E d u c a t i o n:
Master of Fine Arts, Claremont Graduate School, Claremont, CA., 1981.
Bachelor of Art, (Studio Art , minor, Religious Studies), University of California, Riverside, 1978.
P r o f e s s i o n a l P o s i t i o n s:
Emeritus Professor of Art, School of Art, San Francisco State University hired 1988
Se l e c t e d S o l o E x h i b i t i o n s:
2021 Riabitare con Arte/Abruzzo, "Testimonianza in Abruzzo," Residency & Exhibition, Barisciano, L'Aquila, Italy, September
2020 Palm Springs Art Museum: Performance, “Tired of Eternity, A Conversation with Coyote,” with Gerald Clarke
2018 Art Ark Gallery, San José, CA., “Discessio (Dispersal, Division, Separation, Withdrawl),
Museum of Contemporary Art, “Paranirvana,” Sculpture, February-March
2017 Chandra Cerrito Contemporary, Oakland, CA., “Arbor/Ardor,” February-March, Catalog
2016 Santa Barbara Museum of Art, Santa Barbara, CA., “Paranirvana,” April-July
2015 Robert and Francis Fullerton Museum of Art, CSU San Bernardino, CA., September-December, Catalog
2014 Chandra Cerrito Contemporary, Oakland, CA, December-January 2015
2012 Omi International Art Center, Ghent, New York, “Imperial America,” June-September
Culver Center for the Arts, UC Riverside, “TAHQUITZ” collaboration with Erin Neff, January-March
2011 Palm Springs Museum of Art, “Ransom,” Installation, June- September
2009 Art Omi, Charles B. Benenson Gallery, Ghent, NY, March-May
San Jose Institute of Contemporary Art, BEFORE AFTER, January-March, Catalog
2008 Bowdoin College Museum of Art, “Paranirvana,” June-January 2009
diRosa Preserve Gatehouse Gallery, “Tales of Power,” May-July
2006 Brian Gross Fine Art, San Francisco, California, September
2004 Museum of Contemporary Art, San Diego, San Diego, CA., “Paranirvana,” September-November, Catalog.
John Michael Kohler Art Center, Sheboygan, WI., “Paranirvana,” , September-November, Catalog.
Columbus Museum of Art, Columbus, Ohio, “Paranirvana,” Sculpture, March-June, Catalog.
2003 Harn Museum of Art, University of Florida, Gainesville, FL, “Paranirvana,” Sculpture,
Arvada Center for the Arts and Humanities, Denver, CO. “Paranirvana,” Sculpture, June-August, Catalog
Northern Illinois University Art Museum , Chicago, IL, “Paranirvana,” April-May, Catalog.
Vanderbilt University Art Gallery, Nashville, TN, “Paranirvana,” February-March, Catalog.
2002 Samek Art Center, Bucknell University, Louisville, PA., “Paranirvana,” Sculpture, Catalog
Cantor Art Gallery, Holy Cross College, Worcester, MA., “Recollection (Toward Oblivion,”
Bill Maynes Gallery, New York, NY, “New Work,” March.
2001 Worcester Museum of Art, Worcester, MA., “Paranirvana,” September-November. Catalog
Headlands Center for the Arts, Sausalito, CA., Installation, November.
2000 Bill Maynes Gallery, “Ship,” Sculpture, New York, New York, September
Museum of Contemporary Religious Art, St. Louis University, St. Louis, MO., “Paranirvana,”
Cheryl Haines Gallery, San Francisco, CA, “Five Figures,” Sculpture, January-February.
1999 Bill Maynes Gallery, New York, NY, “Recumbent”, October-November.
List Visual Art Center, Massachusetts Institute of Technology, Cambridge, “Recital”, Installation,
I-Space Gallery, Chicago, Illinois, “Kalpa”, Sculpture, May.
Christopher Grimes Gallery, “Ship”, Sculpture, March.
1997 Bill Maynes Gallery, New York, NY, April- May
Christopher Grimes Gallery, Santa Monica, CA., April-May
Metronòm, Barcelona, Spain, “Dervish” Sound Installation, February-March
1996 Nelson-Atkins Museum of Art, Kansas City, MI., “Tahquitz”, Installation, July-September, Catalog.
ARTPACE, San Antonio, Texas, “The Sound of the Trumpet, Installation, May-July, Catalog.
1995 Christopher Grimes Gallery, Santa Monica, CA., “Site Works 1983-86” October-November.
Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, “Observatory”, Video Installation,
Des Moines Art Center, Des Moines, Iowa, “Four Interventions”, Installations, Summer, Catalog.
Cheryl Haines Gallery, San Francisco, California, “Interrogation”, Video Installation,
(for “Counterspace” Project), January
1994 Center for Contemporary Art, Santa Fe, N.M., “Crossing/Cruzandose”, Installation, August-
Christopher Grimes Gallery, Santa Monica, CA., “Falling”, Installation, January-February.
1993 Moderna Museet, Stockholm, Sweden, “Tahualtapa Project and Video Room”, August-October, Catalog.
Centro Cultural de la Raza, San Diego, CA., “Crossing/Cruzandose”, June-July.
Nicole Klagsbrun Gallery, New York, NY, “Killing Time”, Installation, April-May.
California Museum of Photography, Riverside, CA., “Observatory”, Video Installation, March-April.
1992 Cheryl Haines Gallery, San Francisco, “Alas Time”, Installation, September.
Mesa College Art Gallery, San Diego, CA., “Kísh Tétayawet/Dream House/Wampkísh”,
Installation with James Luna, August-September.
Wise Taylor Partnerships @ Rose Court, London, UK, “OFFICE”, Installation, JanuaryMarch, Catalog.
