NEW YORK, Feb. 18, 2014 /PRNewswire-iReach/ -- NEW YORK NATIVE RETURNS HOME
AS CASTLE FITZJOHNS GALLERY PRESENTS
NYC SOLO EXHIBITION
MARCUS JANSEN: FUTURE GROUND
Tuesday, March 4th
Press preview 5:00-7:00pm * Public reception 7:00-10:00pm
Featuring a fully illustrated catalogue and artist meet and greet.
New York, NY – On Tuesday, March 4th
presents the highly anticipated works of modern "urban expressionist", Marcus Jansen, in his first New York solo exhibition entitled, Marcus Jansen: Future Ground - Press preview 5:00-7:00pm; Public reception 7:00-10:00pm.
For Media inquiries/RSVP's please contact Brooke at 646-771-3301/ email@example.com or Rhea at 516-984-0735/ firstname.lastname@example.org. www.marcusjansen.com at 7:00pm, Castle Fitzjohns Gallery (98 Orchard Street, NY, NY 10002)
Native New Yorker, Marcus Jansen (b. 1968) produces violently exquisite landscapes, haunting combines, and disturbing portraiture, whose originality and powerful social critique rival the aesthetic mastery and intellectual engagement of the century. "Abandoned car tires, boarded-up buildings, wrecked machines, baby dolls, wandering dogs, balloons and even babies", notes Donald Miller for an upcoming catalogue on Jansen's oeuvre, mark the teeming visual vocabulary of an artist whose work evokes constant allusion to Jackson Pollack, Robert Rauschenberg, Jean-Michel Basquiat, and Francis Bacon, among others."
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"The streets are now filled with the crumbling infrastructure of a previous generation. Isolated figures walk in the aftermath without refuge from the surveillance of new world technology in a wasteland rich with metaphorical allegory", Composing monumental canvases, which challenge both the history and future of landscape as a genre and mode of thinking, Jansen manifests an intriguing visual mixology, exploring the relationship between chaos and form, order and disorder. His tableaux makes reference not only to the 1970's graffiti movement which defined his youth in New York,
but, also the Die Brüke tradition of German Expressionism, reflecting Marcus' young adulthood.
From a bifurcated cultural education arises a bicultural visual practice, in a style now coined 'urban expressionism', by Jerome Donson, in an exhibition catalogue of the same name. The MOMA curator whom had organized exhibitions on the American Vanguard with luminaries such as Rauschenberg, De Kooning, Johns, Kline and others, offered his opinion that Jansen's practice constitutes nothing less than a new avant garde: "I told him I believed he was the originator of a new movement and that I believed there will be many followers in this new style. But there will only be one Marcus Jansen."
He continues emphatically, "Marcus is the innovator of Modern Expressionism. What initiated it for him was the graffiti on the sides of subway trains, when he traveled from the Bronx to Manhattan to sell his work on the street. This is somewhat reminiscent of Pollock learning to kneel with the Hopi Indians and throw sand to make sand pictures. That innovation may have been the beginning of Abstract Expressionism." Yet, if Pollock was the beginning, Jansen's work constitutes a future of and a response to this tradition in both the style
of his commanding, raw, and violent brushwork and in his spontaneous approach to the canvas. Jansen, like Rosenquist or Rauschenberg before him, marries the concerns of popular culture with those of painterly composition, marking a deep concern with cultural and political effects on singular and collective subconscious.Jansen states, speaking of the direct relation of his work to his experience as a combat solider: "It recalls a personal experience of mine back in 1991 during my Gulf War tour when I flew over the frontline combat area by chopper, and was able to see the devastation that was done by US forces." This socio—or even geo—political bend to the artist's response to contemporary culture can equally be observed in Jansen's figural works—from images of ambiguous, nearly haloed, orange figures based on airport security scanners to his Faceless series, which was noted to examine "anonymous men of great power who manage to escape blame or punishment for the international scandals by literally and violently exiting the mode of portraiture."
A 3,000 square foot two story locale situated in Manhattan's Lower East Side (LES), our gallery represents a wide range of emerging and mid-career artists, as well as feature select secondary market pieces from our collection.
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MODERN URBAN EXPRESSIONIST
Born in Manhattan and raised in Moenchengladbach, Germany, Marcus Jansen, is a former combat soldier who transformed his life from being at war to a leading contemporary painter that became known for his gritty urban landscape paintings since the 1990′s. One of America's new pioneering painters, Jansen was included in numerous International Biennials including
the Fleurieu Art Prize 2013 Biennale (Australia) noted as the highest valued landscape painting prize anywhere in the world curated by Nigel Hurst, Director & Chief Executive, Saatchi Gallery London.
Most recent project The Art Album in New York City shows Jansen's work on the book cover with some of the worlds most recognized contemporary artists inside including, Shepard Fairey, Takashi Murakami, Jonathan Meese, Daniel Richter and Chuck Close.
Discovered by former Director of the American Vanguard Exhibitions Europe (1961), Jerome A. Donson (in charge of traveling exhibitions at the Museum of Modern Art - NY), Jansen is classified by many as a pioneer of expressive urban socio-political painting or as Donson puts it, "reminiscent of the Ash-Can School."Jansen's Museum collections include The Moscow Museum of Modern Art (MMOMA), Russia, The PERMM Museum of Contemporary Art, Russia, The New Britain Museum of American Art, CT, The Kemper Museum of Contemporary Art, MO, The National Taiwan Museum of Fine Art, Taiwan and the Smithsonian Institution in Recently commissioned by ABSOLUT VODKA and named as one of the "artists' of this century" alongside art luminaries Damien Hirst, Andy Warhol and Keith Haring. Jansen's awards include the Laguna Art Prize 2013 (Venice, Italy), the New American Paintings No. 94, Alumni Inclusion 2012 - curated by Dan Cameron (Founder of the US Biennial Inc.), The Aesthetica Art Prize 2012 (United Kingdom), and the Dave Bown Project Grant in 2012.
Media Contact: Sabrina Gruber, UNIT A - Contemporary Art Space, 2393406467, email@example.com
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SOURCE UNIT A - Contemporary Art Space