即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
There is something irrepressibly compelling about the lewd animated videos of Wong Ping. Is it their flat surfaces rendered in popping colours? Or their dark narratives that resonate with the deepest recesses of the human psyche? They have been included in an impressive repertoire of group exhibitions in recent years, including One Hand Clapping at...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
Born in 1982 in Long Island, New York, lives and works in Los Angeles, California
After residencies at the Paul Mellon Centre for British Art in London in 2002 and at the Yale/Norfolk Summer School of Art in 2004, Lonegan received in 2005 her bachelor's degree in Art and Applied Physics at the Yale University, New Haven. In 2010, she graduated with a M.F.A. at the University of California, Los Angeles.
Caitlin Lonegan's paintings exhibit a specific kind of gestural abstraction that eschews the grand, one-off gestures of mid-twentieth-century abstract expressionism. In a way, there's nothing heroic about her process: each painting emerges as an accrual of marks built up slowly over time. She works on multiple canvases concurrently; some take more than a year to complete. Over these periods, the paintings migrate around her studio, from the floor to the wall and back again. Equipped with a basic arsenal of paint, linseed oil, and spirits, she relies on a heap of borrowed tricks such as frottage, resist, or embossing to build up the surfaces. While her techniques allow for occasional chance effects, each mark is a calculated gesture, appropriated from smaller studies and then copied and refined on larger canvases. (In turn, these studies are absorbed into Lonegan's studio cycle and evolve into finished works using the same techniques.) Every one of the artist's marks has a provenance, and the canvas displays their individual intentions or behaviours in how they move in space or how they reflect or absorb light.
Lonegan's alienation from abstract expressionism is more than a generational divide. She deliberately refuses allegiance with any formal school or position, stating, 'It's not interesting if you know where the artist is.' Likewise, looking at her current work, the viewer is equally ungrounded. With the dark hues and metallic sheens of her palette, her newest paintings are earthy and unfathomably deep, and yet still fracture our attention. The eye floats around her canvases as it tries to decipher each mark as the result of a stroke, flood, or spray of paint. These gestures hover, collide, and weave into and around each other, yielding a satisfying disorientation. (Jen Hutton, Cat. Made in LA 2014, UCLA Hammer Museum)
Caitlin Lonegan’s works have been shown in many group exhibitions, several of which were in California–for example, in the major survey show Made in LA 2014 at the UCLA Hammer Museum in Los Angeles. In 2017 she participated in the exhibition Abstract Painting Now! Gerhard Richter, Katharina Grosse, Sean Scully at the Kunsthalle Krems. Her works can be found in the collection of the UCLA Hammer Museum in Los Angeles, the Berezdivin Collection in Puerto Rico, the Sammlung Goetz in Munich, and the SoArt Sammlung in Vienna.
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