Peter Wayne Lewis list of works
Click on the menu below to find out more details of works.
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"#538"
Oil on Paper
76x56cm, 2009
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"#540"
Oil on Paper
76x56cm, 2009 |
"#541"
Oil on Paper
76x56cm, 2009 |
"#542"
Oil on Paper
76x56cm, 2009 |
"#543"
Oil on Paper
76x56cm, 2009 |
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"#545"
Oil on Paper
76x56cm, 2009 |
"#546"
Oil on Paper
76x56cm, 2009 |
"#547"
Oil on Paper
76x56cm, 2009 |
"#551"
Oil on Paper
76x56cm, 2009 |
"#552"
Oil on Paper
76x56cm, 2009 |
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PETER WAYNE LEWIS- Brief Biography
Chairman of Fine Arts 2d-Painting and Printmaking and Professor of Painting at Massachusetts College of Art and Design in Boston, Ma. Was born in Kingston, Jamaica West Indies and immigrated to the USA in 1962 and made his home in Sacramento, California. He became a US Naturalized Citizen in 1983 and received his Masters of Arts Degree in painting in 1979 from San Jose State University California. He currently resides in South Orange, New Jersey, Boston, Massachusetts, and Beijing, China.
SELECTED PUBLIC COLLECTIONS:
National Taiwan Normal University, Taipei, Taiwan.
National Doctor Sun Yat-Sen Memorial Hall Museum, Taipei, Taiwan.
Crocker Art Museum, Sacramento, California.
Republic of Senegal, National Art Collection.
Schmidt Bank, Germany.
A. D. Plant Co., Yokohama, Japan.
National Gallery of Art, Kingston, Jamaica.
San Jose Museum of Art, San Jose, California.
Cosima Hotel, Tokyo, Japan.
Rhiga Royal Hotel, Narita, Japan.
Hilton Hotel, San Jose, California.
N. K. Create Corp., Tokyo, Japan.
Nagai Sangyo Company Ltd., Tokyo, Japan.
A&M Co., Chiba, Japan.
Art Stacks Co., Marin, California.
Language Pacifica Co., Palo Alto, California.
Cohen and Lord, a P. C., Marina del Rey, California.
Portland Art Museum, Portland, Oregon, The Vivian and Gordon Gilky Center for Graphic Arts at the
Kunsthaus Ostbayern, Viechtach, Germany.
Guenter Paal & Associates, Stuttgart, Germany.
Salon de Artei Osaka, Osaka, Japan.
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Thoughts about my paintings
We are formed in darkness and born into the light. This is the reality for all human beings in the dance of life on our planet. With globalization being an essential ingredient of the 21st Century and our greater connectedness, I am hopefully optimistic that differing cultural paradigms around the world will move toward a greater quality of humanness rooted in complete respect for differing opinions. With the human Genome project in full play, and other modern technologies advancing; if we maintain a shared knowledge base that is transparent and transcendent, everyone wins and there are no losers.
It is quite fascinating to me to make an exhibition in Japan, due to the fact that as a young man of 9 years old I was introduced to fine art and painting with the work of Master Hokusai and Utamaro. Ukioe prints have always inspired me from this early age until now. Over the past 7 years, I have been visiting China, painting and curating but always absorbing the various experiences that have presented itself to me. All the paintings in this exhibition was made in Beijing, China at my studio; OASIS over the past couple of years.
These paintings refer to the building blocks of nature at its fundamental level; from a micro as well as macro point of view. They involve ideas such as order, chaos, gravity, speed, time and light. Once we understand the lyrical play of the world and its beauty, we collectively as human beings, will want to protect while preserve it. Painting as an art form always addresses ones place in the world and does make us more human.
There is an idea in string theory that all matter exist as vibrating string moving in multiple dimensions. This idea links physics to my great love, music. The vibration of the strings creates harmony. Matter is a series of points, not unlike a strand of DNA that links all human beings together in a timeless dance of life. The laws of physics can be compared to the laws of harmony. The universe can be compared to countless vibrating strings. The universe is a symphony of color and light and different time signatures.
Peter Wayne Lewis (C)
May 6th,2012
Blue and Green: some notes on the work of Peter Wayne Lewis
Stacey Duff
Peter Wayne Lewisfs paintings are perpetually born | born vibrating | out of the energy of the moment. Brimming with vibratory gestures of color, his work is a physical, present-tense activity. He doesnft capture objects. He doesnft structure conventional narratives. His paintings, rather, enact a visual language of the spontaneous self as it explores the harmonious grace of the universe. Viewers of his work become willing cohorts in that pursuit.
