Byron Goto Art
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Artist: Byron Goto
Portrait of Herb Tauss, Charcoal Drawing on Archival Paper by Byron Goto
By Byron Goto
Located in Long Island City, NY
Artist: Byron Goto
Title: Portrait of Herb Tauss
Year: circa 1975
Medium: Charcoal on Paper, signed
Paper Size: 62 x 42 in. (157.48 x 106.68 cm)
Frame Size:...
Category
1970s Conceptual Byron Goto Art
Materials
Archival Paper, Charcoal
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Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video.
Artist Statement
In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...
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Exhibitions
2017 Figure8, Gallery Victor Armendariz, Chicago, IL
Coming Attractions, Gallery Victor Armendariz, Cicago, IL
2012 Eye Teeth Group Show, Paint Creek Center for the Arts, Rochester, MI
2011 Art Chicago 2011, Merchandise Mart, Chicago, IL
2010 Art Chicago 2010, Merchandise Mart, Chicago, IL
2009 David Becker Retrospective, Ann Nathan Gallery, Chicago, IL
Art Chicago 2009, Merchandise Mart, Chicago, IL
The 184th Annual Exhibition of Contemporary American Art, National Academy Museum, NYC
Selections, Ann Nathan Gallery, Chicago, IL
2008 Art Chicago 2008, Represented by Ann Nathan Gallery, Merchandise Mart, Chicago, IL
2007 Unruly Muse, Ann Nathan Gallery, Chicago, IL
SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY
Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL
2006 Palm Beach³, Ann Nathan Gallery, Palm Beach, FL
2005 SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY
Art Chicago in the Park, Butler Field, Ann Nathan Gallery, Chicago, IL
Ann Nathan Gallery, Chicago, IL
Palm Beach³, Ann Nathan Gallery, Palm Beach, FL
2004 Contemporary Prints: National Academy Museum Collection, National Academy of Design, NYC
Art Chicago 2004, Ann Nathan Gallery, Chicago, IL
Fantastic & Visionary Art, touring exhibit: Orange, Manning, Riddoch, & Ballart Gallery, Australia
Return of the Men, Peltz Gallery, Milwaukee, WI
2003 Art Chicago 2003, Ann Nathan Gallery, Chicago, IL
Fantastic & Visionary Art, touring exhibit: Orange Regional Gallery, New South Wales, Australia
National Academy of Design 178th Annual Exhibition, NY, NY
2002 Art Chicago 2002, Ann Nathan Gallery, Chicago, IL
Art of the 20th Century, Ann Nathan Gallery, Park Ave. Armory, NY, NY
Outsider Art Fair, The Puck Building @ Houston & Lafayette Sts., NYC
Self and Other Portraits, Wisconsin Artists, Charles Allis Art Museum, Milwaukee, WI
Return of the Men, Peltz Gallery, Milwaukee, WI
2001 Beyond the 50's, May 4 - July 1, Exhibit A, A Gallery of Art & Design, Birmingham, Michigan
Outsider Art Fair, January 26-28, The Puck Building @ Houston & Lafayette Sts., NYC
"FANTASTIC ART", April/May, Orange Regional Gallery, Orange NSW, Australia.
David Becker: Etchings and Engravings, Ann Nathan Gallery, Chicago, solo exhibition of prints, February.
2000 Four person exhibition, Columbus State University, Columbus, Georgia, Oct. 31 - Nov. 27, 2000.
1999 National Academy 174th Annual Exhibition, NY
University of Wisconsin-Madison Faculty, Elvehjem Museum of Art, Madison, WI
Treasures Revealed: 19th and 20th Century American Works on Paper, National Academy, NY
1995 Bharat Bhavan International Biennial of Prints, Bhopal, India
Contemporary Prints, Selections from John Szoke Gallery, NYC, Drew University, Madison, NJ
Collection Update, 1994, National Academy of Design Museum, NY
1994 David Becker and Robert Sholties, Peconic Gallery, Suffolk Community College, Riverhead, NY
In Black and White: Works by Four Printmakers, Atrium Gallery, University of Connecticut, Storrs
Aesthetics of Athletics: Sports, Games, and Exercise, Charles A. Wustum Musem, Racine, WI
GMI IX Award Winners, Art Center Gallery, Central Missouri State University, Warrensburg
1993 Take Home a Nude benefit auction, NY Academy of Art Graduate School Of Figurative Art, NY
1993 American Prints: Last Half 20th Century, Jane Haslem Gallery, Washingtion, DC
Outstanding American Prints, Anderson Arts Center, Kenosha,WI
National Academy of Design 168th Annual Exhibition, NY
David Becker: Etchings, Davidson Galleries, Seattle, WA
Portraits, Davidson Galleries, Seattle, WA
1992 The Print Fair, 7th Regiment Armory, NY
1991 166th Annual Exhibition, National Academy of Design, NY
Alma College Collection, Detroit Institute of Arts, Detroit, Michigan
Modes of Expression, Potsdam College, SUNY, Potsdam, NY
1990 With Nothing On, Prints and Drawings of the Nude, New Orleans Museum of Art, LA
Prints by Printmakers, Staller Art Center, SUNY-Stonybrook, NY
Publications/Reviews
2007 November 60 Years of North American Prints: 1947-2007, Boston U. Art Gallery, Boston, MA
2003 July 11 Isthmus, Madison, “Welcome to My Nightmare,” by Robert Cozzolino.
2001 March 14 The Wall Street Journal, "Time Off: A Week of Diversions."
Review of Progressive Printmakers (LVM) exhibition.
