359:, she introduced a new way of perceiving light and its interaction with the physical world. Through simple means—a sheet of photographic paper and a single source of light— the artist embarked on a journey of discovery in the darkroom. By crushing and folding the paper into sculptures and then exposing it to light, she unveiled mysterious images that seemed latent within the paper itself. Each session in the darkroom became an adventure, revealing the infinite potential for form hidden within nature. Pinkel's early experiments with light laid the basis for her forty-year exploration of the interplay between form, light, and physicality.
371:(1981–1991) was a series of twelve installations—its title a pun on military "plants"—that investigated the growth of the U.S. military-industrial complex and nuclear industry and its negative impact on the environment, health, jobs sectors and geo-political regions; it combined in-depth, footnoted research, text, light works, and photocopied and crumpled images (of fighter planes, hands and faces). Pinkel stated that she had "decided to make art installations as information artworks in order to educate others and myself" based on her belief that "people are empowered by information".
512:(1999) examined prison labor through a vast matrix of prisoner-made products (including state and federal flags) reproduced out of a catalogue from Prison Industrial Authority, an agency based in a maximum-security prison. Pinkel interspersed image grids with facts about race and class biases in the federal justice system, revealing how viewers' proximity to ubiquitous products—their purchase mandated by bureaucratic rules—made them complicit with practices of unfree labor.
332:(1982), she placed objects (small toys, animals and artifacts) onto a charged selenium plate, exposed it, and then made positive and negative prints described as simultaneously detailed and abstract, and radiating with energy. In the 1980s, this work gave way to mixed-media pieces and installations integrating light phenomena,
503:(1998) contrasted the trappings of wealth and class in museum settings with the poor treatment of guards in an installation featuring personal testimonies, ghost-like, gilt framed photographs of guards printed as negatives—suggesting their invisibility—and glass vitrines displaying black work shoes and museum press materials.
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described its storyboard-like montage of enlarged color snapshots overlaid with quotes from interviews and letters as a bittersweet picture of lives uprooted by the terror and tragedy of war, which forced viewers to "reconcile the ordinariness of the sitters with the extraordinary suffering they have
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Pinkel has moved freely across genres. Her early cameraless photography lies at the intersection of art and science, using diverse imaging technologies in abstract inquiries into the potential of form revealed by light. Beginning in the 1980s, she turned to highly political art, broadly influenced by
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Pinkel also created several concurrent installations and public art projects publicizing issues confronting garment workers in Los
Angeles, Bangkok, Thailand and Phnom Penh, Cambodia. These included large-scale text-image works placed on buses and abandoned department store fronts, a history of Los
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Pinkel has received grants from the
National Endowment for the Humanities (2004), Mellon Foundation (1998), Sloan Foundation (1987, 1988, 1990) and National Endowment for the Arts (1982, 1979), among others, as well as a Hammer Award from the Center for the Study of Political Graphics (1996). She
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embroidery she purchased, she learned of the half-million Hmong and
Cambodians in post-war refugee camps in Thailand. Further research led to extended trips in 1990, 1992, 2002 and 2004 to Thailand, Cambodia, Laos, Vietnam and Hmong villages in the Guizhou and Yunnan provinces in China to examine
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labor organizer, a fact also relevant to her work. As a woman growing up in the
Nuclear Age and being close to those working in the industry she had quite the view of its ravaging effect on the world. Between the bombing of Hiroshima and the Cold War, Pinkel she was surrounded by a culmination of
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described the latter show as "exceptionally rich, strange, mercurial, and vivid, pulsating with a mysterious energy." Since 2011, Pinkel has also worked on the "Lens Scans" project, scanning over 300 in museum and private collections to document the unique refractive "fingerprint" that each lens
624:("Missing: El Salvador", 1991), among other venues. Pinkel served on the art faculty at Pomona College (1986–2011), teaching courses including documentary photography, experimental photography, history of photography and computer graphics before retiring as Emerita Professor of Art in 2012.