His work expands the tradition of American abstract art. His concerns with color field theory | his conviction in the spiritual energy of color | align him with precursors like Mark Rothko and Barnett Newman. Meanwhile, the artistfs experience as a Jamaican-born American, his sensitivity to the African diaspora along with his voracious appetite for jazz and his intellectual interests in theoretical physics, have vigorously pushed his work into new territory. Born in Kingston, Peter Wayne Lewis teaches art in Boston and maintains an ambitious studio practice in both New York and Beijing. He is a citizen of the world and a visual expeditionary. But rather than dig for ideas in art history books, he digs for materials inside himself: an adventurous self born of his eclectic travels. His current show at Matthias Kuper in Beijing provides viewers the opportunity to see nine paintings from an ongoing series predominating in the green and black of his native Jamaica | as well as new site-specific installation.
The installation consists of a painting group, religious statuary and sound element. The paintings are executed in light blue acrylics on canvas that simultaneously evoke porcelain, the Bavarian flag and the blue note from jazz. Peter Wayne Lewis is exploring a kind of blue specific to the context of his experience here in Beijing. The paintings invoke the human body, especially abdominal organs. You also feel it in your gut. The shapes seem to vibrate, a characteristic that rings true to his connection to jazz and his interest in string theory. Blinking lights, common in Beijing, pay homage to local architectural motifs but also add a warm and personal touch to a profound and epic theme: penetrating the living moment of the universe in all its myriad possibilities. The spirituality of this experience | of acting in the now | is echoed by the Buddhist statuary whose meditations here sound out in the form of music closest to the artistfs own heart, jazz.
The final and indispensable element of this exhibition is the viewer. The artist cannot commune with the Greater Self | the Over-Soul that he knows his personal self is a part of | unless he harmonizes with the viewer. This is ultimately a call and response form of art. The artist calls. The viewer responds. The universal symphony arises out of the tacit understanding and the perceptive listening between artist and viewer. These visual harmonics are ultimately as unpredictable as they are universal, as universal as they are intimate, and proof positive that even on a planet where change sometimes approaches chaos, we still live during a dispensation of grace. Art reconciles us to the universal body we didnft know we were seeing.
Beijing
March 31, 2012
----Artistfs Statement - Peter Wayne Lewis
g Stringsh
I am from Jamaica, a Caribbean melting pot. I came to the United States when I was nine years old and, after forty-five years, I still do not have a sense of being at home even though I have become an American citizen. I'm still trying to find a balance. When I create, this becomes reflected in an uncomfortable formal balance. Being an immigrant is crucial because it determines how one thinks about stability. It's the imbalance that creates the tension in the work. I have an understanding of imbalance - this adds psychological charge to the work, which makes it human. Throughout my travels as an artist, I have visited many countries, including Senegal, Germany, France, Italy, Czech-Republic, Cuba, Panama, Japan and, over the last four years, China. My migration has led me to leasing a studio space in Beijing. The contemporary Chinese art scene has exploded on the world stage and I wanted to bear witness to it as an artist and educator.
Painting is a ritual act. I'm trying to discover a link to the spiritual. I aim to transcend the flesh. Ritual describes something greater than it is. It becomes a connection to intangible things, the realm of the spiritual. For me a ritual act is a bridge to different sorts of experiences. The shaman bridges the realms of flesh and spirit to bring back knowledge that can be shared. My religious beliefs are akin to those of the shaman. I am devoted to making these pictures. I don't want my paintings to be passive objects. I want them to generate excitement, questioning, even intrigue. Some perceived imbalance or discord allows movement and rhythm.
I'm very conscious of the formal attributes. I teach those compositional elements of formal balance, harmony, and unity. Personally, I'm trying to shake that up in my work. I'm trying to find other ways of creating harmony, ways that generate some uneasiness. We are formed in darkness and born into the light. There is a metaphorical structure in the work. I do not present a mimetic structure. The picture suggests images of the natural world: trees, sky, and earth. I can't deny that. But I'm not consciously painting things I see. I'm interested in the phenomenon of the horizon that separates the opaque earth from the transparent sky. I paint primarily at night. There is a different presence of light, the nocturnal energy - a different kind of stillness.
