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Dan Colen

Dan Colen, Let's have a war, 2016 Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)© Dan Colen

Dan Colen, Let's have a war, 2016

Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)
© Dan Colen

Dan Colen, Under the Table, 2015 Gum on canvas, 105 × 85 inches (266.7 × 215.9 cm)© Dan Colen

Dan Colen, Under the Table, 2015

Gum on canvas, 105 × 85 inches (266.7 × 215.9 cm)
© Dan Colen

Dan Colen, Ride of the Valkyries, 2013 Oil on canvas, 89 ½ × 119 inches (227.3 × 302.3 cm)© Dan Colen, photo by Christopher Burke

Dan Colen, Ride of the Valkyries, 2013

Oil on canvas, 89 ½ × 119 inches (227.3 × 302.3 cm)
© Dan Colen, photo by Christopher Burke

Dan Colen, Ak’b’al, 2013 Steel studs on canvas, 24 × 18 inches (60.1 × 45.7 cm)© Dan Colen

Dan Colen, Ak’b’al, 2013

Steel studs on canvas, 24 × 18 inches (60.1 × 45.7 cm)
© Dan Colen

Dan Colen, Ak’b’al, 2013 (detail) Steel studs on canvas, 24 × 18 inches (60.1 × 45.7 cm)© Dan Colen

Dan Colen, Ak’b’al, 2013 (detail)

Steel studs on canvas, 24 × 18 inches (60.1 × 45.7 cm)
© Dan Colen

Dan Colen, K’an, 2013 (detail) Steel studs on canvas, 25 ½ × 21 ½ inches (64.8 × 54.6 cm)© Dan Colen

Dan Colen, K’an, 2013 (detail)

Steel studs on canvas, 25 ½ × 21 ½ inches (64.8 × 54.6 cm)
© Dan Colen

Dan Colen, Imix, 2013 (detail) Steel studs on canvas, 25 ½ × 21 ½ inches (64.8 × 54.6 cm)© Dan Colen

Dan Colen, Imix, 2013 (detail)

Steel studs on canvas, 25 ½ × 21 ½ inches (64.8 × 54.6 cm)
© Dan Colen

Dan Colen, The Most Wicked Member, 2013 (detail) Steel studs on canvas, 54 × 45 inches (137.2 × 114.3 cm)© Dan Colen

Dan Colen, The Most Wicked Member, 2013 (detail)

Steel studs on canvas, 54 × 45 inches (137.2 × 114.3 cm)
© Dan Colen

Dan Colen, Kaban, 2013 (detail) Steel studs on canvas, 25 ½ × 21 ½ inches (64.8 × 54.6 cm)© Dan Colen

Dan Colen, Kaban, 2013 (detail)

Steel studs on canvas, 25 ½ × 21 ½ inches (64.8 × 54.6 cm)
© Dan Colen

Dan Colen, Angel of Death, 2013 Flowers on bleached Belgian linen, 96 × 206 inches (243.8 × 523.2 cm)© Dan Colen

Dan Colen, Angel of Death, 2013

Flowers on bleached Belgian linen, 96 × 206 inches (243.8 × 523.2 cm)
© Dan Colen

Dan Colen, Days of Heaven, 2013 Aluminum plate, Dimensions variable© Dan Colen

Dan Colen, Days of Heaven, 2013

Aluminum plate, Dimensions variable
© Dan Colen

Dan Colen, Chuckles, 2013 (detail, view 1) Chuckles the Clown figure, cardboard boxes with plywood reinforcement, glass sphere, Dimensions variable© Dan Colen

Dan Colen, Chuckles, 2013 (detail, view 1)

Chuckles the Clown figure, cardboard boxes with plywood reinforcement, glass sphere, Dimensions variable
© Dan Colen

Dan Colen, Chuckles, 2013 (detail, view 2) Chuckles the Clown figure, cardboard boxes with plywood reinforcement, glass sphere, Dimensions variable© Dan Colen

Dan Colen, Chuckles, 2013 (detail, view 2)

Chuckles the Clown figure, cardboard boxes with plywood reinforcement, glass sphere, Dimensions variable
© Dan Colen

