500:). "Tattoo Parlor" was fully realized—with the paintings hung on hand-painted, Jesus Wallpaper-patterned walls—during his residency at Djerassi Foundation (1996) and in installations at PS1 (the group show "Get Busy", 1997) and California State University at Fullerton (solo show, 2005). Drasler also employed pattern in his "Hats Paintings" (1988–2012), approaching abstraction in canvasses filled edge-to-edge with seas of anonymous men in subtly shaded fedoras, their faces turned away or hidden beneath the hats.
265:. In 1978, a fire destroyed all of his possessions and artwork in diverse media, except for two paintings; afterwards, he committed to painting as his medium. After earning a BFA (1980), he enrolled in the school's Year in Japan Program, which heightened an interest in the relationship between place and identity and encouraged his future use of vernacular imagery.
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travel references. Reviewers have described these paintings as raucous works of visual wit and poignancy, nostalgic evocations of 1950s interstate travel, old hand-colored postcards and 1960s concert posters, and fantastical, inexplicable assemblages that simultaneously recall elements of the work of
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Drasler's early work focused on home builder and handyman imagery that functioned as an allegory for self-construction. After moving to New York, he began painting objects that served as human stand-ins and lone figures, often with unexpected props, in forlorn landscapes. Reviewers described them as
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the ability to create images that are both convincing and profoundly disorienting"; Jonathan
Goodman described his later paintings as enigmatic puzzles meant to be meditated on, as both "visual metaphors for self" and formal statements existing for the sake of psychological mystery. Drasler has been
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is an
American artist known for metaphorical paintings that mix vernacular imagery and decoration and visual and interpretive conundrums. His work explores the construction of identity and memory through painted subjects that range from elaborately constructed interiors to symbolic common objects to
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spaces and thresholds between places or states of being (inside and out, here or there, public and private, real and imaginary, object and environment); these include suitcases, bedrooms, automobile interiors, the
American highway and roadhouse, and film sets. He employs strategies of bricolage,
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In his "Tattoo Parlor" series, Drasler continued to explore wallpaper patterns (on canvas and as an installation environment), using familiar iconography and playing off the idea of the imprint places leave on their occupants. His "Jesus
Wallpaper" consisted of straightforward, loosely rendered
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Drasler has been awarded a
Guggenheim Fellowship (2014), a Helen L. Bing Fellowship (1996), and grants from the Pollock-Krasner Foundation (2019), National Endowment for the Arts (1993), and New York Foundation for the Arts (1991), among others. He has also received artist residencies from
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recycling and displacement, packing his images with signs, symbols, metaphors, pattern and design, visual puzzles and puns. These elements convey humor, nostalgia, and a sense of the uncanny in examinations of the self and its relationship to personal space, location, and local culture.
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460:(1992), Drasler conveys a more animate spirit with enveloping swaths of fabric or nature motifs that blur boundaries between organic and man-made, inside and outside, and figure and ground. He also introduced suspended common objects (a tomato pincushion in
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With the show "On the Lam" (2011), Drasler examined automobile interiors as sites of independence, seclusion, fantasy, and a cinema-like screening of experience. He packed the pictorial frames (including the depicted windscreens) of works such as
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Drasler's "Cave
Painting" works depict intricately constructed, ornate interiors that serve as metaphors for the interior construction of the self and the human relationship to personal, domestic space. They pair his interests in contemporary
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Studios drew his attention to cutaway automobile props used for filming, which he noted exist as both interior and exterior spaces and as windows to the world. He employed them in visually enigmatic paintings such as
613:(2009), consisting of interleafed images of Drasler's paintings with Liu's poetry. Beginning in 2011, he produced a series of video interviews with Nancy Davidson documenting the lives and work of artists, including
431:; in psychological terms, they suggest it draws viewers in voyeuristically, through a dreamlike, vaguely unsettling presence and furtive signs that imply the traces left in vacated rooms or closely guarded secrets.
388:(1990)—a wide-open, empty suitcase with fabric lining like rumpled sheets, implying a private, sexual component—Drasler signaled his shift in the next two decades to interiors as sites for exploring subjectivity.
