Roxy Paine

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Roxy Paine is an American artist born in 1966 in New York and educated at both the College of Santa Fe in New Mexico and the Pratt Institute in New York. Since 1990, his work has been internationally exhibited and is included in major collections such as De Pont Museum of Contemporary Art, Tilburg, The Netherlands; Hirshhorn Museum, Washington, D.C.; Israel Museum, Jerusalem; Museum of Modern Art, New York, NY; San Francisco Museum of Modern Art, CA; and the Whitney Museum of American Art, New York, NY. His tree sculptures can be found at various museums and foundations including the Olympic Sculpture Park, Seattle, WA; Wanas Foundation, Knislinge, Sweden; Montenmedio Arte Contemporaneo NMAC, Cadiz, Spain; and the St. Louis Museum of Art, St. Louis, MO. Roxy Paine lives and works in Brooklyn and Treadwell, NY.

Contents 1 Work 1.1 Early Work 1.2 Botanicals 1.3 Machines 1.4 Trees 2 Selected Exhibitions 3 Awards 4 Public Collections 5 References 6 Links

[edit] Work

In his diverse body of work, Roxy Paine mirrors natural processes, drawing increasingly on the tension between organic and man-made environments, between the human desire for order and nature's drive to reproduce. His highly detailed simulations of natural phenomena include an ambitious series of hand-wrought stainless steel trees, vitrines of mushroom and plant life in various states of decay and several large-scale machines designed to replicate creative processes. Collectively, his works demonstrate the human attempt to impose order on natural forces, depicting the struggle between the natural and the artificial, the rational and the instinctual.

[edit] Early Work

Paine began showing his work in Williamsburg, Brooklyn in 1990 and 1991 at an artist run collective called Brand Name Damages (which he helped to found) and he had his first solo exhibition at the short-lived Herron Test-Site in October 1992. His early work consisted of kinetic and time-based sculptures such as Viscous Pult, 1990, which consisted of a paint brush smearing ketchup, white paint and motor oil on the gallery space’s front window; and Displaced Sink, 1992, which had a leaking pipe in the ceiling dripping water on a tall stack of soap bars, leaving a pool of soap scum to collect on the gallery floor. ^[1]

His next solo exhibition was at Ronald Feldman Gallery in 1995, and it included other kinetic works, but the central and most critically acclaimed work was a piece called Dinner of the Dictators, 1993 -95, a vitrine enclosing the taxidermied favorite meals of infamous dictators, ranging from Genghis Khan and Adolf Hitler to Napoleon Bonaparte and Suharto. The research alone took eight months, and overall, the work took two years to produce, opening Paine to new approaches and processes in his work. ^[2]

From this point onwards, Paine’s work separated into a few distinct but nevertheless related categories. The first involves naturalistic works: minutely precise reproductions of natural objects like mushrooms, leafy plants or poppies. A second category consists of machine-based works: he has devised a number of conceptually-challenging art-making machines, like the SCUMAK (Auto Sculpture Maker), 1998, PMU (Painting Manufacturing Unit), 1999-2000^[3], and the Erosion Machine, 2005. Bridging the gap between the naturalistic and mechanized works, Paine also creates large-scale stainless steel trees and boulders of varying sizes (ranging from 8 – 50 feet in height), which is the work for which he is perhaps best known.

[edit] Botanicals

Paine's vitrines and botanical works often feature replicas of plants that have been discovered as extremely poisonous or have been used by humans for experimental hallucinogenic or drug experiences. The living plants are cast and subsequently rendered in thermoset polymers, paint, lacquer, and epoxy, among other materials. Crop, 1997-98, shows a field of poppies, with ripened pods exposing the evidence of raw opium being readied for harvest. The piece embodies the shifting views of the beauty of a field of wild flowers and the grave potential of drug addiction. ^[4] Amanita Muscaria Field, 2000, shows a field of psychoactive mushrooms that appear as if they are sprouting from the gallery floor. This field might present multiple readings: are these works a hallucinogenic vision on their own or do they represent the plant-life that offers the possibility of arriving at that vision? Another related series of works is that of the Dead Amanita vitrines, life-like mushrooms seem to be decaying under glass. The genus Amanita is a group of poisonous and psychoactive mushrooms that has some species that are among the deadliest if ingested by humans.

Another example is the leafy plant genus Datura, which has long been used as a poison and hallucinogen; many species are known by common names such as Hell’s Bells or Devil’s weed. Paine’s re-creation of various species of Datura take on a state of potential, presenting us with a deceptively simple plant that nonetheless contains complex molecules that can give rise to an altered state of consciousness.

