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© Denis PETERSON / Dust to Dust, Date ? Painting Series:The Wall, Polyvinyl Paints of Stretched Canvas, Airbrush/Glazed Layers, 40″ x 40″ (00 x 00 cm)
» The story behind the image:
Dust to Dust was designed as a diptych – the second panel depicted a blank wall above the existing painting. It forced viewers to look down at the subject and confront their feelings as they would when passing the subject on the sidewalk. When the single panel is hung at eye level, typical reactions by viewers appear limited to its aesthetic sans any apparent self-evaluation.
Dust to Dust is the first painting done in the Wall series. It was originally based on a photo taken by Hugh Hill. The dichotomy between the subject and the newspaper feature “Divas” presents a challenge regarding what values in life take precedence to society in general. It appears that the alternate reality is not too far from reality itself.
« In his work Dust to Dust, Peterson asserts a man of negligible social status who inhabits the lowest stratum of society is just as worthy of having his portrait painted as any titled individual or famous person and just as deserving of having his humanity recognized. »
From Cave Painting to Street Art – 40,000 Years of Creativity, Rizzoli Publishing (Dust to Dust was designated in a timeline as the initial start of the Hyperrealism movement worldwide in this art history textbook.)
L’un des premiers photoréalistes à émerger à New York, Denis Peterson est largement connu pour avoir été le pionnier d’un mouvement artistique dérivé du photoréalisme qui avait régulièrement idéalisé et objectivé des icônes culturelles dans des cadres banals et détachés. Tout en abandonnant les conventions esthétiques plus traditionnelles du photoréalisme, il a baptisé ce nouveau genre de peinture « hyperréalisme ».
Dust to Dust est mentionné dans les manuels d’histoire de l’art comme la genèse du mouvement hyperréaliste.
Les peintres Estes, Peterson, Flack et Close ont souvent travaillé à partir d’images fixes pour créer des peintures qui ressemblent à des photographies. Les œuvres les plus récentes (hyperréalistes) de Peterson véhiculent un sentiment d’intériorité et de conscience de soi. Des réalités alternatives subliminales se fondent dans les cultures contemporaines et sont audacieusement lancées dans son corpus d’œuvres. Il diffère des aspects idéalisants et plus impassibles des figures du photoréalisme qui apparaissent soit comme des fétiches, soit comme de simples individus dans la scène urbaine.
Ses sujets méritent tout simplement que l’on enregistre leur ressemblance comme n’importe quel personnage célèbre et, surtout, que l’on reconnaisse leur humanité. Ce n’est pas seulement la hiérarchie des arts que cet artiste entend bouleverser, mais de véritables paradigmes sociaux, alors que l’élément fondamental n’est pas nécessairement le sujet du tableau, mais la proximité de l’homme avec celui-ci. L’œuvre collective de Peterson est centrée sur l’esprit humain infatigable. Peintre radical, Peterson aborde la condition humaine intemporelle avec précision et dignité grâce à sa virtuosité irrésistible.
Ces peintures à vocation sociale sont le fruit d’un extraordinaire travail de compassion. Elles servent de véhicules phénoménologiques pour le changement social et ont été saluées par des musées, des galeries et des collectionneurs d’art à Miami, NY, Southampton, DC, San Francisco, LA, Chicago, Hong Kong, Bruxelles, Zürich, Moscou, Paris, Milan, Côme et Londres.
(Toutes les textes, les photos et leurs données sont extraites du site de l’artiste)
Site web de l’artiste: denispeterson.com
One of the first photorealists to emerge in New York, Denis Peterson is widely known for pioneering an art movement derived from photorealism that had regularly idealized and objectified cultural icons in banal, detached settings. While abandoning the more traditional aesthetic conventions of photorealism, he called this new genre of painting « hyperrealism ».
Dust to Dust is mentioned in art history textbooks as the genesis of the hyperrealist movement.
The painters Estes, Peterson, Flack and Close often worked with still images to create paintings that look like photographs. Peterson’s most recent (hyperrealist) works convey a sense of interiority and self-awareness. Subliminal alternative realities blend into contemporary cultures and are boldly thrown into his body of work. He differs from the idealizing and more impassive aspects of photorealist figures who appear either as fetishes or as mere individuals in the urban scene.
His subjects simply deserve to have their likeness recorded like any other famous person and, above all, their humanity acknowledged. It is not only the hierarchy of the arts that this artist intends to overturn, but real social paradigms, where the fundamental element is not necessarily the subject of the painting, but the proximity of the man to it. Peterson’s collective work is centred on the indefatigable human spirit. A radical painter, Peterson addresses the timeless human condition with precision and dignity through his compelling virtuosity.
