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Alex Israel
Alex Israel
Alex Israel
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Alex Israel (born October 1982) is an American multimedia artist, writer, and designer from Los Angeles. His work includes large, colorful airbrushed paintings of abstract gradients and Los Angeles skies, his self-portraits, painted on shaped fiberglass panels, and multimedia installations constructed from movie-house props.

Key Information

Early life and education

[edit]

The son of a real estate developer, Israel was born at UCLA Medical Center.[1] He grew up in Westwood alongside two sisters. He attended Harvard-Westlake School in Studio City before completing his undergraduate studies at Yale University in 2003.[2] His first summer back from Yale, he worked part-time as an intern for the conceptual artist John Baldessari, and for Ann Goldstein, who was a curator at MOCA at the time. Later, he worked as an assistant at the gallery Blum & Poe before moving to New York City to work at Sotheby's auction house.[3] After working for the artist Jason Rhoades, followed by a brief stint as a salesperson for Hauser & Wirth. He went on to receive a M.F.A. from the University of Southern California’s Roski School of Fine Arts in 2010.[4]

Work

[edit]

Early in his career, Israel maintained a studio at 3113 Beverly Boulevard in Filipinotown.[5] Since 2016, he has been working from a 980 m2 (10,600 sq ft) studio at Warner Bros.’ Burbank backlot, designed by Johnston Marklee & Associates.[6][7]

AS IT LAYS

[edit]

Between July 2011 and May 2012, Israel produced a web series called, "AS IT LAYS," in which he interviews 33 LA celebrities. The diverse group of subjects includes Rachel Zoe, Oliver Stone, Perez Hilton, Michael Chow, Jamie Lee Curtis, and Marilyn Manson. The first thirty videos were shot in the Pacific Design Center in West Hollywood, and on location at the subjects’ homes and offices. The series premiered during an exhibition at Reena Spaulings Fine Art March 11 through April 8, 2012. The first thirty videos were released online.[8]

On May 19, 2012, The MOCA LA presented the series as a special one-night screening and performance event. In between screenings of video portraits, Israel created three additional interviews with surprise guests Laird Hamilton, Molly Ringwald and Melanie Griffith, in front of the live audience.[9]

Easter Island Venice Beach

[edit]

From July 13–15, 2012, "Easter Island Venice Beach" was erected in the recreational area of Venice Beach as part of the Hammer Museum’s Venice Beach Biennial. Curated by Ali Subotnik,[10] the installation plays off the Easter Island statues in the southeastern Pacific Island.[11] Israel says that he was inspired when he found four giant replicas of the sculptures at a prop house in Hollywood a few years earlier.[12]

Rough Winds

[edit]

The first of his video series, produced in 2010, invites viewers to "watch and follow the lives of jaded young adults as they navigate the golden light and melancholic shadows of life in the magical dreamscape of Los Angeles."[13] The dialogue-free series is composed of a trailer and ten clips between two and six minutes long.

SPF-18

[edit]

Israel directed SPF-18, a feature-length teen surf film and multi-platform project, which was written by Michael Berk[14] and released on both Netflix and the ITunes Store on September 29, 2017. It featured Noah Centineo in a starring role in addition to Molly Ringwald,[15] as well as cameos by Keanu Reeves and Pamela Anderson.[16]

Work with Bret Easton Ellis

[edit]

In 2016, Israel and Bret Easton Ellis worked together on a set of collaborative paintings, taking samples of Ellis's text and laying them across stock images of Los Angeles that Israel selected and purchased the licensing to.[17][18]

Other activities

[edit]

From 2010, Israel designed a line of sunglasses called Freeway Eyewear, that he sold online as well as at Barneys New York and Gagosian Gallery in New York.[19] In 2018, he launched Infrathin, a casual clothing line named for the term coined by Marcel Duchamp.[20]

In 2019, Israel collaborated with German luggage maker Rimowa on creating a 20-foot-tall replica of a Rimowa roller suitcase.[21][22] In 2020, he worked with Louis Vuitton on designing the packaging of three fragrances.[23][24]

Collections

[edit]

Work by Israel is included in the collections of the Moderna Museet, Museum Boijmans Van Beuningen, MOCA, LACMA, Whitney Museum of American Art, MoMA, The Jewish Museum, Solomon R. Guggenheim Museum, and Astrup Fearnley Museet.[25]

Personal life

[edit]

