Jacci Den Hartog

Professor, Program Director of Sculpture/New Genres | BFA Fine Arts

jdenhartog@otis.edu

Education

1986               MFA, Sculpture, Claremont Graduate School, Claremont, CA
1984               BA, Fine Art, Linfield College, McMinnville, OR
1982               Centro Cultural Costarricense Norteamericano, San Jose, Costa Rica

Bio and Affiliation

Born in Pella, Iowa, Jacci Den Hartog has lived and worked primarily in Southern California since the mid-1980s when she completed her MFA in sculpture at the Claremont Graduate University. For over three decades, Den Hartog has developed a material language that challenges the conventions of landscape-related art and image-making in and beyond the American West.

In the 1980s, Den Hartog began experimenting with materials such as rubber, latex, plaster, and wire, creating abstract “rubber flowers” along with constructions of cast beach balls, industrial piping, and hand-knotted wire nets. She also embarked on a more representational sculptural series, most fully realized as her widely noted 1991 exhibition Three Rings at Security Pacific Gallery. As the title suggests, the exhibition presented three circular installations: in the center, paper silhouettes of Victorian-era circus images of caged elephants formed a train around a carnivalesque plinth holding a small monitor, which displayed a video of the foot of a performing elephant spinning; hacked-off cast-rubber elephant trunks comprised a circle on one side of the central train; and on the other side of the train and platform stood five identical plaster sculptures of dropped pants. The sense of the sculptures “endlessly rotating,” particularly in the train, which links only to itself like some kind of ouroboros, Den Hartog explains, “allude[d] to the brutality and acts of violence perpetrated against elephants in the circus.” These elephants are flattened from living creatures into common fare for repetitive entertainment, the results of which are suggested by the aggression of various sculptural truncations.

Even as Den Hartog’s work has drifted from figurative references, she’s continuously pursued her interest in the ethics of representation—how art codifies or revises the relations between people, and between the human and more-than-human worlds. Developing a post-Minimalist vernacular refreshed through an engagement and critique with historical image-making, feminist practice, and ecological attention, Den Hartog proposes a phenomenology of the environment.

Fluid Dynamics (1992) at Sue Spaid Fine Art represented a kind of transition from Three Rings to the themes that have occupied Den Hartog to the present. Using repeated casts of pachyderms, castles, and dropped pants melded with quasi-cartoonish geologies, she pushed towards semi-abstraction by way of both seriality and the effacing effects of poured rubber. A year later, also at Sue Spaid, Hill and Dale would depict fog, mountains, and rivers more directly, while still maintaining an indeterminacy, giving gravity significant power in shaping the works. Several sculptures suggested imaginary and actual sites, like Never Land or Cosmic Milk Mountain.

Den Hartog seeks a kind of landscape sculpture. By transmuting painterly perspectives and motifs into 3D objects, she does away with the fixed gaze, uncoupling the genre’s content from its traditionally romanticized connotations. She explains: “I wanted to make sculpture that gave the viewer a complex space in which to travel, to enter into, and to experience the landscape through phenomena.”

Many critics in the 1990s tied Den Hartog’s work to Sung, Ming, and Yung Dynasty landscape paintings. She studied them extensively, noting that they “gave me a great deal to consider cultural ideas about how landscapes are depicted and how those affect attitudes towards the shaping of built landscape spaces.” Such explorations make themselves felt in her late-90s shows at Christopher Grimes Gallery with their mountain-like wall-mounted sculptures; she was included in the group show Hard-Boiled Wonderland (2001) at Cal State LA’s Luckman Gallery, which featured local artists influenced by traditional Asian arts. Den Hartog also situated her practice more contemporaneously, citing Earthworks, Light and Space art, and the post-Minimalisms of Robert Morris, Linda Benglis, and Eva Hesse. Her work, she says, “moves back and forth between representation and abstraction, the sensorial experience and the idea,” adding that, “if we saw it all at the same time, it would be similar to a hallucination.” In this way, her sculptures become about “seeing time.”

