011” (curated by James Hayward), Woodbury University, Burbank, CA; “Marks and Movement: 5 Painters,” Barrett Gallery, SMC Annex, Santa Monica, CA; “21 Americans,” Bernard Jacobson Gallery, New York, NY; and “California Art: Selections from the Frederick R. Weisman Art Foundation,” Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA; traveled to Fullerton College Art Gallery, Fullerton, CA, and Carnegie Art Museum, Oxnard, CA.

He has received numerous awards, including the Pollock-Krasner Foundation Grant, the National Endowment for the Arts Fellowship, the John Simon Guggenheim Memorial Fellowship.

His work is included in the permanent collections of Albright-Knox Art Gallery, Buffalo, NY; Cleveland Museum of Art, Cleveland, OH; Museum of Contemporary Art Denver, Denver, CO; Laguna Beach Museum of Art, Laguna Beach, CA; Los Angeles County Museum of Art, Los Angeles, CA; The Minneapolis Institute of Art, Minneapolis, MN; Museum of Contemporary Art, Los Angeles, CA; Orange County Museum of Art, Newport Beach, CA; San Francisco Museum of Modern Art, San Francisco, CA; San Jose Museum of Art, San Jose, CA; Art, Design & Architecture Museum, University of California, Santa Barbara, CA; and Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA, among others.

Hayward lives and works in Moorpark, CA.

Artworks

24

Abstract Diptych #54, 2018

RELATED CATEGORIES

Abstract / Abstract Painting / Diptych / Layers of Colors / Matiere / Oil on Canvas / Oil Painting / Painting / Rich Density / Strong Brushstrokes / Texterous / Thick Brush Stroke

CURRICULUM VITAE

Education

  • 1972

    MFA, University of Washington, Seattle, WA

  • 1969

    Graduate School, University of California, Los Angeles

  • 1966

    BFA, San Diego State University, San Diego, CA

Solo Exhibitions

  • 2018

    James Hayward, Miles McEnery Gallery, New York

  • 2017

    Paintings: 1987–2016, Telluride Fine Art Gallery, Telluride, CO

  • 2016

    New Work, James Harris Gallery, Seattle, WA

Group Exhibitions

  • 2018

    One Way or Another, Roberts Projects, Culver City, CA

  • 2017

    Nonobjective Paintings, Telluride Fine Art Gallery, Telluride, CO 

  • Calm, Cool, Collected, Peter Blake Gallery, Laguna Beach, CA 

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Curriculum Vitae

Education

  • 1972

    MFA, University of Washington, Seattle, WA

  • 1969

    Graduate School, University of California, Los Angeles

  • 1966

    BFA, San Diego State University, San Diego, CA

Solo Exhibitions

  • 2018

    James Hayward, Miles McEnery Gallery, New York

  • 2017

    Paintings: 1987–2016, Telluride Fine Art Gallery, Telluride, CO

  • 2016

    New Work, James Harris Gallery, Seattle, WA

  • 2015

    At Last, Roberts & Tilton Gallery, Los Angeles, CA

  • Last Waltz, Peter Blake Gallery, Laguna Beach, CA 

  • Silence Technology, Modernism, San Francisco, CA 

  • 2013

    Variations on the Annunciation, Anna Meliksetian & Michael Briggs, Los Angeles, CA

  • 2012

    Primary/Formal, Modernism, San Francisco, CA

  • 2011

    Nothing’s Perfect, Peter Blake Gallery, Laguna Beach, CA 

  • James Hayward: Paintings from the ’70s, Richard Telles Fine Art, Los Angeles, CA 

