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Jonas Wood

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Last Updated: 18 January 2022

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Jonas Wood makes paintings that can be classified as a variety of different genres, including portraits, Still lifes, landscapes and interior scenes. In each of these, however, his work reflects an instantly recognizable vision of the contemporary world, as well as a personal approach to subject matter defined by his affinities and experiences. Its warmth is matched by quasi-abstract logic that breaks the picture down into layered compositions of geometry, pattern, and color. Wood works at every scale, and maintains active drawing and printmaking practices, each of which helps him generate techniques that he will eventually use in paintings. Conjuring depth using flat forms-his process involves college studies in which he works with photographs, breaking images apart and reassembling them-Wood probes boundary between new and familiar, integrating emotionally resonant material from everyday life. Painting becomes way to freshen artists-and viewers-perception of the world. Jonas Wood has been the subject of solo exhibitions at the Dallas Museum of Art; Museum Voorlinden, Wassenaar, Netherlands; Lever House, New York; and Hammer Museum, Los Angeles. Other solo projects include Still Life with Two Owls, monumental picture covering the Facade of Museum of Contemporary Art, Los Angeles; shelf Still Life, High Line Billboard, High Line Art, New York; and LAXART Billboard and Facade, LAXART, Los Angeles. His work is included in permanent collections of many institutions, among them Albright-Knox Art Gallery, Buffalo, New York; Centre Pompidou, Paris; Dallas Museum of Art; Fundacion Jumex, Mexico City; Hammer Museum, Los Angeles; Marciano Art Foundation, Los Angeles; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Broad Foundation, Los Angeles; Museum of Modern Art, New York; and Whitney Museum of American Art, New York. In 2019, Phaidon will publish the first monograph dedicated to Woods ' most significant paintings and drawings. Wood lives and works in Los Angeles.

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26 April 2019An Inside Look at Jonas Wood’s Studio

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Background

Born in 1977, Jonas Wood, now an LA-base world-famous painter, was originally a psychology BA graduate from Hobart and William Smith Colleges in New York state. Perhaps it was his interest in subconscious and psyche that led him to explore his emblematic subject matter throughout his MFA at University of Washington and subsequent artistic career as a painter of seemingly mundane domestic Interiors, Still-lifes and Portraits with strikingly unique, layered spatial perspective. In his own words: 'm interested in exploring spaces that I 've inhabited and the psychological impact theyve had on me and my memories of themand then I can create new memory of that space. Drawing on the robust Art historical tradition of interior painting by figures like Hockney, Matisse and van Gogh, his iconic, colourful style of large-scale acrylic and oil paintings marries ordinary subject matter with spatial experimentations that is a hybrid between Contemporary Pop Art and Cubism. He brings together a range of formal techniques, such as layering photographs and sketches of objects, taking from various angles and creating college fragment compositions. Thus, his method takes a twist on its modernist roots, transforming expect and familiar into uncanny for the viewer. A great example of this is his painting Ovitzs Library, depicting LA-base collector Michael Ovitzs impressive Library. Playing with various types of organisational systems, such as painting, literature and libraries themselves, Woods ' representation of space looks like its show from various angles simultaneously, bringing together bright colours seemingly chaotic spatial disorder into harmonious and unified composition. He tends to work in an immediate, spontaneous way, drawing on his surroundings and various references such as photographs or drawings list above to create new work. Wood moved to Los Angeles shortly after completing his MFA, working for painter Laura Owens and moving into a studio with his future wife, ceramic artist Shio Kusaka, with whom they have since mutually influenced each other's artistic languages without actually collaborating on specific works. We appropriate each other's work, but we actually dont make objects together. We just have to create this environment together. That is super creative and potent and fun and beautiful in our own way, together. Were best because we were together., Describes Wood. Woods ' first solo exhibition was hosted by the Hammer Museum in Los Angeles in 2010, followed by a series of public artworks and murals in New York on Chelseas High Line in 2014 and the Museum of Contemporary Art in LA in 2016. Subsequent important exhibitions include Blackwelder in Gagosian Hong Kong, first duo exhibition showing Woods and Kusakas works side by side, followed by their first share institutional presentation at Museum Voorlinden, in the Netherlands. Dallas Museum put on Woods first large-scale retrospective in 2019 with 33 different artworks. His artworks are part of major collections internationally, such as the Museum of Contemporary Art in LA, Saatchi Gallery in London and MOMA and Guggenheim Museums in New York City.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Themes

