There is a strong influence of
the American image painting with a little bit of Edward Hopper and Ed Ruscha thrown in.
Not exact matches
Standing before a large landscape
painting of the
American West, the Gipper seemed to personify the heroic
image of a winner.
Painted in the colors and pattern of the
American flag and featuring the
image of a bald eagle clawing its way to the front of the helmet, you'll feel powerful and ready to take on any job!
She also wants to
paint a different
image of African
American families than the prevailing one that implies they are not interested in education.
Only a few other
images, such as the Mona Lisa or Scream, by Edward Munch, are as widely known as
American Gothic, and because of its high visibility, the
painting is an easy choice as a parody.
Speaking about her recent work Tharsing comments: «The
paintings in my most recent series are based on archived
images from the
American Museum of Natural History.
By the twenties, Burchfield is
painting images of what was then popularly known as the
American Scene.
2013 — New
American Paintings, Midwest Edition (August) 2006 — The Edge of Realism,
American Art Collector, December 2006 2006 — Christine Newman, Open House, Chicago Magazine, August 2006 2004 — A Spotlight on Living Artists, Crow Woods Publishing 2002 — New
American Paintings # 35, Midwest Edition (cover
image)
Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave
Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977
Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to
American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A
Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas —
Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973
Painting in America, Decorative Arts Center, New York, NY 1973 Black
Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT
Traveled to Musée Marmottan Monet, Paris (February 12 — May 11, 2008) Be — Bomb: The Transatlantic War of
Images and all that Jazz in the 1950s, Museu d'Art Contemporani de Barcelona (MACBA), Spain (October 5, 2007 — January 7, 2008) Contemporary and Cutting Edge: Pleasures of Collecting, Part III, Bruce Museum, Greenwich, Connecticut (September 29, 2007 — January 6, 2008) Twentieth - Century
American Women Artists from the Frances Lehman Loeb Art Center, Vassar College, Gallery at the Park Avenue Bank, New York, New York (September 17 — November 2)
Americans in Paris: Abstract
Painting in the Fifties, Tibor de Nagy Gallery, New York (July 16 — September 29) French Kiss, JGM Galerie, Paris, France (May 25 — July 13) When Art Worlds Collide: The 60s, Woodward Gallery, New York (May 17 — July 14) An Architect Collects: Robert D. Kleinschmidt and a Lifetime of Fine Arts Acquisitions, Krannert Art Museum and Kinkead Pavilion, University of Illinois at Urbana - Champaign (April 20 — July 29) Gestes, Signes, Traces, Espaces: Figures de la peinture moderne française dans les collections publiques normandes, Musée d'art moderne André Malraux, Le Havre, France (February 17 — April 30).
Mr. Desiderio has created some of the most compelling
images in contemporary
American painting.
Whichever way his broad interests manifest in a complex and diverse repertoire of
images, each
painting, as Roberta Smith wrote in her New York Times review, «exemplifies the exultation of material that courses through much
American painting.»
TOP
IMAGE: ALMA WOODSEY THOMAS (
American, 1891 — 1978), «Untitled,» circa 1968 (synthetic polymer
paint and pressure - sensitive tape on cut - and - stapled paper), 19 1/8 × 51 1/2 inches.
Ian and Mary, 1971, by the late
American painter Alice Neel, is one of a handful of
images in the exhibition
painted directly from life, yet in her spare, urgent
paintings Neel, who famously stated «I don't do realism» always alerts us to pictorial shifts and disjunctions that trigger psychological readings beyond the
painted surface.
More generally, the chapters of «America Is Hard to See» pay homage to a number of those seminal exhibitions through which the Whitney has historically recognised and advocated for emerging
American art: «Anti-Illusion: Procedure / Materials» (1969), for instance, with its defiant presentation of the post-minimalism of Richard Tuttle and others, or «New
Image Painting» (1979), which celebrated a revival of figurative painting in an artistic climate dominated by conceptu
Painting» (1979), which celebrated a revival of figurative
painting in an artistic climate dominated by conceptu
painting in an artistic climate dominated by conceptual work.
