Richard Aldrich (artist)

Richard Aldrich is a Brooklyn-based painter who exhibited in the 2010 Whitney Biennial.[1]

Richard Aldrich
Born1975 (age 44–45)
Hampton, Virginia
NationalityAmerican
Known forPainting

Early life and education

Aldrich received his BFA degree from the Ohio State University in 1998.

Career and work

He moved to New York City in 2000 and spent several years making text-based drawings and penning Calvinoesque poems and essays, which he sometimes published pseudonymously in ads in Zing magazine. Experiments in electronic music soon followed with band Hurray, a quartet that included Peter Mandradjieff, Zak Prekop, and Josh Brand.[2]

Aldrich often works on gessoed panels with a mixture of oil paint, mineral spirits, and wax, which he lays on with a brush or palette knife. The combination of the resistant ground and viscid alloy registers his short hesitant strokes with tender congealed precision. His breezier canvases have been compared to Philip Guston's transitional pictures from the mid-1960s (and also sometimes evoke Per Kirkeby or Joan Mitchell).[2]

Richard Aldrich, Untitled, 2008, Oil and wax on panel, 19⅝ x 13½ inches

Although mostly abstract and casual, Aldrich's paintings also betray a distinctly literary sensibility, even as he targets what he has called the essential "unwordliness of experience." Snippets of text and random words-UFO, the numeral 4-appear as decals or pencil scrawls, while lines incised with the back of a brush suggest writing once removed. Taciturn pictures carry evocative and ungainly verbal appendages in the form of elliptical press releases or titles like Large Obsessed with Hector Guimard, 2008, a nod to the architect of Paris's Art Nouveau metro stations, or If I Paint Crowned I've Had It, Got Me, 2008, a telling paraphrase of Cézanne explaining he would be ruined if he tried to paint the "crowned" effect of a still life rather than the thing itself.[3]

Aldrich’s work proceeds from the assumption that aesthetic experience is no longer localized in any self-sufficient surface or material.[4] His inquisitive approach to his paintings extends both to the way they come to occupy a space and to the space from which they come. His work does not depict the life of the studio but embodies it directly, reconstituting the books, postcards, records, and junk he happens to have lying around. A failed attempt at a jury-rigged curtain or a page of poetry might wind up on a canvas, while a collaged element might get ripped off, leaving behind a frayed paper scar.[2]

Aldrich is unconcerned with creating a dominant or domineering pictorial style.[5] In Aldrich's hands, all the cutting, stretching, and collaging are not so much operations or strategies or ends unto themselves. Rather, they are yet more tools in the resourceful painter's arsenal, just like the different kinds of paint he uses, and the instruments with which he applies them, and the gunk he mixes in. Aldrich's paintings wear their disfigurement easily, without a feeling of brainy exposition or true bodily harm. Their sense of humble panache lies precisely in the way aggressive acts can cohabit with milder ones while still retaining a lively renegade charge. Indeed, Aldrich's most radical proposition may be his commitment to nudging painting forward via a combination of inquisitive tinkering and truculent gestures that would otherwise have left it undone. This does not make for an ahistorical, reactionary enterprise or for an unsophisticated one. If anything, his paintings abrade the false dichotomy between innocence and understanding. The possibilities for painting lie all around us, he suggests; the trick is knowing how to frame the choice.[2]

