Denis Peterson
Denis Peterson (born
Life and work
Of Armenian descent,[5] Denis Peterson was one of the first Photorealists to emerge in New York shortly after being awarded a teaching fellowship at Pratt Institute where he attained his MFA in Painting.[6] "The first Photorealists were Chuck Close, Don Eddy, Richard Estes, Ralph Goings, Robert Bechtle, Audrey Flack, Denis Peterson, and Malcolm Morley. Each began practicing some form of Photorealism around the same time, often utilizing different modes of application and techniques, and citing different inspirations for their work. However, for the most part they all worked independent from one another."[7]
He is widely acknowledged as the pioneer and primary architect of
which was founded on the aesthetic principles ofPeterson has often utilized the
"Originally, his floor-to-ceiling sized paintings centered around a single figure, with his monochromatic subjects characteristically cropped to appear as enlarged black and white photographs. Later, he developed a diverse number of original painting series, such as multiple phone booths in New York City. Although not a professional photographer, he has relied on his own camera shots to maintain a consistency of composition and subject matter as reliable reference studies. Several years ago, Denis utilized photorealism as a visual medium through which to portray the unthinkable: genocides. As with his controversial painting series on homelessness, his work centered on the indefatigable human spirit rather than on political and economic crucibles. More recently, he has been painting urbanscapes of gargantuan commercial billboards overlooking crowds of people scurrying about below, often unaware of what social messages loom above."[18]
Painting subjects
These photorealistic works are visually compelling; often bearing witness to historical evidence of grotesque mistreatment of people by governments, societies, and systemic classism.
Visually disturbing subjects of this iconoclastic artist have been statuesque figures and stoic faces painted in an eerily and deafening
Thematically, Peterson's
Themes of work
His more recent photorealistic works encompass meticulously detailed New York cityscapes that focus on imposing ten-story-high billboards as POP icons overlooking busy city streets, pedestrians, and vehicles.[26] "In Peterson's paintings, people are present but are typically caught under the weight and pressure of billboards and advertisements that loom heavily over the streets they inhabit. For Peterson, this is a commentary on contemporary society and its effects on people."[17] "Somewhere during the process of painting Peterson imbued something of himself into the work, which is why his images for me succeed where his contemporaries do not. He doesn't just paint street scenes, but for me these are his most effective images. Devoid of any human presence, his locations are ripe for ghosts, the atmosphere heavy with unassuaged yearning."[27] "His most recent work involves street scenes with people being 'weighed down' by advertising billboards, like the ones showing New York. Some of his earlier work looked at the suffering felt by people imposed by governments and societies raising moral and political questions about military regimes."[28][29]
"Denis Peterson’s hyperrealist paintings are visual statements peppered with underlying socio-economic paradigms. In viewing them, it becomes immediately apparent that techniques and methods are a product of his work, not the other way around. The illusion of reality as a transformational aesthetic is a virtual means to an end."[30]
"People exist, and interact with the world around them. The artist himself/herself exists in Metamodernism, and comments on his/her world. One caveat – the artist is removed from, and he knows about that separation as he/she observes himself/herself observing people and the ordered/disordered socio/economic/political spacetimes they inhabit. Denis Peterson exemplifies this... characteristic of Metamodernism/Popomo, and at the same time his work addresses a sense of loss, pain/angst concerning our position in a culture dominated by corporate America. People are viewed (once again) as individuals, though caught in the overwhelming commodification of everything, some so completely lost, that they are no longer individuals. The images themselves seem to go beyond, past, refer back to photo realism, and photography. I see a connection to Social Realism because it often put a face to its own dogma by showing individuals caught in the social/political/cultural juggernaut. Peterson’s work inhabits these concerns."[31][32]
References
- ^ Denis Peterson Data
- ^ Linda Chase, Photorealism at the Millennium: The Not-So-Innocent Eye: Photorealism in Context. Harry N. Abrams, Inc. New York, 2002.
- ISBN 978-0-520-24543-3.
- ^ Battock, Gregory. Preface to Photorealism. Harry N. Abrams, Inc., Publishers, New York, 1980. pp. 8–10.
- ^ "The Photorealistic Paintings of Denis Peterson". 30 December 2010.
- ^ "The Art Story, Photorealism - The First Photorealists"
- ^ Modern Art Insight, Photorealism
- ^ ISBN 978-0748619108
- ^ Rik Rawling, "Keep it Hyper Real" Archived 2009-02-24 at the Wayback Machine Word Press]
- ^ Plus One Gallery - NY Through the Eyes of Denis Peterson
- ^ "25+ Mind-Blowing Hyperrealistic Paintings". 25 July 2017.
- ^ ISBN 9780500288955
- ^ G. Lipovetsky, Hypermodern Times, Cambridge: Polity Press, 2005
- ^ Interview FOXTV - Real Talk with Brenda Blackman
- ISBN 978-0-7893-1833-6
- ^ Chris Rywalt, "NYC Art"
- ^ a b Joshua Rose, "Beyond Perception", American Art Collector magazine, November 2008 pp. 154–158
- ^ Didi Menendez, "Denis Peterson", Poets and Artists magazine, December 2009 pp. 13–19
- ^ Art Without Edges: Images of Genocide in Lower Manhattan by Robert Ayers "Browser Compatibility". Archived from the original on 2007-05-04. Retrieved 2007-04-29.
- ^ "Interview Cable News 12 with John Baske". Archived from the original on 2007-08-14. Retrieved 2007-04-29.
- ^ Chris Ashley, "Show Review" Archived 2007-05-02 at the Wayback Machine
- ^ Commentary by Fergal Keane, Special Correspondent BBC
- ISBN 0-631-22096-8.
- ^ Horrocks, Chris and Zoran Jevtic. Baudrillard For Beginners. Cambridge: Icon Books, 1996. pp. 80–84
- ^ Ari Siletz, "A Brush Stroke for Every Human Suffering", Media Watch
- ^ Chris Rywalt, "Urban Perspectives", NYC Art
- ^ Rik Rawling, "Keep it Hyper Real", WordPress 2009
- ^ Richard Hartley-Parkinson, "Artist Denis Peterson’s realistic paintings that look like photographs." European Union Times, Dec 31, 2010, p. 1
- ^ A. Kirby, Digimodernism: How New Technologies Dismantle the Postmodern and Reconfigure our Culture (New York/London: Continuum, 2009)
- ^ Didi Menendez and Geof Huth, "In Pursuit of USA Today", Poets and Artists magazine - Special Edition, Nov. 2010, pp. 43–46
- ^ John Bittinger Klomp, "Denis Peterson - His Metamodernist/Hyperrealist Art"
- ^ Timotheus Vermeulen & Robin van den Akkera, Journal of Aesthetics & Culture, Vol. 2, 2010
External links
- Website
- Mark Gallery NYC
- Zhou Art Center Chicago
- Salmagundi NYC
- Thomas Paul Fine Art CA
- Plus One Gallery UK
- Persterer Contemporary Fine Art Zürich
- Galerie Rive Gauche Paris
- Galleria d'Arte Moderna Milan
- Pierre Bergé & Associés Paris, Bruxelles
- Museum of Modern Art CZ
- Museo de Hyperrealisme CZ
- Museum of Modern Art Barcelona