John Phillips
John Phillips, born in Chicago, 1953. Lives and works (full time) in Margaretville, NY Schools: University of Colorado, BFA; Whitney Museum Independent Study Fellow; SAIC, MFA.
From 1979 through the present John’s work has been exhibited throughout the United States plus shows in Mexico City, Antwerp, Paris, and Nanjing, China, His work is in the public collections of the MacArthur Foundation, Chase Manhattan Bank, the Rockford Art Museum, the Elmhurst Art Museum, the Modern Ancient Brown Foundation (Detroit) and the Metropolitan Art Museum (prints), among others. His work was included in the Museum of Contemporary Art’s (Chicago) survey show; ‘Chicago Art, 1945-1995’. Phillips has received grants from the National Endowment and the Illinois Arts Council. He has been a member of the New York group, the American Abstract Artists since 2004 and in 2011 he was nominated to the National Academy. Selected NYC shows include: “Critical Perspectives”, PS1 1982; ‘In Full Effect’, White Columns 1991; ‘Chicago Invites Chicago’, Galerie Lelong, 2016. Statement: I have been making abstract paintings since 1974. My work strives for a certain simplicity met with a Pop side that embraces humor, while still connecting with the all-overness of Post-War New York painting. Figure ground contradictions and the dichotomy between gesture and hard-edge have been a mainstay of my practice from the beginning. I want my work to confront the viewer with a visual event that dwells upon its narrative structure, simultaneously implying and denying order. My practice embraces a very deliberate manipulation of visual language that embraces pleasure. Currently, my paintings employ a plurality of visual structures. In each I strive for an awkward rightness, always searching for the right wrong move. There is often a mixing of rigor and seriousness with a deadpan subversion - a kind of tug-of-war between intelligence and indulgence. The painting’s object quality is of primary interest to me. The work is often thickly painted, workmanlike, hands on/hands off. Color is key. Ambiguity and clarity are my collaborators. I prefer my work to be personable and generous.
Directions
John Phillips
Directions
John Phillips, born in Chicago, 1953. Lives and works (full time) in Margaretville, NY Schools: University of Colorado, BFA; Whitney Museum Independent Study Fellow; SAIC, MFA.
From 1979 through the present John’s work has been exhibited throughout the United States plus shows in Mexico City, Antwerp, Paris, and Nanjing, China, His work is in the public collections of the MacArthur Foundation, Chase Manhattan Bank, the Rockford Art Museum, the Elmhurst Art Museum, the Modern Ancient Brown Foundation (Detroit) and the Metropolitan Art Museum (prints), among others. His work was included in the Museum of Contemporary Art’s (Chicago) survey show; ‘Chicago Art, 1945-1995’. Phillips has received grants from the National Endowment and the Illinois Arts Council. He has been a member of the New York group, the American Abstract Artists since 2004 and in 2011 he was nominated to the National Academy. Selected NYC shows include: “Critical Perspectives”, PS1 1982; ‘In Full Effect’, White Columns 1991; ‘Chicago Invites Chicago’, Galerie Lelong, 2016. Statement: I have been making abstract paintings since 1974. My work strives for a certain simplicity met with a Pop side that embraces humor, while still connecting with the all-overness of Post-War New York painting. Figure ground contradictions and the dichotomy between gesture and hard-edge have been a mainstay of my practice from the beginning. I want my work to confront the viewer with a visual event that dwells upon its narrative structure, simultaneously implying and denying order. My practice embraces a very deliberate manipulation of visual language that embraces pleasure. Currently, my paintings employ a plurality of visual structures. In each I strive for an awkward rightness, always searching for the right wrong move. There is often a mixing of rigor and seriousness with a deadpan subversion - a kind of tug-of-war between intelligence and indulgence. The painting’s object quality is of primary interest to me. The work is often thickly painted, workmanlike, hands on/hands off. Color is key. Ambiguity and clarity are my collaborators. I prefer my work to be personable and generous.