DNA Study: XII

2014
Ink, laser print collage and Staonal crayon on panel
84" x 84"

DNA Study: XII

DNA Study: XII


DNA Study: IX

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
96" x 72"

DNA Study: IX


DNA Study: VIII

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
96" x 72"

DNA Study: VIII


DNA Study: VII

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
96" x 72"

DNA Study: VII


DNA Study: XI

2014
Ink, laser print collage and Staonal crayon on panel
64" x 46"

DNA Study: XI


DNA Study: X

2014
Ink, laser print collage, oil paint stick, and Staonal crayon on panel
64" x 46"

DNA Study: X


Self Portrait: Two

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
18" x 18"

Self Portrait: Two


dna: study: mini: ten

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
36" x 24"

dna: study: mini: ten

dna: study: mini: ten


DNA Study: mini:six

2014
Ink, laser print collage and Staonal crayon on panel
24" x 36"

DNA Study: mini:six


Self Portrait

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
18" x 18"

Self Portrait


DNA Studies at Prospect 3

2014
Ink, laser print collage, oil paint stick and Staonal crayon on panel
96" x 72"

Prospect.3: Notes for Now (P.3) is an international contemporary art biennial. P.3 features the work of 58 artists selected by Artistic Director Franklin Sirmans in 18 venues located throughout New Orleans.

DNA Studies at Prospect 3

DNA Studies at Prospect 3

DNA Studies at Prospect 3


Installation view of of McArthur Binion in Another Look at Detroit: Parts 1 and 2, Marianne Boesky Gallery in collaboration with Marlborough Chelsea, New York

June 26 - August 8, 2014

Courtesy of Marlborough Chelsea, New York © 2014. Photo credit: Bill Orcutt

Installation view of of McArthur Binion in <i>Another Look at Detroit: Parts 1 and 2</i>, Marianne Boesky Gallery in collaboration with Marlborough Chelsea, New York


DNA Study

May 24 – Aug 2, 2014
Kavi Gupta CHICAGO | ELIZABETH ST

Underpinning Binion’s DNA Study are notions of self-awareness and self-discovery–a conscious reflection on himself and the historical discourses to which he’s contributed. In his self-portraits, Binion layers photocopies from his address book from the 1970s into collaged tiles, creating geometric fields of abstract color. On close inspection these rhythmic panels divulge the names of “Basquiat,” “Mary Boone” and “Meryl Streep” amongst a host of others: all friends, lovers or casual acquaintances. This document of artists, art-dealers and actresses, a who’s who of the golden age of creative high society in New York, similarly uncovers Binion’s personal history as a disregarded black artist in an overwhelmingly white majority. Binion’s DNA studies appear as grids, bearing the graphic style of modernist paintings. His crosshatches resemble painted brushstrokes yet arise from a far more physical process of mark making with crayon on panel. The romance of labor has a deeper resonance in its reference to Binion’s childhood of picking cotton. This highly charged and distinctly African American narrative transcends modernism, which is conventionally devoid of expression. Binion channels this personal and simultaneously historic narrative through the idea of DNA–the most basic starting point for human existence that exemplifies our shared uniqueness. Binion elucidates on this metaphor as a platform for discourse, playing with this acronym: “[it could stand for] … Distinct Neurological Advancement, or Detroit Negro Artist…”

DNA Study

DNA Study

DNA Study

DNA Study

DNA Study

DNA Study


DNA Study: III

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
96” x 72”

DNA Study: III


DNA Study: IV

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
96" x 72"

DNA Study: IV


DNA Study: VI

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
96" x 72"

DNA Study: VI


DNA Study:Five

2013
laser print collage, oil paint stick and Staonal crayon on panel
96" x 72" x 3"

DNA Study:Five


DNA Study:Two

2013
laser print collage, oil paint stick and Staonal crayon on panel
96" x 72" x 3"

DNA Study:Two


dna study: four

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
24” x 36”

dna study: four


Birth of Colored: Seven

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
72" x 48"

Birth of Colored: Seven


Birth of Colored: Four

2013
ink, laser print collage, oil paint stick and Staonal crayon on panel
72” x 48” x 2”

Birth of Colored: Four

Birth of Colored: Four


Birth of Colored: One

2013
ink, laser print collage, oil paint stick and Staonal crayon on panel
72” x 48” x 2”

Birth of Colored: One

Birth of Colored: One


Self Portrait: XVI

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
18" x 18"

Self Portrait: XVI


Self Portrait: Fourteen

2014
ink, laser print collage, oil paint stick and Staonal crayon on panel
18" x 18"

Self Portrait: Fourteen


Self Portrait: Three

2013
ink, laser print collage, oil paint stick and Staonal crayon on panel
18" x 18"

Self Portrait: Three


Self Portrait: Two

2013
ink, laser print collage, oil paint stick and Staonal crayon on panel
18" x 18"

Self Portrait: Two


Self Portrait: Three

2013
ink, laser print collage, oil paint stick and Staonal crayon on panel
18” x 18” x 1/1/2”

