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| STATEMENT |
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| BIOGRAPHY |
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New York based artist Mark Wiener has exhibited in Los Angeles, London, Paris, Milan and Tokyo, and regularly in solo and group exhibitions in New York City. His work appears in private collections in the UK, Berlin, France, China, Japan, Australia, Canada and the US.
This July, Mark Wiener presented his first performance/installation, “Inside Out,†at the Lab For Installation and Performance Art in Manhattan. In 2006 he was selected to exhibit his works, including large-scale exterior reproductions and original murals, at the Montblanc flagship store on 57th Street.
In 2005, Mark Wiener was invited to participate in the Felissimo Design House “Tribute 21†program, joining celebrities and other artists in having his work reproduced on a limited edition ceramic plate, sold for the benefit of UNESCO. He has also received several commissions from the World Federation of United Nations Associations to create first day covers and limited edition lithographs to accompany issues of UN Postage Stamps, and was awarded the Croix de Croix de
Chevalier de’orde Belgo Hispanique under the patronage of Queen Fabiola of Belgium.
SInce 2005, in support of the fine art community, he has publushed the
online magazine Resolve40.com, which offers readers a lifestyle view of the art world, without advertisements, through the eyes of artists.
As a teenage artist in New York, Mark Wiener presented his work to the most prestigious dealers on Madison Avenue, unrolling his canvases on the gallery floors. He went on to study painting and photography at the Philadelphia College of Art, and afterwards gained considerable recognition as a photographer, illustrator and fine artist, with his work appearing in periodicals such as the Wall Street Journal, Esquire, New York Magazine and Paris Match, as well as noteworthy books including “Family of Children,†(Grosset and Dunlap), and “The Art of Mickey Mouse†(Hyperon), and many others in the US and abroad. |
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| EDUCATION |
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Philadelphia College of Art 1969 - 1973
Art Students League
School of Visual Arts |
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| REPRESENTATION |
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| SOLO EXHIBITS |
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"Gestures; a Timeline "- Solo - Roger Smith Hotel - July - Sept. 2007
"Inside Out", - Solo Performance - Roger Smith - The Lab - July 2007
(July 15th - 20th)
Different Colors" - Solo - CURB, NY, NY - OCT - 2007
“Sharks & Angels†Solo Exhibition - DRAFT FCB GROUP , NY, NY - Sept 2006
2006“Summer Thunder†Art Gotham, NY, NY - August 2006
“Gesture Pools II†Solo Exhibition - AFP Galleries, NY, NY - April - May 2006
“Gesture Pools†Solo Exhibition - MONTBLANC, NY, NY - April - May 2006
“Barcodes†Solo Exhibition - A4l, NY, NY - March - April 2006
“Gestures†Solo Exhibition - CURB, NY, NY - JAN - FEB 2006
“Conversations†Chasahama , NY, NY - April - MAY. 2005
“E-motion†Solo Exhibition - M-space - SMP LAB, Tokyo, Japan Oct. , 2004
“(re-awakening)’ – TIXE, a Chashama Artspace , New York, NY November 18 – 30, 2003
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| GROUP EXHIBITS |
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Transitions" - Group - CURB, NY, NY - OCT - NOV - 2007
“BEYOND BORDERS , CURB, NY, NY - March - April 2007
"Accorsi Arts Associates" Art Miami, Jan 2007
"Benifit" Saatchi & Saatchi auction by Phillips - 2006
“Take 5†CURB, NY, NY - March - April 2006
‘Abexbox†Chasahama , NY, NY - March - April 2006
‘Square Foot Show†Art Gotham, NY, NY - FEB - March 2006
“Celebrating Color“ Hudson Guild , NY, NY - Dec - FEB 2005 - 06
“Movement In Art†Hudson Guild , NY, NY - Dec - JAN. 2005 - 06
“Square Foot IV “ AWOL Gallery , NY, NY - NOV. 2005
“Square Ft Show “ Art Gotham , NY, NY - Oct. 2005
“Conversations†Chasahama , NY, NY - April - MAY. 2005
“I Made This†Chasahama , NY, NY - Jan - Feb. 2005
CURB Annual Exhibition - CURB February 28, 2005
Chashama - January 30, 2005
Resolve40_Worth, Chashama Dec. 11, 2004
“ Postcards from the Edgeâ€ÂÂ, Benefit Group Show - Visual Aids Dec. 6, 2004
Chasahama , NY, NY - Chasahama Nov. 15, 2004
Alex Fund , NY, NY Nov. 04, Century Club, Grp. Show - Nov.12, 2004
NIGHT OF 1000 Drawing - Artists Space , NY. NY - Nov. 05, 20
COLLABORATION 1 - CREATIVE ARTISTS NETWORK, Phila, Pa,- Nov. 04, 2004
Starving Artists Ball, NY, NY Grp. Show - Studio 42 - Oct. 04, 2004
Finding Rembrandt - Anthem Gallery, Soho, NY, Sept. 04, 2004
Chashama open studio , Chashama, new York, NY - July 2004
Group Show - ANTHEM Gallery, New York, NY - May 2004
“Ray of Light†Saatchi & Saatchi auction by CHRISTIE’S - December 11, 2003
“(re-awakening)’ – TIXE, a Chashama Artspace , New York, NY November 18 – 30, 2003
George Billis Gallery, New York, NY , May 1, 1997
Corner Gallery – Roger Smith Hotel – New York, NY , May 1994
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| ARTICLES |
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http://www.mwienerarts.com/gestmovie.html
http://www.mwienerarts.com/review_gp.html
Mark Wiener at AFP Galleries - May 2006
By Mark Stone © 2006 all rights reserved
Abstract Expressionism has continued to be a vital form of painting for many painters. It has also gone through many permutations and academic styles. Yet artists continue to find new ways to expand the visual practices that defined ABEX painting nearly 60 years ago. Mark Wiener’s show at AFP Gallery was a strong statement for the vital re-examination that Abstract Expressionism deserves. Wiener has found a way to re-invigorate the academic practice of ABEX painting and make it his own. This is no small task for a painter especially at this juncture in history.
