JONATHAN BEER

Biography

Jonathan Beer is a New York-based artist and writer. Beer was born in New Orleans, Louisiana in 1988 and received his BFA from the School of Visual Arts in 2010 and an MFA from the New York Academy of Art in 2012. He was awarded a 3rd Year Post Graduate Fellowship at the New York Academy of Art in 2012. Beer’s has had solo shows at Kathleen Cullen Fine Art in New York, Georgia Tech’s Ferst Center for the Arts in Atlanta, and at Albany Molecular Corporation and Bethlehem Public Library, both in Albany NY. His work has been exhibited internationally at Galerie Delta in Rotterdam, the Netherlands and at the Siauliai  Art Gallery in Siauliai, Lithuania. His group exhibitions include shows at Sotheby’s, Sloan Fine Art, Boltax Gallery, Flowers Gallery, MUSE Center for Photography and the Moving Image, Theaterlab, The Puffin Room, and the ArtNow Fair, all in New York. Beer has been featured in ArtNews, Artslant, NY Art Beat, the New American Paintings Blog, Studio Visit Magazine, Art Takes Miami, and Professional Artist Magazine. In 2011 he co-founded Art-Rated, a blog dedicated to articles and interviews on the contemporary art scene. He is also published by the Huffington Post, the Brooklyn Rail, ArtWrit, and Art Observed. 

CV

Education

2012

MFA, New York Academy of Art

2010

BFA, School of Visual Arts

-

Escola Superior de Disseny i d’Art Llotja, Barcelona, Spain
(one month intensive with Tom Carr & Carmen Miguel)


Selected Solo Exhibitions

2015

Jonathan Beer, SpaceCreate, Newburgh, NY

2014

American Epic, MDC Museum of Art + Design, Miami, FL

2013

New Works. Farleigh Dickinson University Teaneck, NJ
The Landscape Revisited.
Rosemount College. Philadelphia, PA

2012

Happening & History. Kathleen Cullen Fine Arts. New York, NY
The Landscape Revisited.
Ferst Center for the Arts, Georgia Institute of Technology. Atlanta, GA

Selected Two and Three Person Exhibitions

2014

 

The Poetics of Space, Tripoli Gallery, Southampton, NY
The Landscape Revisited. Wichita Falls Museum of Art, Wichita Falls, TX
The Landscape Revisited.
The Goddard Art Center. Ardmore, OK
The Landscape Revisited. Barret Art Gallery, Utica College. Utica, NY

2013

Separated at Birth, Gallery TBD. New York, NY

2012

Separated at Birth, Galerie Delta, Rotterdam, the Netherlands


Selected Group Exhibitions

2014

Alchemy & Metaphysics, Trestle Gallery, New York,NY
Dichotomy, Patterson Art Walk, Patterson, NJ

2013

Thanksgiving Collective, Tripoli Patterson Gallery, Southampton, NY
Size, Sex, and Symbolism in Contemporary Art, National Arts Club, New York, NY
501-9
, Clemenz Soto Velez Center, New York, NY
Sotheby’s Contemporary Art Party,
Sotheby’s, New York, NY
Eye of the Storm,
The Bob Rauschenberg Gallery, Fort Myers, FL
Eye of the Storm, the Housatonic Museum, Bridgeport, CT
Single Fare 3, RH Gallery, New York, NY
Visualized Truth, Ramybes Gallery, Palunga City, Lithuania
Divergent, Murray Berman Gallery, Staten Island, NY

2012

Frack Off, RH Gallery, New York, NY
Reunion Exhibition. Wilkonson Hall, New York Academy of Art. New York, NY
ART ♥ STEPHEN PETRONIO COMPANY Benefit Auction, Metropolitan Pavilion. New York, NY
VIDA Benefit Auction,
Gallery for Hope. Kinderhook, NY
OSMOZA Exhibition during September Rundgang
, The Spinnerei. Leipzig, Germany
Blind Artists Society Exhibition,
Bausch & Lomb Headquarters. Rochester, NY
Identity
, KH-55. Leipzig, Germany
MFA Thesis Exhibition, New York Academy of Art. New York, NY
Signs of the Apocalypse.
MyPlasticHeart. New York, NY
Silent Noise.
Gallery Bar. New York, NY
Visualized Truth.
Siauliai Gallery. Siauliai, Lithuania
Southern Graphics Print Conference. New Orleans, Louisiana
Seeing Ourselves
. Curated by Koan Baysa. MUSE Center for Photography and the Moving Image New York, NY

