Patrick Wilson

Print print

Biography

PATRICK WILSON

Born: 1970, Redding, CA

Education:

1995 M.F.A., Claremont Graduate University, Claremont, CA
1993 B.A., University of California, Davis, CA
1990 A.A., Shasta Community College, Redding, CA

Selected Solo Exhibitions:

2012 Slow Motion Action Painting, Marx & Zavattero, San Francisco, CA
Pull, University Art Museum, California State University Long Beach, Long Beach, CA
Color Space, Ameringer McEnery Yohe, New York, NY
2011 “Good Barbecue,” Susanne Vielmetter Los Angeles Projects, Culver City, CA
2010 “The View from My Deck,” Marx & Zavattero, San Francisco, CA
2009 “Always for Pleasure,” Susanne Vielmetter Los Angeles Projects, Culver City, CA
“Slow Food,” Curator’s Office, Washington, DC
2008 “Considering Truth and Beauty,” Marx & Zavattero, San Francisco, CA
“Selections from Suite for Mount Washington: New Works on Paper,” Susanne Vielmetter Los Angeles Projects, Culver City, CA
2007 “Some Things I Like,” Rebecca Ibel Gallery, Columbus, OH
2006 “The Chandler Paintings,” Brian Gross Fine Art, San Francisco, CA
“Hothouse Flowers,” Rebecca Ibel Gallery, Columbus, OH
2005 “The Course of Empire,” Susanne Vielmetter Los Angeles Projects, Culver City, CA
“Two-Fold: Patrick Wilson - Richard Wilson,” Claremont Graduate University, Claremont, CA (curated by David Pagel)
“Patrick Wilson: West,” Fusebox, Washington, DC
2004 “New Paintings,” Brian Gross Gallery, San Francisco, CA
“Oil Fields,” Susanne Vielmetter Los Angeles Projects, Culver City, CA
2003 “1:00pm,” Fusebox, Washington, DC
2002 “L.A.,” Susanne Vielmetter Los Angeles Projects, Los Angeles, CA
Brian Gross Fine Art, San Francisco, CA
2001 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA
2000 Stefan Stux Gallery, New York, NY
Brian Gross Fine Art, San Francisco, CA
1999 Ruth Bachofner Gallery, Santa Monica, CA
Brian Gross Fine Art, San Francisco, CA
Stefan Stux Gallery, New York, NY

Selected Group Exhibitions:

2012 Local Color, San José Museum of Art, San José, CA
2011 “Sea Change: The 10th Anniversary Exhibition,” Marx & Zavattero, San Francisco, CA
2010 “2010 California Biennial,” Orange County Museum of Art, Newport Beach, CA
"Tomorrow’s Legacies: Gifts Celebrating the Next 125 Years," Crocker Art Museum,
Sacramento, CA
“Summer Selections,” Ameringer McEnery Yohe, New York, NY
“Inaugural Group Exhibition,” Susanne Vielmetter Los Angeles Projects, Culver City, CA
2009 “Broodwork,” Center for the Arts, Eagle Rock, CA
“Electric Mud,” The Blaffer Gallery at the University of Houston, Houston, TX (curated by
David Pagel)
“Summer ’09,” Rebecca Ibel Gallery, Columbus, OH
2008 “icandy: Current Abstraction in Southern California,” Cypress College Art Gallery,
Cypress, CA
“Swim,” Rebecca Ibel Gallery, Columbus, OH
2007 “Keeping it Straight: Right Angles and Hard Edges In Contemporary Southern California Art,” Riverside Art Museum, Riverside, CA (curated by Peter Frank)
2006 “Claremont Connections: Selections from the Permanent Collection,” Long Beach Museum of Art, Long Beach, CA
“Abstraction,” Mulry Fine Art, West Palm Beach, FL
2005 “Into the Light,” Scape, Corona Del Mar, CA
“Fabulous,” Rebecca Ibel Gallery, Columbus, OH
“Gyroscope,” Hirshhorn Museum and Sculpture Garden, Washington DC
2004 “New,” Susanne Vielmetter Los Angeles Projects, Culver City, CA
“A War Like People,” Shade Projects, Scottsdale, AZ (curated by Laura Taubman)
“Tremelo,” Rebecca Ibel Gallery, Columbus, OH (curated by Dion Johnson)
2003 ArtBasel Miami Beach, Fusebox and Susanne Vielmetter Los Angeles Projects
“Place,” Harris Art Gallery, University of La Verne, La Verne, CA
“Unstable,” Fusebox, Washington, DC
2002 “Chromophilia,” Fusebox, Washington DC
2001 “Heat,” Margaret Thatcher Projects, New York, NY
“New Work: LA Painting,” Hosfelt Gallery, San Francisco, CA
“The Permanent Collection: 1970-2001,” Los Angeles County Museum of Art,
Los Angeles, CA
“Monochrome / Monochrome?”, Florence Lynch Gallery, New York, NY (curated by Lilly Wei)
2000 “Cool Painting 2000,” Brian Gross Fine Art, San Francisco, CA
“Maximal / Minimal,” Feigen Contemporary, New York, NY
“2000 Anos Luz,” Instituto Oscar Dominguez, Teneriffe
“The Armory Show 2000,” Stefan Stux Gallery, New York, NY
“San Francisco International Art Exposition,” Brian Gross Fine Art, San Francisco, CA
1999 “The Armory Show 1999,” Stefan Stux Gallery, New York, NY
“San Francisco International Art Exposition,” Brian Gross Fine Art, San Francisco, CA
1998 “Cool Painting,” Brian Gross Fine Art, San Francisco, CA
“Four: Painting in the Abstract,” The Living Room, San Francisco, CA
“Transcendence, An Exhibition Celebrating Works of Irish and Irish American Artists,” Mount San Antonio College, Walnut, CA
1997 “Generational Abstractions,” Ruth Bachofner Gallery, Santa Monica, CA
“L.A. Emerging,” Marcia Wood Gallery, Atlanta, GA
1996 “Drawn Conclusion, Southern California Drawing,” Riverside Art Museum, Riverside, CA
“California Focus: Selections from the Collection of the Long Beach Museum,”
Long Beach, CA
“Time Splits Open: Fifteen Narratives,” Marcia Wood Gallery, Atlanta, GA
1994 “Next,” California State University, Los Angeles, CA