Israel lives on Sunset Boulevard.[26]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Alex Israel

View on Grokipedia
from Grokipedia
Alex Israel (born October 14, 1982) is an American contemporary artist based in , whose multidisciplinary practice examines the iconography of Hollywood, the film industry, , and Southern 's pop-laden visual language. Born in Los Angeles, , Israel draws heavily from his hometown's cinematic fantasies, , and millennial lifestyle to create works that blur the lines between authenticity and illusion, often incorporating , , , and . Israel earned a Bachelor of Arts from Yale University in 2003 and a Master of Fine Arts from the University of Southern California's Roski School of Fine Arts in 2010. Early in his career, he worked as an assistant for artist Jason Rhoades and galleries in Los Angeles, before beginning to produce works at Warner Bros. Design Studio in Burbank in 2011, where he engaged directly with Hollywood production elements like backdrops and props. His art frequently reinterprets everyday objects and media tropes—such as airbrushed sky paintings, self-portraits with exaggerated features, and sunglasses sculptures—as critiques of consumer culture and online influence. Notable achievements include exhibitions at major institutions like the in New York, the , and the in , with his works held in permanent collections at the Los Angeles County Museum of Art and the . In 2017, Israel co-wrote and produced the feature film , a set in Malibu that premiered on and , further extending his exploration of Hollywood narratives into narrative filmmaking. Recent projects include collaborations with author and site-specific installations, such as Heaven on Aspen Mountain at the Aspen Art Museum in 2025, underscoring his ongoing engagement with celebrity and place-based iconography.

Early life and education

Early life

Alex Israel was born in 1982 at UCLA Medical Center in , . He attended the , an elite private preparatory school in . He is the son of real estate developer Eddie Israel and former elementary school teacher Lonnie Israel, growing up in the affluent Little Holmby area adjacent to Westwood alongside two sisters. Raised in an entertainment-adjacent environment on ' Westside, Israel was immersed from a young age in the city's pop culture and proximity to Hollywood, which sparked his early fascination with glamour and urban . This childhood exposure to Hollywood's superficial allure through local culture and family connections in an affluent setting laid the groundwork for his artistic exploration of fame, media, and ' stylized landscapes.

Education

Alex Israel earned a from in , where he studied art, graduating in 2003 at age 20. He later pursued graduate studies at the Roski School of Fine Arts in , completing a in 2010. Israel's undergraduate education at Yale emphasized an interdisciplinary approach to practices, exposing him to diverse mediums and conceptual frameworks that informed his emerging interest in pop culture and media. During his MFA program, his academic focus shifted toward , video, and , with explorations of non-precious, mass-produced materials and performative elements drawn from ' cultural landscape. Key early experiments included the sculptural project (2008–ongoing), where he rented Hollywood movie props to create temporary ready-made installations that blurred lines between cinema artifacts and objects, initially developed as a endeavor. He also initiated Rough Winds, a web-based video series featuring interviews with celebrities and industry figures, which served as an experimental platform for and during his graduate studies.

Professional career

Early professional experiences

Following his graduation from Yale University with a BA in 2003, Alex Israel returned to and pursued initial professional opportunities in the art world through targeted internships. He interned part-time with conceptual artist during his first summer back in the city, assisting on various projects that introduced him to experimental artistic practices. Simultaneously, he interned part-time with curator Ann Goldstein at the Museum of Contemporary Art (MOCA), Los Angeles, engaging with institutional operations across key LA venues. Israel then transitioned into entry-level roles at leading galleries and auction houses, honing skills in art handling, sales, and market dynamics. He worked part-time at the Blum & Poe gallery in for about one year, supporting daily operations and exhibitions. Relocating to New York, he joined auction house in the department for several months, where he gained exposure to high-stakes bidding and valuation processes. He subsequently moved to to take a position at , further deepening his understanding of international gallery systems. A pivotal aspect of Israel's early career involved hands-on assistance to artist Jason Rhoades, providing direct experience with ambitious, large-scale installations. Returning to after his stints abroad, he collaborated with Rhoades on the 2006 project Black Pussy Soirée Cabaret Macramé, contributing to its fabrication and presentation. Following Rhoades' death later that year, Israel continued working on the artist's estate through , managing archival and representational tasks. These experiences, concentrated between 2003 and 2010, equipped Israel with practical expertise in installation and estate management while he pursued his MFA at the , solidifying his entry into the LA art ecosystem.

