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Aili Schmeltz is a Los Angeles based artist that studied at UCLA, earned her MFA from the University of Arizona
and a BFA from the Kansas City Art Institute. She has exhibited nationally at galleries such as Edward Cella Art
and Architecture, ACME, Commonwealth and Council, and Pasadena Museum of California Art in California, Friedman
Benda and Jen Bekman in New York, and Museum of Contemporary Art Tucson; internationally in cities such as Berlin,
Tokyo, Barcelona, London, and Zurich.
Schmeltz has been awarded grants such as the Pollock Krasner Grant, California Community Foundation Grant, and
Foundation for Contemporary Arts Grant. Residencies attended include the Bemis Center, Sculpture Center, Scuola
Internazionale di Grafica (Venice, Italy), Espronceda Center for Art and Culture (Barcelona), Takt Kunstprojektraum
(Berlin), and Babayan Cultural House (Cappadocia, Turkey).
She is Founder and Director of Outpost Projects and teaches at Otis College of Art and Design.


University of California, Los Angeles Extension- Advanced Web and Interactive Design Certificate- Los Angeles, CA
University of Arizona – Master of Fine Arts – Tucson, AZ
Kansas City Art Institute – Bachelor of Fine Arts – Kansas City, MO


Espronceda Center for Art and Culture – Residency – Barcelona, Spain
Scuola Internazionale di Grafica Venezia – Residency – Venice, Italy
California Community Foundation Fellowship for Visual Arts – Los Angeles, CA
Foundation For Contemporary Arts – Grant – New York, NY
Center For Cultural Innovation – Creative Capacity Fund Grant – San Francisco, CA
Babayan Cultural House – Residency – Cappadocia, Turkey
Durfee Foundation – Artist Resource for Completion Grant – Los Angeles, CA
Pollock-Krasner Foundation – Grant  – New York, NY
Takt Kunstprojektraum – Residency – Berlin, Germany
Bemis Center For Contemporary Arts – Residency – Omaha, NE
Raid Projects- Residency – Los Angeles, CA
Arizona Commission of the Arts – Professional Development Grant – Pheonix, AZ
Sculpture Space – Residency – Utica, NY

