Lewis deSoto

DeSoto was born in San Bernardino, California in 1954.Nolan, Ruth. [https://www.pbssocal.org/shows/artbound/famed-western-love-story-of-willie-boy-and-carlota-gets-told-through-a-native-american-lens “Famed Western Love Story of Willie Boy and Carlota Gets Told Through A Native American Lens,”] KCET, August 24, 2016. Retrieved May 7, 2025.Sweeney, Erin Michaela. "The Inland Empire in Photographs and Essays," Terrain, June 14, 2017. He lived the first half of his life in the surrounding Inland Empire region; his family's roots trace in part back to the area's Cahuilla people.Torres, Anthony, "Lewis deSoto's Arbor/Ardor," Whitehot Magazine, March 2017. DeSoto studied at the University of California, Riverside, receiving a BA in studio art and minor in religious studies in 1978, and at Claremont Graduate School, earning an MFA in 1981. He began teaching in the 1980s at schools including Otis Art Institute, Cornish College of the Arts, California College of Arts and Crafts, and San Francisco State University (1988–2020), where he is professor emeritus.San Francisco State University. [https://bulletin.sfsu.edu/faculty/emeritus-emerita/ "Emeritus-Emerita Faculty,"] Retrieved April 17, 2025.

In addition to his 2009 retrospective, deSoto has had solo institutional exhibitions at the San Jose Museum of Art (1991), Artpace (1996),Cross, Dorothy and Lewis deSoto. "Heat and Cold," tate, Winter 1996, p.48–52. Columbus Museum of Art (2004), di Rosa Center for Contemporary Art (2008),Villano, Matt. "Di Rosa Preserve Shows Cars As Art," San Francisco Chronicle, July 11, 2008. Palm Springs Art Museum (2011),Czap, Nick. [https://archive.nytimes.com/wheels.blogs.nytimes.com/2011/06/21/a-visual-artists-land-yacht-beaches-in-palm-springs/?searchResultPosition=2 "A Visual Artist’s Land Yacht Beaches in Palm Springs,"] The New York Times, June 23, 2011. Retrieved May 7, 2025. Santa Barbara Museum of Art (2016) and Museum of Contemporary Art San Diego (2018), among others.Santa Barbara Museum of Art. [https://www.sbma.net/exhibitions/desoto "Lewis deSoto: Paranirvana (Self-Portrait),"] Exhibitions, 2016. Retrieved May 7, 2025.

Critics identify heterogeneity in terms of cultural references, themes and media as a significant aspect of deSoto's work.Rinder, Lawrence. Generosity of Spirit: The 2003/2004 Flintridge Foundation Awards in Visual Arts, Flintridge Foundation, 2004. His influences include conceptual and land art, Buddhist, Cahuilla, Catholic and Muslim cosmologies, the visionary literature of Hermann Hesse, phenomenology and scientific theory. This plurality results in a free play of metaphor, symbol and language in which objects and relationships are neither merely metaphorical nor merely representational, leaving the work open to a multiplicity of ideas and meanings, inexplicability and humor.

Thematically, deSoto's art is often likened to spiritual journey involving transcendence or identity. He often sets up confrontations between the mortal world of bodily and sensory desire and the infinite realm, or between contrasting cultures, eras and philosophies.Frank, Peter. "Tahquitz," The Huffington Post, June 2012. Rebecca Solnit contends that deSoto's approach liberates his art from Eurocentric conceptual binaries, such as nature versus culture, sacred versus quotidian, and perfection versus fallenness.

Performance and interaction are also significant aspects of deSoto's work. His photographic series approach landscape from an experimental position centered on documenting encounters between camera and environment rather than composing images. He turned to installation and sculpture in the 1990s, seeking embodied viewer participation in his work involving movement, sound and space. These efforts also involve presenting work in non-art-world contexts such as car shows and showrooms, parking lots and national parks.

