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Monica King Contemporary opens the first solo exhibition in New York City of Taylor Anton White
Taylor Anton White, It's WiFi, But You Can Eat It, Okay?, 2019. Acrylic, oil stick, wax crayon, charcoal, pencil, marker, airbrush, cardboard, plastic, paper, plywood, and sewing on canvas, 82 x 66 x 3 inches.



NEW YORK, NY.- Monica King Contemporary presents the first solo exhibition in New York City of Taylor Anton White, Free_Hotdog.pdf, from January 31 through March 14, 2020. Free_Hotdog.pdf features new mixed-media compositions in the artist’s signature exuberant and multifaceted style. The exhibition features works consisting of what White describes as “contradictory elements that should be discordant but somehow come together to exist in a state of tenuous balance.”

White’s art defies categorization-amalgamating abstraction, text, found objects, and clearly defined imagery-sometimes all within a single work. He utilizes a vast spectrum of media in his practice, ranging from spiral bindings, spray paint, and charcoal to at times incorporating inversed images of his own children’s drawings, calling into question entrenched notions of artistic ownership. His highly-layered, textural, and often three-dimensional paintings embody the many faces of divergence-crisis and triumph, momentum and confinement, among many others, and challenge the viewer to locate the artist’s unconventional materials and artistic methods within the usual confinement of art history.

White’s improvisational approach to his practice is partially rooted in his exposure to performance art early in his career, which he describes as helping him “loosen up” to be able to make work so rife with spontaneous gestures. White explains that one of his primary motivations to create art is to make himself laugh. He is drawn to naïve subject matter the irreverence of which, especially in the context of fine art, allows for a greater sense of creative freedom. Yet in keeping with his practice, closer inspection of his seemingly impromptu compositions unveils the meticulous labor and attention to detail White dedicates to his work. This “stop and go,” as White describes it, of bold and rapid gestures with that which takes great care is intrinsic to the contradictory nature of his work. For instance, this can be seen through White’s use in many of his works of an industrial sewing machine. The delicacy of sewing, traditionally associated to women’s work, is juxtaposed with his work’s large-scale abstraction, which is typically ascribed to masculinity. White states that he revels in “smashing all of that together,” an inclination that can be hastily interpreted as simple irreverence but, like the complexity of White’s formal practice, reveals a nuanced exploration and testing of the status quo. Yet far from producing heavy handed discourse, White’s radicality is expressed with joy and humor—making serious work that doesn’t take itself seriously.

The artist
White’s work was most recently shown in Future Ruins, a group exhibition at the California Institute of the Arts, Valencia, CA. He has also shown at Deli Grocery in Brooklyn, New York, and has had solo exhibitions with galleries including Galerie Kremers in Berlin, Germany; LC Gallery in Brussels, Belgium; Marquee Projects in Bellport, New York; TWFINEART, in Brisbane, Australia; and a solo show at the Leedy-Voulkos Art Center in Kansas City, Missouri. He has held residencies with Cycamore Artist Residency in Brooklyn, New York and Espositivo 7B in Madrid, Spain. He received his B.A. in Studio Art from the University of Mary Washington, Fredericksburg. White currently lives and works in Richmond, Virginia.










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