Carole Caroompas: Biography

Carole Caroompas

Born in Oregon City, Oregon
Lives and works in Los Angeles, California
Professor at Otis College of Art and Design, Los Angeles

Education

M.F.A. University of Southern California, Los Angeles, California, 1971.
B.A. California State University, Fullerton, California, 1968.

Awards & Grants

Otis College of Art and Design Development Grant, 2013
Peter S. Reed Foundation Grant, 2006.
California Community Foundation Individual Artist Fellowship, 2005.
COLA, City of Los Angeles, Individual Artist Grant, 1999.
John Simon Guggenheim Memorial Fellowship, 1995.
National Endowment for the Arts, Painting, 1993.
Adolph and Esther Gottlieb Foundation – Individual Support Grant, 1993.
New School of Social Research, NYC, Faculty Development, 1989.
National Endowment for the Arts, Painting, 1987.

Visiting Artist & Lectures

Carole Caroompas and Tom Knechtel, Feminist Lecture at California Institute for the Arts,
Valencia, California, organized by Vincent Ramos, 2007.
Visiting Artist – Idyllwild Arts, Painting’s Edge, Idyllwild, California 2007.
Visiting Artist – Anderson Ranch Arts Center, Aspen, Colorado, 2005, 1998 and 1996.
Visiting Artist – Washington University, St. Louis, Missouri, 1999.

Selected Solo Exhibitions

2011 
Western Project, Uncle Lenny: Right as Wrong/ Wrong as Right: New Paintings and Drawings, Los Angeles, California.

2007
Western Project, Dancing With Misfits: Eye-Dazzler, Culver City, California. (catalogue)

2004
Western Project, Psychedelic Jungle, Culver City, California.

2000
Mark Moore Gallery, Heathcliff and the Femme Fatale Go on Tour, Santa Monica, California.

1999  
Mark Moore Gallery, Heathcliff and the Femme Fatale Go on Tour, Santa Monica, California.

1997
Mark Moore Gallery, Santa Monica, California.
Gallery of Art, Otis College of Art & Design, Carole Caroompas: Lady of the Castle Perilous, Los Angeles, California.

1994
Sue Spaid Fine Art, Before and After Frankenstein: The Woman Who Knew Too Much, Los Angeles, California.
P.P.O.W. Gallery, Before and After Frankenstein: The Woman Who Knew Too Much, New York, New York.

1993
Rio Hondo College, Paintings and Working Drawings 1986-1992, Whittier, California.

1992
Sue Spaid Fine Art, Before and After Frankenstein: The Woman Who Knew Too Much, Los Angeles, California. Essay by Terry Myers.

1990 
Fine Art Gallery, University of California at Irvine, Fairytales, Irvine, California. Essay by Melinda Wortz.

1989 
Los Angeles Contemporary Exhibitions, Fairytales, Los Angeles, California.

1985
Karl Bornstein Gallery, Santa Monica, California.

1983
California State University at Northridge, Carole Caroompas – A Survey 1972-1983. Essay by Peter Clothier and Louise Lewis.
Jan Baum Gallery, Los Angeles, California.

1982 
Jan Baum Gallery, Los Angeles, California.

1980 
Los Angeles Institute Of Contemporary Art (LAICA), Downtown window installation, The Songs She Sang to Herself. Los Angeles, California.
Jan Baum Gallery, Los Angeles, California.

1978 
Jan Baum Gallery, Los Angeles, California.

1977 
Ellie Blankfort Gallery, Los Angeles, California

1975
Ellie Blankfort Gallery, Los Angeles, California

Selected Group Exhibitions

2013
Vincent Price Art Museum, Sanctified: Spirituality in Contemporary Art, curated by Mary Anna Pomonis, February 9 – April 26, 2013, Los Angeles, California

2011
Museum of Contemporary Art, Under the Big Black Sun: California Art 1974 – 1981, Curated by Paul Schimmel, Los Angeles, California
Los Angeles Contemporary Exhibitions, Los Angeles Goes Live: Performance Art in Southern California 1970 – 1983, Los Angeles, California
Pasadena Museum of California Art, L.A. RAW: Abject Expressionism in Los Angeles 1945 – 1980, From Rico Lebrun to Paul McCarthy, curated by Michael Duncan, Pasadena, California

2010
Cardwell Jimmerson Contemporary Art, The Last Plastics Show, Culver City,   California
Sisters, Brothers and Others
, Claremont Graduate University, Claremont,  California

2009
Western Project, Tales of the Flesh, Culver City, California
The First Six Years
, Western Project, Culver City, California
Space B Gallery, The Gun Show, Curated by Mary Anna Pominis, New York, NY

2008
Track 16 Gallery, Omage ’08: The Artists, Designers, and Writers of Otis College of Art and Design, Santa Monica, California
East and Peggy Phelps Galleries, Apocalypse Yesterday, Claremont Graduate University, Claremont, California. Curated by David Pagel.
Track 16 Gallery, Some Paintings: The Third LA Weekly Annual Biennial, Santa Monica, California. Curated by Doug Harvey.