Wiener’s growing dissatisfaction with this academic distance in painting has allowed him to move his work from an exploration of “the stroke†to actually using the stroke to convey both touch and space. In the black and white paintings on view Wiener skirts these issues, looking for the strokes to carry the work through. These are hard paintings, and he seems to understand that fact by encasing them in a think varnish. They are slick and almost too done. What save them from becoming mannered are the white strokes which visually pull them forward into space. It is a two step dance of simplicity and guile.
It is in the “Gesture Pools†that he makes a break. Overtly the work looks like a combination of Pollock’s all-over composition and De Kooning’s action painting. The difference lies in Wiener’s understanding of the visual and emotional implications of his touch. Wiener has taken to using new brushes and tools (even going so far as to have them specially made) in order that his movements with the brush be more readily known and understood. For him the spaces that occur in the moments of painterly action define the emotional content of his work. Wiener wants to intimately engage us in his painted world. This kind of intimacy a few years ago would have been unthinkable.
Wiener explains that his work is a conversation. By this he means the give and take between himself and the spaces of action he creates on the canvas. In the Gesture Pools series Wiener has upped the ante. Here he uses color to enhance the spaces and create a depth of field that has not existed in his work before. The black and white strokes slash through the pools of color leaving traces of his painterly progress. Like a swimmer’s wake we feel him dive and surface - pull and push - moving in and out. Wiener says that he wants to be involved in the work - to feel it more than to see it. This instinctual understanding of touch is the key to his _expression. The “conversation†is physical and the drive of the piece is relentless always going forward moving around on itself. It is a bravura _expression unafraid to explore the past and use that familiar language to express his concerns, ideas and feelings in a fresh and direct way.
It is high time we “rediscovered†the aesthetic potential afforded by ABEX painting. We live in a new visual era rife with the possibility of redefining our emotional expressions and building on our painterly history. Mark Wiener has the bravery and insight to do just that and make it his own.
............
EF MAGAZINE -TOKYO JAPAN
When it comes to abstract and conceptual art, many people just don't understand. They don't grasp the intended meaning of the work. They don't realize that this type of art aims to challenge and intrigue the viewer. The works of artist Mark Wiener are not simple creations, but rather pictures woven together from various colors and textures. Wiener muses, " People are always surprised when I say this, but I'm actually partly color-blind. However, I think this disguises me from other artists. I am particularly attuned to subtle nuances and textures. This gives my work its interests and strength. Wiener first became interested in painting as a child; at the age of twelve or thirteen, the dauntless artist began walking from gallery to gallery in New York, showing his work. Wiener's parents were both business people, but his father an amateur photographer, sparked the young artist's own interest in photography. As a college student, he began a documentary and fashion career that would take him to Paris, London and Los Angeles, covering shoots for publications such as Esquire, New York Magazine, and Paris Match. People often ask me why I changed fields, but I think that it's only my tools that have changed from a camera to a paintbrush. And I wanted to go beyond the direct expression of a subject to create something profound. But it takes time before my thoughts and ideas came together into one piece of work. Just like a dried-up sponge that softens and expands when water is added, I find it necessary to absorb the history of the world, the universe. Because I digest this information, my work is more an expression of my work like they read a work of literature. It's difficult to explain, but that's what understanding art is about." According to Wiener, because Americans have been raised in a culturally young country, they are "visual minors" who can only understand art that appeals directly to them. Though Wiener's word alone, one can picture the stoic artist at work, shut up in his studio. However, he can be without food for his artistic "digestion", Wiener finds this nourishment in New York, a city where many races and traditions are reconciled like New York because, although it's a large city, everything is compressed into one small island. Museums, galleries and dealers are all close at hand. ~d the best part is that there are always interesting people to meet. Wiener often finds the impetus for his work in people, so human relations is quite important to him. As a college student, Wiener made the decision to enter the art world, and his friends encouraged him. Wiener says that one's success as an artist depends on teamwork with people around him. He firmly believes that creative power is born from the study of peoples' behavior, the acceptance of others desires, and accumulation of these experiences. I want to succeed as a great artist, but I don't believe that this simply means having popular appeal. real success is creating what you want to create, living happily, and making the people around you happy, too. Inside I'm very serious, but it's making people laugh and feel good that I really like.
