Respected Artists

Self confession videos on demand, Tweet, Dylan Neuwirth, 2014

Self confession videos on demand, 2014
Dylan Neuwirth

Dylan Neuwirth

Providing never-ending always-flowing commentary on the condition of living inside the now always-on world, Dylan Neuwirth’s constant medium-as-art internet presence generally entertains, perhaps mocks its viewers as it incessantly points at our collective effort of living, what he coins, “posthuman contemporary” lives. I wouldn’t call it performance, and yet… “Everything about me,” he offers, “is public, private and secret.” This adroit, catchy phrase, very in the fashion of boilerplate artspeak, ultimately boomerangs unnecessary metaphysical questions triggered by the artist’s work. That’s not really his point, but believing so is. In contrast, the physical objects he creates beside such conceptual, or digital, or online work do force the viewer — participants — to question their own existence in the digitized analog world. But that’s still not his point, as his work rightly demands a consideration of these divisions as a simultaneity. If we merely acquiesce or even dive in like a groupie, his work amalgamates as a beautiful warning siren, information kiosks warmly, yet unsettlingly informing us that the shore from which we once came is surely gone, now a granular beach of ones and zeroes. Many zeroes.

Untitled (zig zag), Todd Chilton 2008

Untitled (zig zag), 2008
Todd Chilton

Todd Chilton

By integrating chunky texture into paintings whose concerns may lean geometric, Todd Chilton stretches the muscle of non-objective compositions. Dense color and strong contrasts manipulate viewers’ perceptions, stepping them away from dried-up, recreational Op Art and instead hampering expectations on formal rigidity while demonstrating the effects of conjoining argumentative elements; even in the strict use of an achromatic palette, and with the simple plan of magnified quotidian line patterns hidden amongst the textures of waking life, Chilton ably creates, from primary elements, secondary revelations that work to cancel the very power of the structure from which they originate.

Future Beasts (SEA), Alexis Manheim 2013

Future Beasts (SEA), 2013
Alexis Manheim

Alexis Manheim

The delicate colorist — with one quick whiff you could expel the grains of pastel Alexis Manheim uses in her practice from the gravity of their ground. There is both joy and anger in her work, spirals of shouting and silence, the dancing of figures and the flames of sharp-angled lines cutting out space. It would be hard to miss the stories within her work, primordial fairy tales of urban life and jazz-inflected bugle-bursts of hue. While avoiding the cliché of making work solely about oneself, the emotional energy with which Manheim imbues her strokes and whiffs noticeably taps it foot and demands recognition, even when that Saddle-shoed ankle twists ever so shyly under a smoky nightclub canopy.

Moose Disco, Matthew Best 2013

Moose Disco, 2013
Matthew Best

Matthew Best

Matthew Best’s work feels like a bit of a rollercoaster, zips of motion loop around the picture plane, inverting one’s perception again and again. His sense for color is evident, especially in his courage to push limits with temperamental hues prone to bullying or antagonizing their viewers. And his ability to take geometry off a grid without falling into the flattened rainbow geodesia so common of painters nowadays is perhaps the most impressive aspect of his forward-looking practice.