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375:(University of Southern California Atelier Gallery, 1985) focused on American arms sales, combining a central map indicating international weapon transaction locations, explanatory text, and take-out food containers housing dead plants above and below the map, which listed arms dealers. In
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patterns and the politics of language. They juxtaposed shifting dictionary definitions of "consumer" or "consume"—destructive in 1962 and benign in 1979—and maps and images of the globe to explore commercial, political and ecological forms of First-to-Third World domination;
324:, an advanced X-ray technology normally used to detect cancerous breast tissue. She became fascinated with the internal complexities and delicacy of nature revealed by the technology, which made visible hidden dimensions in natural and human-made things. For works such as
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451:, a current-day symbol of empowerment—the juxtaposition contextualizing and lending epic status to their specific struggles to preserve human life and culture, while also speaking to universal issues involving diaspora communities and threatened cultures.
439:, a longitudinal work that included large photographic grids, journals and letters, albums, recordings and video directly addressing genocide and trauma and their effects on spiritual growth, wisdom and cultural heritage. Included were the installations
293:(1974–82), she applied her understanding of sculpture to two-dimensional forms, exposing shaped and folded photographic paper, which after being developed and unfolded, resulted in a flat two-dimensional recording of the three-dimensional image.
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in 1941 and raised in
Cleveland and Los Angeles. Her father was a scientist who worked on confidential nuclear projects, something she only later learned of in the course of her research and artmaking on the subject; her grandfather was a
244:. She completed studies in photography (MFA, 1977), without ever using a camera; inspired by her fascination with light and the infinite potential for form in nature, she studied non-mathematical aspects of light phenomena with physicist
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begun in the 1970s that used light-sensitive emulsions and technologies to explore form; her later, socially conscious art combines research, data visualization, and documentary photography, making critical and ethical inquiries into the
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and nuclear industry, consumption and incarceration patterns, and the effects of war on survivors, among other subjects. Writers identify an attempt to reveal the unseen—in nature and in culture—as a common thread in her work.
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After earning a BA in Art
History in 1963, Pinkel worked as a researcher for the California State Legislature and did intermittent social science research, experiences that provided a foundation for later work she termed
462:(California State University Los Angeles, 2001), followed a Hmong refugee family from Laos to Thai refugee camps to North Carolina in their twenty-year search for home, belonging, and a better life.
532:(2016), which probed issues of profit, community costs, race and class involved in incarceration; and an installation for the show "Made in America: Unfree Labor in the Age of Mass Incarceration" (
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called them "startling glimpses into the heart of the union of form and light" combining technology and the hand of the artist. For "Manifestations of a Cube" (1974–9), Pinkel created what curator
399:(1988) featured a haunting image of a grizzled Native American, captioned with the title in stacked form. Related installations explored the fragility and temporality of nature, including
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340:. During this time she also worked on black, grey and white two- and three-dimensional works entitled "Goethe Gardens," which appeared in brilliant color when viewed through a prism.
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critic Pat Leddy wrote, "subconscious horror carries Pinkel's art toward an empathy" that was nonetheless "disquieting" against the ground of everyday
American experience.
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616:(2015), as well as several catalogues of her work and curated exhibitions. She has curated exhibitions at the Los Angeles Municipal Gallery ("Multicultural Focus," 1981),
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by, for example, reproducing a glib ad for a personal radiation monitoring device alongside facts and personal statements detailing the actual dangers of radiation.
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received public art commissions to create a gate in Los
Angeles's Green Meadows Park (2003) and a mural at the Sherman Oaks Library (2001) about the life of the
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described them as "handsome abstractions with the gee-whiz appeal of successful illusionism and the longer-lasting satisfaction of well-composed subtleties";
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In the 1990s, Pinkel turned her attention to the plight of refugees throughout
Southeast Asia. Initially inspired by curiosity about symbols on a large
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Kelley, Ron. "Interview with Sheila Pinkel, Project
Director of 'Multicultural Focus: A Photography Exhibition for the Los Angeles Bicentennial,'"
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Hugunin, James. "Mainstream Results: 'Multicultural Focus,' Municipal Art Gallery, Barnsdall Park, Los Angeles, January 27-February 22, 1981," in
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403:(2001), a tiled mural of prints of old and disappearing forests in Bali on top of Astroturf, some of it exposed by tile spaces left empty.
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Pinkel's light works have been rediscovered by a new generation, with exhibitions of the "Folded Paper" and "Glass Rods" series (2015) and
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Pinkel's experimentations with light produced several extensive bodies of work dating back to her graduate studies. In her "Folded Paper"
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and mythical aspects of culture, to produce sculptural installations, such as her "Solar Clocks and Moon Gardens," which functioned like
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Angeles garment workers, and pieces juxtaposing images of worker strikes in the cities, emphasizing common experiences of injustice.
