I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
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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