1991 Artists Space, New York, NY., “The Language of Paradise”, Installation, September-October, Catalog.
Christopher Grimes Gallery, Santa Monica, CA., “The Songs of Menil”, September-October.
San Jose Museum of Art, “Pé Túkmiyat, Pé Túkmiyat (Darkness, Darkness):, June-July, Catalog.
Matrix Gallery, University Art Museum, U.C. Berkeley, “The Language of Paradise”, Installation,
San Francisco Art Commission Gallery, “Háypatak, Witness, Kansatsusha”, Video Installation,
Secession Gallery, San Francisco, CA., with Dale Kistemaker, “Garage”, Audio Installation.
Headlands Center for the Arts, Fort Barry, Sausalito, CA., “Air”, Audio Installation, December, “Aviary”,
Audio Installation, June-August, “The Language of Paradise”, Installation, April-May, “Edison Song (Tesla
Sings for a Deaf Edison)” Audio Installation, March-April.
1989 Silver Image Gallery, Seattle, WA., “Spectacle of the Real”, June.
1988 University Art Gallery, California State University, San Bernardino, “Tahualtapa Project”,
1987 Jones/Troyer Gallery, Washington D.C., “Selected Work”, June-July.
Intersection for the Arts, San Francisco, CA., “Tahualtapa Project”, January.
1986 Nine-One-One Contemporary Arts Center, Seattle, WA., “Tahualtapa Project”, October.
Los Angeles Municipal Art Gallery, Barnsdall Park, “Site Projects”, September-October.
The Friends of Photography, Carmel, CA., “Heaven and Earth” (With Don Antón), March-April.
Oregon Gallery, Museum of Art, University of Oregon, Eugene, “Botanica”, March.
S e l e c t e d G r o u p E x h i b i t i o n s:
2023 Our Hands: Native Photography 1890 to Now, Minneapolis Institute of Art, Minneapolis, NM, October-January 2024
Contemporary California Native Art, C.N. Gorman Museum, U.C. Davis, September-January 2024
Iridescense of Knowing, Oxy Arts, Occidental College, Los Angeles, September-November
Imagined Wests, Autry Museum of Western Art, Los Angeles, CA. July-ongoing
CMP at 50, California Museum of Photography, UC Riverside, CA., March-August
Speaking with Light, Contemporary Indigenous Photography, Amon Carter Museum of American Art and Denver Museum of
Art, February-May, Catlaog
2021 Land As Kin, Fullerton Museum Center, Fullerton, CA., October-December
When I Remember I See Red, Autry Museum, Los Angeles, CA., March-November, catalog
Metrònom Video Wall, Museum of Contemporary Art, Barcelona (MACBA), adjunct to the exhibition
In Real Time/Rafael Tous Collection, May-January 2022
2020 Larger Than Memory: Contemporary Art from indigenous America, Heard Museum, Phoeniz, AZ, catalog
2019 When I Remember I See Red, Crocker Art Museum, Sacramento, CA.,
October-January 2020, catalog, travels.
Another West, Fraenkel Gallery, San Francisco, CA., September-October
Nomadic Murals: Tapestries of the Modern Era, The Bechtler Museum of MOdern Art, Charlotte, NC.,
Joshua Treenial 2019, “Tired of Eternity, a Conversation with Coyote,” Performance at Boxo Projects,
Joshua Tree, CA., brochure
In The Sunshine of Neglect, California Museum of Photography and the Riverside Art Museum,
2018 The Jeweled Isle: The Art of Sri Lanka, Los Angeles County Museum of Art, Los Angeles, CA., December to
June 2019, Catalog.
Time & Place: Human IMpact and our Changing Environment, Sonoma County Museum of Art, Santa Rosa,
CA., May-September, catalog
2017 Desert Waters, Marks Art Center, College of the Desert, Palm Desert, CA., March-April
Extending Traditions: Recently Acquired Works by Native American Artists of the West, Crocker Museum of
Art, Sacramento, CA., December 2016-January 2017
2016 When I Remember I See Red, University Art Gallery, San Francisco State University, San Francisco, CA.,
Site Santa Fe: Much Wider Than a Line, Site Santa Fe, Santa Fe, NM, July-January 2017
Cinco Y Cinco, The Mexican Museum, San Francisco, July-November
Post Colonial Contemporary, Incline Galelry, San Francisco, June-July
Changing the Tone: Contemporary American Indian Photographers, Palm Springs Art Museum, May-June
From Sand to Stone: Contemporary Native American Art in Joshua Tree, Joshua Tree National Monument
and Twenty-Nine Palms Art Gallery, Nay-November
2015 Indigenous Contemporary, Tacher Gallery, University of San Francisco, November-February-2016
Objects of Contemplation, Chandra Cerrito Contemporary, Oakland, CA December-January 2016
LUMA at Ten: Greatest Hits, Loyola University Museum of Art, Chicago, Illinois, August-October
Blow Up, The Bedford Center for the Arts, Walnut Creek, CA., April-June, TRAVELS
2014 Being Here and There, Museum of Art and History, Lancaster, CA., November-January 2015,
20@20: Twenty Artists at Twenty Years, Paradise Ridge Sculpture Park, Santa Rosa, CA.,
“Klage/Lament,” June-May 2015
2013 California Landscape into Abstraction: Works from the Orange County Museum of Art,
Orange County Museum of Art, Newport Beach, CA., November-March 2014
Thresholds, Museum of Contemporary Religious Art, St. Louis, University, St. Louis, MO., October-
Sound/Sculpture, Beall Center for Art + Technology, UC Irvine, Irvine, CA., October-January 2014
All That Remains, Yale Institute of Sacred Music, September-October
Thresholds, Museum of Contemporary Religious Art, September-December
2011 The Missing Peace, San Antonio Museum of Art, March-July, Catalog
2010 The Missing Peace, Nobel Museum, Stockholm, Sweden, October-January 2011, Catalog
2009 Alterned States, diRosa Gatehouse Gallery, November-January 2010
Attempt To Raise Hell, Museum of Contemporary Art, San Diego, CA., July- September
mylar/paper/vellum, Brian Gross Fine Art, San Francisco, CA., July-August
Cosmologies: Anything that exists has a beginning, Vancouver Centre for Contemporary
Asian Art, Vancouver, B.C. July-August, Catalog
2008 The Question is Known (w)Here is Latin American/Latino Art?, Mission Cultural Center,
San Francisco, CA, April-May
Muse Among the Vines, Oakland Museum of California/Oakland International Airport,
2007 There’s No Place Like Here, University Art Gallery, Sonoma State University, Rohnert
Park, CA., November-December
Home Sweet Home, San Jose Institute of Contemporary Art, San Jose, CA., June-August
Excavations, Johansson Projects, Oakland, CA., May-June
2006 No Reservations, Aldrich Museum of Art, Ridgefield, Connecticut, August-December Catalog
The Missing Peace: The Dalai Lama Portrait Project, Fowler Museum of Cultural History,
University of California, Los Angeles, June-September, Catalog. Travels.