2011

Imagined Spaces/Envisioned Places Dino Eli Gallery, New York, NY
Take Home a Nude
, Sotheby’s, New York, NY
Small Works, Boltax Gallery, Hamptons, NY
Summer Exhibition, Flowers Gallery, New York, NY
50/50 , Brooklyn Artists Gym, Brooklyn, NY 
Beast, Brooklyn Artist Gym. Brooklyn, NY 
Single Fare 2, Sloan Fine Art, New York, NY
Third Annual Show of the Blind Artists Society, Rensselaer Polytechnic Institute, Troy, NY. 

2010

Arithmos 6, Theaterlab, New York, NY
Second Annual Show of the Blind Artists Society, Troy, NY. 
School of Visual Arts Exit Exhibition, New York, NY.

2009

New Work, Albany Molecular Corporate Headquarters, Albany, NY
The Playground, Puffin Room, New York, NY
First Annual Show of the Blind Artists Society, Museum of Art & History, Albany, NY.
ArtNow Fair, New York, NY 


Awards & Lectures

2012

Key Note Speaker - Compass Readings Networking Event, Maine Arts Commission
3rd Year Post Graduate Fellowship - New York Academy of Art
‘One Sided Story’ -  Artist Residency, Spinnerei. Leipzig, Germany


Bibliography

2014

Artists Jonathan Beer and Michael Chiarello  come to Tripoli Gallery, Hamptons.com
Poetics of Space Opens at Tripoli Gallery, DansPapers.com
Jennifer Landes, Tripoli Gallery offers Respite from January Slump, East Hampton Star

2013

“Fellows” return to college at the New York’s Wilkinson Gallery, Art Media Agency
Elizabeth Hobson, Meet the Academy Fellows: Jonathan Beer, New York Academy of Art Blog

2012

Kiki Turner. Happening & History: Jonathan Beer. ArtNews, December 2012
Lauren Smith. Monthly Featured Artist: Jonathan Beer. 1 Op Collective
Mary Hrabcek. Happening & History: Jonathan Beer at Kathleen Cullen Fine Arts. NY Art Beat
New American Paintings. Must See Painting Shows: of September. New American Paintings Blog
D. Dominick Lombardi. Happening &History. ArtSlant
Jay H Stern. I kinda fell in love, with an artist. Jay Stern Blog
Studio Visit Magazine, Vol. 17. Catalog
Jonathan Goodman, ‘The Pursuit of Realism.’ MFA Thesis Catalog.
Max Evry. ‘Interview with Jonathan Beer.’ The 22 Magazine
Lily Koto Olive, ‘MFA Open Studios’ Bound NYC
‘The Wonders of the Human Brain.’ Hyperallergic
‘Seeing Ourselves: The Science and Art of Diagnostic Medical Imaging.’ The Huffington Post
Visualized Truth Catalog.
Siualiai Art Gallery
Seeing Ourselves. The Center for Photography and the Moving Image. Curated by Koan Jeff Basa and Caitlin Hardy M.D. New York, New York

2011

Artist Wanted. Art Takes Miami, 2011 Edition distributed at SCOPE Miami
Robert Curcio. Professional Artist Magazine, ‘How to Lose a Gallery.’ Volume 26 Issue 8, 2011
New York Academy of Art’s 5th Annual Summer Exhibition at Flowers GalleryArtDaily.com

2010

Jonathan Goodman, ‘Coming Together, Falling Apart.’
School of Visual Arts Portfolio 31


Writing

2014

Bushwick Open Studios: 2014, Art-Rated
Artist Interview: Kristen Morgin, Art-Rated
Joseph Beuys: Process, Art-Rated
Benjamin Degen, Susan Inglett Gallery, Brooklyn Rail

2013

4 Top LES Shows, Huffington Post
Artist Interview: Julie Heffernan, Art-Rated
Artist Interview: Mike Glier, Art-Rated
Artist Interview: Saul Melman, Art-Rated
INPUT #5 The Blockhouse : Interview with Renee Vara. Art-Rated
Up & Coming : Art-Rated’s Picks. Art-Rated
Not Just the Greatest Hits: Picasso at the Guggenheim. Art-Rated