2001 February Isthmus, Madison, "America's Printland," by Jennifer Smith.
2001 February Capital Times, "The Crowned Prints," by Kevin Lynch.
1999 July Progressive Printmakers: Wisconsin Artists & the Print Renaissance.
1995 – 1999 Who’s Who in America.
1993 Summer The Journal of the Print World, review.
March 14 The New York Times, review.
March 12 The Daily Oklahoman, review.
1990 Dec. 13 The Capital Times, review.
April 28 The Washingtion Post, review.
March 25 The New York Times, review.
Summer The Journal of the Print World, review.
Selected Collections
- additional collections available on requestArkansas Arts Center Foundation, Little Rock, AR
Art Institute of Chicago, Chicago, IL
Brooklyn Museum, NYC
Butler Institute of American Art, Youngstown, OH Detroit Institute of Art, Detroit, MI
Elvehjem Museum of Art, U of Wisconson-Madison
Honolulu Academy of Arts, Honolulu, HI
Library of Congress, Washington, DC
Metropolitan Museum, Miami, FL
Museo de Arte Moderno, Cali, Columbia
National Academy, NY, NY
National Museum of American Art, Washington, DC
New York Public Library, NY
Portland Art Museum, Portland, Oregon
Rose Art Museum, Brandeis University, MA
United States Information Agency, Prague, Czech.
Alberta College of Art, Alberta, Canada
Albion College, Albion, MI
Alma College, Alma, MI
Art Center, South Bend, IN
AT&T Corporate HQ, Plainfield, NJ
Boston Printmakers, Boston, MA
Bradley University, Peoria, IL
Columbia Green Community College, Hudson, NY
Columbus State University, Columbus, GA
Davidson College, Davidson, NC
Dickinson College, Carlisle, PA
Georgia State University – Atlanta
Hope College, Holland, MI
Hunterdon Art Center, Clinton, NJ
Kansas State University, Manhattan, KS
Madison Art Center, Madison, WI
Marui Imai Inc., Sapporo, Japan
Milwaukee Art Center, Milwaukee, WI
Minot Art Association, Minot, ND
North Carolina Print/Drawing Society, Charlotte, NC
North Texas State University – Denton
Ohio University – Athens
Oklahoma Art Center, Oklahoma City, OK
Oklahoma State University, OK
Quad Graphics, Milwaukee, WI
Silvermine Guild of Arts, New Canaan, CT
Springfield College, Springfield, MA
St. Lawrence University, Canton, NY
State University of New York – Fredonia
State University of New York – Potsdam
Trenton State College, Trenton, NJ
University of Arizona Museum of Art, Tucson, AZ
University of Colorado-Boulder
University of Dallas, TX
University of Louisville, Louisville, KN
University of Manitoba, Winnipeg, Canada
University of North Dakota – Grand Forks
University of South Dakota – Vermillion
University of Tennesse – Knoxville
West Chester State College, West Chester, PA
Western Kentucky University – Bowling Green
Private Collections
Carla Leighton, New York, NY
Marc Hauser, Chicago, IL
Michael John Hofer, Chicago, IL
Drs. Mark & Helene Connolly, River Forest, IL
Jamie Kalikow, New York, NY
Dianne & Jim Blanco, Chicago, IL
Denise Roberge, Palm Desert, CA
Tish & Philip Messinger, Creskill, NJ
Brian Wesphal & Michael McVicker, Chicago, IL
Ralph Privoznik, Lafayette, IN
Candice Groot, Evanston, IL
Shomaker/Ruud Collection, Chicago, IL
Braden Berkey and Robert Bartlett, Chicago, IL
Bill and Karyn Silverstein, Highland Park, IL
Steve Weitz, Lovettsville, VA
Mary Allice Wimmer, Madison, WI
Ann & Robert Avery...
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Byron Goto art for sale on 1stDibs.
Find a wide variety of authentic Byron Goto art available for sale on 1stDibs. You can also browse by medium to find art by Byron Goto in archival paper, charcoal, paper and more. Not every interior allows for large Byron Goto art, so small editions measuring 42 inches across are available. Customers who are interested in this artist might also find the work of Patricia Smith, Joyce Wieland, and David Kramer. Byron Goto art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $4,000 and tops out at $4,000, while the average work can sell for $4,000.