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Andrew Graham
updated: 12/22/2011
website: andrewgrahamstudio.com
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
AIG Annual Report 1999
AIA China Tower
AIA China Tower (Copy)
AIA Tower From Below
AIA Kuala Lumpur, Malaysia, c.2000
Unknown Tower
International Tower
AIU-ALICO Building Tokyo, Japan c.1995
Contact (Solid Growth)
Contact (Mass)
Contact (Group)
Hank Greenberg
Bernie Madoff
Chris Cox
Alan Greenspan
 
Portfolio Keywords:  conceptual, political, social criticism, repetition, systems, documentary, memory, process, portraiture, psychological
 
 
AIG Annual Report 1999 by Andrew Graham
AIG Annual Report 1999
ink on paper
2011
30" x  22" 
AIA China Tower by Andrew Graham
AIA China Tower
ink and gouache on paper
2011
30" x  22" 
AIA China Tower (Copy) by Andrew Graham
AIA China Tower (Copy)
ink on paper
2011
30" x  22" 
AIA Tower From Below by Andrew Graham
AIA Tower From Below
ink on paper
2011
30" x  22" 
AIA Kuala Lumpur, Malaysia, c.2000 by Andrew Graham
AIA Kuala Lumpur, Malaysia, c.2000
ink on paper
2011
30 " x  22 " 
Unknown Tower by Andrew Graham
Unknown Tower
ink on paper
2011
30" x  22" 
International Tower by Andrew Graham
International Tower
ink on paper
2011
30" x  22" 
AIU-ALICO Building Tokyo, Japan c.1995 by Andrew Graham
AIU-ALICO Building Tokyo, Japan c.1995
ink on paper
2011
30" x  22" 
Contact (Solid Growth) by Andrew Graham
Contact (Solid Growth)
ink on paper
2011
30" x  22" 
Contact (Mass) by Andrew Graham
Contact (Mass)
ink on paper
2011
30" x  22" 
Contact (Group) by Andrew Graham
Contact (Group)
ink on paper
2011
30" x  22" 
Hank Greenberg by Andrew Graham
Hank Greenberg
ink on paper
2011
30" x  22" 
Bernie Madoff by Andrew Graham
Bernie Madoff
ink on paper
2011
30" x  22" 
Chris Cox by Andrew Graham
Chris Cox
ink on paper
2011
30" x  22" 
Alan Greenspan by Andrew Graham
Alan Greenspan
ink on paper
2011
30" x  22" 

Artist Statement


In early 2011 I was hired as a freelance art-handler for AIG. My job was to remove and destroy a room full of large framed photographs that included blowups of various company logos, annual reports, and covers of the AIG employee publication ‘Contact’. The majority of the images however, were of buildings, towers, banks, and skyscrapers from all over the world. Since 2008, AIG had sold off all of these properties in an effort to begin paying back the American government 182 billion dollars in bailout money. For reasons legal or otherwise, these visual documents connecting AIG to these properties, as well as the other corporate artifacts, had to be destroyed.

The starting materials for my recent work are cell phone photographs I secretly took of the doomed documents. I later expanded my imagery to include headshots of key figures involved in the 2008 financial crisis. I use an image-making technique that falls somewhere between the traditional categories of painting, drawing, and printmaking. I use a vinyl-cutter, which I modified to perform as a plotter, or simply a mechanical arm moving on an x-y axis. I use digital image editing programs such as Photoshop and Illustrator to create the initial underlying structure for a piece. I then start to apply layers of ink, watercolor, or gouache to the paper. I use a variety of pens, especially refillable brush-pens I have customized to fit the machine and flow properly. From here I move in a way similar to a traditional painter - experimenting, layering, pushing and pulling the image into unknown territory until something is discovered. I guide and follow the arm as it works, making adjustments along the way (changing pressure, refilling the brush, etc.), sometimes using my hand to paint with or affect the marks. It’s a surprisingly intuitive process. The technique is entirely self-taught and something I developed from years of messing with machines.

Artist Bio / CV

b. 1980, Evanston, IL

S E L E C T E D   E X H I B I T I O N S 

2011

"The Fifth Age of Glass", curated by DADDY, Et Al Projects, NY

"Liminal Step", curated by Emet Sosna, Nonprofit Finance Fund, NY

"Crazy Cat Lady", Win Wilder Hall, ME

"Sticks and Stones: Language and Emotion", curated by David B. Smith, Culturehall.com, Feature Issue 73

"To Have and To Hold", curated by Kristin Tretheway for INDEX Festival, Harvestworks Digital Media Arts Center, NY

"Mixed Messages: A(I)DS, Art+Words", curated by John Chaich, sponsored by Visual AIDS, La MaMa La Galleria, NY

"Netiquette", Camel Art Space, NY

"Hmmm...", curated by John J. McGurk, Mikhail Zakin Gallery, NJ

2010

"I've Never Suffered and I Don't Intend to Ever Suffer", Bushwick Open Studios, NY

"Resonance", curated by Julie Oppermann, RabbitHoleStudio, NY

"Brucennial 2010: Miseducation", NY

2009

"Poison", Curious Matter, NJ

"Terminal Signal", Brooklyn Art Alternative, NY

2008

"Tough Love: Complexities of Social Justice Series II/III", Thompson Gallery, MA

2007

"The Barrow Gang", Cooper Union, NY

2006

"SAFETY: An Exhibition on the Management of Expression", Cooper Union

 C U R A T O R I A L

2009

"Black Thursday Halloween City!!! Black Friday Fireworks Stand", Troutman Studios, NY

"Quizotic", Troutman Studios, NY

 B I B L I O G R A P H Y

 2011

Smith, David B. "Sticks and Stones: Language and Emotion", Culturehall.com, Feature Issue 73, Aug-Sept.

Strong, Lester. "Staying Connected", Art & Understanding, July 25

Cotter, Holland. "Art in Review", The New York Times, June 24 pg. C29

Chaich, John. "Mixed Messages", exhibition catalog, May

Chan, Paul. "Progress as Regression", e-flux journal, Jan. journal #22

2010

Burket, Brent. "The Brucennial: Piece by Piece", Hyperallergic.com, March 16

2009

D'agrosa, Anna. "Quizotic Opening at 1717 Troutman", BushwickBK.com, Sept.23

Cupulo, Diego. "Former Illegal Loft Building Revived as Work Space", BushwickBK.com, Oct. 2

A W A R D S

2007

Ethel Cram Memorial Prize for Excellence in Art

E D U C A T I O N

2008

The Cooper Union for the Advancement of Science and Art, BFA