2007
The Getty Research Institute, Evidence of Movement, Los Angeles, California. Curated by Glenn Phillips with Jennifer Dunlop Fletcher.
Riverside Art Museum, Paintings Edge, Riverside, California. Curated by Peter Frank.
Riverside Art Museum, Material Girls, Riverside, California. Curated by Andi Campogne. (Catalogue)
Track 16 Gallery, Women Artists of Southern California Then + Now, Bergamot Station, Santa Monica, California. Curated by Bruria Finkel.
Los Angeles Municipal Art Gallery, Multiple Vantage Points: Southern California Women Artists, 1980-2006, Barnsdall Art Center, Los Angeles, California.
Curated by Dextra Frankel.

2006
Western Project, In This House That I Call Home, Culver City, California.

2004  
18th Street Arts Center, The Leopard Spots: Between Art, Performance and Club Culture, Santa Monica, California.
Western Project, In-a-Gadda-Da-Vida, Baby, Culver City, California.

2003
Sam Francis Gallery, Identity, Crossroads School for Arts & Sciences, Santa Monica, California.
Rosamund Felsen Gallery, The Legacy of Pattern and Decoration, Santa Monica, California.

2003
Lewis and Clark College, Hoffman Gallery, Artists and Maps: Cartography as a Means of Knowing, Portland, Oregon.
San Luis Obispo Art Center, Drawings and Works on Paper: SF-NY-LA, San Luis Obispo, California.

2002
San Jose Museum of Art, Parallels and Intersections: Art / Women / California 1950-2000, San Jose, California.
New Image Art, Super Hero, Santa Monica, California.
Robert Berman Gallery, Night of 1000 Clowns, More or Less, Santa Monica, California.
Mark Moore Gallery, Western States, Santa Monica, California.

2001
California State University at Fullerton, Recasting the Past: Beneath the Hollywood Tinsel, University Art Gallery, Fullerton, California.
Holly Matter Modern Art, Neu-Rotica, Los Angeles, California.

2000
Molly Barnes Gallery, 12 Divas, Santa Monica, California.
UCLA Hammer Museum, COLA Exhibition, Los Angeles, California.
Mark Moore Gallery, Paint American Style, Santa Monica, California.

1999
Mark Moore Gallery, Drawing, Santa Monica, California.
Irvine Fine Arts Center, Between Reality and Abstraction, Irvine, California.

1998
Charles Cowles Gallery, Works On Paper, New York, New York.
Mark Moore Gallery, Hollywood Satan, Santa Monica, California.
Guggenheim Gallery, Chapman University, Everybody Loves a Clown, Baby, Why Don’t You?, Orange, California.
Mirren Gallery, LA Artists: The Distaff Side, Half Moon Bay, California.

1997
Jan Baum Gallery, Remembrances of Exhibitions Past, Los Angeles, California.
Municipal Art Gallery, Barnsdall Art Park, Allegorical Re-Visions, Los Angeles, California.

1996 
Armand Hammer Museum, Sexual Politics/Judy Chicago, University of California at Los Angeles, Los Angeles, California. Curated by Amelia Jones.
Los Angeles County Museum of Art, Some Grids, Los Angeles, California.
Beaver College, Patterns of Excess, Glenside, Pennsylvania.
Cirrus Gallery, Los Angeles, California.

1995  
The Art Center College of Design (The Bradbury Building), The Big Night, Los Angeles, California.
The Art Museum of South Texas, Between Reality and Abstraction: California Art at the End of the Century / Works from the Ducker Collection,
Corpus Christi, Texas. Traveling to: Honolulu, Pittsburgh, Scottsdale, Las Vegas, St. Petersburg, United Kingdom. Essay by Donna Stein and Betty Ducker.
Guggenheim Gallery, Chapman University, Fabrication: Formal, Found, Funky, Orange, California.
P.P.O.W. Gallery, Stephen Derrickson, Phyllis Bramson, Carole Caroompas,  Cathy Curtis, Maureen Conner, New York, New York.
Muckenthaler Cultural Center, From Behind the Orange Curtain, Fullerton, California.
Armory Center for the Arts, Under Construction, Pasadena, California. Curated by Sue Spaid and Michael Anderson.