  • The Prodigal Paints: 1972–2011, R.B. Stevenson Gallery, La Jolla, CA 

  • 2010

    Asymmetrical Chromacords, Modernism, San Francisco, CA

  • 2007

    Ecstatic Excess, Mandarin Gallery, Los Angeles, CA 

  • Works: 1975–2007, Modernism, San Francisco, CA 

  • 2006

    Absence/Presence, Mandarin Gallery, Los Angeles, CA 

  • The Emancipation of Paint, Gallery C, Hermosa Beach, CA 

  • 2005

    Recent Paintings (curated by Mike Kelly), CUE Art Foundation, New York, NY 

  • Monster of Monochrome, Mandarin Gallery, Los Angeles, CA 

  • New Work, Peter Blake Gallery, Laguna Beach, CA 

  • Monochrome Paintings, Modernism, San Francisco, CA 

  • 2004

    Monochrome Paintings, Charlotte Jackson Fine Art, Santa Fe, NM 

  • New Work, Peter Blake Gallery, Laguna Beach, CA 

  • 2003

    Grey/Neutral Smoke, Ace Contemporary Exhibitions, Los Angeles, CA

  • 2001

    Recent Work, Chac-Mool, Los Angeles, CA

  • 2000

    The Italian Paintings, Modernism, San Francisco, CA 

  • Recent Paintings, Peter Blake Gallery, Laguna Beach, CA 

Group Exhibitions

  • 2018

    One Way or Another, Roberts Projects, Culver City, CA

  • 2017

    Nonobjective Paintings, Telluride Fine Art Gallery, Telluride, CO 

  • Calm, Cool, Collected, Peter Blake Gallery, Laguna Beach, CA 

  • 2016

    L.A. Today (curated by Carl Schlosberg), Royale Projects, Los Angeles, CA 

  • A Tribute to Kiyo Higashi, Peter Blake Gallery, Laguna Beach, CA 

  • 2015

    Hayward, Heywood, Miller, Peter Blake Gallery, Laguna Beach, CA 

  • Black & White Mike (curated by Benjamin Weissman), Center for the Arts, Eagle Rock, CA 

  • 2014

    Inaugural Exhibition, Austin Art Projects, Palm Desert, CA 

  • 2013

    Nature/Nurture: Eloise Granger Hall & James Hayward, Tom’s, Santa Monica, CA 

  • Thick: Jimi Gleason, James Hayward, Michael Reafsnyder, R.B. Stevenson Gallery, La Jolla, CA 

  • Local Fish: Piscatorial Perceptions, Ernie Wolfe Gallery, Los Angeles, CA 

  • 2012

    Sam Falls, Mark Hagen, James Hayward, Mary Weatherford, International Art Objects, Los Angeles, CA

  • 2011

    Under the Big Black Sun: California Art 1974–1981 (curated by Paul Schimmel), Museum of Contemporary Art, Los Angeles, CA 

  • California Abstract Painting: 1952 to 2011 (curated by James Hayward), Woodbury University, Burbank, CA 

  • Marks and Movement: 5 Painters, Barrett Gallery, SMC Annex, Santa Monica, CA 

  • 21 Americans, Bernard Jacobson Gallery, New York, NY 

  • California Art: Selections from the Frederick R. Weisman Art Foundation, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA; traveled to Fullerton College Art Gallery, Fullerton, CA, and Carnegie Art Museum, Oxnard, CA 

  • Unfinished Painting, LACE, Los Angeles, CA 

  • Mind Games, China Art Objects Galleries, Los Angeles, CA 

  • Framing Abstraction: Mark, Symbol, Signifier, Los Angeles Municipal Art Gallery, Los Angeles, CA 

  • 2010

    The Thirtieth Anniversary Show, Museum of Contemporary Art, Los Angeles, CA 

  • Tuesday Afternoon in a Cage, ltd los angeles, Los Angeles, CA 

  • Abstract on Abstract, LA Contemporary Gallery, Los Angeles, CA 

  • The Juxtaposition from Beyond: James Hayward and Theophillus Nii Anum Sowah,” Ernie Wolfe Gallery, Los Angeles, CA  

  • Materials Matters, William Turner Gallery, Santa Monica, CA 

  • 2009

    Collecting History: Highlighting Recent Acquisitions, Museum of Contemporary Art, Los Angeles, CA 

  • Weekend (curated by Ed Moses), Arena 1 Gallery, Santa Monica, CA 

  • The Surface of Space (curated by Michael Rosenfeld), Phantom Galleries, Long Beach, CA 

  • Made in America, Manny Silverman Gallery, Los Angeles, CA 

  • 2008

    Mel’s Hole (curated by Doug Harvey), Cal State Fullerton’s Grand Central Art Center, Santa Ana, CA 

  • Analytic & Synthetic Pile-Up, Woodbury Hollywood Exhibitions, Los Angeles, CA 

  • West Coast Abstraction, Modernism, San Francisco, CA 

  • 3rd LA Weekly Annual Biennial: Some Paintings (curated by Doug Harvey), Track 16 Gallery, Santa Monica, CA 

  • Surface & Space, Pharmaka Gallery, Los Angeles, CA 

  • 15 Years, 15 Artists, Peter Blake Gallery, Laguna Beach, CA 

  • James Hayward & Max Hendler: Two Approaches to Monochrome, Manny Silverman Gallery, Los Angeles, CA 

  • Planes and Surfaces: James Hayward, Larry Bell, Scot Heywood, Wouter Dam, Frank Lloyd Gallery, Santa Monica, CA 