Never Leaving Atzlan, Museo de las Americas, Denver, CO., February-May
Measure of Time, University Art Museum, University of California, Berkeley, February-April
2005 High Five, San Francisco Art Commission/San Francisco Foundation, Installation/Sculpture:
CONQUEST installed at CARS Dawydiak, Franklin and Bush Streets, San Francisco, October-
2004 Barely Legal: Danger, Signal 66, Washington, D.C., September-October.
Sound in the Landscape, Art Omi, The Fields Sculpture Park, Ghent, New York, June-May 2006.
2003 Time/Place/Sequences, Sonoma Museum of Visual Art, Santa Rosa, California,
Defying Gravity: Contemporary Art and Flight, North Carolina Museum of Art, Raleigh, NC.,
November-March, 2004, Catalog.
The Invisible Thread: Buddhist Spirit in Contemporary Art, Newhouse Center for Contemporary
Art, Snug Harbor Cultural Center, Staten Isalnd, New York, September-February 2004,
Bytes and Pieces, San José Institute of Contemporary Art, February-March
2002 Permeable Boundaries, Wave Hill, Bronx, NY, June-September
Organic/Mechanic, John Michael Kohler Arts Center, Sheboygan, WI., March-June
Conceptual Color: After Albers, San Francisco State University Art Gallery, San Francisco, CA.,
Performing Photography, Henry Art Gallery, Seattle, WA., February-June
Eureka, Too, San Jose Institute of Contemporary Art, San Jose, CA., January-March.
2000 Made in California, Los Angeles County Museum of Art, November-February 2001. Catalog
Eureka Fellowship Award Artists, San Jose Museum of Art, December-February 2001. Catalog.
Double Trouble: The Patchett Collection, Sala Amós Salvador, Logrono, Spain. November-
February 2000. Also at Auditorio de Galicia and Iglesia San Domingos de Bonaval,
Santigo de Compestela, Spain, July-September, Museo de Monterrey, Mexico, February-April,
Museuo Universitario Contemporáneo de Arte, Mexico City, April-June.Catalog.
Mir: Art In Space, Museums of the City of Bolzano, Italy, November-December, Catalog
Bay Area Now 2, Center for the Arts, San Francisco, CA., November-February 2000, Catalog
Noisemakers, Blackwood Gallery, University of Toronto at Mississauga, Mississauga, Ontario,
Canada, October. Catalog.
Arboresence, Paradise Ridge Sculpture Park, Santa Rosa, CA., May-February 2000, Catalog.
1998 Back Room Noise, Refusalon, December-January 1999
Plugged In, Cheryl Haines Gallery, San Francisco, September-October
Double Trouble: The Patchett Collection, Museo de las Artes and Instituto Cultural Cabanas,
Guadalajara, Mexico, September-November and Museum of Contemporary Art, San Diego,
Paullina Cupana, Bill Maynes Gallery, New York, NY, June-July
Dromology: Ecstacies of Speed, New Langton Arts, San Francisco, CA., May-July
Landscape and Memory, Cheryl Haines Gallery, San Francisco, CA, May-June
When Borders Migrate, San Francisco Art Commission Gallery, January-February
Best of the Season: Selected Work from 1996-97 Gallery Exhibitions, Aldrich Museum of
Contemporary Art, Ridgefield, CT, September-November
1996 Brazil-USA Exchange, Galeria Camargo Vilaça, Sao Paulo, Brazil, December-January 1997
NowHere, Louisiana Museum of Modern Art, Humlebæk, Denmark, May-September, Catalog.
Fragments, Museu D’Art Contemporani, Barcelona, March-May and Koldo Metxelena,
San Sebastián, Spain, October-January 1997 Catalog
Almaraz to Zuniga: Hispanic Artists from the BankAmerica Collection, A.P. Giannini
Gallery, Bank of America World Headquarters, San Francisco, CA., May-July.
Matters of the Heart, Cheryl Haines Gallery, San Francisco, February-March
Points of Entry: Tracing Cultures, National African American Museum Project, Smitsonian
Institution, Washington, DC, August, catalog, travels.
1995 Ex-Teresa Arte Alternativo ex Templo de Santa Teresa la Antigua, Mexico City, Mexico, August-
Threshold/Limiares, Fundação De Serralves, Porto, Portugal, June-August, Catalog.
Facing Eden, DeYoung Museum, San Francisco, June-September, Catalog.
1994 Los Angeles Mind Quakes, DeBeyerd Center For Contemporary Art, Breda, Netherlands, July-
Issues of Image, Cheryl Haines Gallery, San Francisco, July-August.
