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…