1993
The Corcoran Gallery of Art, 43rd Biennial Exhibition of Contemporary American Painting, Washington, D.C. Curated by Terrie Sultan; essays by Terrie Sultan and Alisa Tager.
The Drawing Center, Return of the Cadavre Exquis, New York, New York.
James Corcoran Gallery, Co-Conspirators, Santa Monica, California. Curated by Cliff Benjamin.
Jan Baum Gallery, School Days, Los Angeles, California.
Radix Gallery, Wake Up, Phoenix, Arizona.
Venice Art Walk, Beyond the Spectacle, Venice, California. Curated by Sue Spaid.
Jack Rutberg Fine Arts, L.A. Stories, Los Angeles, California.
Sally Hawkins Gallery, Imp of the Perverse, New York, New York.

1992
Municipal Art Gallery, LAX: The Los Angeles Exhibitions, Los Angeles, California.
Security Pacific Gallery, The Last Picture Show: An Evolution of Work by Selected L.A. Artists, Los Angeles, California.

1991
College Art Gallery, Go Figure: New Painting of the Human Image, Pasadena, California. Curated by Peter Frank.
Contemporary Arts Forum, Addictions, Santa Barbara, California. Curated by Edward Wortz and Walter Gabrielson.
Armory Center for the Arts, California Artists Books, Pasadena, California.
Sue Spaid Fine Art and Parker-Zanic Gallery, Ovarian Warriors vs. Knights of Chrissum, Los Angeles, California.

1990
Marc Richards Gallery, Faces, Los Angeles, California.

1989
Pasadena City College Art Gallery, Pasadena Armory Show, Pasadena, California. Curated by Noel Korten, essay by Dave Hickey.
Fellows of Contemporary Art, Cultural Fetish, Pasadena, California.

1988 
Los Angeles Contemporary Exhibitions (LACE) Bookstore, Book Exhibition, Los Angeles, California. Curated by Tony Green.
City Gallery of Contemporary Art, 20 Artists/Los Angeles, Raleigh, North Carolina. Curated by Jim Starett.

1987 
Fresno Arts Center and Museum, Passages: A Survey of California Women Artists 1945- Present, The Years of Passage 1969-1975 & Lively Arts: Video and Performance, Fresno, California.
The Women’s Building, In Conjunction with Sparc, Broken Heart Art, Los Angeles and Venice, California.
Fine Arts Gallery, University of Wisconsin, Women’s Autobiographical Artists Books, Milwaukee, Wisconsin.
Artworks,  Artworks Book Exhibition, Los Angeles, California.

1986
Cirrus Gallery, a Southern Californian Collection, Los Angeles, California.
Municipal Art Gallery, Hollywood Inside and Out, Los Angeles, California.
Loyola Law School, The Spiritual Eye: Religious Imagery in Contemporary  Los Angeles Art, Los Angeles, California.

1984
Otis Art Institute of Parsons School of Design, California Bookworks: The Last Five Years, Los Angeles, California.
Koplin Gallery, Olympiad: Summer ’84, Los Angeles, California.
Karl Bornstein Gallery, Group Exhibition, Santa Monica, California.
Main Gallery, California State University at Fullerton, David Amico, Carole Caroompas, Mary Fish, Randall Lavender, Brian Longe, Fullerton, California.

1983
Irvine Fine Arts Center, Irvine Collects Contemporary Art, Irvine, California.
Art Center College of Design, 16 Months: Fine Arts at the Art Center, Pasadena, California.
Long Beach Museum of Art, At Home, Long Beach, California. Essay by Arlene Raven.
Baxter Art Gallery, California Institute of Technology, the Nancy Ywell Collection, Pasadena, California.
Space Gallery, Lights, Camera, Action, Los Angeles, California.
Montgomery Art Gallery, Pomona College, Contemporary Collage – Extensions, Claremont, California. Essay by Melinda Wortz.
Stella Polaris Gallery, California, Poets on Art, Los Angeles, California. Sponsored by Southern California Art Writers.

1982 
Los Angeles County Museum of Art, The Michael and Dorothy Blankfort Collection, Los Angeles, California.
Claremont Graduate School Gallery, Visiting Artists 1977-81, Claremont, California.
Beyond Baroque, Movable Types and Hand Held Lives, Venice, California.
Espace Ed, Caroompas, Colvin, Danieli – Books, Los Angeles, California.

