Images of recent paintings in digital format on the web.
HOW TO LOCATE
ON THE WEB
ABOUT THE ARTIST
1978 Redondo Beach, CA
Lives and works in New York City
2000 MFA, School of Art, Yale, NH, CT
1998 BFA, (with distinction), UCLA, CA
SELECTED SOLO EXHIBITIONS:
2001 Absolutely Fabulous, UPFRONT, NYC
2000 Now and Again, University Art Gallery Yale, N H, CT.
2000 Richard Ellis Complete Works, Geoffrey Harrison Gallery, NYC
1999 The Identity of self :Juxtapositions, and Non-Representations of
Cultural Identity, Geoffrey Harrison Gallery, NYC
SELECTED GROUP EXHIBITIONS:
2002 "Reactions", Exit Art, NYC
2001 Night of a Thousand Drawings Benefit Show, Artists Space Gallery,
2001 Smartmarkt, Smal works Show, Patch 155 Gallery, NYC
2001 I am Not Work, A collaborative net project
2001 Scan, Brooklyn, NYC
2001 Here and Now Show, Silicon Gallery/The general store, DUMBO,Brooklyn,
2001 Purloined with Guy Overfelt, Curated by Christine Y Kim, Artists
Space Gallery, NYC
2001 Post card- Very small works show, Core Gallery, NYC
2000 Night of a 1000 Drawings, Artists Space Gallery, NYC
2000 45 Degrees, UPFRONT, NYC
2000 The Synchronicity of Dead Space, New York, NYC
1999 "Group Show", Gallery 2, Geoffrey Harrison Gallery, NYC.
1999 Double Bind, "MFA Thesis Exhibition Show", University Art
Gallery, Yale, CT. 1
1998 Hidden agenda ,"BFA Graduation Exhibition Show", UCLA,
1997 School of Art, Drawing Show, UCLA, CA
2000 World Wide Web Award For Excellence, http://www.artspace.2000.com
1999 The Union Grant Scholarship
MEDIA AND PUBLICATIONS:
2002 C:> FOrMat www.cformat.org
2001 Accepted in to the Artists Space slide File Registry
2001 A Virtual Memorial: Memorial project against the Forgetting and for
Humanity,Wilfried Agricola de Cologne, www.a-virtual-memorial.org
2001 The artist and his studio, Wilfried Agricola de Cologne
2001 Metro Madness:Identity under construction, **NOW ON@
2001 THE STAGE Un-necessary illusions writing project, http://www.futile.dezines.com/stage.html
2000 Reviewed by Caroline Oxley for Debris, "Of Strange Collissions
and Dislocated Narratives-The Many Faces of Richard Ellis",Vol 7,
July 20, 2000.
2000 Now and Again, MFA Graduation Catalogue School of Art,Yale, NH, CT,
1999 PBS, August Radio Interview
1999 Channel 1, August Television Interview
The Philip Goldenberg Collection
Silicon Gallery, the private collection of Rick De Coyte and Michal Jane
ABOUT RICHARD ELLIS
I belong to a new breed of New York painting fundamentalists. I aim to
turn around a rather stale and looped art scene caught in a web of appropriation
and repetition. Although appropriation art, mainly fuelled by the eighties
art boom, was apt at the time, I see it as a dull and futile attempt to
question social construction. Was it not just amplifying the simulatory
or was it a futile attempt of readjusting social signs already in place.
Somewhat like "rearranging deckchairs on the Titanic"?
In reaction, I looked at the nineties "nothing in the gallery"
routine where minimalism,
in this case emotive minimalism sought to reduce everything to its basics,
where intellectualism discourse dominated the work to such an extent that
there was no room for the viewer to read the work-- that's if the viewer
understood it in the first place without the handy curatorial catalogue.
I think people are tired of seeing nothing in the space. People want to
engage with "something" that they see in the real world. They
want to see a vision that THEY are aware of, outside in the streets.
I want to produce art that deals not with some arty movement or school
or relies on some mundane critical discourse but speaks of and questions
these times of media dominated simulacra.
I recently read in Modern Painters an article on artist Damian Loeb that
reads: "In the name of personal liberation, the 60's flower children
destroyed traditions of family, religion, and patriotism that once provided
an escape route from the Spectacle, while their sexual experiments bequeathed
a legacy of repression, disease, and fear to their children". (1)
I avoid personal fragmentation or emotional disassembly. I prefer to keep
clear of drugs, alcohol, and "loose" living so predominate in
the art glitz style of the eighties. Refer to the work and life of Jean-Michel
Basquiat and Jeff Koons.
Importantly I do not want to reproduce a hyper-reality already apparent
in cinema, TV, Disneyland (which I frequented often as a child-- sometimes
sneaking in the back, through a hole in the fence), rather I want to produce
a world that is the product of our media spectacle.
1. Source: Vincent, Steven, In the Eye of the Spectacle, Modern Painters,
Vol. 13, No. 3, Autumn 2000, pp. 54-57. ©Gary Skinner 2001
This is a work of fiction. Characters, names places and incidents are
the product of the author's imagination or are used in a fictitious manner.
Any resemblance to actual persons living or dead, locales, events is entirely
coincidental. All texts and photographs are originally published under
a pseudonym and were intended as experiments in the usage of disposable
forms of articulation for the purposes of thought control. For example,
because art is the vehicle of self-expression, it was thought that criticism
would be an effective way of effectuating a hostile takeover of the artist's
attempt at self-presentation. In other words, the original image would
be seized, translated into a different medium (i.e. language), and then
forced to say things never intended by the artist.