Key influences and transition to fine art

Alex Israel's early artistic development was profoundly shaped by mentorships with prominent Los Angeles-based artists John Baldessari and Jason Rhoades, whose approaches informed his later appropriations of pop culture imagery and objects. As an intern for Baldessari shortly after completing his undergraduate degree at Yale in 2003, Israel absorbed the conceptual humor and ironic detachment characteristic of Baldessari's work with found imagery and language, which encouraged a playful yet critical engagement with cultural symbols. This influence is evident in Israel's adoption of superficial, media-saturated motifs, recontextualized to probe the allure of celebrity and consumerism. Similarly, his collaboration with Rhoades on the immersive installation Black Pussy Soirée Cabaret Macramé (2006) exposed him to expansive, environment-building practices that incorporated everyday detritus and commercial ephemera, inspiring Israel's own hybrid forms that blend high and low culture in theatrical settings. By around 2010, Israel transitioned from gallery assistance roles— including positions at Blum & Poe, in New York, and —to an independent studio practice, coinciding with his MFA from the . This pivot marked a departure from supportive work in the , allowing him to channel his experiences into original productions focused on Los Angeles-specific themes of fame and excess. Launching his Freeway line in spring 2010 served as an initial foray into public-facing creative output, bridging commercial with experimentation. Conceptually, this period saw Israel embrace a glossy, superficial aesthetic drawn directly from Hollywood's visual lexicon, emphasizing the "realities of Hollywood" over cinematic fantasy through vibrant colors and ironic references to culture. His early experiments integrated video, , and to dissect L.A.'s undercurrents, as seen in projects utilizing rented props as ready-mades and collaborative social encounters that mimicked interactions. These efforts evolved his practice toward immersive, appropriations that critique yet celebrate pop phenomena. Israel established his initial studio setups in following his MFA, drawing on local resources to develop his interdisciplinary approach before relocating to the Warner Bros. in 2011. This move, formalized through access to the studio's scenic art department, facilitated large-scale productions like airbrushed sky backdrops and prop-based sculptures, embedding Hollywood's production machinery into his workflow and amplifying themes of artifice and spectacle. Prior gallery internships provided foundational exposure to the art ecosystem, but the represented a pivotal integration of [L.A.](/page/L(a)'s into his creative process.

Major works

Video and performance series

Alex Israel's early video works often employed dialogue-free or interview-style formats to delve into themes of celebrity, silence, and the urban spectacle of , capturing the city's glossy yet ephemeral cultural landscape. These pieces critiqued Hollywood's constructed facade by juxtaposing minimalist visuals with the inherent of everyday LA life, revealing the tension between public image and private introspection. Central to these videos were stylized, pared-down aesthetics that prioritized atmospheric tension over plot-driven storytelling, using silence as a tool to underscore the hollowness of fame. Israel's production approach typically involved non-professional actors and authentic found locations, such as prop warehouses or overlooked urban sites, to evoke the behind-the-scenes machinery of the entertainment industry without overt fabrication. This method lent an air of authenticity to the works, blurring the lines between art, media, and real-life spectacle in a city defined by illusion. Produced primarily between 2010 and 2012, these early series consisted of short clips lasting 2 to 6 minutes each, emphasizing visual composition—through color gradients, lighting, and framing—over verbal narrative to heighten the viewer's sensory engagement with LA's cultural icons. The format allowed for a rhythmic, almost hypnotic pacing that mirrored the relentless churn of Hollywood production. Initial screenings of these videos took place in alternative art spaces, where their performative elements were accentuated through live projections and spatial arrangements that encouraged audience interaction with the works' themes of exposure and . This reception highlighted the videos' role in recontextualizing LA's media-saturated environment as a site of subtle cultural commentary. Israel's approach drew brief influence from conceptual artists like , particularly in using ready-made elements to interrogate .