Marking Time, Sigma Gallery, New York, New York, May-June.
Landscape As Metaphor, Visions of America in the Late Twentieth Century, Denver Art Museum,
May-September & The Columbus Museum of Art, Columbus, Ohio, October to January 1995.
Home Video: Redefined, Center for Contemporary Art, Miami, FL., February-March. Catalog.
Color in the Shadows: Bay Area Cyberart, Oliver Art Center, Oakland, CA., January-March.
1993 Indian Territories, Renée Fotouhi Gallery, East Hampton, NY., July-August.
Contemporary Identities, Phoenix Art Museum, August-October. Catalog.
Bas Jan Ader, Lewis deSoto, David Deutch, Maureen Gallace, Rodney Graham,
Mary Lucier, Nicole Klagsbrun Gallery, New York, NY., June-July.
Multiple World: An International Survey of Artist Books, The Atlanta College of Art Gallery,
Atlanta, GA, January-March, Catalog.
Producing Columbus, Claremont Colleges Art Galleries, January-February. Catalog.
1992 The Spatial Drive, The New Museum of Contemporary Art, New York, NY., September-January
Turning The Map, Camerawork Limited, London, U.K., February-April (Travels through 1993).
1991 Three Archaeologies, California Museum of Photography, University of California, Riverside,
1990 Biennial I, California Museum of Photography, University of California, Riverside,
Waterworks, Long Beach Museum of Art, Long Beach, Ca., July-August. Catalog.
Earth Day 1990: Artists Respond To The Environment, Palo alto Cultural Center, Palo Alto,
Night Light, Nelson-Atkins Museum of Art, Kansas city, MI., January-February, (Travels through
Photographic Memory, Seattle Art Museum, Seattle, WA., September-October and
Presentation House Gallery, Vancouver, B.C., January-February 1989. Catalog.
Natural Selection: The Terrain of Southern California, Riverside Art Museum,
Riverside, CA., September-October. Catalog.
Sum of the Parts, Greg Kucera Gallery, Seattle, WA., July-August.
Visual Paradox, John Michael Kohler Art Center, Sheboygan, WI., December-February 1988. Catalog.
P u b l i c P r o j e c t s:
2009 Artist, City of New York, Roberto Clemente Plaza, Bronx, NY
2007 Artist, City of San Francisco, Laguna Honda Hospital History Project, tapestries.
Artist, City of San Francisco, International Airport Terminals A&G, “Shining Paths: San Francisco
Sister Cities,” fourteen light projections.
2006 Artist, City of Oakland, California, Lake Merritt Estuary; collaboration with John Roloff. Project
Architects: Sasaki and Associates.
2004 Artist, City of San José, Animal Care Center, San José, CA., “Shelter,” Frieze, sculpture and wall works.
2003 Artist, University of Texas, San Antonio, Downtown Campus, “Labyrinth Gateway”, Sculpture.
2002 Artist, STart-Sound Transit Light Rail Project, First Hill Station, Seattle, Washington,
Collaboration with Nobuho Nagasawa
2000 Artist, San Francisco State University College of Creative Arts Complex, San Francisco, California,
Exterior and Interior Architectural Treatments Design.
1999 Artist, Sony Corporation Regional Headquarters, San Jose, California, Courtyard Design and Sculpture.
Artist, Seattle Art Commission, Seattle, WA., Sand Point Naval Station. Project Funded: “Liberty”
Sound work for outdoor area.
1998 Core Artist, San Francisco Arts Commission, Civic Center Historic District Improvement
Project, Architects: Andy Maloney, John Thomas, San Francisco Department of Public Works,
Simon, Martin-Vegue, Winkelstein,Moris with Lori Olsen.
Artist, San Francisco Arts Commission, International Airport Design Team (Artists: Vito Acconci,
Jamie Carpenter and SuChen Hung Architects: Skidmore, Owings & Merrill,).
Project funded: “On The Air”, 12,000 square foot terrazzo floor.
Core Artist, San Francisco Arts Commission, Court House Design Team (Architects, Mark
Cavagnero, Hood/Miller, Ross/Druliss) Project funded: Jury Assembly Room.
1992 Artiist, Phoenix Arts Commission, Phoenix International Airport, “A Lineage of Wings”,
44 laser-etched glass panels spanning 760’ skybridge.
San Francisco Arts Commission, Market Street Art in Transit Program, “Crossings: Native
Lives and Junipero Serra,” Bus Kiosk Poster, 4’x6’.
1989 San Francisco State University. “The Creative Presence”, Digital Photo-Mural, 19’x6’
1987 Nine-One-One Contemporary Arts Center, Seattle, WA., August-October, Homes for Art,
“Apparition of Passion, (St. Joan of Arc)”, The Ventura House (former convent for the
Immaculate Conception Church), Seattle, WA., Projection, electronics and lighting.
A r t i s t I n R e s i d e n c e:
-Lab 8/Riabitare con L/Arte/Abruzzo, Barisciano, L'Aquila, Italy, 2021, 1 month
-Headlands Center for the Arts, Fort Barry, Sausalito, CA., 2000: 1 month residency.
-List Visual Arts Center, MIT, Cambridge, MA, 1997-98
-Artpace, San Antonio, Texas, 3 month residency 1996
-Headlands Center for the Arts, Fort Barry, Sausalito, CA., 1990: 10 month residency.
F e l l o w s h i p s :
2004 Flintridge Foundation Award for Visual Artists
1999 Eureka Fellowship, Fleishhacker Foundation, Visual Arts
1996-97 National Endowment for the Arts, Artist Fellowship/Other Genres
1992 California Arts Council Fellowship for Installation/New Genre
P u b l i c a t i o n s:
Tired of Eternity, autobiography of Coyote, Magnolia Editions, 250 pages, 2020
EMPIRE, Photographs and Essays, Lewis deSoto, Forewords by Paul Chaat Smith and Sant Khalsa, Heyday Books,
108 pages, 2016
The DeSoto Conquest, Jordan Biren, Video, 21 minutes, 2005.
