334:, but distinguished him—from them and from appropriation artists—by his emphasis on excavating pre-photographic sources rather than recontextualizing contemporary mass-media images. In 2017, Griff Williams remarked, "the disjointed labyrinthine structures of Byington's work may be fueled by the legacy of dark scientific experiments or the artifice of Hollywood's past, but they also share sympathy with the
96:. He is known for large, hyper-detailed mixed-media paintings and paper collages of labyrinthine landscapes and invented universes that serve as settings for enigmatic allegories on nature, culture, time and humanity's effect on the planet. Seamless amalgams of images reworked from diverse sources, including his own stylized drawings, his art evokes fairy tales gone awry, the precision of centuries-old
363:, 2002). These overgrown scenes were dizzying in their density and perceptually challenging, with flattened spaces lacking traditional entry points or clear distinctions between fore-, middle- and background; noting the images' weaving of old and new visual modes, critics simultaneously compared their pattern-like motifs to ornate wallpaper, Chinese scrolls and
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including the potential future). These paintings blur notions of urban and rural, ancient and modern, piling intractable ambiguities and compressed, distressed and fragmentary realities into monumental landscapes, geologic formations and industrial sites suggestive of post-human or post-apocalyptic, possibly alternate civilizations (
468:—offered a wider range of work depicting the world as a facade teetering on the brink of collapse in the wake of human activity. The "Colossus" series (2022) depicted movie sets built on giant scaffolds towering over vast, carved out tracts of land. Draped in front of the vast sites were curtain-like pastoral scenes resembling the
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In his exhibition, "The Theory of
Machines" (Kohn Gallery, 2017), Byington presented nine large paintings of desolate, built scenes whose commonalities included skeletal and flayed structures, baroque facades, the great concentric holes of open pit mines and abandoned machines sprawled in ruin (e.g.,
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painting. The seemingly benign scenes were populated with whimsical, anthropomorphic animals, which upon close inspection, were embroiled in sometimes-savage conflicts that suggested crises and devastations, past and present. John Yau wrote of such works, "Despite their allusions to the
Victorian and
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compositions that counterpoint the "antique" quality of the imagery with contemporary painting strategies involving frontality, flatness, layering and instantaneity. The work's packed, sometimes-obscured imagery and unexpected juxtapositions—conflicting pictorial and architectural logics, natural and
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Writers suggest that
Byington's later paintings explore historical and sociopolitical themes in a more expansive, cinematic manner in terms of vastness (their large scale and God's-eye views), sweeping subjects (climate change, terrorism, urban sprawl) and time (a sense of layer centuries of history
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Byington's work mainly consists of large canvases fusing screened oil on linen and hand-painting as well as small, detailed works on paper composed of tiny, hand-cut photocopies from old illustrated books and his own drawings. He creates the paintings through a meticulous process merging digital and
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illustrations, historical images—then works into them to achieve coherence, before scanning and silkscreening the work onto canvas (sometimes in multiple prints) and, finally, connecting interstices by hand-painting details and (occasional) washes of color. The canvases function like enclosures,
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Byington's early works were large photographic assemblages composed by projecting old daguerreotypes (of military technologies, UFOs and historical events among other subjects) piecemeal onto canvas and acetate painted with photo emulsion. During this period, he appeared in group shows at the
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By the early-2000s, he had shifted from photochemical methods to a labor-intensive process involving collage, silkscreening and hand-painting that first involved teaching himself to draw in the stylized manner of nineteenth-century wood engraving. With this work, he began receiving increased
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described them as "glazed in candy-colored pink, green, or robin’s-egg blue, like Easter eggs—or blotter acid." This work included the green "Underground" series, which featured with geologic forms: stalactites, stalagmites, minerals, gems, and cave-like openings into various spaces.
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attention, through solo exhibitions at Paule Anglim and Leslie
Tonkonow Artworks + Projects in New York; he has continued to exhibit at both galleries. In the 2000s, he has also had solo exhibitions at the San Jose Museum of Art, Frist Art Museum, Katzen Arts Center and
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that obscured the dark side of
American expansionism, placed band-aid-like over the giant open pits of mines—a metaphor for the veiling of devastation that political narratives enact. In other paintings, dystopias invaded cinematic interiors;
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In the 2000s, Byington largely focused on black and white paintings filled edge to edge with detailed renderings of flora, fauna and dilapidated, ramshackle structures, some of them punctuated by washes of jewel-like color (e.g.,
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eras, as well as to children's books, Byington's paintings are hardly nostalgic. In fact, these paintings strike me as both visionary and emotionally attuned to the sense of impending disaster that marks our historical moment."