Dan Colen, Waiting on a Friend, 2013 Guitar case, wire and dime tangle, 41 × 20 × 20 inches (104.1 × 50.8 × 50.8 cm)© Dan Colen

Dan Colen, Waiting on a Friend, 2013

Guitar case, wire and dime tangle, 41 × 20 × 20 inches (104.1 × 50.8 × 50.8 cm)
© Dan Colen

Dan Colen, Love Triangle, 2013 Cardboard box with plywood reinforcement, playing card house, Dimensions variable© Dan Colen

Dan Colen, Love Triangle, 2013

Cardboard box with plywood reinforcement, playing card house, Dimensions variable
© Dan Colen

Dan Colen, The Last Night of the World, 2013 Whoopee cushion: silicon, fiberglass, glass eyes, paper cigarette; Marx: silicone, fiberglass, spandex, human hair, oil, paint, styrene, plastic, copper wire, aluminum glasses, paper cigar with tobacco, Mickey Mouse Hands: silicone, aluminum arm, Approx. 24 × 24 × 24 inches (60.1 × 60.1 × 60.1 cm)© Dan Colen

Dan Colen, The Last Night of the World, 2013

Whoopee cushion: silicon, fiberglass, glass eyes, paper cigarette; Marx: silicone, fiberglass, spandex, human hair, oil, paint, styrene, plastic, copper wire, aluminum glasses, paper cigar with tobacco, Mickey Mouse Hands: silicone, aluminum arm, Approx. 24 × 24 × 24 inches (60.1 × 60.1 × 60.1 cm)
© Dan Colen

Dan Colen, Blowin in the Wind, 2013 Hickory wood chair, glass, copper, cement whoopee cushions, Approx. 34 × 20 inches (86.4 × 50.8 cm)© Dan Colen

Dan Colen, Blowin in the Wind, 2013

Hickory wood chair, glass, copper, cement whoopee cushions, Approx. 34 × 20 inches (86.4 × 50.8 cm)
© Dan Colen

Dan Colen, MoMA chair (To be titled), 2013 Chair with 7 concrete filled whoopee cushions, red oak, and wood glue, 19 × 17 × 34 inches (48.3 × 43.2 × 86.4 cm)© Dan Colen

Dan Colen, MoMA chair (To be titled), 2013

Chair with 7 concrete filled whoopee cushions, red oak, and wood glue, 19 × 17 × 34 inches (48.3 × 43.2 × 86.4 cm)
© Dan Colen

Dan Colen, Kingdom Come, 2012 Steel studs on canvas, 66 × 49 inches (167.6 × 124.5 cm)© Dan Colen

Dan Colen, Kingdom Come, 2012

Steel studs on canvas, 66 × 49 inches (167.6 × 124.5 cm)
© Dan Colen

DAN COLEN Laffin’ and laffin’ till he can’t laff no more, 2012 Tar & feathers Dimensions variable Installation at Gagosian Gallery Paris © Dan Colen

DAN COLEN Laffin’ and laffin’ till he can’t laff no more, 2012

Tar & feathers Dimensions variable Installation at Gagosian Gallery Paris © Dan Colen

Dan Colen, Laffin’ and laffin’ till he can’t laff no more, 2012 (detail) Tar and feathers, dimensions variableInstallation view, Gagosian, Paris© Dan Colen

Dan Colen, Laffin’ and laffin’ till he can’t laff no more, 2012 (detail)

Tar and feathers, dimensions variable
Installation view, Gagosian, Paris
© Dan Colen

Dan Colen, Laffin’ and laffin’ till he can’t laff no more, 2012 (detail) Tar and feathers, dimensions variableInstallation view, Gagosian, Paris© Dan Colen

Dan Colen, Laffin’ and laffin’ till he can’t laff no more, 2012 (detail)

Tar and feathers, dimensions variable
Installation view, Gagosian, Paris
© Dan Colen

Dan Colen, Jihad, 2012 Steel studs on canvas, 66 × 49 inches (167.6 × 124.5 cm)© Dan Colen

