The following list exhibitions at the Newport Harbor Art Museum and refer to my training and experience as Technical Services Advisor, Curatorial Assistant and Operation Manager. These exhibits were all under my responsibility to complete and execute to the satisfaction of the museums high standards of excellent. They are listed to provide a level of confidence in my hands on learning and exhibition knowledge in addition to my university training and degree.

1979
• OUR OWN ARTISTS, ART IN ORANGE COUNTY, Newport Harbor Art Museum, October 6.
1980
• NATASHA NICHOLSON, NATASHA’S DOLLHOUSE, Newport Harbor Art Museum, January6.
• PAUL DILLON, Newport Harbor Art Museum (NHAM), January 27.
• NEW PHOTOGRAPHY ACQUISITIONS, NHAM, January 30.
• FRANK J. THOMAS: LOS ANGELES FROM A 30 YEAR PERSPECTIVE
• CHRISTO: RUNNING FENCE PROJECT, MARIN AND SONOMA COUNTIES 1972-1976, NHAM, February 16.
• NATHAN OLIVEIRA: SWISS SITE SERIES, NHAM, March 22.
• CONCERT BY BILL FONTANA, NHAM, April 2.
• MURALS WITHOUT WALLS: ARSHILE GORKY’S AVIATION
MURALS REDISCOVERED, NHAM, May 6.
• FIRST WESTERN STATES BIENNIAL EXHIBITION, NHAM, May 10.
• FLETCHER BENTON SCULPTURE, NHAM, May 17.
• DORRIT KIRK AND BARBARA STERNBERGER EXHIBITION, NHAM, July 10.
• STEVEN KALTENBACK: PORTRAIT OF MY FATHER, NHAM, July 12.
• DON NICE: BEAST AND DEMONS AND PEACEABLE KINGDOM, NHAM, July 12.
• KATHERINE PORTER: WORKS ON PAPER 1969-1979, NHAM, July 12.
• MASAMI TERAOKA, NHAM, September 27.
• FABRICATED TO BE PHOTOGRAPHED, NHAM, October 4.
• BETTY ASHER’S CUPS, NHAM, December 19.
• PATRICK HOGAN, NHAM, December 13.
1981
• PAUL DELVAUX: PAINTINGS AND GRAPHICS, NHAM, January 3.
• FLUOR THROUGH PHOTOGRAPHY, NHAM, January 17.
• MORALITY PLAYS, ROLAND REISS, NHAM, January 25.
• DADA NIGHT LIVE AT THE NEWPORT HARBOR ART MUSEUM, February 7.
• ARNOLD MESCHES: NEW YORK, NHAM, February 14.
• CALIFORNIA: THE STATE OF LANDSCAPE 1872-1981, NHAM, March 3.
• INSIDE/OUT: SELF BEYOND LIKENESS, NHAM, May 22.
• BARBARA SPRING: WOOD SCULPTURE, NHAM, May 16.
• BRAM’S VERY OWN FAULT, PETER BERG, NHAM, July 24.
• JOURNEY TO THE SURFACE OF THE EARTH, MARK BOYLE, NHAM, July 24.
• PERFORMANCE BY RACHEL ROSENTHAL, SOLDIER OF FORTUNE, NHAM, July10.
• RICHARD SHAW CERAMIC SCULPTURE EXHIBITION, NHAM, October 2.
• WORKS ON PAPER 1954-1976, CY TWOMBLY, NHAM, October 2.
• DONALD JUDD, NHAM, September 26.
• THE WORLD OF JON SERL’S PAINTINGS, JON SERL, NHAM, December.
• CALIFORNIA COLLECTS: IMPORTANT WORKS FROM THE
COLLECTION OF THE SAN FRANCISCO MUSEUM OF MODERN ART, NHAM,
December 18.
• VATICAN CORRIDOR, ROBERT CREMEAN, NHAM, December 17.
• SOLLIE 17, EDWARD KIENHOLZ AND NANCY REDDIN KIENHOLZ, NHAM, February 27.
• ON THE ELLIPSE, LARRY BELL, NHAM, March 5.
• PERKIN, ALEXANDER CALDER, NHAM, March 14.
1982
• AVERY IN MEXICO AND AFTER, MILTON AVERY, NHAM, May 14.
• CALIFORNIA COLLECTS: POPULAR GRAPHIC ART OF MEXICO,NHAM, May 14.
• THE CONTRASTING MODES OF ALAN SARET, NHAM, July 8.