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as an adolescent; the influence of that experience and his parents' history is discernible in various cinematic, geological and apocalyptic aspects of his art. In 1980, he received a BA and certificate of art from the
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human-made environments devoid of people, animals engaged in human behaviors—generate ambiguous narratives that can range from fanciful, even romantic to eerie to
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495:, Byington’s visual language mingles romance and theatricality with the disastrous consequences of climate change and environmental contamination."
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437:(2017) offered a striated mining-ravaged landscape inspired by photographs of the two largest mines in the world (the title mine, in Utah and the
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338:" (or German "cabinets of curiosities"), which "celebrated the intersections between science and superstition, the natural and artificial."
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science-fiction. In 2017, critic Shana Nys
Dambrot wrote, "achieving a profound, operatic feat of scale, density, and clarity … Byington’s
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423:(2015) as "an unending public works project … depict a mismanaged future, an allegory of Big Plans and half-starved dreams."
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s
Gabrielle Selz wrote of the show, "Drawing on the blast sites of the Nevada desert and abandoned scenery of movies like
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by Dean
Byington, Rick Moody and Griff Williams, San Francisco: Gallery 16 Editions, 2015. Retrieved September 6, 2023.
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is that of dreams and memories, with an internal logic that unifies
Eastern and Western antiquity, the consequences of
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Byington's work belongs to the public art collections of the Art
Institute of Chicago, Berkeley Art Museum,
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described the maze of cellblock-like huts, scaffolding and brickwork in the black-and-white landscape
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and on the instrumentation at the Nevada test sites; his mother was a geologist and served as one of
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Byington's show "Cassandra: Truth and Madness" (Anglim/Trimble, 2022)—its title a reference to the
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sense of density in the work and also began creating color canvasses that suggested mysterious
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485:(2022) depicted a rising tide with a gliding shark swamping an opulent, Victorian bedroom.
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analog, and the handmade and mechanical. He photocopies and collages imagery—his drawings,
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Critics have connected Byington's art to the intricate works of diverse artists including
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in which his signature imagery appeared as if seen through an aquarium or fog (e.g.
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476:. The effect was a layering of two human constructs—idealized landscapes embodying
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related Byington's use of silkscreening to earlier practitioners such as
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252:, was published in 2015 and includes an original short story and poem by
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1149:" Future Tense: Reshaping the Landscape at the Neuberger Museum of Art,"
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1373:"Unforgettable: Selections from the Emily Fisher Landau Collection,"
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240:(Los Angeles), and appeared in surveys at the Nevada Museum of Art,
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228:, among others, and solo exhibitions at Gallery Paule Anglim (now
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1122:, KPCC Public Radio, May 23, 2017. Retrieved September 6, 2023.
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652:, Cambridge, MA: MIT Press, 2010. Retrieved September 6, 2023.
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Byington's work belongs to the public art collections of the
1016:"Welcome to Yerba Buena's bargain basement of summer shows,"
961:"In Hartford, Bumptious and Alive and on the Cutting Edge,"
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Tarshis, Jerome. "Dean Byington at Gallery Paule Anglim,"
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Ayers, Will. "Byington Explores Underworld At The Frist,"
600:"A Devastating and Breathtaking Vision of Climate Change,"
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Baker, Kenneth. "Dean Byington at Galerie Paule Anglim,"
871:(Richmond), January 6, 2015. Retrieved September 7, 2023.
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Fischer, Jack. "Conjuring Worlds From Bits and Pieces,"
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American University, 2015. Retrieved September 7, 2023.
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Psychedelic, Optical And Visionary Art Since The 1960s
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Cash, Stephanie. "Dean Byington at Leslie Tonkonow,"
621:"Dean Byington: Theory Of Machines at Kohn Gallery,"
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in Indonesia), "rebuilt into a futuristic city—part
1346:, Cleveland, OH: The Cleveland Clinic, 2017, p. 82.
1283:"Convergence: Highlights from the Collection 2012,"
562:Sheets, Hilarie M. "Critic's Pick: Dean Byington,"
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923:Williams, Griff. "Entropy Has No Opposite," in
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780:Moody, Rick, Dean Byington and Griff Williams.
1375:Exhibition, 2011. Retrieved September 7, 2023.
1317:, August 6, 2022. Retrieved September 6, 2023.
1101:Exhibition, 2009. Retrieved September 6, 2023.
830:Berkeley Art Museum and Pacific Film Archive.
376:As the decade progressed, Byington pushed the
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903:"Dean Byington: Buildings without Shadows,"
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195:, exploring the full-scale outdoor sets of
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1312:"Unconscious Rationale @ Anglim Gilbert,"
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354:(detail), oil on linen, 46" x 42", 2006.
