Monique van Genderen

 

Biography

1965 Born in Vancouver, CA
Lives and works in Los Angeles, US

EDUCATION

1991 MFA California Institute of the Arts, Valencia, US

1987 BFA University of California at San Diego, US

SOLO EXHIBITIONS

2018

Belief in Giants, Miles McEnery Gallery, New York, US
Monique van Genderen, Ameringer, McEnery, Yohe , New York, US

2015

Monique Van Genderen, Susanne Vielmetter Los Angeles Projects, Culver City, US

2014

Monique Van Genderen, Ameringer, McEnery, Yohe , New York, US
Monique van Genderen, Galleri Brandstrup, Oslo, NO
Monique van Genderen, Eight Modern Gallery, Santa Fe, US

2013

Susanne Vielmetter Los Angeles Projects, Culver City, US

2012

D’Amelio Gallery, New York, US
Effearte, Milan, IT

2011

Susanne Vielmetter Los Angeles Projects, Culver City, US
Monique van Genderen, Kunstverein Heilbronn, Heilbronn, DE
The Gentle Art of Making Enemies, Galerie Michael Janssen, Berlin, DE

2009

The Library: Start This Story Over, Pacific Design Center, West Hollywood, US
Personal Exhibition, The Happy Lion, Los Angeles, US

2008

EffeArte, Milan, IT
Dirty Water, Galerie Michael Janssen, Berlin, DE

2007

New Works, The Happy Lion, Los Angeles, US
Voges and Partner, Frankfurt, DE
Ruzicska, with Kate Costello, Salzburg, AT

2006

The Sensory Foundations of Mental Life, Savannah College of Art and Design, Atlanta, US
Galerie Catherine Bastide, Brüssel, BE
Hammer Projects, UCLA Hammer Museum, Los Angeles, US
Bernier/Eliades Gallery, Athens, GR

2005

Within the same breath…, Wexner Center for the Arts, Columbus, US
The Happy Lion, Los Angeles, US
Howard House, Seattle, US
Le Consortium, with Kirsten Everberg, Dijon, FR

2004

Locker Plant, Chinati Foundation, Marfa, US
The Happy Lion, Los Angeles CA

2003

Pennsylvania Academy of the Fine Arts, Philadelphia, US

2002

Sandroni Rey Gallery, Venice, US

2001

Venetia Kapernikas Gallery, New York, US

2000

Sandroni Rey Gallery, Venice, US

1999

Deep River Gallery, with Margo Victor, Los Angeles, US

1996

Standard of Living, Amanda M. Obering Gallery, Los Angeles, US

GROUP EXHIBITIONS

2015

L´oiseau Présente - Be Abstract, Galerie am Markt, Schwäbisch Hall, DE
Group Exhibiion, Galerie Catherine Bastide, Brussels, BE

2014

Capture the Rapture, CB1 Gallery, Los Angeles, US

2013

High Low, Irvine Fine Arts Center, Irvine, US
Anders Kjellesvik / Monique van Genderen / J. Ariadhitya Pramuhendra, Galerie Michael Janssen, Berlin, DE
Garden Party, Fellows of Contemporary Art, Los Angeles, US

2013

Painting in Place, (Presented by LAND - Los Angeles Nomadic Divsion), Farmers and Merchants Bank, Los Angeles, US

2012

Burning Colours, Hopstreet, Brussels, BE
The Venice Beach Biennial, Venice, US
The Planter Show, forYourArt, Los Angeles, US
Paper does not blush, Galerie Michael Janssen, Berlin, DE

2011

Los Angeles Museum of Ceramics, curated with Roger Herman, ACME Gallery, Los Angeles, US
Dorothea, Ancient & Modern, London, UK
Works of Paper, ACME Gallery, Los Angeles, US

2010

Branstrup Gallery, Oslo, NO
Ambigu – Contemporary Painting Between Abstraction and Narration, curated by Konrad Bitterli, Kunstmuseum St.Gallen, CH
Höhenkoller, Pacific Design Center, Los Angeles, US
Abstractive Measures, Arena Gallery Santa Monica, US

2008

Living Flowers Ikebana and Contemporary Art, curated by Karen Higa, Japanese American National Museum, Los Angeles, US
Punto Linea Superficie (Dot Line Surface), EffeArte, Milan, IT

2007

Back to Nature, Ruzicska, Salzburg, AT
Twentieth Century Fox Studios, (organized by The UCLA/Hammer Museum), Los Angeles, US
Fleeing the Scene, The Happy Lion Gallery, Los Angeles, US
Small but Beautiful, Gasser & Grunert, Inc., New York, US
Sparkle Then Fade, Tacoma Art Museum, Tacoma, US
Modern Lovers, Glendale College Art Gallery, Glendale, US
Group Show, Bernier/Eliades Gallery, Athens, GR

