KATSU, Micky Mouse, enamel on canvas, 48 x 48 inches
Jon Decola, hitpitchpost, 2016, enamel, acrylic, holographic security foil, on birch panel, 60 x 48 inches
Ben Jones, Ladders Series, 2015, acrylic gouache on MDF, 95 x 88 inches
Michael Dotson, Twinkle Twinkle, 2014, acrylic on panel, 40 x 30 inches
Katsu, Cookie Monster, 2016, digital print on acrylic on linen, 40 x 40 inches
Johnny Abrahams, Untitled, 2016, digital print on acrylic on linen, 40 x 40 inches
Katsu, Mickey, 2014, enamel on canvas, 48 x 48 inches
Jon Decola, dipformground, 2016, enamel, acrylic, holographic security foil, on birch panel, 60 x 48 inches
For ALAC 2016 we will present a group show of digitally-minded paintings, drawings and sculpture from artists working in a “post-analog” mode.
“Post-Analog” is meant to suggest that the paintings in this show were not even conceivable before digital imaging changed the structure of our images. Sure, we erased things, but not the way the “erase tool” erases. The way we draw with our hand is not the same as how we draw with a mouse. Focus and resolution exist in emulsion photography but the way that paint is applied in this show has more in common with low-res JPEGS and pixels-per-inch.
The long and complex shift in culture from analog media to digital media is the most significant transformation of our generation, and it has long-reaching and manifold effects that continue to permeate all modes of visual expression. In painting the effects have been slow to reverberate. “Inkjet on canvas” was the center of these discussions for many years; however, the more interesting shift in painting has nothing to do with the media used but instead the forms, composition and content and painting.
ALAC 2016
Post Analog Booth
Adam Henry
Ara Peterson
Austin Lee
Eric Yahnker
Jeanette Hayes
Josh Reames
Joe Reihsen
Matthew Stone
Micheal Manning
Michael Staniak
Neil Raitt
Rebecca Ward
Zane Lewis
The Barker Hangar
Santa Monica, CA
January 26th – 29th, 2016