143:, among others. He has exhibited at the
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1355:di Rosa Center for Contemporary Art.
1246:"Dean Byington's Theory of Machines,"
980:Ottmann, Klaus. "A Conversation," in
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183:. His father, an engineer, worked at
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941:Yau, John and Gallery Paule Anglim.
314:, and the mid-20th century Bay Area
206:University of California, Santa Cruz
191:'s secretaries. Byington grew up in
52:University of California, Santa Cruz
208:. He earned an MA and MFA from the
1000:"Curator’s Choice: Dean Byington,”
210:University of California, Berkeley
179:. His parents participated in the
133:San Francisco Museum of Modern Art
85:, oil on linen, 57.5" x 65", 2017.
48:University of California, Berkeley
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1099:"Dean Byington: Terra Incognita,"
429:Theory of Machines (Grand Saturn)
83:Theory of Machines (Grand Saturn)
61:Painting, works on paper, collage
1384:Frances Lehman Loeb Art Center.
798:Whitney Museum of American Art.
456:, oil on linen, 67" x 82", 2022.
274:Immersing viewers viscerally in
244:, San Antonio Museum of Art and
125:Los Angeles County Museum of Art
1454:American contemporary painters
1359:. Retrieved September 6, 2023.
1204:Virginia Museum of Fine Arts.
1187:"Art Listings: Dean Byington,"
730:"Kohn Gallery: Dean Byington,"
521:Frances Lehman Loeb Art Center
472:paintings of artists such as
283:-like in their forebodings of
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1449:21st-century American artists
515:Center for Contemporary Art,
306:, the surrealist collages of
175:Byington was born in 1958 in
100:and cartographic detail, and
1400:Indianapolis Museum of Art.
533:Virginia Museum of Fine Arts
322:aesthetic. In a 2003 essay,
157:Virginia Museum of Fine Arts
864:Dalla Villa Adams, Amanda.
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814:Art Institute of Chicago.
525:Indianapolis Museum of Art
454:Oceans (Dream Painting #5)
1387:The Bees and the Ants, #2
1329:The Bees and the Ants, #1
153:San Antonio Museum of Art
1464:American collage artists
177:Santa Monica, California
137:Art Institute of Chicago
36:Santa Monica, California
1403:Blue Landscape (Jewels)
1052:San Francisco Chronicle
1019:San Francisco Chronicle
866:"Two-Dimensional Exit,"
670:, May 2008, p. 199–200.
406:Paintings, 2011–present
246:Neuberger Museum of Art
193:Culver City, California
1342:The Cleveland Clinic.
1326:Chazen Museum of Art.
851:Nevada Museum of Art.
833:Untitled (Fungal Life)
566:, January 2006, p. 144
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145:San Jose Museum of Art
94:San Francisco Bay Area
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16:American visual artist
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171:Early life and career
129:Whitney Museum of Art
116:, the engineering of
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1065:"Gallery Chronicle,"
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757:"Cassandra Calling,"
619:Dambrot, Shana Nys.
517:Fisher Landau Center
505:Chazen Museum of Art
342:Paintings, 2003–2010
232:) in San Francisco.
226:Nasher Museum of Art
149:Nevada Museum of Art
1281:21c Museum Hotels.
901:Katzen Art Center.
434:Bingham Canyon Mine
197:Metro-Goldwyn-Mayer
141:Berkeley Art Museum
1190:The New York Times
1097:Frist Art Museum.
964:The New York Times
710:The New York Times
499:Public collections
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264:Work and reception
218:Crocker Art Museum
212:in 1987 and 1988.
189:Robert Oppenheimer
165:Katzen Arts Center
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1369:New York Art Beat
1068:The New Criterion
624:WhiteHot Magazine
598:Selz, Gabrielle.
529:21c Museum Hotels
242:de Saisset Museum
181:Manhattan Project
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387:monochromes
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1443:Categories
539:References
395:Waterfalls
384:minimalist
316:assemblage
285:apocalypse
254:Rick Moody
185:Los Alamos
110:surrealism
733:Artillery
519:for Art,
466:Cassandra
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370:Symbolist
365:modernist
308:Max Ernst
281:Cassandra
106:dystopian
44:Education
1242:Juxtapoz
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1120:Off-Ramp
470:romantic
443:Piranesi
413:Omphalos
393:, 2006;
324:John Yau
276:all-over
98:etchings
564:ARTnews
513:di Rosa
397:2010);
102:utopian
66:Website
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483:Oceans
464:poem,
332:Warhol
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