1981 
University of Colorado at Boulder, Mapped Art: Charts, Routes and Regions, Boulder, Colorado. Essay by Peter Frank.
Art Center College of Design, Decade: Los Angeles Painting in the Seventies, Pasadena, California.
Bergman Gallery, at the University of Chicago, Words as Images, Chicago, Illinois.
Long Beach Gallery, Perceptions on Paper, Long Beach, California.

1980
Security Pacific Plaza, Contemporaries: 17 Artists, Los Angeles, California.

1979
Wordworks, Carole Caroompas and Nancy Truax, San Jose, California.
Baum-Silverman Gallery, California Collage, Los Angeles, California.

1978 
Whitney Museum of American Art, Art about Art, New York, New York. Curated by Jean Lipman and Richard Marshall.
Neuberger Museum, From Self-Portrait to Autobiography, Purchase, New York. Essay: “The Sense Of Self”, By Nina Sundell.
Mandeville Art Gallery, University of California at San Diego, Women Narrations, La Jolla, California.

1977
Libra Gallery, Claremont College, Art Stories, Claremont, California.
Museum of Modern Art, Maps, New York, New York.
Holly Solomon Gallery, Surrogate and the Self, New York, New York.
California State University at Long Beach, Egypt in L.A, Long Beach, California.

1976
Museum of Modern Art, Los Angeles – New Work, New York, New York.
Los Angeles Institute of Contemporary Art, Autobiographical Fantasies, Los Angeles, California. Essay by Marcia Traylor.

1975
Los Angeles Institute of Contemporary Art, Collage and Assemblage, Los Angeles, California.

1974
California State University at Fresno, Women Artists, Fresno, California.
Cerritos College Art Gallery, Sixteen Los Angeles Women Artists, Cerritos, California.
Municipal Art Gallery, 24 From L.A., Los Angeles, California. Essay by Virginia Kazor.
Womanspace, Opulence, Los Angeles, California.

1973 
Los Angeles County Museum of Art, Works on and With Paper, Los Angeles,  California.
1972
Long Beach Museum of Art, 21 Artists Invisible/Visible, Long Beach, California. Essay by Dextra Frankel and Judy Chicago.
Pasadena Museum of Art, Southern Californian Attitudes, Pasadena, California. Curated by Barbara Haskell.
California Institute of the Arts, The Last Plastics Show, Valencia, California.
Henry Art Gallery, University of Washington, Survivors 72, Seattle, Washington.

Selected Performances

1989  
“La Lucha,” A Music Collaboration With Chas Smith and Tim Biskup, L.A.C.E., Los Angeles, California.

1987  
“The Lively Arts: Video and Performance,” Fresno, California.

1985 
“An Erotic Evening,” A Reading, Beyond Baroque, Venice, California.
“A Game of Solitaire,” Church At Ocean Park, Santa Monica, California.

1984  
“Art Performers at Claremont Graduate School ‘Mystical Unions’,” Claremont Graduate School Art Gallery, Claremont, California.
“Mystical Unions,” Student Union Theatre, California State University, Fullerton, California.
“A Performance for the Blind – Carole Caroompas and John White,” Los Angeles Institute of Contemporary Art, Los Angeles, California.

1983
“Mystical Unions,” At Lhasa Club, Hollywood; Sushi, San Diego; California State University Northridge, Northridge, California.

1982
“Target Practice: A Performance,” Espace Edb at Traction Gallery, Los Angeles, California.

1981
“Target Practice: A Performance,” LAICA, Los Angeles, California.

1980
“The Songs She Sang To Herself,” Baum-Silverman Gallery and Public Spirit Live Art In L.A., L.A.C.E., both Los Angeles, California.

1979
“Five Fables”, Baum-Silverman and LAICA, (1978), both Los Angeles, California.

Writings, Albums, Artwork

1992 
“Before and After, Frankenstein: The Woman Who Knew Too Much”, Sue Spaid Fine Art, Exhibition catalogue.

1989
“Introduction” and “Another Fairy Tale”, L.A.C.E. Solo Exhibition.
“La Lucha (The Struggle),” 7 songs with Smith and Biskup, (record album).

1983
“The Record,” 13 Vocal Artists, High Performance, issue 23, record album.

1982 
“Target Practice,” High Performance, Spring/Summer, (image), p.69, record album.
Kinder, Marsha. “The Dreams of The Lady of the Castle Perilous,” Dreamworks (image), Spring.
Radio Play of Album “Target Practice”, KCRW, KROQ, KXLU (L.A.), also 1989, 1997.

