2016 – 2017

Some Were Caught Up, &

Some Were Not

Loock Galerie, Berlin

February–April 2017

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"In the main gallery, a series of large-scale works are made from t-shirt fabric, marked and soaked with washes of color and imprinted with the patterns of nets. The nets—undulating across the works in an illusion of three dimensionality—are fragmented by a process in which the painted t-shirt fabric is cut into hundreds of pieces, and then sewn together in geometric shapes. The use of the net alludes to the migration of people and who does or does not get “caught up” as nations debate the politics of belonging and identification.

Loock Galerie is pleased to present its second solo exhibition of New York-based artist Jonathan VanDyke. Drawing on the lexicons of gestural abstraction, textile design, installation, and photography, VanDyke presents three intersecting series that push new possibilities for painting. Each series explores the process of color application differently, arriving at three distinct but interrelated depictions of pigment. The exhibition suggests states of fracture and dissolution while challenging classical ideas of beauty and sensorial pleasure..."

    

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The Invert

Tops Gallery, Memphis

April–June 2017

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"The title The Invert recalls Freud’s term for a homosexual, a now archaic reference that persisted into the 1960’s. Referring to homosexuals as 'inverts' signaled that their desire was bent or literally turned over, and contributed to the idea that their bodies could be righted, or fixed, if only they were 'straightened out.' In VanDyke’s work, displacement and inversion is a given: the work and the body are oriented so as to discover new possibilities for process and encounter.

Tops Gallery is pleased to present a solo exhibition of works by Jonathan VanDyke, the New York-based artist’s first showing in Memphis. In his paintings, sculptures, photographs, and performance, the idea of what a painting might be is reoriented and pushed into unforeseen directions. Each work is the result of intensive research and material processes developed over a decade..."

  

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NADA NYC

Solo presentation, New York

Presented by 1/9unosunove

March 2017

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Installation of paintings, dripping sculptures, and photographs

part of New Art Dealers Association fair

  

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Self Evidence

Performance lecture

University of the Arts, Philadelphia

April 2017

&

I Martedi Credici, Rome

(in association with Temple University Rome), October 2015

The Skowhegan School Project Space, NYC, April 2015

Presenting at 17, NYC

(project of artist Elise Gardella)

2014

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"Jonathan VanDyke looks for himself in a family photograph taken during his childhood. The picture shows his adopted Uncle wearing his mother's dress while holding the trunk of a stuffed elephant in his mouth. VanDyke's performance explores the issues faced by queers who were children during the AIDS crisis and 80's culture wars, and how the hyper-capitalism and theatricality of this period nurtured a certain type of passing (including his own). 

 

Augmented by research into a gay panic that happened in his rural hometown, passages from he soap operas he watched as a child, and memories of a disappeared Uncle, he evokes the repressed ghosts of a lost generation of queer mentors while exploring his own transition from theatrical youth to closeted jock..."

  

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People like shapes,
ideas like colors,
colors like people,
shapes like ideas.

performance

Este Arte, Punta del Este, Uruguay

January 2016

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The Amish of central Pennsylvania created quilts using pieces of fabric cut into shapes. Triangles and squares and rectangles populate these textiles, stitch by stitch, their colors sometimes mismatched in ways that might embarrass Albers, who carefully recorded his color choices on the backs of his paintings. I grew up near this Amish community, though I am not Amish myself, and when I study these patterns I often wonder how Amish women achieved a spectacular 19th century minimalism in a culture of such strict Protestantism that they refuse electricity. What about the charge and energy of the bodies that lay under these quilts, that slept and huddled for warmth and fornicated beneath them? Did all those shapes take root in the subconscious of those sleepers? Did they wake up with dreams of triangles and rectangles sprouting arms and legs?

  

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