2006

Art Unlimited, curated by Samuel Keller, Art Basel 37, Basel, CH
III Edició del Certamen Internacional de Pintura de Castelló, Museu de Belles Arts de Castelló, Castelló de la Plana, ES
Masters & Johnson, Galeria Charro Negro, Guadalajara, MX
Off the Shelf: New Forms in Contemporary Artists’ Books, The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, US
Los Angeles Art Now, Galleri SE, Bergen, SE
Rundumschlag, Ruzicska, Salzburg, AT
Hotel California, Glendale College Art Gallery, Glendale, US

2005

Wall Paintings, curated by Francis Colpitt, University of San Antonio, US (cat)
Strictly Painting III. The Right Side of Painting, Voges and Partner Galerie, Frankfurt, DE
Sight Lines, Galerie Michael Janssen, Köln, DE
Closer to Home, The 48th Corcoran Biennial, The Corcoran Gallery of Art, Washington D.C., US (cat)

2004

Full House, curated by David Pagel, Clairmont Graduate University Art Gallery, Clairmont, US
The sixth annual altoids curiously strong collection, The New Museum, New York, US
Consolidated Works, Seattle, US; Arthouse, Austin, US, The Pennsylvania Academy of Fine Art, Philadelphia, US
So few opportunities, so many mistakes, curated by Josh Smith, Champion Fine Art, Brooklyn, US
Wake-up and apologize, Hayworth Gallery, Los Angeles, US

2003

Small Works, Margo Victor Presents, Hollywood, US
The greatest album covers that never were, Track 16 Gallery, Santa Monica, US
The Art of Pain, Gallery C, Hermosa Beach, US
Fragments, PSprojectspace, Amsterdam, NL

2002

Art of Paper (cat.), APER, Weatherspoon Museum of Art, Greensboro, US
Raid Projects, Los Angeles CA
Fake Paintings. Kbond, Los Angeles, US

2001

Lineformcolor, Howard House, Seattle,US
Big Plastic, Armory Center for the Arts, Pasadena, US
Cross-Cuts: Seven Los Angeles Artists, Ben Maltz Gallery at Otis College, Los Angeles, US
Snapshot: New Art from Los Angeles (cat.), Armand Hammer Museum, Los Angeles, US, Museum of Contemporary Art, Miami, US
De Beaufort, Exposito, van Genderen, Rosamund Felsen Gallery, Santa Monica, US
Painting beyond Painting, Christine Rose Gallery, New York, US

1997

Trimmings and Scraps, Gavlak Projects, Silverlake, US
Trans Inter Post: Hybrid Spaces, curated by Pamela Bailey, UC Irvine, Irvine, US
Loves Labor‘s Lost, curated by Sue Spaid, collaboration with John Souza

1993

Private and public pleasures (cat.)curated by Lauren Lesko, Los Angeles, US
School of Beauty (cat.), Los Angeles, US

BIBLIOGRAPHY

2013

Shaw, Michael and Jody Zellen. “ArtScene: Olga Koumoundourous and Monique Van Genderen at Susanne Vielmetter Los Angeles Projects,” April
Frederick, Jeff. “Exhibition Reviews: Monique Van Genderen”, Art In America, January

2012

Cohen, Edie. “What a Hunk”, Interior Design, August 1

2011

Pagel, David. “Panache and purpose collide”, The Los Angeles Times, August 25
“Kristin Calabrese, Monique vanGenderen and Mindy Shapero”, The Huffington Post, August 23
Pagel, David. “Los Angeles Museum of Ceramic Art at ACME”, Los Angeles Times, January 13
Kilston, Lyra. “Los Angeles Museum of Ceramic Art“, Artforum, January 20

2010

Bitterli, Konrad. “Ambigu - Contemporary Painting between Abstraction and Narration”,
Kunstmuseum St. Gallen (Exhibition catalogue)

2010

Bitterli, Konrad. Ambigu - Contemporary Painting between Abstraction and Narration, Kunstmuseum St. Gallen (Exhibition catalogue)
Jet Set Saturdays: Keramik at the Pacific Design Center, online
http://www.artlurker.com/2010/05/jet-set-saturdays-“keramik”-at-the-pacific-design-center/

2009

Knight, Christopher. “Transmitted and transmuted.” Los Angeles Times, June 12: D20 (illustrated).
Miles, Christopher. “Monique van Genderen at The Happy Lion”, LA Weekly, May 27, 2009, pg. 38. Gibson, Allison. “Monique van Genderen at the happy Lion”, Art Ltd. Magazine, September, 2009

2008

Marzoccchi, Isella. “Protagoniste Monique van Genderen”, Allure, December, pgs 38-41
Hodge, Brooke. “Seeing Things|Flower Power,” T Magazine/New York Times, June 26 (illustrated). http://themoment.blogs.nytimes.com/2008/06/26/seeing-things-flower- power/.