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In the mid-1980s, Pinkel began moving back and forth between her light works and engaged political art, sometimes combining them.
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111:(born 1941) is an American visual artist, activist and educator whose practice includes experimental light studies, photography,
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140:(Light Works), Luminous gelatin silver paper, 48" x 96", 1978–82. Collection of the Los Angeles County Museum of Art.
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156:, among others. She has exhibited internationally and her work belongs to public collections including those of the
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936:"Photography exhibit combining three distinct subjects presented at Emeritus College Art Gallery in Santa Monica,"
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Pinkel's art belongs to the public collections of the Centre Pompidou (Paris), Los Angeles County Museum of Art,
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Von Blum, Paul. "Women Political Artists in Los Angeles: Eva Cockcroft, Sheila Pinkel & Beverly Naidus,"
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259:(from "Thermonuclear Gardens"), Black-and-white photocopy produced on gelatin silver paper, 12" x 36", 1985.
520:, stirred controversy and was removed from a commemorative parole museum exhibition. Related works include
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715:, Los Angeles: The California / International Arts Foundation, 2010, p. 363. Retrieved January 20, 2021.
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by Kate Newton and Christine Rolph (eds.), Cardiff, UK: Ffotogallery, 2003. Retrieved January 20, 2021.
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Pinkel, Sheila. "The Necessity for Synthetic Art Education," High Performance #37, 10(1). 1987, p. 6.
1108:, Long Beach, CA: Long Beach Museum of Art with the assistance of the Getty Foundation, 2011, p. 106.
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516:(2005), a multi-panel history of incarceration that included images of slavery, child labor and the
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248:, leading to a long period of experimentation with varied light sources and imaging techniques.
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1447:"Thermonuclear Gardens : Information Artworks about the U.S. Military-Industrial Complex"
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1755:, Los Angeles: Los Angeles Center for Photographic Studies, 2011. Retrieved February 6, 2021.
1561:, Massachusetts: Butterworth-Heinemann, Focal Press. 2001, p. 47. Retrieved January 20, 2021.
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Pinkel, Sheila. "Missing El Salvador: An Interview with Adam Kufeld and Cynthia Anderson,"
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895:, New Brunswick, NJ: Rutgers University Press, 1997, p. 281–2. Retrieved January 19, 2021.
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Pinkel extended her interest in worker conditions in several series titled "Site/Unseen."
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conditions and document the stories of displaced survivors and the ongoing effects of the
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called a "biography" of a small, square glass dish, capturing its essence in photograms,
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1740:, Rochester, NY : Visual Studies Workshop Press, 1993. Retrieved February 6, 2021.
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The graphic posters of Pinkel's "Consumer Research" companion series examined American
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Gillet, Marnie and Beth Goldberg. "In the Gallery: Sheila Pinkel, Remember Cambodia,"
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1090:, Schwerpunkt: Kunst und Arbeit – Art and Labor. V&R Unipress, 2005, p. 171–93.
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806:, Lanham, Maryland: University Press of America, 1994. Retrieved January 20, 2021.
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Lees, D. Grayson. "Beyond the Blue Emulsion: Startling Glimpses of Form, Light,"
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Matthews, Sandra. "Courage in the Face of History: Cross-Cultural Portraits," in
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Press Release: Exhibition: Sheila Pinkel - Folded Paper, Glass Rods, 1974 - 1982
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Afterimage: Critical Essays on Photography from the journal Afterimage 1977-1988
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Photographic Possibilities: The Expressive Use of Ideas, Materials and Processes
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Pinkel has worked as a writer, curator and teacher. A long-time contributor to
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1168:, Chicago: Time Life Books, Inc., 1981. p. 210–1. Retrieved January 19, 2021.
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first world cruelty. This greatly impacted her art. In 1959, she enrolled at
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Documentary photography, cameraless photography, installation art, public art
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528:'s trial with aspects of injustice and racism in the overall prison system;
379:(1991), Pinkel critiqued the nuclear and energy industries In works such as
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1397:"Refractive Fingerprints of Lenses: Explorations in Light Transformations,"
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Other Visions, Other Voices: Women Political Artists in Greater Los Angeles
604:, among others. She has also written and produced several books, including
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1354:, Cypress, California: Cypress College Fine Arts Gallery, 1998, p. 61-62.