1981 
Spector, Buzz & Upshaw, Roberta, “Words as Images Issue,” Whitewalls (images), Winter 1981.
“The Weaver’s Dream-A Lullaby,” Whitewalls, Winter 1981.
“Portfolio: The Song She Sang To Herself and Dreams of The Lady Of The Castle Perilous,” The Paris Review, Spring.
“Target Practice-Exhibition in Print,” LAICA Journal. Winter.
“The Songs She Sang to Herself,” High Performance, Fall / Winter.

1979
“Chemical Wedding,” LAICA Journal, June/July, pp. 26-27.
“Five Fables,” High Performance, (image) March 15, 1979. 1975.
“Art: A Woman’s Sensibility”, Cal Arts/Feminist Arts Program, p 16.

Selected Collections

Chapman University Permanent Art Collection, Orange, California
Los Angeles County Museum of Art, Los Angeles, California
New Museum of Contemporary Art, New York, New York
Nora Eccles Harrison Museum of Art, Utah State University, Logan, Utah
Orange County Museum of Art, Newport Beach, California
University of California, Berkeley, Berkeley Art Museum, Berkeley, California
University of California, Santa Barbara, University Art Museum, Santa Barbara, California

Bibliography

2010
Kienholz, Lynn, “LA Rising, SoCal Artists Before 1980”, published by The California/International Arts Foundation

Pagel, David. “Art Review: ‘The Last Plastics Show’ at Cardwell Jimmerson
Los Angeles Times, January 15, 2010

2008 
Duncan, Michael, “Carole Caroompas at Western Project,” Art in America, pp. 204-205

Frank, Peter, “Carole Caroompas” ‘Dancing with Misfits: Eye Dazzler at Western Project,” art ltd, pp. 16-17.

Harvey, Doug, “Some Paintings, the artists in the third L.A. Weekly Annual Biennial,”

L.A. Weekly, January 11- 17, pp. 30-33, 48.

Irvin, Steve, Omage ’08, Buzzine, August 2008.

Knight, Christopher, “It’s alive! With wit, diversity. Around the Galleries: Track 16

Gallery,” Los Angeles Times. January 25, p. E26

2007 
Black, Ezrha Jean, “Welcome to the Jungle. The Cosmology of Carole Caroompas,” Artillery, November/December, pp. 32-33.

Dambrot, Shana Nys, Riverside Art Museum: Material Girls, exhibition catalogue, essay.

Donohue, Marlena, “Carole Caroompas, Western Project,” Art Scene, December.

Finkel, Bruria, Women Artists of Southern California Then + Now, exhibition catalogue, Track 16 Gallery, Santa Monica, California, p. 12.

Miles, Christopher, “Art to Live for, Our Favorite Shows and Artifacts,” L.A. Weekly, December 28, pp. 50–52.

Pagel, David, “Turning surfaces into kaleidoscopes,” Los Angeles Times, November 23, pp. E30-31.

Vista, Sandra, “Six Degrees of Carole Caroompas,” www.whitehot magazine.com, December

2006  
Kraus, Chris; Jane McFadden and Jan Tumlir. LA Artland: Contemporary Art in Los Angeles. London: Black Dog Publishing Ltd.(ISBN: 1904772307)

2004 
Miles, Christopher, “Tracking Patterns,” Art in America, February, pp. 76-81,

Pomonis, Mary-Anna, “In-A-Gadda-Da-Vida, Baby,” Artnet, January 3

2003 
Anderson, Tim, “Drawings & Works on Paper: SF, NYC, LA,” exhibition catalogue, San Luis Obispo Art Center, San Luis Obispo, California

Tesner, Linda Brady, Artists and Maps: Cartography as a Means of Knowing, exhibition catalogue, The Ronna and Eric Hoffman Gallery of Contemporary Art, Lewis & Clark College, Portland, Oregon.

 2001 
Letran, Vivian, “Reworking the Movies into Fine Art,” Los Angeles Times, Sept. 21

Mendenhall, Laurie, “Transparent Tinsel: Recasting the Art of Hollywood,” Coast, Art Access section, October

Pruitt, Elana, “Touch of Tinseltown Sparkles at CSUF’s Main Campus Gallery, Hollywood Hits Orange County,” Daily Titan.

