Dana Schutz, Woman and Dog, 2018

Dana Schutz, Woman and Dog, 2018

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Dana Schutz (b. 1976), Woman and Dog, 2018 

Etching with aquatint 43 1/4 x 30 5/8 in unframed

Edition of 20 Signed: recto in graphite lower border

Dana Schutz (American, b. 1976) is an important Contemporary painter. Her work frequently depicts figures participating in violent or creative activities, or in impossible or contradictory situations. Some of her paintings involve elaborate narratives, such as a race of beings that eat themselves (self-eaters), or a figure named Frank who is the last man on earth. “I’m never interested in the painting being a mirror to culture,” Schutz explains. “I think thats really boring. What I’m interested in is painting as an affective space. The place where the hierarchies of the world can be rearranged within the space of a painting.”
Schutz was born in 1976 and raised in Livonia, just outside of Detroit, MI. She began painting at age 15, and in 2000 graduated from the Cleveland Institute of Art with her BFA. She went on to attend Columbia University, where she finished her MFA in 2002. She also participated at the Skowhegan School of Painting and Sculpture residency in Skowhegan, ME, and the Norwich School of Art and Design in the United Kingdom.
Schutz began exhibiting while she was still in graduate school, and has mounted over 15 solo exhibitions since 2002. These include Fight in an Elevator at Petzel Gallery in New York, Teeth Dreams and Other Supposed Truths at Contemporary Fine Arts in Berlin, and If the Face Had Wheels at the Neuberger Museum of Art in Purchase, NY. In 2011, her drawings and prints were the subject of an exhibition at the Atlanta Contemporary Art Center
Dana Schutz’s work has been described as 'teetering on the edge of tradition and innovation’. ’My paintings are loosely based on metanarratives. The pictures float in and out of pictorial genres. Still lifes become personified, portraits become events and landscapes become constructions. I embrace the area between which the subject is composed and decomposing, formed and formless, inanimate and alive. Recently I have been making paintings of sculptural goddesses, transitory still lifes, people who make things, people who are made and people who have the ability to eat themselves. Although the paintings themselves are not specifically narrative, I often invent imaginative systems and situations to generate information. These situations usually delineate a site where making is a necessity, audiences potentially don’t exist, objects transcend their function and reality is malleable .’ Dana Schutz 2004

 




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