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1617:" 2016-2017 Feinberg Series: The U.S. in the Age of Mass Incarceration,"
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Huffman, Kathy Rae. "Evolution: Video’s Analog to Digital Experiments,"
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Evolution, Exchange and Evolution: Worldwide Video Long Beach 1974-1999
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Butler, Eugenia P. "The Technological Object and the Handmade Object,"
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1798:, DeKalb, IL: Journal of Experimental Fiction Books, 2016, p. 151-158.
1381:"Sheila Pinkel, Folded Paper, Glass Rods, 1974-1982 @Higher Pictures,"
1272:"Sheila Pinkel, Manifestations of a Cube, 1974-1979 @Higher Pictures,"
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486:(from "Site Unseen: Incarceration"), Inkjet print, 180" x 96", 2003.
172:. In addition to her art, Pinkel has written for journals including
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Pohl, Frances K. "Work in the Art of Sheila Pinkel: An Interview,"
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414:(from "Indochina Document" series), Inkjet print, 16" x 20", 1992.
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1703:, Los Angeles Center for Photographic Studies, 4(1), 1991, p. 40.
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Von Blum, Paul. "Southern California Artists Challenge America,"
240:, remaining politically active, while studying with photographer
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Bishton, Derek, Andy Cameron and Tim Druckrey. "Sheila Pinkel,"
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Pelzer, Joshua. "Tongvan history retrieved by local professor,"
560:, Hammer Museum, Musee national d’histoire et d’art Luxembourg,
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Lukina, Anastasia. "In Transition: Chronicle of Displacement,"
1299:, California: John Wayne Airport Arts Program. 2001, p. 36-37.
849:, Amherst, Massachusetts: Hampshire College Art Gallery. 2017.
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Made in America: unfree labor in the age of mass incarceration
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Wilson, William. "Art, A Still Life Chop Suey at Barnsdall,"
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Pinkel synthesized five years of historical exploration into
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Naked to the Bone: Medical Imaging in the Twentieth Century
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1258:, September 24, 1978, p. L101. Retrieved January 20, 2021.
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Kou Chang and Family, Chiang Kham Detention Camp, Thailand
1325:, Santa Barbara, CA: Santa Barbara Museum of Art, 2014.
875:, Los Angeles: The Box Gallery, 2018, p. 223-260; 422.
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Masquerade - Women's Contemporary Portrait Photography
1402:, Spring 2018, p. 118–23. Retrieved January 29, 2021.
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Kunst Und Politik: Jahrbuch Der Guernica-Gesellschaft
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Spiegel, Judith. "Dismantling Cultural Constructs,"
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Pinkel, Sheila. "Toward a Synthetic Art Education,"
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Untitled, from the "Site Unseen: Light Works" series
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1770:, Sheila Pinkel, 2015. Retrieved February 6, 2021.
824:"'Indochina: The Art of War' Exhibition Misfires,"
347:(2017) at Higher Pictures Generation in New York.
1245:, Cyprus: NeMe/Lanitis Foundation, 2006, p. 12–7.
1020:Pinkel, Sheila. "To Dream the Impossible Dream,"
1499:, November 11, 1989. Retrieved January 20, 2021.
1431:Lorenz, Mindy. " Eco-art: A medium for change,"
665:Leddy, Pat. " Sheila Pinkel at Pomona College,"
1644:Musee national d’histoire et d’art Luxembourg.
1386:, February 3, 2015. Retrieved January 25, 2021.
1277:, October 31, 2017. Retrieved January 25, 2021.
1196:Heffley, Lynn. "Artwork ousted after protest,"
989:, Digital Archives. Retrieved January 29, 2021.
1526:Sachs, Karen. "Interview with Sheila Pinkel,"
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938:February 17, 2011. Retrieved January 29, 2021.
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524:(2004), which visually connected elements of
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1721:Pinkel, Sheila. "Toyo Miyatake: Two Views,"
1683:Center For The Study of Political Graphics.