File:Lewis deSoto Ellipse-Tide 1982.jpeg

DeSoto's early experimentations with photographic exposure, light and materials explored landscape as an experience. The blurred and crowded, slow-exposure Botanica images (1980) emphasized the light-responsiveness shared by flowers and photographic film, creating a metaphorical and reciprocal relationship that upended oppositions of organic to mechanical. In his "Site Projects" series (1981–86),.deSoto responded to the earthworks of sculptors like Robert Smithson. Rather than physically alter locations, he shot long exposures of moving light sources at night to create time-lapse effects suggesting ideas of infinity and the transience of humanity (e.g., Ellipse Tide, 1982).Van Proyen, Mark. [https://www.squarecylinder.com/2019/09/carleton-watkins-and-another-west-fraenkel/ "Carleton Watkins and 'Another West' @ Fraenkel,"] September 23, 2019. Retrieved May 7, 2025.

With Tahualtapa (1983–1988), deSoto shifted toward sculpture. The mixed-media series centered on the shifting essence and perceptions regarding a San Bernardino County mountain that had been leveled. Its four works each featured an inscribed title and frame filled with materials (feathers, marble dust and slabs of cement) representing its role across three cultures: as the Cahuilla "Hill of the Ravens," Spanish colonial "Cerrito Solo," and American "Marble Mountain" and Slover Mountain cement quarries.Straight, Susan. [https://www.latimes.com/books/la-ca-jc-sunshine-of-neglect-20190117-story.html "Finding a Geography of Home in the Inland Empire,"] Los Angeles Times, January 17, 2019. Retrieved May 7, 2025.

DeSoto's early sound and projection installations drew upon Native American culture, California settings and enigmatic arrangements of objects in order to examine traditional and modern attitudes about land and universe. In Haypatak, Witness, Kansatsusha (1990/1995), he again explored landscape as a locus of cultural change (in this case, Drakes Bay, Sir Francis Drake's California landing site). Titled with the Miwok, English and Japanese words for "witness," its wall-sized video projection featured contrasting sounds and visual styles—close-ups of flora and water, chaotic sweeping pans, and meditative skyscapes—portraying three cultural modes of consciousness. As viewers approached the dimly lit installation via a jetty-like strip of slatted wooden flooring over a bed of stones, their shadows became part of the work. In Pe Tukmiyat, Pe Tukmiyat (Darkness, Darkness) (1991) and Tahquitz (1994–96), deSoto created symbolic representations of Cahuilla creation myths as austere, quasi-domestic scenes accompanied by moody lighting, video and sound. Tahquitz referenced the story of a mountain demigod that feeds on human souls; the installation featured a long, galvanized table supporting two large blocks of ice that melted into ceramic vases, bounded by real-time and time-lapse videos of the San Jacinto Mountains.Michno, Chrisopher. "Tahquitz: Culver Center for the Arts," Artillery, April-May 2012.

File:Lewis deSoto End of Desire.jpeg

In the later installations End of Desire (2001–09) and Lament (2009–15), deSoto delved into broader themes involving sensory desire and transcendence. The former—deemed a "Zen joke" about temptation and resistance in one review—consisted of a wooden pier elevated above a room strewn with overpoweringly fragrant cocoa hulls. Lament was a cathedral-like meditation on transience; it featured a narrow corridor lit by a dim ray of blue light, which reverberated with a haunting melody improvised by an opera singer to words from the Hermann Hesse novel, The Glass Bead Game.

DeSoto returned to Native American folklore in the public installation Carlota (2016, Joshua Tree National Park), taking up the 1909 true-life, tragic "Willie Boy" incident in which a Chemehuevi–Paiute pair of lovers lost their lives amid one of the largest manhunts in the history of the West. He reoriented prior Eurocentric versions of the story—told in words, sound and graphic line drawings on plaques along the park's trail—to reflect Native perspectives, particularly Carlota's.