Pruitt, Elana, “Hollywood Spotlight Recast,” Daily Titan, September 11

Walsh, Daniella, “Film Held as a Mirror to Society,” Orange County Register, Encore Visual Arts section, October 7

2000
Harvey, Doug, “Gender, Race, 12 Divas, Fresh Cut Afros,” LA Weekly, April 10

Johnstone, Mark, C.O.L.A. 2000, exhibition catalogue, (Cultural Affairs of Los Angeles

Fellowship), C.O.L.A. exhibition at UCLA Hammer Museum, essays by: Daniel Nussbaum and Karen Romano, pp. 28-29.

McDaniel, Craig and Robertson, Jean, Painting as a Language: Material, Technique, Form. Textbook. Harcourt Brace College Publishing, Fortworth

Nussbaum, Daniel, C.O.L.A. 2000. exhibition catalogue, COLA Exhibition UCLA

Hammer Museum, Los Angeles, California. Pp. 28-29.

Ollman, Leah, “Image Leaders,” Los Angeles Times, July 21

Pagel, David, “Not So Striking Resemblances Mark ‘C.O.L.A. 2000’,” Los Angeles Times, May 3.

Pagel, David “Lite Fantastic: Paint American Style at Mark Moore Gallery,” Los Angeles Times, May.

Zevitas, Steven T, New American Paintings, Book XXV. Massachusetts: The Open Studios Press, pp. 34-37

1999  
Campbell, Clayton, “Carole Caroompas at Otis,” Flash Art, May/June, p. 100.

Cooper, Jacqueline, “Carole Caroompas at Mark Moore Gallery,” New Art Examiner. Volume 26 #9.  June Pp. 47-48.

Curtis, Cathy, “Simmering Talent in O.C. Suburbs,” Los Angeles Times, Orange County edition, April 27

McDaniel, Craig and Robertson, Jean, “Resurrecting Painting,” Art Journal, Volume 58, #1, Spring, pp. 27-31

1998
Curtis, Cathy, “Clowning Around With A Cliché,” Los Angeles Times, September 15

Duncan, Michael, “Carole Caroompas: Recycled Romance,” Art in America, Volume 86, Number 11, November, pp. 118-121.

Frank, Peter, “Carole Caroompas at Otis.” L.A. Weekly, December 19-25

Pagel, David, “Carole Caroompas at Otis Gallery,” Art Issues, January/February, p. 42.

Roth, Charlene, “Carole Caroompas at Otis College of Art and Design,” Artweek, January, pp. 20-21.

Zellen, Jody, April “Carole Caroompas, Marnie Weber,” Art Press, pp. 76-77

1997
Ayres, Anne, Carole Caroompas: Lady of the Castle Perilous, exhibition catalogue, Los Angeles: Otis College of Art and Design, essays by: Anne Ayres and M.A. Greenstein.

Donohue, Marlena, “Beyond the First Wave, Carole Caroompas Weds Feminism with

Erotica,” Daily Breeze, December 26

Drohojowska, Hunter, “The Lady of the Castle Caroompas,” Los Angeles Times, November 2, pp. 60, 92.

Duncan, Michael, “The Heartbreak of Satyriasis,” Buzz Magazine, Volume 8, Number 9, November, P. 50.

Kandel, Susan “‘Bold World’: Carole Caroompas at Mark Moore Gallery,” Los Angeles Times, January 16.

Knight, Christopher, “Magical Mutilations,” Los Angeles Times, November 15, pp. F1, F10.

Kozloff, Max, “Sunshine & Noir: Art in L.A. 1960-97,” Artforum, November, pp. 110-111.

Nittve, Lars and Crenzien, Helle. Sunshine and Noir, exhibition catalogue,

Humlebaek, Denmark: Louisiana Museum for Moderne Kunst, 1997.

Schaffner, Ingrid, Accustomed Bounds: Patterns of Excess, exhibition catalogue,

Beaver College Art Gallery, Glenside, Pennsylvania. Library of Congress catalogue card number: 97-071020.

1996
Jones, Amelia, “Sexual Politics: Feminist Strategies, Feminist Conflicts,

Feminist Histories.” Sexual Politics: Judy Chicago’s “Dinner Party” in

Feminist History, exhibition catalogue. Los Angeles, California: UCLA Armand Hammer Museum of Art and Cultural Center, p. 35.

1995
Anderson, Michael, “Buzz Bets,” Buzz Magazine, March, p. 34.

Carasso, Roberta PhD, “California,” essay, Muckenthaler Cultural Center, Fullerton, California

Duncan, Michael, Fabrication: Formal, Found, Funky, exhibition catalogue,

Guggenheim Gallery, Chapman University, Orange, California, pp. 5, 6.