Self Portrait: Three


Self Portrait: One

2013
ink, laser print collage, oil paint stick and Staonal crayon on panel
18" x 18"

Self Portrait: One


Four Movements of Sunlight: Three

2014
Laser print collage, oil paint and staonal crayon on panel
36" x 36"

Four Movements of Sunlight: Three


Four Movements of Sunlight: Four

2014
Ink, laser print collage and Staonal crayon on panel
36" x 36"

Four Movements of Sunlight: Four


Four Movements of Sunlight: Two

2014
Laser print collage, oil paint and staonal crayon on panel
36" x 36"

Four Movements of Sunlight: Two


Installation view of Ice Fishing at Max Wigram Gallery, London

June 4 - July 26, 2014

“Ice fishing is the practice of catching fish with lines and fish hooks or spears through an opening in the ice on a frozen body of water.” A photograph of ice fishing looks like a minimal activity. A white surround, with a black hole, and an individual engaged in a practice that looks almost motionless. The work that is unseen, cutting into a frozen lake, withstanding the extreme weather conditions and traveling to the often-remote location, are hidden. Looking at the work of five artists spanning five decades since the mid-20th century, Ice Fishing is interested in drawing links between artists whose work, in its simplicity and connotation, belies the important processes and aims that lead to its making.

Installation view of Ice Fishing at Max Wigram Gallery, London

Installation view of Ice Fishing at Max Wigram Gallery, London

Installation view of Ice Fishing at Max Wigram Gallery, London

Installation view of Ice Fishing at Max Wigram Gallery, London


Installation of Perspectives: 177

January 6-April 1, 2012
Contemporary Art Museum Houston

Perspectives 177: McArthur Binion is the Houston debut for this Chicago-based, mid-career painter and the artist’s first solo museum exhibition. For this exhibition, Binion has created a new body of work that extends his visual narrative through color and geometric form. Decidedly minimal, Binion’s work embodies a strong intellect rooted in the expressive capabilities of color and abstraction. His luminous hybrid paintings are comprised of wax-based crayons pressed onto shaped wood and aluminum panels. The tactility of the painting as well as the integration of paper collage onto its surface offers a complexity to Binion’s process that is deeply devoted to the narrative of the work’s making. All images courtesy of Contemporary Art Museum Houston

Installation of Perspectives: 177

Installation of Perspectives: 177

Installation of Perspectives: 177

Installation of Perspectives: 177

Installation of Perspectives: 177


Sketch I (Looking for Grey): For: Three Movements of Sunlight

2013
ink, laser print collage, oil paint stick and Staonal crayon on panel
72" x 48" x 2"

Sketch I (Looking for Grey): For: Three Movements of Sunlight


Sketch IX (Looking for Grey): For: Three Movements for Sunlight

2013
laser print collage, oil paint stick and Staonal crayon on panel
48" x 32"

Sketch IX (Looking for Grey): For: Three Movements for Sunlight


Sketch X (Looking for Grey): For: Three Movements for Sunlight

2013
laser print collage, oil paint stick and Staonal crayon on panel
48” x 32”

Sketch X (Looking for Grey): For: Three Movements for Sunlight

Sketch X (Looking for Grey): For: Three Movements for Sunlight


Sketch VI (Looking for Grey): For: Three Movements of Sunlight

2013
laser print collage, oil paint stick and Staonal crayon on panel
48” x 32”

Sketch VI (Looking for Grey): For: Three Movements of Sunlight

Sketch VI (Looking for Grey): For: Three Movements of Sunlight


Sketch VII (Looking for Grey): For: Three Movements of Sunlight

2013
laser print collage, oil paint stick and Staonal crayon on panel
48" x 32"

Sketch VII (Looking for Grey): For: Three Movements of Sunlight


Stuttering:Standing:Still Seven

2013
ink, laser print collage, oil paint stick and Staonal crayon on panel
72” x 96”

Stuttering:Standing:Still Seven


Stuttering: Standing: Still (LDM One) V

2013
ink, laser print collage, oil paint stick and Staonal crayon on panel
72" x 96"

Stuttering: Standing: Still (LDM One) V


Sawyer: Suite: XV

May 18–Oct 6, 2013
laser print collage, staonal crayon and graphite on paper
30" x 23"

Sawyer: Suite: XV


Sawyer: Suite: XIII

2013
laser print collage, staonal crayon and graphite on paper
30" x 23"

Sawyer: Suite: XIII


Sawyer: Suite: IV

2013
laser print collage and staonal crayon on paper
30" x 23"

Sawyer: Suite: IV


2 Blacks for Butch: One

2013
ink, laser print collage, oil paint stick and Staonal crayon on panel
18” x 18” x 1/1/2” each

2 Blacks for Butch: One


Ghost: Rhythms

Apr 6 - Sep 19, 2013
Kavi Gupta CHICAGO | WASHINGTON BLVD

Ghost: Rhythms, at Kavi Gupta Chicago, focussed on Binion's early career in 1970s New York City. Like many of his peers, Binion was influenced by the Abstract Expressionists and had developed a deep interest in visual communication and Modernism. As Minimalism was well underway within the visual culture of the time, Binion developed his idiosyncratic style of "action painting," which is composed of pressing wax crayon on to the surface of aluminum and canvas, creating textured yet minimal surfaces and compositions. Though Minimalism was a movement that was mostly associated with and would historically become dominated by white artists, Binion's contribution to the movement as an African American artist can be traced through both his professional and personal relationships developed as he actively participated in the scene as well as his unique approach to Minimalism as a vehicle for story and memory.