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622:Los Angeles Center for Photographic Studies
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1334:Shields, Kathleen. "Siteworks/Southwest,"
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973:, Collections. Retrieved January 29, 2021.
954:, Collections. Retrieved January 25, 2021.
568:, Museum of Contemporary Photography, and
320:Between 1978 and 1983, Pinkel worked with
150:Center for the Study of Political Graphics
91:Center for the Study of Political Graphics
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1687:, Collection. Retrieved January 29, 2021.
1674:, Collection. Retrieved January 29, 2021.
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1635:, Collection. Retrieved January 29, 2021.
1513:Perez, Judy. "Photographs tell a story,"
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419:Refugee and worker-related art (1989– )
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712:L.A. Rising: SoCal Artists Before 1980
198:. She lives and works In Los Angeles.
1615:University of Massachusetts Amherst.
1575:Journal of American Studies of Turkey
1056:, People. Retrieved January 29, 2021.
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766:Zoeckler, Lyndy. "Making a Protest,"
731:Nicholson, Chuck. "Nuclear Visions,"
643:Muchnic, Suzanne. "Wilshire Center,"
236:." In the mid-1970s, she enrolled at
146:National Endowment for the Humanities
83:National Endowment for the Humanities
35:Newport News, Virginia, United States
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1619:History. Retrieved January 29, 2021.
913:Museum of Contemporary Photography.
566:Museum of Contemporary Art San Diego
484:Site Unseen: Growth of Incarceration
445:UCR/California Museum of Photography
238:University of California Los Angeles
53:University of California Los Angeles
1912:21st-century American women artists
1857:21st-century American photographers
1555:Hirsch, Robert and John Valentino.
1435:, November/December 1986, p. 16–9.
1350:Cypress College Fine Arts Gallery.
950:Los Angeles County Museum of Art.
554:San Francisco Museum of Modern Art
170:Museum of Contemporary Photography
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1413:"Sheila Pinkel – Higher Pictures"
968:Sheila Pinkel (1941, États-Unis)
313:, video (the early digital film,
285:Experimental light works (1974– )
228:while mainly studying sculpture.
218:University of California Berkeley
57:University of California Berkeley
158:Los Angeles County Museum of Art
1917:American women photojournalists
317:, 1977), and other techniques.
154:National Endowment for the Arts
87:National Endowment for the Arts
1836:Sheila Pinkel, Xeroradiography
1825:Sheila Pinkel official website
1734:Pinkel, Sheila and Kuo Chang.
1659:Lightwork, 1976, Sheila Pinkel
1657:Minneapolis Institute of Art.
1445:Pinkel, Sheila (August 2001).
491:Prison-industrial complex and
206:Sheila Mae Pinkel was born in
119:. She first gained notice for
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1321:Volpe, Lisa. "Introduction,"
576:Other professional activities
458:Pinkel's other major series,
397:Real Eyes, Realize, Real Lies
74:Conceptual art, political art
1862:American women photographers
1752:Refocus: Multicultural Focus
1602:Koppman, Debra. "Previews,"
889:Kevles, Bettyann Holtzmann.
610:Refocus: Multicultural Focus
562:Minneapolis Institute of Art
522:Site/Unseen: Mumia Abu Jamal
1229:, November 28, 2003, p. A8.
1132:, New York: Phillips. 2020.
1040:, #25, 7(1), 1990, p. 66–7.
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540:Recognition and collections
269:conceptual artists such as
126:military-industrial complex
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1685:Sheila Pinkel, Patriot Axe
1591:San Gabriel Valley Tribune
1517:, April 18, 1998, p. 9–10.
1184:, February 1991, p. 87-91.
735:, April 24, 1982, p. 13–4.
514:Site/Unseen: Incarceration
501:Site/Unseen: Museum Guards
1922:American photojournalists
1882:American abstract artists
1867:Documentary photographers
1606:, October 2004, p. 6, 28.
1463:10.1162/00240940152549258
1370:, Vol. 2.2, 1991, p. 109.
1243:In Transition Cyprus 2006
770:, December 3, 1983, p. 4.
509:Prison-Industrial Complex
377:Thermonuclear Gardens #12
1907:American women academics
1887:Artists from Los Angeles
1368:Ten•8: Digital Dialogues
1312:, March 11, 1989, p. 13.