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draped sheets, mirror reflections and painted landscape mural camouflage both architecture and purpose. Robert G. Edelman suggests these paintings slowly reveal "wry and portentous secrets" like
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Drasler used his 2014 Guggenheim
Fellowship to drive cross-country, gathering ideas that would emerge in his "Road Trip" works. He drew inspiration from the expansive, big-sky vistas of the
280:. Early solo exhibitions took place at the R.C. Erpf (1985–7) and Shea & Beker (1990) galleries in New York and Marianne Deson (1988) and Center for Contemporary Art (1990) in Chicago.
533:; the backgrounds, representing the potential of inexhaustible, to-be-determined locations, extended metaphors regarding the freedom and imaginative capacity offered by the automobile.
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at the New Museum (the inaugural "On View," 1983; "Other Man: Alternative Views of
Masculinity," 1987), as well as group exhibitions at Berggruen Gallery (San Francisco),
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287:, 1994; Betty Cuningham Gallery, 2007–16), Boston, California, Chicago and Seattle; he has appeared in group shows at the New Museum, PS1, Whitney Museum Stamford, and
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in 1983 after completing his MFA, Drasler moved to New York City and began exhibiting professionally. In his first decade there, he appeared in two shows curated by
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In the 2000s, Drasler's investigations of interior and liminal spaces expanded to include
Hollywood illusionism, automobile interiors, and the American
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and home design—architecture, ornament, wallpaper and fabric—in theatrical, film set-like scenes characterized by human absence, visual conundrums, and
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iconic images of Jesus, which appeared as backgrounds in a series of room paintings (1995–7) of assorted hanging objects (jumper cables in
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patterning suggesting both the landscape's vast reach and its man-made division into property. A key work was the six-panel, 400-inch
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patterned panoramas of the
American highway. Although representational, Drasler's work eludes defined aesthetic categories such as
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His "Baggage Paintings" (1987–90) depict plush period gear in apparently random but carefully composed states—stacked (
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581:(2016), which was displayed in a narrow room so as to unfold for viewers in time like a road-trip landscape or
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of identity, luxury and privacy, and toy with conventions of literature and representation, such as the
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642:(1986). His work belongs to several public art collections, including those of the New Museum,
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Drasler created enigmatic, Magritte-like formal and psychological puzzles in paintings such as
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Drasler's allegorical hanging-object paintings of the 1990s were influenced by psychologist
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obfuscation. In formal terms, critics note the work's technical facility, illusionistic
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Edelman, Robert G. "Recycled Landscape: American Contemporary Landscape Painting,"
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Tucker, Marcia. "The Other Man: Alternative Representations of Masculinity," in
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721:"Life Is a Highway: Greg Drasler on His New Show at Betty Cuningham Gallery,"
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456:'s piazzas, which similarly resist resolution. In other paintings, such as
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1391:"At the College of New Rochelle, a Show Meant to Provoke Double Takes,"
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Drasler, Greg. "Painting into a Corner: Representation as Shelter," in
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hovering between memory and dream, noting in figurative works, such as
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790:, Flint, MI: Flint Institute of Arts, 1991. Retrieved October 8, 2019.
1319:, Joseph Scalia (ed.), London: Continuum Press; Wesleyan Press, 2002.
1274:, United States Department of State, 2010. Retrieved October 8, 2019.
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confined spaces, eighteenth-century idealizations of nature, and the
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The Transformative Vision: Contemporary American Landscape Painting
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In subsequent years, Drasler has had solo exhibitions in New York (
1424:, Philadelphia: Saturnalia Books, 2009. Retrieved October 8, 2019.
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The Vitality of Objects: Exploring the work of Christopher Bollas
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The Vitality of Objects: Exploring the work of Christopher Bollas
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The Vitality of Objects: Exploring the Work of Christopher Bollas
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University of Illinois College of Fine and Applied Arts alumni
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Edelman, Robert G. "The Tranquil Domicile as Grand Illusion,"
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and Matt Freedman, which appear on the website Romanov Grave.
1285:"At Rutgers-Newark: An Exhibition of Unusual Self-Portraits,"
1016:, July 2, 2000, Section CN, p. 14. Retrieved October 8, 2019.
