Modern Times

01.10.20 – 24.10.20

We are pleased to present Walter Robinson’s new solo exhibition at the gallery.
This new series of paintings is a continuation of his work of appropriating images. The presentation focuses on two series in particular, Still Lifes and Romance. In the first series, everyday consumer products (here medications and alcohol bottles) become magnified icons of desire in all their physical and aesthetic properties. " These are not Cézanne’s apples considered as color and form but items consumed - not for their taste as much as for their effects on consciousness. " (WR)

In the painting Daily Medication, you can see the artist’s name on the labels of the pill boxes. Robinson therefore places himself in the position of consumer of these painkillers and, more broadly, of the products of a society of industrialized desire, which the philosopher Paul B. Preciado terms pharmacopornography.
The new works in the Romance series (images appropriated from the covers of pulp books or erotic novels) again take up the themes of hospital environments and crimes of passion, thus mixing carnal desire, danger, and domination relationships.
We note, however, that while earlier works highlighted models of passion, romance, love and desire, in his more recent paintings Robinson chooses scenarios where women are more often dominant in the power relationship. 
" While they arguably remain projections of male sexuality, as such they suggest a male ambivalence, where fear is a positive aspect of the libidinal dynamic, an awareness that patriarchal power is under challenge and even ebbing away. (…) It may seem grandiose to give all this meaning to fantasy even comic illustrations, but they must sound some emotional resonance, even in their unreality ". (WR)
Robinson began painting in New York in the late 1970s and is now considered one of the pioneers of the Picture Generation.
Walter Robinson was born in 1950 in Wilmington (DE) and grew up in Tulsa (OK). His work has recently been exhibited in the Whitney Museum, the Museum of Modern Art (MOMA), the Contemporary Art Museum of Geneva (MAMCO), the Swiss Institute NY, and the Hirshhorn Museum.
 

Nous sommes heureux de présenter la nouvelle exposition personnelle de Walter Robinson à la galerie.
Cette nouvelle série de peintures s’inscrit dans la continuité de son travail d’appropriation d’images, dont la présentation se concentre sur deux séries en particulier, les natures mortes et les « Romance ». Dans la première, les produits de consommation courante (ici des médicaments et des bouteilles d’alcool), deviennent icônes magnifiées du désir, dans toute leurs propriétés physiques et esthétiques. « Ce ne sont pas les pommes de Cézanne, considérées en tant que forme et couleur, mais bien des articles consommés – moins pour leur goût que pour leurs effets sur l’état de conscience ». (WR)

Dans la peinture Daily Medication, on devine le nom de l’artiste sur les étiquettes des boites de comprimés. Robinson se place donc en consommateur de ces « painkillers », et plus largement des produits d’une société du désir industrialisé, que le philosophe Paul B.Preciado nomme pharmacopornographique.
Les nouveaux travaux de la série Romance (appropriation d’images de couvertures de « pulp books », ou romans érotiques) reprennent à nouveau les thèmes du milieu hospitalier et du crime passionnel, mêlant ainsi désir charnel, danger et rapports de domination.
On peut noter cependant que si les travaux plus anciens mettaient en avant des modèles de passion, romantique, d’amour et de désir, Robinson choisit dans ses peintures récentes des scénarios où les femmes sont plus souvent dominantes dans le rapport de pouvoir. 
« Bien que reflétant encore les projections d’une sexualité plutôt masculine, elles suggèrent en tant que telles son ambivalence, où la peur est un aspect positif de la dynamique libidinale. Une conscience que le pouvoir patriarcal est remis en cause, voire même défait. (…) ça peut sembler exagéré de donner tant de sens à des illustrations populaires, mais elles doivent convoquer une résonnance émotionnelle, même dans leur irréalité ». (WR)
Robinson commence à peindre dès la fin des années 70 à New-York, et il est aujourd’hui considéré comme un des pionniers de la Picture Generation.
Walter Robinson est né en 1950 à Wilmington (DE) et a grandi à Tulsa (OK). Son travail a récemment été montré au Whitney Museum, au MOMA (NY), au MAMCO (GE), au Swiss Institute NY, ainsi qu’au Hirshhorn Museum.