I'm interested in graceful Chinese calligraphy and Japanese sumi ink paintings. It was interesting to be introduced to the work of the master painter, Ba Da Shan Ren (1626-1705) of China, during my painting session in Beijing last year. I saw parallel pictorial relationships between his work and mine. This is the beauty and education of travel. There's an idea in string theory that we exist as strings. We're vibrating strings. This idea links physics to my great love, music. According to string theory, if we could magnify a point, we would actually see a vibrating string. Matter is a series of points, not unlike a strand of DNA. The vibration of the strings creates harmony. The laws of physics can be compared to the laws of harmony. The universe can be compared to countless vibrating strings. The universe is a symphony of color and light. In 1982 I traveled with my wife, Catherine, to Europe. We went to see the pre-historic cave paintings at Lascaux. I think of these caves, demarcated by the stalagmites and stalactites, as earth's first Gothic cathedrals. I had a pretty profound experience.
I was overwhelmed. I started thinking about architecture, ritual space, the animals, and things that threaten us. I cried. Those paintings altered what I was doing. I've always been interested in building images that move people in similar ways. I have a great love for the materiality of paint | the tactile sensation, scarification of the paint, that writhing, dancing movement of the pigmented mud. There's a comfortable melding between my sensibility and paint. My body feels it. It makes sense for me. My choice to paint the unknown hopefully leads to some sort of resonance, something of permanent value. I strive to present reflections of my collective inner-world. They are not meant to inform, but to transform. Ultimately, the paintings live and die in the eyes of the viewer.
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SELECTED SOLO EXHIBITIONS:
| 2012 |
PROMO-ARTE, Tokyo, Japan; PAINTINGS FROM MIDDLE EARTH PART 3
Matthias Kuper Galleries, Stuttgart|Beijing, Beijing, China; PAINTINGS FROM MIDDLE EARTH PART 2
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| 2011 |
JayJay, Sacramento, California; PAINTINGS FROM MIDDLE EARTH PART 1 |
| 2010 |
Green T- House Galleries, Beijing, China; Peter Wayne Lewis: Beijing Homage Booster Scrolls |
| 2009 |
Pickled Art, Unit # 1, Beijing, China; GREETINGS FROM KINGSTON/NEW YORK-Paintings
PROMO-ARTE, Tokyo, Japan; Peter Wayne Lewis Paintings |
| 2008 |
STADTIDCHE GALERIE IM CORDONHAUS, Cham, Germany; Peter Wayne Lewis | Booster Paintings
40 Acres Gallery, Sacramento, California; Strings Genesis
JayJay , Sacramento, California; Grand: The Booster Paintings |
| 2006 |
N.Y. Arts Gallery-Beijing, Beijing, China; Strings Paintings |
| 2003 |
Rosenberg + Kaufman Fine Art, New York City, New York; Strings
Stella Jones Gallery; New Orleans, Louisiana; Paintings |
| 2002 |
Parish Gallery, Washington, DC; Dream Paintings |
| 2000 |
Rosenberg + Kaufman Fine Art, New York City, NY; Fields (Catalogue - Essay by David Carrier) |
| 1999 |
Montclair University Art Gallery, Montclair, NJ; Caribbean In My Sol. Curator Dr. Lorenzo Pace. |
| 1998 |
Galarie Weber, Viechtach, Germany; Viechtach/New York |
| 1997 |
Rosenberg + Kaufman Fine Art, New York City, New York; Replicant |
| 1995 |
Frederick Spratt Gallery, San Jose, California; Black Swan Suite Paintings
Parish Gallery, Washington, DC; Blue and Black Swan Suite Selections
Rosenberg + Kaufman Fine Art, New York City, New York; Blue Swan Suite Paintings |
| 1994 |
Frederick Spratt Gallery, San Jose, California; Sumerian Farewell Paintings |
| 1993 |
Kunst/Raum, Stuttgart, Germany; Stammtisch Paintings. Curator Christian Gunther.
Werndl Corporation, Rosenheim, Germany. Paintings & Small Works. Curator, Ludwig Weber.