An LA-base painter reveals early and current influences evidence in his Museum survey at the Dallas Museum of Art. Los Angeles-base painter Jonas Wood, named 2017 Artist Honoree by TWO x TWO for AIDS & Art, unveiled his first major solo Museum exhibition last month at the Dallas Museum of Art, gathering 33 works across 13 years. With multiple comparisons to David Hockney, Woods ' examinations of commonplace reveal intimate observations of universal themes through worlds conjured from sources including drawings, preparatory collages, and found imagery. His paintings reference modernist and Pop movements while remaining root in Contemporary, resulting in pictorial flatness derived from objects, people, and places. Accompanying exhibition is catalogue, Jonas Wood, published by DMA and distributed by Yale University Press, which offers scholarly consideration of Woods ' practice in an art historical context. Hans Ulrich Obrist, who is Artistic Director of Serpentine Galleries and Senior Artistic Advisor of Shed, New York, as well as a prolific writer and Curator, contributed interview with the Artist for publication. In an excerpt from that interview, Obrist discusses Woods manifold influences, including his grandfather, who was an amateur painter and art collector; ceramic works of his wife, Artist Shio Kusaka; baseball and basketball trading cards; source material from old books; and art collecting. Hans Ulrich Obrist: Jonas, your new solo exhibition of paintings at Dallas Museum of Art includes Portraits, Still lifes, Interiors, and exteriors. You describe the interiors as stage, and stage, of course, includes not only people, but images of your art, of others art. There is art from ceramics in it. There is part of your collecting activity. It all of that. Jonas Wood: My interest in ceramics comes from my wife, Shio Kusaka, who is a ceramicist. When I started making Still lifes, I was using her work as part of it, looking at pots with her, and just getting into the idea of things painted on pot. It is the object that tells the story. It is very similar to painting, but it this threedimensional vessel.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Marriage

Wood currently shares a studio with artist Shio Kusaka, his wife since 2002. Shio Kusaka, born in Japan, creates distinctive porcelain, and Wood then photographs and paints pieces for co-operative exhibitions. Pair often work in tandem, motifs migrating from Kusakas ceramic vessels to Woods paintings and back again. He and Kusaka also incorporate imagery from their expansive art collectionincluding, works by Alighiero Boetti, Michael Frimkess and Magdalena Suarez Frimkess, Mark Grotjahn, and Ed Ruscha as well as from their children's storybooks and drawings. They co-author art books in series with the pen name Wood Kusaka Studios. In 2015, Gagosian in Hong Kong presented Blackwelder, which brings together Woods and Kusakas works in a dedicated two-person exhibition. This was followed by couples first collaborative Museum exhibition, at Museum Voorlinden, Wassenaar, Netherlands, in 2017.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Exhibitions

Jonas Wood paints scenes from the world around him through the prism of his memory. Using genres as time-honor as medium itself, Wood paints portraits, interiors, still lifes, and landscapes. His immediate surroundings are his primary subjects: family and friends, domestic or studio spaces, tabletop arrangements of ceramic vessels and plants, tangle of freeways, or lush green golf course. Through these traditional means, Wood is building a visual diary of sorts, subjective documentary. Many of his compositions are derived from collages of photographs he took of his friends and family, of rooms in his childhood home or his studio, or of his own reflection in the mirror, among many other subjects. He often execute preliminary sketches or studies based on initial college, occasionally going further by removing part of the sketch and expanding upon it or adding it to yet another college before committing composition to canvas. While it is always possible to read Woods paintings as being of something, his process produces imagery that veers toward abstraction by alternately or simultaneously flattening, elongating, or fragmenting spaces and forms, effects that he seamlessly translates into paintings. His experiments with abstraction do not result in strictly nonobjective-paintings, but delightful liberties he takes with background, scale, and color, as well as his propensity to distort figures and juxtapose spaces, help move compositions ever so slightly away from nature. By reducing pictorial specificity, Wood suggests that all representation is already abstraction. Nonetheless, his process of representation allows him to effectively express his subjective impressions of give theme. As much as Wood is manipulating formal strategies in order to develop and assert his own language in painting, he also creates what he calls new memories by rearranging reality to suit his own desires. 1 This overlay of impressions and memories onto his subjects results in an intensely personal catalog of images derived from his family history and individual interests. By inventing and committing to formal language deploy throughout paintings, Wood allows us access to these new memories of the private world. Rather than being derived from collage of several images, some of Woods ' paintings are based on single photograph. In these instances, subject and its surrounding context are often altered within the final composition. Robin with Phoebe, for instance, begins with a photograph of Woods ' mother took when she was sixteen. Wood adds Phoebea, a childhood petto Portrait, and he significantly expands the space around her, adding lush flora that seem to extend infinitely in all directions. Similarly, portraits of Woods ' grandfather Untitled and his friend artist Nick Lowe Nick Lowe 2 feature almost identical fanciful backgrounds. Base on the pattern of wallpaper in his grandfather's kitchen, exaggerated, brightly colored floral design gives a vaguely psychedelic feel to the images, adding to both the visual complexity and psychological depth of the works. Alternatively, portraits of his father and of artist Philip Guston are set on nearly monochromatic backgrounds.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Sources

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

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