Born in 1950, Wilmington, Delaware.
Lives and works in New York.

 
 
Education

1973
Whitney Independent Study Program, New York, NY

1972
BA Art History and Psychology, Columbia University, New York, NY


 
Solo exhibitions

2020    
Modern Times, Galerie Sébastien Bertrand, Geneva, Switzerland

2019    
Romance, Cigarettes and More, Pure Joy, El Paso St.Marfa, TX
Walter Robinson: Shirt Paintings, Charlie James Gallery, Los Angeles, CA

2018    
Romance, Artissima Art Fair, Galerie Sébastien Bertrand, Turin, Italy
Salad, Candles & Money, Johannes Vogt Gallery, New York, NY 
 
2017    
Walter Robinson, 
Inna Art Space, Huangzhou, China
The Americans, Vito Schnabel Gallery, St. Moritz, Switzerland
Romance, Galerie Sébastien Bertrand, Geneva, Switzerland
 
2016     
Biology, Stems Gallery, Brussels, Belgium
Mystic Museum of Art, Mystic, CT
Walter Robinson : A Retrospective, Jeffrey Deitch Gallery, New-York
Jeff Bailey Gallery, Hudson, NY 

2014-16 
Walter Robinson: Paintings and Other Indulgences, a retrospective at the University
Galleries, Normal, Ill.; traveling in January 2016 to Moore College Galleries, Philadelphia
 
2014     
Figure Studies, Lynch Tham, New York
Painkillers, Tops, Memphis

2013    
Indulgences, Dorian Grey Gallery, New York

2012    
Hello from New York, Firecat Projects, Chicago

2008     
Metro Pictures, New York

1998     
Cabinet Gallery, London

1995     
Tricia Collins Grand Salon, New York

1986     
Metro Pictures, New York
Semaphore Gallery, New York
Wessel O’Connor, Rome
Zero One, Los Angeles

1985     
Metro Pictures, New York (with Thomas Lawson)
Piezo Electric, New York
Zero One, Los Angeles

1984     
Piezo Electric, New York
Semaphore Gallery, New York (with Duncan Hannah)
Metro Pictures, New York

1982    
Metro Pictures, New York
 

 
Group exhibitions
 
2020     
Portraits & Some Standing Figures, Galerie Sébastien Bertrand, Geneva, CH

2019    
Glenn O'Brien: Center Stage, Off Paradise, New York, NY
Pretty Woman, Galerie Derouillon, Paris, FR
Make Believe Curated By Bruce W. Ferguson, Magenta Plains, New York, NY

2018    
Brand New: Art and Commodity in the 1980's, Hirshhorn Museum, Washington, D.C.
Summer of Love, Freight+Volume, New York, NY

2017     
LIKE, Galerie Sébastien Bertrand, Geneva, Switzerland. Curated by Richard Kern
DOGS, Curated by Austin Lee and Oliver Clegg, 173 Green Street, Brooklyn, NY
Zeitgeist, MAMCO, Geneva, Switzerland
Fast Forward: Painting from the 1980s , The Whitney Museum of American Art, New York 
Still (ed) Life; Part 2, Texas Gallery, Houston, TX
Abandoned Luncheonette, Jeff Bailey Gallery, Hudson, NY

2016     
Summer show, Galerie Sébastien Bertrand, Geneva, Switzerland
Charles Bukowski & Walter Robinson: There’s a Bluebird In My Heart, Owen James, New York
Copy Paste, curated by Chris Bors, “SPRING/BREAK Art Show,” New York
Don’t Make a Scene, Kai Matsushima, New York
Hard Love, curated by Barry Blinderman, Jose Martos, New York

2015    
Unrealism, curated by Jeffrey Deitch, Moore Building, Miami
Only 2.5 Hrs from GWB, curated by Pia Dehne, Hamden, New York, and Roxbury, New York
Sweet Smell of Success, curated by James and Enzo Shalom, New York, Hilton Hotel
Viewer Discretion…Children of Bataille, curated by Kathleen Cullen, Stux + Haller, New York
La femme de trente ans, curated by Caroline Soyez-Petithomme, art : concept Paris
To Your Health! The Science, Culture & Art of the Cocktail, Everhart Museum, Scranton, Pennsylvania
Twenty by Sixteen, curated by Geoffrey Young, Morgan Lehman, New York
un(Scene) art fair, New York
SPRING/BREAK Art Show, Skylight at Moynihan Station, New York