423:, and effective blend of periods and motifs, noting links to
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1221:"An Exhibition for Students Who Lost Art in a Studio Fire,"
1078:, New York: Harry N. Abrams Inc. Retrieved October 8, 2019.
605:(2002), edited by Joseph Scalia. He collaborated with poet
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Harris, Andrea. "Jesus Flash for the Walls and the Mind,"
1177:, by Renée Green, Durham, NC: Duke University Press, 2014.
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and Artists Space (New York), Carnegie Museum of Art, and
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review, Robert G. Edelman wrote that Drasler "shares with
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Goodman, Jonathan. "Greg Drasler at Generous Miracles,"
472:, 1995) that allude to psychosexual dramas to untangle.
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with objects, decorative and Native American patterns (
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Green, Renée. "What's Painting Got to Do with It?" in
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Out of Bounds: The Collected Writings of Marcia Tucker
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Berlind, Robert. "Greg Drasler at Shea & Beker,"
573:. He reconfigured these inspirations on canvas with
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Smithsonian Institution. Retrieved October 8, 2019.
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650:, University of Illinois at Urbana-Champaign, and
237:in 1952. He was influenced in the 1960s by seeing
1409:, London: Continuum Press/ Wesleyan Press, 2002.
836:Edelman, Robert G. "Greg Drasler at R.C. Erpf,"
569:and the vernacular architecture of the American
1396:, February 22, 2015. Retrieved October 8, 2019.
997:, February 21, 1988. Retrieved October 8, 2019.
504:Road trip and automobile-related works (2006– )
124:, oil on linen in two panels, 70" x 160”, 2011.
336:Figurative and "Baggage" paintings (1983–1990)
816:, Wayne, NJ: William Patterson College, 1988.
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1175:Other Planes of There: Selected Writings
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992:"At the Ben Shahn, Surrealism's Legacy,"
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1259:, New York: Queens Museum of Art, 1994.
912:, New York: Queens Museum of Art, 1994.
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1011:"When Daily Life Is Examined Closely,"
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217:, New York City with his wife, artist
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148:and recontextualization. In an early
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1533:artist page, Betty Cuningham Gallery
1054:"Nancy Davidson papers, 1970s-2016,"
857:"2014 Guggenheim Fellows Announced,"
1239:Faculty. Retrieved October 8, 2019.
1164:, The Carnegie Museum of Art, 1989.
1597:20th-century American male artists
1552:21st-century American male artists
1469:, New York: Betty Cuningham, 2016.
1210:, New York: Betty Cuningham, 1990.
1193:Artner, Alan G. "Art that pries,"
1131:" An Interview with Greg Drasler,"
908:Yang, Christina. "Cave Painting,"
770:"Greg Drasler at Betty Cuningham,"
399:, oil on canvas, 80" x 70”, 1994.
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1038:"Studio visit with Greg Drasler,"
529:(2010), set against backdrops or
318:, oil on canvas, 80" x 70”, 1990.
173:. His work has been shown at the
1268:United States Embassy Brussels.
787:New Horizons in American Realism
171:New York Foundation for the Arts
99:New York Foundation for the Arts
1418:Liu, Timothy and Greg Drasler.
167:National Endowment for the Arts
95:National Endowment for the Arts
1582:People from Waukegan, Illinois
1557:20th-century American painters
1547:21st-century American painters
1513:Studio visit with Greg Drasler
1112:"Interview with Greg Drasler,"
958:Liu, Timothy. "Greg Drasler,"
193:, and reviewed or featured in
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1496:Greg Drasler official website
1255:Drier, Deborah. "Interiors,"
1208:In the Realm of the Plausible
629:Awards and public collections
1337:Greg Drasler: Cave Paintings
1257:Greg Drasler: Cave Paintings
1235:Pratt Institute, Fine Arts.
910:Greg Drasler: Cave Paintings
327:Drasler's paintings explore
136:, incorporating elements of
1562:Painters from New York City
1522:Interview with Greg Drasler
1372:Greg Drasler: Tattoo Parlor
35:1952 (age 71–72)
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1440:Retrieved October 8, 2019.
1052:Archives of American Art.