Professional Experience: Curator/ Consultant Projects, 1982- present
1982
Management and cataloguing the Music Center art collection. A series of exhibition programs that reflects a particular theme or subject matter that would correlate with arts programs, festivals and special events. The purpose was to educate the public and provide an extended cultural experience.

OSSOPPEE III, FRANK STELLA, MUSIC CENTER, September. Researched and developed a modern art category for the collection with curatiorial and design components. By analyzed documentation and professional appraisal I established priorities for the collection. Arranged to provide conservation and suitable display of this major example of modern art.

CARL MARIA GUILINE, BEN BRONSON, MUSIC CENTER, September. Developing an art referral and acquisition policy for new works to be added to the collection I was responsible for production and display of each art object. This piece honoring the tenure of the great conductor, Carl Maria Guiline was display with a collection of 17th and 18th century musical instruments, a manuscript Autographed by Franz Lizst, the Volume of Cazonettas by Joseph Haydn, and an Antique Spanish Musical Exercise Book.

BALLET SHOES, ENZO PLAZZOTTA, MUSIC CENTER, October. In celebration of the Joffery Ballet taking residency at the Music Center the sculpture, “Ballet Shoes,” by Enzo Plazzotta was acquired and added to the permanent collection. I arrange shipping, insurance and security, while curatorial services for the final placement were provided.

DOROTHY BUFFUM CHANDLER, PAUL CONRAD, MUSIC CENTER, November. Paul Conrad’s bronze sculptures of controversial personalities are considered provocative due to his techniques, some have criticized his coarse texture and exposed teeth. In addition, while providing arrangements for shipping, insurance, security and placement, I arrange for an Art Talk with the educational intention for the Docents.
1983
JOHN PAUL JONES AND DON HENDRICKS, MUSIC CENTER, January. Curate the first contemporary exhibition and acquisition for the Conference Center at the Music Center. Works by both these Southern Californian artists were selected for their theme and subject matter.

THE PAVILION AND MUSIC ON CANVAS, DAVID HOCKNEY, February. When the artist offered an extended loan of the work, The Pavilion And Music On Canvas, I organized a complete exhibition of other contemporary art works in the collection, in order to create a cohesive presentation I included the works by Michael McMillen, Leonardo Neirman, Sandi Fox, and Sylvia Shap. ArtTalks and Studio Tours were arranged for the education of the Docents.

SCULPTURE AT THE MUSIC CENTER, ANNA MAHLER, RENZO FENCI, MARINO MARINI
EMILE ANTOINE BOURDELLE, JANE PERCE ULLMAN, GEORGE KOBE, MUSIC CENTER, July. Curate and organize this sculpture exhibit in the Lobby of the Dorothy Chandler Pavilion. Never before had the entire collection of significant sculptures been seen together and with appropriate labels, information and display treatment. Starting with the expressionist work, “Beethoven Genius” by George Kolbe and ending with the Renzo Fenci bust of “Edwin Lester” the collection now seen in its entirety reflects the legacy of Music Conductors. I placed each work on marble pedestals against the Pavilion’s onyx backdrop so that the visitor views the legends of the symphony; Piatigorsky, Klemperer, and Stravinsky now curatorially placed and relevant.

BUNKER HILL, MICHAEL McMILLEN, MUSIC CENTER, February. Researched and provided background from the photography collection in the Music Center Archives to the artist. This was in collaboration of a new commission, the first in twenty years, of a piece by Michael McMillen entitled “Bunker Hill.” Arranged to provide suitable display of this major example of contemporary art.

1984
BLOISHOI BALLET ARCHIVES, MUSIC CENTER, July. Collaborated with the Bloishoi Ballet Archive to select and organized the first public exhibit of this important collection. In celebration of the 1984 Olympics Cultural Festival the Music Center presented the Russian Ballet. My contribution was to instigate, organize and then install the exhibition in the Grand Hall of the Dorothy Chandler Pavilion. The exhibition included 65 vintage posters, original playbills, drawings and photographs. We built display pedestals to exhibit portions of the original Bloishoi Theatre Stage floor and costumes from the original production that were presented on the Pavilion Stage.