Selected Public and Corporate Collections:
Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, San Francisco, CA
Los Angeles County Museum of Art, Los Angeles, CA

Orange County Museum of Art, Newport Beach, CA
San José Museum of Art, San José, CA
Crocker Art Museum, Sacramento, CA
Columbus Museum of Art, Columbus, OH
Long Beach Museum of Art, Long Beach, CA
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC
Microsoft Collection, Washington, DC
Capital Group Inc., Los Angeles, CA
Creative Artists Agency, Los Angeles, CA
Progressive Corporation, Mayfield Village, OH
The Radio Shack Collection, Dallas, TX
Community Hospital of the Monterey Peninsula, Monterey, CA

Bibliography:

2012 Baker, Kenneth, "Patrick Wilson's 'action painting' in slow motion," San Francisco Chronicle,
June 16, p. E2
Turner, Cherie Louise, "Patrick Wilson at Marx & Zavattero," Visual Art Source, June 16
Larkin, Corina, "Patrick Wilson: Color Space," The Brooklyn Rail, March
2011 Feinstein, Lea, "'Sea Change: Part One' at Marx & Zavattero," ARTnews, December, p. 113
2010 Chang, Richard, “Framed by accessibility: OCMA’s California Biennial aims for a friendlier vibe and keeps the exhibits in-house,” The Orange County Register, October 24, p. A&E 1, 4
Drucks, Achim, “Art as Lifesaver: 2010 California Biennial,” Deutsche Bank ArtMag, Issue 62, October
Baker, Kenneth, “Quiet gems merit close attention,” San Francisco Chronicle, May 22, p. E2
2009 Lawrence, Sidney, “Patrick Wilson: Curator’s Office,” Art in America, December, p. 142, 144
Scarborough, James, “Patrick Wilson: Susanne Vielmetter Los Angeles Projects,” artillery, September/October, p. 47
Cohen, Jean Lawlor, “Plain Geometry,” Where Washington, September
Judkis, Maura, “The Year in Galleries,” Washington City Paper, September
Pagel, David, “Wilson not boxed in by rectangles,” Los Angeles Times, July 24
Britt, Douglas, “Playing with Mud,” Houston Chronicle, February
Electric Mud (exhibition catalogue), Blaffer Gallery, the Art Museum at the University of Houston, Houston, TX (with essays by David Pagel, Sara Cochran, and Claudia Schmuckli)
2008 Frank, Peter, “In Brief: Patrick Wilson,” Art On Paper, May/June
Baker, Kenneth, “Wilson at Marx & Zavattero,” San Francisco Chronicle, May 3, p. E10
2007 Zevitas, Steven T. (Editor), New American Paintings, The Open Studios Press, Boston, MA; Number 73, December/January
Frank, Peter, “Go, Eastern Promises,” LA Weekly, November 30
Tanz, Jason, “Fine Art Flourishes in Tinseltown,” Fortune Small Business, March, p. 96-101
2006 Baker, Kenneth, “Wilson paintings at Gross,” San Francisco Chronicle, October 21
Hart, Scot, “Artist Profile,” Lifescapes, September, p.54
Kotwal, Kaizaad, “Inventive Use of Space, Color Yields Poetry,” Columbus Dispatch, May 21
Frank, Peter, “Pick of the Week,” LA Weekly, January 6-12
2005 Zone, Ray, “Patrick Wilson at Susanne Vielmetter Los Angeles Projects,” Art Scene, Vol. 25, No. 1, December, p. 21-22
“Art on the Riverfront,” Selections from the Radio Shack collection (catalogue), p. 56