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(please scroll to bottom of the page)
reviews & articles
Mark Wiener at AFP Galleries - May 2006
By Mark Stone © 2006 all rights reserved
mark wiener © 2006 all rights reserved
click to enlarge
Abstract Expressionism has continued to be a vital form of painting for many painters. It has also gone through many permutations and academic styles. Yet artists continue to find new ways to expand the visual practices that defined ABEX painting nearly 60 years ago. Mark Wiener’s show at AFP Gallery was a strong statement for the vital re-examination that Abstract Expressionism deserves. Wiener has found a way to re-invigorate the academic practice of ABEX painting and make it his own. This is no small task for a painter especially at this juncture in history.
Wiener’s growing dissatisfaction with this academic distance in painting has allowed him to move his work from an exploration of “the stroke†to actually using the stroke to convey both touch and space. In the black and white paintings on view Wiener skirts these issues, looking for the strokes to carry the work through. These are hard paintings, and he seems to understand that fact by encasing them in a think varnish. They are slick and almost too done. What save them from becoming mannered are the white strokes which visually pull them forward into space. It is a two step dance of simplicity and guile.
mark wiener © 2006 all rights reserved
click to enlarge
It is in the “Gesture Pools†that he makes a break. Overtly the work looks like a combination of Pollock’s all-over composition and De Kooning’s action painting. The difference lies in Wiener’s understanding of the visual and emotional implications of his touch. Wiener has taken to using new brushes and tools (even going so far as to have them specially made) in order that his movements with the brush be more readily known and understood. For him the spaces that occur in the moments of painterly action define the emotional content of his work. Wiener wants to intimately engage us in his painted world. This kind of intimacy a few years ago would have been unthinkable.
mark wiener © 2006 all rights reserved
click to enlarge
Wiener explains that his work is a conversation. By this he means the give and take between himself and the spaces of action he creates on the canvas. In the Gesture Pools series Wiener has upped the ante. Here he uses color to enhance the spaces and create a depth of field that has not existed in his work before. The black and white strokes slash through the pools of color leaving traces of his painterly progress. Like a swimmer’s wake we feel him dive and surface - pull and push - moving in and out. Wiener says that he wants to be involved in the work - to feel it more than to see it. This instinctual understanding of touch is the key to his _expression. The “conversation†is physical and the drive of the piece is relentless always going forward moving around on itself. It is a bravura _expression unafraid to explore the past and use that familiar language to express his concerns, ideas and feelings in a fresh and direct way.
mark wiener © 2006 all rights reserved
click to enlarge
It is high time we “rediscovered†the aesthetic potential afforded by ABEX painting. We live in a new visual era rife with the possibility of redefining our emotional expressions and building on our painterly history. Mark Wiener has the bravery and insight to do just that and make it his own.
EF MAGAZINE -TOKYO JAPAN
When it comes to abstract and conceptual art, many people just don't understand. They don't grasp the intended meaning of the work. They don't realize that this type of art aims to challenge and intrigue the viewer. The works of artist Mark Wiener are not simple creations, but rather pictures woven together from various colors and textures. Wiener muses, " People are always surprised when I say this, but I'm actually partly color-blind. However, I think this disguises me from other artists. I am particularly attuned to subtle nuances and textures. This gives my work its interests and strength. Wiener first became interested in painting as a child; at the age of twelve or thirteen, the dauntless artist began walking from gallery to gallery in New York, showing his work. Wiener's parents were both business people, but his father an amateur photographer, sparked the young artist's own interest in photography. As a college student, he began a documentary and fashion career that would take him to Paris, London and Los Angeles, covering shoots for publications such as Esquire, New York Magazine, and Paris Match. People often ask me why I changed fields, but I think that it's only my tools that have changed from a camera to a paintbrush. And I wanted to go beyond the direct expression of a subject to create something profound. But it takes time before my thoughts and ideas came together into one piece of work. Just like a dried-up sponge that softens and expands when water is added, I find it necessary to absorb the history of the world, the universe. Because I digest this information, my work is more an expression of my work like they read a work of literature. It's difficult to explain, but that's what understanding art is about." According to Wiener, because Americans have been raised in a culturally young country, they are "visual minors" who can only understand art that appeals directly to them. Though Wiener's word alone, one can picture the stoic artist at work, shut up in his studio. However, he can be without food for his artistic "digestion", Wiener finds this nourishment in New York, a city where many races and traditions are reconciled like New York because, although it's a large city, everything is compressed into one small island. Museums, galleries and dealers are all close at hand. ~d the best part is that there are always interesting people to meet. Wiener often finds the impetus for his work in people, so human relations is quite important to him. As a college student, Wiener made the decision to enter the art world, and his friends encouraged him. Wiener says that one's success as an artist depends on teamwork with people around him. He firmly believes that creative power is born from the study of peoples' behavior, the acceptance of others desires, and accumulation of these experiences. I want to succeed as a great artist, but I don't believe that this simply means having popular appeal. real success is creating what you want to create, living happily, and making the people around you happy, too. Inside I'm very serious, but it's making people laugh and feel good that I really like.
