Jonathan Lyndon Chase
Kohn Gallery showed two artists in conversation. John Altoon was working in the 60s, and Jonathan Lyndon Chase is very much of today, but both explore the various boundaries of the body through their dynamic work. Altoon’s ink on board drawings, comprised of chaotic zig-zags, sit alongside Lyndon Chase’s color drenched studies of queer black men.
Gallerist Josh Friedman told me that by midday, three institutions (including Minneapolis’s Walker Art Center and the Institute of Contemporary Art Miami) had already purchased the bright, large-scale paintings of young Philadelphia-based artist Jonathan Lyndon Chase.
In keeping with the market trend of the past couple of years, there was also significant interest in works by artists of colour. Representatives of several museums rushed to Los Angeles-based Kohn Gallery’s booth to bid on Jonathan Lyndon Chase’s Dawn Embrace (2019), which sold for an undisclosed amount to the Walker Art Center in Minneapolis, while another of the young painter’s works went to ICA Miami. Roberts Projects sold works by Kehinde Wiley and Jeffrey Gibson ranging from $150,000 to $300,000 and notes “multiple institutional reserves”.
Art world insiders, collectors, and advisors packed into a crowded Armory Show VIP preview morning on Wednesday, milling about and perusing the nearly 200 booths set up by dealers from 33 countries for the fair’s 25th anniversary edition.
This week, Jonathan Lyndon Chase debuted a series of new paintings at the Rubell Family Collection (RFC) in Miami. The works are part of the space’s annual “New Acquisitions” exhibition, and a result of the artist’s participation in a 2018 off-site RFC residency. Last week, Whitewall visited Lyndon Chase in his new Philadelphia studio to talk about making his largest works yet and what he’s showing in Kohn Gallery’s booth at Art Basel in Miami Beach.
At just 28 years old, Jonathan Lyndon Chase is already a star. The Philadelphia-based painter thoughtfully engages with issues of race, gender, and sexuality in inventive mixed-media works, rooted in his identity as a queer black man in America.
Jonathan Lyndon Chase’s paintings sometimes speak to him. They tell him what direction they’d like to take, how heavy the line should be, their color and composition. The figures in his most recent paintings asked him for a little more space. “The paintings were kind of like, ‘Hey, Jon, we need to become bigger,’” he explains. So he went for a much grander scale, responding to their call for “more presence and power” by creating compositions that are nearly 10 by 10.5 feet.
From eight centuries of the art now called Surrealist to startling new takes on assemblage from Port-au-Prince, our critic finds a heady mix of old and modern, sex and politics in these powerhouse gallery shows.
Secret Gay Box features over fifteen artists who have navigated their sexuality through artistic expression. Like Wolf’s childhood box, this space will be one where art hides in plain sight, even where people might not think to look. The space itself as well as the artworks in it embrace the creativity that it can take to effectively conceal oneself, but also the beauty that can occur in freedom from whatever ‘box’ one might have. All humans have their own “secret gay box”, either conscious or subconscious. This show, the artists represented, and the act of creating a personal art collection are a way to simultaneously fill the box or open it for those around you.
Lectures and Book Signings
Painting and Representation
October 21 at 2:00
East Building Auditorium
Tim Doud, artist; professor, department of art, American University; cofounder, ‘sindikit; and cofounder, STABLE; in conversation with artists Jonathan Lyndon Chase and Louis Fratino
Jonathan Lyndon Chase envisions sex with a novel mixture of the carnal and tender. 4 number 8’s on a rainy day (2017) is a drawing portraying a dreamlike orgy with human figure eight forms in a vaguely defined room, their faces expressing various stages of pleasure.
Jonathan Lyndon Chase, a young Philadelphia-based painter who inventively tackles issues of race, gender, and sexuality in dexterous mixed-media works, has recently achieved rising-star status due to his sensational Los Angeles debut at Kohn Gallery. Collectors can’t seem to get enough of his work.
There’s a lot going on in Jonathan Lyndon Chase’s chaotic paintings of gay black men, often in sexual congress. They capture the inchoate feelings of intertwining oneself with another body, but they also reflect a raw engagement with fragmented facets of gender, racial and sexual identity.
Jonathan Lyndon Chase does not paint self-portraits. But in every stroke and atom of his prismatic, distressed and lyrically visceral mixed-media portraits, the artist embodies his own sense of self, both literally and figuratively constructing complex aspects of personal identity right before your eyes.
Coinciding with his new exhibition, Sheets, at Los Angeles’ Kohn Gallery, queer artist Jonathan Lyndon Chase has shared some of his evocative pieces with Out. Using base sheets as a canvas for many of the show’s works, Chase explains how our beds are central to our lives in that we begin and end our day in them, and how they act as a play on words for him representing the fabric of society and spatial reality.
For his new exhibition, artist Jonathan Lyndon Chase uses bedsheets to relay an “ever-changing and evolving” message about race, gender and sexuality.
Jonathan Lyndon Chase, “Sheets,” at Kohn Gallery. In ebullient works that meld painting, drawing and collage, Chase explores quotidian moments in the lives of queer black men — sculpturally contorted figures shown in repose, in heated moments of desire and in balletic occasions of joy.
The figures of Jonathan Lyndon Chase’s pictures have prepared a performance for us — but we’ve stumbled upon them during rehearsal. Theirs is a dance of shapeshifting voyeurism — they’re not quite ready to be seen but relish in our gaze nonetheless. Caught in a moment of nudity between costume changes, they cast coy glances that are accusatory and inviting at the same time.
28-year old, Philadelphia-based artist Jonathan Lyndon Chase is everywhere this past year. His mixed media portraits of contorted, sexually-explicit figures drawn from Chase's day-to-day experiences as a queer, non-binary, black artist have made their way into numerous museums and gallery exhibitions across the country.
Imagine the love child of Missy Elliott and Romare Bearden, raised by Ren & Stimpy, and embracing the intimacies of James Baldwin’s Giovanni’s Room … and you can begin to grasp the intricate complexities and exquisite nuances of African-American artist Jonathan Lyndon Chase.
I bet Hudson would have liked the work of Jonathan Lyndon Chase, a young painter (born in 1989) who works out of his family home in Philadelphia
I was introduced to Company Gallery through Troy Michie — the brilliant collagist featured in GAYLETTER Issue 8. His very first solo show — Fat Cat Came To Play — was picked up by the gallery soon after some of his collages found themselves on exhibition in the New Museum’s well-received Trigger: Gender As a Tool and a Weapon.
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.