2007

Schütte, C. “Surfen Auf Malerei”, Frankfurter Allgemeine Sonntagszeitung, Oktober, Nr. 40
Cochran, R. “Monique van Genderen at ACA Gallery of SCAD”, Art in America, April, Vol. 95, No. 4, p. 147
Frank, P. “Sensuous Strokes: Norman Bluhm, Monique Van Genderen, Jeff Gambill.” www.laweekly.com
Taft, C. „Catherine Taft’s Roundup of the Best Shows in LA in June“, Saatchi-gallery.co.uk

2006

Devrin, B. Frog, No. 4, Automne-Hiver, pp. 68-70
Defendini, F. Frog, No. 4, Automne-Hiver: pp. 70-71
Schwabsky, B. „Monique van Genderen: The Happy Lion”, Artforum, Vol. 44, No. 5, Januar, pp. 228-229
“Continuing and Recommended Exhibitions”, Artscenecal.com
VAC: Colección Valencia Arte Contemporáneo, IVAM - Institut Valencià d‘Art Modern. València,
(Exhibition catalogue)
Kurzner, L. Monique van Genderen: The Sensory Foundations of Mental Life. ACA Gallery of the Savannah College of Art and Design Atlanta, Atlanta GA (Exhibition catalogue)
Lombino, M. K. ed. Off the Shelf. The Frances Lehman Loeb Art Center of Vassar College,
Poughkeepsie NY (Exhibition catalogue)
McFadden, J. „Monique van Genderen”, hammer.ucla.edu, (Illustrated essay)
Williams, T. „Monique Van Genderen Lectures, Presents Exhibition at SCAD-Atlanta”, Scad.edu,
(Illustrated essay)

2005

Knight, C. „Bold Forms, Elusive Colors“, LA Times, 30.09.
Funke, C. „Four Young Artists at Michael Janssen“, Kölner Stadt-Anzeigen, 17.03.
Jankauskas, J. „Wall Painting at UTSA gallery”, Glasstire: texas visual art online, September,
http://live.glasstire.com
Binstock, J. P. / Schmidt, S. The 48th Biennial: Closer to Home, The Corcoran Gallery of Art WA
Colpitt, F. Wall Painting. University of Texas at San Antonio, TX (Exhibition catalogue)

2004

Frank, P. Pick of the Week, L.A. Weekly, 6 –12.02, p. 142
Holte, M. N. „Critics Pics“, Artforum.com, 16.01.
Pagel, D. „Harnessing the Subtle Play of Light“, Calendar Section, LA Times, Friday, 16.01.
2003 Seidel, M. „A fine frenzy of pattern and color fit for Furness’ hall”, Philadelphia Inquirer, 10.10.
Fallon, R. „Sketches: Labor Pains”, Philadelphia Weekly, 1-7.10. , p. 42
Miller, B. “What To Do”, Philadelphia Magazine, September, p. 180
Baker, A. Monique van Genderen. Pennsylvania Academy of the Fine Arts, Philadelphia PA

2002

O’Brien, J. „Monique van Genderen, Sandroni.Rey”, Tema Celeste, Juli/August, No. 93
Pagel, D. „Like the Real World Only Crisper”, Los Angeles Times, 10.05.
Doll, N. / Platt, R. Art on Paper 2002. Weatherspoon Art Museum, The University of North Carolina Museum of Art, Greensboro NC (Exhibition catalogue)

2001

Hall, E. „On Being Abstract, Feverish, Suggestive, Sick“, Thestranger.com, no.11, 29.11./05.12.
Turner, E. „A Visual Tale of Two Cities“, The Miami Herald.com, 28.10.
Pagel, D. „Down to Earth and Eye Catching“, Los Angeles Times, 16.10.
Subotnick, A. „Snapshot: New Art from Los Angeles“, Frieze, no. 62, Oktober Dambot, S. N. „Snapshot: New Art from Los Angeles“, Tema Celeste, Juli/August
Goodale, G. „Art Goes West“, The Christian Science Monitor, 06.07.
Harvey, D. „Multiple Exposures“, LA Weekly, No. 35, 20-26.07.
Knight, C. „A ‘Snapshot’ of L.A. Artists“, L.A. Times, 06.06.
Harvey, D. „Synthetics“, LA Weekly, vol. 23 no. 52, 20-26.06., p. 48
Griffin, T. „Monique van Genderen”, Time Out New York, Februar, 2001
Von Schlegell, M. „Snapshot: New Art From Los Angeles“, Art & Text, no. 75, p. 76
Ferguson, Russell, and Claudine Ise. Snapshot: New Art From Los Angeles UCLA Hammer
Museum, Los Angeles, CA, (Exhibition catalogue)

1996

Kandel, S. Making a Fashion Statement of Subtlety in ‘Fancy Pants’, Los Angeles Times, 07.11. Curtis, C. „Distinguishing Marks“, Los Angeles Times, O.C. edition, 22.10.
“Critic’s Choices.” Los Angeles Reader, 05.03.