AS IT LAYS

AS IT LAYS is a 33-episode created by Alex Israel between 2011 and 2012, featuring stylized video interviews with influential celebrities conducted in a manner. The title draws inspiration from Joan Didion's 1970 novel , evoking themes of Hollywood ennui and cultural transience in the City of Angels. Each episode functions as a televisual , blending banal and philosophical questions to reveal the subjects' everyday routines and personas, thereby satirizing the glamour and ephemerality of LA . The series was produced in Israel's studio at the in West Hollywood, utilizing a custom-built set resembling a faux waiting room or with stuccoed panels, shag-pile carpet, retro credits, and theme music reminiscent of and 1980s talk shows. Episodes run approximately 5 to 10 minutes each, with Israel posing around 20 questions per guest from index cards in an awkward, existential format that highlights vulnerabilities beneath public facades. Notable guests include , , , , , , , and , among other LA icons from , , and . The series debuted as an exhibition at Reena Spaulings Fine Art in New York from March 11 to April 8, 2012, where the full collection of episodes was presented in a gallery setting. It received a major screening event at the Museum of (MOCA) on May 19, 2012, at the Henson Soundstage, incorporating live performances between video segments to enhance the immersive experience. Critically acclaimed for its sharp commentary on fame's paradoxes and LA's aspirational imagery, AS IT LAYS has been praised as a form of contemporary portraiture that archives the voices shaping the city's cultural identity. The episodes remain available online through the official website asitlays.com and the project's YouTube channel.

Rough Winds

Rough Winds is an early video series by Alex Israel, produced in 2010 and comprising ten dialogue-free clips, each lasting between two and six minutes. The works capture wind-swept landscapes and everyday objects, including swaying palm trees and scattered debris, evoking the city's precarious blend of natural forces and cultural gloss. Conceptually, the series draws from the first line of Shakespeare's —"Rough winds do shake the darling buds of May"—to symbolize Los Angeles's fleeting beauty and inherent volatility, where idyllic facades mask underlying instability. This abstract approach highlights tensions between the region's serene veneer and its disruptive environmental realities, positioning the work as a on in Southern California's media-saturated environment. The videos were filmed on location throughout , utilizing high-gloss that amplifies the polished aesthetic of urban life against the raw chaos of wind-driven scenes, often incorporating elements reminiscent of reality television settings like those in Laguna Beach or . This production style underscores Israel's interest in Hollywood's constructed imagery, blending documentary-like observation with stylized abstraction. As one of Israel's initial forays into fine art, Rough Winds exemplified his emerging minimalism, focusing on visual archetypes of disaffected Angeleno life without narrative dialogue. The series was featured in group exhibitions prior to 2012, including public screenings that previewed his signature blend of pop culture critique and environmental introspection.

SPF-18

SP F-18 is a 2017 American coming-of-age romantic comedy film directed by Alex Israel in his directorial debut, marking a significant pivot from his art-based video projects to mainstream narrative filmmaking. Co-written by Israel and Michael Berk, known for co-creating the Baywatch television series, the screenplay centers on themes of friendship, loss, and personal growth set against the backdrop of a Malibu summer. The story follows 18-year-old aspiring filmmaker Penny Cooper (Carson Meyer), who navigates her lingering crush on surfer Johnny Sanders Jr. (Noah Centineo) after his father's death, only to face complications from a new romantic interest, musician Ash Baker (Jackson White), while blending real-life experiences with cinematic fantasies. Echoing Israel's earlier explorations of Los Angeles cultural icons in his video series, the film adopts a nostalgic style homage to 1980s and 1990s teen beach movies, emphasizing indie vibes through its lighthearted yet introspective tone. The ensemble cast includes emerging talents Bianca A. Santos as Penny's best friend, alongside notable cameos that infuse the production with Hollywood allure, such as as Penny's mother, , , and in supporting roles. These appearances underscore the film's meta-commentary on celebrity and life, drawing on established stars to amplify its teen drama narrative. Produced as a low-budget independent feature, SP F-18 was shot on 16mm film to evoke a aesthetic, enhancing its tribute to classic surf cinema while maintaining an intimate, artisanal feel reflective of Israel's artistic . The 75-minute runtime captures the essence of youthful escapism and emotional maturation without extensive or high-production spectacle. The film premiered on September 21, 2017, at University High School in , followed by a digital release on on September 29, 2017, and streaming availability on beginning October 3, 2017, which broadened its reach beyond art circles to a wider audience.

