This is an important and RARE Vintage Post Modern Minimalist Assemblage Sculpture, carbon, oil and enamel on wood, by esteemed Los Angeles modernist Greg Colson (1956 -). This work is part of his map series, which he created in the 1980's at the start of his career. This work is signed, titled, dated and annotated on the verso: Greg Colson.
Carbon, oil, enamel on wood. 14 1/2 x 28 x 2.
Good condition for age, with some minor scuffing and edge wear please see photos. Please check out my other listings for more wonderful and unique artworks!Sculpture-assemblage, mixed media, popular mythology themes. BA, California State University, Bakersfield, CA. MFA, Claremont Graduate School, CA. Greg Colson is an American artist whose art is marked by the jarringly direct way he commingles material and conceptual elements.
In his constructions, precisely rendered systems are disrupted and contradicted by the contexts they are placed in. By drawing out the poetry and humor in our social patterns, Colson seems to suggest there are limits to - and hazards inherent in - our obsession with efficiency, data, and analysis of every kind.Colson grew up in Bakersfield. And lives and works in Los Angeles. His work has been the subject of exhibitions throughout the United States and Europe, including Patrick Painter Inc. LA; Sperone Westwater, NY; Kayne Griffin Corcoran, LA; Galleria Cardi, Milan; Kunsthalle Lophem, Bruges; Konrad Fischer, Dusseldorf; Baldwin Gallery, Aspen; and the Lannan Museum, Lake Worth, FL. His work is in many public collections, including the Metropolitan Museum of Art, NY; the Whitney Museum of American Art, NY; The Musem of Modern Art, NY; the Museum of Contemporary Art, LA; the Hirshhorn Museum and Sculpture Garden, Washington D.
Los Angeles County Museum of Art, LA; Hammer. LA; the Panza Collection, Varese, Italy; Sammlung Rosenkranz, Berlin; Thomas Ammann Collection; and the Moderna Museet, Stockholm. 2016 Thomas Park, Seoul, South Korea. 2014 Eugene Binder, Marfa, TX.
2013 Patrick Painter Inc, LA. 2012 Patrick Painter Inc, LA. 1999 John Berggruen Gallery, SF.
1996 Krannert Art Museum, Urbana-Champaign. 1992 Gian Enzo Sperone, Rome. SELECTED COLLECTIONS: Chase Manhattan Bank, New York, NYBeth DeWoody, New York, NYEmily Fisher Landau Collection, New York, NYGetty Research Institute, Santa Monica, CAHammer Museum, Los Angeles, CAHenry Art Gallery, Seattle, WAHirshhorn Museum and Sculpture Garden, Washington, DCKrannert Art Museum, Urbana-Champaign, ILLos Angeles County Museum of Art, CAMetropolitan Museum of Art, New York, NYMicrosoft Corporation, Redmond, WashingtonModerna Museet, Stockholm, SwedenMuseum of Contemporary Art, Los Angeles, CAMuseum of Contemporary Art, San Diego, CAMuseum of Modern Art, New York, NYNew York Public Library, NYPeter Norton Family Foundation, Santa Monica, CAOakland Museum of CaliforniaOrange County Museum of Art, Newport Beach, CAPanza Collection, Lugano, SwitzerlandPortland Art Museum, ORProgressive Corporation, Cleveland, OHEdward Ruscha, Los Angeles, CASammlung Rosenkranz, Berlin, GermanyTsaritsino Museum of Contemporary Art, Moscow, RussiaUBS Art Collection, Zurich, SwitzerlandVancouver Art Gallery, B.CanadaWhitney Museum of American Art, New York, NY. At first sight Greg Colson's sculptures look like yet another instance of the currently stylish approach that someone dubbed stonewashed Minimalism. His objects-made of lunch boxes, inner tubes, and scrap boards that are chipped, rusted, dented, and faded-bear conspicuous signs of aging and decrepitude.
But upon closer inspection Colson's work reveals delicate intrusions that seem to be at the core of his concerns. Various ordering systems are inscribed on the distressed surfaces of his found objects, in an apparent effort to control or deny the entropic forces of time.
In Newark, 1989, an unlabeled street map is printed on old boards, the irregular configuration of routes competing with the background pattern of the woodgrain. In North Platte, 1989, street names of an unidentified city are inscribed on a latticework of wood and metal strips. The seating plan of a stadium is recreated in tiny carbon-paper rectangles in Wrigley Field, 1989, and in Dignified Suit, 1989, clothing-pattern pieces are spread across old metal boxes. One of the most successful works is Organized Knowledge, 1989.It transfers a verbal system-the Dewey decimal categorization system used in libraries-onto an old ironing board. The juxtaposition of earnest rubrics such as "General Works, " "Useful Arts, " and "Fine Arts" with the stained surface of this lowliest of domestic items is both poignant and humorous. Although the apparent desire to establish order over chaos is evident in the works, the established orders remain for the most part opaque or at least unserviceable. Of what use is a meticulously reconstructed plan of a stadium or an unlabeled street map? The arcane language of the suit pattern (with parts labeled "trunk hose" and "front jerkin lining") renders the forms inaccessible; the order behind the tiny, apparently randomly numbered scraps of paper clustered in Exploded St.
Furthermore, Colson's selection of systems, especially recurrent ones like the stadium plans, seems arbitrary or, at best, highly personal. The artist's obsession with plans and patterns-prescriptions for making things-implies an interest in construction.
In pieces like Land Usage, 1989, and the striking, art-historically tongue-in-cheek Black Painting with Three Panels, 1989, an homage to Kasimir Malevich that makes literal use of the notion of "constructivism, " Colson realizes this will to build, creating three-dimensional metal and wood armatures that project out into space. But true to the spirit of the other works, these constructions are mere scaffoldings, skeletons of buildings, and as such remain as devoid of function as fragmentary maps of unknown places. This item is in the category "Art\Art Sculptures". The seller is "willsusa_utzeqm" and is located in this country: US.This item can be shipped to United States, Canada.