921:McCarthy, Gerard. Review,
464:, 1995; linked hangers in
293:Montclair State University
163:Pollock-Krasner Foundation
91:Pollock-Krasner Foundation
934:Mahoney, Robert. Review,
261:, and studied art at the
245:, as well as the work of
1467:Greg Drasler: Road Trip
1089:"Painting Matters Now,"
840:, October 1987, p. 188.
652:Dow Jones & Company
512:. A tour of the former
289:Weatherspoon Art Museum
278:Knoxville Museum of Art
1577:American art educators
1503:Guggenheim Fellow page
1405:Scalia, Joseph (ed.).
1299:Greg Drasler website.
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589:Collaborative projects
585:stop-motion sequence.
556:Pattern and Decoration
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438:(1994), whose surreal
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191:Carnegie Museum of Art
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1567:Artists from Illinois
1478:Krannert Art Museum.
814:Surrealism in America
812:Einreinhofer, Nancy.
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229:Early life and career
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648:Fisher Landau Center
297:Princeton University
285:Queens Museum of Art
233:Drasler was born in
161:and grants from the
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1160:Edelman, Robert G.
938:, March–April 1990.
644:Krannert Art Museum
527:Internal Combustion
514:Metro-Goldwyn-Mayer
360:), rifled through (
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1517:Two Coats of Paint
1394:The New York Times
1288:The New York Times
1224:The New York Times
1041:Two Coats of Paint
1014:The New York Times
995:The New York Times
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597:'s concept of the
595:Christopher Bollas
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301:Hofstra University
235:Waukegan, Illinois
211:The New York Times
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560:Philip Pearlstein
241:'s room-spanning
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531:green-screens
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490:Jumping Jesus
482:
481:Tattoo Parlor
477:
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470:Facts of Life
467:
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436:Changing Room
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371:
370:Baggage Claim
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316:Baggage Claim
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1531:Greg Drasler
1525:
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1507:Greg Drasler
1501:Greg Drasler
1474:
1466:
1461:
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1429:
1421:Polytheogamy
1420:
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1353:Polytheogamy
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1075:Tools as Art
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973:"Road Trip,"
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748:, June 1990.
745:
723:
685:, July 2000.
682:
632:
611:Polytheogamy
610:
609:on the book
602:
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522:
519:Green Screen
518:
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440:trompe-l'Ĺ“il
439:
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416:trompe-l'Ĺ“il
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364:), grouped (
361:
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129:Greg Drasler
128:
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109:Greg Drasler
26:Greg Drasler
18:
1587:1952 births
1206:Yau, John.
962:, May 2000.
773:artcritical
607:Timothy Liu
575:crazy-quilt
552:Roger Brown
525:(2006) and
449:Las Meninas
421:perspective
274:Jack Tilton
259:Roger Brown
142:abstraction
47:Nationality
1541:Categories
658:References
615:Don Dudley
543:Rain Dance
539:On the Lam
462:Green Room
454:De Chirico
425:Vuillard's
382:Minimalism
378:still life
374:allegories
349:(1987) or
343:Headlights
185:Stamford,
175:New Museum
157:awarded a
138:surrealism
122:On the Lam
1134:Simpl Mag
936:Flash Art
801:Art Press
583:Muybridge
571:roadhouse
547:Americana
523:Road Trip
510:road trip
444:Velázquez
386:Samsonite
199:Flash Art
146:bricolage
55:Education
882:Artforum
875:Artforum
860:Artforum
853:Artforum
636:Djerassi
521:(2006),
498:2B Jesus
345:(1986),
255:Jim Nutt
253:such as
154:Magritte
68:Painting
50:American
724:ARTnews
567:Midwest
545:), and
429:Baroque
366:Deposed
362:Customs
347:Laocoön
329:liminal
215:Tribeca
134:realism
105:Website
554:, the
494:Profit
466:Mobile
209:, and
83:Awards
73:Spouse
243:F-111
41:, U.S
303:and
257:and
249:and
189:and
169:and
32:Born
452:or
446:'s
368:or
179:PS1
1543::
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654:.
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562:.
307:.
299:,
295:,
225:.
205:,
201:,
197:,
181:,
177:,
165:,
140:,
97:,
93:,
89:,
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