DANCE DOOR, ROBERT GRAHAM, MUSIC CENTER (MC), July. This major work was the first in the series of “door” theme art works for the artist. I provided the curatorial work in collaboration with the artist for the final placement of this important Public Art. I arranged the special installation for the permanent location on the Music Center Plaza. The artist requested that I recommend and find a place that the door would act as a threshold to culture. The location I choose was at the east side of the Plaza facing city hall. Robert Graham commented that the location was a perfect balance because from one side of the door you see the Music Center Fountain while form the other you see the government buildings of Hall of Administration and City Hall

Robert Graham executed this work entitled “Dance Door” in 1978 for Frederick Weisman, who installed it near the swimming pool at his Beverly Hills home. This piece was then donated in late 1982 to the Music Center in commemoration of Joffery Ballet’s affiliation with the Music Center. Supervising the installation of the “Dance Door”, Graham related it to nearby structures by aligning it in axis with “Peace on Earth” on the west and the City Hall on the east. The door measures 8 ½ feet by 4 feet and consist of three sections. Small fragments of dancers in relief in the bottom half, larger fragments of dancers in relief are on the next part and a cutout frieze of silhouetted dancing figures is the uppermost part. The bronze frame and door, together weighing approximately two tons, were cast and assembled in Graham’s Venice studio. The theme appears on other works of his from 1978, such as “Dance Columns” located in the UCLA Sculpture Garden. “Dance Door” was important to Graham’s career because it was the largest work he created up to that time and it gave him confidence that he had the technical capacity to cast large bronze sculptural pieces. He subsequently was commissioned to execute a 50-foot long bronze bas-relief for the Roosevelt Memorial in Washington, D.C. and the Olympics Gateway at the Los Angeles Coliseum for the 1984 Olympics.

Robert Graham (1938-) was born in Mexico City. At the age of ten he moved to San Jose. After receiving his BA from San Jose in 1963 and a degree from San Francisco Art Institution in 1964, he achieved notoriety in pop art circles by making small wax nude figures in Plexiglas boxes. Beginning in the early 1970’s, he started casting anatomically accurate and detailed female nudes in bronze. This distinctively realistic quality can be seen in the figures of the Olympic Gateway and the four nudes he cast for fountains inside the atrium of the Wells Fargo Center south of Grand Avenue. He has been widely exhibited in numerous one-man and group exhibitions and his works are in the collections of many museums, including the Museum of Modern Art and the Whiney in New York City, the Hirschhorn Museum in Washington, D.C., the Walker Art Center in Minneapolis, the Los Angeles County Museum of Art and the San Francisco Museum of Art. Graham also designed the 1984 Olympic Commemorative Silver Dollar.

1985 MUSIC CENTER SILENT ART AUCTION, November. Curate and organized over 25 artists work donated to the Music Center for one of it’s major fundraisers. The exhibit was held at an alternative space given for this purpose at the Wells Fargo/ Crocker Center. I provided copy and description of the auctioned off art objects ranging from paintings, drawings, prints, photographs, sculptures and included the work by David Hockney, Ed Rusha, Michael McMillen, Peter Alexander, Chuck Arnoldi, Larry Bell, Billy Al Bengston, Sam Francis, George Herms.



1986 THE FOUNDERS ART EXHIBIT, MARCUS GEERAERTS, DANIEL MYTENS, BARTALOMEO GEORGE ROMNEY, MC, March. Collaborated with the curator at the Norton Simon Art Foundation in order to approve the extended loan from their collection to be permanently displayed in The Founders Room on the Second Floor of the Pavilion. The concept for selection was the Late Renaissance. In addition, while providing arrangements for shipping, insurance, security and placement, I contributed research for a descriptive copy with the educational intention for the Docents and public.
1987
OTTO ROTHCHILDS PHOTOGRAPHY AT THE MUSIC CENTER, January. The Music was granted the collective body of work by the Photographer, Otto Rothchild, about the history of theater of Los Angeles. I oversaw the collection of over 65,000 photograph negatives, most about theater events and celebrity shots, categorized by the UCLA Theater Archive Department. In celebration of the acquisition I recommended that one of the Music Center restaurants be remodeled and named the Otto Rothchild’s Bar & Grill and display parts of the collection. I collaborated with the Music Center Archives and selected over 400 hundred photograph, then arranged with Kodak to print them in a special Black & White process using color paper. The effect was to create a sepia tone that could be controlled in large processing. I selected four themes, Musicals, Conductors, Broadway Plays and Dance, in order to give homage to the Center and represent the multi-disciplinary arts. The restaurant became an instant success and was lovingly refereed to as “Otto’s,” a great compliment to the donors and to the fusion of the living arts.

