That both architecture and sculpture begin with line then are realized as vastly different concepts of forms in space is very interesting to me. I like the play between the two structures. That the sculptural structure can become an architectural element which is both a folly and a possibly useful buttress is something I'm playing with as well.
—Kim Schoenstadt

Photo: Todd Gray

The Lapis Press is pleased to present three new unique prints by Kim Schoenstadt. Sightline Series: Inglewood/Malibu/Los Angeles numbers 1, 2, and 3 are the first installment of a series of 9 works incorporating 19th century prints of Los Angeles with her distinct architectural mash-ups.

With this collaboration with The Lapis Press, Schoenstadt explores the question “what constitutes an edition?” Her Sightline Series: Inglewood/Malibu/Los Angeles 1, 2, 3 are made up of mid-century modern and contemporary architecture and sculptural forms as components for mash-ups springing from historic views of Los Angeles. These elements are combined as collage built up through two sheets of plexiglass to create a sort of exploded view over each quaint scene. Sealing the framed work within 2 sheets of plexiglass adds depth to the composition while preserving the original print from the intervention of the mash-ups (honoring the art conservation principal of reversible intervention.) While the antique views of Los Angeles are unique, the intervention that is repeated throughout the series has been manipulated to conform to each print. How replication and singularity are interpreted in the realization of an edition is playfully considered with these works.

Schoenstadt pulls together a spacial narrative of Los Angeles inspired from her research for her design of the LA METRO train station at Fairview Heights. Unrealized architecture (John Lautner’s 1961 Malibu Akers residence, Thom Mayne’s 2009 Children’s Museum Los Angeles, and Richard Neutra’s Prefabricated Model House circa 1930) and existing Inglewood architecture (1967 Broadway Federal Bank, 1961 Jet car wash, and Victor Miller’s Brolly Hut from 1968) emerge from 1880‘s chalk lithographs (once upon a time bound in a book entitled History of Los Angeles County California with Illustrations Descriptive of Its Scenery, Residences, Fine Blocks and Manufactories published by Thompson and West.) The orange sticker outline is based on the construction qualification practice called “Story Poles” used in Malibu to allow neighbors to see a full scale 3 dimensional outline of the proposed project and how it would affect their view. This element weaves between architectural massing and sculptural massing, the past and present, real and imaginary.


Born in Chicago, Ilinois, 1973.
Currently lives and works in Venice, CA.


1995 B.F.A. Pitzer College, California.

Selected Solo Exhibitions:

Kim Schoenstadt, Chimento Contemporary, Los Angeles, CA.
Kim Schoenstadt, Univesity of Maryland, College Park, MD.
Kim Schoenstadt: Special Project for Crossroads, Sam Francis Gallery, Santa Monica, CA.

Kim Schoenstadt: Block Plan Series (Provo, UT), BYU Museum of Art, Provo, UT.

Kim Schoenstadt: The Prop Series: Munich/Brazil, Galerie Sabine Knust, Munich, Germany.
Kim Schoenstadt: Sight Lines, M29 Richter&Bruckner, Cologne, Germany.

Kim Schoenstadt, Utah Museum of Contemporary Art, Salt Lake, UT. Painted Over/Under, Los Angeles Contemporary Exhibitions, LA, CA.
Notes, Odd Lots, Restoration Selections, etc., Nichols Gallery,
Broad Art Center, Pitzer College, Claremont, CA.

Matrix: Kim Schoenstadt, Wadsworth Atheneum Museum of Art, Hartford, CT.  
Painted Over/Under, Los Angeles Contemporary Exhibitions, LA, CA.

Tell Me Something Good: A collaboration between Kim Schoenstadt/ Rita McBride, Santa Monica Museum, Santa Monica, CA.
Tell Me Something Good: A collaboration between Rita McBride/Kim Schoenstadt, Alexander and Bonin, NY.
Crisscross: Lonner/Schoenstadt, LAX Airport Terminal 3, Los Angeles, CA.

Kim Schoenstadt Fax Drawings 1-4, Secondroom Gallery, Brussels, Belgium.
Byloos/ Schoenstadt, Toomey/Tourell Gallery, San Francisco, CA.

Benicia Gantner & Kim Schoenstadt, Angels Gate Cultural Center, San Pedro, CA.
Can Control: Einhoven, Van Abbe Museum, Eindhoven, The Netherlands
Composition for a Large Room in Three Movements, Harris Art Gallery,
The University of LaVerne, La Verne, CA.

Deep Structures, 4-F Gallery, Chinatown, Los Angeles, CA.

Down the Road, to the Right; (New Wall Drawings by Kim Schoenstadt), 18th St. Arts Center, Santa Monica, CA.

