Ford Allen

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teddy, 2016 Bronze 10" H X 4" D X 4 " W © ford allen
strawberry, 2016 Bronze 4" H X 4" W X 3" D. © ford allen
panda, 2016 Bronze 5" H X 3" W X 3" D © ford allen
apple, 2016 Bronze 3" W X 3" H X 3" D © ford allen
separate planets, 2016 Bronze 12" W X 18" D X 3" H © ford allen
things fall apart, 2016 Bronze 17"H X 7"W X 4"D © ford allen
nuclear family, 2016 Bronze 9" H X 9 " W X 3 " D © ford allen
insubstantial premise, 2017 Bronze 9"H X 4"W X 6"D © ford allen
the art i never made is the best, 2017 Mixed Media Anonymous Collaboration On Canvas 4' X 5' © ford allen
scream without a voice, 2017 Mixed Media Anonymous Collaboration On Canvas 4' X 5' © ford allen
i am what there is, 2017 Mixed Media Anonymous Collaboration On Canvas 4' X 5' © ford allen
#9, 2017 Mixed Media Anonymous Collaboration On Canvas 4' X 5' © ford allen
#8, 2017 Mixed Media Anonymous Collaboration On Canvas 4' X 5' © ford allen
no look see, 2017 Mixed Media Anonymous Collaboration On Canvas 4' X 5' © ford allen
#10, 2017 Mixed Media Anonymous Collaboration On Canvas 4' X 5' © ford allen
beauty, 2017 Mixed Media Anonymous Collaboration On Canvas 4' X 5' © ford allen
untitled, 2019 Anonymous Mixed Media Collaboration 4' X 5' © ford allen
untitles, 2019 Anonymous Mixed Media Collaboration 4' X 5' © ford allen
i am writer, 2015 Metal, Paint, Wax, Thinking, Lighting, Nothing 24" H X 36" W © ford allen
wasn't me, 2014 Metal, Wax, Nothing 24" H X 30" W © ford allen
crafty, 2013 Yarn 24" H X 30" W © ford allen
fuck everything and run, 2014 Mind 24" H X 36" W © ford allen
ta-da!, 2013 Power Of The Mind 24" H X 36" W © ford allen
time to spend, 2014 Metal 24" H X 36" W © ford allen
i'm not punk (stop telling me), 2015 Metal, Wax, Thought, Lighting, Idiocy 24" H X 36" W © ford allen
this is not a sign, 2015 Metal, Wax, Rust, Thought, Lighting 24" H X 36" W © ford allen
whats inside, 2015 Metal, Wood, Paint, Wax 44" H X 36" W © ford allen
truthiness, 2009 Paint On Metal 24"X18" © ford allen
tias2, 2011 Paint On Metal 24"X18" © ford allen
tias, 2011 Paint On Metal 24"H X 18"W © ford allen
beware, 2008 Paint On Metal 24" H X 18" W © ford allen
the best i can do, 2010 Paint, Dj, Gallery Installation
suicide, 2010 Paint, Wall, Gallery, Hipsters Installation
vacation, 2010 Paint, Hipsters, Gallery Installation
tell it, 2010 Paint, Hipsters, Gallery Installation
better late than never, 2008 Paint On Paper 30 In H X 65 In W © Ford Allen
you haven't done nothing, 2008 Paint On Sheet 85 In H X 99 In W © Ford Allen
no direction home, 2007 Paint On Fabric 48 In H X 118 In W © Ford Allen
Quick Facts
The Cooper Union, BFA
S.U.N.Y. Stony Brook, MFA
RISD (Rhode Island School of Design)
humor, protest-art, political/social installation, conceptual

Lost and Found Bronzes:


These are lost wax castings of vintage candles, like teddy bears, pandas, little girls and hippy objects. Besides being found objects, these are evocative of the oblivion of youth, lost family days, and the dust that has gathered on dreams.

They are sad, scary, and psychotic.

Both a criticism and fond remembrance of a hippy past and sometime present.

They recall the terrifying blunder of identifiers.



Heavily influenced by my teacher Reuden Kadish, these bronze totems can sometimes seem like just a mass of fossilized slag, or sketch in bronze of forces all working against each other, an image of conflict and family.

Boney spheres represent people and the metal surface, the relationship plane. We roll about on cast bronze bumping into each other but never really getting inside of our molten centers.

These structures are built on suspect principles and ready to collapse, but do not...


The Art I Never Made is the Best-Painting collaborations:

These paintings were installed on the exterior of a building in the arts district of downtown LA. The statement "the art i never made is the best" was stenciled on a lightly textured, somewhat reflective ground that was built up over many iterations of the work. The statement was meant, along with the placement of the piece, as an invitation to collaborate. Street artists subsequently added their mark to the painting. The city of LA anti-graffiti team also contributed by painting out the piece entirely. And then the work continued.

The works violently destroy the preciousness of my former aesthetics.

I have become an art farmer: I plant the seed and reap the rewards when it has ripened.

Here, a gestural painting becomes a conceptual artwork, a twist of the mind makes this magic possible.



