Jonathan Lyndon Chase
Since the orange warlock was elected in 2016, we charmed ones, the othered, have been on the verge: of radical and outward protest, of retaliation to this violent and highly visible era of toxic white masculinity.
ARTILLERY BEST IN SHOW 2017
Moving well past a theme dominant in recent contemporary fine (and popular) art, Friedman’s brilliantly curated (and gorgeous) show of painting saw us through to a deeper, more complex and nuanced—and richly generative—consideration of identity in the 21st century
What are the contours of gender? Is there a range of conditions that determine gender along a curve or spectrum we can visualize or somehow represent, measure or analyze? Is there a focal point we can identify that will turn it in one direction or another?
Engender, a group exhibition curated by Joshua Friedman at Michael Kohn Gallery, represents an amalgam of familiar visual tropes, albeit shattered ones. Ideas about identity, sexuality and personal choice are brought to the fore in this stunning line up that includes the likes of Nicole Eisenman, Hernan Bas, Jansson Stegner and many others.
The construct of what makes us male and female is perhaps one of the most obdurate that we as a society face. More often than not, in our need to make comfortable our understanding of things not simply defined, we seek to classify in extremes, simplifying what should be a delightful spectrum into simplistic, unthreatening terms of black and white.
Before Kohn had fully installed its exhibition of paintings that address the fluidity of gender, collectors had already bought 70% of its contents. Of the 17 artists in the show, buyers came hungry for the names Loie Hollowell, Jesse Mockrin, Tschabalala Self, Jansson Stegner, Emily Mae Smith and Christina Quarles.
As Hollywood continues to reckon with widespread allegations of sexual assault and toxic masculinity, L.A.’s art scene has offered some solace in the form of the binary-smashing exhibit “Engender.” The show, which opened at Kohn Gallery this weekend, attracted a tide of progressive arts patrons, including actress and survivor Rose McGowan, who is currently leading the charge against Harvey Weinstein and gendered power dynamics in the industry.
“Engender” is a group exhibition featuring seventeen contemporary artists who are revolutionizing the way one visualizes conventional gender as exclusively male or female. Through painting, a medium that has traditionally embraced this binary, these artists are pushing the genre in new, unprecedented directions, challenging the ways in which paintings can be used to deconstruct and rewrite conventional notions of personal identity.
“Engender” opened this week at Kohn Gallery in Los Angeles. The group show is curated by Joshua Friedman, and investigates the way gender is explored in painting by 17 contemporary artists. The medium has traditionally approached male and female as a binary. Today, that’s being challenged by artists like Hernan Bas, Natalie Frank, Nathaniel Mary Quinn, Nicole Eisenman, and more. Whitewallspoke with Friedman about the exhibition, on view through January 13, 2018.
Since its inception in 1985, Kohn Gallery in Los Angeles has become one of the most important sites of contemporary art in the city, founded by former Flash Art editor Michael Kohn. In 1986, the gallery mounted an exhibition of Andy Warhol’s Campbell’s Soup Boxes, just weeks prior to the pop icon’s death.
“Engender,” at Kohn Gallery. A new group show looks at the ways in which 17 contemporary artists are approaching the topic of gender through painting, picking apart the idea of the binary in ways that are figurative, expressive and abstract. This includes works by figures such as Hernan Bas, Tschabalala Self, Mequitta Ahuja and Nathaniel Mary Quinn.
The 17 painters included in “Engender,” a show at Los Angeles’s Kohn Gallery, aim to tackle these questions. The artists, ranging from well-known figures like Nicole Eisenmanand Hernan Bas to rising stars like Firelei Báez and Tschabalala Self, contribute to a conversation about how to expand and deconstruct the visual language of gender identity.
Gender is a constantly shifting, mutating, and expanding concept. How do you tackle something constantly in flux, shifting in perceptions and expectations? A few recent exhibitions have seen the art world take on gender, particularly “Trigger: Gender as a Weapon and as a Tool” at the New Museum.
Kohn Gallery in Los Angeles recently announced their upcoming Fall exhibition, Engender, focusing on male and female gender classifications. Through works by seventeen contemporary artists the show will examine this timely topic attempting to revolutionizing the way we visualize conventional gender as exclusively male or female.
Some social justice warriors wield brushes. The Kohn Gallery’s latest exhibition, Engender, features 17 contemporary artists who are approaching a study of gender binaries through the classical form of painting. Much of today’s dialogue surrounding equality and acceptance involves the dissolution of strict binaries, and Engender‘s artists are adding a much-needed layer of contemplation to the ongoing conversation about what it means to challenge labels of being.
Kohn Gallery presents Engender, a group exhibition featuring contemporary artists who are revolutionizing the way we visualize conventional gender as exclusively male or female. Established in 1985, the Kohn Gallery has presented historically significant exhibitions in Los Angeles alongside exciting contemporary artists, creating meaningful contexts to establish links to a greater art historical continuum.
Kohn Gallery's group exhibition "Engender" features 17 contemporary artist who are revolutionizing the way we visualize conventional gender as exclusively male or female.
The Belgian art scene swells every year. The benchmark is its fair week, when a flurry of collectors descends for a brief moment in Brussels. It is a prime first stop for those heading onto Gallery Weekend Berlin, Art Cologne, and perhaps even the 57th Venice Biennale.
Tschabalala Self and Jonathan Lyndon Chase are artists whose paintings aim to provide a more wholesome, projection-free representation of female and queer black bodies. Both painters depict subjects that, as Self puts it, “are fully aware of their conspicuousness and are unmoved by their viewer’s gaze”. While Self’s acrylic paintings, which often incorporate fabric, have received broad media coverage and critical acclaim, most recently helping her acquire a spot in the Forbes 30 under 30 list, Jonathan Lyndon Chase’s works certainly are just as noteworthy.
Person, Place or Thing is a composite show of ten artists. Each is delineated, given their own kind space, not unlike the Armory Show with less cubicles and far less New York Fashion statements. There is the interplay of which artist is next to whom with some works breaking barriers and living as wayward satellites
I first saw Jonathan Lyndon Chase’s work about two or three years ago on Tumblr. From 2010 to around 2015—my senior year of high school to one year out of college—I frequented Tumblr. Over this span I engaged a confluence of pop cultural imagery, original art, confessional blog posts, porn, and mundane snaps and selfies. Images on Tumblr exemplify those commonly sourced for memes elaborated with text that set up a scenario or joke for which the image provides the conclusion or punch line
JONATHAN LYNDON CHASE: THE WEIGHT OF EMOTION AND THE WEIGHT OF FLESH
Jonathan Lyndon Chase is all about the funk. His painting show at Thierry Goldberg is full of thick lips and protruding asses, wayward bling in the form of gold paint, and all kinds of gender play and urban symbology that read as a conglomeration of commerce, self-aware role playing, and genuine sexual desire.
Now in its second year, the artcritical prize at the Annual Student Exhibition of the Pennsylvania Academy of Fine Arts, chosen by faculty vote, awards a graduating MFA student an article in these pages. Author DIDIER WILLIAM was recently named chair of the MFA program at PAFA.
More intimate than meticulous, Jonathan Lyndon Chase’s rendering puts human touch at the forefront of his art. As the artist tells Doron Langberg in a recent interview for The Color Hour, he’s able to “really find out what is happening in a painting through touch” and that “the line is a way to talk about tenderness and sensitivity”