608:(1993, with Kou Chang),
530:Criminal Eyes/Human Eyes
373:Thermonuclear Gardens #5
345:Manifestations of a Cube
326:Peas (positive/negative)
1779:Sheila Pinkel website.
1725:, 1(2), 1980, p. 34–42.
443:(Pomona College, 1996;
115:and graphic works, and
1892:Pomona College faculty
1297:Darkroom & Digital
1162:Time Life Books, Inc.
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381:A Portal Into Tomorrow
363:Political art (1981– )
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208:Newport News, Virginia
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121:cameraless photography
16:American visual artist
1877:Environmental artists
1543:, Spring/Summer 1997.
1338:, Fall 1984, p. 66–7.
1209:Decamous, Gabrielle.
1024:, 37(3), 2009, p. 42.
669:, May 1996, p. 27-28.
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369:Thermonuclear Gardens
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202:Early life and career
196:Claremont, California
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1670:Seattle Art Museum.
1150:, April 1976, p. 19.
558:Denver Museum of Art
432:and Cambodian wars.
222:Bay of Pigs invasion
1811:, 1(4), 1981, p. 2.
1767:Weavers of Varanasi
1628:Denver Art Museum.
1379:Knoblauch, Loring.
1270:Knoblauch, Loring.
754:, October 27, 2017.
614:Weavers of Varanasi
518:Japanese internment
460:Hmong in Transition
570:Seattle Art Museum
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437:Indochina Document
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1872:Political artists
1737:Kou Chang’s Story
1515:Claremont Courier
1497:Los Angeles Times
1256:Los Angeles Times
1227:Los Angeles Times
1198:Los Angeles Times
970:Kachina Transform
966:Centre Pompidou.
873:The Kitchen Table
827:Los Angeles Times
645:Los Angeles Times
606:Kou Chang’s Story
534:Hampshire College
507:Site/Unseen: The
464:Los Angeles Times
441:Remember Cambodia
307:Kathy Rae Huffman
295:Los Angeles Times
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598:High Performance
572:, among others.
334:archaeoastronomy
242:Robert Heinecken
190:, and taught at
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709:Kienholz, Lyn.
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647:, May 21, 1982.
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482:Sheila Pinkel,
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410:Sheila Pinkel,
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322:xeroradiography
299:Suzanne Muchnic
287:
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255:Sheila Pinkel,
234:information art
204:
162:Centre Pompidou
136:Sheila Pinkel,
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1819:External links
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355:In 2021, with
328:(1978–82) and
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1416:. Retrieved
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357:Pinkelgraphs
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275:Joseph Beuys
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107:
1897:1941 births
1130:Photographs
493:Site/Unseen
468:David Pagel
401:Site/Unseen
392:consumption
352:possesses.
271:Hans Haacke
138:Grand Glory
41:Nationality
1851:Categories
1701:Frame-work
1631:Light Work
1541:Camerawork
1493:Art Review
1418:2024-04-08
1182:Z Magazine
1128:Phillips.
1022:Afterimage
620:, and the
590:Frame-work
586:Afterimage
471:endured."
449:Angkor Wat
311:cyanotypes
291:photograms
181:Afterimage
117:public art
113:conceptual
1471:0024-094X
1165:The Print
747:Ho, Yin.
536:, 2017).
526:Abu Jamal
315:Intuition
49:Education
1479:57562454
1451:Leonardo
1433:Creation
1400:Leonardo
1336:Artspace
1038:Heresies
1002:Leonardo
752:Artforum
594:Heresies
582:Leonardo
349:Artforum
338:sundials
330:Cherries
187:Heresies
175:Leonardo
44:American
1809:Obscura
1723:Obscura
1604:Artweek
1528:Journal
1310:Artweek
768:Artweek
733:Artweek
667:Artweek
602:Obscura
466:critic
453:Artweek
430:Vietnam
297:critic
97:Website
1633:, 1976
1477:
1469:
600:, and
547:Tongva
168:, and
79:Awards
1781:Books
1475:S2CID
628:Notes
425:Hmong
257:Crush
213:ILGWU
71:Style
1467:ISSN
618:LACE
383:and
277:and
264:Work
226:HUAC
224:and
184:and
152:and
32:1941
29:Born
1459:doi
194:in
1853::
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