David Row

David Row

Artist Statement:

My process begins with an eccentric, often spontaneous shape.  From there,
I construct intuitively—more an
exploration or dissection than a planned composition.  There are no narratives, no theories, no backstories—just the act itself. This freedom invites unexpected outcomes.  The work stands on its own, open to interpretation, retaining a sense of mystery that resists explanation.

After five decades in New York, I consider that city my true education.  I’ve exhibited internationally, and my work resides in museum collections.  Yet the most meaningful part of this journey has been the act of making—immersing myself in the moment and following where it leads.

Currently, I focus on painted objects that explore sculptural presence.  The wall and its surrounding space become active elements.  The work extends into its environment—engaged with the space, but distinct from it.

Artist Biography:

I knew, after graduate school at Yale, I was heading to New York. My first real show was at The Drawing Center (1978). First solo gallery show was at John Good Gallery (1987). Thomas Amman was an early supporter/collector who introduced me to the European scene, showing with Thaddeus Ropac (Salzburg/Paris), Ascan Crone (Hamburg), Galerie Von Bartha (Basel), and Brandstetter & Wyss (Zurich). In 1995, I moved to Andre Emmerich Gallery (later bought by Sothebys), then Von Lintel and Loretta Howard Gallery (NYC), as well as Locks Gallery (Philadelphia), and McClain Gallery (Houston). Noted group shows included: Valerie Jaudon’s Conceptual Abstraction at Sidney Janis Gallery (1991, recapped in 2012); and Mark Rosenthal’s Critiques of Pure Abstraction for the Guggenheim Museum and Armand Hammer Museum (1995). Shows internationally: the Nassauischer Kunstverein in Wiesbaden (1997); the Musee des Beaux Arts in Switzerland (1996); and San Marino, Italy (1993) expanded my audience. One-person museum shows included: The Center for Maine Contemporary Art (2021); Edwin A. Ulrich Museum of Art, Wichita, (2000); and The MAC in Dallas (2001). Permanent museum collections include: The Metropolitan Museum of Art, The Brooklyn Museum, The Carnegie Museum of Art, The Cleveland Museum of Art, and the Museum of Contemporary Art in San Diego. Finally, teaching (for many years in the School of Visual Arts Graduate Program, with visiting stints at Princeton, Rutgers, Pratt, and Cooper Union) has rounded out my art life.

AAA:

Member Since: 1990