Back To Top

museum exhibition

The FLAG Art Foundation, New York
Ashley Bickerton

September 23 – December 16, 2017

ASHLEY BICKERTON
Wall-Wall Triptych No. 1 (Double Silver/Psychedelic), 2016
oil paint on res...

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

Ashley Bickerton
Extradition with Palette, 2006
C-print in mother of pearl inlaid artist fra...

ASHLEY BICKERTON
Doodle #2, 2002
ink, graphite, and acrylic on paper in carved wood artist f...

ASHLEY BICKERTON
Doodle #2 (detail), 2002
ink, graphite, and acrylic on paper in carved wood...

ASHLEY BICKERTON
L.W.S. 1, 2000
acrylic, oil, analine dye, pencil collage on wood
66 ...

ASHLEY BICKERTON
The Vlaminko's, 1999
acrylic, oil, pencil, and photographs on wood

ASHLEY BICKERTON
Seascape: Floating Costume to Drift for Eternity III (Elvis Suit), 1992
sui...

ASHLEY BICKERTON
Still Life (The Artist's Studio After Braque) #2, 1989
mixed media cons...

ASHLEY BICKERTON
Catalog: Terra Firma Nineteen Hundred Eight Nine #2, 1989
anodized aluminum...

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

ASHLEY BICKERTON
Abstract painting for people #3, 1986
acrylic and metal flake enamel on ply...

ASHLEY BICKERTON
GOG, 1985
acrylic and metal flake enamel on plywood with formica and brushe...

museum exhibition

The FLAG Art Foundation, New York
Ashley Bickerton

September 23 – December 16, 2017

Opening Reception: Thursday, September 28, 6-8pm

 

The FLAG Art Foundation presents the first U.S. survey of Bali-based artist Ashley Bickerton, on view September 23 – December 16, 2017, on its 9th and 10th floors.

 

Ashley Bickerton’s vibrant and often dystopic vision of contemporary culture has been at the center of his four-decade-long practice, which includes painting, photography, sculpture, and every possible combination therein. The survey demonstrates the extraordinary visual range of Bickerton’s oeuvre, which oscillates between playfulness and brutality, extreme beauty and the grotesque. Works from the artist’s signature series from the 1980’s to present, including Susie, Logos, Blue Man, and new Water Vector and Wall-Wall works, highlight his subversive and self-aware critique of identity, consumerism, and cultural artifice.

 

Bickerton rose to prominence as part of the 1980’s New York East Village art scene, with works that layered the reductive formalist aesthetic of minimalism with signs, symbols, and logos, as a means to examine commodity and value. In 1982, Bickerton concocted Susie, a personal trademark, which would be stamped onto his work for much of the next decade. Subverting the authority of the signature, Susie reduced the artist to a brand, alongside his use of logos and symbols such as Nike, Samsung, TV Guide, dollar signs, and skulls. As Bickerton stated “maybe somewhere in this circumscribed liberty of obvious, eccentric, contradictory, and choiceless choices we can pinpoint an individual. ‘Yes, I am a macrobiotic birdseed-swallowing disciple of the Marlboro Man, I like my liquor ‘rot gut’ and my TV highbrow, I wear American yokel underwear in icy Bauhaus furniture and I drive a crappy French car. Who am I?’”

 

The artist’s preoccupation with the end of the world (perhaps foreshadowing the end of his time in New York), was evidenced in Bickerton’s work from the late 1980’s and early 1990’s, which included flotation devices, portholes, ropes, carabiners, and biosphere escape hatches. These time capsules/idiosyncratic survival kits contain a variety of materials – cigarette butts, cheese puffs, alcohol, an Elvis costume, “Smoked Sturgeon, Salmon and Scallops With A Mild Horseradish Flavored Oil,” etc. – all preserved for an eventual apocalypse.

 

Bickerton decamped from New York in 1993, eventually settling in the surfer’s paradise of Bali, which resulted in a dramatic shift in his practice and style. Working in an increasingly figurative and self-reflective mode, the artist used himself, his family, fellow expats, and prostitutes as models for hyper-realistic paintings, which depicted an increasingly acerbic view of humanity. Bickerton parodied do-gooding society types, contrived and idealized self and family portraiture, western fantasies of island expat life, and the mythological role of the artist. This led to the creation of bizarre, composite alter egos, such as Blue Man and Snake-Headed Man, as well as a tongue-in-cheek version of himself in the likeness of Paul Gauguin. In seeking further freedom to create his maximalist compositions, Bickerton began staging elaborate sets, painting directly onto people and objects that he would photograph and digitally alter. Local, artisinally-crafted frames, inlaid with mother of pearl and hand-carved coconut shells, complete these complex satires.

 

Whereas Bickerton’s early works tackle form, function, and communication, with sometimes single words acting as the entire painting, his later figurative pieces are visually deafening, with bright color and cluttered objects mirroring the over-the-top excess featured as the work’s subject. Newly created Wall-Walls refer to an earlier series from the 1980’s, and attest to Bickerton’s continued interest to mine and recontextualize a cohesive cadre of themes over time. He states “in a long and often breathless career, I feel I’ve pursued every reckless tangent with utterly no fidelity to any stylistic cohesion, but nevertheless in this tangle I knew inherently there was a larger overarching language that was distinctly my own. The project of the last several years has been to try to come full circle and in the process unearth that language, to give it shape and cadence, and understand how it has run through the work, clear and unadulterated from the beginning. The Wall-Walls turned out to be the key that unlocked it all.”

 

Ashley Bickerton (b. 1959, Barbados, West Indies) is an artist living and working in Uluwatu, Bali. Bickerton graduated from California Institute of the Arts, Santa Clarita, CA, in 1982, and continued his education in the Independent Studios Program (ISP) at the Whitney Museum of American Art, New York, NY, in 1985. Bickerton has been the subject of recent solo exhibitions, including The Newport Street Gallery, London, United Kingdom (2017); Almanach 16, Le Consortium, Dijon, France (2016); among others. His work has been featured in major institutions, including the Walker Art Center, Minneapolis, MN (2012); Institute of Contemporary Art, Boston, MA (2012); Victoria & Albert Museum, London, United Kingdom (2011); New Museum, New York, NY (2010), among others. Bickerton’s work has been included in prominent international biennales, including the 9th Biennale of Sydney, Australia (1992); the 44th Venice Biennale (1990); and the 1989 Whitney Biennial. His work is included in the collections of the Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; the Museum of Contemporary Art, Los Angeles, CA; the Hara Museum of Contemporary Art, Tokyo, Japan; among others.

 

Additional support provided by Lehmann Maupin, New York and Hong Kong.

 

Exhibition Artists