Mathew Cerletty (b. 1980, Wauwatosa, WI) renders uncanny portraits, landscapes, and hyperreal paintings that invest generic items with psychological depth and painterly precision. While many of Cerletty's paintings have the appearance of industrial gloss, each leftover trace of the artist's hand is purposeful.
Read MoreCerletty—a true 'sign painter,' as de Kooning famously said of Jasper Johns—takes an expanded view of portraiture, extending its reverential treatment to Ruscha-esque logos and commercial tableaus. Paralleling the irreverent photography of Christopher Williams, Cerletty's product 'photos' transgress tradition with a machine-made look and a deadpan sense of humour.
His recent solo exhibitions include The Power Station, Dallas (2020); Standard, Oslo (2019); Karma, New York (2018); Office Baroque, Brussels (2014); and Blum and Poe, Los Angeles (2013); among others. Recent group exhibitions include Alexander Berggruen, New York (2019); Office Baroque (2017); Hannah Hoffman Gallery (2016); and the Whitney Museum of American Art (2016). Cerletty's works can be found in the collections of the Whitney Museum of American Art, New York, and Albright-Knox Gallery, Buffalo.
Text courtesy Karma.