RUFINO TAMAYO, THE BILINGUAL FOUNDATION OF ARTS, “EL ANGEL” AWARD. LA, May. “”El Angel” Award presented to the artist Rufino Tamayo by The Bilingual Foundation of the Arts at the annual “Ole” Gala. As a member of the BFA Awards Committee I was responsible for curatorial services in the display of the works by Rufino Tamayo and Anthony Quinn.

1989 THE 75th ANNIVERSARY SHOW OF THE LOS ANGELES PHILHARMONIC. MC, October. Collaborated with the Music Center Archives, The Hollywood Bowl Museum, and the Philharmonic to select and organize photographs, prints and artifacts for the public exhibit representing the celebration of the history of this important performing arts organization. In celebration of Music Center’s first tenant, I designed an exhibit space that could remain in public view for the entire 75th Season. My contribution was to instigate, research, organize and then install the exhibition in the Grand Hall of the Dorothy Chandler Pavilion.

1990
BETTY FREMAN PHOTOGRAPHY, MC, October. Collaborated with the Photographer and provided curatorial services to select over 50 photographs from her new book “Music People” the theme was the depiction of conductors, arrangers, and musicians in a candid pose that revealed the human side of life as an artist.

LIFE AND WORKS OF ARNOLD SCHOENBERG, MC, February. Collaboration with this large traveling exhibit which was divided into four groups: a chronology on the first three panels, Shoenberg’s operas on the next four panels, different aspects of his intellectual life on the next four, and the two additional Gurrelieder panels prepared especially for this exhibition. I provided curatorial services in the final layout, information labels and installation look.

100 YEARS OF CARNEGIE HALL: A POSTER SHOW, MC, April. To celebrate the centennial of this great hall I help organized the traveling exhibit that included: Titles panels, mounted introduction panels and 26 mounted photographs.

From 1992 to the present. THE ANNUAL SENSUAL & EROTIC ART EXHIBITION.
The founder and director of The Annual Sensual & Erotic Art Exhibition, now in it’s 15th year, and has developed a theme that presents a unique American perspective on the subject matter of censorship and contemporary art. The idea for this exhibition emerged out of the need to provide a free forum for artists and to expand the general public’s opportunity to view erotic art in its many forms. His intention in assembling these works is to make more widely known the achievements of contemporary artists, whose neglect can in part be attributed to their gender, culture or medium. The goal is to educate those attending the exhibition as to why and how erotic artists have been marginalized in the twentieth century. This exhibition of the most significant developments in Erotic art in America reigns as the longest running continuous survey in America. The Annual is recorded historically in the battle against censorship when in 1997, with the assistance of the California ACLU, it was granted a restraining order by a Federal Judge who condemned the censorship action of the California Alcohol Beverage Control Board. On March 6, 2000, it was further decided by The Ninth Circuit Court of Appeals in the case of LSO vs. STROH to reverse the district court’s grant of summary judgment to the Officials on the grounds of qualified immunity. The importance of this decision is the announcement of the continuing vitality of the First Amendment and the rejection of the State’s attempt to weaken personal freedoms through the use of regulations. Additionally, this decision provides a “road map” for future challengers of thinly veiled legislation that is primarily intended to abridge the First Amendment. Now artists involved return to the earlier conceptual principal of sex, as they assume the right to mirror our seeing, and to make art whose reality would be independent of society’s taboo. Our visual impressions, coming to the end of its own intimate extreme, is that fuller truth about reality which is known to the human mind in favor of the erotic.

The XART Gallery opened in September of 2002.

1995 EROTIC ART, OFF THE WALL, LOS ANGELES ART ASSOCIATION,
November. AT THE 825 GALLERY, LA, June. Curate an all member exhibit. This oldest of Los Angeles art institutes contacted me to juror then curate their first group exhibit on the subject matter.

1997 THE MUSIC CENTER HERITAGE FOUNDATION, MC, May. Curate a historical exhibition selecting items and art objects from the Music Center Archives, Center Theater Groups art department, the Los Angeles Opera Association and the Los Angeles Philharmonic Association and create a theme about the future of the Performing Arts Center.
1998
FREEWAY ACROBATS BY PETER SHIRE, MC, March. I provided the curatorial work in collaboration with the artist for the final placement of this new Public Art. I arranged the special installation for the permanent location in the lobby of the Ahmanson Theater. The special demands of a Public Art work are complicated by the size and theories that the artist is envisioning. This work involves the aerial suspension of several flying acrobats balanced on a high wire with kinetic motion. I was able to create a mutual solution to each of the artist request and balance the regulatory review with a safe installation.