In the latter 1990s, deSoto turned to individual sculptural works, including contemplative pieces about corporeal existence prompted by the death of his father; among them were a wooden, body-shaped armature covered with fabric, and Recumbent (1999), a ticking suit of armor arrayed on the floor.Johnson, Ken. [https://www.nytimes.com/2000/09/29/arts/art-guide.html?searchResultPosition=12 "Matt Magee and Lewis deSoto,"] The New York Times, September 29, 2000. Retrieved May 7, 2025. He pursued that theme further with Paranirvana (self-portrait) (2003–16), a 26-foot-long inflatable reclining Buddha with his own image superimposed onto the face, which reinterpreted a 12th-century stone monument at the Gal Vihara in Sri Lanka.Cotter, Holland. [https://www.nytimes.com/2003/11/07/arts/art-review-finding-surprises-as-they-are-turned-up-by-the-karma-wheel.html?searchResultPosition=10 "Finding Surprises as They Are Turned Up by the Karma Wheel,"] The New York Times, November 7, 2003. Retrieved May 7, 2025.Artner, Alan G., "DeSoto’s Buddha dazzling and disarming," Chicago Tribune, April 11, 2003.Hawkins, Margaret, "Exhibit's True Meaning is Only a Breath Away," Chicago Sun-Times, April 25, 2003. Inflated each morning and deflated in the evening, the sculpture (one of four versions) mixed levity—a trompe l'oeil rock effect and car-dealership inflatable associations—with deeper themes involving rebirth, spiritual and bodily transcendence, Western versus Buddhist notions of self, and the transience of art. The Chicago Sun-Times compared the work to "being present at the deathbed of some spiritual eminence."

In the 2000s, deSoto produced three fully functional conceptual cars.Genocchio, Ben. [https://www.nytimes.com/2006/09/17/nyregion/art-review-visions-of-native-americans-in-todays-world-843725.html "Visions of Native Americans in Today’s World,"] The New York Times, September 16, 2006. Retrieved May 7, 2025. He transformed a 1965 Chrysler New Yorker to create Conquest (2004), which examines intersecting automotive, cultural and personal histories centered on the name deSoto: the automaker's DeSoto vehicle line (1929–1961), the colonial Spanish conquistador, and the artist's conflicted relationship to that colonial legacy (he has a vague familial connection to the conquistador).Baker, Kenneth. "Public Art on a Short Lease," San Francisco Chronicle, November 1, 2005.Stone, Nick. "Transmission from the Deterritorialized Zone," Conquest, Sotolux, 2006.Lentini, Lara Kristen. "No Reservations: Native American History and Culture in Contemporary Art," Art Papers, January/February 2007. Mining divergent references, deSoto modified the car's emblem and styling with representations of a sword and pox virus (historical agents of destruction) and colonial detailing, aggressive extended wheels, and interior embellishments of ostentatious luxury. The fictitious vehicle was convincing enough to take second prize in a California Chrysler car show as a recreated, long-lost prototype.

Cahuilla (2006) is a reworked 1981 General Motors pickup, the year marking when Indian tribes received the right to build and run gaming casinos. Its design included gambling, currency and tribal motifs, pulsing hidden LED lights, and a sound loop of slot machine tunes, casino sounds and traditional Native chants. Nick Stone described these hybrid details as reflections of an adaptive history: "a singular convergence of indigenous tradition, newfound economic prosperity, a distinctly regional form of reified self-expression and the practical needs of desert survival," which deSoto channeled through Southern California's flashy customized car culture. DeSoto examined the military-industrial complex and national identity through Imperial America (2008), a 1956 Chrysler Imperial fitted with a 10.5-foot scale model of a CC-56 Redstone ballistic missile; it referenced Chrysler's role in the Manhattan Project and little-known role in Cold War defense engineering.