At this space, the figure of a female nude tied to what looks like a torture device is the disturbing central
image of a nine - panel 1975
painting called «Moving Through» by the
American artist Juanita McNeely.
Her
paintings — brightly - hued rhinestone - embellished
images of African -
American women — exude color, beauty, and power, exploring themes of race, feminism, and sexuality.
Also on view will be the rarely seen installation Profondeurs Vertes (2006), which uses
images from well - known
American paintings to comment on fear and memory.
Call me only if you are in the gutter, Grice Bench, Los Angeles, CA Exalted Position, curated by Vlad Smolkin, Peter Blum Gallery, New York, NY Pipe Dream, presented by Night Gallery and Rachel Uffner Gallery, 170 Suffolk Street New York, NY Gallery Artist Group Show, Rachel Uffner Gallery, New York, NY TDW: Three Way Weekend, Blum & Poe, Art Los Angeles Contemporary, and ROGERS, Los Angeles, CA 2015 The John Riepenhoff Experience, Misako & Rosen, Tokyo, Japan Intimacy in Discourse: Unreasonable Sized
Paintings, School of Visual Arts Chelsea Gallery, New York, NY Let's Be Real, Projekt 722, New York, NY 2014 The Crystal Palace, Rachel Uffner Gallery, New York, NY QUALIA, FJORD Gallery, Philadelphia, PA 2013 The Room and its Inhabitants, organized by Patrick Howlett, Susan Hobbs Gallery, Toronto, Canada The 2013 deCordova Biennial (with Dushko Petrovich), deCordova Sculpture Park and Museum, Lincoln, MA 2012 Love, curated by Stephen Truax, One River Gallery, Engelwood, NJ Art on Paper 2012, curated by Xandra Eden, Weatherspoon Art Museum, Greensboro, NC Take Shelter in the World, curated by Dushko Petrovich, Boston University Art Gallery, Boston, MA In Plain Sight, organized by Nicole Russo and Lumi Tan, Mitchell - Innes & Nash, New York, NY 2011 The Idea of the Thing That it Isn't, curated by Rachel Uffner, Halsey McKay, East Hampton, NY Channel to the New
Image, Friedrich Petzel Gallery, New York, NY Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,
American Academy of Arts and Letters, New York, NY Paper A-Z, Sue Scott Gallery, New York, NY Invitational Exhibition of Visual Arts,
American Academy of Arts and Letters, New York, NY Battle of the Brush, organized by Corporate Art Solutions at Bryant Park, New York, NY 2010 The Pencil Show, Foxy Production, New York, NY ITEM, Mitchell - Innes & Nash, New York, NY S (l) umm (er) ing on Madison Avenue, curated by Jo - ey Tang, The Notary Public, New York, NY Kristin Calabrese, Andy Parker, Mary Weatherford, Roger White, Kathryn Brennan Gallery, Los Angeles, CA 2009 What's Bin Did and What's Bin Hid», curated by Ryan Steadman, 106 Green Gallery, Brooklyn, NY Cave
Painting: Installment # 2, organized by Bob Nickas, Gresham's Ghost, New York, NY The Audio Show, organized by Seth Kelly, Friedrich Petzel Gallery, New York, NY 2008 The Merits of Silence, Gallery Min Min, Tokyo 2007 Heralds of Creative Anachronism, D'Amelio Terras, New York, NY The Price of Nothing, EFA Gallery, NY 2006 Mystic River, Southfirst, Brooklyn, NY / Arcadia University, Glenside, PA 2005 Kevin Bruk Gallery, Miami, FL You Are Here, Ballroom Marfa, Marfa, TX The Most Splendid Apocalypse, PPOW Gallery, New York, NY Crits» Pix, Black and White Gallery, Brooklyn, NY 2004 Halloween Horror Films,, Southfirst Gallery, Brooklyn NY Summery Summary, 58 N3, Brooklyn, NY 2003 Dreamy, ZieherSmith Gallery, New York, NY Escape from New York, New Jersey Center for Visual Arts, Summit, NJ Late to Work Everyday, Dupreau Gallery, Chicago, IL 2001 Learnedamerica, P.P.O.W. Gallery, New York, NY Tirana Bienalle 1, National Gallery, Tirana, Albania 2000 Columbia University M.F.A. Thesis Show, Brooklyn, NY 1999 All Terrain, Friedrich Petzel Gallery, New York, NY Wight Biennial, UCLA Wight Gallery, Los Angeles, CA 1998 Episode 1, Gair Building, Brooklyn, NY