EXHIBITIONS *denotes solo

Utah Museum of Contemporary Art – Shady Acres – Salt Lake City, UT
Unpaved GalleryWhen the Dust Settles – Yucca Valley, CA
Other Places Art Fair with Barker Hanger – San Pedro, CA
* BKB Art + Design – Object/Window – Palm Springs, CA
The Reef LA – Skulpturengarten – Organized by Fabrik Magazine and Ichiro Irie – Los Angeles, CA
ODD ARK LA – An Art Den – Organized by The Barker Hanger – Los Angeles, CA
Edward Cella Art and ArchitectureVernacular Environments Part 2 – Los Angeles, CA
JausFixed/Flux – 2 Person exhibition alongside Jason Manley – Los Angeles, CA
Fellows of Contemporary Art (FOCA)SPACE + LAND – Curated by Chelsea Dean – Los Angeles, CA
Tiger Strikes Asteroid Los Angeles – Bodies of a Different Mass – Los Angeles, CA
BKB Art + DesignOUTLINE – Palm Springs, CA
Rough Play Projects – Available to All – Site Specific Sculpture Installation – Joshua Tree, CA
* Espronceda Center for Art and Culture – You’re a Tourist In My Town – Barcelona, Spain
Pasadena Museum of California Art – Interstitial – Curated by John David O’Brien – Pasadena, CA
Rob Pruitt’s Flea Market – Presented by LAND (Los Angeles Nomadic Division) – Los Angeles, CA
Arena One Gallery- fresh stART presented by McCall Family Foundation – Santa Monica, CA
The Marks Art CenterThe Salton Sea: Lost in Paradise – Palm Desert, CA
Titanik Gallery – Lazy Susan – Turku, Finland
BLAM Projects Los Angeles – The Night – Los Angeles, CA
ACME.Works of Paper II – Los Angeles, CA
Fellows of Contemporary Art – 6H to HB – Curated by Sydney Croskery – Los Angeles, CA
East Side International – Two Person Exhibition, with Ian Pines – Time, Time, Form – Curated by Manual History Machines – Los Angeles, CA
Ada Hatch Center at Copper Mountain College – Mirrors and Windows – Joshua Tree, CA
Outpost Projects – Primo Lane – Joshua Tree, CA
Friedman Benda GalleryApocryphal Times – New York, NY
Ichibeicho Gallery – From The Dust Returns – Curated by Kio Griffith – Tokyo, Japan
Gallery MCLine of Sight – New York, NY
Universidad de Guanajuato – Esferas – León, Mexico
Autonomie Projects – DraftPunk: Contemporary Drawing Practices – Los Angeles, CA
Centro Cultural Atarazanas – Una Casa Como Yo – Veracruz, Mexico
Torrance Art Museum – MAS ATTACK 6 – Torrance, CA
The Hoxton Gallery – Up and Coming, Kids of Dada – London, UK
LA Art Book Fair at the MOCA Geffen – Feminist Dossiers Project with WCCW (Women’s Center for Creative Work) – Los Angeles, CA
Torrance Art Museum – Prep School – surviving an Apocalypse, or not. Prepper and Survivalist ideologies and utopian/dystopian visions. – Torrance, CA
* Project Room Gallery, Grand Central Art Center, California State University Fullerton – Santa Ana, CA
* Commonwealth & Council – Permanent Site Specific Installation, Portal – Los Angeles, CA
* Prescott College Art Gallery – Tomorrowland – Prescott, AZ
Pete & Susan Barrett Art Gallery, Santa Monica College – SMC Faculty Exhibition – Santa Monica, CA
José Drudis-Biada Gallery, Mount Saint Mary’s College – Divergent Geometry – Los Angeles, CA
Galeria La Miscelanea, Universidad Del Arte – Una Casa como Yo: Asuntos Domésticos – Puebla, Mexico
Zatoka Sztuki – Projekt Papier – Curator: Gosia Wojas – Sopot, Poland
Pacific Design Center – Ground Control – Curator: 5790projects – Los Angeles, CA
High Desert Test Sites – Postcard Project 2012 – Joshua Tree, CA
California State University, Northridge Gallery – Singles and Series – Northridge, CA
Land of Tomorrow Gallery – F/Utility – Lexington, KY
Vincent Price Museum – East Los Angeles College Art Faculty Show – Los Angeles, CA
Cerritos College Art Gallery – Architectural Deinforcement: Constructing Disaster and Decay – Los Angeles, CA
Jardin De Las Esculturas – Una Casa como Yo: Asuntos Domésticos – Xalapa, Mexico
Torrance Art Museum – Blank Land – Torrance, CA
Shangrila 2012 – Joshua Tree, CA
Central Utah Art Center – The Gangs all Here; Art from LA – Ephraim, Utah
University of South Dakota – Binary Inventions Print Portfolio – Grand Forks, ND
* Museum of Contemporary Art – Tomorrowland – Tucson, AZ
Asihlquaiss Offspace – Anonyme Zeichner Archiv – Zurich, Switzerland
Summercamp Project Project – Friday Night Lights & Sunday Afternoons – Los Angeles, CA
Occidental College Gallery -Land Mark – Los Angeles, CA
El Bauhaus Gallery – Una Casa Como Yo: Asuntos Domésticos – Monterrey, Mexico
Washington State University Gallery – Build Up – Curator: Michelle Forsythe – Pullman, WA
The Lodge – Coming and Going – Bloomington, IN
Co/Lab- LA Mart – Los Angeles, CA
* Greenleaf Gallery – La Fuente de la Vida – Los Angeles, CA
Golden Parachutes Gallery – Flat File – Berlin, Germany
Museum of Contemporary Art – MADE in Tucson/BORN in Tucson/LIVE in Tucson – Tucson, AZ
Jen Bekman Gallery – New Topographies – New York, NY
AT1 Projects – Volume – Curator: Andrea Neustein – Los Angeles, CA
Archer Gallery, Clark College – Alight – Vancouver, WA
Gallery Satori – Invisible Duck Tape – New York, NY
Phantom Gallery – Molasses Happens Rather Quickly – Long Beach, CA
Liste Basel – Anonymous Drawings no.9 Archive – Basel, Switzerland
Freie Universitat Berlin – Anonymous Drawings no.9 Archive – Berlin, Germany
Lumenhouse Gallery – Abstractions and Contractions – Brooklyn, NY
The Sketchbook Project Traveling Exhibition – Venues: Museum of Contemporary Art- Washington DC, 3rd Ward Gallery- Brooklyn,NY,
Antena Gallery- Chicago IL, Chris’ Jazz Café- Philadelphia, PA, Laconia Gallery- Boston, MA, Art House Gallery -
Atlanta, GA, Museum of Design- Atlanta, GA
The Armoury Gallery – Western States -Milwaukee, WI
* Locust Projects – The Magic City – Miami, FL
* Bemis Center for Contemporary Arts – Gods Eye – Omaha, NE
* Gardiner Art Gallery, Oklahoma State University – Storm Tracking – Stillwater, OK
Kreuzberg/Bethanien – Anonymous Drawings no.9 – Berlin, Germany
Jen Bekman Gallery – X Marks the Spot – New York, NY
Center for the Arts, Eagle Rock – Drawing Los Angeles – Los Angeles, CA
Torrance Art Museum – Torrance Juried Exhibition – Juror: Gosia Wojas – Torrance, CA
Barnsdall Park – Los Angeles Biennial Juried Exhibition – Jurors: Carl Berg, Lisa Melandri & Tyler Stallings
Art for Empty Walls – March Featured Artist – Los Angeles, CA
Rosenburg Gallery – The Ethnography of No Place – Baltimore, MD
The Affair at the Jupiter Hotel – with Tilt Gallery – Portland, OR
Urban Institute for Contemporary Art – Console – Grand Rapids, MI
Portland Art Center – Console – Portland, OR
* Tilt Gallery and Project Space – Comfort Food – Portland, OR
Gallery 825 – Southern California Open – Juror: Ann Philbin – Los Angeles, CA
Gallery 500 – Inertia – Portland, OR
Dinnerware Gallery – Systemic – Tucson, AZ
Sam Hill Warehouse Gallery – Prescott College Faculty Showcase – Prescott, AZ


