The hope is to draw the viewer in with imagery that might be recognizable with the added pay-off of specific references to American or European history sparking a conversation. I hope it helps to break down the conception that abstraction requires a working knowledge of the medium. The works of Selections from the National Gallery do not intend to teach lessons of the past, but rather remind us of the deep-rooted contentious nature of our democracy.
Recognized as a vital member of and tireless advocate for the Nashville visual arts community, Lain York has been active as an artist since the 90s. He was a member of the Fugitive cooperative, which brought groundbreaking shows to Nashville, and introduced cutting edge work already being done here to the art-loving public. As current director of the Zeitgeist Gallery, he continues to influence the Nashville art scene.
He is represented by Zeitgeist Gallery. Are you curious about art? If you answered yes to either of those questions, then the ARTini program is for you!
ARTinis are designed for everyone—from the novice to the connoisseur—and include informal and insightful conversations that offer a deeper understanding of one or two works of art in an exhibition.
Join the artist for a discussion of his sources of inspiration and working methods in this gallery talk. Silhouettes derived from 18th and 19th-century caricatures populate abstract fields of shiny, colored vinyl, inviting the viewer to imagine unfolding stories.
Correction tape slices across wooden panels, evoking muddled paths and archeological digs. These playful, largely abstract images explore formal concerns, but also point to the subjective, constructed nature of historical record, and to the way the past echoes in the present. York will present his work in conversation with Assistant Professor Jeff Thompson at p. Friday, Nov. A reception will follow. Courtesy of the artist. The Curious Effects of Clean Linen, Vinyl with acrylic paint on panel, 24 x 16 in.
Trashed in the Press, Vinyl, acrylic paint, correct tape, and graphite on panel, 24 x 16in. The President Passes the Bucket, Skip to main content. Lain York: Selections from the National Gallery. I see a similar evolution in your work. I can trace a direct line back to the mask-style paintings of many years ago. Are you still mining the same vein? How do you keep finding gold?
Lain York: Artists that helped me out a lot when I was coming up—like Richard Painter—always set great examples of staking out particular themes that remained consistent in their work and then found new means and media to continue their conversations. My work has become more abstracted over the past several years to the point of becoming a deconstruction of itself.
I like the idea of breaking it all down into its more basic elements. The most prominent element in the work was also the most paradoxical: Most of the forms, figures, designs, and markings on your panels were made using Wite-Out correction tape.
Why reveal your subjects in a medium designed to cover things up? Lain York: Honestly, it has been a response to materials. I once read that Willem de Kooning liked to set up obstacles for himself, things that he had to wrestle with in order to whip a painting into shape.
He painted himself into a corner before seeing if he could blast his way out of it. Nashville Arts: Casual observers have a limited idea of what a painter does in the course of making work.
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