Lewis deSoto: Spirit and Matter, Helaine Posner, Stephanie Hanor with forward by Dan Mills, Bucknell
University Press, 48 Pages. 2003.
Lewis deSoto: Ship, Cameron, Dan, “Total Immersion”, SmartArt Press, 40 pages, 18 color illustrations,1998
Anthology of Artists’ Writings, “Wandering,” Lewis deSoto with Eve Andrée Laramée, Maurizio Pelligrin, editor,
Trieste Contemporanea, Italy, 1998
Grand Street #62 (Identity), “Kalpa [portfolio], pages 88-92, September 1997
Tate (UK), “Heat and Cold”, Artist project with Dorothy Cross, Issue 10, Winter 1996, 48-52.
KINGDOMS, Lewis deSoto & Rebecca Solnit, 50 pages, California Museum Of Photography Press, 1993
BLAST: Remaking Civilization, Contributor, edited and published by X-Art Foundation, New York, 1993
Blast: The Spatial Drive, Contributor, edited and published by X-Art Foundation, New York, 1992
S e l e c t e d B i b l i o g r a p h y:
2020 Ma, Ming-Yuen, There Is No Soundtrack, Manchester University Press, 2020, 242 pages
2019 Nazif, Perwana, “The Jeweled Isle: Art from Sri Lanka at LACMA,” Ocula, March 25
Ely, Paula, “Douglas McCulloh, In the Sunshine of Neglect,” Photoculture, March 9
Straight, Susan, “In the Sunshine of Neglect illuminates the Large Landscapes, Small
Geographies of Home,” The Press Enterprise, January 26
Straight, Susan, “Finding a Geography of Home in the Inland Empire,” Los Angeles Times,
McCulloh, Doug, “Image is Everything in New Book Defining the Inland Area Through
Photographs,” The Press Enterprise, January 13
Lawrence, Lee, “The Jeweled Isle: Art From Sri Lanka Review,” Wall Street Journal, January 1
McCulloh, Doug, In The Sunshine of Neglect, Defining Photographs and Radical Experiments in Inland
Southern California, 1950 to the Present, Inlandia Institute, 2018, 268 pages
2018 Knight, Christopher, “Review: No Diamonds but Plenty of Gems in ‘Jeweled Isle,’ First Big US
Museum Survey of Sri Lankan Art, December
Saenger, Peter, “Kingdoms of Sri Lanka,” Wall Street Journal, November 16
2017 Torres, Anthony, “Lewis deSoto’s Arbor/Ardor,” Whitehot Magazine, March
Sweeney, Erin Michaela, “The Inland Empire in Photographs and Essays, Terrain.org, June 14
KCET, “Famed Western Love Story of WIllie Boy and Carlota Gets Told Through A Native
American Lens,” KCET.org, March 3
2016 Armitage, Diana, “much wider than a line,” The Magazine, September
Asher, Lani, “Border of the Mind: The Muddy Footprints of Jesus in the Embrodiered Casino,”
Montiel, Anya, “Outside The Walls: Indigenous Public Art,” Indian Magazine, Fall
Talty, Terry, “Siteline 2016,” unsafeart.com, July
Artnet, “10 Great Artists to See at the SITE Santa Fe Biennial,” Artnet.com, July
Armitage, Diane, “much wider than a line,” THE Magazine, September
2015 Zarobell, John, “The Post Colonial Contemporary, SFAQ, December
Muckenfuss, Mark, “Exhibit Portrays Inland Empire,” Press Enterprise, November
Westerbeck, Colin, “The Here and Now, From A to Z,” Artillery, March
Luna, James, ed., “Saying Our Share, Surviving the Missions,” Artist Project, News From Native California, Winter 2014/15
2014 Montiel, Anya, “All That Remains,” News from Native California, Winter 2013/14
2013 Stallings, Tyler, “Inland Empire Artists Capture the Sense of ‘Being Here’,” KCET/Artbound, June
2012 Stallings, Tyler, “Levitating the Archaic Mind,” KCET/Artbound, June
Montiel, Anya, “Reclaiming The Landscape: The Art of Lewis deSoto,” Indian (The Smithsonian),
Frank, Peter, “Tahquitz,” The Huffington Post, June
Hans, Jenna, “Lewis deSoto Makes Art You Can Drive,” Indian Country, May
Michino, Chrisopher, “Tahquitz: Culver Center for the Arts,” Artillery, April-May
Dalkey, Victoria, “Light Plus Film Plus Inspiration Equals Artistry,” The Sacramento Bee, August 17th
2011 Salkin, Judith, “Modern Conquest: Art, history collide at Palm Springs Art Museum,” The Desert Sun, June 26th
Czap, Nick, “A Visual Artist’s Land Yacht Beaches in Palm Springs,” New York Times, June 23rd
2010 Czap, Nick, “Provocative Art That Takes the Show on the Road,” New York Times, August 27th
2009 Smith, Paul Chaat, Everything You Know about Indians is Wrong,
University of Minnesota Press, cited: “Americans Without Tears,” page 69
Humphrey, David, Blind Handshake, Periscope Press, 239 pages, article: page 195
Thomas, Elizabeth with Project Projects, Matrix/Berkeley: A Changing Exhibition of
Contemporary Art, University of California Press, 558 pages, cited page 297
Suarez De Jesus, Carlos, “World Leaders Should See the Frost Art Museum’s Latest Exhibits,”
New Miami Times, November 5th
Roth, David M., “Paper/Mylar/Vellum at Brian Gross,” Square Cylinder, August 10th
Roth, David M., “Lewis deSoto at San Jose ICA,” Artweek, April
Goodwin-Guerrero, Erin, “Before After,” Artshift, March
2008 Villano, Matt, “Di Rosa Preserve Shows Cars As Art,” San Francisco Chronicle, July 11th
Paglia, Michael, “Magnolia Tapestry Project, Fort Collins Museum of Contemporary Art,”
Westword, June 26th
2007 Torres, Anthony, “Obsession: Art & Artifacts from Sonoma County Private Collections,” White
hot Magazine, November
Morris, Barbara, “3x3 at the diRosa Preserve,” Artweek, November, Volume 38, Issue 9
Shuster, Robert, “The Icon’s Icon,” The Village Voice, July 31st.