2012

Christine Gray: Preserving Mysteries. Catalog Essay.
Elegantly Wasted – Rococo Revisited at Littlefield. Art-Rated
Natalie Frank: Unwritten Spaces. Art-Rated
Interview with Uwe Kowski. Art-Rated
dOCUMENTA (13). The Huffington Post
Kent Dorn: Irreality America. Gulf Coast Magazine
Interview with David Schnell. Art-Rated
Les Rogers: The Question of the Frame. Art-Rated
dOCUMENTA (13). ArtWrit
Interview with Jochen Plogsties. Art-Rated
Interview with Kristine Moran. Art-Rated
Interview with EdgarLeciejewski. Art-Rated
NicoleEisenmen: Woodcuts, Etchings, Lithographs, and Monotypes. Art-Rated
Interview with Dan Colen. Art Observed
Interview with Kent Dorn. Art-Rated
Interview with Christine Gray. Art-Rated
Taona Sonakul: Finding Fragments. Art-Rated
John Chamberlain at the Guggenheim. ArtWrit
Interview with Tomory Dodge. Art-Rated
Interview with Dustin Yellin, Investigations of a Dog. Art-Observed
Interview with Curator Nunu Hung, Borderless Map: Taiwanese Painting Now. Art-Rated
Interview with Michael Riedel at Armory Contemporary 2012. Art Observed
Eugene Lemay, Navigator. Art-Rated
Interview with Tat Ito. Art-Rated
Margaret Evangeline: Shooting Through the Looking Glass. The Brooklyn Rail
Interview with John Miller at Metro Pictures. Art Observed
Interview with Nir Hod, “Mother”. Art Observed
Interview with Trudy Benson. Art-Rated
You are Nature: Greg Lindquist. Art-Rated
Conversing with the Unnamed: Ali Banisadr. Art-Rated

2011

Reverence for Sound: Janet Cardiff at PS1. Art-Rated
De Kooning: A Retrospective. Art-Rated
Witness & Access: Thoughts on the Richard Serra Drawing Retrospective. Art-Rated
Francis Alys: A Story of Deception. Art-Rated


Teaching Experience

2013

(Fal) Adjunct Professor of Painting at Montclair State University, Painting I

2013

(Spring) Teaching Assistant to Catherine Howe, Faculty Chair at New York Academy of Art, Printmaking for Painters

2012

(Fall) Teaching Assistant to Sharon Louden, New York Academy of Art, Professional Practices
(Spring) Teaching Assistant to Hilary Lorenz, Chair of Visual Arts at Long Island University, Drawing I

2011

(Summer) Teaching Assistant to Thomas Woodruff – School of Visual Arts Precollege Program


Professional Activities

2013

Art-Rated– Co-Founder and Art Critic
The Brooklyn Rail, ArtWrit, Art Observed– Contributing Writer

2007-Present

The Blind Artist Society – Co-Founder and Director of Non-Profit Organization representing visually impaired artists

 

 

Selected Press

Kiki Turner. Happening & History: Jonathan Beer. ArtNews, December 2012

Lauren Smith. Monthly Featured Artist: Jonathan Beer. 1 Op CollectiveMary Hrabcek. Happening & History: Jonathan Beer at Kathleen Cullen Fine Arts. NY Art Beat

New American Paintings. Must See Painting Shows: of September. New American Paintings Blog

 

D. Dominick Lombardi. Happening & History. ArtSlant

 

Jay H Stern. I kinda fell in love, with an artist. Jay Stern Blog

 

Studio Visit Magazine, Vol. 17. Catalog

 

Jonathan Goodman, ‘The Pursuit of Realism.’ MFA Thesis Catalog. 