A & M Art Gallery, Chiba, Japan; Koto Cycle Works. Curator, Yukiko Lunday. |
| 1992 |
Kunsthaus Ostbayern, Viechtach, Germany; Paintings (Catalogue)
Fong & Spratt Galleries, San Jose, California; The Substance of Painting. Curator, Frederick Spratt. |
| 1990 |
Kunsthaus Ostbayern, Viechtach, Germany; Works on Paper. Curator, Anton Zollner.
d. p. Fong Gallery, San Jose, California; Works on Paper |
| 1989 |
d. p. Fong Gallery, San Jose, California; Paintings
Jennifer Pauls Gallery, Sacramento, California; New Paintings |
| 1988 |
Bruce Velick Gallery, San Francisco, California; Paintings (Catalogue) |
| 1987 |
Monterey Peninsula Museum of Art, Monterey, California; Recent Abstract Images |
| 1986 |
San Jose Museum of Art, San Jose, California; Paintings
Freeman Gallery, Palo Alto, California; Paintings |
| 1984 |
Factory Place Gallery, Los Angeles, California; Paintings
Triton Museum of Art, Santa Clara, California; Paintings |
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SELECTED GROUP EXHIBITIONS:
| 2012 |
The National Art Museum of China, Beijing, China, 2012 Beijing International Art Biennale
Inside/Outside Museum Beijing, China, Inaugural Opening Exhibition of International Artists
MOCA-Beijing, Black a group exhibition
JayJay, Sacramento, California; FROM THE BACK ROOM |
| 2011 |
Stephen D. Paine Gallery, Boston, Massachusetts; SELECTIONS 11
Norman Parish Gallery, Washington, DC; 20th Anniversary Show
Chung Shan National Gallery: Dr. Sun Yat-Sen Memorial Hall, Taipei; 2011 INTERNATIONAL PAPER ART EXHIBITION
Museum of Contemporary Art of Cusco, Peru; Dialogus: Mixing Culture Thru Art. Other locations: Palacio Municipal-Plaza Cusipata, Cusco and Sala de Cultura Scotiabank , Palacio del Inka Tupac Yupanqui Cusco and Cultural Center of Inca Garcilaso of Minister of Foreign Affairs, Lima. |
| 2010 |
Oasis Gallery-Beijing; 2 AMERICAN MASTERS+ONE, STUART DIAMOND+KOFI KAYIGA+PETER WAYNE LEWIS |
| 2009 |
Multitudes Contemporary Art Center @TeleAmerica, Miami, FL; Caribbean Canvas: Identity in an era of Globalization
Oasis Gallery, Beijing, China; VIRUS: International Group Exhibition |
| 2008 |
Sunshine International Art Museum, Songzhuang/Beijing, China; Inaugural Exhibition: International galleries curator-Peter Wayne Lewis; Robert Rauchenberg, Kiki Smith, Sean Scully, John Walker, Sarah Sze, Kofi Kayiga, Stuart Diamond, Lorenzo Pace, Mark Skwarek, Will Herwig
China International Exhibition Center and Olympic Village, Beijing, China; Olympic Fine Arts 2008, organized by the International Olympic Committee-Tai Miao Temple in the Forbidden City, Beijing, China; Olympic Fine Arts Selections 2008
Two Lines Gallery, Beijing, China; Marathon, including: Yi Ling, Li Xiaofeng, Laurens Tan, Peter Wayne Lewis
40 Acres Art Gallery, Sacramento, CA; Black: A Celebration of African American Art in Sacramento-Area Collections (Catalogue). Curators, Kim Curry-Evans and Felicenne Ramey.
Pickled Art Center, Beijing, China; SUMMER GROUP EXHIBITION. Curator, Li Gang. |
| 2007 |
Galleria on Third, Beijing, CH; Journeys: 35th Anniversary of Jamaica and China Diplomatic Relations (Catalogue)
Songzhuang Village Art Festival, Songzhuang, China
A-Space Gallery, #1 Art Base, Beijing, China; Dream Palace. Curator Alfredo Martinez
National Gallery of Jamaica, Kingston, Jamaica; Biennial Exhibition |
| 2006 |
Art Museum of the Americas, Washington, DC; New Possessions, An Islandfs Independence: Jamaican Art on the 44th Anniversary of Jamaican Independence
3+3 Gallery, Beijing, China; American Painting
Parish Gallery, Washington DC; 15th Anniversary Show
Rosenberg + Kaufman Fine Art, New York, NY; Internal Geometry |
| 2005-06 |
Kunst Pyramid, Stachesried, Germany; Begegnungen in der Neuen Mitte Europas: Licht und Schatten 2005 - 2055. Project Coordinator, Dr. Stephan Neumeyer
Danforth Museum of Art, Framingham, MA; Rhythmic Brushwork. Curator, Dr. Catherine Amidon. Other locations: Skylight Gallery, Brooklyn and Museum of the National Center of AAA, Roxbury, MA and Karl Drerup Art Gallery at Plymouth State University, Plymouth, MA |
| 2005 |
Rosenberg + Kaufman Fine Art, New York City, NY; Works based on Tom Farberfs Book
Rosenberg + Kaufman Fine Art, New York City, NY; paper | panel | canvas
National Gallery of Jamaica, Kingston; 30th Anniversary & Biennial Exhibition. Curator, Dr. David Boxer, Ph.D. |
| 2004 |
Rosenberg + Kaufman Fine Art, New York City, NY; Un-Convention
Stephen D. Paine Gallery, Massachusetts College of Art, Boston, Massachusetts; Selections 2004 |
| 2003 |
National Gallery of Jamaica, Kingston, Jamaica; Biennial Exhibition
Frederick Spratt Gallery, San Jose, California; Rotation: A Repertory Group Exhibition
Fort Lauderdale African American Cultural Center, Florida; The Diaspora in the 21st Century. Curator, Babacar MBow. |
| 2002 |
Kunst Raum Gallery, Stuttgart, Germany; 20 Years | 60 Artists
Rosenberg + Kaufman Fine Art, New York City, NY; Intrepid
Yassine Art Center, Dakar, Senegal; Exposition Magnet. Curator, Bara Diokhane.