10% Real Art!

When I made this artwork I was at first ridiculing my own primal impulse to make art at all. Once I saw a few on the wall, I realized that there is in fact something new going on in the works. They function like a t-shirt for a gallery wall. They are casual paintings, not meant to be taken too much to heart. However, the best humor is also somewhat true. Laughter just makes truth a bit easier to swallow. The works are conspicuous in their self-conscious nonchalance.

Through the scale of the work, the materials of found metal, bees wax, vintage lamp parts, discarded wood, fabric remnants, spray paint, and the use of basic text, a set of references is outlined that is artless. The materials were not originally created to be artful or have any meaning attached to them beyond their function. Hopefully, the way in which they are combined, while showing a general dissatisfaction with the formal practices of art-making, also turns them into art: an object with meaning, reference, feeling and thought.

Just as the wearer of a t-shirt informs the bearer's message, these works also gain their meaning from the walls on which they hang, from their context. Shown in a white walled gallery, the irony of the works is accentuated and changes one's perception of the gallery space itself. The gallery becomes the self-referential comedian criticizing their own visionary lack of vision. The meaning of the message is both framed and created by the gallery itself and made more raw though the sometimes biting humor of the text. This may also be true of the place of honor that these works inhabit above your mantlepiece, sofa, conference table and lobby.

Behind their thin veil of simplicity lies a rich history of alienation familiar to all adolescents, artists and assholes alike: the triple A of the Art world. Many, if not all, of these pieces are so incredibly asinine and devoid of any technical ability that there is nothing left but the actual idea, which is everything. This conceptual feat was accomplished only after intense study at the graduate level, coupled with decades of meaningful experience in our diverse and welcoming community. So I thank you all for making this possible. And you're welcome!



MFA University at Stony Brook, NY, 1994.


BFA, Cooper Union, NY, 1990.


Attended: Rhode Island School of Design, RI, 1986-1988.



2017-Now artinevermade, WORKSHOP, 3129 Glendale Blvd, Los Angeles, CA 90039, lost-wax bronze castings of vintage candles.


2016 this is magic, online exhibition,


2014 *Fear makes me hallucinate art show at Sawhorse Gallery 5110 York Blvd. Highland Park, CA 90042. Curated by Jim Jewett. Exhibited metal "paintings" and sculptures.


2013 The Kids are Something Else/Mod Vs. Rocker Group show at Judith Kaufman Gallery at El Portal, 5269 Lankershim Blvd, North Hollywood, CA. Curated by Sean Moloney. Artists: Ford Allen, Ed Colver, Hollis Hart, Gin Stevens, Buck Shanty, Annie Terrazo.


2011 Curate NYC, Online exhibition, Curated by Danielle Burns, African American Library at the Gregory School and the Houston Museum of African American Culture (HMAAC) in Houston, TX. Exhibition presented online at Danielle Burns chose social and politically informed works for her selections. Works by Aisha Cousins, Damali Abrams, Dianne Smith, Erik Von Ploennies, Erika Pettersen, Fanny Allié, Felandus Thames, Ford Allen, Francine LeClercq, Hanif Abdur-Rahim, Hernease Davis, Jasmine Murrell, Kimberly Mayhorn, Kirsti Itameri,MaryKate Maher, Michael Forbes, Monica Velez, Philip Bell, Vadis Turner.



2011 Punk Rock and Other Toys, Fluxco, downtown Los Angeles, CA. Group exhibition curated by Buck Shanty. Works by Ford Allen, Thaddeus Strode, Nicole Panter, Buck Shanty, Monk Rock, Shark Toof.


2010 *stop the world and let me off, Fluxco, downtown Los Angeles, CA. Installation of profoundly studip word art.


2008 Think Tank, Eagle Art Gallery, Murray State University, Murray, KY September 19th-November 4th. An exhibition dealing with all things political in honor of the upcoming election.


2007 fovea, Fluxco, downtown Los Angeles, CA November 17-24. Group show of mostly LA artists, many from the curated white columns artist registry. The show/opening itself is the social sculpture of the artwork.


2007 Modes of Disclosure, Form and Content Gallery, Minneapolis, MN July 5-Aug. 9. Group show that takes a fresh look at the matrix of sexual identity.


2007 them., Fluxco, downtown Los Angeles, CA June 30, one-night-only happenings with LA artists and musicians


2007 Fart Basel, Fluxco, downtown Los Angeles, CA May 19-June 15 Group show of great fartistes from the left and right coasts.


2005 Summary. Fluxco, downtown Los Angeles, CA, July 29-Sept 4. Group show of Los Angeles based artists. Exhibited recent figure paintings on rusted metal surfaces.


2003 *Paintings and Sculpture, David Allen Gallery, 331 Smith St. Bklyn, NY, March 5- April 27, 2003. Selected oil paintings and bronze sculpture.


2000 *Epicycle, 8 Beach Street, NYC, Oct. 8-21 2000.Oil paintings from the epicycle series.