Installations

Alex Israel's installations are characterized by large-scale, temporary sculptures and immersive environments that incorporate everyday elements of iconography, such as towers, signage, and beach props, recontextualizing them within artistic frameworks. These works employ materials like , aluminum, acrylic on sintra, and bronze to create site-specific interventions that blur the boundaries between , , and . His approach often draws on cinematic production techniques, transforming ordinary LA motifs into monumental, accessible structures that invite viewer participation and highlight the performative nature of urban environments. Central to these installations are themes exploring the interplay between , , and the viewer, where spatial dynamics encourage active rather than passive observation. Israel critiques the spectacle of and in , using exaggerated scales and familiar symbols to underscore the illusions of fame and the of . This thematic focus reflects a broader commentary on the and Hollywood's mythic allure, positioning the installations as mirrors to societal obsessions with image and accessibility. Since 2012, Israel's production process has emphasized collaborative builds with engineers and fabricators to realize complex, structurally ambitious pieces that prioritize and broad public access. These works are designed for temporary deployment in outdoor or semi-public settings, ensuring they remain impermanent yet deeply integrated into everyday viewing experiences. Over time, his practice has evolved from initial beach-side interventions that directly engaged coastal public spaces to more sophisticated gallery-integrated environments, expanding the scope while retaining a commitment to LA's cultural vernacular. This progression occasionally incorporates performative elements influenced by his video works, enhancing the interactive dimension without overshadowing the sculptural focus.

Easter Island Venice Beach

Easter Island Venice Beach is a site-specific installation created by Alex Israel, featuring four life-size Styrofoam replicas of the iconic statue heads from . Measuring approximately 13 feet tall, the sculptures were erected in the parks and recreation area near the skate park on Venice Beach, , from July 13 to 15, 2012. Commissioned for the Hammer Museum's Venice Beach Biennial—curated by Ali Subotnick and presented as an extension of the inaugural Made in L.A. biennial—the work involved collaboration with fabricators to produce the lightweight yet imposing structures, allowing for their temporary placement in the sandy beach environment. By transplanting ancient Polynesian cultural symbols into the heart of Los Angeles's surf and tourism scene, the installation explored themes of displacement, cultural appropriation, and the commodification of global icons amid everyday beach leisure. The heads, evoking mystery and isolation against the backdrop of palm trees, ocean waves, and skaters, created a surreal that commented on how distant histories intersect with contemporary American consumer culture. The project generated substantial public engagement, attracting crowds of beachgoers, tourists, and art enthusiasts who posed for photos with the statues and integrated them into the biennial's lively boardwalk activities, while earning coverage in major art publications for its bold intervention in public space. Designed as a short-term intervention, the installation was dismantled and removed immediately following the event's conclusion on July 15, 2012, leaving a lasting impression on discussions of in .

Paintings and text-based works

Alex Israel's painting practice emerged prominently from 2015 onward, characterized by acrylic works on canvas that employ bold, saturated colors and glossy, hyper-real surfaces reminiscent of film backdrops. These paintings frequently feature expansive depictions of Los Angeles skies and sunsets, rendered with smooth gradients to capture the artificial vibrancy of Hollywood iconography. Central to this body of work are text overlays incorporating ironic motivational phrases drawn from pop culture and , which overlay stock-like imagery to subvert themes of aspiration and personal success. By juxtaposing aspirational slogans against idealized LA landscapes, Israel critiques the commodified optimism of the and the of fame, blending with in a manner that echoes the glossiness of his earlier video works. Produced in his Los Angeles studio, often with assistance from scenic art facilities like those at Warner Bros., these pieces utilize airbrushing for their polished, commercial sheen and scale up to 10 feet wide, emphasizing their role as immersive, backdrop-inspired objects. The Sky Backdrop series (2014–2015), for instance, exemplifies this approach with large-scale canvases of sherbet-hued horizons in purple, orange, and yellow tones, establishing a foundational for subsequent text-integrated paintings. These paintings were integrated into early solo exhibitions, such as the 2015 Summer show at in , where they were presented amid wall murals of pink-and-blue skies to underscore their thematic engagement with Californian optimism and cultural artifice.