  • 2007

    L’Invitation au voyage, Modernism, San Francisco, CA 

  • Grey Scale, Peter Blake Gallery, Laguna Beach, CA 

  • 2006

    Driven to Abstraction (curated by Peter Frank), Riverside Art Museum, Riverside, CA 

  • A Little So Cal Abstraction (curated by James Hayward), Mandarin Gallery, Los Angeles, CA 

  • Winter White, Peter Blake Gallery, Laguna Beach, CA 

  • Summer Abstraction, Peter Blake Gallery, Laguna Beach, CA 

  • 2005

    Step into liquid: Jane Callister, Pia Fries, James Hayward, Michael Reafsnyder, David Reed (curated by Dave Hickey), Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, CA 

  • Pink, Patricia Faure Gallery, Santa Monica, CA 

  • Triple Play: Richard Allen Morris, James Hayward, Ed Moses, R.B. Stevenson Gallery, La Jolla, CA 

  • Parallel Visions: Dorit Cypis, James Hayward, Mandarin Gallery, Los Angeles, CA 

  • The Natalie and Irving Forman Collection: An Exhibition, Albright-Knox Art Gallery, Buffalo, NY 

  • 2004

    100 Artists See God (curated by John Baldessari and Meg Cranston), Institute of Contemporary Arts, London, England; traveled to Contemporary Jewish Museum, San Francisco, CA; Virginia Museum of Contemporary Art, Virginia Beach, VA; Freedman Art Gallery, Reading PA; and Cheekwood Museum of Art, Nashville, TN

  • Cahiers d’Art: 25th Anniversary Exhibition, Modernism, San Francisco, CA 

  • The Grass Is Greener, Charlotte Jackson Fine Art, Santa Fe, NM 

  • 2003

    Artist’s Gifts, Museum of Contemporary Art, Los Angeles, CA 

  • Drunken Masters, Gallery C, Hermosa Beach, CA 

  • Phat ’n Sassy, Charlotte Jackson Fine Art, Santa Fe, NM 

  • Not the Usual Suspects, Manny Silverman Gallery, Los Angeles, CA 

  • Extreme Paints, Peter Blake Gallery, Laguna Beach, CA 

  • 2002

    Five Times Four, Modernism, San Francisco, CA 

  • Four from L.A., Galerie Daniel Buchholz, Cologne, Germany 

  • Trade Show, Chapman University, Orange, CA 

  • Abstract Painting, Modernism, San Francisco, CA 

  • Gilbert-Rolfe, Hayward, Moses, Richard Telles Fine Art, Los Angeles, CA 

  • 2001

    Collectors Select, Marion Koogler McNay Art Museum, San Antonio, TX 

  • Four Los Angeles Painters, Hemp Farm Gallery, Vienna, Austria 

  • 2000

    Monochrome, Charlotte Jackson Fine Art, Santa Fe, NM 

Publications

  • Colpitt, Frances & Crow, Thomas & Desmarais, Charles & Frank, Peter & Ming, Leta & Schemmel, Paul & Solnit, Rebecca & Stiles, Kristine. Under the Big Sun: California Art 1974-1981, Museum of Contemporary Art, Los Angeles, CA 

  • Colpitt, Frances. Marks and Movement: Five Painters, Barrett Art Gallery, Santa Monica, CA 

  • Colpitt, Frances & Hickey, Dave & Smith, Jason. James Hayward Works, 1975-2007 catalogue by Modernism Inc. 2007 

  • Frank, Peter. Driven to Abstraction: Southern California and The Non-Objective World 1950-1980, catalogue by the Riverside Art Museum, Riverside 2006 

  • Colpitt, Frances & Gilbert-Rolfe. Jeremy, Monters of Monochrome, catalogue by Mandarin Press, Los Angeles 2006 

  • Kelley, Mike. James Hayward, catalogue funded by CUE art foundation, New York 2005 

  • Spampinato, Denise. Parallel Visions, catalogue by Mandarin Press, Los Angeles 2005 

  • Pagel, David. Themes out of School, catalogue funded by the Creative Artists Agency, Los Angeles, California, 1999 

  • Hickey, Dave & Pagel, David & Scanlan, Joe. Plane/Structures, catalogue funded by the Fellows of Contemporary Art, Los Angeles, California 1994 

  • Colpitt, Frances. Mapping, catalogue funded by the University of Texas, San Antonio 1994 

  • Colpitt, Frances. In Plain SIght: Abstract Painting in Los Angeles, catalogue funded by Blue Star Art Space, San Antonio, Texas 1994 