Throughout the 2000s, Den Hartog dove deeper into “anti-gravity,” suspending and cantilevering her wave-like sculptures from the wall as in her Host & Guest Exchanging Places, a 2004 sculpture of two aquatic bodies seemingly flowing into one another from nowhere and reaching well into the Christopher Grimes Gallery space. However, her unusual juxtapositions of “natural” forms with rigid architectures and her gestures of displacement and artifice spoke back to the real: With Part of The Tide (2004), for example, Den Hartog described its insistent linearity as “about the repeating rhythm of the tide and the elusive edge where land and water meet, and that was very Southern California to me.”

Most recently, Den Hartog has been producing objects that operate at the interstices of the urban and extra-urban, the abstract and the narrative. Pulling upon forms from not only natural waterfalls, but also underground pipes and unseen infrastructure, while conceptually imbricating them with news accounts of children rescued from sewers or caves, she bridges the architectonic, the landscape, and the folkloric. For the presentation Gilded Space at STARS in 2022, she created a new series of sculptures ranging from just over a foot to over four feet tall, as well as drawings. Starting with a steel grid armature, she layered aqua resin and fiberglass cloth, which she further distorted with Flashe and acrylic paints, building upon her previous attempts to freeze time through the seeming denial of gravity. The sculptures challenged the boundaries of constructed environments and natural processes. As she explained, “The process of dismantling the grid system that I set up to work within has given me a way to find an expansive space within sculpture to explore.”

Jacci Den Hartog lives and works in Los Angeles. She has presented solo exhibitions at Rosamund Felsen Gallery, Los Angeles (2015, 2012, 2010); The Suburban, Chicago (with Mary Heilmann, 2012); Christopher Grimes Gallery, Los Angeles (2004, 2002, 2000, 1997, 1996); Nicole Klagsbrun Gallery, New York (1999); and Sue Spaid Fine Art, Los Angeles (1993, 1993, 1991). Institutional solo exhibitions include Pasadena City College (2020), The Contemporary Arts Center, Cincinnati (2000), San Francisco Art Institute (1998), and White Columns, New York (1995). Her work is in the permanent collections of the Los Angeles County Museum of Art, Museum of Contemporary Art Los Angeles, Nora Eccles Harrison Museum of Art, Orange County Museum of Art, Portland Art Museum, Santa Barbara Museum of Art, and San Diego Museum of Contemporary Art, among others.

Jacci Den Hartog's Work — *Nojoqui Falls*, 2017

86” x 40” x38”

Steel, aluminum mesh, aqua resin, fiber glass cloth, and paint

Stainless steel base: 1.5” x 22” x 32.5”

Jacci Den Hartog's Picture

Professional Activites

Public Lecture, “Blood and Bones” Artist in Residence Exhibition exhibition lecture, Pasadena City College, Pasadena, CA. 2020
Artist’s Forum Participant, “Women, Surrealism and Abstraction”, Nora Eccles Harrison Museum of Art, 2020.
Panel Participant, ReMODEL II: Sculpture Education Now, hosted by Claremont Graduate University, 2013.
Panel Participant, ReMODEL: Sculpture Education Now, hosted by California College of the Arts, San Francisco, 2012.
Guest Editor, X-tra, “The Garden as an Art Form,” Vol. II, Issue 2, Winter 1999.
Board Member, “The Kyoto Diary,” a quarterly journal dedicated to the traditional parts of Japan, Winter 1998-2000.
Panel Participant, “Landscape, Art and Architecture,” Los Angeles Forum for Architecture and Urban Design, Spring 1999.
Board Member, L.A.C.E., 1991-1994.
Panel Participant, “Drawing Distinctions: Pen and Ink in Contemporary Art,” Santa Barbara Contemporary Arts Forum, 1994.
Co-Curator, “Seven Los Angeles Artists, L.A.C.E., 1994.
Co-Curator, “Art in the Office,” 1993.