Collaborations with

In 2016, Alex Israel and author collaborated on a series of sixteen paintings that fused visual imagery with literary text, drawing on their shared roots to create monumental works on . The project featured stock photographs of iconic LA landscapes—such as smoggy skies, sprawling freeways, sunsets, and beaches—overlaid with Ellis's unpublished prose passages, rendered in fonts inspired by local publications like and Variety. Each painting measured up to 84 by 168 inches, executed in acrylic and UV ink, resulting in unique pieces that evoked the city's cinematic allure and undercurrents of disconnection. The concept blended Ellis's signature dark of superficiality and moral ambiguity with Israel's vibrant, pop-inflected aesthetic, exploring themes of alienation, reinvention, and the double lives led in LA's entertainment-driven culture. Ellis's texts, often flash fictions depicting narcissistic or apathetic characters, contrasted with Israel's optimistic, glossy stock images to highlight the tension between the city's promise of possibility and its isolating sprawl. Examples include (2016), which pairs a sunset vista with prose on transient fame, and PCH (2016), overlaying Pacific Coast Highway imagery with narratives of fleeting encounters, underscoring LA's blend of glamour and emptiness. The collaborative process spanned over a year, beginning with Israel proposing the idea during a casual dinner and involving iterative email exchanges of mock-ups; Israel selected and adapted the stock photos, while Ellis contributed hundreds of text drafts that were refined into concise overlays. The series debuted at in Beverly Hills from February 25 to April 23, 2016, as part of the gallery's Oscar-week programming, with fifteen individual paintings and one on view. These works were later featured in group exhibitions, including a 2017 presentation at , where selections rotated in pairs to emphasize their thematic depth.

Recent projects (2023–present)

In 2024–2025, Alex Israel undertook the "Heaven" commission for the Aspen Art Museum and AspenOne, designing the lift ticket for the Aspen Snowmass ski season, which featured the phrase "Your ticket to Heaven" set against a skyscape inspired by the logo of his former Heaven: The Supermarket of Pop Culture project. The project also incorporated on-mountain signage and culminated in an exhibition at the former Ruthie's restaurant space at the base of Aspen Mountain, where the interior was painted white to evoke a mirage-like void containing over 30 life-size portraits of celebrities who had died since Instagram's launch in 2010. These portraits, rendered on aluminum panels to mimic hyperreal cardboard cutouts, blended pop culture memorabilia with themes of escapism and celebrity, produced using techniques from the Warner Bros. Design Studio. The exhibition was open to the public from February 15–23 and March 7–16, 2025, requiring a valid lift ticket for access during operating hours. Israel's "Noir" series marked a shift toward darker, atmospheric depictions of , with new acrylic paintings on canvas portraying nocturnal streetscapes and landmarks infused with aesthetics and overlaid text elements drawn from Hollywood's cultural lexicon. Exemplifying this approach, works such as Shamrock Tattoo (2024, 48 × 72¼ inches), (2024, 48 × 89¼ inches), and Gas Station (2024, 54 × 134 inches) highlighted personal sites from the artist's life against shadowy urban backdrops, emphasizing themes of impending and the precipice of LA's mythic allure. The series was exhibited at Gagosian in Beverly Hills from February 6 to March 22, 2025, where it underscored Israel's ongoing evolution in painting toward introspective, narrative-driven compositions. As part of the group exhibition Visages at Almine Rech's New York Upper East Side gallery, Israel contributed Self-Portrait (Still Life with Fish, Dreams and Wave) (2023, acrylic on sintra, 61 x 50.8 x 2.5 cm), a self-portrait work incorporating still life elements to probe themes of identity within a survey of facial representations by artists including Picasso and Warhol. The show ran from November 7 to December 14, 2024, framing Israel's piece amid explorations of the human face as a cultural and psychological motif. Israel participated in the group exhibition Not Flat at , presenting Untitled (Flat) (2013), an acrylic-on-stucco work on a shaped panel with wood, aluminum frame, and tiles (243.8 × 137.2 × 8.3 cm), which initially appears to embrace modernist flatness through its gradated blue expanse but contributes to the show's dialogue on transcending two-dimensional constraints in . The exhibition, held from September 9 to October 25, 2025, challenged digital-era "superflat" aesthetics by juxtaposing works from multiple artists, positioning Israel's piece as a reflection on dimensionality and the export of Los Angeles-inspired forms to global contexts. Israel continues to produce work from his studio on the backlot in , a space designed by architects Johnston Marklee and established in 2016 within the former Scenic Art department. This facility supports his practice, integrating Hollywood production techniques into ongoing projects that extend his engagement with celebrity, film, and urban iconography.

