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Artist

L'Almanac 16
Installation view
Le Constortium, Dijon, France
February 2--June 5, 2016

L'Almanac 16
Installation view
Le Constortium, Dijon, France
February 2--June 5, 2016

L'Almanac 16
Installation view
Le Constortium, Dijon, France
February 2--June 5, 2016

ASHLEY BICKERTON
Wall-Wall No.15 (Clear), 2015
resin and oil paint on fiberglass and plywood...

Prague Biennale 6
Installation view
June 6-September 15, 2013

ASHLEY BICKERTON
MV2, 2013
aluminum, oil, acrylic paint, hair, cement
83 x 28 x 25 in...

ASHLEY BICKERTON
Abstract Painting 2, 2013
Acrylic and oil paint on digitally printed canvas...

ASHLEY BICKERTON
Abstract Painting 3, 2013
Acrylic and oil paint on digitally printed canvas...

Nothing Turned Itself Inside Out
Installation view
White Flag Projects, St. Louis, Missouri<...

ASHLEY BICKERTON
m-DNA_eve 1, 2013
oil and acrylic on digital print on wood
88.5 x 74...

ASHLEY BICKERTON
m-DNA_eve 5, 2013
Acrylic and oil paint on digitally printed canvas on wood...

ASHLEY BICKERTON
White Head I, 2012
acrylic, digital print and plastic laminate on wood

ASHLEY BICKERTON
White Head II, 2012
oil acrylic coral and found objects on digital print on...

ASHLEY BICKERTON
Nocturnes
Installation view
Lehmann Maupin, New York
May 6-Ju...

ASHLEY BICKERTON
TITNW 3, 2011
acrylic, digital print, bamboo, wood, fiberglass
76.5 ...

ASHLEY BICKERTON
NNWWLB 2, 2011
acrylic and digital print and insect pins on paper
46...

ASHLEY BICKERTON
ANWWLB 2, 2011
acrylic and digital print and insect pins on paper
46...

ASHLEY BICKERTON
Untitled, 2011
oil and acrylic on digital print on canvas, wood with plasti...

ASHLEY BICKERTON
Oceanomania: Souvenirs of Mysterious Seas
Installation view
Nouveau ...

ASHLEY BICKERTON
Neon Bar, 2010-2011
acrylic, digital print and plastic laminate on wood

ASHLEY BICKERTON
TITNW 7, 2010-2011
acrylic, digital print and plastic laminate on wood

ASHLEY BICKERTON
Red Scooter Nocturne, 2010-2011
acrylic, digital print and plastic laminate...

ASHLEY BICKERTON
Preparation with Green Sky, 2010
c-print
40 x 54.6 inches
101...

ASHLEY BICKERTON
Scooter, 2008
oil and acrylic paint and digital print on archival canv...

ASHLEY BICKERTON
Canoe, 2008
acrylic and digital print on canvas in carved wood, coconut, mo...

ASHLEY BICKERTON
The Dream, 2008
acrylic and digital print on canvas in carved wood, coconut...

ASHLEY BICKERTON
Installation view
Lehmann Maupin, New York
March 20-May 3, 2008

ASHLEY BICKERTON
Bed, 2008
oil and Acrylic paint and digital print on archival, canvas ...

ASHLEY BICKERTON
Blue Shark, 2007
bronze
131 x 60 x 48 inches
332.7 x 152.4 x ...

ASHLEY BICKERTON
Blue Shark (detail), 2007
bronze
131 x 60 x 48 inches
33...

ASHLEY BICKERTON
LH 17, 2007
oil and digital print on canvas in carved wood, coconut, mother...

ASHLEY BICKERTON
Installation view
Lehmann Maupin, New York
May 6-27, 2006

ASHLEY BICKERTON
Installation view
Lehmann Maupin, New York
May 6-27, 2006

ASHLEY BICKERTON
Blue Bar, 2007
acrylic and digital print on canvas in carved wood, coconut,...

ASHLEY BICKERTON
Famili, 2007
acrylic and digital print on canvas in carved wood, coconut, m...

ASHLEY BICKERTON
Yellow Canoe, 2006
acrylic and digital print on canvas in carved wood, coco...

ASHLEY BICKERTON
Made's Warung, 2006
painting - mixed media collage on wood
41 x ...

ASHLEY BICKERTON
Untitled, 2006
mixed media collage on wood
47.64 x 60 x 6.3 inches

ASHLEY BICKERTON
Mulch, 2003
photocollage, acrylic and objects on wood
96 x 54 x 7 in...

ASHLEY BICKERTON
Jack Blaylock, 2001
acrylic, aniline dye, oil, pencil and photographs on wo...

ASHLEY BICKERTON
The Davidsons, 1997
oil, acrylic, pencil and analine dye on wood
94 ...

ASHLEY BICKERTON
The Patron, 1997
oil, acrylic, pencil and aniline dye on wood
66 x 9...

ASHLEY BICKERTON
Joan and the Cosmos, 1996
oil, acrylic and pencil on wood
47.25 x 24...

ASHLEY BICKERTON
Penelope Aurora Prudence, 1995
oil on wood
30 x 22 inches
76....