Awards and Honors

2022, Faculty Development Grant, Otis College of Art and Design
2018, Faculty Development Grant, Otis College of Art and Design
2012, John Simon Guggenheim Memorial Foundation Fellowship
Faculty Development Grant, Otis College of Art and Design
2008, Faculty Development Grant, Otis College of Art and Design
2006, California Community Foundation, Mid-Career Artist Grant
2000, Purchase Award, Alberta DuPont Bonsal Foundation for the San Diego Museum of Contemporary Art
1998, City of Los Angeles (COLA) Individual Artist Fellowship Award
1997, Ludwig Vogelstein Foundation Grant – for research of the Literati Gardens in China
1996, Art Matters, Inc. Artists Grant
1987, Pollock-Krasner Foundation Artists Grant

Professional Accomplishments and Exhibitions:

Solo Exhibitions

2022 “Gilded Space”, Stars Gallery, Los Angeles, CA
2020, “Blood And Bones,” Artist in Residence Exhibition, Boone Family Gallery Pasadena City College, Pasadena, California (catalog)
2015, “The Etiquette of Mountains,” Rosamund Felsen Gallery, Santa Monica, California
2012, "Come and Show Me the Way," Rosamund Felsen Gallery, Santa Monica, California (catalog)
“Jacci Den Hartog + Mary Heilmann," The Suburban, Chicago, Illinois
“Seen & Scene: The Imagined Landscape," Sturt Haaga Gallery, Descano Gardens, La Canada Flintridge, California
2010, “Coming Down,"Rosamund Felsen Gallery, Santa Monica, California (catalog)
2007, “Kaboom poof," Solway Jones, Los Angeles, California
2004, “Moonshine," Christopher Grimes Gallery, Santa Monica, California
2002, “Sculpture," Christopher Grimes Gallery, Santa Monica, California
2000, “Viewing Pavilions and Borrowed Views," Christopher Grimes Gallery, Santa Monica, California
The Contemporary Arts Center, Cincinnati, Ohio
1999, Nicole Klagsbrun Gallery, New York, New York
1998, San Francisco Art Institute, San Francisco, California (artist’s book)
1997, “Passing a Pleasant Summer," Christopher Grimes Gallery, Santa Monica, California
1996, “Invitation to Reclusion," Christopher Grimes Gallery, Santa Monica, California
1995, "White Room Program," White Columns, New York, New York
1993, “Hill and Dale," Sue Spaid Fine Art, Los Angeles, California
“The Ivory Project," Rio Hondo College, Whittier, California
“The Ivory Project," Art Store Gallery, Los Angeles, California
1992, “Fluid Dynamics," Sue Spaid Fine Art, Los Angeles, California
1991, “The Captive’s Dream," Sue Spaid Fine Art, Los Angeles, California

