Bradley Castellanos

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Biography

BRADLEY CASTELLANOS

Born: 1974, Hartford, CT

Education:

2006 School of Visual Arts, New York, NY
MFA
1998 Skidmore College, Saratoga Springs, NY
BFA

Selected Solo Exhibitions:

2013 "Crossing the Wilds," Ryan Lee Gallery, New York, NY
Mary Ryan Gallery, New York, NY
2011 VOLTA New York, presented by Marx & Zavattero, San Francisco, CA
2010 "North Woods," Marx & Zavattero, San Francisco, CA
2009 "The Divide," Caren Golden Fine Art, New York, NY
2008 "Hollow Ground and False Guidance," Mogadishni Gallery, Aarhus, Denmark
2006 "Deadland," Caren Golden Fine Art, New York, NY

Selected Group Exhibitions:

2012 "Paper Landscapes," Indianapolis Museum of Art, Indianapolis, IN (curated by Lisa Freiman)
2011 “Sea Change: The 10th Anniversary Exhibition,” Marx & Zavattero, San Francisco, CA
"7th Anniversary Exhibition," Foley Gallery, New York, NY
"Alumni Invitational 3," The Tang Museum, Saratoga Springs, NY (curated by Ian Berry)
2010 "Lives of the Hudson," The Tang Museum, Saratoga Springs, NY
2008 "Nightmares and Dreamscapes," Alberto Peola Gallery, Torino, Italy (curated by
Umbretto Agro)
"Future Tense: Reshaping The Landscape," Neuberger Museum of Art, Purchase, NY
2007 "Ominous Atmosphere," Heather Marx Gallery, San Francisco, CA (co-curated by
Jeff Dauber)
"BAM: New Wave Festival," Brooklyn Academy of Music, Brooklyn, NY (curated by
Dan Cameron)
"Modeling the Photograph: the End(s) of Photography," McDonough Museum of Art, Youngstown State University, Youngstown, OH (curated by Saul Ostrow)
2006 "HANGART-7 Air & Art, New York Contemporary: Art Times Squared," Salzburg, Austria (curated by Dan Cameron)
"Montezuma"s Revenge," Nicole Klagsbrun Gallery, New York, NY
"The New Collage," Pavel Zoubok Gallery, New York, NY
"A Delicate Arrangement," David Zwirner Gallery, New York, NY (curated by Dan Cameron)
Foyer Installation, P.S.1 Contemporary Art Center, Long Island City, NY
"Baditude," Visual Arts Gallery, New York, NY (selected by Bob Nickas)
2004 "Contemporary Cuban Art NY," Bill Maynes Gallery, New York, NY
2002 "Works On Paper," Sono Gallery, New York, NY
"Imagination," Mark Miller Gallery, New York, NY
2001 "Art Now," Mark Miller Gallery, New York, NY

Awards:

2006 SVA Alumni Scholarship Award, New York, NY

Selected Bibliography:

2011 DeWoody, Kyle & Vora, Manish, "Armory Week Routes from Kyle and Manish,"
Artlog Magazine, February 28
2010 Lasarow, Bill, "The Northwest's Top Ten Exhibition Picks for 2010," The Huffington Post, December 31
Kluth, Mary Anne, "Best Use of Materials: Bradley Castellanos: North Woods," Art Practical, Issue 21: Best Of Year One
Cheng, DeWitt, "Bradley Castellanos at Marx & Zavattero," Visual Art Source, March
Nataraj, Nirmala, "North Woods: Painter blends bucolic, petrified for colorful blast of commentary on exploitation," San Francisco Chronicle (96 Hours section), February 11, p. 13
Leaverton, Michael, "Life After People," SF Weekly (Night & Day section), February 3, p. 19
2009 "Pharaonic Camp" (reproduction), Harper"s Magazine, December, p. 17
Pellegrino, Dia, "True and False in Photography: The Evolution of a Technique in Post-Production," Current, August 31
Cuevas, Celina Nogueras, "En portada...Bradley Castellanos," Entorno Magazine (Spain), Ano 4 Vol. 1, Cover and p. 46-47
Di Bella, Giuseppe, "La Sospettabile Apparenza," Con-Fine Magazine (Italy), March; Cover and p. 22-25
"Divvied Up," Visual Arts Briefs, March 20
2008 Feinstein Lea, "Ominous Atmosphere: Heather Marx," ARTnews, January, p. 133
Conti, Tiziana, "Nightmares and Dreamscapes," Exibart.com, March 4
Gambari, Olga, "La Mostra: Incubi e sogni di sette giovani nella metropolis," La Repubblica, February
Riba, Stefano, "Realta, sogni e incubi dalla "Grande Mera"," La Stampa: TorinoSette, February
"Fantastici sette: Da New York," Arte, February
Neuberger Museum of Art, Newsletter, Purchase, NY
2007 ARTNOTES, ARCO 07, Madrid, Spain, p. 4
2006 Cameron, Dan, HANGART-7 Air & Art: New York Contemporary: Art Times Squared (exhibition catalogue), p. 20 " 29
Farkas, Summers, "Pick Up Artists: Beth Rudin DeWoody," Gotham, September, p. 186-7
Puri, Madhu, "Art Times Squared: Bradley Castellanos," Salzberger Nachrichten, Ed. 4, July, p. 1-12
Zoubok, Pavel, The New Collage, p. 14
Print print