Dan Colen, Jihad, 2012

Steel studs on canvas, 66 × 49 inches (167.6 × 124.5 cm)
© Dan Colen

Dan Colen, Jihad, 2012 (detail) Steel studs on canvas, 66 × 49 inches (167.6 × 124.5 cm)© Dan Colen

Dan Colen, Jihad, 2012 (detail)

Steel studs on canvas, 66 × 49 inches (167.6 × 124.5 cm)
© Dan Colen

Dan Colen, Disappearing Act, 2011 Mixed media, Dimensions variable© Dan Colen

Dan Colen, Disappearing Act, 2011

Mixed media, Dimensions variable
© Dan Colen

Dan Colen, Hand of Fate, 2011 Trash and paint on canvas, 126 × 97 × 2 inches (320 × 246.4 × 50.8 cm)© Dan Colen

Dan Colen, Hand of Fate, 2011

Trash and paint on canvas, 126 × 97 × 2 inches (320 × 246.4 × 50.8 cm)
© Dan Colen

Dan Colen, Blow up God, 2011 Ink on paper, 11 × 8 ½ inches (27.9 × 21.6 cm)© DAN COLEN

Dan Colen, Blow up God, 2011

Ink on paper, 11 × 8 ½ inches (27.9 × 21.6 cm)
© DAN COLEN

Dan Colen, The Space Between Nothing and Everything, 2010 Oil on canvas, 131 × 218 inches (332.7 × 553.7 cm)© Dan Colen

Dan Colen, The Space Between Nothing and Everything, 2010

Oil on canvas, 131 × 218 inches (332.7 × 553.7 cm)
© Dan Colen

Dan Colen, The Space Between Nothing and Everything, 2010 (detail) Oil on canvas, 131 × 218 inches (332.7 × 553.7 cm)© Dan Colen

Dan Colen, The Space Between Nothing and Everything, 2010 (detail)

Oil on canvas, 131 × 218 inches (332.7 × 553.7 cm)
© Dan Colen

DAN COLEN Cracks in the Clouds, 2010 Motorcycles Dimensions variable Installation at Seagram Building, New York © Dan Colen

DAN COLEN Cracks in the Clouds, 2010

Motorcycles Dimensions variable Installation at Seagram Building, New York © Dan Colen

DAN COLEN And She Smiled Sweetly, 2010 Brick wall, concrete, steel 156 × 284 × 100 inches (396.2 × 721.4 × 254 cm) Installation at Gagosian Gallery West 24th Street, New York © Dan Colen *View 1

DAN COLEN And She Smiled Sweetly, 2010

Brick wall, concrete, steel 156 × 284 × 100 inches (396.2 × 721.4 × 254 cm) Installation at Gagosian Gallery West 24th Street, New York © Dan Colen *View 1

DAN COLEN And She Smiled Sweetly, 2010 Brick wall, concrete, steel 156 × 284 × 100 inches (396.2 × 721.4 × 254 cm) Installation at Gagosian Gallery West 24th Street, New York © Dan Colen *View 2

DAN COLEN And She Smiled Sweetly, 2010

Brick wall, concrete, steel 156 × 284 × 100 inches (396.2 × 721.4 × 254 cm) Installation at Gagosian Gallery West 24th Street, New York © Dan Colen *View 2

Dan Colen, Murda Murda, 2010 Gum on unprimed canvas, 110 × 207 inches (279.4 × 525.8 cm)© Dan Colen

Dan Colen, Murda Murda, 2010

Gum on unprimed canvas, 110 × 207 inches (279.4 × 525.8 cm)
© Dan Colen

Dan Colen, Banana Split, 2010 Gum on unprimed canvas, 78 × 120 inches (198.1 × 304.8 cm)© Dan Colen

Dan Colen, Banana Split, 2010

Gum on unprimed canvas, 78 × 120 inches (198.1 × 304.8 cm)
© Dan Colen

Dan Colen, Overture, 2010 Plywood, 92 × 192 ½ × 368 inches (233.7 × 489 × 934.7 cm)© Dan Colen