File:Lewis deSoto Agua Mansa 2 2012.jpeg

DeSoto's print and photographic work in the 2000s reflects themes common to his installation works. He based the "KLS" (2007) prints of intensely hued concentric circles on descriptions of color in the chapters of the Hesse novella Klingsor's Last Summer, about a painter facing death by embracing the sensual in life; they were likened to the color field paintings of Kenneth Noland.Roth, David M. [https://www.squarecylinder.com/2009/08/papermylarvellum-brian-gross/ "Paper/Mylar/Vellum at Brian Gross,"] Square Cylinder, August 10, 2009. Retrieved May 7, 2025.

In two photographic projects, deSoto returned to landscape. He revisited the variegated and ecologically challenged Inland Empire region in the "Empire" series (2012–15).Westerbeck, Colin. "The Here and Now, From A to Z," Artillery, March 2015.{{cite book|last1=DeSoto|first1=Lewis|last2=Chaat Smith|first2=Paul|title=Empire: Photographs and Essays by Lewis DeSoto|date=2016|publisher=Heyday Books|isbn=978-1-59714-334-9}} An exhibition (Fullerton Museum of Art, 2015) presented panoramic images (some 12 feet wide), each created by digitally merging up to 200 handheld photographs to simulate vistas viewed from a moving car.Senn, Evan. [https://www.pbssocal.org/shows/artbound/inland-empire-artists-capture-the-sense-of-being-here "Inland Empire Artists Capture the Sense of 'Being Here,'"] KCET, August 24, 2013. Retrieved May 7, 2025. A book, Empire: Photographs and Essays (2016), featured panoramic and unpopulated single-frame images, as well as essays based on deSoto's memories and personal history. The exhibition "Arbor/Ardor" (2018) featured tree-centered, performative images and video spanning decades, which explored the intersection of human activity, space, time and landscape.

DeSoto's work belongs to the collections of the Autry Museum of the American West, Berkeley Art Museum,Berkeley Art Museum and Pacific Film Archive. [https://collection.bampfa.berkeley.edu/catalog/?&op=OR&search_field=artistcalc_s&q=%22deSoto+Lewis%22 Lewis deSoto], Collection. Retrieved May 7, 2025. California Museum of Photography,Martínez, Sandra Baltazar. [https://news.ucr.edu/articles/2023/03/13/california-museum-photography-turns-50 "California Museum of Photography turns 50,"] UC Riverside News, March 13, 2023. Retrieved May 7, 2025. Center for Creative Photography,Center for Creative Photography. [https://ccp.arizona.edu/artists/lewis-desoto/ Lewis deSoto], Artists. Retrieved May 7, 2025. Columbus Museum of Art,Columbus Museum of Art. [https://5095.sydneyplus.com/final/Portal/Default.aspx?lang=en-US Lewis deSoto, Paranirvana (Self-Portrait)], Collection. Retrieved May 7, 2025. Crocker Art Museum,Crocker Art Museum. [https://museumpublicity.com/2012/04/10/the-crocker-art-museum-announces-brought-to-light-masterworks-of-photography-from-the-crocker-art-museum/ "The Crocker Art Museum announces Brought to Light. Masterworks of Photography from the Crocker Art Museum,"] Museum News. April 10, 2012. Retrieved May 7, 2025. di Rosa Center for Contemporary Art,di Rosa Center for Contemporary Art. [https://www.dirosaart.org/di-rosa-artist-list/ di Rosa Artist List]. Retrieved April 17, 2025. Los Angeles County Museum of Art, Museum of Contemporary Art Los Angeles, Museum of Contemporary Art San Diego, Museum of Modern Art, Museum of Photographic Arts, Orange County Museum of Art,Orange County Museum of Art. [https://ocma.art/desoto-lewis/ Lewis deSoto], Artists. Retrieved May 7, 2025. Petersen Automotive Museum, San Francisco Museum of Modern Art,San Francisco Museum of Modern Art. [https://www.sfmoma.org/artist/Lewis_deSoto/ Lewis deSoto] Collection. Retrieved May 7, 2025. San Jose Museum of Art, Santa Barbara Museum of Art,Santa Barbara Museum of Art. [https://collections.sbma.net/objects/33007/the-rotation-of-the-earth?ctx=58e139e3750ccff6d14ebd358dfad7cda5ea3077&idx=0 Lewis deSoto The Rotation of the Earth], Collections. Retrieved May 7, 2025. and Seattle Art Museum, among others.Amon Carter Museum of American Art [https://www.cartermuseum.org/collection/carlsbad-payomkawichum-072417-p202115 Carlsbad (Payómkawichum) 07.24.17'', Lewis deSoto], Collection. Retrieved May 7, 2025.

