PULSE Miami Beach (2017)

In situ image, PULSE Miami Beach 2017
‘Equestrian’ (2017), Acrylic and Oil Pastel on Canvas, 110x130cm
‘Venus Painting’ (2017), Acrylic and Oil Pastel on Canvas, 130x178cm)
‘Versace 1’ (2017), Acrylic and Oil Pastel on Canvas, hand-guilded 18 karat gold frame, 135x101cm
‘Ship’ (2017), Acrylic and Oil Pastel on Canvas, 125x105cm
'Amorous’ (2017), Acrylic and Oil Pastel on Canvas, 110x130cm
‘Vanitas’ (2017), Acrylic and Oil Pastel on Canvas, hand-guilded 18 karat gold frame, 125x105cm
‘Versace 2’ (2017), Acrylic and Oil Pastel on Canvas, hand-guilded 18 karat gold frame, 135x101cm
‘Patron’s Home (Boston)’ (2017), Acrylic and Oil Pastel on Canvas, hand-guilded 18 karat gold frame, 122x170cm
PULSE Miami Beach 
Indian Beach Park, Miami Beach
7-10 December 2017 
Solo: Andy Dixon 

Article: Architect Digest

BEERS London is pleased to be exhibiting at PULSE Miami Beach for our 4th consecutive year in Miami Beach. We are thrilled to be exhibiting a brand new body of work by Canadian painter Andy Dixon which promises to be an exciting and vibrant solo exhibition. 
How Much Do They Cost?, Andy Dixon's solo exhibit at Pulse Miami continues what Michelle Nguyen describes as Dixon's "discourses concerning the intersection of capitalism and the art world." The nine-painting exhibit features five reinterpretations of historical art tropes–a ship, a Vanitas, a reclining nude, an English equestrian scene, and an erotic renaissance piece. If these works are to be considered paintings of paintings as suggested by their painted pink frames, then the subjects, all of which relate to Dixon's vocabulary of luxury and abundance, work in tandem with what is arguably the true subject matter of each: the original paintings themselves.
Alongside Dixon's art trope pieces are paintings of high-end commodities: two brightly coloured Versace tops whose graphics depict the scenes of hedonism and opulence regularly featured in Dixon's work, and a rendering of seven of the most expensive vessels ever sold at auction. These pieces add an additional level to Dixon's exploration of the meta-commodity by playfully asking the value of a painting of a valuable object, especially when the traits that give worth to the original object–precision, history, provenance–are all removed.

However, it would be reductive to consider Dixon's work base cynicism. Nguyen continues, "Dixon is fully aware of the capriciousness that is bourgeois culture but also has a great love for it." His final painting in the exhibit brings Dixon's own valuable objects (his paintings) into the conversation. Patron's Home (Boston) is the third in a series of pieces documenting his own work hanging in his patrons' living spaces. The piece continues Dixon's practice of reproducing objects of luxury, but in this case he points to his own work as the commodity, alluding to a never-ending cycle of alchemy -creating luxury through depicting it- while playfully admitting that he is a complicit player in the game.
ANDY DIXON (b. 1979, Vancouver, Canada) has exhibited extensively since 2007 including the following solo exhibitions; Pronk!, BEERS London, Pulse Miami Beach (2017), Expensive Things I, Winsor Gallery, Art Toronto (2016) and Expensive Things II, Winsor Gallery, Vancouver (2016), Leisure Studies, Rebecca Hossack Gallery, New York (2015) and Canadiana, Initial Gallery, Vancouver (2015). Dixon has participated in numerous Group Exhibitions and Art Fairs including Art Paris and Art Central; O Canada!, BEERS London, London (2107); Fuse, Vancouver Art Gallery, Vancouver (2012), Nova Festival, Café Mitte, Barcelona (2012), and I felt Board, Black & Yellow Gallery, Vancouver (2012). Forthcoming exhibitions include: 'How Much Do They Cost?', BEERS London, Pulse Miami Beach, December 2017.
Andy Dixon is hyper-aware of art’s relationship with money. Signifiers of wealth abound in his large acrylic paintings, which take as their subjects stately lords, reclining nudes, ornate ballrooms, bathing beauties, and prominent paintings of the aforementioned motifs. Borrowing content from Renaissance art, Flemish still lifes, and Google Image searches of "most expensive vases", his subject matter is selected on the basis of public expectation of what an expensive painting should look like. By sampling content verified as valuable by the market, Dixon positions his own work to ask, "What is the value of a painting of a valuable object?" Our value of art is truly a phenomenon that operates on a set of rules distinct from the ones that govern the rest of our world. Paintings which feature the tropes Dixon samples from perhaps at one time had social or political agency but are now simply commodities assigned value by the highest bidder. Paintings of expensive things are themselves expensive things collected by the wealthy to promote the luxury lifestyle. However, Dixon isn't out to mock the affluent. Rather, he is a complicit player in the game; his larger paintings of upper class social scenes tend to feature his own previous paintings hanging on the walls in the background. As Alex Quicho writes in Luxury Object, Luxury Subject, “His postmodern non-interest in either vilifying or reifying luxury cooly transmutes its weirdness.” A self-taught painter, he treats his high-brow content in a crude manner, matching a vivid pastel palette with rough line treatment. His practice has recently expanded to include 3D sculptures which mimic the figures in his paintings—absurdly disproportionate, yet still created with an eye toward beauty. In this way, Dixon's own appreciation of his subject matter is evident; and while his work questions the subjective valuation of artwork, it also proves that it doesn't necessarily detract from its beauty.