ASHLEY BICKERTON
Daisy Lolita Pog, 1994
oil on wood
48 x 96 inches
121.9 x 243...

ASHLEY BICKERTON
Rat Island Painting, 1993
mixed media
69 x 59 x 13 inches
175...

ASHLEY BICKERTON
Self-Portrait: Desert Island Head, 1993
translucent turquoise rubber head, ...

ASHLEY BICKERTON
Anthroposphere #2, 1990
anodized aluminum, wood, rubber, leather, glass, st...

ASHLEY BICKERTON
Piece Without A Center, 1990
oil on canvas, chrome plated steel, wood, rope...

ASHLEY BICKERTON
Seascape: Transporter for the Waste Product of its own Construction #1, 1989
...

ASHLEY BICKERTON
Tormented Self-Portrait (Susie at Arles), 1987 - 1988
synthetic polymer pai...

ASHLEY BICKERTON
Still Life (The Artist's Studio After Braque), 1988
mixed media constru...

ASHLEY BICKERTON
Abstract Painting for People 4 (Bad), 1987
lacquer and acrylic on polymer r...

ASHLEY BICKERTON
Le Art (Composition with Logos) #2, 1987
acrylic, bronzing powders, laquer,...

Gallery Exhibitions

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Artist Bio

Ashley Bickerton

Ashley Bickerton (b. 1959, Barbados, West Indies; lives and works in Bali, Indonesia) was an original member a group of artists known as Neo-Geo, which emerged in New York during the 1980s. In 1993, he left New York for Bali, Indonesia, where his work took on a distinct tropical exoticism often in sharp contrast to his Neo-Geo work, which was an abstract and geometric exploration of consumerism and industrialization. However, Bickerton’s investigation of materiality remained a consistent thread throughout his practice. Often blurring the boundaries between media, genre, and subject (photography and sculpture; portraiture and landscape; realism and fantasy), he challenges the parameters of art making, calling into question the value and significance of the art object itself.

 

While working in New York, Bickerton established a brand name for himself, Susie, which he has continued to incorporate into much of his work. In his early exploration of self-portraiture, Bickerton placed his invented Susie logo among the logos of other name brands that he used in his daily life: Marlboro, Fruit of the Loom, Renault. This representation of self as an accumulation of commercial brands was Bickerton’s method of investigating the complexity of consumer society and valuation. Around the same time, Bickerton produced several “still lives” that incorporated the Susie logo with a digital screen that displays the value of the work and tracks its fluctuating market value. 

 

After his relocation to Bali, Bickerton became more focused on hyper-realistic figurativism that parodied the Western fantasy of tropical island life. He began depicting himself, his family, and his friends in bright colors, dripping with overt sexuality and exoticism. For these works Bickerton designs intricate stage sets and paints directly onto his models, their clothes, and props, photographing them and then editing the images during post-production to create hyper-realistic yet artificial and disorienting scenes. Bickerton then works directly onto the photographic print using thick layers of oil and acrylic paint so that the components of photograph, painting, and sculpture become indistinguishable. The result is an eerie and often macabre scene of hypersexualized overconsumption.

 

Bickerton received his BFA from the California Institute of the Arts in 1982 and continued his education in the independent studies program at the Whitney Museum of American Art, New York. Solo shows of his work have been organized at Musée d'art moderne et contemporain, Geneva (forthcoming, 2018); Newport Street Gallery, London (2017); The FLAG Art Foundation, New York (2017); and Palacete del Embarcadero, Autoridad Portuaria de Santander, Spain (1997). Select group exhibitions featuring his work include Brand New: Art and Commodity in the 1980s, Hirshhorn Museum and Sculpture Garden, Washington, DC (2016); Human Interest: Portraits from the Whitney’s Collection; Whitney Museum of American Art, New York (2016); L’Almanach 16, Le Consortium, Dijon, France (2016); Painting 2.0: Expression in the Information Age, Museum Brandhorst, Munich, Germany (2015); Ileana Sonnabend: Ambassador for the New, The Museum of Modern Art, New York (2013); Aquatopia, Tate St Ives, Cornwall, United Kingdom (2013); The Living Years: Art after 1989, Walker Art Center, Minneapolis, MN; This Will Have Been: Art, Love & Politics in the 1980s, Museum of Contemporary Art Chicago, traveled to Walker Art Center, Minneapolis, MN and Institute of Contemporary Art, Boston, MA (2012); Postmodernism: Style and Subversion 1970-1990, Victoria and Albert Museum, London (2011); Skin Fruit: Selections from the Dakis Joannou Collection, New Museum, New York (2010); Pop Life: Art in a Material World, Tate Modern, London (2009); Allegories of Modernism: Contemporary Drawing, The Museum of Modern Art, New York (1992); Word as Image: American Art 1960-1990, Milwaukee Art Museum, WI (1990), traveled to Contemporary Arts Museum, Houston (1991); and the Whitney Biennial, Whitney Museum of American Art, New York (1989). His work is in numerous international public and private collections, including The Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Stedelijk Museum, Amsterdam; Hara Museum of Contemporary Art, Tokyo; Vancouver Art Gallery; Museum of Contemporary Art Chicago; Walker Art Center, Minneapolis, MN; and the Tate Britain, London.