Frank, Peter, L.A. Weekly, March 10-16, p. 118.

Howe, Kathy, “Carole Caroompas at Karl Bornstein,” Arts, August

Katz, Vincent & Victoria Pedersen, “Artistic Endeavors,” Paper, January, p. 83.

LaBelle, Charles, “Under Construction at Armory Center for the Arts,” Artweek, March

Waranch, Sally, From Behind the Orange Curtain, exhibition catalogue, Muckenthaler Cultural Center, Fullerton, California

Wilson, William “Ideas Under Construction at Armory.” Los Angeles Times, January 21, p. F4.

1994 
Broude, Norma & Garrard, Mary D., The Power of Feminist Art. pp. 63-64.

Drohojowska, Hunter, “Defying Recessions, Riots and Disasters, Los Angeles Times, February 15

Duncan, Michael, December “L.A. Rising.” Art in America, December, Pp. 72-83.

Edelman, Robert, “A Figure Returns,” Art in America, March

Gimelson, Deborah, Art News, April

Jones, Amelia, Artforum, November

Klabin, Karen, “Cartooning as Effective Parodic Device,” Detour, March

Levin, Kim, “In Brief,” Village Voice, February

Lawlor-Cohen, Jean, “43rd Biennial.” Art News, February

Myers, Terry, “Carole Caroompas,” New Art Examiner. October

Pagel, David, “Topsy Turvy World,” Los Angeles Times, June 16

Risatti, Howard, “43rd Biennial, Corcoran Gallery of Art, Washington, D.C.” Artforum, March

1993
Baker, Kenneth, “Contemporary Paintings Celebrated In D.C.,” San Francisco Chronicle, November 7

Basher, Jack, “Portfolio-Carole Caroompas,” Raygun, #3, February

Burchard, Hank, “Out Of the Fire, Into the Melting Pot,” Washington Post, October 29

Condon, Catt Fields, “Wake Up,” Phoenix Downtown, August 19

Duncan, Michael, “L.A.X.” Art in America, April

Duryea, Maria, “This Is Where Reality and Ideas Collide,” Whittier Daily News, September 3

Gibson, Eric, “Who Are the New Stars of Painting?,” The Washington Times, November 2

Heartney, Eleanor, “The Imp of the Perverse,” Art News, September, p. 180

McWilliams, Martha, “Go Figure,” Washington City Paper, November 12

Pagel, David, “Caroompas’ Paintings: Hallucinogens on Canvas,” Los Angeles Times, September 9

Sultan, Terrie, The Themes That Reflect Us. 43rd Annual Biennial Exhibition of Contemporary American Painting, exhibition catalogue. Corcoran Gallery of Art, Washington, D.C., pp. 24-25.

Tager, Alisa, “Carole Caroompas”. 43rd Annual Biennial Exhibition of Contemporary

American Painting. Exhibition Catalogue. Corcoran Gallery of Art, Washington, D.C., p. 18.

Tager, Alisa, “Imp of the Perverse,” Sally Hawkins Gallery, New York, New York.

Urban, Hope, “Deviant Conspiracy,” October 15

1992
Cutajar, Mario, ArtScene, July/August

Darling, Michael, “L.A.X. at L.A. Municipal Art Gallery,” Artweek, pp.15-16

Drohojowska, Hunter, “Artists In Pursuit of the Teen Spirit,” Parkett #34, pp.152-58.

Drohojowska, Hunter, “Going to a Gogh Gogh,” Los Angeles Times, Sunday Calendar, March 1.

Frank, Peter, L.A. Weekly, January 14.

Heyler, Joanne, “Choice Images,” L.A. Reader, June 26.

Kandel, Susan, “L.A.X.: L.A. Is Written All Over It.” Los Angeles Times, December 10.

Korten, Noel, “LAX: The Los Angeles Exhibition,” LAX: The Los Angeles Exhibition

’92, exhibition catalogue, Los Angeles Municipal Art Gallery, Los Angeles, California, p. 54.

Myers, Terry, “Frankenstein is Dead: Carole Caroompas’ Paintings are Alive!” Carole Caroompas: Before and After Frankenstein: The Woman Who Knew Too Much, exhibition catalogue, Sue Spaid Fine Art, Los Angeles, California.

Pagel, David, “An Epic Battle,” Los Angeles Times, June.

Rollins, “Art Review,” Mars-Fm, June 16.

