Dan Colen

First they exchanged anecdotes and inclinations

Vito Schnabel Projects

OCT 26 - DEC 16, 2016

Madonna and the Fairy ("First they exchanged anecdotes and inclinations")
2002 - 2003
Oil on plastic mounted on wood
80 x 74 x 2 inches (203.2 x 187.96 x 5.08 cm)

The Firecracker and the Old Man (Just Leave Me Alone) 
Oil on plastic mounted on wood
60 x 68 3/4 x 2 inches (152.4 x 174.63 x 5.08 cm)

Virgin Schmirgin
Medium density fiberboard, acrylic paint, oil polyfoam, talas glue, styrofoam, papiermache, acrylic medium, and oil paint 
105 x 44 1/5 x 44 1/5 inches (266.7 x 112.27 x 112.27 cm)

So Long
Oil on canvas
58 3/4 x 55 1/4 x 1 3/4 inches (149.23 x 140.34 x 4.45 cm)

The Cloud and the Ghost (The Birds and the Bees)
Oil on plastic
66 x 71 1/8 x 2 inches (167.64 x 180.67 x 5.08 cm)

Press Release

Vito Schnabel Projects
43 Clarkson Street, 1A
New York, NY 10014
Monday – Friday, 12 – 6pm

(New York, NY)—This October, Vito Schnabel Projects is pleased to present an exhibition of six works in various media by Dan Colen, spanning the years 2002-2006. As such, the show presents an overview of the formative crucial years of Colen’s production but also expands to highlight important aesthetic currents animating the contemporary-art milieu of the period, during which Colen’s practice was to prove decisive.
Photorealistic simulation and Technicolor fantasy collide in these works, and the delicate tissue of illusion breaks against the grit of the urban life. And yet that very grit is itself shown to be another cunning facsimile, another subterfuge and ruse, as in the iconic menhir Virgin Schmirgin (2006), in which the crud of the streets has been recast as a dazzing trompe-l’œil artifact. Colen’s paintings likewise recapitulate the dialectic of hyperrealism and phantasmagoria. The artist lovingly depicts the ephemera and residue of ordinary life in paintings like Madonna and the Fairy (“First they exchanged anecdotes and inclinations”) of 2002-2003, and one is overwhelmed by painterly skill indeed bravura, as the aesthetic stratagems of Photorealism give way to an uncertain, tenebrous Romanticism. In a different vein, the candle painting So Long (2005) plumbs the green-blue aqueous depths of the Disney image repertoire, and the susurration of barely recollected dreams tears a hole in the fabric of the commonplace; the dreamer awakes not to daylight but to the sublime.

Dan Colen was born in 1979 in New Jersey. He received his B.F.A. in 2001 from Rhode Island School of Design, Providence. Recent solo exhibitions include “Peanuts,” Astrup Fearnley Museum of Modern Art, Norway (2011); “In Living Color,” FLAG Art Foundation, New York (2012); “The Illusion of Life,” Inverleith House, Royal Botanic Garden, Scotland (2013); “Help!,” The Brant Foundation Art Study Center, Connecticut (2014);‚Äč “The L…o...n...g Count,” The Walter De Maria Building, New York (2014); “Psychic Slayer,” HEART—Herning Museum of Contemporary Art, Denmark (2015); and “Oil Painting,” Dallas Contemporary, Texas (2016). 

His work is featured in several public collections including The Whitney Museum of American Art, New York; Dakis Joannou Collection, Athens; de la Cruz Collection Contemporary Art Space, Miami; Jimenez–Colon Collection, Puerto Rico; and Walker Art Center, Minneapolis.