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Benjamin Edwards

Benjamin Edwards, The Rift, 2017, olio su tela, 69 × 89 × 3 cm

Benjamin Edwards, The Rift, 2017, olio su tela, 69 × 89 × 3 cm

Benjamin Edwards, The Rift, 2017, olio su tela, 69 × 89 × 3 cm

Benjamin Edwards, The Rift, 2017, olio su tela, 69 × 89 × 3 cm

Benjamin Edwards, Bot in Love, 2020, olio su tela, 122 × 91.5 × 5 cm

Benjamin Edwards, Bot in Love, 2020, olio su tela, 122 × 91.5 × 5 cm

Benjamin Edwards, Bot in Love, 2020, olio su tela, 122 × 91.5 × 5 cm

Benjamin Edwards, Bot in Love, 2020, olio su tela, 122 × 91.5 × 5 cm

Benjamin Edwards, Head of a Goddess 2016-2020, olio su tela, 101.6x76.2 cm

Benjamin Edwards, Head of a Goddess 2016-2020, olio su tela, 101.6x76.2 cm

Benjamin Edwards, Head of a Goddess 2016-2020, olio su tela, 101.6x76.2 cm

Benjamin Edwards, Head of a Goddess 2016-2020, olio su tela, 101.6x76.2 cm

Benjamin Edwards, Study of the End of the World #4, 2019, olio su tela, 2019, 46 × 60.5 × 3 cm

Benjamin Edwards, Study of the End of the World #4, 2019, olio su tela, 2019, 46 × 60.5 × 3 cm

Benjamin Edwards, Study of the End of the World #4, 2019, olio su tela, 2019, 46 × 60.5 × 3 cm

Benjamin Edwards, Study of the End of the World #4, 2019, olio su tela, 2019, 46 × 60.5 × 3 cm

Benjamin Edwards, Your Bliss is Calling, 2017, olio e stampa a getto di inchiostro su tela, 65.5 × 101.5 × 3 cm

Benjamin Edwards, Your Bliss is Calling, 2017, olio e stampa a getto di inchiostro su tela, 65.5 × 101.5 × 3 cm

Benjamin Edwards, Your Bliss is Calling, 2017, olio e stampa a getto di inchiostro su tela, 65.5 × 101.5 × 3 cm

Benjamin Edwards, Your Bliss is Calling, 2017, olio e stampa a getto di inchiostro su tela, 65.5 × 101.5 × 3 cm

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Benjamin Edwards è nato a Iowa City, Iowa nel 1970 e vive e lavora a Washington D.C..

La ricerca di Ben Edwards è una indagine costante della dinamica che si crea tra progresso e natura, di cui egli cerca di comprenderne l’equilibrio e le leggi. Da qui prendono forma le sue città immaginarie dove la figura umana ha un ruolo marginale ed è relegata ad una teoria di ritratti dall’identità confusa.

Nelle sue opere ritrae l'equilibrio e le leggi che regolano la distopia della città del futuro. La produzione pittorica di Edwards ha origine dallo studio dell'Utopia di Thomas More, che conduce l'artista a lavorare sul tema della città immaginaria. Pertanto, Edwards inizia a produrre vedute di città frammentate secondo un'estetica caotica e non lineare. Ed è proprio da questo sfondo che si formano le sue città: luoghi immaginari di un futuro tecnologico situati in un interstizio tra fisico e digitale, realtà e possibilità, tra mortalità e immoralità.

Edwards ha fatto ricorso a tecniche diverse negli anni. All’inizio utilizzava un proiettore per diapositive, spostando l’immagine, o anche sovrapponendo più immagini, per ottenere combinazioni impreviste sulla tela, per poi da dipingere. Nel 2005 inizia a usare un codice JavaScript integrato in HTML insieme a un proiettore digitale.

Ha esposto negli Stati Uniti, in Europa e in Asia. Il suo lavoro fa parte di collezioni museali come il Carnegie Museum of Art, Pittsburgh, PA e il Museum of Modern Art, New York, NY. Benjamin Edwards fa parte del movimento artistico Aftermodernism fondato dal collezionista Hubert Neumann. Nel 2020 espone alla Mucciaccia Contemporary di Roma nella mostra Aftermodernism Chapter 2 Benjamin Edwards Tom Sanford a cura di Cesare Biasini Selvaggi.

