JASON ADKINS: Gods and Demons: New Paintings and Works on Paper

In the West RoomApril 6 – May 4, 2012 Opening reception Saturday April 6th 6 – 8pm

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Western Project is proud to present the second solo exhibition by Jason Adkins. Gods and Demons is a group of oil paintings, thematically a set of opposites, inspired by his recent residence in Las Vegas, Nevada. Moving beyond his minimal imagery of the past few years, the artist has merged land and atmosphere together, as a metaphor of visual and energetic fields. The contradictions of the work are complex; a slow/fast read, random/controlled brushwork, shallow/deep space, natural/artificial color. Using a cacophony of webbed line work against a variegated background, his images appear to float and bend simultaneously. The paintings writhe and twist as a net of spun color, each a seemingly continuous, orgiastic spray. The brushwork appears casual and wandering but is essentially a highly organized system; as webbed clouds, appearing both thin and endless, beautiful and acidic, hot in color.

Adkins’ formal all-over compositions mimic abstract expressionism from the 1950’s, yet bury any romantic nostalgia. Adkins sensibility is more like a muscle car careening over the Nevada desert leaving a cloud of dust. This is not Mark Tobey in the northwest, nor a Zen apocalypse of minimalism; Gods and Monsters are large and explosive works. The contradictions of nature and the culture of Nevada merge in a mass of undulating color; the opposites are turned up into an atmosphere thick and weightless; a sensation of everything and nothing.

Adkins has just finished a residency at the P3 Studio in Las Vegas, and will be included in the exhibition, New Again, at the Marjorie Barrick Museum at UNLV, Las Vegas, Nevada. He has shown at the Franklin Parrish Gallery in New York, Holter Museum of Art in Helena, Montana, Pepperdine University and the American Jewish University Los Angeles, California, and galleries across the US. He is in the collections of the Frederick R. Weisman Museum of Art, Los Angeles, The Phyllis and Ross Escalette Permanent Collection Chapman University, Orange, California and the Marjorie Barrick Museum at UNLV, Las Vegas, Nevada.

Jason Adkins: LAS VEGAS CITY LIFE

4:48 pm - January 02, 2013 Selection criteria: Jason Adkins wants you to recreate works at his Cosmo exhibit by SCOTT DICKENSHEETS

Link to original post on LAS VEGAS CITY LIFE

Jason Adkins, Stickle, 2012, oil on canvas, 60 x 105 inches

 

On second thought, Banksy wasn’t quite right.

Henderson artist Jason Adkins — a painter known for his large, writhing abstracts and a sculptor known for arrangements of stacked boxes — was prepping for his upcoming stint in the Cosmopolitan’s P3 Studio. That’s the space set aside by the culture-friendly resort for interactive art projects.

Adkins’ idea was to have gallery visitors re-create notable paintings, piece by piece. The idea: Divide the source images into 1-inch squares. Have viewers pick a square and paint that tiny portion of the artwork onto a larger, blank, 4-inch-square piece of wood … and by that method, assemble replicas of each original — each final piece comprising 60-80 small paintings done by Cosmo guests, who could then single out their contributions.

“I wanted something they could do in 15 or 20 minutes,” he said.

But what paintings to begin with? One early idea: Something by guerilla street artist Banksy. Hip, urban, surely recognizable to the Cosmo crowd.

But also unabashedly political. The image Adkins had in mind was one critical of the Catholic Church for its child-abuse scandals.

“I should probably pick something less controversial,” Adkins sighed last week.

Actually, about 20 such images, one for each day of his Jan. 9-Feb. 6 residency. See for yourself which images he picked; studio hours are Wednesdays-Sundays, 6-11 p.m.

 

Western Project - The First Six Years / Group Show / 2009

November 7 – December 30, 2009 Opening reception Saturday November 7th 5-8pm.

Jason Adkins, Oliver Arms, Ron Athey, Tanya Batura, Heimir Björgúlfsson, Daniel Brice, Thomas Burke, Carole Caroompas, Cole Case, Exene Cervenka, Kris Chatterson, Justin Dahlberg, Michael Dee, Tom of Finland, Eric Freeman, Sush Machida Gaikotsu, Martin Gunsaullus, Ellina Kevorkian, Patrick Lee, Bob Mizer, Michael Reafsnyder, Nancy Riegelman, Chad Robertson, Joe Schmelzer, Aaron Sheppard, Arne Svneson, Vincent Valdez, Mark Dean Veca, Wayne White, Eve Wood, Yek

Western Project is pleased to present, The First Six Years, an anniversary exhibition of the gallery and its artists. Thirty one artists are included with new or recent works. The exhibition is also a celebration of the founding of the arts community in Culver City; Western Project being the third gallery to open its doors in November of 2003.

Sculpture Part I / Group Show / 2008

May 28 – June 18, 2008Opening reception: Saturday May 31st 5-8pm

Jason Adkins Tanya Batura Heimir Björgúlfsson Michael Dee

Western Project is proud to present the exhibition, SCULPTURE, in two separate exhibitions. The first part features four distinct sensibilities. Jason Adkins’ cage sculptures refer to cargo, confinement and minimalist aesthetics. Tanya Batura’s exquisite ceramic works are portraits of the unvarnished subconscious; both disturbing and serene. Heimir Björgúlfsson sees nature and culture as inseparable in his enigmatic found object works. Michael Dee’s flaming red Mylar sculptures are melted monuments atop cardboard boxes, revealing the candor and transience of beauty and emotion. The collision of methodologies in this exhibition produces a chorus of inquiry as to the possibilities of manifestation.

Jason Adkins: You Had It Coming / New Sculpture and Painting / 2008

October 11 –November 8, 2008 Opening reception Saturday, October 11th 5-8pm

Western Project is proud to present the debut exhibition by Los Angeles artist, Jason Adkins.  An MFA graduate of Claremont Graduate University in 2003, Adkins will present large paintings and sculptures; abstract landscapes and painted “cages.”  His paintings are made of a series of small gestural markings; horizontal fields of monochromatic color.  The familiarity of the compositional structure and the absence of natural elements of reference result in unsettling, yet zen-like images.  His use of color is specific - blazing pink or orange, or solid gray – artificial hues uncommon in traditional landscape depiction.  Utilizing a minimal vocabulary and synthetic color, Adkins creates a luminescent void; land and/or seas extending into forever.  The images question: are these the first or the final landscape images, are they images of the ultimate destruction or first creation, is this the past or the future, and are they external worlds or the internal realm?

Additionally, Adkins’ “cage” sculptures set a similar tone with different materials.  Large structures made from MDF wood and oil lacquer paint suggest barred enclosures.  Human scale, the open frameworks also recall the reductive language of Sol Lewitt and Carl Andre.  And they are very much akin to Peter Halley’s prison or cell paintings from the 1980s, which referenced human confinement and systems of power.  While there is an element of the sinister, Adkins under cuts it again with the use of color and classic structure.