Lentini, Lara Kristin, “No Reservations: Native American History and Culture in American Art,”
Art Papers, January/February.
2006 Hawkings, Margaret, “Dalai Lama Tribute Uneven, But Brilliant at Best,” Chicago Sun-Times,
Rosenberg, Randy, The Missing Peace, Artists and the Dalai Lama, 2006, 171 pages.
Malooley, Jake, “Artists Give Peace a Chance,” Time Out/Chicago, Issue 87, Oct. 26th-Nov. 1st
Artner, Alan G., “Art of Peace: 88 Views on the Dalai Lama,” Chicago Tribune, November 2nd
Baker, Kenneth, “Galleries, Patrick Wilson, Paintings, Lewis deSoto, Recent Works,”
San Francisco Chronicle, October 21st
Gennochio, Ben, “Visions of Native Americans in Today’s Wolrd, New York Times, September 16th
Giuliano, Charles, “The Aldrich Museum Combines Native and Non Native Artists,” Big Red & Shiny,
Cowin, Jennifer Leigh, “A Pile of Blankets . . .,” New York Times, August 25th
M. du Tan, S.A., “The Missing Peace-88 Artists Consider the Dalai Lama,” Coagula, June
2005 Cohn, Terri, “Off Site: ‘High Five’: Celebrating the Reopening of the de Young Museum with
Five Site-Specific Installations,” Artweek, December
Garfinkel, Perry, “Buddha Rising,” National Geographic Magazine, December, pages 88-109.
Baker, Kenneth, “Public Art On A Short Lease,” The San Francisco Chronicle, November 1.
Wei, Lilly, Olivia Georgia, The Invisible Thread, Buddhist Spirit In Contemporary Art,
Newhouse Center for Contemporary Art, 112 pages.
2004 Panicelli, Ida, “The Invisible Thread,” Artforum International, February, page 153.
Cox, Lynne, “The Future of BMW Design,” European Car, Web Publication
2003 Farrington, Susan, “Climbing Above Clouds Into The Farthest Reaches of Space,”
The Sanford Herald, November 25th
Cotter, Holland, “Finding Surprises as They Are Turned Up by the Karma Wheel,”
New York Times, November 7th.
Polidori, Ambra, “Words Fly Away, and So Do Texts,” La Pala (The Shovel)
Macmillian, Kyle, “Inflatable Buddha (with goatee) transcends traditional sculpture,”
Denver Post, August 15, 2003
Hawkins, Margaret, “Exhibit’s True Meaning is Only a Breath Away,” Chicago Suntimes, April 25th.
Arttner, Alan G., “DeSoto’s Buddha dazzling and disarming,” The Chicago Tribune,
Pace, Linda, Jan Jorboe Russell, Eleanor Heartney, Kathryn Kanjo, Dreaming Red, Creating Art
Pace, Distributed Art Publishers, 320 pages.
Fischer, Jack, “Cutting Edge Collage,” The Mercury News, March 13th.
Holzman, Leslie Aboud, Johnstone, Mark, Epicenter, San Francisco Bay Area Art Now,
Chronicle Books, 275 pages.
2002 Posner, Helaine, Lewis deSoto: Spirit and Matter, Bucknell University Press, 48 pages.
With essays by Stephanie Hanor, Forward by Dan Mills.
Fisher, Barbara, Noisemakers, Blackwood Gallery, Universita of Toronto, 46 pages.
Rapko, John, “Lewis deSoto at the Headlands Center for the Arts,” Artweek, Feb, pages 22-23.
2001 Duckett, Richard, “A New Face of Buddha Coming to Worcester,” Worcester Telegram &
Dover, Caitlin, “Magic Shows,” Print, July/August, pages 97-101
Fisher, Ann Lloyd, “Art Under the Arch,” Art in America, July, pages 43-46 & 112.
Bonetti, David, “Eureka Exhibition Much Improved,” San Francisco Chronicle, February 1st, page E2.
Fischer, Jack, “Artists to Keep an Eye On,” San Jose Mercury News, January 10th.
2000 Castro, Jan Garden, “Lewis deSoto,” Sculpture, December, Pages 70, 71.
Berk, Amy, “Forever on the Move,” World Scultpure News, Winter Issue
Humphrey, David, “Fax from New York,” Art Issues, November, December, pages 40, 41.
Johnson, Ken, “Matt Magee and Lewis deSoto,” New York Times, September 29th.
Daniel, Jeff, “Buddhist Concept is in the Air,” St. Louis Post Dispatch, June 4, page F1,
1999 Pritikin, Renny, “Lewis deSoto,” Bay Area Now 2, Yerba Buena Center for the Arts, page 23.
Johnson, Ken, “Lewis deSoto”, The New York Times, Friday, October 29.
1998 Riddell, Jennifer, Recital, Catalog, List Visual Art Center, MIT
Sherman, Mary, “Lewis deSoto: Recital,” The Boston Herald, October 18, Arts and Life; page 76
Mattessich, Stefan, “Dromology: Ecstasies of Speed”, Art Papers, November-December, page 4
Geer, Suvan, “Installation’s Expanded Field,” Artscene, November
Cohn, Terri, “Light as Medium”, Artweek, October, pages 13, 14.
