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Peter Schenck"Dusk", acrylic, charcoal, oil stick painting, abstract, cubism, surrealism2019
2019
$3,500
£2,597.14
€3,025.31
CA$4,872.03
A$5,425.44
CHF 2,823.64
MX$66,895.02
NOK 35,961.23
SEK 33,800.07
DKK 22,572.55
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About the Item
"Dusk" is an acrylic, charcoal, and oil stick painting on canvas measuring 40" tall by 30" wide. Note the slippage between foreground and background, between picture surface and picture space. The vertical green discs meet horizontal red discs in a bracing framework suggesting trees and sky as much as a profile, a bust. Within the face, a mouth, colored dots and a thumb all jostle for spatial dominance. A painting of a sculpture of a place and time.
From Daniel Gerwin – "Schenck’s color is vibrant, wild, saturated to the point of overheating, and altogether brilliant in the balancing of hues, temperatures, shapes, and color quantities. The paintings have a remarkable coherence for their dizzying juxtaposition of so many small chromatic passages." (Essay: The Anxiety and the Ecstasy)
Peter Schenck lives and paints in Brooklyn, NY. He received his BFA from Boston University (2006) and his MFA from the University of Pennsylvania (2009). Schenck has exhibited his work internationally and nationally, including Tales of Art Gallery (Imola, Italy), Sebastien Adrien Gallery (Paris, France), Freight + Volume Gallery (New York, NY), BravinLee Programs (New York, NY), Andrew Edlin Gallery (New York, NY), The Dot Project Gallery (London, UK), Arts + Leisure Gallery (New York, NY), Lesley Heller Workspace (New York, NY), The Delaware Contemporary Museum (Wilmington, DE), Tyler School of Art (Philadelphia, PA), Vox Populi Gallery (Philadelphia, PA), TSA Gallery (Brooklyn, NY), Victori + Mo Gallery (Brooklyn, NY), Airlock Gallery (San Marcos, CA), HOLA Fresh Start (Santa Monica, CA), and The Santa Barbara Center for Art, Science, and Technology (Santa Barbara, CA).
Further, he has been an artist in residence at The Vermont Studio Center (Johnson, VT) and the DNA Residency (Provincetown, MA). Schenck has been featured in publications such as The New York Times, Timeout New York, Juxtapoz, Two Coats of Paint, Battery Journal, #FFFFFF Walls, Painting is Dead Blog, and Elephant Magazine.
- Creator:Peter Schenck (1660 - 1711)
- Creation Year:2019
- Dimensions:Height: 40 in (101.6 cm)Width: 30 in (76.2 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Toronto, CA
- Reference Number:1stDibs: LU134527252572
The artists most obviously in Schenck’s pantheon are Picasso, Philip Guston, and Peter Saul. Their patriarchal power is noteworthy in the context of the Oedipal eyeballs repeated from one painting to the next; Schenck’s work manifests the anxiety of influence, but the ecstasy as well. The fear of painting in the wake of such magnificent and terrible fathers is palpable, but no less so is Schenck’s obvious delight in adapting their discoveries to his own purposes. His works demonstrate his mastery over his idiosyncratic cartoonish language, his personal world of symbols, and his palette, which is all his own. Schenck has arrived at a place in his artistry where he gets the last laugh. - Daniel Gerwin, contributing art critic to Art Forum, The Brooklyn Rail and Hyperallergic Peter Schenck / Artist Bio: Peter Schenck (b. 1983, New York, NY) lives and paints in Brooklyn, NY. He received his BFA from Boston University (2006) and his MFA from the University of Pennsylvania (2009). Schenck has exhibited his work internationally and nationally, including: Tales of Art Gallery (Imola, Italy), The Dot Project Gallery (London), Galerie Sebastien Adrien (Paris, FR), Young International Artists Art Fair (Paris, FR), Freight + Volume Gallery (New York, NY), BravinLee Programs (NYC), Andrew Edlin Gallery (NYC), Arts + Leisure Gallery (NYC), Lesley Heller Workspace (NYC), The Delaware Contemporary Museum (Wilmington, DE), Tyler School of Art (Philadelphia, PA), Vox Populi Gallery (Philadelphia), TSA Gallery (Brooklyn, NY), Victori + Mo Gallery (Brooklyn), Airlock Gallery (San Marcos, CA), HOLA Fresh Start (Santa Monica), and The Santa Barbara Center for Art, Science, and Technology (Santa Barbara, CA). He has been an Artist in Residence at The Vermont Studio Center (Johnson, VT) in 2015 and the DNA Residency (Provincetown, MA) from 2016 - 2021. Schenck has been featured in publications such as The New York Times, Timeout New York, Juxtapoz Magazine, Two Coats of Paint, Wall Street International Magazine, Elephant Magazine, #FFFFFF Walls, and the Painting is Dead Blog. Schenck’s work is included in both American and international collections.
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