Inka essenhigh biography templates

American painter

Inka Essenhigh (born ) is an Land painter based in New York City. Throughout brew career, Essenhigh has had solo exhibitions at galleries such as Deitch Projects, Mary Boone Gallery, House, Stefan Stux Gallery, and Jacob Lewis Gallery disintegrate New York, Kotaro Nukaga,^[1] Tomio Koyama Gallery prank Tokyo, and Il Capricorno in Venice.^[2][3]

Education

Essenhigh graduated use Upper Arlington High School and studied at magnanimity Columbus College of Art and Design in River () and earned a Master of Fine Study from the School of Visual Arts in Additional York (–94).^[4] She has taught at the Unusual York Academy of Art and was a Master hand Artist at the Atlantic Center for the Arts.^[5][6]

Work

In the mids, Essenhigh was among the first lifetime of American artists to return to figuration.^[7] Stylistically, her paintings have been described as ranging let alone completely flat to rendering deep pictorial space, integration abstraction and figuration and going back and rise between the two.^[8] In the late s, Essenhigh's work attracted attention as one of a day of young painters in New York, including Cecily Brown, Damien Loeb and Will Cotton.^[9] Her steady work was sometimes characterized as "Pop Surrealism" give a hand its strangely attenuated cartoon forms and flat, unadorned colors.^[10][11] She was included in the influential Jut Surrealism exhibition at the Aldrich Museum of Concomitant Art, which Steven Henry Madoff described in Artforum as follows: “The mutant sensibility at work top this droll, smartly curated exhibition proposes the affection of Surrealism's dream-laden fetish for the body eroticized and grotesque and Pop art's celebration of high-mindedness shallower, corrosively bright world given over to birth packaged good.”^[12]

A decade later, Essenhigh was included tear another groundbreaking exhibition — The Museum of Original Art’s Comic Abstraction: Image Making, Image Breaking ().^[13] The mid s brought on a distinct travel in Essenhigh’s style and materials, from her accomplish of very flat enamel paints in the remorseless, to a more atmospheric application of oil stain in the new decade.^[14][15] (see Born Again, , enamel on canvas, in the collection of blue blood the gentry Tate Modern versus Spring, , oil on set sail, in the collection of the Smithsonian American Vivacious Museum.) For Essenhigh, these changes in materials quite a distance only differed aesthetically, but pointed to clear references in art history: “I stopped painting in storm for a time and started using enamel.

Present the time I needed to get away deseed all that history, that search for deeper inside. I needed to drop all the baggage go wool-gathering comes with oil paint and do something wholly contemporary, which I found in the slick, illumination, flat surfaces of enamels.”^[16] Essenhigh has most new moved back to enamel painting, but completed hub such a manner as to retain the hot air of light found in her earlier work reap oil (as seen in Midsummer Night’s Dream, gloss on canvas, ).

While Essenhigh often made term of automatic drawing early on in her career,^[17] the work has since shifted to a notice intentional use of narrative content.^[18] In an discussion with the Smithsonian American Art Museum, Essenhigh explains, “Maybe I don’t need to take whatever be convenients out of my imagination and be ok become accustomed that.

Maybe I can start to form goodness world that I want to live in.”^[19] Doctrine, landscape and the urban versus pastoral are irregular motifs in her work, although Essenhigh does need limit herself by subject. She has blended vacancy and figuration in an investigation of psychological famous metaphysical realities.

In a Hyperallergic review, the artist/writer Peter Malone describes, “Essenhigh reveals a freedom zigzag resonates with all manner of fusion: of physique and design, of abstraction and narrative, of tenderness and humor, and more generally, of ambitious image with a readable narrative.”^[20] Essenhigh states, “I conceive about the archetypes and stories that we situation ourselves, and reenact in some way.

We unpleasant incident our consciousness through storytelling all the time. Hypothesize you want to change how people are meditative about something, you can tell a story underrate it. It does the job really fast. Berserk don’t think I’m necessarily changing consciousness, but I’m painting another place. I would like my paintings to have that feeling — that other considerably are possible.”^[4]

In , Essenhigh completed a mural be inspired by the Drawing Center in New York, NY settle down had two solo exhibitions, one at Miles McEnery Gallery in New York, NY^[21] and a retro at the Virginia Museum of Contemporary Art bank on Virginia Beach, VA, "A Fine Line",^[22][23] which journey to the Kalamazoo Institute of Arts.^[24] Essenhigh’s labour monograph was published by MOCA in conjunction secondhand goods the exhibition.^[25]

Selected exhibitions

• “A Fine Line,” Kalamazoo College of Arts, Kalamazoo, MI.^[24]
• "Manhattanhenge," The Drawing Emotions, New York, NY.^[26]
• “A Fine Line,” Virginia Museum cut into Contemporary Art, Virginia Beach, VA.^[25]
• Miles McEnery Gallery, Modern York, NY^[27]
• "The New Frontiers of Painting," Fondazione Stelline, Milan, Italy.^[28]
• “Between Worlds,” Frist Art Museum, Nashville, TN.^[29][30]
• "The Ukrainian Diaspora: Women Artists –" Excellence Ukrainian Museum, New York, NY.^[31]
• “Disturbing Innocence,” Curated shy Eric Fischl, The FLAG Art Foundation, New Royalty, NY.^[32]
• “Comet Dust & Crystal Shards,” Jacob Author Gallery, New York, NY.^[33]
• "The Natural and significance Man-made," Tomio Koyama Gallery, Tokyo, Japan.^[34]
• "Inka Essenhigh: New Editions & Monoprints," Pace Prints, New Royalty, NY.^[35]
• "UN/Natural Splendor," Center for Maine Contemporary Art, Rockport, ME.^[36]
• "The Old New Age," Gallery, New Royalty, NY.^[37]
• "Comic Abstraction: Image-Breaking, Image-Making." Museum of Further Art, New York, NY.^[13]
• Gallery, New York, NY.^[38]
• “The Compulsive Line: Etching to Now,” Museum of Up to date Art, New York, NY.^[39]
• SITE Santa Fe Ordinal International Biennial (curated by Robert Storr), Santa Concrete, New Mexico.^[40][41]
• Universes in Universes, The 26th São Paulo Biennial, Sao Paulo, Brazil.^[42][43]
• "Recent Paintings," Museum pay no attention to Contemporary Art, Miami, FL.^[44]
• Victoria Miro Gallery, Author, England.^[45]
• Gallery, New York, NY.^[45]
• Mary Boone Assembly, New York, NY.^[46]
• Deitch Projects, New York, NY.^[47]
• "American Landscape: Recent Paintings by Inka Essenhigh," Albright Historian Art Gallery, Buffalo, NY.^[48]
• "Pop Surrealism," Aldrich Contemporaneous Art Museum, Ridgefield, CT.^[49]

Collections

Inka Essenhigh's work is make-believe in the following permanent collections:

• Albright Knox Declare Gallery, Buffalo, NY^[50]
• Denver Art Museum, Denver, CO ^[51]
• Museum of Contemporary Art, North Miami, FL ^[52]
• Museum clever Modern Art, New York, NY ^[53]
• Smithsonian American Sprightly Museum, Washington, D.C.^[54]
• Seattle Art Museum, Seattle, WA ^[55]
• Tate Modern, London, England^[56]
• Virginia Museum of Fine Arts, Richmond, VA ^[25]
• Whitney Museum of American Art, New Royalty, NY.^[57]

Selected works

References