Ghost: Rhythms

Ghost: Rhythms

Ghost: Rhythms

Ghost: Rhythms

Ghost: Rhythms


109 West Broadway: No.1

1974-75
oil stick, Dixon Wax crayon on aluminum
48" x 72"

109 West Broadway: No.1


Circuit Landscape: No.II

1973
Oil stick, Dixon crayon on canvas
42" x 90"

Circuit Landscape: No.II

Circuit Landscape: No.II


Ghost: Rhythms

1974-5
Oil stick, Dixon crayon on aluminium
72" x 48"

Ghost: Rhythms

Ghost: Rhythms


Circuit Landscape: No. III

1973
Oil stick on canvas
95" x 92"

Circuit Landscape: No. III


Circuit Landscape: No. V

1973
Oil stick on canvas
94" x 94"

Circuit Landscape: No. V


Untitled

1976
Pencil, Staonal crayon, and charcoal on paper
19” x 24 1/2” paper; 22 1/2” x 27 1/2” framed

Untitled


Circuit Landscape: No. 5

1972
Oil stick, Dixon crayon on aluminium
25" x 32"

Circuit Landscape: No. 5


Icecicle: Juice

1976
Oil stick, Dixon crayon on aluminium
71" x 45"

Icecicle: Juice

Icecicle: Juice


109 West Broadway: No. 1

1974-5
Dixon wax crayon on aluminium
48" x 72"

109 West Broadway: No. 1


Aluminum: 109 W Broadway No. 2

1975
oil stick, Dixon Wax crayon on aluminum
24" x 36"

Aluminum: 109 W Broadway No. 2


Under In:and:Out of Violet

1978-79
oil stick, Dixon Wax crayon on aluminum
46" x 59"

Under In:and:Out of Violet


Untitled: 152 W 25th Street No.1

1978
oil stick, Dixon wax crayon on aluminum
36" x 24"

Untitled: 152 W 25th Street No.1


Mississippi: Live: Birth III

2013
ink, laser print collage, oil paint stick and Staonal crayon on Masonite board
24" x 18"

Mississippi: Live: Birth III


Mississippi: Live: Birth IV

2013
ink, laser print collage, oil paint stick and Staonal crayon on Masonite board
24" x 18"

Mississippi: Live: Birth IV


Mississippi: Live: Birth V

2013
ink, laser print collage, oil paint stick and Staonal crayon on Masonite board
24" x 18"

Mississippi: Live: Birth V


Mississippi: Live: Birth II

2013
ink, laser print collage, oil paint stick and Staonal crayon on Masonite board
18" x 24"

Mississippi: Live: Birth II


Mississippi: Live: Birth I

2013
ink, laser print collage, oil paint stick and Staonal crayon on Masonite board
24" x 18"

Mississippi: Live: Birth I


stuttering:standing:still II

2013
ink, laser print collage, oil paint stick and Staonal crayon on Masonite board
32" x 48"

stuttering:standing:still II


stuttering:standing:still

2013
ink, laser print collage, oil paint stick and Staonal crayon on Masonite board
48" x 32"

stuttering:standing:still


Ghost Rhythms for Thomecat II

2011
oil stick, sepia ink, Staonal crayon, laser image print collage on Masonite
72" x 24"

Ghost Rhythms for Thomecat II

Ghost Rhythms for Thomecat II


Driving Thru Chicago in Mississippi

2011
oil stick, sepia ink, Staonal crayon, laser image print collage on Masonite board
72" x 24"

Driving Thru Chicago in Mississippi


Simplicism: Lush Violet II

2011
Staonal crayon on birch plywood
26 1/2" diameter

Simplicism: Lush Violet II

Simplicism: Lush Violet II


Steca: One

2011
oil stick, sepia ink, Staonal crayon, laser image print collage on Masonite
24" x 72"

Steca: One

Steca: One


Driving Through Mississippi in Chicago

2012
oil stick, sepia ink, Staonal crayon, laser image print collage on Masonite
72" x 24"

Driving Through Mississippi in Chicago


Differness:Three

2012
oil stick, sepia ink, Staonal crayon, laser image print collage on Masonite board
2012
37" x 31" x 2"

Differness:Three


The Marriage of Light & the Time of Day: V

2012
oil stick, sepia ink, Staonal crayon, laser image print collage on Masonite board
21" x 21" x 2"

The Marriage of Light & the Time of Day: V


The Marriage of Light & the Time of Day: III

2012
oil stick, sepia ink, Staonal crayon, laser image print collage on Masonite board
2012

The Marriage of Light & the Time of Day: III


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