September 30, 1988 |
Daniel Wheeler is a young, talented sculptor with the ability to move seamlessly from open-ended fetish objects to complex, walk-in booth sculptures that are second cousins to the Pop combine but have a graphic bite. Most of the sculptures are hewn of wood, found chain, old phones, metal tubing, bed stuffing and garage detritus. Many of his large scale objects--such as an elongated tong shape called "Iron Age"--look like tools unearthed from some past or future civilization.
February 28, 1995 |
Suppose you saw two hollow stainless-steel objects--one resembling a flower on a stem, the other, a stem minus the flower--"growing" out of a boulder-sized chunk of earth. Suppose you knew this was a piece called "Untitled (containment)" by Los Angeles artist Daniel Wheeler, part of his one-man exhibition at Griffin Fine Art in Costa Mesa (through April 9). Would you sniff the flower? It may sound nutty, and you know not to touch works of art.
CALIFORNIA | LOCAL
April 13, 2009 |
He's one artist who really immerses himself in his work. Daniel Wheeler tightly clutches his waterproof camera, takes a giant gulp of air and jumps into backyard swimming pools across Los Angeles. When he hits bottom, he aims the camera upward and exhales, sending a cascade of bubbles toward the water's surface. For Wheeler's camera, the bubbles and the ripples they create when they burst through the surface turn into a unique lens through which to view a quintessentially Southern California lifestyle.
April 14, 2009
Underwater photographer: An article in Monday's Section A about Daniel Wheeler's pictures snapped from backyard pools referred to Duncan Miller Gallery owner Daniel Miller as David Miller.
September 29, 2012 |
For 20 years, Diavolo has been Los Angeles' wild child, a company of daredevil dancers leaping and cavorting on pitching wheels, Goliath walls and other playground equipment from a super-sized Wonderland. An unsettling issue kept nagging: Was it circus or was it dance? Artistic director Jacques Heim intended the latter, but he couldn't always convincingly make the case. The choreography's superhuman feats often overwhelmed the metaphorical themes within. But a corner has been turned.