Promo-Arte, Tokyo, Japan; Latin American Art 2002
Skoto Gallery, New York, NY; Fifteen Jamaican Artists |
| 2001-02 |
Howard University, Washington, DC; In the Fullness of Time (Catalogue). Curator, Dr. Catherine Amidon. Other locations: Karl Drerup Gallery, Plymouth State College, Plymouth, NH and Handwerker Gallery, Ithica College, Ithica, NY and Sidney Mishkin Gallery, Baruch College, New York and Avery Research Center, Charleston, SC and Clark University Gallery of Art, Atlanta, GA |
| 2000-02 |
The Lowe Art Museum, Coral Gables, FL; Soon Come (Catalogue). Curators, Suzanne Wise and Jennifer Clark. Other locations: Joslyn Art Museum, Omaha, NB and Museum of Nebraska Art, Kearney, NB and Norfolk Arts Center, Norfolk, NB and DePaul University Art Gallery, Chicago, IL and Metropolitan State College, Denver, CO and Thorne-Sagendorph Art Gallery, Keene, NH and Bradbury Gallery, State University, AK and The Lamont Gallery, Exeter, NH and Fleming Museum, University of Vermont, VT |
| 2001 |
Kent State University Art Gallery, Kent, Ohio; Accumulations. Curator, Martin Ball, show included: Peter Wayne Lewis, David Dupuis, Joanne Greenbaum, Will Mentor, Laura Owens, Paul Henry Ramirez, James Sienna, Enid Williams.
Parish Gallery, Washington DC; 10th Anniversary Show
Wakita Museum & Inokuma Genichiro Museum, Tokyo, Japan; Karuizawa Drawing Exhibition
Art Salon, Tokyo, Japan; Shikiten 2001
Promo-Arte, Tokyo, Japan; Latin American and Caribbean Art |
| 2000 |
Miura Museum, Matsuyama, Japan; Latin American and Caribbean Art
Parish Gallery, Washington, DC; Peter Wayne Lewis, EJ Montgomery, Antonio Carreno |
| 1999 |
Frederick Spratt Gallery, San Jose, California; Dedicated to Milton Resnick: Painterfs Painters (Catalogue - Frederick Spratt).
Promo-Arte Gallery, Tokyo, Japan; Findel Milenio
Promo-Arte Gallery, Tokyo, Japan; Visual Spirits of Latin America. Curators, Furosawa and Honma.
South Shore Art Center, Cohasset, Massachusetts; Uncommon Perspectives. Curator, Nancy Cusack.
