Dexter Dalwood in New Cross

Dalwood, D (2013) Dexter Dalwood in New Cross. In: Contemporary Art Talks, 13 March 2013, Goldsmiths College, London, UK.

Abstract

Dexter Dalwood’s paintings depict imagined, constructed interiors or landscapes without figures, which act as ambiguous memorials to, or descriptions of, various historic people, places or events. Starting as collages, the larger paintings retain traces of the material juxtapositions common to these smaller ‘sketches’, as well as referencing - and arguably reviving - the redundant genre of History Painting. In their concern to catalogue in painterly form the significant events of our times, subjects have included Sharon Tate’s house, the death of David Kelly, Greenham Common and Osama Bin Laden’s hideaway, in an oeuvre drily exulting in the possibilities remaining to painting as a medium in the digital age, whilst questioning the creation of the histories that same age delivers to us. Dexter Dalwood’s work is found in both the Tate and Saatchi collections, and has been integral to many highly innovative and landmark group exhibitions, including Rank: Picturing the Social Order 1516-2009, Leeds Art Gallery (2009); Lights, Camera, Action: Artists’ Films for the Cinema, Whitney Museum of American Art, New York (2007); The Triumph of Painting, Saatchi Gallery, London (2006); Days Like These: Tate Triennial, Tate Britain, London (2003); the Sydney Biennale (2002); Remix: Contemporary Art and Pop, Tate Liverpool (2002); Twisted: Urban and Visionary Landscapes in Contemporary Painting, Van Abbe Museum, Eindhoven (2000); New Neurotic Realism Part II, Saatchi Gallery, London (1999); and Die Young Stay Pretty, ICA, London (1999).

Item Type:	Conference or Workshop Item (Lecture)
Subjects:	N Fine Arts > ND Painting
Divisions:	Bath School of Art, Film and Media
Date Deposited:	23 Nov 2018 13:20
Last Modified:	15 Aug 2021 09:50
URI / Page ID:	https://researchspace.bathspa.ac.uk/id/eprint/11256

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