OTTO ROTHCHILDS PHOTOGRAPHY AT THE MUSIC CENTER, MC, July. Music Center remodeled the Otto Rothchild’s Bar & Grill and I rotated parts of the collection. I collaborated with the Music Center Archives and selected over 150 photographs, then arranged with Kodak to print them in a special Black & White process using color paper. The effect was to create a sepia tone that could be controlled in large processing. I selected three new themes, Musical Comedies, Popular Music, Broadway Actors and the Hollywood Bowl; in order to give homage to the great diversity represented the history of the Los Angeles arts community.

WELTON BECKET ARCHITECTURAL RENDERINGS, MC, July. As part of the architectural heritage of the Music Center I arranged for the Music Center to procure from Welton Becket Jr., the son of Welton Becket, several original presentation drawings and watercolors of The Music Center. I curate an exhibit of these works and architectural model in the Conference Center at the Pavilion. These works along with the model were to go on later to become part of the presentation by The Modern Committee of The Los Angeles Conservancy in the exhibition, ”Built By Becket, 100 Centennial Celebration.”

1999
THE 3RD ANNUAL STATE OF THE ARTS; CELEBRATING 30 YEARS OF
MUSIC CENTER UNIFIED FUND, MC, January. Curate and design an exhibit showcasing the historical moments in the history of the Music Center. The curatorial services for exhibit includes the researching and selecting of items form the Music Center Archives and private collections.

THE 35th ANNIVERSARY EXHIBITION FOR THE LOS ANGELES MASTER CHORALE, MC, May. Curate and organize an exhibition in a tribute to the founders of this Los Angeles institution with original photographs, art works, prints and posters.

ArtTalk: THE WORK OF MICHAEL MCMILLEN/ BUNKER HILL, MC, August. In the on-going series of artist invitation, Michael McMillen came to speak about the collection. This successful educational program gives insight and information that the Docents assimilate into the tour script and narrative.
2000
THE 4TH ANNUAL STATE OF THE ARTS; NEW FACES/ NEW DIRECTIONS FOR THE MUSIC CENTER, January. Curate a multi-disciplinary art exhibit, which focused on new programs and direction of each of the resident performing arts companies. Organized and collaborated with individual art departments to create an interactive and illuminating exhibit on the progressive programs of each company. Art exhibit included over 100 items presenting original art works, super graphic displays, video presentations and rear screen projection highlighting over 127 theatrical productions.

ArtTalk: SANDI FOX/ Quilt Making for the 21st Century, MC, February. This Art Talk was organized to coincide with my installation of the artist’s work at the Pavilion. This signature quilt has a rich tradition in the support of charitable causes. Sandi Fox is recognized by experts in the field of quilt making as one of the finest and most knowledgeable in the art of quilting and creators in the Country. She has as been recognized by the California Arts Council for her artistry by awarding her a “Master Craftsman” grant. She volunteered to appear at the Music Center and provide a Presentation to the Docents in order to educate the public on the art of quilt making.

STRAVINSKY FESTIVAL, PHOTOGRAPHY , MC, March. Collaborated with the Hollywood Bowl Archive to organize a special tribute to the composer. I provided curatorial service and design input for the final presentation. `

ART 2000: Cataloging of art collection at the Music Center of LA. Cataloguing Project for the Music Center Archives. The collection was organized into five separate sections with appraisal services arranged: Paintings and Prints, Sculpture, Furniture, Musical Items, Textiles. This product is used for the Assets Inventory and Insurance Policies,

MADE IN L. A.; Los Angeles Master Chorale, MC, April. Assist in the organization of this tribute to Los Angeles composers.

ArtTalk: The Great Bronze Doors for the Cathedral of Our Lady of the Angels at the Robert Graham Studio, Venice, May. Studio visit was arranged as part of the on-going Art Talk series.

ART OF HEALING CHILDREN; METROPOLITAIN STATE HOPITAL, MC, August. Curate the exhibit for the premiere presentation of this State funded fundraiser. The 52 art works made by kids from The Children and Adolescent Program at Metropolitan State Hospital participating in The Arts In Mental Health Program includes: painting, drawing, watercolors, monoprints, puppets, masks. This event is presented again in 2002.