These socially oriented paintings are the product of extraordinary compassionate work. They serve as phenomenological vehicles for social change and have been acclaimed by museums, galleries and art collectors in Miami, NY, Southampton, DC, San Francisco, LA, Chicago, Hong Kong, Brussels, Zurich, Moscow, Paris, Milan, Como and London.
(All texts, photos and data are taken from the artist’s website)
Artist’s website: denispeterson.com
Als einer der ersten Fotorealisten, die in New York auftauchten, ist Denis Peterson weithin als Pionier einer Kunstbewegung bekannt, die vom Fotorealismus abstammt, der regelmäßig kulturelle Ikonen in banalen, losgelösten Rahmen idealisiert und objektiviert hatte. Während er die traditionelleren ästhetischen Konventionen des Fotorealismus aufgab, nannte er diese neue Art der Malerei « Hyperrealismus ».
Dust to Dust wird in Kunstgeschichtsbüchern als Entstehungsgeschichte der hyperrealistischen Bewegung erwähnt.
Die Maler Estes, Peterson, Flack und Close arbeiteten oft mit Standbildern, um Gemälde zu schaffen, die wie Fotografien aussahen. Petersons jüngste (hyperrealistische) Werke vermitteln ein Gefühl der Innerlichkeit und des Selbstbewusstseins. Unterschwellige alternative Realitäten verschmelzen mit zeitgenössischen Kulturen und werden in seinem Werkkorpus kühn lanciert. Er unterscheidet sich von den idealisierenden und eher unpathetischen Aspekten der Figuren des Fotorealismus, die entweder als Fetisch oder als einfache Individuen in der urbanen Szene erscheinen.
Seine Motive verdienen es einfach, dass man ihre Ähnlichkeit wie jede andere berühmte Persönlichkeit registriert und vor allem, dass man ihre Menschlichkeit anerkennt. Es ist nicht nur die Hierarchie der Künste, die dieser Künstler umstürzen will, sondern echte gesellschaftliche Paradigmen, während das grundlegende Element nicht unbedingt das Thema des Bildes ist, sondern die Nähe des Menschen zu diesem. Im Mittelpunkt von Petersons kollektivem Werk steht der unermüdliche menschliche Geist. Als radikaler Maler geht Peterson mit seiner unwiderstehlichen Virtuosität präzise und würdevoll auf die zeitlose menschliche Verfassung ein.
Diese sozial ausgerichteten Gemälde sind das Ergebnis einer außergewöhnlichen Arbeit des Mitgefühls. Sie dienen als phänomenologische Vehikel für den sozialen Wandel und wurden von Museen, Galerien und Kunstsammlern in Miami, NY, Southampton, DC, San Francisco, LA, Chicago, Hongkong, Brüssel, Zürich, Moskau, Paris, Mailand, Como und London gelobt.
(Alle Texte, Fotos und Daten sind der Website des Künstlers entnommen.)
Webseite des Künstlers: denispeterson.com
Tra i primi fotorealisti ad emergere a New York, Denis Peterson è noto per essere stato il pioniere di un movimento artistico derivato dal fotorealismo che aveva regolarmente idealizzato e oggettivato icone culturali in ambienti banali e distaccati. Pur abbandonando le convenzioni estetiche più tradizionali del fotorealismo, ha chiamato questo nuovo genere di pittura « iperrealismo ».
Dust to Dust è citato nei libri di testo di storia dell’arte come la genesi del movimento iperrealista.
I pittori Estes, Peterson, Flack e Close hanno spesso lavorato con immagini fisse per creare dipinti che assomigliano a fotografie. Le opere più recenti di Peterson (iperrealiste) trasmettono un senso di interiorità e autoconsapevolezza. Realtà alternative subliminali si fondono con le culture contemporanee e vengono lanciate con coraggio nel suo corpo di opere. Si discosta dagli aspetti idealizzanti e impassibili delle figure fotorealiste, che appaiono come feticci o come semplici individui nella scena urbana.
I suoi soggetti meritano semplicemente che le loro sembianze siano registrate come quelle di qualsiasi altro personaggio famoso e, soprattutto, che la loro umanità sia riconosciuta. Non è solo la gerarchia delle arti che questo artista intende ribaltare, ma veri e propri paradigmi sociali, dove l’elemento fondamentale non è necessariamente il soggetto del quadro, ma la vicinanza dell’uomo ad esso. L’opera collettiva di Peterson è incentrata sull’instancabile spirito umano. Pittore radicale, Peterson affronta la condizione umana senza tempo con precisione e dignità attraverso il suo irresistibile virtuosismo.
