Three of Ted Kincaid’s large Hudson River Cloud canvases were featured in Issue 150 of New American Paintings, curated by Suzanne Weaver. “The conflation of the analog and digital, the handmade and the mechanical, and lived and mediated experiences gives rise to a seductive tension in the rich paintings of Beverly Acha, Ted Kincaid, Lorraine Tady and Liz Trosper. Each of these artists challenges ways of seeing, ways of knowing, and ways of being in this world. In the romantic, sublime landscapes of Kincaid, cumulus clouds hover between earthly and spiritual worlds, the seen and the felt.”
Ted Kincaid recently completed a two-year commission for Billingsley Company’s Cypress Waters Development in Dallas, Texas. The 25 x 48 foot ceramic tile mural was manufactured by José Noé Suro, the Guadalajara-based tile manufacturer and international art world impresario. The workshop worked with Kincaid to transfer his complex lyrical line drawing to almost 1000 12″ tiles in a 21st Century take on Delftware. Both the complexities of the process and the Pandemic slowed the completion of the project considerably, but the project was finished last month, coinciding with the first commercial tenants occupying the two story modern office building.
It’s the twentieth anniversary of a major collaborative project with Manneken Press… a series of large scale photogravure monoprints that master printer Jonathan Higgins and Kincaid had an enormously good time creating. It was one of Manneken’s first projects and, to this day, one of its most successful. There are still select monoprints available directly through Manneken Press. For additional information, visit their website. CLICK HERE
Ted Kincaid has been working on various aspects of a major new body of work that includes new works on paper such as these images from a grouping of twenty-eight, entitled “When I Heard the Learn’d Astronomer.” This installation, as well as the rest of the works, are based on the writings of Walt Whitman, homosocial rituals, and the emergence of the homosexual identity in the 19th Century.
Happy New Year from the official website of Texas-based visual-conceptualist Ted Kincaid. Here you will always find the latest news, sneak peeks from the studio, and other projects and large-scale commissions by the artist. Kincaid is gearing up for quite a busy 2021, with numerous projects and new work currently in the studio. Have a fabulous 2021, and come back soon!
The Arthur Roger Gallery is pleased to present Art in the Time of Empathy, an exhibition of gallery and invited artists examining the year 2020 as a unique historical moment and a transformative time. The exhibition will be on view at Arthur Roger Gallery, located at 432 Julia Street, from October 3 until December 19. The exhibition will open on October 3rd in conjunction with Art Beyond Arts’ Sake.
Art in the Time of Empathy is the largest exhibition in the gallery’s history, featuring over 70 invited and represented artists. Playing off the iconic title of Gabriel García Márquez’s Love in the Time of Cholera, artists address the many aspects of quarantine, politics, social justice, science, and community in a time where physical distance has redefined these dialogues. A time capsule for our period, Art in the Time of Empathy is an exploration of the human side of this moment, an opportunity for a community to pause and reflect on the many perspectives of a shared experience.
The exhibition features artists who used this time of sheltering in place to re-examine their studio practice and to contemplate themes of separation, normalcy, politics, social justice, and a return to nature and to self. Demond Melancon confronts the devastation of COVID-19 and the price paid by frontline workers. Frahn Koerner, David Halliday, Jacqueline Bishop address the physical separation of social distancing and the complex emotions that follow. John Alexander and Ted Kincaid unpack the shocking, divisive, and hateful state of American politics. The renewed force of the Black Lives Matter movement demanded action from many artists. Whitfield Lovell, George Dureau, and Leonard Galmon present striking portraits of Black Americans, celebrating Black bodies that historically have been excluded or appropriated in Western art, while Douglas Bourgeois’ “Mistaken Identity” addresses the extreme police violence against Black people.
