The First Art Newspaper on the Net Established in 1996 United States Tuesday, September 16, 2014


Exhibition of Robert Kingston's recent works opens at Dolby Chadwick Gallery
Robert Kingston, Into the Heart of Our Dream, 2013. Acrylic on canvas, 60 x 48.
SAN FRANCISCO, CA.- An exhibition of Robert Kingston’s recent works opened at the Dolby Chadwick Gallery on March 7th, 2013. Kingston skillfully uses abstract visual cues to evoke shifting landscapes and dreamscapes upon which viewers can project their own meanings and mythologies. Kingston’s arrival at these “scapes” is appropriately rooted in what he describes as “meandering journeys” that start with an initial, random mark. “I look at my work as the piling on of mistakes and hesitations,” Kingston explains, “many artists are plagued by doubt, but I’ve learned to use mistakes and doubt as a source of power. For me, the more mistakes the better.” The final paintings are a testament to these journeys of contemplation and discovery. Born of abundant layers of markings and gestures—as well as frequent erasure— Kingston’s lyrical paintings present highly complex, fully resolved spaces.

Back in the ‘70s and ‘80s when Kingston first started painting, artists were preoccupied with creating thickly impastoed oil paintings. “Soho smelled of oil paint,” he recalls, “it was a delicious, overpowering smell.” Since Kingston’s practice is predicated on spontaneous and improvised movements, he ultimately abandoned slow-drying oil paints in favor of waterbased media. Acrylic paints are not only more conducive to his process of backing up and moving forward, they also enable him to move beyond questions of materiality and surface quality to focus instead on vision. Contrary to the practices of many abstract painters, Kingston foregrounds the effects of dematerialization in order to call forth his richly suggestive environments. He consequently likens himself to 18th and 19th century painters such as Tiepolo and Titian whose works are more concerned with realizing a vision of a given subject or scene than with the paint itself. Shedding light on his expectations for his own work, Kingston reflects: “I would like the painting to be like a hole in the wall where you might look or even fall into.”

Kingston is drawn to references to ancient cultures, legends, and myths, as well as cryptic, long-forgotten systems of record-keeping and communication such as the scratches on the walls at Pompeii or Paleolithic cave paintings. The impact of paintings at Chauvet, Lascaux, and other subterranean spaces can be seen across Kingston’s works, including the recent I Have Forgotten the Voices of the Animals (2012), which exhibits a frenzy of animal-like and organic forms that have been pared-down to their most basic, essential elements. As many of these markings are most accurately described as scrawls or scratches, Kingston is often likened to Cy Twombly. Twombly, like Kingston, was also captivated by the ancient world. His Fifty Days at Iliam (1972), for example, presents an abstract visual narration of the Trojan War as described in The Iliad.

Kingston’s fascination with Greek history is likewise rooted in the myths and legends of the Homeric epics. Taken from a Robert Duncan poem written from the point of view of Achilles, the title of I Do Not Know More Than The Sea Tells Me (2012) confirms Kingston’s affinity, if superficially, for the reputed seat of civilization. But this link is also deep and sustained. In Kingston’s recent works, for instance, vibrant, crystal blues evoke the Mediterranean Sea and sky while an overall sun-bleached quality suggests blinding sunlight, whitewashed walls, alabaster beaches, timeworn temple columns, and tumble-polished rocks.

Though Kingston and Twombly share many similarities, Kingston’s practice has taken a different path in recent years. While the older artist experimented with complex and unorthodox spaces, these spaces exist mostly on the surface of the canvas. Kingston’s paintings, on the other hand, are more traditional in that they seek to open up broad swaths of deeply receding space. Space itself is structured in service of a vision—visions which ultimately manifest as dreamscapes and landscapes.

Robert Kingston was born in 1955 in Sungei Gerong, Indonesia, and currently resides in Los Angeles, California. He earned his BFA from California State University Long Beach in 1986 and his MFA two years later from Claremont Graduate University. In addition to exhibiting across the United States, his art has been reviewed in the Los Angeles Times, Artweek, L.A. Style, L.A. Weekly, and Artscene. This will be his third solo show at the Dolby Chadwick Gallery.



Today's News

March 8, 2013

MoMA explores Henri Labrouste's work as a key milestone in the evolution of architecture

First U.S. gallery exhibition of Romanian painter Adrian Ghenie opens at Pace Gallery

Antiquities collected by a future king reunite 150 years on at The Queen's Gallery

Brooklyn Museum opens exhibition of rarely seen American drawings from its collection

Sotheby's announces Indian & Southeast Asian Works of Art Sale on 20 March 2013

Peggy Guggenheim Collection exhibition focuses on the five pioneering artists of post-war Italy

1942 Casablanca six sheet, one of two known, tops Heritage Auctions' Movie Poster event

New book: The Rockwell Heist: The Extraordinary Theft of Seven Norman Rockwell Paintings

MACBA presents an exhibition devoted to the works on paper by one of most influential artists of our time

A collection of 120 pre-war Lalique perfume bottles and powder bowls to be offered at Bonhams

World Monuments Fund announces grant to support restoration of cultural heritage damaged in Japan

Rarely seen prints by Mary Cassatt on display in free exhibition at The New York Public Library

Portland Museum of Art's Curator of American Art Karen Sherry promoted to Chief Curator

Triumph for Sir Kyffin Williams' Welsh art at Bonhams

Recent expressionist paintings by Frances Hynes on view at June Kelly Gallery

Quinn & Farmer's auction includes furnishings, ephemera from Virginia's historic Bowling Green Farm

Exhibition marks the re-inauguration of Lombard Freid's gallery after the damage of Hurricane Sandy

Exhibition of Robert Kingston's recent works opens at Dolby Chadwick Gallery

Berlinde De Bruyckere to represent Belgium at La Biennale di Venezia

Most Popular Last Seven Days



1.- Scientists at Germany's Karl May Museum weigh returning Native American scalp

2.- Totally Thames launches Florentijn Hofman's first ever UK commission: HippopoThames

3.- Restoring Albrecht Dürer's masterpiece The Arch of Honour of Maximilian I

4.- German Consulate in New York presents the work of forgotten 20th century master painter

5.- Cave carving in Gibraltar may be first known example of Neanderthal rock art

6.- Monet discovered in suitcase taken into German hospital by 'Nazi art' hoarder

7.- Gustav Klimt's 'Portrait Adele Bloch-Bauer II' on view at the Museum of Modern Art

8.- Dreadnoughtus: Meet Argentina's supermassive, 85 feet from nose to tail, 'fear nought' dino

9.- Monet's 'Impressionism' birth dated by Texas State University's 'Celestial Sleuth'

10.- 'Chess' man star attraction at tattoo convention in Peru



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 

Founder:
Ignacio Villarreal
Editor & Publisher: Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez - Marketing: Carla Gutiérrez
Special Contributor: Liz Gangemi - Special Advisor: Carlos Amador
Contributing Editor: Carolina Farias

Royalville Communications, Inc
produces:

ignaciovillarreal.org theavemaria.org juncodelavega.org facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site