Search Bar Sponsored by the Brooklyn Museum's Maria Magdalena Campos-Pons exhibition, "Behold."
Jonathan VanDyke, Painting (No2), 2011, walnut wood, rubber, leather cord woven in spider weave pattern, and pigmented urethane in dripping sequence. All images courtesy of the artist and Loock Gallerie, Berlin; 1/9unosunove, Rome; Tops Gallery, Memphis; and Scaramouche, NY.
Shadow, 2015, gelatin silver print.
Translation (N-H), 2016, acrylic paint and ink on cotton fabrics, backed in linen, with embroidery and photographs printed on verso.
Both and, 2017, gelatin silver print photo collage.
Violets, 2015, paint and ink on raw canvas. Brad & David sessions 14/15; body pressure sequence.
Beards, 2014, walnut wood, Masonite, cast plastic, rope and pigmented urethane in dripping sequence.
A.S., 2017, acrylic paint and ink on cotton fabrics, backed in linen, with embroidery and photographs printed on verso.
Performance view of Self Portrait as My Mother, as an Actress, as a Painter, as a Stranger, version 2, 2013, at On Stellar Rays, NY. This was a series of three-hour performances with painting, performed by Laryssa Husiak and Jonathan VanDyke.
In the Month of June 2016, 2017, acrylic paint and ink on cotton fabrics, backed in linen, with embroidery and photographs printed on verso.
The Wedding Cake, 2015, gelatin silver print.
Glazier, 2014, ink and paint on raw canvas. Brad & David session 6 / flagellation sequence.
Father Figure, 2014, pigment print.
D-B (after Paul Klee), 2017, acrylic paint and rabbit skin glue on stained and sewn canvas.
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