He organized award - winning exhibitions and publications including solo presentations by Lynda Benglis, Judith Godwin, Jane Hammond, Joseph Marioni, Rashaad Newsome, Chuck Ramirez, and Sandy Skoglund, among other artists, as well as
American Art Since 1945: In a New Light; New
Image Sculpture; Andy Warhol: Fame and Misfortune; Beauty Reigns: A Baroque Sensibility in Recent
Painting; Made in Germany: Contemporary Art from the Rubell Family Collection; Telling Tales: Contemporary Narrative Photography, and Something to Say: The McNay Presents 100 Years of African
American Art.
I KILLED KENNY also debuts a series of
paint - splattered collages, in which historic
images of Abraham Lincoln are overlaid with portraits of iconic Hollywood celebrities, contemporary artists, and legendary
American boxers — Robert DeNiro in «Raging Bull,» Gena Rowlands in «Gloria,» Christopher Wool in his studio, and publicity stills of Muhammad Ali.
(note all
images have a higher resolution
image when clicked) Regardless of where you live, the one show not to be missed this summer is the Concord Art Association's Sight Specific: A Selection of
American Perceptual
Paintings, curated by George Nick.
Installation shot of Denise Green's
paintings at the Whitney Museum of
American Art, New York's 1979 exhibition, «New
Image Painting» discussed in this interview.
On assorted textiles, she
paints images that represent the homes and neighborhoods of her childhood, incorporating West African block prints, bed sheets, the Piggly Wiggly supermarket mascot and the
American flag.
The first and most prominent
painting in the show, called The
American, is a mock heroic
image of a man in jacket and tie taking aim with a long rifle.
The artist generates the subject matter of his art from the material substances with which he works, an approach made most memorable perhaps in Zucker's «cotton ball
paintings» of the early 1970s with their narrative
images of plantation life in the
American south.
2009 Constellations:
Paintings from the MCA Collection, Museum of Contemporary Art Chicago (MCA), Chicago, IL Instruments, SolwayJones, Los Angeles, CA
American Realities, New
Image Art Gallery, West Hollywood, CA
Dazzling the eyes and intriguing the mind, the Philadelphia Museum of Art presents two centuries» worth of
American still - life
paintings and sculptures, from John James Audubon's
images of birds and mammals to Andy Warhol's Brillo boxes.
Adelman's legendary
images include Warhol on the Factory red couch, shopping at a nearby Gristedes for Brillo Boxes as a source of inspiration, posing with his flower
paintings, and Warhol on the floor with «The
American Man» suite.
Varejão reveals the inspirations behind the works as she leafs through
paintings by Llyn Foulkes, famous portraits of Native
Americans by George Catlin, lesser - known
paintings of McKenney and Hall's History of the Indian Tribes of North America, and
images of iconic abstract
paintings.