Jon Furmanski and Kim Schoenstadt: Another Cowboy Song, A two part colaborative project-Part B- 4-F Gallery, Chinatown, CA.
Jon Furmanski and Kim Schoenstadt: Don’t Fence Me In,
A two part colaborative project –Part A Biola University, La Mirada, CA.

Selected Group Exhibitions:

Future Landscape(s), Lawrence Bernard Gallery, Geneva, Switzerland

Artist Drawings, Bad Gasten Gallery, Bad Gasten, Germany
All Together Now, M29/Richter & Bruckner Gallery, Cologne, Germany

Rogue Wave, LA Louver Gallery, Venice, CA.
Terra Incognita: Unknown Landscapes, A.D. Gallery UNCP, Pembroke, NC. Freeway Studies #1, This side of the 405, Otis, Ben Maltz Gallery, LA, CA. Art Cologne, M29/Richter & Bruckner Gallery, Cologne, Germany

Mash-up: collage from 1930 to the present, L&M Gallery, Venice,CA.
Somewhere Else, Urban Institute for Contemporary Arts, Grand Rapids, MI.
Arco, Sabine Knust Galery, Madrid, Spain
When Attitudes Became Form, Become Attitudes, Wattis Institute for Contemporary Art, San Francisco, CA.
Wild Things, Angels Gate, San Pedro, CA.
Extrapolate: Suggestions of Tony Smith, Pierto Gallery, South Orange, NJ.

All to Wall, Cristina Guerra Gallery, Lisbon, Portugal.
Art Platform LA, 6018 Chicago Sponcsor for site specific project, Los Angeles, CA.
Turtle, Galerie Ivana de Gavardie, Paris, France.
Between The Lines, M29 Richter ⋅ Bruckner, Cologne, Germany.
Mapping the art II, Art Affairs Gallery,Amsterdam, NL.
Empty Rooms With Casual Sounds, web based exhibition organized by Julian Mereuta
Turtle, Galerie Arnaud Lefebvre, Paris, France.
Collecting: Mail Art Project, Van Abbemuseum, Eindhoven, Netherlands.
PULSE: LA, 2 x 2 projects, Amsterdam, L.A. Live, Los Angeles, CA.

Venice, From Then to Now, Here is Elsewhere Gallery, Los Angeles, CA.
Draft, Works on Paper Not on Canvas, 643 Project Space, Ventura, CA.
Light is Heavy, Michael’s, Santa Monica, CA.
Alumni Exhibition, Pitzer College, Claremont, CA.

Construct and Dissolve, Galerie Sabine Knust, Munich, Germany.

In-between Air, Land and Sea: Tony de los Reyes, Erin Marie Dunn,
Justin Moore, Kim Schoenstadt, Long Beach City College, Long Beach, CA.
LAAGAFBLA2008, Phantom Gallery, Los Angeles, CA.
On Produceability, IMC 5533, Istanbul, Turkey. April 26 - May 17. Traveling to:
Kunstvlaai, Amsterdam, NL. May 10-18; Apartman Projesi, Istanbul, Turkey, July 1-28; Lizabeth Oliveral Gallery, LosAngeles, CA July 5- Aug. 16; New Talents-Rheinauhfen, Koln, Germany. August.

Big Bang and other origins, David Sallow Gallery, Chinatown LA, CA.
Mapping the Self, Museum of Contemporary Art Chicago, Chicago, Il.
Next New, San Jose Institute of Contemporary Art, San Jose, CA.
Uneasy Angles / Imagine LA, Sprueth/Magers Gallery, Munich, Germany.
High and Dry, Smoke and Fog, Phantom Gallery, Los Angeles, CA.
Drawn Out, Sam Francis Gallery, Santa Monica, CA.
Family Garden, Elizabeth Page Smith Atelier, Venice, CA.
Noplace, Jail gallery , Los Angeles, CA.
Without Passport, Brewery projects, Los Angeles, CA. Turtle 2, Nüans, Duesseldorf, Germany.

Street Scenes: Projects for D.C.,Mobile billboard truck exhibition,Washington, DC.
Turtle, an anarchic salon, Chelsea Space, Chelsea College of Art & Design, London, England.
Total Art Performance, Getty Center, Los Angeles, CA.
Draw a Line and Follow It, Los Angeles Contemporary Exhibitions, Los Angeles, CA. Squatting at New Langton, New Langton Arts, San Francisco, CA.