Selected Group Exhibtions

2022 "Landscapes," PPOW Gallery, New York, NY
2021, "So Many Stars," Stars Gallery, Los Angeles, CA
2020, “Women, Surrealism, and Abstraction,” Nora Eccles Harrison Museum of Art, Logan, Utah
"In the Meanwhile…Recent Acquisitions of Contemporary Art”, curated by Julie Joyce, Santa Barbara Museum of Art, Santa Barbara, California
“Suturo, Artists and Poems”, www.suturo.com, online exhibition curated by Alexandra Wiesenfeld and Steven Wolkoff
2019, “Mindshift”, Lava Projects, Los Angeles, California
2018, “Grace Au Dessin”, curated by Jason Mckechnie, Art Muir, Montreal, Canada
“Defining Detritus,” curated by China Adams, Arena1 Gallery, Santa Monica, California
2017, “Forms of Identity: Women Artists of The 90’s”, curated by Alyssa Cordova, Orange County Museum of Art, Orange County, California
“Ex Urbe," Curated by John David O’Brien, Outpost for Art, Joshua Tree, California
2015, “By This River," curated by Michael Solway, Weston Art Gallery, Cincinnati, Ohio
"Petraphilia: The Love of Stones," curated by Richard Turner, Fellows of Contemporary Art, Los Angeles, California, (catalog)
2013, “Environmental Art for Collective Consciousness," curated by Allison Town & Emily D.A. Tyler, Begovich Gallery, California State University, Fullerton, California (catalog)
2012, “Facing West/Looking East," guest curator, Richard Turner, Oceanside Museum of Art, Oceanside, California (catalaog)
“split realities," Nan Rae Gallery Exhibitions at Woodbury University, Burbank, California
2011, “Goldmine: Contemporary Works from the Collection of Sirje and Michael Gold," University Art Museum, Cal State, Long Beach, California (catalog)
“One Night Stand on Walpurgisnacht," Beacon Arts Building, Los Angeles, California
2010, “Set Theory 1," curated by Roland Reiss, Torrance Art Museum, Torrance, California
2008, “Like Lifelike: Painting in The Third Dimension," curated by Brad Spence, Sweeney Art Gallery, Univ of California, Riverside, California (catalog)
"Drawing the Line," Museum of Contemporary Art, San Diego, California
2007, “Home/Office," Guggenheim Gallery, Chapman University, Orange, California
2006, “Interspace," Solway Jones, Los Angeles, California
"Materialwise Revised," curated by Carl Berg, Domestic Setting, Los Angeles, California
“On The Wall," Eagle Rock Cultural Center, Los Angeles, California
"Omage: The Artists, Designers and Writers of Otis College of Art and Design”, Track 16 Gallery, Santa Monica, CA, curated by Christopher Miles
2005, “Water, Water Everywhere”, Museum of Contemporary Art, Scottsdale, AZ, curated by Mary Lou Knode, (catalog)
"Collection Histories/Collective Memories: California Modern", Orange County Museum of Art, Newport Beach, CA
“Laguna’s Hidden Treasures”, Laguna Beach Art Museum, Laguna Beach, CA
2004, “Fantasticism”, Carl Berg Gallery, Los Angeles, CA
2003, “unNaturally”, traveling exhibition organized by Independent Curators International New York (ICI), curated by Mary-Kay Lombino (catalog)
2002, “Representing Landscape”, University Art Gallery, University of California, San Diego, California
2001, “Cultivated”, Transamerica Pyramid Lobby, San Francisco, California
“Hardboiled Wonderland," curated by Julie Joyce, Harriet and Charles Luckman Fine Arts Complex, California State University, Los Angeles, California
2000, “Imagined Landscapes," Consolidated Works, Seattle, Washington
“Dreaming Worlds Up," Nantes Museum, Nantes, France
“Vision Machine," Musee des Beaux-Arts de Nantes, France
“The Visionary Landscape," Christopher Grimes Gallery, Santa Monica, California
“Material Transformations," Transamerica Building, San Francisco, California
“Drawings V," Koplin Gallery, Los Angeles, California
“Seascape," Christopher Grimes Gallery, Santa Monica, California
“The du Pont Family Legacy at the Delaware Art Museum," Delaware Art Museum
“Sculpture by Four," Kohn Turner Gallery, Los Angeles, California
1999, “Jacci Den Hartog, Michael Gonzalez, and Peter Hopkins," Ruth Benzacar Gallery, Buenos Aires, Argentina
“Landscape: Outside The Frame," MIT List Visual Arts Center, Cambridge, Massachusetts