Some artists approach these complex issues with humor. Richard Baker’s series of bread-making cookbooks and still life paintings by David Bates and Amy Weiskopf consider the experience of quarantine and its associated activities. Douglas Bourgeois creates a fictional graduation yearbook, recalling memories and experiences sorely missed amidst strict new school protocols. Joseph Havel’s stack of translucent books and Jim Richard’s backyard scenes recall the solitude of open time. James Drake’s “You Owe Me Money” evokes the economic downfall, devastating unemployment, and financial difficulties of the pandemic.
Other artists focus on our community, its struggles, triumphs, and resilience. John Hartman’s portrait of Doreen Ketchens recalls a time when music and people filled the French Quarter, now uncomfortably quiet. Deborah Luster, An-My Lê, Meg Turner, and Robert Polidori present piercing photographs of the people and urban landscape of Louisiana. Robert Colescott and Robert Gordy remind us of past traumas and lessons learned in the wake of Hurricane Katrina and the devastation of the AIDS crisis. Dawn DeDeaux looks ahead towards a fascinating socially distanced future with her Space Clown series.
ART IN THE TIME OF EMPATHY
Exhibition Dates: October 3–December 19, 2020
Gallery Location: 432 Julia Street, New Orleans, LA 70130
Opening: 11 AM–7 PM in conjunction with Art Beyond Art’s Sake
Hours: Tuesday–Saturday, 10 AM–5 PM
Contact Info: 504.522.1999; www.arthurrogergallery.com
Talley Dunn Gallery
May 26 – July 11, 2020
Featuring photographs by Sharon Core, Ted Kincaid, and Rachel Perry, Daydreaming is an online exhibition of contemporary photography that explores themes of artifice and materialism through imagery that is at once fantastically ethereal and distinctly mundane. All three artists push aside conventional views of photography as an objective medium. Their meticulously crafted works query distinctions between truth and fiction, photography and other media, the original and the facsimile. Vibrant colors and imagination thrive in the artists’ contemporary takes on still lifes, landscapes, and portraits of altered reality. Daydreaming invites us into a world of dreams that continues to resonate into our waking hours.
To view the exhibit, CLICK HERE
In response to the Covid-19 Pandemic, Ted Kincaid, along with artist Scott Anderson, have founded an online virtual art fair – The Pandemic Faire, which will run online for the duration of the pandemic. New artists are added weekly, initially from Texas, then national, and now internationally. In their press release, Anderson and Kincaid state, “It is a platform to bring work by contemporary visual artists directly to the viewing and collecting public, without that abject fear of contagion by some art consultant who became infected on a client’s private jet.”
As much an “art action” in response to the crisis as much as an actual art fair, both founders consider this a labor of love, and are not profiting off of the situation. Kincaid states, “We make no profit from our endeavor, and seek only to expose you to outstanding, relevant, engaging works of art and the artists who create them. All participants have direct links to their websites and gallery representation, where you can digitally whisk yourself away to directly purchase anything on display that strikes your virtual fancy.”
Visit the faire here… The Pandemic Faire
…and read Danielle Avram’s article in The Dallas Morning News…Welcome to Pandemic Faire — the digital art fair created by two North Texas artists
The Columbus Museum in Columbus, Georgia recently acquired Ted Kincaid’s Study for Thunderhead 11513, 2013 for its permanent collection. This canvas, which was recently featured in Kincaid’s solo exhibition at the Georgia Museum of Art, is a preliminary study for a mammoth canvas that is in the permanent collection of the Resource Center of Dallas.
Ted Kincaid is back in the studio, after taking some time off due to the loss of both his parents this Spring. He is now working on the beginnings of a large installation-based work which will include a wide variety of media as well as a performance component. Stay tuned for details…
Four works from Ted Kincaid’s “Not For Another Hour, But This Hour” series were recently acquired for the permanent collection of the Georgia Museum of Art in Athens, Georgia. This acquisition follows Kincaid’s solo exhibition at the museum in the Winter of 2018-19.