Questi dipinti a sfondo sociale sono il prodotto di uno straordinario lavoro compassionevole. Servono come veicoli fenomenologici per il cambiamento sociale e sono stati acclamati da musei, gallerie e collezionisti d’arte a Miami, NY, Southampton, DC, San Francisco, LA, Chicago, Hong Kong, Bruxelles, Zurigo, Mosca, Parigi, Milano, Como e Londra.
(Tutti i testi, le foto e i dati sono tratti dal sito web dell’artista)
Sito web dell’artista: denispeterson.com
Denis Peterson, uno de los primeros fotorrealistas surgidos en Nueva York, es ampliamente conocido por ser pionero de un movimiento artístico derivado del fotorrealismo que habitualmente había idealizado y cosificado iconos culturales en escenarios banales y distantes. Al tiempo que abandonaba las convenciones estéticas más tradicionales del fotorrealismo, bautizó este nuevo género pictórico como « hiperrealismo ».
Dust to Dust se menciona en los manuales de historia del arte como la génesis del movimiento hiperrealista.
Los pintores Estes, Peterson, Flack y Close trabajaron a menudo con imágenes fijas para crear cuadros que parecen fotografías. Las obras (hiperrealistas) más recientes de Peterson transmiten una sensación de interioridad y autoconciencia. Realidades alternativas subliminales se funden con culturas contemporáneas y se lanzan con audacia a su obra. Se desmarca de los aspectos idealizadores y más impasibles de las figuras fotorrealistas que aparecen como fetiches o como meros individuos en la escena urbana.
Sus retratados merecen simplemente que se registre su semejanza como la de cualquier otro personaje famoso y, sobre todo, que se reconozca su humanidad. No es sólo la jerarquía de las artes lo que este artista pretende derribar, sino verdaderos paradigmas sociales, donde el elemento fundamental no es necesariamente el tema del cuadro, sino la proximidad del hombre a él. La obra colectiva de Peterson se centra en el infatigable espíritu humano. Pintor radical, Peterson aborda la intemporal condición humana con precisión y dignidad a través de su convincente virtuosismo.
Estas pinturas de orientación social son el producto de un extraordinario trabajo de compasión. Sirven de vehículos fenomenológicos para el cambio social y han sido aclamadas por museos, galerías y coleccionistas de arte de Miami, Nueva York, Southampton, DC, San Francisco, Los Ángeles, Chicago, Hong Kong, Bruselas, Zúrich, Moscú, París, Milán, Como y Londres.
(Todos los textos, fotos y datos proceden de la página web del artista)
Sitio web del artista: denispeterson.com
Galerie / Gallery ( Sélection représentative / representative selection )
© Denis PETERSON / Too thrush and a comb (Painting Series:The Wall), Date ?, Painting Series:The Wall, Acrylic Gouache of Stretched Canvas , Airbrush/Glazed Layers, 38″ x 57″ (96,52 x 144,78 cm)
The story behind the image:
I've got a bag with a toothbrush and a comb in
When I'm a good dog they sometimes throw me a bone in
I got elastic bands keeping my shoes on
Got those swollen hand blues.
Got thirteen channels of shit on the T.V. to choose from
I've got electric light
And I've got second sight
I've got amazing powers of observation
And that is how I know
When I try to get through
On the telephone to you
There'll be nobody home » (Pink Floyd)
© Denis PETERSON / Good Bye Blue Sky (Painting Series: Don't Shed No Tears), Date ?, , Polyvinyl Paints, Airbrush/Glazed Layers, 20″ x 30″ ( 50,80 x 76,20 cm)
The story behind the image:
This is the face of Darfur. The reference photo was originally taken as this innocent young refugee was about to board a plane to Ireland. Her sadness belongs to an uncaring world which did nothing as her family was forced to flee their homeland. The whole world was watching and did nothing.
And nothing of any significance has changed since that horrifically evil moment in time. »
© Denis PETERSON / The Wall (Painting Series), Acrylic inks, Airbrush/Glazed Layers, 18″ x 24″ Arches Board (45,72 x 60,96 cm), Signed Prints/Edition
The story behind the image:
Apocalypse was a watercolor preparatory study for an acrylic painting. Although technically a « still life » painting, it was home for a street inhabitant. As I was photographing the scene, I noticed several people looking out a window at me and at the scene, probably wondering why in the world anyone would want to photograph some boxes and an old bicycle. When I glanced back, I realized they were peering out from their booth in a posh restaurant.