Press text 'The Gentle Art of Making Enemies' (2011)

Galerie Michael Janssen is pleased to announce its second solo exhibition by L.A.-based artist Monique van Genderen.

Entitled The Gentle Art of Making Enemies the exhibition alludes to the book of the same name by James Abbot McNeill Whistler. First published in 1892 it is an account of personal revenges between Whistler and the art critic John Ruskin who criticized Whistler‘s painting Nocturne in Black and Gold, exhibited in the Grosvenor Gallery in London in 1877, as „unfinished“ and as „a pot of paint flung in the public‘s eye“. Whistler was incensed with the criticism and initiated a libel case against Ruskin. While the text is a narrative about the development of abstract painting, it also explores the relationship between artist and viewer and their expectations and desires for imparting unfixed ideas.

In her work van Genderen explores elements of narrative, illusion and figuration within abstraction by allowing the surface and material to narrate the picture plane rather than a subject. If her paintings recall Matisse, Emerson Woelffer and Helen Frankenthaler‘s Color Field paintings then she is attracted to combining those elements with concerns of today’s painting.

The paintings on view in the first part of the exhibition all have exactly the same dimension: 6 feet high and 4 feet wide (approx. 183 X 122 cm); a rather unusual dimension for paintings that appeals to the spectator‘s body as well as the eye and that heightens the physiological experience of viewing. Unlike her previous works, the paintings in this exhibition are made on canvas rather than on smooth wood panels. Without relying as much on the alchemy of paint pooling to form loosely controlled shapes they now explore the role of improvisation through compositional cropping. As with the earlier works color continues to be a factor that attempts to attract and repel at the same time.

Also on view is a series of smaller clay paintings in which van Genderen uses fired clay and glaze to make lyrical abstractions. Van Genderen’s work has always presented materials in the form of a narrative; vinyl stood in for paint, enamel for watercolor, and now clay for canvas. Throughout all the works there is a mixture of materials varying between the organic (raw pigments) and the industrial (shiny enamels). The surface of the clay paintings on view has an imprint of canvas, which makes one think they were made on canvas. They allude to her installation works in which the stretcher bar and frame are deconstructed. In them playfulness and the promiscuous intermingling of art and craft, silliness and seriousness, design and décor predominates making them an interaction of painting and sculpture.

Press text 'Dirty Water' (2008)

The Michael Janssen Gallery Berlin is proud to present the solo exhibition Dirty Water by Monique van Genderen. Large-scale paintings in high-gloss enamel paint on wood and expansive vinyl wall collages by the artist will be on view between 15th March and 19th April 2008, in addition to watercolours and gouaches, bound together in portfolios and fitted into specially designed seating-sculptures.

”I want to change my work drastically, practically by the minute. And I want people looking at the paintings to keep up this pace with me. I never want to rely on the things that worked once, like a formula…”. Monique van Genderen belongs to a new generation of abstract painters but sees herself in the tradition of artists like Hans Hartung, Hans Hofmann and Felix Gonzalez-Torres. The artist, who lives in Los Angeles, fuses 1950s abstraction with contemporary questions on place and context.

Van Genderen uses adhesive vinyl film to create collages illustrating her visionary world directly on the wall. She developed this technique as a result of experience gained during her time as a sign maker in the field of exterior advertising in L.A. The artist has also transferred this technique to her painting, placing round and angular shapes on the canvas, which take the form of coloured or monochromatic signs, subsequently scoring lines through the vinyl with a knife as a subjective artistic gesture. These tangled lines revolve and snake their way between the surfaces. Van Genderen applies a mixed selection of nuanced oil shades to her canvas-covered wooden backgrounds. Her dark glazed works form a stark contrast to the colourful shapes and lines, which float blithely here and there over the painted surface. She dilutes the varnish and applies it generously, like a watercolour, using paintbrushes, brushes and rollers. The glaze shimmers in layers, and matt and glossy varnish reflects the surrounding space in a fascinating play of light, lustre and depth, transforming the paintings into light sculptures.

Monique van Genderen creates a type of abstraction via her visionary language, with which she wishes to reveal “how we think and make connections. Not how we actually see the world”. If the observer follows the connecting threads which emanate from the exhibitions’ multi-faceted works, they will, inexorably, be initiated into the “non-linear and non-objective narrative” of the artist’s experience.

Text by Irmgard Berner