Bibliography
  • Prince, Mark, “Richard Aldrich”, Art in America, September, 2011
  • Smith, Roberta, “Time Again”, New York Times, July 7, 2011
  • Nash, Forrest, “Despite Their Dissimilar Features”, Contemporary Art Museum, St. Louis, MO, 2011
  • Fried, Laura, “Painting and Silence (Waving My Arms in the Air)”, Contemporary Art Museum, St. Louis, MO, 2011
  • Navarro, Mariano, “Abstraccion Racional”, Centro Galego de Arte Contemporanea, 2011
  • Landi, Ann, “Dear Picasso”, Art News, May, 2011
  • Coomer, Martin, “Provisional Painting”, Time Out London, May, 2011
  • Meade, Fionn, “Time Again”, Sculpture Center, 2011
  • Saltz, Jerry, Critics Pick, New York Magazine, April 25, 2011
  • Thompson, Anne, Critics Picks, Artforum.com, 2011
  • Bronson, Ellie, “Creating the New Century: Contemporary Art from the Dicke Collection”, Dayton Art Institute, 2011
  • Fiduccia, Joanna & Holte, Michael Ned, "New Abstract Painting," Kaleidoscope, Winter, 2010
  • Lehrer-Graiwer, Sarah, "Richard Aldrich", Artforum, November, 2010
  • Knight, Christopher, LA Times, October 1, 2010
  • Haddad, Natalie, "Focus: Richard Aldrich", Frieze, October, 2010
  • Smith, Roberta, "Le Tableau: French Abstraction and Its Affinities", The New York Times, June 2, 2010
  • Buchmaier, Barbara, "Ready-Made Painting", Spike Art Quarterly, Summer, 2010
  • Busta, Caroline, "Besides, With, Against, and Yet: Abstraction and the Ready- Made Gesture" May, Issue 03, 2010
  • Graw, Isabelle & Hochdorfer, Achim, "There Is No Such Thing as 'Painting", Texte Zur Kunst, Issue 77, March, 2010
  • Falconer, Morgan, "Besides, With, Against, and Yet", Frieze, March, 2010
  • Saltz, Jerry, "Change We Can Believe In", New York Magazine, March 8, 2010
  • Meade, Fionn, "Whitney Biennial 2010", Whitney/Yale, 2010
  • Hudson, Suzanne, “Besides, With, Against, and Yet” Artforum, February, 2010
  • "MicroTate", Tate Etc., Issue 18-Spring, 2010
  • "The Artists' Artist", Artforum, December, 2009
  • Nickas, Bob, "Painting Abstraction: New Elements in Abstract Painting", Phaidon, 2009
  • Rubinstein, Raphael, "Provisional Painting", Art in America, May 2009
  • Turner, Kai, ArtNews, May 2009
  • Rabottini, Alessandro, "Coming From Many Places", Interview, Mousse, April/May, 2009
  • Mack, Joshua, "Reviews Marathon, New York" Art Review, April, 2009
  • Rothkopf, Scott, "Openings: Richard Aldrich", Artforum, April, 2009
  • Wilson, Michael, "Richard Aldrich", Artforum, March, 2009
  • Smith, Roberta, The New York Times, February 6, 2009
  • Griffin, Nora, The Brooklyn Rail, February, 2009
  • Goings On About Town, The New Yorker, January 26, 2009
  • Contemporary Art Daily, "Week in Review: January 18, 2009"
  • contemporaryartdaily.com January 18, 2009
  • Gartenfeld, Alex, "Questionnaire: Richard Aldrich is Serious!",
  • Interviewmagazine.com, January 8, 2009
  • "New York Artists Dictionary Part 1", Flash Art, January/February, 2009
  • Herbert, Martin, "Reviews Marathon, London", Art Review, January/February, 2009
  • Holte, Michael Ned, "Buoys, Props and Signs: Richard Aldrich & Lisa Williamson", Artlies.org, Winter 2008
  • Holte, Michael Ned, "The Best of 2008", Artforum, December, 2008
  • Lavrador, Judicael, "Qu'est Que La Peinture Aujourd'hui?" Beaux Arts Editions,Kitamura, Katie, Frieze.com, November 17, 2008
  • Butler, Connie "Looking Back: Emerging Artists", Frieze, January/February, 2008
  • Brooks, Amra, "Our Favorite Shows and Artifacts," LA Weekly, December 26, 2007
  • Brooks, Amra, Must See Art, LA Weekly, December 12, 2007
  • Bedford, Christopher, Critic's Picks, Artforum.com, December 9, 2007
  • Banai, Nuit "Introducing", Modern Painters December 2007
  • Huberman, Anthony, "I Heart Information", Afterall, Autumn/Winter 2007
  • Nickas, Bob, "Steven Parrino", Artforum, September 2007
  • Smith, Roberta, "In These Shows, the Material is the Message", The New York Times, August 10, 2007
  • Coburn, Tyler, "Build it High: Laying Bricks", Art Review, July and August 2007
  • Persman, Joanna, "In the Borderland Between Abstraction and Figuration", Svenska Dagbladet, June 2, 2007
  • Landes, Jennifer, "A Show With Chutzpah" The East Hampton Star, May, 2007
  • Beasley, Mark, "Music is a Better Noise,” Frieze, April, 2007
  • Klein, Jennie, “Bunch Alliance and Dissolve", Art Papers, March/April 2007
  • Saltz, Jerry, "Non-Specific Objects," Modern Painters, March 2007
  • "Viva" Modern Painters, March 2007
  • Smith, Roberta, "Menace, Glitter and Rock in Visions of Dystopia", The New York Times, December 29, 2006
  • Kessler, Sarah, "Musical Chairs" Art Krush, December 13, 2006
  • Smith, Roberta, "Raoul De Keyser", The New York Times, November 17, 2006
  • Nunez-Fernandez, Lupe, "Richard Aldrich", Saatchi Gallery, June 2006
  • Bennett, Alissa & Clifton, Michael "In Absence of the Figure", Issue Magazine, March 2006
  • Fyfe, Joe, Catalog essay for "UT Artist in Residence Bienniel 2006," 2006.
  • Lewis, Sarah, Catalog essay for “Greater New York 2005”, 2005
  • Saltz, Jerry, “Dire Diary”, The Village Voice, April 25, 2005
  • Scott, Andrea, “Don't Miss: Lesser New York”, Time Out New York, April 7, 2005
  • Scott, Andrea, “Local Heroes”, Time Out New York, March 31, 2005
  • Smith, Roberta, “KA/VH:RA/AG”, New York Times, March 18, 2005
  • Gschwandter, Sabrina, “DJ Funnywalk”, Interview, Knit Knit, 2005
  • Wilson, Michael, “Beers for peers”, ArtForum Diary, March 16, 2005
  • Holte, Michael Ned, “Critics' Picks”, Artforum.com, March 15, 2005
  • Scott, Andrea, Time Out New York Magazine, July 7, 2004
  • Smith, Roberta, The New York Times, July 2, 2004
  • Bellini, Andrea, “Panorama Pittura”, Flash Art Italia, April 2004
  • Bellini, Andrea and Sonia Campagnola. “Dictionary of New York Painters”, Flash Art Italia, April 2004

References
  1. "Whitney Biennial 2010". whitney.org. Whitney Museum of American Art. Feb–May 2010. Retrieved 14 December 2018.
  2. Rothkopf, Scott (April 2009). "Richard Aldrich". artforum.com. Artform. Retrieved 14 December 2018.
  3. Gartenfeld, Alex (January 8, 2009). "Questionnaire: Richard Aldrich is serious!". interviewmagazine.com. Interview Magazine. Retrieved 13 December 2018.
  4. Banai, Nuit (December 2008). "Richard Aldrich" (PDF). artinfo.com. Modern Painters. Retrieved 13 December 2018.
  5. Sutherland, Calum (April 5, 2016). "Richard Aldrich on the plurality of painting". japantimes.co.jp. The Japan Times. Retrieved 14 December 2018.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.