POV MAGAZINE
A visual linguist, a fine artist, an artist at all levels. Mark Wiener's work might best be described as a perpetual state of motion. Whether it's a cover for Interactions, a brochure for Guardian, an illustration for the Wall Street Journal, his latest genre of line art, or a piece of his fine art movement seems to Be the common thread in a diverse crazy quilt of imagery.This broad scope of talent - From drawing to photography to digital mediums - is, in large part, credited to his upbringing. Wiener,s parents were passionate art enthusiasts. He grew up steeped in the likes of Degas, Lautrec, Marsh, Hogarth, Picasso............... ....... "Without my parents' influence I would have never been the creative animal that I am, he acknowledges. "The two of them pushed me and pushed me to create - anything they could give me to make imagery with, no matter what it was. They gave me a real legacy and a real gift in my creativity." ....................... These diverse influences left Wiener with a broad palette from which to create. While he has always painted (by age 13 he was traipsing from gallery to gallery in New York showing his work, since when he has had numerous shows and exhibits), commercially he began as a photographer, an interest sparked by his father. While he shot for blue chip publications including Esquire, New York Magazine, Paris Match, Philadelphia Magazine, and Ladies Home Journal, among others, his artist's nature was left wanting. "I decided that I wasn't visualizing my ideas through photography so I switched to painting and drawing. " It was actually at an exhibition of his abstract painting in Los Angeles that the candle he now burns at both ends was, it by an off-the-cuff remark that his work would be beautiful in an illustration style. "I started off doing airbrush and bit by bit moved into digital," Wiener recalls. "As I moved into digital, I also started designing." For those of us who have been privileged to see some of his earlier photographic work, it is a delight to learn that after some 22 years, Wiener is again beginning to pick up the Camera. Working in photomontage as well As drawing, he admits, "I'm tired of working with other people's photography. ............."Wiener studied at the Philadelphia College of Art, where Alexey Brodevich's legacy was a driving force. He is a self-confessed risk taker, drawing inspiration from, that whole period of artists who always took visual risks, he says. "Brodovitch with Frank Zachary when they did Portfolio magazine and used Miro and Calder to illustrate articles. I was very fortunate in that's where I come from and that's why I have such a diversity of style. I got to be very close friends with Frank Zachary, who was Brodovitch's partner and Editor-in-chief of Town and Country, for many years he was of great influence in my creative life . I've been graced with knowing people, being enlightened by many different types of people including, most recently my students at the School of Visual Arts."
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| OTHER INFO |
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Projects and Publications
The Lab for Installation and Performance Art 47th & Lexington, NYC ‘Inside Out†solo installation and Performance - July 2007
MONTBLANC 57th & Madison, NYC “where fashion meets art†solo installation - May 2006
Publisher - resolve40 the magazine by artists ... about art . web zine 2004-2006
ATOA - Board of Directors - 2006
School of Visual Arts - Teacher - 1994-2000
“The Art Of Mickey Mouse†- Hyperion Publishing – 1992 - collection of contemporary Mickey Mouse paintings
Family of Children – Grosset & Dunlap - 1973
Honors & Awards
Creation of Tribute21 Painting for Felissimo Plate Series - July. 2005
Artist-in-Residence,TIXE - Chashama Visual Arts Progarm 2003
Artist-in-Residence, 40 Worth Street - Chashama Visual Arts Progarm 2004-2005
United Nations Commemorative, “Transportation†- United Nations - 1997
Unesco Stamp Commemorative, “World Heritage†– United Nations – 1992
Croix de Chevalier de L’Orde Belgo Hispanique under the patronage of Queen Fabiola of
Belgium
Museums
Housatonic Museum of Art, “Lineal Investigations†- November 2007
Philatelic Museum at Palis Des Nations, Geneva, Switzerland
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| SCHOOL INFO |
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