Tager, Alisa, “L.A.-Carole Caroompas,” Tema Celeste, Autumn.

1991 
Curtis, Cathy, “Men vs. Women,” Los Angeles Times, January 11.

Frank, Peter, L.A. Weekly, January 31.

Hicks, Emily, “Carole Caroompas and Target Practice,” ArtWeek, December 5,      p. 4.

Muchnic, Suzanne, “Artists Get Real in Santa Barbara,” Los Angeles Times, November 2.

1990
Anderson, Michael, Art in America, April, p. 273.

Hanselman, Cheryl, “Grimm’s Stories Take on Adult Perspective,” Los Angeles Times,

Orange County Edition, October 2.

Weisman, Benjamin, Artforum, March, p. 170.

Wortz, Melinda, Carole Caroompas: Fairy Tales, exhibition catalogue, Fine Arts

Gallery, University of California, Irvine, California.

1986
Gardner, Colin, Los Angeles Times, August 11.

Knight, Christopher, Herald Examiner, August 24.

1985 
Miller, Tressa Ruslander, “The Security Pacific Collection 1970 – 1985, Los Angeles:

Security Pacific Corporation, 1985.” Essay on works on paper in the collection: Jan Butterfield, Executive Director. The Lapis Press. Image, p. 68.

Pincus, R.L., Los Angeles Times, January 25.

1984 
Gardner, Colin, “Art Throughout the City – LA Survey of 10 Emerging Artists,” L.A. Reader, October 20.

Howe, Kathy, David Amico, Carole Caroompas, Mary Fish, Randall Lavender,

exhibition catalogue, Main Gallery, California State University Fullerton, Fullerton, California.

James, David, “It’s the Singer Not the Song,” Artweek, January 21.

LAICA Journal, Fall, 40th Issue Chronology.

1983  
Clothier, Peter, “Introduction”. Carole Caroompas: A Survey, 1972-1983,

exhibition catalogue, California State University, Northridge, California, pp.3-6.

Howe, Kathy, “The Art and Alchemy of Carole Caroompas.” Images and Issues, May/June.

Lewis, Louise, Carole Caroompas, A Survey 1972-1983, exhibition catalogue,

Northridge: California State University Northridge, 1983, essays by: Peter Clothier and Louise Lewis.

Raven, Arlene, At Home, exhibition catalogue, Long Beach Museum of Art, Long Beach, California.

1982 
Danieli, Fidel, “Carole Caroompas at Jan Baum,” Images and Issues, Summer.

1981 
Frank, Peter, Mapped Art: Charts, Routes, Regions, exhibition catalogue, Independent Curators, Inc. New York, New York.

Gabrielson, Walter, “Pasadena Pluralism,” Art in America, May.

1980
Clothier, Peter, Art in America, Summer.

Weisberg, Ruth “The Hope of Dreams,” Artweek, March 15.

Wortz, Melinda, “Hieroglyphic Umbrellas.” Art News, May.

1978 
Lipman, Jean and Richard Marshall. (1978). Art About Art. Exhibition catalogue.

Whitney Museum of Art, New York, New York.

Sundel, Nina and Susan Sollins, The Sense of Self: From Self Portrait to

Autobiography, exhibition catalogue, Independent Curators, Inc., New York, New York.

1977
Muchnic, Suzanne, “Calendar of Memories,” Artweek, March 19.

Wilding, Faith, “By Our Own Hands: The Women Artists Movement in Southern California, 1970-76.” Double X, p. 54.

1976 
Perlmutter, Elizabeth, “Salton Sea to Muscle Beach,” Art News, April, p. 76.

Traylor, Marcia, Autobiographical Fantasies, exhibition catalogue, March/April.

Wortz, Melinda, “Self-Scrutiny and Scrims,” Art News, January.

Marmer, Nancy, Artforum, April.

1975
Glicksman, Hal, “Collage/Assemblage,” LAICA Journal, June/July

1974  
Kazor, Virginia, 24 From Los Angeles, exhibition catalogue, Los Angeles Municipal Art Gallery, Los Angeles, California.

1973
Plagens, Peter, “Southern California Attitudes,” Artforum, February.

1972
Frankel, Dextra and Judy Chicago, Twenty-One Artists: Invisible/Visible,

exhibition catalogue, Long Beach Museum of Art, Long Beach, California, p. 19.

Haskell, Barbara, Southern California: Attitudes 1972, exhibition catalogue, Pasadena Art Museum, Pasadena, California, p. 19.

Nix, Marilyn, “Southern Attitudes,” Artweek, October 21.