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Annet Gelink Gallery

Exhibition Detail
Laurierstraat 187-189
1016 PL Amsterdam
Main-recommend2-4cbd52e0f0582293366fa9f79bcce5f5 1 person has recommended this exhibit

April 18th, 2009 - August 15th, 2009
Coney Island, Dan McCarthyDan McCarthy, Coney Island,
2008 , oil on canvas , 124.5 x 99.1 cms 49 x 39 inches
© courtesy of the artist and Annet Gelink Gallery
Canal Girdle
+ 31 20 3302066
Tues-Fri 10-6; Sat 1-6



18.04 - 13.06.2009




Annet Gelink Gallery proudly presents the second solo exhibition of American artist Dan McCarthy in the Netherlands.

Dan McCarthy (1962, Honolulu) created a furor with solo exhibitions in amongst others New York, Paris, Madrid and

Berlin. His work is, amongst others, in the collections of the Museum of Modern Art in New York and the Musee d'Art

Moderne in Paris. After his Dutch debut in 2006 he is now displaying his latest paintings and drawings.

Dan McCarthy's paintings fascinate in their seeming. However, the apparent simple, intuitive paintings have been

painted in a careful manner. By applying the oil paint in very thin layers to the canvas, one after the other, he is

creating almost water colour-style paintings that strike as sketchy. Again the artist is showing his interest in the

human body. The depicted figures - for the greater part naked - seem to be in a parallel universe. Stripped of a

background that only distracts, the figures are crawling, squatting or staring into the surrounding emptiness. With

occasionally an attribute such as a fish, a bird or diving goggles the paintings are referring to space and freedom.

In his paintings Dan McCarthy is not only referring to the human body but he is also using man as his subject.

Regarding this, there's an important part for the backgrounds. Dan McCarthy places his figures either in front of a

white background, which allows as much space as possible for the psychological aspects, or in front of woven nets,

that refer to barricade and even to setting traps. By painting his figures with a blue skin and red eyes and liberating

them from decorum and frame he is trying to detach the viewer from his indoctrinated observation. By not making

any concessions to rendering ‘reality' Dan McCarthy sheds a new light on the classical theme of figure study. ‘I wanted

to create timeless portraits more of how I feel rather than what I see and more of what could be rather than what is',

says the artist.

The exhibition coincides with a publication about the new work of Dan McCarthy with an essay by Rudi Fuchs, published

by Annet Gelink Gallery, Anton Kern Gallery In New York and Hassla Books (ISBN 978-0-9800935-7-5).


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