Rabu, 21 Desember 2011

Dexter Dalwood – part 1

Taking a look at some contemporary painting for a change – this is part 1 of a 2-part post on the works of English artist Dexter Dalwood.Dalwood was born in Bristol, England in 1960. He received a B.A. from Central St. Martins College of Art and Design, London in 1985, and an M.A. from the Royal College of Art, London in 1990. Dalwood’s first solo exhibition was held in 1992 at the Clove Building, London.

Since then, Dexter Dalwood’s collages and paintings have been exhibited in numerous solo and group shows, building a strong reputation over the last decade in the UK, Europe, and the United States. Solo exhibitions include “Dexter Dalwood,” a major survey of his work at Tate St Ives, which tours to FRAC Champagne – Ardenne, Reims, France and CAC Malaga, Spain. This comprehensive exhibition, featuring work from the past 12 years, allows the public to gain a fuller understanding of Dalwood’s key stylistic and thematic interests. Other solo exhibitions include “There is No Darkness But Ignorance,” David Risley Gallery, Copenhagen (2009), as well as those at Gagosian Gallery: “Endless Night,” Beverly Hills (2009); “Recent History,” London (Britannia Street) (2006-2007); “Dexter Dalwood,” New York (West 24th Street) (2004); “New Paintings,” Beverly Hills (2002); and “New Paintings,” London (Heddon Street) (2000).

Dexter Dalwood’s work is found in both the Tate and Saatchi collections, and has been integral to many highly innovative and landmark group exhibitions, including “Rank: Picturing the Social Order 1516-2009,” Leeds Art Gallery (2009); “Lights, Camera, Action: Artists’ Films for the Cinema,” Whitney Museum of American Art, New York (2007); “The Triumph of Painting,” Saatchi Gallery, London (2006); “Days Like These: Tate Triennial,” Tate Britain, London (2003); the Sydney Biennale (2002); “Remix: Contemporary Art and Pop,” Tate Liverpool (2002); “Twisted: Urban and Visionary Landscapes in Contemporary Painting,” Van Abbe Museum, Eindhoven (2000); “New Neurotic Realism Part II,” Saatchi Gallery, London (1999); and “Die Young Stay Pretty,” ICA, London (1999).

His work has been featured in a variety of significant books and catalogues. A selection of notable texts published on his work are: Dexter Dalwood: Recent History (2006, Gagosian Gallery); The Triumph of Painting (2005, Saatchi Gallery/Koenig Books); Other Times, Contemporary British Art (2004, British Council); This Much is Certain (2004, Royal College of Art,); Days Like These: Tate Triennial of British Art (2003, Tate Gallery); 100: The Work That Changed British Art (2003, Saatchi Gallery); Dexter Dalwood: New Paintings (2002, Gagosian Gallery); Twisted: Urban and Visionary Landscapes in Contemporary Painting (2000, Van Abbe Museum); Young British Art: The Saatchi Decade (1999, Booth Clibborn Editions); New Neurotic Realism (1998, Saatchi Gallery); and Die Young Stay Pretty (1998, ICA London).

Dexter Dalwood currently lives and works in London, England. He was shortlisted as one of the four nominees for the Turner Prize 2010.

Note: Sizes where shown are rounded up or down to the nearest whole centimetre:

1998 Paisley Park oil on canvas 152 x 183cm

1998 Sharon Tate's House oil on canvas 183 x 235cm

1998 The Liberace Museum oil on canvas 152 x 183cm

1998 The Queen's Bedroom oil on canvas 193 x 183cm

1999 Camp David oil on canvas 198 x 335cm

1999 Robert Mapplethorpe's First Loft oil on canvas 213 x 244cm

1999 Room 100, Chelsea Hotel oil on canvas 183 x 213cm

1999 Solzhenitsyn’s Reading Room oil on canvas 91 x 99cm

2000 Bill Gates' Bedroom oil on canvas 203 x 183 cm

2000 Gorbachev's Winter Retreat oil on canvas 198 x 236cm

2000 Jackie Onassis oil on canvas 214 x 244cm

2000 Kurt Cobain's Greenhouse oil on canvas 214 x258cm

2001 Hendrix's Last Basement oil on canvas

2001 Nietzsche's Chalet oil on canvas 125 x 115cm

2002 Grosvenor Square oil on canvas 268 x 347cm

2002 McCarthy's List oil on canvas 201 x 279cm

2003 Diana Vreeland

2003 Sunny Von Bulow oil on canvas 105 x 207cm

2003 Versailles in the Jungle

2004 Bay of Pigs oil on canvas 268 x 348cm
The presentation of these low resolution jpg files add more than words alone could impart. It is believed that this is fair use and does not infringe copyright. According to section 107 of the United States Copyright Act of 1976: The fair use of a copyrighted work…for purposes such as criticism, comment, news reporting, teaching, scholarship, or research, is not an infringement of copyright. The images are used for non-profit purposes. This factor is noted as relevant by the Act.

Tidak ada komentar:

Poskan Komentar