Dan Colen, Overture, 2010

Plywood, 92 × 192 ½ × 368 inches (233.7 × 489 × 934.7 cm)
© Dan Colen

Dan Colen, Overture, 2010 Plywood, 92 × 192 ½ × 368 inches (233.7 × 489 × 934.7 cm)© Dan Colen

Dan Colen, Overture, 2010

Plywood, 92 × 192 ½ × 368 inches (233.7 × 489 × 934.7 cm)
© Dan Colen

Dan Colen, Overture, 2010 (detail) Plywood, 92 × 192 ½ × 368 inches (233.7 × 489 × 934.7 cm)© Dan Colen

Dan Colen, Overture, 2010 (detail)

Plywood, 92 × 192 ½ × 368 inches (233.7 × 489 × 934.7 cm)
© Dan Colen

Dan Colen, Whatever, 2007–10 Oil on canvas, 72 × 68 inches (182.9 × 172.7 cm)© Dan Colen

Dan Colen, Whatever, 2007–10

Oil on canvas, 72 × 68 inches (182.9 × 172.7 cm)
© Dan Colen

Dan Colen, Untitled, 2008 Oil on canvas, 96 × 128 inches (243.8 × 325.1 cm)© Dan Colen

Dan Colen, Untitled, 2008

Oil on canvas, 96 × 128 inches (243.8 × 325.1 cm)
© Dan Colen

Dan Colen, Untitled, 2008 Oil on canvas, 10 × 8 inches (25.4 × 20.3 cm)© Dan Colen

Dan Colen, Untitled, 2008

Oil on canvas, 10 × 8 inches (25.4 × 20.3 cm)
© Dan Colen

Dan Colen, Holy Crap, 2005–08 Oil on panel, 9 ⅜ × 10 inches (23.8 × 25.4 cm)© Dan Colen

Dan Colen, Holy Crap, 2005–08

Oil on panel, 9 ⅜ × 10 inches (23.8 × 25.4 cm)
© Dan Colen

DAN COLEN Fuck Authority, 2006 Oil on canvas 18 × 22 inches (45.7 × 55.9 cm) Installation at Gagosian Gallery West 24th Street, New York © Dan Colen

DAN COLEN Fuck Authority, 2006

Oil on canvas 18 × 22 inches (45.7 × 55.9 cm) Installation at Gagosian Gallery West 24th Street, New York © Dan Colen

Dan Colen, Otis and Garfield, 2006 Photo Lambda print, 15 × 18 inches (38.1 × 45.7 cm)© Dan Colen

Dan Colen, Otis and Garfield, 2006

Photo Lambda print, 15 × 18 inches (38.1 × 45.7 cm)
© Dan Colen

Dan Colen, Nostalgia, 2006 Mixed media, Approx. 100 × 144 × 144 inches (254 × 365.8 × 365.8 cm)© Dan Colen

Dan Colen, Nostalgia, 2006

Mixed media, Approx. 100 × 144 × 144 inches (254 × 365.8 × 365.8 cm)
© Dan Colen

Dan Colen, HOLY SHIT, 2006 Oil on plywood, 48 × 36 inches (121.9 × 91.4 cm)Photo by Rob McKeever

Dan Colen, HOLY SHIT, 2006

Oil on plywood, 48 × 36 inches (121.9 × 91.4 cm)
Photo by Rob McKeever

Dan Colen, Fuck, 2004 Oil on canvas, 8 ½ × 9 inches (22 × 22.9 cm)© Dan Colen

Dan Colen, Fuck, 2004

Oil on canvas, 8 ½ × 9 inches (22 × 22.9 cm)
© Dan Colen

Dan Colen, For they know not what they do (self-portrait), 2006 Oil on found painting, 22 ⅞ × 30 ⅞ inches (58.1 × 78.4 cm)© Dan Colen

Dan Colen, For they know not what they do (self-portrait), 2006

Oil on found painting, 22 ⅞ × 30 ⅞ inches (58.1 × 78.4 cm)
© Dan Colen

Dan Colen, Self-portrait as the Wanderer (as I pause to ponder: do real men break herds? I decide yes! They do, only to later change my mind.), 2004 Oil on found painting, 14 ¼ × 18 inches (36.2 × 45.7 cm)© Dan Colen