Artillery Magazine – Skulpturengarten; Infinitely Malleable Sculptural Practices – October 25 – By David DiMichele
Art and Cake – Aili Schmeltz and Jason Manley at Jaus – July 22 – By Lawrence Gipe
Architectural Digest – 9 Art Galleries That Double as Airbnbs – Sept 4 – By Kelsey Ogletree
Domus – Los Angeles. The “Vernacular Environment” exhibition explores the meandres of space – July 6 – By Laura Drouet & Olivier Lacrouts – Milan, Italy
Lonely Planet – You Can Rent This Art Gallery in Mojave Desert on Airbnb – September 29 – By Sasha Brady
Palm Springs Life Magazine – Vive La Résistance; A High Desert exhibition is an artistic response to the border wall. – April 30 – By Steven Biller – Palm Springs, CA
Desert Magazine – Make Art, Make Home – By Kristin Scharkey – March 2018 edition – Palm Springs, CA
Vogue Magazine – Great Escape; Proenza Schouler’s debut fragrance follows a scent trail through the American desert.- p. 88 – February edition – New York, NY
Artillery Magazine – Pasadena Museum of California Art: Interstitial – By Anise Stevens – July 26 – Los Angeles, CA
Range Podcast: Stories of the New American West – interview – Desert Love, The Original Tiny Homes, and Joan Didion’s West – Megan Burks reporter – July 11
Fabrik Magazine – Pasadena Museum of California Art: Interstitial, Craft and Folk Art Museum: Material as Metaphor – By Peter Frank – June 19 – Los Angeles, CA
Art and Cake – Interstitial at the Pasadena Museum of California Art; The Meaning In-Between – By Lorraine Heitzman – April 28 – Los Angeles, CA
Modern Magazine – The Art of In-Between – By Marieke Treilhard – March 16 – New York, NY
Curate Joshua Tree – interview and studio visit podcast – October 22 – Joshua Tree, CA
Fabrik Magazine – Eight LA Artists To Know – by Kio Griffith – June 16 – Los Angeles, CA
Otis College of Art and Design, Freeway Studies: Studio Visits with L.A. Artists blog – Aili Schmeltz, Baldwin Hills – by Jeseca Dawson – October 30 – Los Angeles, CA
Anderson Ranch Arts Center Blog – Spotlight on Summer 2013 Painting Faculty: Aili Schmeltz – May 3 – Aspen, CO
Belio Magazine – Aili Schmeltz, Recycled Utopias – April 19 – Madrid, Spain
20 x 200– A Jen Bekman Project – Crystaline Bunker limited print edition – January 10 – New York, NY
Juxtapoz Magazine – The Conceptual Works of Aili Schmeltz – December 29
Green Prophet; Environmental News of the Middle East – Save the Cave Dwellers of Cappadocia – May 22 – Tafline Laylin
GYST Radio Interview – Hybrid Artists Aili Schmeltz and Danielle McCullough – March 8 – Kara Tome
20 x 200– A Jen Bekman Project – Urban Storm limited print edition – January 10 – New York, NY – Q&A With Artist Aili Schmeltz – June 7 – Sarah Saxon
Big Artist Now – featured artist & commissioned design – Las Vegas, NV
Cerritos College – Architectural Deinforcement exhibition catalogue – Los Angeles, CA
Tucson Weekly – The ‘Good Life’ – May 5 – By Margaret Regan
Ruby: Otherworldliness book – April 15 – Edited by Irana Douer – Gestalten Publishers – Berlin, Germany and London, UK
Build Up – exhibition catalogue – essay ‘Paint Misbehavin’ written by Craig Drennen – Washington State University Gallery – Pullman, WA
Volume – exhibition catalogue – Los Angeles, CA
La Fuente de la Vida – catalogue – ‘Overlapping Narratives’ by David Hernández Casas – Los Angeles, CA / Monterrey, Mexico
NY Arts Magazine – ‘Best of the West Coast’- Nov/Dec. issue – New York, NY
TAKE (artist) ‘Our Mountain’ (album title) – Album and CD cover – AstroPup Records – April 20 – Los Angeles, CA
Studio Visit Magazine – The Open Studios Press – November 1 – Curator: Carl Belz
The Daily O’Collegian of Oklahoma State University – ‘Art Gets in Shape’ by Matt Johnson – September 22 – Stillwater, OK
Baltimore City Paper – ‘Road to Nowhere’ – April 16 – Baltimore, MD – Deborah McLeod
Elvis in Hawaii Blogspot – ‘Interview with Aili Schmeltz’ – by Claudio Parentela – April 17 – Catanzaro, Italy
Ruby Mag – Feature – January 15 – Buenos Aires, Argentina
20 x 200– A Jen Bekman Project – ‘Embedded’ limited edition – April 1 – New York, NY
Miami Art Review – Interview with Aili Schmeltz – by Aimee Sinclair – February 9 – Miami, FL
Ethnography of No Place – catalogue – Rosenburg Gallery – Baltimore, MD
20 x 200– A Jen Bekman Project – ‘Radar’ limited edition – November 13 – New York, NY