Baker, Kenneth, “Racing to Keep Pace With A Restless World,” San Francisco Chronicle, July 2nd, E1.
Cameron, Dan, “Total Immersion”, Lewis deSoto: Ship, SmartArt Press, 40 pages, 18 color
Willis, Holly, “Lewis deSoto”, Artweek, May, page 25.
1997 Zimmer, William, “A Gallery Sampler at the Aldrich”, New York Times, December 19th, page 20.
Tromble, Meredith, “Time and the Artist”, Artweek, December, pages 12,13.
Geer, Suvan, “Knowing and Naming: The Search for Tangible Meaning,” Artweek, June 1997, pages 18-19.
Giralt-Miracle, Daniel, “La Magia de Lewis deSoto,” ABC Cultural, 3.7.97
Badia, Montse, “Els sons envoltants de Lewis deSoto,” DiJous/Cultura Avui, 3.6.97
Serra, Catalina, “Metrònom presenta una instalación de Lewis deSoto inspirada en los derviches,” El Pais
Cataluña, 3.4.97, page 8.
Geer, Suvan, “Installation’s Expanded Field,” ArtScene (internet only)
Bufill, Juan, “Una Danza de Sonidos, Lewis deSoto: Dervish”, LaVanguardia, 2.7.97, page 49.
Solnit, Rebecca, “Walking and Thinking and Walking*”, Kunstforum, February-May 1997,
pages 117-131 (*Translated into German).
1996 Fioravante, Celso, “Americanos Trazem Nova Abstraçao”, Folha de S.Paulo, 12.10.96, page 4/10.
Chaimovich, Felipe, “O Estilo De Vida Californio Em Exposição” Jornal Da Tarde, 12.10.96, page 8C.
Picazo, Glòria, “Photography: New Territories for Reality”, catalog essay in Fragments
Museu D’Art Contemporani, Barcelona, pages 115, 120.
Cross, Dorothy and Lewis deSoto, “Heat and Cold”, tate, Issue 10, Winter 1996, 48-52.
Freeman, David, “New Works: 96.2 at ArtPace”, Voices of Art, July/August, Vol.4, No. 2, pgs.22,23
Bowyer, Leslie, “Getting Coexistence”, PitchWeekly, August 1st, pages 26,27.
Alice Thorson, “Legends of Cahuillan Indians Come to Life in ‘Tahquitz’”, Kansas City Star,
July 5, in “Preview”, page 24.
Sodders, Lisa, “Man-made Magic and Myths”, The Capital-Journal, June 30th, The Arts, page 1.
Martin, Victoria, “‘Tracing Cultures’ at the Museum of Photographic Arts,” Artweek,
February, Vol. 27, No. 2, page 22.
1995 Cohn, Terri, “Points of Entry: Tracing Cultures,” Afterimage, November/December, page 15.
José Luis Brea, “Threshold”, Artforum, November, pages 97, 98.
Nusbaum, Eliot, “Art’s Space”, Des Moines Sunday Register, July 16, pages F1 & F5.
Cameron, Dan, “On Crossing Boundaries. . .” Threshold/Limares, Fundaçao de Serralves, pages 17-29.
Robinson, Joan Seeman, “Landscape As Metaphor”, Artforum, Summer 1995, page111
Rapoport, Sonya, “Color in the Shadows”, Leonardo, Vol. 28, No. 1, pages 77, 78.
1994 Hummer, Tracey C., “Landscape As Metaphor”, dialogue, November-December 1994, pages 13-15
Litt, Steven, “Museum, Artists Explore New Vistas”, Plain Dealer, November 1994.
Hall, Jacqueline, “Landscape On Massive Scale,” Columbus Dispatch, October 23rd, page 9H.
Dickinson, Carol V., “Landscape As Metaphor,” Art News, October, page 194, 196.
Wilson, Malin, “Art Explores Religion, Culture,” Journal North, September 1, page 6.
Clemmer, David, “Lewis deSoto, Crossing/Cruzandose,” THE Magazine, page 57
Deats, Suzanne, “Tension Symbolism Permeate CCA Show,” Albuquerque Journal, August 18,E16
Barnet-Sanchez, Holly, “Interview with Lewis deSoto”, Crossing/Cruzandose, Center for
Contemporary Art, Santa Fe, 6 pages.
Mason, Marilynne, “Landscapes With New Vistas”, Christian Science Monitor, May 16, pgs. 16,17
Friedman, Martin, Visions of America, Landscape as Metaphor in the Late Twentieth Century,
essays by John Beardsley, Martin Friedman, Lucinda Furlong, Rebecca Solnit, et. al.,
Denver Art Museum/Columbus Museum of Art, 255 pages.
Meyers, Kingsley, Home Video Redefined: Media, Sculpture and Domesticity, Center of
Contemporary Art, Miami, Florida, 24 pages.
Hårleman, Carl-Frederik, Erik van der Heeg, Sven-Olov Wallenstein, “Kameran Som En Metafor
För Livet”, Material, October
Beck, Ingama, “En Doft Av Paradiset-I Enkel Gestalt”, Aftonbladet, August 29th
Tarschys, Rebecka, “Berget Som Försvann”, Dagens Nyheter, August 27th
Lundström, Jan-Erik, Lewis deSoto, Fotografiska Museet i Moderna Museet, Stockholm, Sweden,12 pages.
Greenstein, M.A., “Lewis deSoto, Rebecca Solnit”, New Art Examiner, September, page 34.
Nielsen, Richard, “Exhibiting Tolerance”, The Phoenix Republic, August 22nd, page E-1, E-3.