DAVID DRISKELL Creative Spirit: Five Decades by Bridget Goodbody DAINA HIGGINS New
Paintings by Charles Schultz LOIS DODD New Panel
Paintings by Sharon Butler Unlikely Friends: JAMES BROOKS & DAN FLAVIN by Greg Lindquist DAMIEN HIRST The Complete Spot
Paintings 1986 — 2011 by Corina Larkin LORI ELLISON by Corina Larkin GEORGES HUGNET The Love Life of the Spumifers by Valery Oisteanu Dark Christmas by Bradley Rubenstein ELLSWORTH KELLY Schwarz & Weiss by David Rhodes MALCOLM MORLEY Another Way to Make an
Image, Monotypes by Robert Storr Five Works from the Collection of Albert Murray: ROMARE BEARDEN and NORMAN LEWIS by Charles Schultz THE RONALD S. LAUDER COLLECTION: Selections from the 3rd Century BC to the 20th Century / Germany, Austria, and France by Charles Schultz Anonymous Tantra
Paintings by Noah Dillon SANGRAM MAJUMDAR New Work by Kara L. Rooney GUDMUNDUR THORODDSEN Father's Father by Paolo Javier SOTO Paris and Beyond, 1950 — 1970 by Cora Fisher JESS
Paintings by Phong Bui GEORGE MCNEIL by Robert Berlind VICTOR MATTHEWS by Vincent Katz LOLA MONTES SCHNABEL Love Before Intimacy by David Markus THOMAS WOODRUFF The Four Temperament Variations by Kara L. Rooney MARTHA CLIPPINGER Hopscotch by Robert Berlind PETER GALLO by Jonathan Goodman Connected by Noah Dillon KANDINSKY's «
Painting with White Border» by Susan Bee BARBARA SANDLER Straight On Till Morning by Robert Berlind December (Organized by Howie Chen) by Nathan Kernan EDWIN DICKINSON In Retrospect by Robert Berlind JOSÉ RIVERA by Nathan Kernan REMBRANDT»S WORLD: Dutch Drawings from the Clement C. Moore Collection by Sara Christoph JOSEPH MONTGOMERY Velveteen by Linnea Kniaz The Renaissance Portrait from Donatello to Bellini by Mira Schor BOSCO SODI Ubi Sunt by Jonathan Goodman DOUG WADA Americana by Lilly Wei Mind the Gap by Anne Sherwood Pundyk BILL JENSEN by Ben La Rocco WITHIN / WITHOUT: A Studio Visit With SHOSHANA DENTZ by Zachary Wollard SUSANNA HELLER's Studio by Robert Berlind STUDIO VISIT: JOYCE PENSATO by William Corwin Making
American Taste: Narrative Art for a New Democracy by Shane McAdams Letter from BERLIN by David Rhodes JOSEPH MARIONI Eye to Eye by Robert C. Morgan GORDON MOORE by Joan Waltemath Master Bill at MoMA by Irving Sandler
Artist: David Diao, Chinese -
American (1943 --RRB- Title: Barnett Newman: The
Paintings (Blue) Year: 1992 Medium: Silkscreen, signed and numbered in pencil
Image: 15 x 39 inches Size:...
Solien has been invited to participate in numerous exhibitions of National and International magnitude including, the 1983 Whitney Biennial, the 39th Biennial of
American Painting at the Corcoran Museum, Washington D.C.; Avant - Grade in the 80's, at the Los Angeles County Museum of Art; The
American Artist as Printmaker, Brooklyn Museum NY;
Images and Impressions, Walker Art Center, Minneapolis and Contemporary Drawings, High Museum of Art, Atlanta.
In the catalogue for the exhibition Robert Rauschenberg: The Silkscreen
Paintings, 1962 — 64, at the Whitney Museum of
American Art in 1991, art historian Roni Feinstein writes, «Almost the whole of Rauschenberg's oeuvre, but most particularly the Silkscreen
Paintings, anticipates contemporary works in which
images are used to create
images».
The Alabama police had used German shepherd dogs against African -
American protestors (
images of which were used by Andy Warhol and, more recently, Kelley Walker) but they also turned fire hoses against crowds of peaceful black school children with spray powerful enough to strip
paint from a wall.