[edit] Machines

Removing the artist's hand in the creative process and replacing it with a computer program is the crux of Roxy Paine's machine-based works. His first art-making machine, Paint Dipper, 1997, employed a steel armature that continuously dipped canvases into a vat of paint over the course of time, creating works that collect latex paint stalactites along the bottom edge. SCUMAK (Auto Sculpture Maker), 1998-2001, melts plastic with pigments and periodically extrudes them onto a conveyor belt, creating bulbous shaped sculptures that are each unique.

PMU (Painting Manufacturing Unit), from 1999-2000, involves a metal painting arm that is programmed to expel white paint onto a canvas according to specific instructions programmed into the machine. The resulting works often can evoke landscapes or possibly layers of geological sediment.

Most recently, Paine introduced his Erosion Machine, 2005, which consists of a robotic arm that traces and cuts patterns into large blocks of stone. The course of the arm's movement is determined by data sets, such as weather conditions and school test results. The work suggests the corrosive effects of human imposition on the environment while at the same time represents the transformation of the banal into the beautiful.

About the SCUMAK (Auto Sculpture Maker), art historian Jonathan Fineburg wrote that "The beauty of the machine and the eccentricity of the results are also a paean to the romantic. Paine positions both his gardens and his machines at a fluid interface of man, nature, and science; they take the viewer to an intuitive experience of the liminal place at which scientists have arrived as they begin to redesign the human genome and connect living neurons with silicon chips." ^[5]

[edit] Trees

In an interesting combination of his two primary ways of working, Roxy Paine uses both mechanical means and the innate logic of natural forms to create his tree sculptures. Paine's meticulous research and observation of a variety of tree species help him to understand the "language" of how a tree grows, and from there he creates fictional tree species that grow to a logic of their own. Paine has said: "I've processed the idea of a tree and created a system for its form. I take this organic majestic being and break it down into components and rules. The branches are translated into pipe and rod."^[6]. Employing the language that he has invented pertaining to each of these fictive species, Paine's trees are "grown" through a laborious process of welding together the cylindrical piping and rods of diminishing size ^[7].

The first of these trees was Imposter, 1999, now at the Wanas Foundation, in Knislinge, Sweden. Roxy has gone on to create twelve more trees, including Bluff, 2002, which premiered in New York's Central Park during the Whitney Biennial in 2002, and most recently the very ambitious Conjoined, 2007, now on display in Manhattan's Madison Square Park (through December 31, 2007). Conjoined is a 40 ft tall by 45 ft wide sculpture of two trees whose branches cantilever in space and connect in mid air. Paine creates two different fictional tree species where each branch from one tree joins with a branch from the other. For the observer, it is unclear where one tree begins and the other ends.

[edit] Selected Exhibitions

Solo Exhibitions

2007
Roxy Paine, Madison Square Park, New York, NY, May 15 – December 31, 2007

2006
Roxy Paine: PMU, curated by Bruce Guenther, Portland Museum of Art, Portland, OR, February 25 – May 28, 2006

Roxy Paine: New Work, James Cohan Gallery, New York, January 14 – February 25, 2006

2002
Roxy Paine: Second Nature, co-curated by Joseph Ketner and Lynn Herbert, Rose Art Museum, Brandeis University, Waltham, MA. Traveled to Contemporary Arts Museum Houston, TX; SITE Santa Fe, New Mexico; De Pont Foundation for Contemporary Art, Tilburg, Netherlands (April 2002 through January 2004)

Roxy Paine, James Cohan Gallery, New York, November 8 - December 22, 2002

2001
Roxy Paine, Museum of Contemporary Art, North Miami, FL, November 11, 2001 - January 27, 2002

Roxy Paine, Galerie Thomas Schulte, Berlin, Germany, February 13 - April 20, 2001

1999
Roxy Paine, Ronald Feldman Fine Arts, New York, NY, January 9 - February 13, 1999

1998
Roxy Paine, Musee D'Art Americain Giverny, Giverny, France, June 1 - November 15, 1998. Traveled to Lunds Kunsthall, Lund, Sweden, March 6 - April 18, 1999

1995
Roxy Paine, Ronald Feldman Fine Arts, New York, NY, April 29 - June 3, 1995

1992
Roxy Paine, Herron Test-Site, Brooklyn, NY, October 9 - November 8, 1992

Group Exhibitions

2007
Art Machines/Machine Art, Schirn Kunsthalle, Frankfurt, Germany

2006
Meditations in an Emergency, Museum of Contemporary Art Detroit, MI
A Brighter Day, James Cohan Gallery, New York, NY
Garden Paradise, curated by Lacy Davisson Doyle and Clare Weiss, The Arsenal Gallery in Central Park, New York, NY
Uneasy Nature, curated by Xandra Eden, Weatherspoon Art Museum, The University of North Carolina, Greensboro, NC