Dan Colen, Self-portrait as the Wanderer (as I pause to ponder: do real men break herds? I decide yes! They do, only to later change my mind.), 2004

Oil on found painting, 14 ¼ × 18 inches (36.2 × 45.7 cm)
© Dan Colen

About

From the outset, Dan Colen’s paintings have continually investigated one foundational question: To what extent does art come from the artist, and to what extent does it arise from forces independent of the artist? In his earliest works, Colen labored over precise oil renderings of banal interiors—a sloppy apartment bathroom, an adolescent bedroom, a camping tent—into which he introduced the presence of the supernatural—the Blue Fairy, Jesus Christ, twinkling cherubs, his deceased grandfather. He describes his subsequent series of Candle paintings as “portraits of God.” In these works, the space of the canvas embodies Geppetto’s worktable—where Pinocchio transcends his materiality to become real—and a message appears in the smoke left by a just-extinguished candle flame.

In 2006 Colen started to make “paintings” with chewing gum instead of paint, ushering in a long period during which he traded representational subject matter for an exploration of the medium itself. Using flowers, dirt, grass, tar and feathers, Mylar confetti, street trash, and readymade metal studs, he relinquished his controlled approach to painting, allowing the final result to be guided by the behavior of a given material. He has mused on this loss of control as a source of excitement, commenting that it was as if the paintings were taking on “inevitable forms—almost like destined forms.”

Colen was born in 1979 in New Jersey. He received a BFA in 2001 from the Rhode Island School of Design, Providence. Recent solo exhibitions include Peanuts, Astrup Fearnley Museet, Oslo (2011); In Living Color, FLAG Art Foundation, New York (2012); The Illusion of Life, Inverleith House, Royal Botanic Garden, Edinburgh (2013); Help!, Brant Foundation Art Study Center, Greenwich, Connecticut (2014); The L . . . o . . . n . . . g Count, Walter De Maria Building, New York (2014); Psychic Slayer, Herning Museum of Contemporary Art, Denmark (2015); Shake the Elbow, Albright-Knox Art Gallery, Buffalo, New York (2015); Oil Painting, Dallas Contemporary (2016); and Sweet Liberty, Newport Street Gallery, London (2017–18). Colen’s work was included in the 2006 Whitney Biennial and the 12th Lyon Biennale in 2013. His work is featured in collections including the Whitney Museum of American Art, New York; Albright-Knox Art Gallery, Buffalo, New York; Los Angeles County Museum of Art; Astrup Fearnley Museet, Oslo; Dakis Joannou Collection, Athens; de la Cruz Collection, Miami; Hirshhorn Museum and Sculpture Garden, Washington, DC; Jiménez-Cólón Collection, Ponce, Puerto Rico; and Walker Art Center, Minneapolis.

Colen lives and works in New York.

Chicken and barn at Sky High Farm in Columbia County, New York.

Dan Colen: Sky High Farm

In this video, Dan Colen speaks about his inspiration in founding Sky High Farm as a way to address food insecurity and improve access to fresh, nutritious food for underserved communities in New York. Established in 2011, the 40-acre farm raises pasture-based livestock and grows organic fruit and vegetables exclusively for donation. 

Project EATS farm (top); Sky High Farm (bottom).

The Bigger Picture
Sky High Farm × Project EATS

Dan Colen and Linda Goode Bryant are both artists who have founded nonprofits devoted to food justice. Here they speak about art, food, and life, including how they arrived at farming and the urgency of their projects’ missions during the current health crisis.

A Single Moment: Dan Colen and Francesco Bonami

A Single Moment: Dan Colen and Francesco Bonami

Dan Colen joins Francesco Bonami in a conversation about absence and nostalgia, decadence and decay, progress and failure—and about help, the theme of his most recent body of paintings.

Video still of Dan Colen seated onstage with Hans Ulrich Obrist.

