Alexis Rockman is an American contemporary painter known for his paintings that provide depictions of future landscapes. His dystopian natural environments emphasize the impact of climate change and an evolution influenced by genetic engineering.
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Artist Spotlight > Alexis Rockman
Please visit Alexis Rockman’s website for more information: alexisrockman.net
Artist Spotlight
Works by Alexis Rockman in Cottrell-Lovett Collection
“Untitled,” 1996
“Galapogos,” 2020
“Untitled,” 1996
(Two additional works by Rockman are in the collection)
From The New Yorker by Andrea K. Scott:
The coronavirus pandemic, the American President, citizens brutalized by the police—there’s no shortage of reasons to worry these days. But climate change continues to pose the most catastrophic threat to the world. Since the mid-nineteen-eighties, Rockman, a New York-based painter, has been sounding alarms through his virtuosically realist pictures, in which natural histories of the past confront dystopian futures.
Read full article: The New Yorker
Visit the artist’s website: alexisrockman.net
Artist Spotlight
Roy De Forest’s “Untitled,” 1978
Cottrell-Lovett Collection
From the New York Times article by Roberta Smith published April 9, 2020:
This Bay Area artist’s enduring, multifaceted achievement deserves more respect from New York than it has garnered thus far.
De Forest was a member of a talented generation of artists that started emerging in the Bay Area in the early 1950s, among them Joan Brown, Peter Saul, Robert Arneson, H.C. Westermann, William T. Wiley, Franklin Williams and Maija Peeples-Bright. They absorbed and then mostly rejected the tenets of early Abstract Expressionism promulgated by Clyfford Still in his few years teaching at what is now the San Francisco Art Institute, and opted for images and high jinks over abstraction and high seriousness. Their linguistic quirks, which registered most often in titles, were awakened by the free-form poetry of the Beats. And many of them — De Forest in particular — pursued a kind of hallucinatory visual overload in advance of the counterculture.
Read full article: New York Times