Ted Kincaid Artist Talk
Saturday, May 18 at 2:00 pm
Join Talley Dunn Gallery for a special discussion with Ted Kincaid and a debut presentation of the artist’s new suite of intaglio prints, The Kakistocracy Portfolio.
These prints employ 16th-century religious iconography and compositional structures to create intricate, fantastical allegories. Don’t miss the chance to learn more about Kincaid’s process and inspiration.
THE WILD UNREST
DEVIN BORDEN GALLERY
FEBRUARY 22 – APRIL 2, 2019
Devin Borden Gallery presents The Wild Unrest, artist Ted Kincaid’s fourth solo exhibit with the gallery. The installation of real and manufactured photographs explores a dialogue between the elements of earth, sea, sky, and the human figure. While seemingly disparate in nature, the selection of images is the artist’s investigation of the simultaneous emergence of the Aesthetic Movement of the 19th Century and the concept of homosexuality as an innate identity rather than a behavior. Using Walt Whitman, Thomas Eakins, and Herman Melville as artistic pioneers and cultural touchstones, Kincaid has blurred the line not only between real and manufactured realities, but also between real and imagined histories.
Central to this exhibition is the concept that the artist’s identity manifests itself in his aesthetic response to all subject matter, and that the concept of “queer art” must extend itself beyond what is traditionally accepted as such. In short, Kincaid’s photographic response to the male figure, the deciduous landscape, and the rolling waves are inseparable — and should be viewed as a single, cohesive statement and body of work.
Over the course of two decades, Kincaid has systematically subverted the notion of an objective photographic record. As his art continues to explore the play between painting and photography, Kincaid is one of several artists creating a new painting informed by photo-imagery and a new photography influenced by painting. The artist has explored this conceptual discourse through multiple series of work, deftly riding the line between the construction of totally manufactured images that bear the aesthetic of seemingly straightforward photographic images and actual photographs that buzz with vibrant palettes almost too fantastic to be considered plausible.
EVEN IF I LOSE EVERYTHING
THE GEORGIA MUSEUM OF ART
NOVEMBER 17, 2018 – JANUARY 12, 2019
EVEN IF I LOSE EVERYTHING is the first solo museum exhibition for Texas-based artist Ted Kincaid. For the past 30 years, Kincaid has used the medium and history of photography to systematically subvert the notion of an objective photographic record. His art continues to explore the play between painting and photography and creates a new painting informed by photo-imagery and a new photography influenced by painting. The artist has explored this conceptual discourse through multiple series of works, deftly riding the line between the construction of totally manufactured images that bear the aesthetic of seemingly straightforward photographic images and actual photographs that buzz with vibrant palettes almost too fantastic to be considered plausible as photographs.
EVEN IF I LOSE EVERYTHING focuses on a series of Kincaid’s digital dissections of skyscapes from his own photographs, as well as skies from the paintings of historical artists, which he uses as base elements to stitch together an entirely new pixel-based rendition of the firmaments. Nothing has been added nor taken away, but instead radically reordered.
Ted Kincaid is one of the most recognized and respected artists from Texas. He is exhibited and collected nationally and has received considerable critical attention for his photographically based work. He has been reviewed in ARTFORUM, ARTPAPER and ART ON PAPER and is included in the permanent collections of the Dallas Museum of Art, the Museum of Fine Arts in Houston, the Museum of Fine Arts in San Antonio, the Neiman Marcus Collection, American Airlines, the Belo Corporation, the Microsoft Corporation, Pfizer, Inc, Reader’s Digest Corporate Collection, the City of Seattle, Washington, the U.S. State Department and the Human Rights Campaign Headquarters in Washington, DC.
Ted Kincaid’s newest suite of images, The Kakistocracy Portfolio is in the process of being editioned in Kansas City, and will be available later this fall. Consisting of 5 photopolymer gravure intaglio prints, the portfolio is the artist’s response to the current political and moral corruption inhabiting the White House, and was inspired in large part by Francisco Goya’s Disasters of War Portfolio from the early 19th Century, as well as the politically charged printed works of The Taller de Gráfica Popular in Mexico City.