“East of Eden: Profane Gardens," Guggenheim Gallery, Chapman University, Orange, California
“Biennial Exhibition," Orange County Museum of Art, Newport Beach, California (catalogue)
“COLA 98," 1998 Los Angeles Cultural Affairs Grants recipients exhibition, (catalogue)
“The Flower Show," Patricia Faure Gallery, Santa Monica, California
1998, “Drawings," Meyerson & Nowinski, Seattle, Washington
“L.A. or Lilliput?," Long Beach Art Museum, Long Beach, California, curated by Michael Darling (catalogue)
“Landscapes," Meyerson & Nowinski, Seattle, Washington
1997, “My Favorite Femmes," Jan Baum Gallery, Los Angeles, California
“Quartzose: 20 Los Angeles Artists," Galleri Tommy Lund, Odense, Denmark, curated by Michael Darling
“Jacci Den Hartog, Michael Gonzalez, Peter Hopkins," Christopher Grimes Gallery, Santa Monica, California
“The Lie of the Land," University Art Museum, University of California, Santa Barbara, California
“Real World," New Langton Arts, San Francisco, California
“On the Rim," Transamerica Gallery, San Francisco, California
“Plastered," curated by Robin Mitchell, Shoshana Wayne Gallery, Santa Monica, California
1996, “Materialwise," Galerie Markant, Langelo, The Netherlands
“An Embarrassment of Riches," Huntington Beach Art Center, Huntington Beach, California
“Loves Labor Lost," curated by Sue Spaid, SITE, Los Angeles, California
1995, “Painting Outside Painting: 44th Biennial Exhibition of Contemporary American Painting”, curated by Terrie Sultan, Corcoran Gallery, Washington, DC
“Update 1995," White Columns, New York, New York
1994, “Works on Paper," Geoffrey Young Gallery, Great Barrington, Massachusetts
“Fairies, Pixies, and Nether Worlds," Sue Spaid Fine Art, Los Angeles, California
“Hooked on a Feeling," Kohn Turner Gallery, Los Angeles, California
“The Sacred and the Profane," Jan Baum Gallery, Los Angeles, California
“LAX: The Los Angeles Exhibition," curated by Anne Ayers, Otis College of Art and Design Art Gallery, Los Angeles, California
“Playfield”, curated by Randy Sommers, Rio Hondo College, Whittier, California
“Animal Farm”, James Corcoran Gallery, Santa Monica, California
“Utterings: Contemporary Drawings and Installations”, Woodbury University Art Gallery, Burbank, California
“Pen and Ink," Santa Barbara Contemporary Arts Forum, Santa Barbara, California
1993, “Daylight Fantasies…The Night’s Dark Side," Riverside Art Museum, Riverside, California
“Elegant, Irreverent and Obsessive: Drawing in Southern California," California State University, Fullerton; Dorothy Goldeen Gallery, Santa Monica, California
“Sugar and Spice," Long Beach Art Museum, Long Beach, California (catalog)
“Technocolor," Christopher Grimes Gallery, Santa Monica, California
“Mimosa," Food House in conjunction with Nomadic Site, Santa Monica, California
1992, “The Dressing Room," FAR Bazaar, Los Angeles, California
“Floored," curated by Randy Sommers, Julie Joyce, Bliss Gallery, Pasadena, California
“Gallery Artists," Nicole Klagsbrun Gallery, New York, New York
“A Summer Drawing Show," Richard Kuhlenschmidt Gallery, Santa Monica, California
“ptyx," Sue Spaid Fine Art, Los Angeles, California
1991, “Transcience Is No Tragedy," Office For Art, Los Angeles, California
“Sculptural Innuendoes," Security Pacific Gallery, Costa Mesa, California
“Les Fleurs," Parker Zanic Gallery, Los Angeles, California
“The 91 Show," Thomas Solomon’s Garage, Los Angeles, California
1990, “Metaphor of Function," San Diego State University, San Diego, California
“Four Artists," Jan Baum Gallery, Los Angeles, California
“Drawing The Line," Richard/Bennett Gallery, Los Angeles, California
“Sublime Geometries," Sue Spaid Fine Art, Los Angeles, California
“Provisional Proof," Opus Gallery, Los Angeles, California
“Material Consequence," curated by Anne Ayres, Otis/Parsons Art Gallery, Los Angeles, California (catalog)
1989, “14 Solo Exhibitions," Dennis Anderson Gallery, Los Angeles, California
“Newcomers," Los Angeles Municipal Art Gallery, Barnsdall Park, Los Angeles, California
“Variations Los Angeles: The Image," Ruth Bachofner Gallery, Los Angeles, California
1986, “California Biennial," Riverside Art Museum, Riverside, California