2014    
Spring/Break, March 2014, New York
Bad Conscience, Metro Pictures, Jan 16-Feb 22, curated by John Miller

2013     
Social Photography III, Carriage Trade, N.Y.
Peter Angemann, Walter Robinson: Plein Air - Hot Romance, Sept. 22-Nov. 
4, 2013, Kunstmuehle, Muersbach, Germany, curated by Thomas Eller
404 E 14, Tibor de Nagy Gallery, June 20-Aug 2, 2013
All F*#king Summer, Gavlak Gallery, Palm Beach
Found and Lost, curated by Hope Sandrow, ArtSites, Riverhead, June 8-Aug 18

2012     
Bad for You, curated by Beth Rudin deWoody, Shirazu Gallery, London
White Male Complex, curated by Thomas Eller, Savvy Contemporary, Berlin, Nov 3-24, 2012
Times Square Show Revisited, Hunter College Art Galleries, Sept. 14-Dec. 8
Claxon, curated by Walter Robinson, Haunch of Venison, New York
Ping-Pong Basel Miami, Projektraum M54, Basel, Switzerland
Data Trash, curated by Chris Dorland, I-20, New York
Desperately Seeking Susan: Art from the 1980s, Kathleen Cullen Fine Art
Loughelton Revisited, Winkleman Gallery, New York

2011     
Social Photography, Carriage Trade, New York
Wit, curated by Glenn O’Brien, Paddle8
Art, Access & Decay: New York 1975-1985,” curated by Peter Frank & Lisa Kahane, Subliminal Projects, L.A.

2009    
Nincompatibles, Bowman Bloom, New York
Naked, Paul Kasmin Gallery, New York
Looking at Music: Side Two, Museum of Modern Art, New York
Regift, Swiss Institute, New York
Images & (Re)presentations, Le Magasin, Grenoble

2008     
Market Forces, Carriage Trade, New York (and traveling)

2004     
East Village USA, New Museum of Contemporary Art
Stencil & Spray, ca. 1984, The Proposition, New York

2003     
OnLine, Feigen Contemporary, New York
First Person, Gallery Schlesinger, New York
The Summer of Lust, Geoffrey Young Gallery, Great Barrington, Mass.
Nip and Tuck, Artek Contemporaries, New York
After Matisse Picasso, P.S. 1, New York

2002     
Something, Anything, Matthew Marks Gallery, New York
Transcendent and Unrepentant, Rosenwald Wolf Gallery, University of the Arts, Philadelphia

2000-01 
Post-Hypnotic, touring show, Illinois State Galleries, Normal, Ill.

2000     
Certain Things: Unlikely Treasures, Elsa Mott Ives Gallery, New York

1999     
Mod!, Tricia Collins Contemporary Art, New York
Village Disco, Cabinet, London

1998     
Pets, Bronwyn Keenan, New York

1997     
Consumption, Printed Matter, New York

1994     
Red, Barney’s for Little Red Schoolhouse, New York
American Fine Arts Benefit, New York

1993     
Arachnosphere, Ramnarine Gallery, New York
Return of the Cadavre Exquis, Drawing Center, New York
Dolls in Contemporary Art, Haggerty Museum, Milwaukee

1992     
Works on Paper, Momentary Modern, Amsterdam
Tabloid, Sally Hawkins Gallery, New York

1991     
The Tree, Elysium Gallery, New York

1989     
Strange Attractors: Signs of Chaos, New Museum, New York

1986     
Signs of Painting, Metro Pictures, New York; Donald Young, Chicago
Paravision, Margo Leavin, Los Angeles
Tableaux Abstraits, Villa Arson, Nice
Greenberg’s Dilemma, Loughelton, New York
Physics, Piezo Electric, New York

1985     
Auto/Genetic/Photopsia, Christminster, New York

1984     
Drawings: After Photography, Allen Memorial Art Museum, Oberlin (travels to four other venues) Artists Weapons, Ted Greewald Gallery