Parish Gallery Fine Art, Washington, DC; Off the Rack. Curator, Norman Parish. |
| 1997-99 |
Smithsonian Institution, Washington, DC; Seeing Jazz Exhibition (Catalogue). Curators, Deborah Macanic, Marguette Folley-Cooper, Janice McNeil. Other locations: Jazz Museum, New York, NY and Western Gallery, Bellingham, Washington and Munson-Williams-Proctor Institution Museum of Art, Utica, NY and Hunter Museum of American Art, Chattanooga, TN and Huntington Museum of Art, Huntington, WW and Museum of the Southwest, TX |
| 1997 |
Rosenberg + Kaufman Fine Art, New York City, NY; One of a Kind. Curators, Fran Kaufman and Stephen Rosenberg. |
| 1996 |
Montclair State University, Montclair, New Jersey; Creative Concepts. Curator, Dr. Lorenzo Pace. |
| 1995-98 |
Smithsonian Institution, Washington, DC; Caribbean Visions: Contemporary Exhibition (Catalogue). Curator, Dr. Samella Lewis. Other locations: Miami Art Museum, Miami, FL and New Orleans Museum of Art, New Orleans, LA and African American Museum, Dallas, TX and Middlebury College Museum of Art, Middlebury, VT and Wadsworth Atheneum, Hartford, CN and Center for Arts, Vero Beach, FL and Latin American Art Museum, Long Beach, CA |
| 1995 |
Art Initiatives, New York Lawyerfs Assoc, New York, NY; Language of Art: Res IPSA Loquitor. Curator, Stephen Rosenberg.
Frederick Spratt Gallery, San Jose, California; East Coast - West Coast: Peter Wayne Lewis, Milton Resnick, Ed Moses, Louise Fishman, Larry Poons. Curator, Frederick Spratt. |
| 1994 |
Museum of Modern Art Santo Domingo, Santo Domingo, Dominican Republic; Latin American & Caribbean Biennial (Catalogue)
Joe & Emily Lowe Art Gallery, Syracuse University, Syracuse, New York; Faculty Exhibition
National Arts Club Exhibition, New York City, New York; Exhibition to Honor Dr. Maya Angelou. Curator, Dr. Samella Lewis.
Stanford University Faculty Club Palo Alto, California; Abstract Paintings: Frederick Spratt Gallery Curator, Frederick Spratt.
Dean Moniz Gallery, Sacramento, California; The Figure. Curator, Dean Moniz. |
| 1993 |
Stephen Rosenberg Gallery, New York, NY; The Tenth Summer
Amerika Haus, Stuttgart, Germany; Bay Area Prints. Curator, Bob Freimark. |
| 1992 |
Walter/McBean Gallery, San Francisco Art Institute, San Francisco, California; Faculty Exhibition |
| 1991 |
Excellent Coast Company, Ltd., Yokohama, Japan; The Far Field Exhibition. Curator, Yukiko Lunday.
Toyota Corporation, Toyota, Japan; Far Field Artists. Curator, Yukiko Lunday.
Otaru Municipal Museum, Sapporo, Japan; Pacific Rim Art Now, 1991 (Catalogue) Curator, Kan Shimada
JAL Corporation, Sapporo, Japan; Pacific Rim Art Now, 1991. Curator, Yukiko Lunday.
3 Com Corporation, Great America Site, Santa Clara, California; Drawings. Curator, Frederick Spratt.
Walter/McBean Gallery, San Francisco Art Institute, San Francisco, California; Faculty Exhibition |
| 1990 |
Hokkaido Museum of Modern Art, Sapporo, Japan; Art Document '90 (Catalogue). Curator, Kan Shimada.
American Center, Sapporo, Japan; Peter Lewis/Kelly Detweiler
Gallery One, San Jose State University, San Jose, California; Two Part Harmony/Faculty Exhibition
Walter/McBean Gallery, San Francisco Art Institute, San Francisco, California; Faculty Exhibition
San Jose State University Art Gallery, San Jose, California; Charitable Inventions
d. p. Fong Galleries, San Jose, California; Crossing Currents. Curator, Frederick Spratt.
Jennifer Pauls Gallery, Sacramento, California; Twenty-two Years Jennifer Pauls Gallery: Abstract Art. Curator, Dean Moniz |
| 1988 |
San Jose Museum of Art, San Jose, California; 50th Anniversary Exhibition, San Jose Art League. Curators, Collen Vojvodich with Rico Lebrun, Claire Falkenstein, Bob Freimark and Nathan Oliveira.
Bruce Velick Gallery, San Francisco, California; New Year, New Work, New Space (Catalogue). |
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BLIOGRAPHY:
| 1984 |
Cordell Koland: The Business Journal, San Jose, Nov. 12, 1984.
Dorothy Burkhart: San Jose Mercury News, Dec. 30, 1984
Dorothy Burkhart: San Jose Mercury News, (Critic's Choice), Nov. 18, 1984
Leslie Wolf: Los Angeles Weekly, Aug. 17, 1984. |
| 1985 |
Al Morch: San Francisco Examiner, Aug. 2, 1985.