LA Art Girls, Anna Helwing Gallery, Culver City, CA.
The Shape of Space, Areana 1, Santa Monica, CA.
Surface Charge, VCU arts Anderson Gallery, Richmond, VA. Catalogue.
Prague Biennale, National Gallery, Veletrizni Palac, Kinski Palac, Prague,
Czeck Republic, Catalogue.
New Prints 2005 / Summer: Etchings, International Print Center, New York, NY.
Wives and Husbands, Domestic Setting, Los Angeles, CA.
Tar Pit Tales, 4-F Gallery, Chinatown, Los Angeles, CA.

Lodz Biannale, International Artists Museum, Lodz, Poland.
Artworks for Hard Money, Gavin Brown’s at Passerby, NewYork, NY
Freewal, California State Polytechnic University, Pomona, CA.
Hieronymus Slept Here, Irvine Fine Arts Center, Irvine, CA.
100 Artists See God, Curated by John Baldessari and Meg Cranston for Independent Curators International, traveling exhibition.

Systems of Interiors and Exteriors for Better Living, Pitzer College, CA. Catalog.
Selected Works on Paper, 4-F Gallery, Chinatown, Los Angeles, CA.

Das Spider Man, Los Angeles Contemporary Exhibitions, Los Angeles, CA.  
Lattitude, Miller/Durazo, Los Angeles, CA.
Necessary Fictions, De Chiara Gallery, NewYork, NY.

Open House, First Space, Los Angeles, CA. 2001 Twice re: Moved Angels Gate Cultural Center, San Pedro, CA.

Grants and Awards:

2012-2013 Smithsonian Artist Research Fellowship
2011 ARC Grant from the Center for Cultural innovation                                     Catherine Doctorow Prize for Contemporary Painting, Jarvis and Constance             Doctorow Family Foundation


Museum of Contemporary Art, Los Angeles, CA.
Museum of Contemporary Art, Chicago, IL.
Creative Artists Agency, Los Angeles, CA.
Van Abbemuseum, Eindhoven, Netherlands.

Selected Bibliography:

Mann, Court.“This new MOA exhibit will bend your mind”, Daily Harald, Salt Lake City, Ut. (Nov. 16, 2014).

Rossiter, Shawn.“Kim Schoenstadt’s Block Plan Series: Provo”, 15 Bytes Art Magazine, Salt Lake City, UT. (Nov. 5, 2014).

Staker, Brian. “Provo Redrawn”, City Weekly, Salt Lake City, UT. (Nov. 19, 2014).

Burns, Mark. "Artist Kim Schoenstadt's Innovative Drawings of Local Spaces."

Thinking Aloud. Prod. Marcus Smith. Classical 89, Provo, UT. (Sept. 10, 2014)

Robbins, Sarah.“An Interview with Kim Schoenstadt”, Dirty Laundry Magazine, Washington DC. (Dec. 9, 2013).

Doucette, Drew.“11 Minutes with Kim Schoenstadt”, Hirshhorn video, 10:38, posted by Hirshhorn Sept. 20, 2013.

Pagel, David. "Rogue Wave" at LA Louver a micro-biennial at its best", Los Angeles Times, Los Angeles, CA. (Aug. 2, 2013).

Aushenker, Michael. "Venice Artist Schoenstadt Goes 'Rogue," Argonaut, Los Angeles, CA. (July 17, 2013).

Sawdon, Phil, and Marshall, Russell, eds. Hyperdrawing, New York, I.B.TAURIS, 2012.

Finkel, Jori. “A Special Light”, Los Angeles Times, Los Angeles, Ca. (February 26, 2012) Cover Story in Calendar section with color images, print and web editions.

Rossiter, Shawn. “An Interview with Kim Schoenstadt”, 15 Bytes Art Magazine, Salt Lake City, Ut. (Dec. 8, 2011).

Finkel, Jori. “Art’s big reveal," Los Angeles Times, Los Angeles, CA.(March 26,2011). Cover storty in Calendar section with color images, print and web editions.

Anderton, Frances. “Painted Over/Under” Creates Space for Conversation About Place and Street Art at LACE” NPR Los Angeles, CA. (March 17, 2011).

Rolnik, Daniel, “Art Platform Los Angeles- Installations”, Argot & Ochre Blog (Oct. 5, 2011).

Van Eck,Tricia,“Money/Market”, Art: 21 Blog, (Oct. 20, 2011).

Napier-Pearce, Jennifer. NPR Utah, (Oct. 27, 2011). [Interview with Jenifer Napier-Pierce, Host of CityViews.]

Warchol, Glen. “Kim Schoenstadt Crashes theArt Party”, The Salt LakeTribune, Salt Lake, UT. (Nov. 13, 2011). Cover story with color images, print and web editions.

Staker, Brian. “Kim Schoenstadt Combining Inspiration With Location”, City Weekly, Salt Lake City, UT. (Nov. 14, 2011). In print and web editions.