Selected Public Collections

Santa Barbara Museum of Art
Nora Eccles Harrison Museum, Logan, Utah
Museum of Contemporary Art, Los Angeles
Los Angeles County Museum of Art
Orange County Museum of Art
San Diego Museum of Contemporary Art
Portland Art Museum
Norton Family foundation
Cerritos Center for The Performing Arts
Eli Broad Family foundation
Security Pacific Bank
Carnation Company
Swiss Re Capital Partners, Inc.
LUX Art Institute
Jones Day Law Offices
Gibson, Dunn and Crutcher Law Offices
Chevron Headquarters, San Ramon, CA

Commissions and Public Projects

2013, Sculpture commission for the Chevron Headquarters, San Ramon, CA.
2008, Angel’s Flight Plaza, public artist/site designer for redevelopment and design of garden and paving, incl. plaza, hillside and public use spaces.
2004, Fountain Commission, LUX Art Institute, Encinitas, CA. Fountain for private residence, Santa Monica, CA.
2002, Garden design, private residence, Los Angeles, CA.
2000, “Succulent Viewing Pole”, sculptural garden installation for private residence.

Publications:

2020, Linton, Meg. “Jacci Den Hartog: Blood and Bones”, exhibition catalogue, Pasadena City College.
2019, “Check Out Jacci Den Hartog’s Artwork”, Voyage L.A., January 21, 2019
2015, Turner, Richard “Petraphilia: The Love of Stones”, exhibition catalog, Fellows of Contemporary Art, Los Angeles, CA.
Carolina A. Miranda. “Datebook: The art of Riot Grrrl, L.A. Zine Fest and Friday the 13th,” Los Angeles Times, Online.
Wood, Eve“, Jacci Den Hartog,” Artillery, February 26, 2015.
Heitzman, Lorraine, “Rocks, Rivers & Polystyrene, Armseye Magazine, Fall 2015, pp 40-44.
2013, Town, Allison, Emily D.A.Tyler, “Ego Eco: Environmental Art For Collective Consciousness”, exhibition catalog, Nicholas and Lee Begovich Gallery, California State University, Fullerton.
2012, Wolfe, George. “The Collision of 2-D and 3-D,” OMAG, Fall, pp 14-15.
Zellen, Jody, “Jacci Den Hartog: Come and Show Me The Way” at Rosamund Felsen Gallery, Art LTD, Nov. 2013
Knechtle, Tom, “Come and Show Me the Way”, Spaid, Sue, “From Elephant and Castle to Far Away Places”, exhibition catalog, Rosamund Felsen Gallery, Santa Monica, CA.
2010, Pagel, David. “Rivers run through this,” Los Angeles Times, July 30.
Faus, Paul. “Jacci Den Hartog,” ArtUS.
Ross, Adam, interview, “Coming Down”, exhibition catalog, Rosamund Felsen Gallery, Santa Monica, CA.
2008, Spence, Brad, “Like Lifelike: Painting in The Third Dimension”, exhibition catalog, Sweeney Art Gallery, Univ of California, Riverside, CA,
2007, Pagel, David. “A Grand Scale and Plenty of Detail,” Los Angeles Times, May 18.
2005, Mallinson, Constance. “Jacci Den Hartog at Christopher Grimes,” Art In America, Feb.2004 Pagel, David. “Reality and Irony Collide, Los Angeles Times, Jan 2, pp E1, 40.
Frank, Peter. “Unnaturally, The New Figuration, Art Pick of the Week,” LA Weekly, Jan16-22.
Pagel, David. “Sculpture Seen From Within, Los Angeles Times, July 23, p E27.