Andrews, Scott, “A warlike people,” Java Magazine, February
2004 Dove, Amy, “Stefanie Schneider and Patrick Wilson at Susanne Vielmetter,” Artweek, July/August, p. 25
“The Western Landscape’s Lure,” LA Times Calendar, May 6
Frank, Peter, “Stefanie Schneider, Patrick Wilson, Miriam Dym,” LA Weekly (Pick of the week), May 21-27
2003 Oshima, Tetsuya, “Patrick Wilson: Towards a Newer Painting,” Art/Criticism
Bullis, Douglas, 100 Artists of the West Coast, Schiffer Publishers, p. 66-67
Dixon, Glenn, “Light and Place,” Washington City Paper, May 16
Green, Tyler, “D.C. Diary,” artnet.com, May 9
Scarborough, James, “Patrick Wilson at Los Angeles Projects at the Armory Show New York,” NY Arts Magazine, March
Gleason, Mat, “Art Angelenos: 24 hot tickets for the LA scene,” Modern Painters, Spring,
p. 70-75
2002 Ollman, Leah, “A Rainbow of Los Angeles Images,” Los Angeles Times, November 1
Frank, Peter, LA Weekly (Pick of the week), November 1-7
“Gallery Top Ten Los Angeles,” Number 1, Coagula, November
Dixon, Glenn, “Chromophilia,” Washington City Paper, February 8
2001 Johnson, Ken, The New York Times, July 13
Cotter, Holland, The New York Times, May 25
Pence, Elizabeth, “Patrick Wilson and Eve Wood at Susanne Vielmetter Los Angeles Projects,” Artweek, June
2000 Bernbach, Sarah, “Island Hopping,” catalogue essay for 2000 Anos Luz, Galeria Leyendecker/Instituto Oscar Dominguez
New York Contemporary Art Report, February, p. 76-77
New York Contemporary Art Report, January, p. 80-81
Pagel, David, “The Space Between Things,” (artist catalogue essay)
Pagel, David, “Themes Out of School: Art & Education in Los Angeles,” CAA Collection (catalogue essay)
Wei, Lily, “Patrick Wilson at Stefan Stux,” Art In America, January
1999 Baker, Kenneth, “Abstract Painter Reflects Subtle Gestures: Patrick Wilson on the Edge,” San Francisco Chronicle, April 24
Bonetti, David, “Abstractions Remarkable Return,” San Francisco Chronicle, May 7
Chambers, Christopher, “Picks,” New York Arts Magazine, April
Frank, Peter, “Art Pick of the Week: Patrick Wilson, Nancy Kay, Elena Sheehan,”
LA Weekly, July 16
Hanks, Victoria, “Reviews,” New York Arts Magazine, April
New York Contemporary Art Report, May, p. 78-79
New York Contemporary Art Report, March, p. 74-75
Rodriguez, Juan, “Cool Painting at Brian Gross Fine Art,” Artweek, February
White, Kit, “Patrick Wilson,” Review, April 15
1998 Baker, Kenneth, “Cool Paintings Radiate Heat,” San Francisco Chronicle, December 12
Baker, Kenneth, “Fine Work in the Living Room,” San Francisco Chronicle, April 23
1997 Kandel, Susan, “Art Reviews,” Los Angeles Times, September
1996 Frank, Peter, “Pick of the Week,” LA Weekly, February 16
Ritzi, Doris, “Patrick Wilson and Swiss Artist Mireille Gros at Ruth Bachofner Gallery,”
Swiss Journal, January/February
Wilson, William, “Focus Surveys California Art Landscape at Long Beach Museum,”
Los Angeles Times, August 16
1994 Frank, Peter, “Pick of the Week,” LA Weekly, July 8
Print print

