Dean Monogenis

Besides their practical usage, I had never regarded buildings or architecture as more than symbols or monuments to someone else's memory or beliefs. This changed after witnessing the fall of the world trade center. Subsequent to that day, I began to see buildings organically in terms of birth and death. Interestingly the post 9/11 period was the beginning of a world wide building boom. At the time I lived in Williamsburg, Brooklyn, where the breadth and pace of this development felt like an invasion. Buildings grew nearly over night like mushrooms or mold before my very eyes. I found it simultaneously engaging and frightening. The instinctual necessity to develop every last inch of real estate was palpable. Buildings that sprouted up would often supplant or sit next to an older building with little regard for continuity or urban planning. There was a strong sense that these decisions were made out of expedience and practical necessity with little oversight. After overcoming my initial shock, I began to distance myself and consider the situation aesthetically. I interpreted the randomness as more akin to the shantytowns in Jamaica or the Favelas in Rio. I took notice of the simplicity and planer forms of the skeletal structures as they ascended upward. Brightly colored building materials like netting and scaffolding, became interesting to me. I thought if there was a way to distill the temporary and all its ephemera, isolating key pieces into my work, then I would be able to elevate the visual indicators that speak to this period of transformation.

The concept of transformation -- in theory and practice -- has a firm place in my painting. Though my work looks highly rendered, I employ an active process of editing. Normally, I paint on wood or plastic panels employing customized stencils. Utilizing the dialogue established between different painting techniques, these stencil-applied graphic elements are integrated with areas that I paint freehand. Line, edge, and texture are very important to me as well. To accentuate these formal concerns I often paint things like the sky last, which creates a shallow, imbedded quality to the painted imagery underneath. The effect works to maximize the visual tension on the painted surface, challenging the logic of what naturally should be in front and behind. As the picture develops there inevitably comes a point for revision, that I achieve by sanding and reworking areas to bring them back to a zero state. This ability to erase allows me to maintain precision without forfeiting spontaneity and improvisation.

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Dean Monogenis

EDUCATION
1993- 96:
School of the Art Institute of Chicago, BFA
1991-92:
Skidmore College

Solo Exhibitions
2012
Walter Maciel Gallery Los Angeles, CA
VOLTA NY w/ Walter Maciel Gallery: New York, NY
Xippas Gallery: Athens, Greece

2011
Morgan Lehman Gallery: New York, NY

2010
Collette Blanchard Gallery: New York, NY
Walter Maciel Gallery: Los Angeles, CA

2008
Choate Gallery, Pace University: Pleasantville, NY

2007
Stux Gallery: New York, NY
Walter Maciel Gallery: Los Angeles, CA

2005
Stux Gallery: New York, NY

2003
Riva Gallery: New York, NY

2001
American- European Art Associates, Inc: New York, NY
Farrell Pollock Fine Arts/ Bingo Hall: Brooklyn, NY

2000
Farrell Pollock Fine Arts/ Bingo Hall: Brooklyn, NY

Group Exhibitions
2012
Wild Things- Curator: Tim Christian, Angels Gate Cultural Center: San Pedro, CA
Surface Pattern- Circuit 12 Contemporary: Dallas, TX
Alternate Landscapes- Curator: Artsource Consulting, 101 California Street Lobby: San Francisco, CA

2011
Size Matters, Walter Maciel Gallery: Los Angeles, CA
Acquisitions 2009- 2011- Curator: Stephen B. Phillips, Federal Reserve Board: Washington, DC
Deconstructing Nature - Curator: Jonathan Greene, Hunterdon Art Museum: Clinton, NJ

2010
Lost Horizon - Curator: David Gibson, ARTJAIL: New York, NY
A Separate Peace - Curators: Anna Ort and Shane McAdams, McNeil Art Group Project Space: New York, NY
Future Tense: Landscape in Transition - Curator: Dede Young, Stephan Stoyanov: Gallery:New York, NY
Skeptical Landscapes - Curator: Trevor Richardson, Herter Art Gallery, University of Massachusetts:Amherst, MA
Inspiration Unlimited - Walter Maciel Gallery, Pacific Design Center: Los Angeles, CA

2009
Pollitical Draw - Walter Maciel Gallery: Los Angeles, CA

2008
Future Tense: Reshaping the Landscape - Curator: Dede Young, Neuberger Museum of Art: Purchase, NY
Lost Horizon - Curator: David Gibson/ Trevor Richardson, Herter Art Gallery, University of Massachusetts: Amherst, MA

2006
Landscape Perspectives - Curator: Veronica Fernandez, Art + Industry: Palm Springs, CA
Benefit Auction for the Grennpoint YMCA - Curators: Elizabeth Grady + Chistian Viveros Faune, Supreme Trading: Brooklyn, NY
Six Degrees of Separation 2: The Inner Workings of Cold Contact - Curator: Joshua Altman Stux Gallery: New York, NY
Cityscape - Walter Maciel Gallery: Los Angeles, CA
Deluge - Bucheon Gallery: San Francisco, CA
Native Spirit - Supreme Trading: Brooklyn, NY
Real Art Today: A Salon Celebration - 92nd Street Y, Makor-Steinhardt Center:New York, NY

2005
Postcards From the Edge - Robert Miller Gallery: New York, NY
Beautiful Dreamer -Spaces Gallery: Cleveland, OH
Everland - Annina Nosei Gallery: New York, NY
Culture Vulture - Jack the Pelican Presents: Brooklyn, NY
Grand Tour - Gallery MC, Macedonian Cultural Society: New York, NY

2003
Faces and Figures - Elga Wimmer Gallery: New York, NY
Drawing - 473 Broadway, NY Arts Magazine Gallery : New York, NY
Stream - Rare Gallery: New York, NY
Emerging Artists - Merrill Lynch Financial Center: New York, NY

2002
Cool Places - Priska C. Juschka Fine Art: Brooklyn, NY

2001
Antonio Battaglia - Arte Contemporanea: Milan, Italy

2000
Gala Benefit for the Brooklyn Museum of Art: Brooklyn, NY
Watch Me Now - American- European Art Associates, Inc: New York, NY

Residencies and Awards
2012
CCA Andratx, Artist in Residence: Mallorca, Spain

2010
Anderson Ranch Editions: Snowmass Village, Co
The Fountainhead Residency: Miami, FL

2008
Dyson Artist in Residence - Pace University, Pleasantville, NY

Bibliography

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Trong Gia Nguyen, ARTslant, Special Edition: Armory Week #1 http://www.artslant.com/ny/articles/show/30245/
Fivi Paraskeva, BIG FISH (supplement to the weekly newspaper PROTO THEMA) Dean Monogenis- Building the City, Pg. 14, April 1, 2012
Rania Georgiadou, VOGUE, Two Worlds, March 2012
Athens Magazine, Dean Monogenis Builds the Works as if They Were Buildings, March 2012
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