DOWNTOWN WOMEN’S CENTER ANNUAL ART SHOW, LA, September. This exhibition is a great service and benefit to the members of the Downtown Women’s Center. Curate and design services from selection of the art works to arranging the transportation and insurance agreements. The work varied from high quality photography to the archaic style. Again in 2002.

JAZZ ARTIST PHOTGRAPHY SHOW, MC, October. Curate and organize a photographic exhibition of some of the greatest photojournalist in the capture of the life and times of the jazzmen of our era. Photographs were selected from private collection and the artist studio.
Created informational labels and handouts for the exhibit that included the work of: Warren Berman, Clifford Getz, Michael Oletta, Joseph Latzer, Ron Hudson, Keith Ian Polakoff, Lloyd Rucker, William Claxton, Elde Stewart, Carole Reiff, Anna Gadden, Otto Rothchild, and Roy Avery.

INSIDE/ OUT: THE WORLD OF CAROLE REIFF, Photography, MC, October. Curate a one person exhibit of the Photographer, Carole Reiff, then in her twenties, took her Rolleiflex camera into the jazz clubs, the concert halls, recording studios, rehearsal lofts and all night jam sessions. She was perhaps the quintessential groupie, that third eye who was always watching but never critical. She was as much a part of the scene as the musicians, recording affectionately the landscape surrounding her photographs of the great artists of jazz become art in and of themselves. She captured not only the chronicle of a music, but the rhythm and spirit of it.

2001 ARCHITECTURAL ADVENTRUE: STRUCTURAL EXPRESSION/ WALT DISNEY CONCERT HALL, MC, March. Curate the exhibition that includes Photomurals of the project, screen projects and text. The Post- Modernist Gehry experiments in perspective distortion and represents the successive transformations in the very idea of visual and bodily movement. So in his work movement take many forms: There is the movement of an apparently incomplete construction: “buildings under construction look nicer than buildings finished”.
There is the movement of shifting masses; collapsing solids, flying stairs, juxtaposed and twisted volume. There is the movement simulated by intersecting, penetrating and colliding systems. There is the movement of shifted or inflected axes. There is the “implied” movement of an always-dancing inhabitant. Finally, there is the “implied” movement of vision. A deliberate ignoring of the symmetry will inevitably disrupt even the most static of parts.
There are two major conventional frameworks in Gehry’s projects: The first is Frontality, generally in the form of a residual façade as it stresses the counterpoint and twisting of the total mass. And second, Gehry is dedicated to the subtle re- inscription of typology in the urban context, transforming an existing type, found on the site or near by, and combining them to form a new composite.
2003
“EL NINO”; LOS ANGELES PHILHARMONIC ASSOCIATION, MC, March. Collaboration with the LAPA and Hollywood Bowl Museum to organize this exhibit about the work of Yreina D. Cervantez as she adopts the metaphor “Mujer De Mucha Enagua” to represent all women united in struggle for a better life. She works with Peter Sellars in the production of El Nino, which inspired John Adams in the work of the same title. The exhibit was timed with the performance of El Nino by the Los Angeles Philharmonic.

“IRON: ERECTING THE WALT DISNEY CONCERT HALL” PHOTOGRAPHS BY GIL GARCETTI, MC, August. Curate and organize a photography exhibit from the book by the famous ex-prosecutor as he embarks on a new career in photography. Research and selection of the 50 representative photographs has well has providing educational labels.
2004
“EROTO ~ TO THE PRURIENT INTEREST” THE EROTIC-SEXUAL IMAGES OF R. C. HORSCH, at THE XART GALLERY, January. Curate exhibit of the American Master. The personal vision that makes the work of R C Horsch powerful and memorable is manifest in the recalcitrant relationship between art and photography. These images, loosely described as documents of conceptual events, are an outgrowth of the contemporary artists interests in film, screenplays, short stories, and information systems – a phenomenon that is the extension of the substitution of the art object for the art idea. To the artist, who sees himself as visionary, storyteller and technician, imagery is a convenient and accurate means for visual reality with implied narrative content.The composed image by R C Horsch hints of the rich mythic content and poetic narrative that fill his photographs. When the artist deliberately pursues personal visions of contemporary realism the viewer may or may not find it understandable. The invented surrealistic people in minimal landscapes are primarily therapeutic. There is a sexual humanist presence to this work, which is translatable. He creates unique compositions with fantastic and seductive beings whose existence celebrates the artist’s aesthetic reality. The artworks are demanding and public in nature. They confront the viewer by virtue of their size, scope and style. Conjure woman, urban figures, night creatures and intense ritualistic activities; cabaret, smoking, drinking, prostitution and fetishistic scenes populate the world. The ritual underscores the universal connection of cultures sexual ceremonies. The expressiveness in his work resides in the entire image.