  • Hixon, Kathryn. Awards in the Visual Arts 10, catalogue funded by the National Endowment for the Arts 1991 

  • Plous, Phylis & Colpitt, Frances. Abstract Options, catalogue funded by the National Endowment for the Arts 1989 

  • Baker, Kenneth. Minimalism: Art of Circumstance. Abberville Press, New York, New York 1988 

  • Alacuaz, Marie & Lu, Victoria. Contemporary Southern California Art, catalogue funded by the Taipei Fine Arts Museum, Taipei, Republic of China 1987 

  • Larsen, Susan C. Sunshine and Shadow: Recent Painting in Southern California, catalogue by the Fellows of Contemporary Art, Los Angeles 1985 

  • Colpitt, Frances, & Knight, Christopher, & Plagens, Peter, & Smith, Robert. Changing Trends Content and Style, catalogue by Fellows of Contemporary Art, Los Angeles 1982

Collections

  • Albright-Knox Art Gallery, Buffalo, NY 

  • Anderson School of Management, University of California, Los Angeles, CA 

  • Cleveland Museum of Art, Cleveland, OH 

  • Museum of Contemporary Art Denver, Denver, CO 

  • Laguna Beach Museum of Art, Laguna Beach, CA 

  • Los Angeles County Museum of Art, Los Angeles, CA 

  • The Minneapolis Institute of Art, Minneapolis, MN

  • Museum of Contemporary Art, Los Angeles, CA 

  • Museum of Contemporary Art, North Miami, FL 

  • Orange County Museum of Art, Newport Beach, CA 

  • San Francisco Museum of Modern Art, San Francisco, CA 

  • San Jose Museum of Art, San Jose, CA 

  • Art, Design & Architecture Museum, University of California, Santa Barbara, CA 

  • Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA 

Bibliography

  • Hart, Matthew. “James Hayward: Some with a Brush, Some with a Shovel,” Flaunt, Issue 143 

  • Kinney, Tulsa. “Maker’s Mark,” Artillery, March-April 2015 p. 36-39 

  • James, Christopher. “Tracing Chaos: Aesthetics in the Surf Zone,” X-TRA, Volume 14, Number 4, Summer 2012, p. 58-70 

  • Carlson, Ben. “James Hayward at Richard Telles Fine Art”, Artforum February 2012 vol. 50, No. 6, p. 235 

  • Chute, James. “The Art of Storytelling”, The San Diego Union-Tribune, October 6, 2011 Night and Day p. 14 

  • Pagel, David. “Take pleasure in monochrome”, Los Angeles Times. April 11, 2008 p. E19 

  • Baker, Kenneth. “James Hayward pursues a kind of ‘pure painting’” San Francisco Chronicle September 15, 2007 p. E1 (photo) 

  • Frank, Peter. “James Hayward”. Artus, issue 17 March-April 2007, p. 28 

  • Melrod, George. “James Hayward: Monster of Monochrome”, Art Ltd, January 2007 p. 38 to 45 

  • Hayward, James. “Why Johnny Should Learn To Read”, Artillery, vol 1 no 2 November 2006 

  • Knight, Christopher. “Just going with the flow”, Los Angeles Times, January 14, 2006 p. E 24 

  • Knight, Christopher. “Earthly creators find the divine in their details”, Los Angeles Times, August 11, 2004, p. E 1 

  • Pagel, David. “Celebrating Paint’s Physicality”, Los Angeles Times, August 1, 2003 Calendar 

  • Baker, Kenneth. “Five times Four at Modernism”, San Francisco Chronicle, December 14, 2002 p. D 10 

  • Harvey, Doug. “Scopophilial Pleasures”, L.A. Weekly, March 30-April 5, 2001, p. 36 

  • Pagel, David. “Art Reviews”, Los Angeles Times, March 16, 2001 

  • Quinn, Joan. “Joan Quinn, etc, etc, etc”, Art Talk, April-May, 2001 

  • Mendel-Black, Daniel. “Interview with James Hayward”, Journal, Spring 2000, p. 24- 26 

  • Baker, Kenneth. “Indifferent Strokes”, San Francisco Chronicle, November 14, 1998 p. E 8 

  • Pagel, David. “Art Reviews”, Los Angeles Times, April 24, 1998, p. F 29 

  • Pagel, David. “Art Reviews”, Los Angeles Times, May 22, 1998, p. F 28 

  • Gilbert-Rolfe, Jeremy. “James Hayward: Nonrepresentation which doesn’t Represent”, Beyond Piety: Critial Essays on The Visual Arts 1986-1993, Cambridge University Press, 1995 p. 95-114 (photos) 