Cordell Koland: Business Journal, San Jose, Sept. 16, 1985.
Civic Centre Voice, August 1985, "New Art in West." |
| 1986 |
Dorothy Burkhart: San Jose Mercury News, April 20, 1986.
Dorothy Burkhart: San Jose Mercury News, May 25, 1986.
Dorothy Burkhart: San Jose Mercury News, (Critic's Choice), March 30, 1986 |
| 1987 |
South Bay Accent Magazine, June 1987, "South Bay Collectors."
Peninsula Magazine, December 1987, "South Bay Art Scene."
Pebble Beach Tribune, March 1987.
Sam Colburn: Carmel PineCone, Feb. 26, 1987.
Irene Lagorio: Monterey Herald, March 8, 1987. |
| 1988 |
San Francisco Focus Magazine, Feb. 1988, "Bruce Velick Gallery."
Victoria Dalkey: Sacramento Bee, Oct. 29, 1988, "Portals to the Abstract."
Dorothy Burkhart: San Jose Mercury News, March 4, 1988.
Salli McQuaid: Metro, Santa Clara Valley, Sept. 8-14, 1988. |
| 1989 |
Evan Thomas: On the Wing Magazine, Summer 1989, "Peter Wayne Lewis at Jennifer Pauls Gallery."
Dorothy Burkhart: San Jose Mercury News, Nov. 24, 1989.
The California Art Review, Second Edition 1989: Survey of the State's Museums, Galleries / Leading Artists. |
| 1991 |
Atelier Magazine, December 1991, "Far Field Exhibition," Yokohama, Japan.
Maiciichi Shinbum Tokyo, Sept. 29, 1991, "The Far Field Exhibition Opening," Excellent Coast Co., Ltd., Yokohama, Japan.
Asahi Shinbum Tokyo, May 1, 1991, "Otaru and American Artists," Otaru Municipal Museum, Otaru, Japan.
Hokkaido Shinbum Sapporo, May 13, 1991, "Japanese & American Contemporary Art in Otaru," Otaru Municipal Museum, Japan.
Hokkai Times, May 13, 1991, "Five Artists from America," Otaru Municipal Museum, Otaru, Japan.
Hokkaido Shimbum, March 19, 1991, "Pacific Ocean Art Scene Exchange,Otaru Municipal Museum, Japan.
Peninsula Magazine, Jan. 1991, "The Peninsula's Best New Artist; Peter Wayne Lewis." |
| 1993 |
Stuttgarter Zeitung, Sept. 20, 1993, "Bay Area Prints im Amerikahaus," Amerikahaus, Stuttgart, Germany. |
| 1995 |
Yukiko Lunday: Bay-BE Magazine, 1995/96, gPeter Wayne Lewis at A.D. Plant Co., Yokohama, Japan.h
Jeanne C. Wilkinson: Cover, Sept. 1995, gPeter Wayne Lewis, Rosenberg + Kaufman Gallery, Merging Concerns.h |
| 1996 |
American Way, gCaribbean Visions,h December 1, 1996.
Hank Burchard: Sunday Advocate, h February 18, 1996, gIslands of Art.h
Anne Price: Artsmagazine, February 18, 1996, gCaribbean Visions.h
Chris Waddington: Times Picaquene, March 24, 1996, gCharting Diverse Waters.h |
| 1997 |
Esther Iverem: Washington Post, November 1997, gSeeing Jazzh.
U.S. News Online, December 29, 1997: gImages of Jazz: Explore the music through a book, an art exhibit, and the Web.h
The Chronicle of Higher Education, December 5, 1997: gSeeing Jazz.h
Star Ledger, December 7, 1997: gSatisfying wide range of tastes.h
The New York Times, November 21, 1997: gWashington-Music.h
The Washington Post, November 18, 1997: gfSeeing Jazzf: Music to the eyes.h
Making Impressions, November 1997, gSeeing Jazz.
P. J. Robinson: Metro Harold, November 1997, gSeeing Jazz; Mother Jazz & Offspring.h
Susan Davidson: Washingtonian, November 1997, gSeeing Jazz,h
Deirdre R. Schwieson: U.S.A. Today, October 31, 1997, gWas D.C. Seeing Jazz?h
Art & Antiques Magazine, October 1997, gOpenings | Peter Wayne Lewis: Replicant,h Rosenberg + Kaufman Fine Art, NYC
The Washington Post, September 7, 1997: gThe Season.h
The Washington Post, September 7, 1997: gFall concerts to launch new venues.h
Patricia Rosoff: Hartford Advocate, April 1997, gA Real Eye-Opener.h |
| 1998 |
American Way Magazine, January 1998, gSeeing Jazz.h
Seeing Jazz, Forwarded by Clark Terry, Afterward by Milt Hilton; Smithsonian Institution Travelling Exhibition Service (SITES).