The post- modern photographer creates more consciously personal documents of everyday life, magic, and spiritual equivalents. His interest in the narrative is based in reliance upon literary or visual associations. The photographer can pinpoint times of dramatic changes in looks, physical appearances, and feelings. In the photographs by R.C. Horsch it’s not unusual to have occasional fantasies and dreams about sexual experiences acted out in seductive narrative. There is a dreamlike intensity to the photographs of female landscapes and ritual urbanism that presents and illuminates the mystical world of erotica. The images are personal and extremely useful in uncovering the subtleties and complexities of the individual’s relationship with other people. The intensity and juxtaposition of form and color is aesthetic assurance that craft combined with the charged vision remain the power of the photograph. R. C. Horsch documents and explores the candid and routine of American Culture. The conceptual content is a sexually charged photographic narrative of the object of desire. The photographs are about the power relation of how individuals define sexual identity.

MICHAEL ROBLES: NEW WORKS, at THE XART GALLERY, February. Curate exhibit of new works by this LA Based artist.

LEA MORALES: NEW PHOTOGRAPHY, at THE XART GALLERY, April. Curate exhibit of new works by this important contemporary artist.

LATIN VISIONS: MEXICAN ARTISTS LOOK AT EROTICA, ACAPULCO, MEXICO, May. 2004 y
“Latin Visions: Mexican Artists Look at Erotica” held in Acapulco, Mexico. Curator for the first international exhibit in Mexico to deal with censorship in art. Exhibition included artists from all parts of Mexico including Vidal Pinto Estrada, Joly Lacarra, Julieta Bartolini, Hugo Crosthwaite, Martin Tellez, Francisco Cabello, Miguel Labrada, Jose Montiel Vazquez, Arturo Lona Montiel, Jose Lona Montiel, Hector Lona Montiel, Alejandro Zenker Hackett, Eduardo Medina, Jorge Vargas Villicana, Carlos Anadon, Nora Patrica Beteta

LA Exposed, The Erotic Museum, November 2004. Los Angeles –November 11- The World Premiere of the ‘15th Annual Sensual & Erotic Art Exhibition: LA Exposed’ will open November 11, 2004 through January 16, 2005, at The Erotic Museum, 6741 Hollywood Boulevard, Hollywood. This installment, presented by The Erotic Museum will feature the work of artists: Sia Aryai, David Bloksberg, Sandra Chang, John Evans Lord Tim Hudson, Ken Marcus, Steve Montiglio, Lea Morales, Lisa Pirchard, Pornotopia.com, Mel Roberts, Michael Robles, Brain Soucy, Martin Tellez, Tiffany Trenda, Frank Venades and Robert Watson Jr.

2005
June 10, 2005 - “Body and Mind…the aesthetic genius of R.C. Horsch,” will open June 10 as a featured art exhibit of Erotica-LA at The Los Angeles Convention Center in Downtown before it leaves for an extended tour in Europe.
The artworks in this exhibition are demanding and public in nature. They are all about the body and the compositions provoke the mind. They confront the viewer by virtue of their size, scale, style and subject.
As a post-modern photographer, R. C. Hörsch creates consciously personal documents of everyday life, magic and spiritual equivalents. His interest is often based upon literary or visual associations and what seems accidental in the moment is often consciously taken advantage of. He can pinpoint times of dramatic changes in looks, physical appearances and feelings. It is not unusual to have his fantasies and dreams about sexual experiences acted out in seductive narrative. Moreover, there is a dreamlike intensity, especially to the photographs of female landscapes and ritual urbanism, which present and illuminate his mystical world of erotica. The resulting conceptual content is a sexually charged photographic narrative engaging the viewer in gradual levels of intensity. These images can be extremely personal. Their intensity and juxtaposition of form and color create aesthetic assurance that craft combined with charged vision can successfully communicate, illuminate and arouse.