(group exhibitions)
American Exhibition, Art Institute Chicago, 1961, 1962, Whitney Biennial, Whitney Museum
American Art, New York City, 1968, When Attitudes Become Form, Kunsthalle, Berne, Switzerland, 1969, 100 Years of California Sculpture, Oakland Museum, Oakland, California, 1982, Language, Drama, Source, Vision, The New Museum, New York City, 1983, Philadelphia Collects: Art Since 1940, Philadelphia Museum Art, 1986, Disarming
Images: Art for Nuclear Disarmament, Bronx Museum Arts, 1986, Boston Collects: Contemporary
Painting & Sculpture, Museum Fine Arts, Boston, Master of Arts, 1986, San Francisco Lives, San Francisco Museum Modern Art, 1990, California Classics: Art From the 1960's and 1970's, Bayly Art Museum, University Vir., Charlottesville, Vir.
«My intention was to
paint contemporary
images in which the subject helps tell the story of the changing face of the
American West,» says Gardner.
Political issues have appeared throughout Warhol's work in such
images as the electric chair
paintings (1963 - 1967), the race riots (1963), the atomic bomb (1965), the Mao portraits (1972), the Vote McGovern poster (1974), and the
American Indian
paintings (1976).
He abandoned landscape
painting and expressionism in favor of narrative
images of African
Americans executed in a deliberately simplified — or as he put it, «primitive» — style.
by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an
American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds
American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant
Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick
image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull
Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An
American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an
American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the
American Side Show by Laura C. Mallonee Republican
American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!
2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (
image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum
Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «
Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New
American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into
Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France
Images: Jackson Pollock, Echo: Number 25, 1951, 1951, enamel
paint on canvas, Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rokefeller Fund, Museum of Modern Art, New York © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 7, 1951, 1951, enamel on canvas, The National Gallery of Art, Washington, D.C., Gift of the Collectors Committee (1983.77.1) © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Untitled, c. 1949 - 50,
painted terracotta, Collection Gail and Tony Ganz, Los Angeles © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 14, 1951, 1951, oil on canvas, Purchased with assistance from the
American Fellows of the Tate Gallery Foundation 1988 © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Black and White
Painting II, c. 1951, oil on canvas, Private Collection © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York
Each work consists of colorful plastic, re-drawn digital photos, found
images, objects, shelf - like projections and
painted elements, reflecting
American politics, immediate experiences, and the poetics of everyday life.
By exhibiting the
painting we wanted to acknowledge the importance of this extremely consequential and solemn
image in
American and African
American history and the history of race relations in this country.
1974
Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis, IN Contemporary
American Sculpture, The Society of the Four Arts, Palm Beach, FL Invitational Exhibition,
American Academy of Arts and Letters / National Institute of Arts and Letters, New York, NY In Her Own
Image, Philadelphia Museum of Art / Samuel S. Fleisher Art Memorial, Philadelphia, PA Women's Work -
American Art» 74, Philadelphia Civic Center, Philadelphia, PA Cordier & Ekstrom, New York, NY Contemporary Arts Center, Cincinnati, OH
Our perception of America and the imaginations of
American self -
image have been shaped through film, television, media, and the entertainment industry,
painting a perfect picture of the
American Dream.
Chiura Obata: An
American Modern, a major retrospective of his work, features more than 150 watercolors,
paintings, prints, and screens, including
images he produced during internment at the Topaz War Relocation Center, located sixteen miles from Delta, Utah.
Dana Schutz's
painting, Open Casket (2016), is an unsettling
image that speaks to the long - standing violence that has been inflicted upon African
Americans.
One can see this in two bodies of work: cultural representation is the primary issue in The African
American Flag Project, where «African
American» flags were the subject of the
paintings; and the Made in USA series of
paintings touch on the politics of consumption through self - referential text and
image.
The exhibition introduces
American filmmaker Tim Burton as an artist showing drawings,
paintings, photographs, sketchbooks, moving -
image works and sculptural installations.