Press Release

FOR IMMEDIATE RELEASE

PATRICK WILSON: SLOW MOTION ACTION PAINTING
JUNE 2 – JULY 14, 2012
Opening reception for the artist: Saturday, June 2, 5:00 – 7:00 PM

For more information, contact Steve Zavattero
Phone: 415.627.9111/e-mail: info@marxzav.com
Website: www.marxzav.com

Los Angeles painter Patrick Wilson presents a magnificent new body of his brilliantly constructed, abstract acrylic on canvas paintings in his highly anticipated third solo exhibition at Marx & Zavattero, June 2 – July 14, 2012. Wilson's paintings are conceived with the ideas of beauty and pleasure at the forefront. As the title of the exhibition suggests, Wilson is inviting his viewers to enter the gallery, and then consciously slow down in order to actively experience his work in the same manner in which it was created.

Through the use of various sizes of drywall blades, the artist meticulously "assembles" his paintings by pulling on hundreds and hundreds of translucent and opaque layers of acrylic paint. The result is a dense architectural and chromatic pattern, made up of both astonishingly subtle tonal shifts and hard-edged color fields. Wilson's playful color combinations employing literally dozens of tints demonstrate breathtaking risks, as the resulting variances in tone – sometimes harmonious, sometimes clashing – are always alive with delightful surprises. The effect is astonishing, as it calls to mind the slowly revealing work of light and space artists Robert Irwin & James Turrell.

"Wilson's quest for beauty is not new," writes Corina Larkin in the March, 2012 edition of The Brooklyn Rail. "Nor is his examination of the limits of color as a space-making tool. But he does succeed in making oddly gorgeous and original paintings that embody the complexity and aura of life in the digital age. His work suggests that the questions artists pose may stay the same, but as the times change so do the answers."

Wilson has exhibited widely, with solo shows at Ameringer | McEnery | Yohe, New York; Susanne Vielmetter Los Angeles Projects; Curator’s Office, Washington, DC; Rebeca Ibel, Columbus, OH; and Stefan Stux, New York. His work has been featured in the recent group shows The 2010 California Biennial, Orange County Museum of Art; Tomorrow’s Legacies: Gifts Celebrating the Next 125 Years, Crocker Art Museum, Sacramento; Sea Change: The 10th Anniversary Exhibition, Marx & Zavattero; Electric Mud, The Blaffer Gallery at the University of Houston (curated by David Pagel); Keeping it Straight: Right Angles and Hard Edges In Contemporary Southern California Art, Riverside Art Museum (curated by Peter Frank); Selections from the Permanent Collection, Long Beach Museum of Art; and Gyroscope, Hirshhorn Museum and Sculpture Garden, Washington DC, among many others. His work is in the permanent collections of Achenbach Foundation for Graphic Arts/Fine Arts Museums of San Francisco, the Los Angeles County Museum of Art, the Orange County Museum of Art, the San José Museum of Art, the Crocker Art Museum, the Columbus Museum of Art, the Long Beach Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Microsoft Art Collection, and The Progressive Collection, among many other public and private collections.

Wilson’s work has been written about and reviewed in Art in America, ARTnews, The Brooklyn Rail, Deutsche Bank ArtMag, Art on Paper, artillery, Fortune Small Business, the New York Times, the Los Angeles Times, the Orange County Register, the San Francisco Chronicle, the Washington City Paper, and the Columbus Dispatch, among many other publications. He received his MFA at the Claremont Graduate University and BA at the University of California, Davis.

Please note that Patrick Wilson's exhibition will mark the final show at Marx & Zavattero's current location. After nearly 11 years at 77 Geary Street as Heather Marx Gallery (2001-2007) and Marx & Zavattero (2008-present), the gallery is relocating to a new San Francisco space to be announced. Please look for the news of our grand re-opening in late 2012 or early 2013!

I have long held the belief that the more an artist says about their art, the less it actually means. Words used to describe a visual experience often cloud the mind and narrow the scope of possibilities. So let me keep this brief. I am a studio rat in a time when it’s far more fashionable to be post-studio. I am a painting junkie. I am a slow motion action painter, trusting my gut and my eyes. My paintings are intuitive, built one shape, one color, one line at a time. They are meant to be experienced at a leisurely pace. I am in pursuit of beauty, but well aware that pleasure is the more likely outcome. Pleasure is good too.

  • For inquiries, please email Heather Marx Art Advisory at H[at]HMxAA[dot]com