Academic Nudes (for Thomas Eakins) serves as a simple, yet refined coda for a conceptual series of work artist Ted Kincaid has pursued for the past 8 years. Kincaid has forever looked to the early history of the photographic process to inform the trajectory of his image-making evolution, continually subverting the notion of an objective photographic record by digitally manufacturing images from scratch that bear the look and feel of an objective photographic record, even though they were largely wholesale concoctions of his historically-informed imagination.
Here, with this quiet suite, Kincaid again subverts what we expect to see from his workshop, by presenting us with, for him, rather straightforward photographic meditations on the classic male form… real photographic documents from an artist who has continually labored to make us question everything we see from his hand. With Academic Nudes (for Thomas Eakins), we observe Kincaid in an almost real time dialogue with an artist who has, for an extended period, continually informed and influenced the process of his image-making.
“Eakins figures, to me, each represent a self-portrait… an attempt to communicate the feeling of self-immersion in experience,” Kincaid remarked recently. “In a way, though, all artists project a rather raw version of themselves in the process of rendering ‘the subject.’ I was just profoundly drawn to, not only Eakins painted depictions of the human form, but his photographic studies as well. For him, it seems, turning the camera on others was the most honest manner in which he could depict himself.”
Academic Nudes (for Thomas Eakins), along with the Trinity Portfolio, are about as close as we will ever get to seeing this convoluted conceptualist/minimalist/maximalist/romantic stripped of his trappings… literally, so to speak. Honest, warm and intimate images from an artist whose entire career has involved throwing his viewers curve balls.
Manneken Press has a sharp new online exhibition of highlights from a two-decade collaboration with Ted Kincaid…
“Over the course of his thirty-year career, Ted Kincaid’s work has included minimalist grids and fields of pattern, abstracted clouds and con trails, icebergs and shipwrecks, landscapes and the moon. With the singular mission of questioning the veracity of the photographic image, he has used the camera and the computer to make images that look like a photograph but are not, and images that do not look photographic but in fact are.
Though trained as a photographer, Kincaid’s history with printmaking is deep. Working with Master Printer Jonathan Higgins, he completed several major projects at Galamander Press in New York City in the late 1990’s, and since 2000, at Manneken Press in Bloomington, IL. These projects usually started with a drawing that Kincaid had made on his computer, and printed out on a desktop printer. Photographing these printouts with a medium-format film camera, he would turn the lens to blur and soften the images. The resulting negatives became the basis for copper photogravure plates from which series of variants were printed. Most make use of chine collé, the technique of printing on a thin sheet of kozo paper that is laminated to a heavier sheet. Kincaid used paper as a color element, choosing from an array of brightly colored handmade Japanese papers. There is a warmth and humanity in these prints, achieved through the juxtaposition of old and the new, high-tech and low-tech, the machine and the hand. They are hybrids of drawing, photography and printmaking, created using 19th, 20th and 21st Century technologies.”
Catch the exhibition HERE…
Ted Kincaid is featured in an extensive one-on-one conversation with Outside of New York,an incredible new podcast about artists who have been successful outside of New York City… visit www.outsideofnewyork.com/437/ to listen to the podcast episode.
With his series Not for Another Hour, But This Hour, artist Ted Kincaid has crafted a body of work that presents a rich treasure trove of references from literature and myth. Ships sail and burn against stormy skies, while shipwrecked sailors with classically beautiful musculature rescue one another from the fate of slipping forever into the sea.
It’s clear that Kincaid isn’t in the business of straightforward photography. But the degree of work he puts into constructing these images, and the degree to which some of them are constructed, is impressive. “Over the course of the past 25 years, the trajectory of my work has involved questioning the veracity of the photographic image,” says Kincaid. “To that end, although the aesthetic of my work has changed wildly, the concept has remained consistent.”
Read the full article here…