2005
Ecstasy: In and About Altered States, organized by Paul Schimmel with Gloria Sutton, Museum of Contemporary Art, Los Angeles, CA
Extreme Abstraction, Albright Knox Art Gallery, Buffalo, NY
Material Terrain: A Sculptural Exploration of Landscape and Place, curated by Carla Hanzal, commissioned by Laumeier Sculpture Park, St. Louis, MO. Traveling to Santa Cruz Museum of Art and History, Santa Cruz, CA; University of Arizona Museum of Art, Tucson, AZ; Memphis Brooks Museum of Art, Memphis, TN; Cheekwood Museum of Art, Nashville, TN; Lowe Art Museum, University of Miami, Coral Gables, FL

2004
The Flower as Image, Louisiana Museum for Moderne Kunst, Humlebaek, Denmark
Natural Histories: Realism Revisted, Scottsdale Museum of Contemporary Art, Scottsdale, AZ

2003
Work Ethic, Baltimore Museum of Art, Baltimore, Maryland, Traveled to the Des Moines Center for the Arts
UnNaturally, organized by Independent Curators International (ICI), curated by Mary-Kay Lombino. Traveled to Contemporary Art Museum, University of South Florida, Tampa, FL; H & R Block Artspace at the Kansas City Art Institute, Kansas City, MO; Fisher Gallery, University of Southern California, Los Angeles, CA; Copia: The American Center for Wine, Food and the Arts, Napa, CA; Lowe Art Museum, University of Miami, Coral Gables, FL

2002
The Whitney Biennial in Central Park, curated by Tom Eccles, organized by the Public Art Fund, New York in collaboration with The Whitney Museum of American Art, New York
Early Acclaim: Emerging Artist Award Recipients 1997-2001, The Aldrich Museum of Contemporary Art, Ridgefield, CT

2001
Brooklyn!, Palm Beach Institute of Contemporary Art, Palm Beach, FL
Waterworks: U.S. Akvarell 2001, curated by Kim Levin, Nordiska Akvarellmuseet, Skarhamn, Sweden
01.01.01: Art in Technological Times, San Francisco Museum of Modern Art, San Francisco, CA
All-Terrain, Contemporary Art Center of Virginia, Virginia Beach, VA
Give and Take, Serpentine Gallery in collaboration with the Victoria and Albert Museum

2000
From a Distance: Approaching Landscape, curated by Jessica Morgan, Institute of Contemporary Art, Boston, MA
Working in Brooklyn: Beyond Technology, Brooklyn Museum of Art, Brooklyn, NY
5th Lyon Biennale of Contemporary Art: Sharing Exoticism, Lyon Biennale, Lyon, France
Greater New York: New Art in New York Now, PS1 Contemporary Art Center in collaboration with the Museum of Modern Art, New York

1999
Best of the Season: Selected Work from the 1998-99 Gallery Season, The Aldrich Museum of Contemporary Art, Ridgefield, CT

1998
Interlacings: The Craft of Contemporary Art, Whitney Museum of American Art at Champion, Stamford, CT
Nine International Artists at Wanas, 1998, Wanas Foundation, Knislinge, Sweden

1997
9 to 5 at Metrotech: New Commissions for the Common, The Public Art Fund, Brooklyn, NY
Best of the Season 1996-97, The Aldrich Museum of Contemporary Art, Ridgefield, CT

1996
Human/Nature, The New Museum of Contemporary Art, New York, NY

1994
Garden of Sculptural Delights, Exit Art/The First World, New York, NY

1993
Popular Mechanics, Real Art Ways, Hartford, CT

1990
Roxy Paine and David Fasoldt, Brand Name Damages, Brooklyn, NY

[edit] Awards

2006 John Simon Guggenheim Memorial Foundation Fellowship

1997 Trustees Award for an Emerging Artist, The Aldrich Museum of Contemporary Art, Ridgefield, CT

[edit] Public Collections

De Pont Museum of Contemporary Art, Tilburg, The Netherlands
Denver Art Museum, Denver, CO
Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Israel Museum, Jerusalem
Museum of Modern Art, New York, NY
The New School for Social Research, New York, NY
NMAC, Cadiz, Spain
Rose Art Museum, Brandeis University, Waltham, MA
Saint Louis Art Museum, St. Louis, MO
San Francisco Museum of Modern Art, CA
University of Nebraska, Lincoln, NE
Wanas Foundation, Knislinge, Sweden
Whitney Museum of American Art, New York, NY

[edit] References

[edit] Links

James Cohan Gallery
Roxy Paine in Madison Square Park
Public Art Fund: Whitney Biennial in Central Park, 2002
Interview with Roxy Paine at ARTINFO.com