In July 2011, ZieherSmith debuted Jason Brinkerhoff’s work with drawings included a group show which garnered instant attention. Since then, Brinkerhoff has seen a rapid rise in exposure, with a solo exhibition at White Columns about which curator Matthew Higgs states: “Using blank, antiquarian book pages as their support, Brinkerhoff’s ‘portraits’— of persons unknown, self-consciously acknowledge— and collide— the multiple ruptures of twentieth century modernism.”
Through an almost excessive process of research, referencing, citation and adaption, Brinkerhoff’s ahistorical hybrids create an aesthetic dissonance between the past and the present. An ardent collector of vernacular photographs and vintage fashion magazines, as well as outsider and contemporary art, Brinkerhoff is self-taught, dedicating a decade’s research and development prior to seeking exposure for his practice. His outlook is decidedly maximal, and his work is foremost a celebration of bounty.
The exhibition continues his fecund anachronistic approach, featuring over 70 works on paper as well as the first look at his painting practice, both of which concentrate on the female figure. This unapologetic focus is relentless; both in the endless possibilities of a single subject and in the artist’s quiet resolve to take on his forebears one by one, reckoning with iconic past masters and nearly everything in their collective path (from pre-Columbian sculpture to 1970’s Day-Glo fade).
With a confident, fluid line and refined grasp on technique and materials, drawings range from straight graphite on paper, to sophisticated collages of disparate fragments attached to a clean sheet, lending an austerity and singularity, despite often repeating the figure’s position and pose. Erasing, smearing and slicing through immense piles of his own drawings atop other source material, Brinkerhoff simultaneously celebrates a disparate agglomeration. He interrupts the past and inserts his own bravura. This complicated, additive practice combines seamlessly in elegant figures whose associations abound; the cumulative result is both captivating and unexpectedly monumental.
This is the Bay-area artist’s first solo show at the gallery. The exhibition was cited in “Top 100 Fall Shows” by Modern Painters. A large selection of works will be included in the forthcoming show The Power of Paper at the Saatchi Gallery, London. Brinkerhoff was the first winner of the Herb and Dorothy Vogel award selected by Jeffrey Grove and Maxwell Anderson and presented by Gallerist. In addition, his work was acquired for the permanent collection of the Dallas Museum of Art.