In Conversation
Dan Colen with Hans Ulrich Obrist

Against the backdrop of his survey exhibition Sweet Liberty, Dan Colen speaks about his work with Hans Ulrich Obrist, starting with his earliest interest in art and continuing up to the recent Desert paintings (2015–19).

Dan Colen: Carry On Cowboy

Dan Colen: Carry On Cowboy

Gagosian Quarterly presents Dan Colen’s Carry On Cowboy. This performance first took place during the exhibition Dan Colen: High Noon at Gagosian, Beverly Hills.

Dan Colen: At Least They Died Together

Dan Colen: At Least They Died Together

Gagosian Quarterly presents Dan Colen’s At Least They Died Together. This performance first took place during the exhibition Dan Colen: High Noon at Gagosian, Beverly Hills.

Dan Colen, Dimitri Chamblas, and Douglas Fogle

Gagosian Quarterly Talks
Dan Colen, Dimitri Chamblas, and Douglas Fogle

Douglas Fogle moderates a conversation between Dan Colen and Dimitri Chamblas following the premiere of Colen’s two performance pieces At Least They Died Together and Carry On Cowboy.

Dan Colen

Work in Progress
Dan Colen

We visit the artist’s studio in Brooklyn, New York, to get a behind-the-scenes glimpse of his new series of Desert paintings while he prepares for an upcoming exhibition in Beverly Hills. Text by Ben Eastham.

Free Arts NYC

The Bigger Picture
Free Arts NYC

Meredith Mendelsohn discusses the impact of Free Arts NYC and its mission to foster creativity in children and teens, on the occasion of its twenty-year anniversary.

Dan Colen and Ali Subotnick

In Conversation
Dan Colen and Ali Subotnick

Dan Colen speaks with Ali Subotnick on the occasion of his exhibition, Dan Colen: Sweet Liberty, at the Newport Street Gallery in London.

Rx Art

The Bigger Picture
Rx Art

Derek Blasberg speaks with Diane Brown, president and founder of RxArt, and with contributing artists Dan Colen, Urs Fischer, and Jeff Koons about the transformative power of visual art.

Dan Colen: The Bowery School

Dan Colen: The Bowery School

In this video from the Louisiana Channel, Dan Colen sits down to talk about friends like Ryan McGinley and Dash Snow, and how his art developed to a place of celebration.

Fairs, Events & Announcements

Vegetables from Sky High Farm being prepared for distribution in New York

Panel Discussion

Food Justice and Security
Dan Colen, Linda Goode Bryant, and Qiana Mickie in Conversation with Sonia Chopra

Thursday, August 6, 2020, 5pm EDT

Join Gagosian and 92nd Street Y for a conversation on contemporary food justice and community food security. The presentation will feature three speakers working in the field: Dan Colen, artist and founder of Sky High Farm, a nonprofit working to improve access to nutritious food for New Yorkers in underserved communities; gallerist and filmmaker Linda Goode Bryant, founder of Project EATS, an urban farming initiative aimed at sustainable food production in low income communities in New York City; and Qiana Mickie, special projects consultant for Just Food, a pioneer in food justice and an advocate for sustainable agriculture with an emphasis on community-driven solutions to inequities in our food system. The discussion will be moderated by writer Sonia Chopra, executive editor of Bon Appétit, and co-executive producer of No Passport Required on PBS. To attend the event, purchase tickets at 92y.org. A portion of ticket sales will be donated to Just Food, Project EATS, and Sky High Farm.

Vegetables from Sky High Farm being prepared for distribution in New York

Dan Colen: High Noon (New York: Gagosian, 2020)

Online Reading

Dan Colen
High Noon

Dan Colen: High Noon is available for online reading from May 20 through June 19 as part of Artist Spotlight: Dan Colen. The book documents two performance pieces by the artist, Carry On Cowboy and At Least They Died Together (both 2018), and a related exhibition of Desert paintings (2015–19), presented at Gagosian, Beverly Hills. The volume features an essay by Douglas Fogle, as well as a conversation between Colen, Fogle, and choreographer Dimitri Chamblas.