David Boxer & Veerle Poupeye: Modern Jamaican Art,University of the West Indies Development and Endowment Fund.
The Seattle Times, May 11, 1998: gNorthfs the direction to go for adventurous art lovers.h |
| 1999 |
Caribbean Visions, Contemporary Painting & Sculpture, Introduction by Samella Lewis, Published by Art Services International.
Cate Mc Quaid, Boston Globe, April 16, 1999, gThe Caribbean| Uncommon Perspectives, South Shore Art Center, Cohasset, MA.h
Judith Montminy, Boston Globe, March 21, 1999, | Uncommon Perspectives, South Shore Art Center, Cohasset, MA.h
Dan Bischoff, New Jersey Star Ledger, March 17, 1999, gPainting in Tune | University Gallery, Montclair, NJ.h
Dan Bischoff, New Jersey Star Ledger, March 26, 1999, gAcademic Art, | University Gallery, Montclair, NJ.h
Dominick Banks, The Montclarion, March 18, 1999, gCaribbean in My Sol, University Gallery, Montclair, NJ.h |
| 2000 |
Nebraska Arts Council: Soon Come: The Art of Contemporary Jamaica, April 2002, Book/Catalogue: ISBN 1-882603-07-9.
Jeanne C. Wilkinson: Review, April 15, 2000, gPeter Wayne Lewis, Rosenberg + Kaufman Gallery, Fields.h
Joseph Walentini: Abstract Art On-line, April 2000, gPeter Wayne Lewis at Rosneberg + Kaufman Gallery.h
Francesco Mastalia & Alfonse Pagano, Dread | Photo Documentary, introduction by Alice Walker.
Paul Canning, Whofs Who in America, East Coast, Millennium Edition, Marquis, 2000.
Paul Canning, Whofs Who in the World, Millennium Edition, Marquis, 2000. |
| 2002 |
Donna Jackson: Peter Lewis: The Evolution of an Abstract Painter, December 2002, MA Thesis, Howard University, Wash.DC.
Joanne Greebaum: New Art Examiner, March | April 2002, gAccumulations, School of Art Gallery, Kent State University, Kent, OH.h
Elisa Turner: The Miami Herald, Jun. 23, 2002, gExhibit Captures Diversity of Jamaica, Lowe Art Museum, Coral Gables, FL.h
Jerry Cullum: Atlanta Journal | Constitution, Jul. 26, 2002, gArt of Jamaica at Clark, Atlantah
David Carrier: Catalog Essay, gFormed in Darkness, Born Into the Light,h Field Exhibition at Rosenberg + Kaufman, Fine Art. |
| 2003 |
Roberta Smith: New York Times, May 9 2003, gArt in Review, Rosenberg + Kaufman, Fine Art.h
Veerle Poupeye: New York Arts Magazine, June 2003, gPeter Wayne Lewis: Strings at Rosenberg + Kaufman, Fine Art.h
Joseph Wallentini: Abstract Art Online, April 2003, gPeter Wayne Lewis at Rosenberg + Kaufman, Fine Art.h |
| 2006 |
Dr. Jonathan Greenland: Jamaica Gleaner Arts & Leisure, Sunday, December 17, 2006, gStar Matter, Peter Wayne Lewis.
Ding Ning: New York Arts Magazine, November 2006, gGraceful Spontaneity in Peter Wayne Lewisfs Painting.h |
| 2007 |
N. Michael Norton & Ruth Hardinger: In the Studio of Peter Wayne Lewis, July/August 2007, Volume 1, Issue 26, Thrive |
| 2008 |
From Bay State to Beijing, August 6, 2008, Home/News/World, The Boston Globe .
Victoria Dalkey, 'Black' | and beautiful: 40 Acres exhibit of locally owned art is a revelation, July 11, 2008, The Sacremento Bee
Marcus Crowder: Just call it ePre-modernf, February 8, 2008, Entertainment | Sacticket / Art Galleries, The Sacremento Bee .
Victoria Dalkey, Bee Art Correspondent, Criticfs Pick, January, 2008, The Sacremento Bee. |
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