1999 White Columns, Outer Boroughs, Sept. 10-Oct 17, 1999 Artists living and working in the boroughs outside of Manhattan.Curated by Paul Ha and Lauren Ross.


1996 Cooper Union, Jan. 16-Feb. 17, 1996, Houghton Gallery, Cooper Union, New York, NY. Curated by Stephen Haller, Lisa Lawley and Richard Vine.


1994 *Art in Anonymity, Jan. 28- Feb. 28,1994, Ward Melville Gallery, SUNY Stony Brook, NY. 


MFA exhibition, Feb. 2-26, 1994, University Gallery, Staller Center for the Arts, SUNY Stony Brook. Curated by Rhonda Cooper.


CAA exhibition, Feb. 11-March 11, 1994, Hunter College Studio Gallery, NYC.


1993 *MILK, Oct. 10-24, 1993, Theater One Gallery, Staller Center for the Arts, SUNY Stony Brook, NY.


1992 *Art absorbs normal unhappiness, Oct. 2-26,1992,Ward Melville Gallery, SUNY, Stony Brook.


*Shadrack, July 1992, installation, Staller Center, SUNY, Stony Brook, NY.


1990 Members exhibit, Dec. 1990, Hopper House, Nyack, NY.


1989 National Arts Club, Jan. 1989, National Arts Club, New York, NY.




Photography, Hetrick Martin Institute, New York, NY, Spring 1997. Taught high school students photography at the Harvey Milk School.


Portfolio Preparation Workshops, School of Visual Arts, NYC, Fall 1994-Spring 1997. Conducted over 300 portfolio preparation workshops for high school students and teachers . Lectured on the importance of art history, observational work and visual thinking.


Figure Drawing, SUNY Stony Brook, Stony Brook, NY, 1993-1994.


Figure Drawing, University Crafts Center, Stony Brook, Fall 1991, Spring 1992, Summer 1992.


Figure Watercolor, University Crafts Center, Stony Brook, Summer 1993.


Figure Painting and Drawing, Cooper Union, Saturday Program, Spring 1989.



Manager, Bay Street Arts, Los Angeles, CA 2008-present.Coordinate exhibitions, facilities maintenance, design and leasing at Bay Street Arts. For more details visit


Gallery Director, Fluxco, downtown Los Angeles, CA 2005-present.Oversee all aspects of the gallery and website operation, including selecting the emerging artists for solo and group exhibition, developing an exhibit schedule, coordinating staff and interns, executing marketing and promotion, leading collector/customer relations, organizing targeted collector events, handling all budgeting, accounting, installation and maintenance of the gallery. The gallery website is


Gallery Director, David Allen Gallery, Smith St. Brooklyn, NY 1999-2006.I worked with Herman Miller for the Home and Knoll Furniture to coordinate exhibitions of emerging artists and designers whose work related the marriage of art and design. I managed all aspects of the gallery, website and corporate relations. I initiated a gallery annex that contained artist flat files of works on paper and photography from hundreds of local artist and designers. Coordinated and managed a database of all visitors, collectors, and customers for marketing and promotion. I still use this list for related events.


Gallery Director/Store Manager, Fluxco, 5th Ave, Brooklyn, NY, 1997-1999.Conceptualized as a retail sculpture, the first Fluxco was a wonderful curio shop of functional found objects. It was a mix of hip vintage store and 18th century visual archive. Fluxco was a visual museum of family photos, ephemera, antique fabrics, hand-crank phonographs, 1970’s plastic furniture, tramp art, paintings, hippy sculpture, and high design. The store was half installation and half treasure hunt. I shared the space with like minded artists and designers. We all participated in every aspect of the sales, marketing, and display of the space.


Admissions Counselor, School of Visual Arts, NYC, 1994-1999.This position required a heavy travel schedule to colleges and high schools in the Mid-Atlantic region, from Delaware to New York. I gave portfolio presentations workshops to interested artists where I reviewed the work of a dozen excellent portfolios during slide presentations. Executed marketing and promotion goals for enrollment. Conducted portfolio reviews at college fairs and on site at SVA as part of the application process. I awarded scholarships to dozens of outstanding students from the Mid-Atlantic region from 1994 to 1999.


Director, Summer High School Program, School of Visual Arts, NYC, 1998.I was the director of the summer high school program where I developed the curriculum, hired the teachers, chose the students, awarded scholarships and coordinated housing and events for over 100 young artists that spend the summer in NYC.


Assistant to the Performance Art Series Director, Stage Manager, Video Editor, The Whitney Museum of American Art at Philip Morris. "The Space Between Saints", Spring 1994, "Say What: the 1993 Biennial Performance/Theater Project", Feb. - June 1993. I was essentially the stage manager for this performance art series at the Whitney’s branch at Phillip Morris. I assisted the director in all aspects of the production from 1993 to 1994.


Preparator, the Galleries at Cooper Union, 1988-1990. As a gallery assistant I helped curate and install several large exhibitions in the Houghton Gallery at Cooper Union as well as building-wide exhibitions of student work at the end of each year. We also managed several smaller galleries throughout the campus on a regular basis.




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