Jonathan Lyndon Chase
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.
“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.