The most current body of work, Object/Window/Both/Neither, developed as I was renovating a jackrabbit homesteader cabin in the high desert,
painting the interior walls a pure glowing white, an effect that pops the landscape through the large windows forward spatially, becoming the
object, the walls in turn recede to backdrop. This is an eye game that I have played since I was a kid, letting my vision slip into figure/ground
obscurity. The pieces in the series I consider to be both sculptures and paintings, windows and objects. I wander the desert often, watching the
light flatten and then sculpt the shapes. The land and plants continually shape shift, form and erode, erase and reconfigure. The paint is applied
to the canvas covered panels to emphasize the contrast of viscosity, so that the extreme difference of super glossy to ultra matte color vibrate off
of one another to create a moiré effect as you walk around the work, emphasizing the per formative object-hood of viewing sculpture.
The shapes in the ‘paintings’ are abstractions based on the view of the mesas, the wash, the rugged lines of earth to sky, out of the windows
as I worked. The palette is of the sky at different times of the day, dawn and dusk primarily; the preliminary sketches for the pieces are shapes
cut out of paper creating a shaped frame, then photographed by isolating a small portion of the sky within that window. The technique is very
elemental, stripping the sky of its context, a direct reference to James Turrel’s Skyscapes. The ‘sculptures’ are constructed as to frame the sky at
particular times of the year (solstice or equinox) or day (dawn or dusk) in order for the sculptural object itself to recede and the negative space
to advance.

The body of work I call Psionic Generators, combines an interest in utopic architecture and philosophy to investigate forms
that claim to be ‘ESP activating’ from a 1970’s New Age book about psionic generators. Psionic generators are devices that propose to activate
the energy streaming from your eyes with specific proportions and relationships to induce paranormal phenomena. I manipulate the patterns and
proportions of these psionic generators as neither a believer or a critic, I think of them as fascinating tools to generate form and question
the resulting function.

The Tomorrowland series explores the idea that utopia can be considered not only a place or a goal, but also as the very act of
striving for such a target.These hybridized structures are materializations, remnants of an ideal that never was and may never be.
As fallen monuments to a utopic philosophy, they function as relics of both a “good place” and “no place.” They nod
towards a bright future and a fallen past, recontextualizing and recombining materials that are both nostalgic and
futuristic. An embedded sense of naiveté is inherent to the objects, formed from a chemical bond of sunshine and noir that
was repeatedly cooled and heated by urban temperament and artifice. Part architectural, part fossil, part potential: these
works utilize discarded building materials that appear to have crystallized within a ‘natural’ process—strata that have
undergone philosophical transformation yet to be fulfilled.

This process of research began with an interest in the history of the midwestern suburban landscape and culture from my youth,
where the middle class idea of “the good life” fueled a massive overhaul of the American landscape that would drastically
alter how we live for generations to come. This background, combined with my fascination and love/hate relationship with
the city of Los Angeles, where I currently live, has lead me to examine mid-century philosophies of utopia and idealism.
Los Angeles has a sordid environmental history as a strange apocalyptic theme park. Its plush, manicured landscape is a
reminder of both a forced growth in an otherwise desert geography, and as a monument to human ingenuity made possible by diverting an
unfathomable amount of water from distant sources. I am captivated by the hybridized structures and blatant artifice of the city in both its
natural and man-made environments where hill top homes float precariously overhead on earth that has a topographical complexity
of embedded catastrophe.