Roxy Paine USA, b. 1966
In 1990, Roxy Paine began showing his work in Williamsburg, Brooklyn where he co-founded the artist collective Brand Name Damages. His early works established an interest in the collision of conflicting impulses of information such as industry and nature, control and chaos, and form and theory.
Over the years, Paine’s work has evolved into a trajectory of several overlapping wavelengths: machines, fields, fungus and weeds, specimen cases, dendroids, and dioramas. Paine is interested in human industries and human nature as they inform and reform the collective space. Paine’s dioramas emerge as psychological, constructed realities of universal “habitats,” no longer present with human figures. They are the everyday spaces of our modern conditions, such as a fast-food counter, control room, sports arena, and security line.
The vocabulary of fungi, plants, and industrial machines became vehicles for the artist’s reflections on mechanized production and the human impulse to impose order and control over creative and natural forces. His art-making machines, such as the Paint Dipper, PMU (Painting Manufacture Unit),and the Erosion Machine juxtapose two conflicting impulses: the constraints imposed by data and code systems on the randomness of nature and chance. Paine’s “factories” resemble utilitarian models of production, but their results become questionable creations full of inefficiencies and nonidentical works.
Writes Tan Lin, “Paine makes machines addicted to making paintings, to the labor of painting. He also makes hallucinatory, exquisitely unperturbed and minutely controlled replicas of mushrooms and poppies out of polymer.” Paine’s replicas transcribe the ordinary object into the psychoactive event. The collapse of industry upon nature is further seen in Paine’s stainless steel dendroids. The dendroids began as an early tree-like form exhibited in Central Park’s Whitney Biennial 2002, and evolved into the groundbreaking neural and synaptic systems of Maelstrom, exhibited on the rooftop of the Metropolitan Museum of Art 2009. Paine’s works are in the permanent collections of the Museum of Contemporary Art, Los Angeles; SFMOMA, San Francisco; MoMA, New York; and Whitney Museum of American Art, New York, among many others
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Roxy PaineCarcass - Diorama, 2013Birch, maple, glass, fluorescentApprox. 13.9 x 20.04 x 13.5 ft
4.2 x 6.1 x 4.1 m -
Roxy PaineControl Room - Diorama, 2013Steel, wood, automotive paint, glass, fluorescentApprox. 12.4 x 18.02 x 13.6 ft
3.7 x 5.4 x 4.1 m -
Roxy PaineMaquette for Carcass Diorama, 2013Wood22 x 34 x 24 in
55.9 x 86.4 x 61 cm -
Roxy PaineMaquette for Control Room Diorama, 2013Wood and oil paints24 x 36 x 23 1/2 in
61 x 91.4 x 59.7 cm -
Roxy PaineDistillation, 2010Stainless steel, glass, enamel, pigment18 x 90 x 45 ft
5.4 x 27.4 x 13.7 m -
Roxy PaineUntitled (pressure washer), 2014Maple wood36 x 50 x 53 in
91.4 x 127 x 134.6 cm, pedestal: 25 x 29 x 58 in -
Roxy PaineSpeech Impediment, 2014Maple woodSeries of 3
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Roxy PainePMU no. 44, 2018Acrylic on linen45 x 65 x 3 in
114.3 x 165.1 x 7.6 cm -
Roxy PaineRDA, 2013Ink on paper58 1/2 x 71 1/2 in
148.6 x 181.6 cm -
Roxy PaineSwamp Machine Structure, 2013Ink on paper46 1/2 x 66 1/2 in
118.1 x 168.9 cm framed -
Roxy PaineUntitled, 2011Epoxy, thermoset polymer, oil, lacquer, wood, glass18 5/8 x 22 x 8 in
47.3 x 55.9 x 20.3 cm -
Roxy PaineArbitrary Death, 2006Epoxy, thermoset polymer, oil, lacquer, wood, glass and steel20 x 12 x 20 in
50.8 x 30.5 x 50.8 cm -
Roxy PaineMaelstrom, 2009Stainless-steel sculpture, Commissioned for exhibition at the Metropolitan Museum of ArtIris B. and Gerald Cantor Roof Garden.22 x 140 x 50 in
55.9 x 355.6 x 127 cm -
Roxy PaineFacade/ Billboard, 2012Stainless steel47 x 40 x 8 ft
14.3 x 12.2 x 2.4 mEdition 2 of 2 and 1 AP -
Roxy PaineUntitled (Vascular Man), 2012Stainless steel24 x 10 x 4 in
61 x 25.4 x 10.2 cm
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Roxy Paine - PMU
February 19, 2022 -
Roxy Paine - PAINT DIPPER
February 19, 2022 -
Roxy Paine - SCUMAK
February 19, 2022 -
Roxy Paine - Symbiosis - Museum Without Walls™
February 19, 2022 -
Roxy Paine - MAELSTROM - at the MET Museum, 2009
February 19, 2022 -
ROXY PAINE - Paint Dipper
February 19, 2022
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All 19 Sculpture Milwaukee 2020 sculptures, ranked
Matt Wild, Milwaukee Record, August 11, 2020 -
Sculpture Milwaukee Announces 2020 Artists & Artworks
Sculpture Milwaukee, Urban MIlwaukee, July 27, 2020 -
10 OF THE MOST REMARKABLE ARTWORKS AT THE 2018 ARMORY SHOW (EXCERPT)
Andrew Goldstein, ARTNET News, March 9, 2018 -
ROXY PAINE EXPLORES NATURE, FOLKLORE AND GEOMETRY IN HIS LATEST EXHIBITION
Olivia Martin, Wallpaper*, May 5, 2017 -
Roxy Paine Reveals How Airport Security Breeds a Culture of Fear
Blake Gopnik and Christian Viveros-Fauné, artnet news, October 7, 2014 -
ROXY PAINE: ‘DENUDED LENS’
Ken Johnson, New York Times, September 11, 2014 -
Roxy Paine's Life-Size Model of a Fast-Food Joint, Made Entirely of Wood
KYLE VANHEMERT, WIRED, February 28, 2014 -
Roxy Paine's Carcass: A Scale Replica of a Fast Food Kitchen Carved Entirely from Wood
CHRISTOPHER JOBSON, COLOSSAL, February 5, 2014
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Art Basel Miami Beach 2019
4 - 8 Dec 2019 -
Felix Art Fair 2019
14 - 17 Feb 2019Kavi Gupta is pleased to be among 38 dealers invited to participate in the inaugural Felix LA art fair, which will take place from February...Read more -
Art Basel Miami Bach 2018
6 - 9 Dec 20182018 has been a landmark year for AFRICOBRA (African Commune of Bad Relevant Artists), which was founded in Chicago in 1968 and defined the aesthetic...Read more