ERIK SAXON

 

INFO
CV (PDF)
News

GALLERY EXHIBITIONS
On Paper, July 9 – August 13, 2016
Elements, January 10 – February 21, 2015
MINUS SPACE en Oaxaca: Panorama de 31 artistas internacionales, Multiple Cultural Venues, Oaxaca, Mexico, March 15 – April 30, 2012
Erik Saxon: Select Works, 1973-2011, May 7 – June 11, 2011

BIO
Erik Saxon (b. 1941, San Francisco, CA, USA) has exhibited his work internationally for the past forty years, including Belgium, France, Germany, Netherlands, Serbia, Spain, Sweden, Switzerland, and the United States. His work has been included in solo and group exhibitions at venues, such as Stark Gallery, Lorence/Monk Gallery, Florence Lynch Gallery (all NYC), Modernism (San Francisco, CA), Newspace (Los Angeles, CA), Galerie L’A (Liege, Belgium), Georgia Museum of Art (Athens, GA), Bowdoin College Museum of Art (Brunswick, ME), Cincinnati Museum of Art (Cincinnati, OH), Krannert Art Museum (Champaign, IL), Brevard Museum of Art and Science (Melbourne, FL), Sunrise Museum (Charleston, WV), Gibbes Museum of Art (Charleston, SC), Wilhelm-Hack Museum (Ludwigshafen, Germany), Raum für Malerei, artothek, Kolnisches Stadt Museum (all Cologne, Germany), Kunstverein Arnsberg (Arnsberg, Germany), Museum Gegenstandsfreier Kunst (Landkreis Cuxhaven, Germany), Mondriaanhuis (Amersfoort, Netherlands), Museum of Modern Art (Belgrade, Serbia), Museo de Arte Contemporaneo Esteban Vicente (Segovia, Spain), and Museo Cantonale d’Arte (Lugano, Switzerland).

Erik is most closely associated with the Radical Painting Group active in NYC during the 1970s and early 1980s. The group stressed a radical return to the core concerns of painting. The group’s other participants included artists Marcia Hafif, Dale Henry, Anders Knutsson, Joseph Marioni, Olivier Mosset, Phil Sims, Doug Sanderson, Susanna Tanger, Frederic Matys Thursz, Merrill Wagner, and Jerry Zeniuk, among others.

Erik’s work has been discussed and reviewed in publications, such as Artforum, Art in America, The New York Times, Brooklyn Rail, Village Voice, New York Observer, New York Sun, San Francisco Chronicle, Los Angeles Times, and Kolner Stadt-Anzeiger (Germany). His paintings and drawings are included in many public and private collections internationally, including the Museum of Modern Art (NYC), National Gallery of Art (Washington, DC), UCLA Hammer Museum (Los Angeles, CA), Yale University Art Gallery (New Haven, CT), Harvard Art Museums/Fogg Art Museum (Cambridge, MA), Göteborg Museum of Art (Göteborg, Sweden), Museo Cantonale d’Arte (Lugano, Switzerland), and Museum of Modern Art (Belgrade, Serbia). His work has been collected by Wynn Kramarsky (NYC) and Giuseppe Panza (Varese, Italy).

In addition to his studio work, Erik has written extensively. His essays and criticism have appeared in exhibition catalogs worldwide and have been published in magazines, such as Artforum, Art in America, and Appearances, among others. Erik holds an MA and BA from the University of California, Berkeley, CA.

STATEMENT
For the past thirty years, Erik Saxon has experimented broadly with the concept of the monochrome. He has worked with a wide variety of shaped painting supports, including squares, rectangles, crosses, circles, and ovals. He has produced single panel paintings, as well as diptychs and triptychs. His paintings commonly featured layered surfaces sometimes involving up to thirty successive layers of paint, which according to the artist, “frees the paint from its support enabling it to become an independent surface”.

During this time, Saxon also examined a painting’s relationship to the wall, the floor, its location within the exhibition space, and the viewer. Paintings are sometimes hung at an oblique angle to the floor or with the bottom edge of a painting positioned at eye level on the wall. In addition, he has analyzed the inherent tension between individual panels in a diptych or triptych, sometimes installing them abutted together horizontally or vertically, spaced apart at predetermined intervals, or positioned on the wall at a precise distance away from each other where the individual panels no longer relate.