Unseen, There Nevertheless Oil on Panel 11" x 14"
Los Angeles Art Association Volume 1, 2009, Sammy Hoi, Juror
Sold at LAAA 2008
Los Angeles Art Association Volume III, 2020 Catalog of Artists
Los Angeles Art Association Volume II, 2019 Catalog of Artists
"Material Matters", Brooklyn Waterfront Artists Coalition, Exhibition Catalog, September 2017, National Juried Show, Lilian Tone, , (Curator of Painting and Sculpture, MoMA, NYC)
"The Nature of Things" Mike Kelley Gallery, Exhibition Catalog, June, 2017, Venice, California
It’s a Wonderful World at Groundspace By Genie Davis, Diversions LA, July 15, 2017
Studio Visits: Santa Fe Art Colony Los Angeles, October 22, 2017
"The Nature of Things: Magical Takes on the Physical World", by Genie Davis, Diversions LA, July 10, 2017
“Our Ever Changing World: Through the Eyes of Artists: Artists, Art & Story” Coordinated by Karrie Ross, Forward by Hilarie Kelly.
Publisher: Be It Now, Los Angeles CA 2015-2016
“Our Ever Changing World: Through the Eyes of Artists: What Are You Saving From Extinction?” by Karrie Ross (Author), Mary Margaret McCabe (Editor), Mark Textor (Editor), Forward by Betty Brown, Publisher: Be It Now, Los Angeles CA October 2013
"Energy" Exhibition Catalog, 2011; Orange County Center for Contemporary Art, Howard Fox
Los Angeles Art Association Volume I, 2009 Catalog, Sammy Hoi, Juror
Art In Southern California (2009, Project Concept and Coordinator Irina D. Costache, Ph.D., Professor of Art History) "Insight/Inside LA" Exhibit,
Jose Drudis-Biada Gallery at Mount Saint Mary’s College Curator: Jode Baral, CD Catalog
Eleventh Annual Los Angeles Art Show - Five Centuries of Art, Exhibition Catalog, p. 117
(Santa Monica, CA, 2006)
Feria Internacional De Arte Contemporaneo (Marbella, Spain, 2002)
Architecture & Business, December 2000 (Krakow, Poland)
Alexandria Museum of Art, 1998 September Exhibition Catalog
Featured in LA Times Weekend Calendar, "Streetwise art from skid row", by Susan Carpenter, May 29, 2003
Spirit and Matter
On October 4th an exhibition opened at the Temporary Contemporary gallery in Krakow, featuring the paintings of the American artist Lillian Abel.
The artist lives and works in California, and studied, among other places, at the Art Institute of Chicago. Her work has been featured in many exhibitions, and has won a number of awards. She also works as a coordinator of art workshops for a charitable foundation. The owners of the gallery, Anna and Jerzy Feiner, met Lillian Abel when they were visiting art studios located in the loft district of the industrial complexes in Los Angeles. They invited the artist to exhibit her work in Temporary Contemporary, regarding her creative works as very much in line with the "climate" of the gallery.
In his commentary to the exhibition, Jerzy Feiner stressed the metaphysical character of Lillian Abel's paintings, referring to them outright as religious works. In actual fact, we can discern in these works an attempt to "peek into another dimension", especially so because of the artist's use of light, which in one painting, for example, penetrates a dark background veil to outline the bright contour of a mysterious, winged form. Because of the title of this work "Trinity", it inevitably conjures up images of the Holy Spirit, but - as was joked about at the Opening - it may be associated with one of the angels watching over the artist's home city of Los Angeles. Transcendental and religious references and associations abound in Abel's works, but some of her frequently used motifs also bring to mind more terrestrial though still unfathomable phenomena. Individual points and circles and clusters of such elements are often used by the artist as the only features in a composition set against a semi-transparent background, thereby recalling the images we sometimes find under a microscope, images of microbes or our own cells, which stand so close to us like a proverbial body shirt, closer often than abstract, transcendental concepts, and yet equally mysterious and hidden from view in our everyday lives. This impression is enhanced by the texture of the wood, well visible in many paintings against a white background, which invites us, as it were, to take an analytical look at the structure of a natural substance closest to us. Perhaps Lillian Abel is thus examining us from two opposing, but equally important, and fascinating perspectives. She shows us echoes of worlds that we essentially do not know; a forgotten existence, but without them we would have no spirituality nor microbiological cosmos. These works assume new meanings when viewed together, when combined together in certain cycles and mutually complementing one another. The neutrality of the gallery's interior design also allows the viewer to concentrate on the vivid, clear colors contained in these paintings.
- Katarzyna Zaluska
Duch i materia
Architektura & Biznes (Architecture & Business - Krakow, Poland December 2000)
Article translation by Argos Com