1983     
Art on Paper, Weatherspoon Art Gallery, Winston-Salem
Terminal New York, Brooklyn Army Terminal, New York
Sex, Sharpe Gallery, New York
Artist/Critic, White Columns, New York

1982     
Beast, P.S.1, New York
Image Scavengers, Institute of Contemporary Art, Philadelphia

1981     
Episodes, Grace Borgenicht Gallery, New York
Real Life Magazine Presents, Nigel Greenwood, London
Island Show, ABC No Rio, New York

1980     
Times Square Show, New York
Collaborative Projects Benefit Exhibition, Brooke Alexander Gallery, New York
A. More Store, 529 Broome Street, New York
Figuring, Hallwalls, Buffalo
Real Estate Show, 123 Delancey, New York

1979     
Batman Show, 591 Broadway, New York
 
 
Collections
 
Museum of Modern Art
Whitney Museum of American Art
FNAC, Geneva
Weatherspoon Art Gallery, Winston-Salem
Hall Family Foundation
Nina and Frank Moore
Jeffrey and Maria Eugenides
Fabiola Beracusa
Michael and Sheila Rips
 
 
Bibliography
 
Barry Blinderman, ed., Walter Robinson, Paintings and Other Indulgences, 144 pp., University Galleries,
Illinois State University, 2015
Collin Sundt, “Wanting to Be Art,” Artcritical, Mar. 2, 2016
Brian Boucher, “Walter Robinson at the Galleries at Moore,” Artnet Magazine, Jan. 25, 2016
Michelle Grabner, “Walter Robinson, University Galleries, Illinois State University, Artforum, Mar 2015
Sarah Schmerler, “Walter Robinson,” Art in America, Oct 2014
Noelle Bodick, “Artist Walter Robinson on Painting Desire,” Artspace Magazine, June 26, 2014
Stephanie Strasnick, “Walter Robinson,” Artnews, Sept. 2014
Phong Bui, “Walter Robinson with Phong Bui,” Brooklyn Rail, Nov. 2014
Donald Kuspit, “Walter Robinson,” Artforum, Summer 2013
Andrew Russeth, “Art Net: The Life and Times of Walter Robinson,” New York Observer, Jan 2012
Charlie Finch, The Unforbidden, Artnet Magazine, Nov. 10, 2009
Charlie Finch, “The Threat of Love,” Artnet Magazine, Apr. 8, 2008
Jeanne Siegel, ed., Artwords 2: Discourse on the Early ‘80s, 1988
Ronald Jones, “Walter Robinson,“ C Magazine, Toronto, Dec. 1987
Carlo McCormick, “pOPTOMETRY,“ Artforum, Nov. 1985, pp. 87-91
Jeanne Silverthorne, “Walter Robinson, Metro Pictures,“ Artforum, Summer 1985, pp. 112
Regan Upshaw, “Walter Robinson at Sempahore,” Art in America, Feb. 1985
Joseph Masheck, Point 1, 1984, pp. 124-127
Brooks Adams, “Walter Robinson at Metro Pictures“, Art in America, May 1982
Thomas Lawson, “Last Exit: Painting,“ Artforum, Oct. 1981
Jeffrey Deitch, “Report from Times Square,“ Art in America, June 1980
 
 
Editorial positions
 
Columnist, Artspace.com
Editor-in-chief and founder, Artnet Magazine, 1996-2012
Contributing editor and news editor, Art in America, 1978-2009
Columnist (“It’s a Dad’s Life“), Paper magazine, 1992-95
Art editor, East Village Eye, 1982-85
Editor, The Art Letter, 1978-82
Publisher and editor, Art-Rite magazine, 1973-78
 
 
Other positions
 
Contributor, Bald Ego #1, Max Blagg & Glenn O’Brien, eds.
Correspondent and on-screen commentator, Art TV Gallery Beat, 1994-2004
Author, “Instant Art History,“ Ballantine Books, 1994
Jury chair, Pernod Liquid Art competition, 1993-99
Executive director, Collaborative Projects (COLAB), 1980