Press Release

FOR IMMEDIATE RELEASE

BRADLEY CASTELLANOS: NORTH WOODS
FEBRUARY 4 - MARCH 13, 2010

Opening reception for the artist: Thursday, February 4 from 5:30 - 7:30 PM

For more information, contact Steve Zavattero
Phone: 415.627.9111/e-mail: info@marxzav.com
Website: www.marxzav.com

In his first west coast solo exhibition, New York artist Bradley Castellanos will exhibit a new series of cut photo collages layered with deeply colored oil paint and resin at Marx & Zavattero, February 4 - March 13. Castellanos is well known for his seamless combination of the sober documentation of large-format photography and the exuberant energy of abstract painting.

Castellanos' subject matter ranges from abandoned industrial sites and decayed urban environments to sweeping barren landscapes, and the disquieting solitude of pastoral settings. His intricately cut photo-collages are layered with intensely colored oil paint and accented with pools of reflective resin. The opulent surfaces in his collaged paintings vary from flat to reflective, high relief to sable-brush smooth, from one area to the next. Theatrical in light, composition, and temperament, Castellanos' work is never romanticized or idealized. His color, imagery, and tone of isolation suggest the failures of industrialization and man's quest to reconcile our part in it. His careful and sensitive treatment of such subject matter paints a silver lining onto the forlorn atmospheres, where the decay is met by unexpected beauty and grandeur in the tradition of some of the great landscape painters.

"I think of my paintings as passages in a novel, locations on a map, without a supporting narrative to form a cohesive linear story," Castellanos explains. "Everything appears to be unstable and on hollow ground. Figures appear and vanish. They are silhouettes or ghostly inhabitants that are consumed by the surrounding landscape. It is an environment at odds with itself, the foundation unstable and composed of polarities. It attracts and it repels, it is painting and photography."

Castellanos has been featured in solo exhibitions at Caren Golden Fine Art, New York, as well as Mogadishni Gallery, Denmark. Upcoming group exhibitions include Paper Landscapes, Indianapolis Museum of Art, and Lives of the Hudson, The Tang Teaching Museum, Saratoga Springs, NY. Past group shows include Future Tense: Reshaping The Landscape, Neuberger Museum of Art, Purchase, NY; Ominous Atmosphere, Heather Marx Gallery, San Francisco; The New Collage, Pavel Zoubok Gallery, New York; and A Delicate Arrangement, David Zwirner Gallery, New York. His work has been written about and reproduced in ARTnews, Harper's Magazine, Current, Etorno Magazine, and La Repubblica. The artist received his MFA from the School of Visual Arts, New York and his BFA from Skidmore College, Saratoga Springs, NY.

 

Deep in the northern woods mysterious figures sit around a fire in front of a hunting cabin. They appear and vanish. They are silhouettes or ghostly inhabitants who are consumed by the surrounding landscape. Deer hang eviscerated, a gruesome sacrifice for sustenance and survival. A figure communes with nature, a flight pattern takes place, and foliage mutates revealing colors that are more synthetic than natural. Trees appear to be infected and the ground opens. Nature is conquered and claimed like a trophy hung from a tree, while at the same time it is someplace to retreat to for solace and rejuvenation. Humanity collides with nature; the relationship is out of balance, at odds with itself.

I have always had a strong connection to the land. How I approach and interpret life has been greatly influenced by literature, traditional landscape painting, and contemporary art and issues. I see the physical landscape as a reflection of an individual’s interior landscape and as a manifestation of a society’s history, values, and direction. I am interested in the relationship between people and land: how we navigate through it, engage with it, depend upon it, love and destroy it. It is through the interest in relationships that are simultaneously harmonious, yet full of tension and contradictions that I have arrived at my painting process.

Painting and photography are at odds with one another. I see painting as a warm medium; it invites the viewer to investigate the surface and contemplate how the palette and paint application inform subject and content. My paintings often have painterly moments that are thick and gestural. Sometimes I use a palette knife to apply and scrape away while in other areas the handling can be brushy, or soft and blended. Initially one may think this style does not lend itself to the cool mechanical qualities of the photograph but the camera and photograph become my sketchpad and painting surface. I set out in pursuit of a subject, but instead of sketching a particular vista or scene I use a large format camera to document. I create and manipulate a scene prior to shooting and then alter it further in Photoshop. In my works the painterly passages meet and coexist with the crisp imagery of the photograph and its cut edge. The paint will come onto the photograph, eroding and consuming the line between the two, while in other areas the photograph will rise above the paint. It is in this interplay between the two mediums, in this tension, that my work surfaces.

  • For inquiries, please email Heather Marx Art Advisory at H[at]HMxAA[dot]com