2013 

System, Kravets Wehby Gallery, New York, NY

2008

Democracity, Tomio Koyama Gallery, Tokyo, Japan

2007

Ether Studies, Galerie Jean-Luc & Takako Richard, Paris, France

2006

We, Greenberg Van Doren Gallery, New York, NY

2004

Automatic City, Greenberg Van Doren Gallery, New York, NY

2001

Convergence, Artemis Greenberg Van Doren Gallery, New York, NY

2020

Aftermoderism Chapter 2, Benjamin Edwards and Tom Sanford, curated by Cesare Biasini Selvaggi. Mucciaccia Contemporary, Rome, Italy.

2017

Hypnagogic (two-person show with Michael Bevilacqua), Neumann Wolfson Art, New York, NY

Inaugural Group Show, Neumann Wolfson Art, New York, NY

2016

AftermodernisM, Neumann Wolfson Art/ Nicole Ripka Gallery, Watermill, NY

Sensorium, The Kravets Wehby Gallery, New York, NY

2013

System, Kravets Wehby Gallery, New York, NY (solo)

2012

Disorder, The Kravets Wehby Gallery, New York, NY

2010

World und System, Städtische Galerie Dresden, Dresden, Germany

Skeptical Landscapes, Herter Art Gallery, University of Massachusetts Amherst, Amherst, MA (catalogue)

Currents, Nassau County Museum of Art, Roslyn Harbor, NY

2009

Futurescape, Contemporary Art Galleries, University of Connecticut, Storrs, CT (solo)

Summer Exhibition, Marlborough Chelsea, New York, NY

Idylls, The World Bank, in collaboration with Washington Project for the Arts, Washington, DC (illustrated brochure)

2008–2009

Excerpt: Selections from the Collection of Jeanne Greenberg Rohatyn, the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY (catalogue)

Worlds Away: New Suburban Landscapes, Walker Art Center, Minneapolis, MN; traveled to Heinz Architectural Center, Carnegie Museum of Art, Pittsburgh, PA

2008

To Infinity and Beyond: Mathematics in Contemporary Art, The Heckscher Museum of Art, Huntington, NY

Democracity, Tomio Koyama Gallery, Tokyo, Japan (solo)

The Triumph of Democracy: Inside the Studio: Benjamin Edwards, The Print Center, Philadelphia (solo)

2007

Ether Studies, Galerie Jean-Luc & Takako Richard, Paris, France (solo)

The Incomplete, Chelsea Art Museum, New York, NY

The Incomplete Incomplete, Kravets/Wehby Gallery, New York, NY

Microwave Five, Josée Bienvenu Gallery, New York, NY

2006

Cul-de-Sac: Art from a Suburban Nation, Martin Gallery, Radford University, Radford, VA

Public Image: Painting in the City, Tilburg, Netherlands

We, Greenberg Van Doren Gallery, NY (solo)

New Prints 2006/Spring: Selected by Richard Tuttle, New York, NY

City-M, Kunsthaus Graz, Austria

2005

New Art New York: Reflections on the Human Condition, Trierenberg Holding, Inc., Traun, Austria

The ArtReview 25: An exhibition of Emerging US Artists, Phillips de Pury & Company East Gallery, New York

The City: Contemporary Views of the Built Environment, Lehman College Art Gallery, The City University of New York, Bronx, NY

First Skin, Gallery Gebr. Lehmann, Dresden, Germany

2004

Black & White, Greenberg Van Doren Gallery, NY

Surface Tension, Chelsea Art Museum, New York, NY

Open Range, Artemis Greenberg Van Doren Gallery, New York, NY

Future Noir, Gorney Bravin Lee Gallery, New York

Automatic City, Greenberg Van Doren Gallery, New York, NY (solo)

2003

Split, Sandra Gering Gallery, New York, NY

MetaScape, The Cleveland Museum of Art, Cleveland, OH

Painting Pictures: Painting and Media in the Digital Age, Kunstmuseum Wolfsburg, Wolfsburg, Germany

2002

Post-Digital Painting, Cranbrook Art Museum, Bloomfield Hills, MI

Snapshot, Elizabeth Leach Gallery, Portland, OR

Painting as Paradox, Artists Space, New York

Plotting, Carrie Secrist Gallery, Chicago, IL

Panorama, curated by Carmen Zita / TRACE, Room, NY

The Norman Dubrow Biennial, Kagan Martos Gallery, New York, NY

On Perspective, Gallerie Faurschou, Copenhagen, Denmark

Busan Bienale, Busan, Korea

Invitational Exhibition of Painting and Sculpture, The American Academy of Arts and Letters, New York, NY

2001

Convergence, Artemis Greenberg Van Doren Gallery, New York, NY (solo)

Casino 2001, Stedelijk Museum Voor Actuel Kunst Gent (SMAK), Belgium