Other activities

Product design and fashion

In 2010, Alex Israel launched Freeway Eyewear, a line of inspired by the freeways of that reflect the city's car-centric culture and diverse communities along its roadways. The collection features custom frames modeled after specific routes, such as the 10, 405, and 110, with chunky, sinuous designs that evoke wearable blending artistic expression with everyday utility. Israel's design philosophy in these ventures emphasizes the fusion of and functionality, producing limited-edition items that extend his conceptual into consumer objects often tied to gallery exhibitions. This approach positions his products as extensions of his broader exploration of glamour and pop culture, where accessories become subtle commentaries on urban lifestyle. In 2018, Israel debuted Infrathin, a unisex apparel line named after Marcel Duchamp's concept of the "infrathin"—the imperceptible difference between two states—drawing on the artist's readymades to create casual, everyday garments like T-shirts, sweatshirts, shorts, and jackets. The collection prioritizes simplicity and versatility, evolving from Freeway Eyewear to encompass a wider range of items that maintain an artistic edge through limited production runs. Both Freeway Eyewear and Infrathin are sold primarily through galleries and pop-up shops, such as the 2018 debut of Infrathin at Gagosian's gallery during the "" exhibition, underscoring their role in Israel's gallery-integrated practice. This distribution model highlights their impact in promoting an idealized LA lifestyle aesthetic, where functional design intersects with cultural to appeal to art enthusiasts and collectors.

Brand collaborations

Alex Israel has engaged in several high-profile collaborations with luxury brands, blending his signature motifs of culture, sunsets, and skies with commercial products to explore the intersection of and . These partnerships often feature limited-edition items that extend his artistic practice into , enhancing brand visibility while amplifying his themes of mobility, glamour, and West Coast . In 2019, Israel partnered with the German luggage brand to create a limited-edition collection of color-graded aluminum inspired by his sky backdrop paintings. The , available in carry-on and larger sizes for approximately $2,800 each, featured vibrant gradients transitioning from blue to pink, evoking sunsets and tying into themes of travel and the city's constant mobility. To promote the collaboration, a 20-foot-tall oversized was installed in a West Hollywood parking lot during the art fair, serving as a monumental display that highlighted the fusion of art installation and commercial branding. The pieces were exhibited in stores worldwide, boosting the artist's profile in and luxury circles. Israel's collaboration with Louis Vuitton began in 2019 with textile designs for bags and accessories drawn from his Wave and Sky Backdrop series, but expanded in 2020 to include custom packaging for the fragrance California Dream. For this unisex citrus perfume, launched as part of the Les Colognes collection, Israel designed the bottle and box under the title "Sky Backdrop," incorporating his recurring sun motif with ombre hues of orange, pink, and purple to capture a California sunset. The packaging complemented the scent's notes of mandarin and ambrette, evoking an extended summer day in Los Angeles, and was available in 100 ml and 200 ml sizes priced from $350. These items were displayed in Louis Vuitton boutiques, further cementing Israel's role in bridging fine art with luxury perfumery. Post-2020, Israel continued selective brand ties, including pop-up activations at fashion weeks and limited-edition accessories that emphasized his art-commerce dialogue, such as animated campaigns for Louis Vuitton's cologne line in 2024, a relaunch of the Sun Song fragrance with new packaging designed by Israel on July 3, 2025, and a sunglass collaboration with in July 2025 inspired by wildfire recovery efforts. These efforts have been showcased in brand stores and events, reinforcing his influence in contemporary design.

Collections and recognition

Institutional collections

Alex Israel's works are held in the permanent collections of several prominent museums, reflecting his recognition within the world. These acquisitions, spanning from 2012 to 2023, include paintings, sculptures, and video installations that explore themes of Hollywood, celebrity, and culture. The Museum of Contemporary Art (MOCA) in holds episodes from Israel's video series As It Lays (2012–2013), a project featuring interviews with Hollywood insiders styled as talk-show segments. This acquisition underscores MOCA's focus on media-based works tied to Southern California's entertainment industry. The pieces have appeared in rotations of the museum's permanent collection displays, highlighting Israel's blend of pop culture and . The Whitney Museum of American Art in New York includes several paintings by Israel, such as Self Portrait (2013), an airbrushed acrylic on depicting the artist's profile in a stylized, celebrity-like manner, and Sky Backdrop (2013), a large-scale acrylic evoking cinematic backdrops. These works, acquired in the mid-2010s, have been featured in the Whitney's ongoing permanent collection exhibitions, emphasizing Israel's contributions to American contemporary painting. The Los Angeles County Museum of Art (LACMA) holds works by Israel that engage with , contributing to its contemporary collection. These have been integrated into rotating displays of post-2000 art. The (MoMA) in New York holds Sky Backdrop (2013), a monumental that captures the artificial skies of sets, acquired to represent Israel's exploration of . It has been included in MoMA's permanent collection presentations focused on media and abstraction. Israel's works are also in the collection of the Solomon R. Guggenheim Museum in New York, including pieces that align with the museum's emphasis on innovative contemporary practices. Additionally, the Moderna Museet in Stockholm acquired Self-Portrait (Wetsuit) (2015), an acrylic on aluminum painting shaped like a wetsuit, reflecting international interest in Israel's self-referential motifs. The Centre Pompidou in Paris and the Hirshhorn Museum and Sculpture Garden in Washington, D.C., also hold works by Israel. These holdings have appeared in the museum's permanent collection rotations, signaling Israel's global impact. No major public acquisitions of Israel's works by these institutions have been announced since 2023, though his pieces continue to rotate in collection shows worldwide.

