Delia Brown
1969, Berkeley. Lives and works in Los Angeles and New York

I see my works’ content as a convergence of the images with the
processes behind creating them: which is about fictional constructs, the uncomfortable space between values and desires, the annihilating aspect of indulgence, and the fun/pleasure/satisfaction that happens between the people involved in living out the roles. The vanity is an aspect of my work, just as it’s an aspect of most of the popular media that I draw upon for inspiration, and as it always played a role in bourgeois traditions of easel painting.
I’m interested in things that are easily understood on one level, but that provide more layers of meaning when you spend more time with them.
I anticipated a certain amount of dismissiveness about my work because I’m producing ‘quick-to-read’ images. Also, I have noticed a welcoming response to the work by a lot of non-art-educated people who I think feel validated because they are looking at contemporary art that they can grasp. By not feeling initially alienated by the work I think they feel more freedom to make conceptual or intellectual speculations. My work employs things from culture that I respond to emotionally.
— Delia Brown

Selected solo exhibitions:
2002: D’Amelio Terras, New York; Il Capricorno, Venice; 2001: Margo Leavin, Los Angeles; 2000: D’Amelio Terras, New York; UCLA Hammer Museum, Los Angeles.
Selected group exhibitions:
2003: Sex, Karyn Lovegrove, Los Angeles; 2002: A Show That Will Show That a Show is Not Only a Show, The Project, Los Angeles; Tribe, Rena Bransten, San Francisco; Enough About Me, Momenta Art, New York; Heaven Knows I’m Miserable Now, Low, Los Angeles; Framing My View, Maze, Turin; 2001: Let Them Eat a Cake and Eat It too, LACMA Lab, Los Angeles; Happiness, Presença, Porto; Song Poems, Cohan Leslie and Browne, New York; Spiritual America, Massimo Audiello, New York; 2000: Group Painting Show, Echo Park Projects, Los Angeles; Sentimental Education, Deitch Projects, New York; 1999: Spaced Out: Southern California Vernacular, Herbert Marcuse/ Visual Art, University of California, San Diego.




Guerilla Lounging n. 4, 2002. Watercolor on paper, 26 x 18 cm. Courtesy D’Amelio Terras, New York