Frank, Peter. “Art Pick of the Week,” LA Weekly, Aug 20-26.
Miles, Christopher. “Jacci Den Hartog,” ArtForum, Nov. pp 230-1.
2003, Lombino, Mary-Kay. “Nature in 3-D,” UnNaturally, exhibition catalogue, Independent Curators International, New York.
2002, Scarborough, James. “Jacci Den Hartog at Christopher Grimes Gallery,” Artweek, Jul/Aug.
2001, Heeger, Susan. “Fertile Imaginations,” Los Angeles Times Magazine, May 20.
Knight, Christopher. “Alice Visits Alternate Realities in Hard-Boiled Wonderland, Los Angeles Times, Jun 15, p F26.
Miles, Christopher. “Hard/Boiled Wonderland,” Artforum.com.
2000, Martin, Victoria. “The Visionary Landscape at Christopher Grimes Gallery,” Artweek, Mar, p 18.
Campbell, Clayton. “The Visionary Landscape,” Flash Art, Mar-Apr, p 61.
Knight, Christopher. “Imagined Journeys,” Los Angeles Times, May 12, p F26.
1999, Walsh, Daniella. “Art Made for The Pure Joy of It,” The Orange County Register, Feb 14.
Curtis, Cathy. “Far Horizons,” Los Angeles Times, Feb 17.
Curtis, Cathy. “Formal Boundaries Take Some Life from Biennial,” Los Angeles Times, Mar 2, p F12.
Harvey, Doug. “Flower Power Games,:LA Weekly, September 7-23:38.
1998, Haines, Gordon. “Jacci den Hartog at Christopher Grimes,” Art issues, Mar/Apr, p 39.
Updike, Robin. “Drawing on a diverse palette,” Seattle Times, July 16.
Hackett, Regina. “Drawing invitational reveals personal taste,” Seattle Post-Intelligencer, July 22: E5.
Frederickson, Eric. “Sketch Artists,” The Stranger, July 9.
Frederickson, Eric. “Drawing Lessons,” The Stranger, July 23:25.
1997, Duncan, Michael. Review, Art in America, Jan, p 102.
Iannaccone, Carmine. “Nature Rules, Art+Text", Feb-Apr.
Damianovic, Maia. Tema Celeste, Mar/Apr.
Pagel, David. “Nature and Artifice,” Los Angeles Times, Nov 21, p F27.
Knight, Christopher. “Year in Review, Ten Best Gallery Shows,” Los Angeles Times, Dec 21, pp 4, 64.
1996, Dorsey, John. “44th Corcoran Exhibit…” The Washington Sun, Jan 14.
Ostrow, Saul. “History Is Now: Painting Outside Painting,” The New Art Examiner, Mar, pp 29, 31.
Kandel, Susan. “Luscious Works Make Use of Formal Trickey,” Los Angeles Times, Apr 4, p F8.
Goodman, Jonathan. “Painting Outside Painting,” ARTnews. April:138.
Darling, Michael. “River Deep, Mountain High: Jacci Den Hartog Mines the Land,” Los Angeles Reader, Apr 19, p18.
Smith, Roberta. “Testing Limits in a Corcoran Show,” The New York Times, Jan.
Pagel, David. “Entering A New Dimension,” The Los Angeles Times, Aug 25, pp 7, 89. “Jacci Den Hartog,” Frieze, Sept, p 91.
1995, Sultan, Terrie. Painting Outside Painting: 44th Biennial Exhibition of Contemporary American Painting, exhib catalogue, incl. essays, “The Rapture of Materiality,” by Sultan; “Jacci Den Hartog,” by Julie Joyce.
Melrod, George. “Seducing the Eye,” Art and Antiques, Mar.
1994, Darling, Michael. “Jacci Den Hartog,” New Art Examiner, Jan.
Iannaccone, Carmine. “Jacci Den Hartog,” Art issues, Feb.
