Tucker Neel is an artist, educator, freelance writer, and independent curator living and working in Los Angeles, CA.

Neel works from project to project, creating work based on sustained research into instances of erasure and obfuscation. Neel is primarily concerned with how aesthetic propositions, whether banal or grandiose, shape political allegiances, impact collective experiences, and concretize shared memories. His projects may sometimes share moments of formal similarity, but their primary intention is to prioritize content and consequence over artistic “style” and “signature.”

You can see his archived projects at

Neel holds an MFA from Otis College of Art and Design and a BA in Art History and Visual Arts from Occidental College. He has exhibited work in Los Angeles and across the country in venues such as The MAK Center, Commissary Arts, Samuel Freeman, Bonnelli Contemporary, Control Room, D-Block Projects, LA Freewaves, and well as in various site-specific exhibitions in public spaces.

As a curator he has organized exhibitions for CB1 Gallery, The Regent Galleries, the Bolsky Gallery at Otis College of Art and Design, Highways Gallery in Santa Monica, and GATE Projects in Glendale, CA. His work has been reviewed in publications such as the The L.A. Times, The LA Weekly, the L.A. City Beat newspaper, The Tennessean, Art Week, The Nashville Scene,, and on

He is currently a Full-Time Professor in the Communication Arts, Liberal Arts & Sciences, and Graphic Design MFA departments at Otis College of Art & Design, and coordinates the department’s Illustration program. He also teaches professional practices, critique, studio art, and critical theory to both Undergraduate and Graduate students. Additionally, Neel leads study-abroad trips to Rome, Italy every year.

He is a Contributing Editor for Artillery Magazine in Los Angeles, CA, and guest edited Artillery Queered, an issue devoted to highlighting the work of queer artists. He is the Los Angeles correspondent for ART LIES in Houston, TX, and ARTPULSE Magazine in Miami, FL. He has also contributed reviews and criticism to many national and international publications. You can read his archive of published writings at

Neel founded 323 Projects in 2010. 323 Projects is an art gallery that exists solely as a voicemail system and website. To visit 323 Projects simply call (323) 843-4652 or (323) TIE-IN-LA. You can also visit the 323 Projects website at 323 Projects exists to provide a dispersed, peripatetic, and constantly accessible venue for artists of all kinds. The artists involved with 323 Projects provide, create, or perform works that can be appreciated in bits and pieces, and at more than one time, in both public and private spaces, by an unseen, yet omnipresent, local and international audience.


My practice politicizes existing aesthetic propositions, be they as mundane as a handful of confetti, or as loaded as a campaign button. I am particularly concerned with exploring and exposing instances of erasure, obfuscation, and confusion that shape institutional, collective, and personal memory. I find inspiration in speculative historical narratives, overlooked anecdotes, and contested truth. I value the porous borders speciously delineating fact from fiction, high from low, professional from amateur, and past from present.

Many of my projects explore the fissures and slippages of history, prompting viewers to question how the past impacts the present. In Welcome To Sunny California I interrogated a peculiar anecdote about late 19th Century land barons luring people to the arid desert by placing oranges on Joshua Trees in order to convince these land speculators from back East that they were moving to fields of orange groves. I re-created this strange circumstance by skewering decorative oranges on a Joshua Tree in Joshua Tree, CA. Decorative Orange trees, also known as Ornamental Orange trees, serve no purpose but to mimic the “look” of an orange tree; they produce inedible nearly useless fruit. They are everywhere in Los Angeles and are planted because they embody the mythology of abundance, prosperity, and health. By moving these oranges out to the desert and placing them on a Joshua Tree I intend to bring together two instances of idealized nature, one from the distant past, and one from the immediate present. This project was finalized as an affordable tourist poster available on my website and in certain tourist locations in and around Joshua Tree. My intention with this project is to inspire discussion and thought about how we envision paradise, a better life, and the future, and come to a better understanding of how these desires are constructed and mitigated by history, location, marketing, and desire.

I often directly address the role design, decoration, and artifice, play in shaping political discourse and public opinion. In Go Balloons!, an installation from 2007, I filled a professional balloon drop net with hundreds of nearly deflated polychromatic balloons. When hung from the ceiling this familiar yet often ignored tool for making events more memorable is never actualized as a balloon drop, but is left as a testament to a sad and limp potentiality, resulting in something conspicuous, funny, and a little discomforting. In other projects I alter political campaign memorabilia like buttons, banners, and confetti. In engaging with the visual trappings of promotional souvenir objects, these works comment on how keepsakes and relics shape our memories of historical events.

My practice often entails creating installations and scenarios designed to examine the trappings of nationalism. In Flag For A Future Present, I present viewers with a new flag meant to fly between Memorial Day and Flag Day of each year to mark the time between when we mourn our dead soldiers and celebrate the symbols of American patriotism. This flag is meant to literalize a moment of reflection. When the Flag For A Future Present is raised its metallic surface throws back the image of its surroundings, allowing one to think about the land around us, the site that frames a flag. Additionally, the flag metaphorically asks one to reflect on their own image, their own subjective position in the landscape. Like any other flag, this work is available in an unlimited edition in a variety of sizes for a reasonable price.

I create works that critically examine contingent and contested histories, and the way these histories are made real by objects, events, and discourse. Through these works I intend to activate a larger discussion about how seemingly innocuous artifacts contribute to individual and national identity.


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