He has received a John S. Guggenheim Foundation fellowship (2024) and awards from the Flintridge Foundation (2003), Fleishhacker Foundation (1999), National Endowment for the Arts (1996) and California Arts Council (1992).Fleishhacker Foundation. [https://www.fleishhackerfoundation.org/all-eureka-fellows Eureka Fellows]. Retrieved May 7, 2025. He has been awarded artist residencies from organizations including Artpace, Headlands Center for the Arts, Institute of American Indian Arts and MIT List Visual Arts Center.Headlands Center for the Arts. [https://www.headlands.org/artist/lewis-desoto/ Lewis deSoto], Artists. Retrieved May 7, 2025.Institute of American Indian Arts. [https://iaia.edu/fall-2024-iaia-artist-in-residence-program/ "Fall 2024 IAIA Artist-in-Residence Program,"] September 8, 2024. Retrieved May 7, 2025.MIT List Visual Arts Center. [https://listart.mit.edu/exhibitions/lewis-desoto-recital "Lewis deSoto: Recital,"] Exhibitions. Retrieved May 7, 2025.

DeSoto has been commissioned to produce a number of public artworks, in cities including Phoenix, San Antonio, San Francisco and San Jose.Montiel, Anya. [https://www.americanindianmagazine.org/story/outside-walls-indigenous-public-art "Outside the Walls: Indigenous Public Art,"] American Indian, Fall 2016, Retrieved May 7, 2025.San Francisco International Airport SFO Museum. [https://www.sfomuseum.org/public-art/public-collection/shining-paths-san-franciscos-sister-cities "Shining Paths: San Francisco's Sister Cities,"] Public Art. Retrieved May 7, 2025.City of San Jose. [https://www.sanjoseca.gov/Home/Components/FacilityDirectory/FacilityDirectory/2651/1396?npage=6 "Shelter," Lewis deSoto, 2004], Public Art Collection. Retrieved May 7, 2025. They include: Lineage of Wings (1992), a series of 22 etched glass panels at Phoenix Sky Harbor International Airport; the multi-pronged project On the Air, including light projections at San Francisco International Airport (2000–06); and the suspended steel sculpture and shadow work Labyrinth Gateway (University of Texas San Antonio, 2003).

{{reflist}}

• [http://www.lewisdesoto.net Lewis deSoto official website]
• [http://bampfa.berkeley.edu/images/art/matrix/144/MATRIX_144_Lewis_De_Soto.pdf Lewis De Soto / MATRIX 144], brochure, 1991 exhibition, Berkeley Art Museum
• [http://lewisdesoto.net/arthome/Lewis_deSoto_files/2012.deSoto.Tahquitz.Smithsonian.Indian.pdf "Reclaiming the Landscape: the art of Lewis deSoto"]: article by Anya Montiel from American Indian magazine, Fall 2012
• Lewis deSoto on [http://vimeo.com/user1278892 Vimeo]
• [http://www.arttec.net/ArtProjects/LewisDeSoto/Lewis.html Engineering Lewis deSoto's artwork], technical information about deSoto's work

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Category:1954 births

Category:Living people

Category:20th-century American photographers

Category:20th-century Native American artists

Category:21st-century American photographers

Category:21st-century Native American artists

Category:American installation artists

Category:Artists from California

Category:Cahuilla people

Category:Claremont Graduate University alumni

Category:Native American male artists

Category:Native American photographers

Category:People from San Bernardino, California

Category:San Francisco State University faculty

Category:University of California, Riverside alumni