Knaff, Devorah L., “Quiet Intelligence on Exhibit, Riverside Press Enterprise, April 4th, page G-2
Geer, Suvan, “Said and Unsaid”, Artweek, March 18, Vol. 24, No. 6, pages 10,11.
MacNaugton, Mary, editor, The Columbian Quincentenary: A Reappraisal, Articles by Elazar
Barkan, Mary MacNaugton, Dominique Blain, Rupert Garcia, Kerr+Malley, Lewis deSoto, 15 pgs
1992 Rinder, Lawrence, “Interview, Lewis deSoto”, Shift, #14, pages 58-63.
Cotter, Holland, “Abstractly to Zealously, a Glossary of Ways to Use Space”,
New York Times, October 3rd.
Pincus, Robert L., “Artful Apartment a Collision of Cultures”, San Diego Union, September 3,
Night & Day Section, page 45.
Ollman, Leah, “American Indians: Dream, Reality”, Los Angeles Times, August 26, pages F1, F6 & F7.
Lloyd, Ann Wilson, “Restoring The Mystery of Nature”, Garden Design, June pages 14-17.
Darwent, Charles, “Art Falls Through The Office Floor”, Blueprint, March, page 38.
Solnit, Rebecca, “Living Places”, Artspace, January/April, cover & pages 36-40.
Melhuish, Clare, “Perishable Goods”, Building Design UK, February 7, page 20.
Fisher, Jean, “Fragments of a Fictional Body/Lewis deSoto”, Turning The Map, Camerawork Ltd.,
UK, 90 pages.
1991 Pagel, David, “Myth Modernized”, Los Angeles Times, October 3, pages F-6.
Geer, Suvan, “Lewis deSoto”, ArtScene, September, Vol. 11, No. 1, pages 23, 24.
Rinder, Lawrence, The Language of Paradise, 8 pages, Artists Space, New York.
Burkhart, Dorothy, “Out of the Darkness”, San Jose Mercury, July 7, Arts & Books,
pages 16, 17 , 18.
Cohn, Terri, “Ritual Acts”, Artweek, June 20, pages 10, 11.
Mahaffey, Patrick and Rebecca Solnit, Pé Túkmiyat, Pé Túkmiyat (Darkness, Darkness), 28 pages
with fold-out picture insert, San Jose Museum of Art.
Rinder, Lawrence, MATRIX 144/Lewis deSoto, 4 pages, University Art Museum, U.C. Berkeley.
Lazzari, Margaret, “On View/Los Angeles”, New Art Examiner, pages 30, 31.
Knaff, Devorah, “Through the Eyes of Others”, Artweek, March 7, pages 13, 14.
Pincus, Robert L., “Shots In The Dark”, The San Diego Union, February 15, pages, C-1, C-13.
Minton, Torri, “Retreats For The Artists Among Us”, San Francisco Chronicle, December 19,
pages B-3, B-5.
1990 Ianco-Starrels, Josine, Waterworks, Long Beach Museum of Art, 6 pages.
Cohn, Terri, “Interior Destinations”, Artweek, August 30, pages 15, 16.
Ross Jeannette, “Intrinsic Value Of The Ordinary”, Artweek, April 5, pages 1 & 24.
1989 Earle, Edward W., Biennial I, California Museum of Photography, October, 51 pages.
Biren, Jordan, “Before Thought”, Reflex, July/August, Vol. 3, No. 4, page 26.
Davis, Keith, Night Light, A survey of 20th Century Night Photography, 26 pages, Hallmark
1988 Cubbs, Joanne, Visual Paradox, 72 pages, John Michael Kohler Arts Center.
Slemmons, Rod, Photographic Memory, 16 pages, Seattle Art Museum.
Reed, Jim,Natural Selection: The Terrain of Southern California, 38 pages, Riverside Art Museum.
1987 Slemmons, Rod, “Clarifying Reality”, Reflex, May/June, page 19.
Nagase Galleries (Tokyo/Osaka), “Color Photographs/Lewis deSoto” Selections 1986, pages,
84 & 85,133 pages.
S e l e c t e d C o l l e c t i o n s:
-Atlantic Richfield Corporation, Los Angeles, CA.
-Bank of America, San Francisco, CA.
-René di Rosa, Sonoma, CA.
-California Museum of Photography, Riverside, CA.
-Center for Creative Photography, Tuscon, AZ.
-Des Moines Art Center, Des Moines, IA.
-Los Angeles Center for Photographic Studies
-Los Angeles County Museum of Art
-Los Angeles Museum of Contemporary Art
-Long Beach Museum of Art, Video Collection, Long Beach, CA.
-Media Foundation, San Francisco, CA.
-Microsoft Corporation, Bellevue, WA.
-Joel and Sherry Mallin, New York, NY.
-Joseph and Elaine Monsen, Seattle, WA.
-Museum of Contemporary Art, San Diego, CA.
-Museum of History and Art, Fribourg, Switzerland
-Museum of Modern Art, New York
-Museum of Photographic Arts, San Diego
-David O’Mara, San Jose, CA.
-Nelson-Atkins Museum, Kansas City, MO.
-Neuberger Berman, New York
-Orange County Museum of Art, Newport Beach, CA.
-Tom Patchett, Los Angeles, CA.
-Phoenix Arts Commission, AZ.
-Safeco Corporation, Los Angeles, CA.
-San Francisco Art Commission
-San Jose Museum of Art, San Jose, CA.
-Seattle Art Museum, Seattle, WA.
-Serralves Foundation, Oporto, Portugal
-Southern California Gas Company, Los Angeles, CA.
-Syntex Laboratories, Palo Alto, CA.
-Rafael Tous, Barcelona, Spain
-University Art Museum, Berkeley, CA.
-Weisman Museum at Pepperdine University, Malibu, CA.
-Robert Wilson, New York, NY.