Notable exhibitions

Alex Israel's early exhibitions highlighted his emerging engagement with culture and Hollywood iconography through participatory and site-specific projects. In 2012, he presented "Easter Island Venice Beach," a series of monumental sculptures installed on Beach as part of the Museum's Venice Beach Biennial, curated by Ali Subotnick, which integrated into the boardwalk's street vending scene. He had participated earlier in the 2010 California Biennial at the , marking an initial institutional recognition of his multimedia practice. Mid-career solo shows at major institutions underscored Israel's exploration of celebrity, film, and consumer culture in curated contexts. From 2015 to 2016, "Sightings: Alex Israel" at the Nasher Sculpture Center in Dallas featured new sculptures and paintings tied to his film As It Lays, emphasizing everyday objects reimagined as props. Concurrently, "Alex Israel at The Huntington" integrated 16 paintings, sculptures, and site-specific murals into the historic Huntington Library's galleries, juxtaposing contemporary works with classical collections to probe cultural memory. In 2016, a lobby installation in the "Using Walls, Floors, and Ceilings" series at The Jewish Museum, New York, displayed a new Self-Portrait painting, continuing his thematic focus on personal and pop cultural identity. Group inclusions, such as "Dreamlands: Immersive Cinema and Art, 1905–2016" at the Whitney Museum of American Art, positioned his sky backdrop paintings within narratives of cinematic illusion and virtual reality. Since aligning with Gagosian in the mid-2010s, Israel has maintained an ongoing series of solo exhibitions there, often in collaboration with figures like , whose text-based works complemented Israel's paintings in shows at Beverly Hills (2016) and (2017). Recent projects reflect his continued gallery affiliations and institutional invitations. In 2022, "Sunset Coast Drive" at Greene Naftali in New York delved into West Coast landscapes and personal archives. The 2023 solo "LA Californie" at Almine Rech in examined French influences on his Hollywood motifs. In 2024, "REMEMBR" at Gagosian Davies Street, , showcased memory-themed installations. Group show "Visages" at Almine Rech New York featured his portraits alongside contemporaries, curated to explore facial representation in . As of 2025, "Heaven" at the Aspen Art Museum presents an expansive outdoor installation on Aspen Mountain, blending lift-accessible signage and sculptures to evoke celebrity and leisure. "Noir" at Gagosian Beverly Hills, on view through March 2025, features new paintings inspired by aesthetics, addressing apocalyptic themes in lore. In September–October 2025, Israel participated in the group exhibition "Not Flat" at Almine Rech in . Biennial selections, including the 2012 Venice Beach event, have highlighted his rising status without major awards.

Personal life

Family and residence

Alex Israel was born at UCLA Medical Center in . He resides in a midcentury home above the in the Bird Streets neighborhood of , where he maintains a private living arrangement focused on his artistic practice. He grew up in the Little Holmby neighborhood alongside two sisters, the son of developer Eddie Israel and former elementary school teacher Lonnie Israel, though details about his siblings remain private. As of 2025, there are no public mentions of a or children in Israel's . Israel's lifestyle is deeply intertwined with the art scene, incorporating daily routines such as morning decaf and health-focused smoothies that reflect his balanced approach to work and well-being. Occasional media profiles highlight this integration, emphasizing his serene haunts like State Beach and avoidance of excesses to sustain his creative output. Overall, limited public information underscores Israel's preference for , allowing a clear separation between his professional achievements and personal sphere.

References

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