Dan Colen: High Noon (New York: Gagosian, 2020)

Photo: Eric Piasecki

Artist Spotlight

Dan Colen

May 20–26, 2020

Moving between diverse styles and subjects, Dan Colen investigates the conceptual stakes of materiality and mark making. Alongside explorations in unconventional mediums including chewing gum, flowers, and metal studs, he continually returns to oil painting and representation, conducting an ever-evolving inquiry into the objecthood and authority of painting as a medium.

Photo: Eric Piasecki

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Museum Exhibitions

Installation view, Reflections: Matt Black × Gana Art, Gana Art Center and Gana Art Hannam, Seoul, November 1, 2019–January 5, 2020. Artwork © Sterling Ruby

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Reflections
Matt Black × Gana Art

November 1, 2019–January 5, 2020
Gana Art Center and Gana Art Hannam, Seoul
ganaart.com

In collaboration with filmmaker Matt Black, this exhibition is centered around his short film series titled Reflections, which features conversations with contemporary artists. Through his interviews, Black paints a picture of the rapidly changing contemporary art scene, revealing the stories behind the artworks. Following the film’s theme, Gana Art has curated this exhibition to feature works by these artists, which include Dan Colen, Rachel Feinstein, Jeff Koons, Harmony KorineSterling Ruby, Taryn Simon, and Blair Thurman, among others.

Installation view, Reflections: Matt Black × Gana Art, Gana Art Center and Gana Art Hannam, Seoul, November 1, 2019–January 5, 2020. Artwork © Sterling Ruby

Dan Colen, No Way Jose, 2008–09 © Dan Colen. Photo: Christopher Burke

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Dan Colen
Works from the Astrup Fearnley Collection

May 24–September 15, 2018
Astrup Fearnley Museet, Oslo
www.afmuseet.no

This exhibition of works from the Astrup Fearnley Collection will bring together a corpus of Dan Colen’s paintings (made from oil, chewing gum, confetti, flowers, and lemon juice) as well as sculpture, photographs, and film. Embodiments of moments that have taken on aesthetic form, the works present fragmented stories told in the first person about the artist and his immediate environment. They are dialogues with society and commentaries on art history that often reference political issues, mixing high and low cultural values.

Dan Colen, No Way Jose, 2008–09 © Dan Colen. Photo: Christopher Burke

Installation view, Dan Colen: Sweet Liberty, Newport Street Gallery, London, October 4, 2017–January 28, 2018. Artwork © Dan Colen. Photo by Prudence Cumings Associates Ltd © Victor Marta Ltd.

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Dan Colen
Sweet Liberty

October 4, 2017–January 28, 2018
Newport Street Gallery, London
www.newportstreetgallery.com

This exhibition is Dan Colen’s first major solo exhibition in London and spans more than fifteen years of his art making. The show features new works, including large-scale installations, alongside significant early pieces.

Installation view, Dan Colen: Sweet Liberty, Newport Street Gallery, London, October 4, 2017–January 28, 2018. Artwork © Dan Colen. Photo by Prudence Cumings Associates Ltd © Victor Marta Ltd.

Dan Colen, Secrets and Cymbals, Smoke and Scissors (My Friend Dash’s Wall in the Future), 2004–06/2016

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Dan Colen in
Ryan McGinley: The Kids Were Alright

February 11–August 20, 2017
Museum of Contemporary Art Denver
mcadenver.org

Featured in this survey of Ryan McGinley’s early work is Dan Colen’s Secrets and Cymbals, Smoke and Scissors (My Friend Dash’s Wall in the Future) (2004–06/2016). This massive sculpture––the artist’s first––is also a monumental painting. Spanning almost ten feet, the freestanding work is comprised of hundreds of small oil paintings on paper or foam, each a 1:1 trompe l’oeil representation of a corresponding photograph, newspaper clipping, or object that hung in an identical position on Dash Snow’s apartment wall in the early 2000s. The apartment was a gathering place for friends and artists, among them Colen’s childhood friend Ryan McGinley.

Dan Colen, Secrets and Cymbals, Smoke and Scissors (My Friend Dash’s Wall in the Future), 2004–06/2016

Press

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