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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

A mark is just a decision, a touch that can go in so many different directions. . . . There’s so much that you’re not seeing, so many decisions. That’s where the art happens. . . . The viewer doesn’t ever get to witness it, but they have to know that it was there and there has to be a space for the imagination.
—Dan Colen

Moving between diverse styles and subjects, Dan Colen investigates the conceptual stakes of materiality and mark making. Interested in how the physical properties of mediums dictate their specific forms and symbolic resonances, Colen oscillates in his work between rigorous artisanal technique and the aesthetics of chance. Alongside his works in oil on canvas, he has often employed unconventional materials such as chewing gum, flowers, and trash, relinquishing control of his work’s final appearance to their unpredictable surfaces. He also produces time-based and three-dimensional works, including animatronic sculptures and performances. With imagery adapted from popular culture, he explodes the boundaries between fine art and subculture, interrogating the dynamic between images and the materials from which they are composed.

Born in Leonia, New Jersey, Colen received a BFA from the Rhode Island School of Design in 2001. 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. A subsequent series, the Candle paintings (2003–10), drew inspiration from the Disney film Pinocchio (1940). In these works, Colen honed in on the moment in which artistic materials suddenly become alive and autonomous from their maker: the space of the canvas embodies Geppetto’s worktable—where Pinocchio becomes “real”—and a message appears in the smoke left by a just-extinguished candle flame. He has described the series as “an attempt at conversing with god or the infinite.”

Read more

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

Left to right: Dan Colen. Photo: Andrew Zuckerman. Aimee Meredith Cox. Photo: Frederick Williams. Hank Willis Thomas. Photo: Andrea Blanch. Ora Wise. Photo: Stephen Vixjo

In Conversation

Dan Colen, Aimee Meredith Cox, Hank Willis Thomas
Moderated by Ora Wise

Thursday, May 6, 2021, 5pm edt

In partnership with Dover Street Market, Gagosian will host an online conversation between Dan Colen, artist and founder of Sky High Farm, Aimee Meredith Cox, associate professor of Anthropology and African American Studies at Yale University and author of the award-winning monograph Shapeshifters: Black Girls and the Choreography of Citizenship, and Hank Willis Thomas, Conceptual artist and cofounder of For Freedoms. Moderated by Ora Wise, executive director of Sky High Farm, the group will explore the transformative power of art making, the politics of collaboration, and the role of creative expression within social justice movements. To join, register at eventbrite.com.

This talk is part of a tribute, organized by Frieze New York, honoring the Vision & Justice Project and its founder Sarah Elizabeth Lewis. The Vision & Justice Project is dedicated to examining art’s central role in understanding the relationship between race and citizenship in the United States.

Left to right: Dan Colen. Photo: Andrew Zuckerman. Aimee Meredith Cox. Photo: Frederick Williams. Hank Willis Thomas. Photo: Andrea Blanch. Ora Wise. Photo: Stephen Vixjo

Jeff Koons, Bluebird Planter, 2010–16 © Jeff Koons

Art Fair

FIAC Online 2021
Printemps oublié

March 2–12, 2021

Gagosian is pleased to present Printemps oublié for the first online edition of FIAC. This curated presentation reflects the dual character of springtime as a reminder of past trials and the harbinger of a vibrant new season to come.

All the artworks will appear on the Gagosian website and a rotating selection will appear in the inaugural FIAC Online Viewing Rooms, from March 4 to 7.

Jeff Koons, Bluebird Planter, 2010–16 © Jeff Koons

Sky High Farm T-shirts with illustrations by Joana Avillez. Photo: Quil Lemons

Partnership

Dan Colen × Dover Street Market
Twelve brands create exclusive merchandise to support Sky High Farm

Following their February 2020 partnership, Sky High Farm and Dover Street Market are launching an ambitious yearlong project featuring merchandise collaborations across the industries of fashion, art, film, food, and design. For the first iteration, Sky High Farm founder Dan Colen has selected twelve independently minded brands allied by a shared sense of civic responsibility to create exclusive garments or accessories bearing the farm’s signature artwork—created by Joana Avillez—to be sold online and at Dover Street Market’s New York and Los Angeles locations. Raising both funds and awareness, the collaboration will support Sky High Farm’s commitment to standing up against inequity in our food systems and to providing sustenance, nutrition, healing, and new opportunities for underserved communities.

Sky High Farm T-shirts with illustrations by Joana Avillez. Photo: Quil Lemons

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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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