 

Max Evry. ‘Interview with Jonathan Beer.’ The 22 Magazine

 

Lily Koto Olive, ‘MFA Open Studios’ Bound NYC

 

Seeing Ourselves: The Science and Art of Diagnostic Medical Imaging.’ The Huffington Post

 

Visualized Truth Catalog. Siualiai Art Gallery

 

Seeing Ourselves. The Center for Photography and the Moving Image. Curated by Koan Jeff Basa and Caitlin Hardy M.D. New York, New York
 

 

 Jonathan Beer: Coming Together, Falling ApartJonathan Goodman, 2012

 

A painter who combines architectural structures with residual images of memory, Jonathan Beer has written of his art in the following way: “Actions associated with cognition and memories are of particular interest to me. The dichotomy between decay and substantiation of these worlds serves as a starting point of my vision.” He brings specific figurative talents to his abstract ideas, creating images of worlds and constructions that seem to be midway between coming together and falling apart. The relic, or fragment, carries with it an aura of intense nostalgia; in Beer’s case, we see him carefully building manmade contrivances in the middle of gorgeous landscapes and man-made surfaces and debris that undercuts the landscapes’ beauty. This is both a public and a private apocalypse, whose meaning remains pretty much outside our knowledge. Yet, at the same time, the work feels as if it were commenting on the failure of human efforts and the destructive aspects of nature, which meld in works whose precision both instructs and menaces the comfortable viewer. While the essence of memory seems to inform these paintings, Beer is not calling up personal remembrances so much as assembling them in ways that focus on their general application in the field of nature or culture.

As a result, Beer has mixed and merged random images, some of which are recognizable, and some of which are hard to read. Ease and difficulty stand side by side, and over time, it becomes clear that he is interested in representing ideas about the mind and its ability—or lack thereof—to fashion a hyperrealism out of what can be seen and what can be imagined. As Beer comments, “Through research and introspection, I have created a specific vocabulary to interpret memory by combining symbolism with abstract elements.” His complex paintings show us that the correlative to the mind’s processes may be found in the partial objectification of an abstraction that otherwise would be lost to our awareness, so intent are we on both the passing moment and those to come. Although they are meant to represent a backward gaze, the paintings also speak to the future; in an ecological sense, they look what’s ahead in nature, whose manmade apocalypse may be nearer than we think. The precision whereby Beer renders the unthinkable real is hard earned and genuine; one has the feeling that his images agree with basic insights into thought. Just as his compositions can be seen both as coming together or breaking apart, so his ideas may be seen as synthesizing or analyzing parts of the whole.

Beer is in many ways a visionary painter, making images that meld into idiosyncratic shards of partially available scenes. The paintings mostly comprise outdoor scenarios; however, they do not fit into a coherent whole within one image or the next. Many of the pictures develop through outdoor landscapes, most of which are broken or defunct. Some of the imagery is also deliberately rough, as if the artist was determined to quietly comment on the nearly anarchic disorder of the world. Broken ships and piles of refuse darken both the color and the psychic economy of the pictures.  This adds to Beer’s audience experiencing his scenes as post-apocalyptic, in which the fallout of ways of seeing corresponds to the broken pieces of timber and somber shores at night that Beer paints so well.  It is not that the scenarios are entirely hopeless, but rather they present a gravity that cannot be gainsaid.  Pictures include broken boats or a rowboat with its nose deep into an orange see. The idea that boats are instruments of passage appears to register strongly in Beer’s imagination. The pessimism, too, is inevitably and inexorably balanced by the positive measures of painting itself—in other words, art is too positive a medium of expression in and of itself to merely present hellish circumstances. Instead, one becomes interested in the juxtaposition of different sites or the craft that brings the views together.

The artist’s tactics, in fact, relate a visionary belief in painting’s ability to render whole what we first see as dislocated views. Thus, Beer finds the correlative to his visionary, sometimes anarchic imagination. He is really most interested in discovering the visual terms whereby the process of memory breaks through consciousness into the real world. As a result, Beer’s art develops parallels between the mind’s unfettered activities and the way they might play in a diagram of considerable complexity. This is as it should be—our thought processes, and our relation to memory, are too intricate to be imaged easily.  The rough scenes that comprise his most recent art offer only a partial apocalypse, which serves to remind us of the gravity of our situation in the world. It would be easy to pass by the scattered imagery as an artist’s strategy, but the dark palate and highly serious atmosphere render, once again, a polemic that is saved only by painting itself. For without the suggestion, and consequent awareness, that art is all we have in the transformation of our environment, there would be little solace found in these somber (but not utterly hopeless) paintings. Beer is too good an artist to succumb to a facile despair; instead, he seeks the real as it actually exists in real life, without rhetoric or a stylized vocabulary. Images mix with images in ways that transform our views of reality, which is in effect a sea change in consciousness. In doing so, Beer forges ahead in exploratory fashion, with his art expressing his truths along the way.

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