Crowder, Joan. “From the Pros to Emerging Artists,” Santa Barbara News Press, Apr 22.
Curtis, Cathy. “Faculty Show Is A Grade Above The Others,” Orange County Calendar, Apr 23.
Ayres, Anne. Sincerity and Other Peccadilloes, LAX: The Los
Angeles Exhibition, exhib. catalogue, Otis Art Gallery, Otis College of Art and Design, Los Angeles.
Pagel, David. “Hooked On a Feeling,” Los Angeles Times, Jul 21.
Cutajar, Mario. “Lines of Thought,” Artweek, Jun.
Kandel, Susan. “Sincerity Focuses on Beauty,” Los Angeles Times, Nov 24.
Duncan, Michael. “L.A. Rising,” Art in America, Dec.
Frank, Peter. “Art Pick of the Week,” LA Weekly, Aug 20-26.
1993, Gamblin, Noriko. Sugar and Spice, exhib catalogue, Long Beach Museum of Art, Long Beach, CA.
Curtis, Cathy. “Sugar and Spice,” Los Angeles Times, Apr 1.
Pagel, David. “In Living Color,” Los Angeles Times, Apr 15.
Scarborough, James. Visions, Apr.
1992, Knight, Christopher. Los Angeles Times, Apr 23.
1991, Knaff, Devora. “The Sculptor as Playwright,” ARTweek, Dec 5.
Mendenhall, Lauri. “Sculptures Present Visual Sermons, Orange Coast Weekend, Oct.
Littlefield, Kinney. “Sculptural Innuendoes About as Subtle as an Elephant,” Orange County Register, Sept 27
Curtis, Cathy. “Sculptural Innuendoes is a Hodgepodge of Old Gallery Mates,” Los Angeles Times, Sept 23.
Curtis, Cathy. “Les Fleurs…,” Los Angeles Times, May 17.
Nilson, Lisbet. “Agony and Ivory,” Los Angeles Times, Apr,14.
DeSilver, Drew. “A Furry Dilemma,” Vegetarian Times, March, 10.
"Babar Barbarism," Angeles, Feb, 20.
1990, Ayres, Anne. Material Consequence, catalogue, Otis Gallery, Otis College of Art and Design, Los Angeles, Jan.
McKenna, Kristine. “Minimalism Focus of Material Consequence,” Los Angeles Times, Feb 14.
Frank, Peter. “Material Consequence: Jeopardy, Art Pick of the Week,” LA Weekly, Mar 9.
Lazzari, Margaret. “Redefining Minimalism’s Boundaries,” Artweek, Mar 15.
Anderson, Michael. “Material Consequences,” Contemporanea, May.
Appleford, Steve. “Walking the Line,” Los Angeles Times, Aug 9.
Pincus, Robert L. “Sculptors Form a Functional Trio…” San Diego Union, Sept 21.
Nilson, Lisbet. “Likes Her Conceptual Art,” Los Angeles Times, Oct. 28.
McKenna, Kristine. “Newcomers a Showcase for 12 LA Artists,” Los Angeles Times Calendar, Dec 12.
1989, Geer, Suvan. “The Galleries,” Los Angeles Times, Dec, 12.
Frank, Peter. “To Be Young, Gifted, and Los Angeleno, Visions, Summer.
1988, Ollman, Leah. “Cerebral and Sensual Share Space,” Los Angeles Times, Apr 22.

Clients and Employment History:

1994 – Present, Professor, Otis College of Art and Design, Program Director of Sculpture/New Genres, 2009 - present
2001, 1996 – Lecturer, Art Center College of Design
1996, 1997 – Lecturer, College of Creative Studies, University of California, Santa Barbara
1994, 1995 – Lecturer, University of California, Los Angeles
1994 – Lecturer, Pasadena City College, Pasadena, CA
1994 – Lecturer, University of California, Irvine
1993 – Lecturer, California State University, Los Angeles