Reijnders, Leo,“Wolkenbreiers”, Radio Centraal,Antwerp, Belgium, (Nov.10, 2011). [Aired Kim Schoenstadt: Sound Drawings on Wolkenbreiers]

Knight, Christopher, “Art review:”Kim Schoenstadt: Matrix 160’ at the Wadsworth Atheneum Art Museum”, Los Angeles Times, Los Angeles, CA. (Nov. 30, 2010). Color images, print and web editions.

Catlin, Roger,“A Melding of Architectural Lines in Matrix Gallery at Atheneum”, Hartford Courant, Hartford, CT. (Oct. 7, 2010). Color image.

Taft, Catherine, “Catherine Taft’s Top 10 Shows In Los Angeles”, Saatchi Online Magazine. (Dec. 1, 2010).

“Artist Project”, X-TRA art quarterly, Los Angeles, CA. (Aug. 2009).

O’Neill Butler, Lauren, “500Words”, ArtForum online, NewYork, NY ( Sept. 2009).

Ravich, Nick, “Art 21 Blog: On Location: Filming Art21 Educators in Southern California”, Art 21 Blog, (Dec. 11, 2009).

Mojica, Jason, “Mapping the Self” Time Out, Chicago, IL, (Feb.14, 2008).

Buuck, David, “Next New 2007 and Mitra Fabian at the San Jose ICA”, Artweek Magazine, Palo Alto, CA. (Nov. 2007).

Frank, Peter, “Chaos Theorizing”, LA Weekly, Los Angeles, CA. (Jan. 9, 2008)

“Artist Project”, Prop Magazine, (Oct. 2007), Duesseldorf, Germany.

Berardini, Andrew, “ten by ten”,, (March 11, 2007).

Durbin, Jonathan, “The 2006 Paper Project LA-Venice” Paper Magazine, NewYork, NY. (Feb. – March 2007. pp. 66-67).

Webb, Michael, Nogai, Juergen. “Venice Ca. Art + Architecture in a Maverick community” Abrams, New York, NY.

Lambrecht, Luk, “Complexe tentoonstellingen met een visie in het Van Abbemuseum in Eindhoven”, Knack, Brussels, Belgium, (May 23, 2007).

Richardson, Margaret, “ Surface Charge”, Art Papers, London, England, (March/April.) Kogler, Peter, “Artist’s Favourites”, SpikeArt Quarterly, Vienna, Austria, (Oct. 2006): #9.

Hiro, Rika,“Around the Globe- San Francisco”, BT, Tokyo, Japan, Vol 58. no. 887.

Dawson, Jessica, “A New Movement in Public Art”, The Washington Post, (Sept. 16, 2006): 06, p. C1, C5.

“Strange Angels” Glenn Zucman, Long Beach, CA. (Nov. 15, 2006).

“Honor Roll”, Pitzer Participant, Claremont, CA. (Summer 2006).

Pagel, David, “Around the Galleries”, Los Angeles Times, Los Angeles, CA. (Nov. 18, 2005): p. E24-25.

Lyon, Christopher, “Constructing a Biennial”, Art in America, NewYork, NY. (April 2005): 54-59.

Humes, Pete,“The Art’s On The Wall”, Richmond Times - Dispach, Richmond, VA. Section D cover story p. D1 & D4.

Gavin,Joseph, “Surface’ Changes Everything”, The Commonwealth Times, Richmond, VA. (Sept. 26, 2005).

Schedlmayer, Nina. “Lodz Biennale”, Camera Austria, Graz, Austria. #88/2004. p. 84-45.

Falconer, Morgan,“As God As It Gets”,, London, England. (Nov. 13, 2004).

“Simply Divine”, The Guardian, London, England. (Nov.13, 2004).

Tyler, Jeff, “Marketplace Morning Report: Artists Pension Trust”, Marketplace, National Public Radio, American Public Media, (Oct. 26, 2004).

Pine, Dan. “Imaging God — 100 artists explore the Divine in new exhibit,” J.The Jewish News Bulletin of Northern California, San Francisco, CA. (Feb. 27-March 4, 2004).

“Artist Project” Small Doggies, Zine, Los Angeles, CA. Vol. II, Winter, 2003. Cover art by Marcel Dzama, Centerfold art by Kim Schoenstadt.

“News-Highlight”, Contemporary Magazine, London, England, No.57, 2003.

Frank, Peter. “Pick of the week”, L.A. Weekly, Los Angeles, CA. (April 12-18, 2002).

Pence, Elizabeth. “Das Spyder-Man at Los Angeles Contemporary Exhibitions”, Artweek, Palo Alto, CA. (Oct. 2002)

Artists website:

Photo: Todd Gray