Volta New York (2017)

Booth @ the Fair
'Bird & Flower' Vase, (2017), acrylic and oil pastel on ceramic, 23x15x15cm
'Chanel Bomber (Fake)' (2017), acrylic and oil pastel on canvas, walnut frame, 135x132cm
'Hermes Bomber (Fake)' (2017), acrylic and oil pastel on canvas, walnut frame, 135x132cm
'Versus Shirt by Gianni Versace (Possibly Real)' (2017), acrylic and oil pastel on canvas, walnut frame, 135x132cm
'Odalisque (After Franz Russ the Younger)' (2017), acrylic and oil pastel on canvas, 124x188cm
'Patron's Home (Austin)' (2017), acrylic and oil pastel on canvas, walnut frame, 127x155cm
'Pronk! (After Jan Davidsz De Heem'), acrylic and oil pastel on canvas, 267x185cm
'Versus with Mirror (After Rubens)' (2017), acrylic and oil pastel on canvas, 147x109cm
In action at the fair...
In action at the fair...
Artist Andy Dixon - matching his surroundings! ;)

Volta New York 
1 - 5 March 2017 
Pier 90 New York City 
Booth D7
 
 
We are thrilled to be participating for the fourth time at Volta New York with a solo presentation by Canadian artist Andy Dixon. More information about the Volta here
 
***
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.

ANDY DIXON (b. 1979, Vancouver, Canada) has exhibited extensively since 2007 including the following solo exhibitions; 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; Fuse, Vancouver Art Gallery, Vancouver (2012), Nova Festival, Café Mitte, Barcelona (2012), and I felt Board, Black & Yellow Gallery, Vancouver (2012).