  • Wood, Carol. “Free-for-all Formalism”, New Art Examiner, November 1994, p. 26-30 

  • Schipper, Merle. “Distilled Spirituality: Mediating Between East and West in Los Angeles”, Visions, Fall 1994, p. 24-26 

  • Wilson, William. “Plane/Structures at Otis: Enriching Work”, Los Angeles Times, September 19, 1994, p. F 2 

  • Pagel, David. “Art Reviews”, Los Angeles Times, July 22, 1993, p. F 10 

  • Peterson, William. “Physical Abstraction: On to Abstract Painting in Los Angeles”, Artspace, December 1992, p. 53-60 (photo) 

  • Gardner, Colin. “Nonrepresentation in Los Angeles” Tema Celest, April-May 1992, p. 64-69 (photo) 

  • Colpitt, Frances. “James Hayward at Ace”, Art in America, June 1991, p. 156-157 (photo) 

  • McKenna, Christine. “Transcendental Squares”, Los Angeles Times, January 1, 1991 p. F 11

  • Wilson, William. “Abstractions: Contrasting Temperments”, Los Angeles Times, March 16, 1990 p. F 24-25 

  • White, Garrett. “L.A. Art 1990”, L.A. Style, June 1990, p. 162-163 (photo) 

  • Spector, Buzz. “James Hayward: The Space Behind the Gesture”, Visions, Spring 1989, p. 3-7 (cover and photos) 

  • Clothier, Peter. “At the Hard Edge: California Abstraction Then and Now”, Art Coast, March-April 1989, p. 40-44 

  • Gilbert-Rolfe, Jeremy. “The Current State of Nonrepresentation”, Visions, Spring 1989, p. 3-7 

  • Mahoney, Robert. “New York Reviews”, Arts Magazine, April 1989, p. 98-99 (photo) 

  • Muchnic, Suzanne. “Two Views of the Revival of the Abstract”, Los Angeles Times, January 24, 1989 part VI, p. 5 

  • Fehlau, Fred. “The Complex Structure of Simplicity”, Artweek, June 3, 1989 p. 7 

  • McKenna, Kristine. “The Galleries”, Los Angeles Times, November 18, 1988, part VI, p. 15 

  • Gilbert-Rolfe, Jeremy. “Abstract Paintings and the Historical Object: Considerations on New Paintings by James Hayward”, Arts Magazine, April 1987, p. 30-36 (photos)

  • Clothier, Peter. “James Hayward at Rosamund Felsen”, Art in America May 1986, p. 165-167 

  • Wilson, William. “The Galleries”, Los Angeles Times, May 1, 1987, part VI, p. 17 

  • Wilson, William. “The Galleries”, Los Angeles Times, January 17, 1986, part VI, p. 14 

  • Plagens, Peter. “Bee-Bop da Rebok in L.A.”, Art In America, April 1985, p. 148 

  • Muchnic, Suzanne. “Sunshines on 29 Local Painters”, Los Angeles Times, January 24, 1985, Calendar, p. 1 

  • Wilson, William. “The Galleries”, Los Angeles Times, May 13, 1983, Part VI, p. 2 

  • Wilson, William. “Common Thread Shared in Changing Trends”, Los Angeles Times, November 28, 1983, Calendar, p. 80 

  • Albright, Thomas. “New Perspectives in Minimalism and Photo Realism”, San Francisco Chronicle, October 22, 1982, p. 71 

  • Muchnic, Suzanne. “The Galleries”, Los Angeles Times, April 25, 1980, Part VI, p. 9 

  • Albright, Thomas. “Clarification and the Less Orderly”, San Francisco Chronicle, January 31, 1980, p. 46 

  • Hayward, James. “On the Nature of Abstraction”, Journal, Los Angeles Institute of Contemporary Art, #22, March-April 1979, p. 55 

  • Frank, Peter. “Unslick in L.A.”, Art in America, September-October 1978, p. 78 

  • Plagens, Peter. “Branch Office Art: Is L.A. an Outpost?”, New West, August 15, 1977, p. 23 

  • Swartz, Ellen. “New York Reviews: Hayward-Miller”, Art News, September 1977, p 143 

  • Glueck, Grace. “Two Painters on the Same Plane” New York Times, May 27, 1977, part C, p. 21 

  • Ratcliff, Carter. “Reviews”, Art International1, August 1977, p. 75 

  • Swartz, Ellen. “Less is More”, Art News, September 1977, p. 192 

  • Wilson, William. “New Abstract Painting”, Los Angeles Times, October 31, 1976, Calendar p. 1