Dimensions variable, Duration 11 min 30 sec
Your Land / My Land / Your Land / My Land
Silkscreen on mirrors with metal frames
Each panel: 36 1/4 by 60 1/4 by 7/8 in. 92.1 by 153 by 2.2 cm
Does she have a good body? No. Does she have a fat ass? Absolutely
digital C-print mounted on recycled hexacomb paperboard
50 by 34 in. 127 by 86.4 cm
Digital C-print, mounted on aluminum, back mounted to Diasec
15 by 79 7/8 by 1 3/8 in. 38.1 by 202.9 by 3.5 cm.
Coke and/or Pepsi Machine
Customized, operational vending machine
60 by 30 by 39 in. 152.4 by 76.2 by 99.1 cm
Left-over Left-over Paint Abstraction, Left-over Paint Abstraction
Acrylic on linen
55 1/4 by 55 1/4 in. 140.3 by 140.3 cm.
Self-portrait in “Mirror #8 (36” diameter)"(Mark)
Acrylic on canvas
Diameter: 36 in. (91.4 cm.)
Tennyson, Jasper and Bob
UV ink on canvas, embroidery, frame
74 11⁄16 by 49 5⁄16 by 2 3⁄16 in. 189.8 by 125.3 by 5.6 cm
Three Rainbow Flags for Japer in the Style of the Artist’s Boyfriend
Glitter and oil on linen
31 by 45.75 by 5 in. 78.74 by 116.205 by 12.7 cm.
Tofu on Pedestal in Gallery
Tofu, water, glass dish, Formica pedestal
46 by 15 by 15 in. 116.84 by 38.1 by 38.1 cm.
The Soul of Tammi Terrell
2-channel video sculpture: 2 DVDs, 24-inch TV, 20-inch TV, 2 DVD players, 2 grey metal stands, synch box
Single-channel, VHS video for projection or monitor
Single-channel, VHS video for projection or monitor
Duration: approximately 10:20 minutes/continuous
b. 1966, New York
Lives and works in Brooklyn, NY
Mitchell-Innes & Nash is pleased to announce the representation of Jonathan Horowitz. Since the early 1990s, Jonathan Horowitz (b. 1966, New York) has made art that combines the imagery and ambivalence of Pop art with the engaged criticality of conceptualism. Often based in both popular commercial and art historical sources, his work across mediums examines links between consumer culture and political consciousness, as well as the political silences of postwar art.
Horowitz studied philosophy at Wesleyan University in Connecticut and at the beginning of his art making career, he worked professionally as a music video editor. His early artwork, primarily in video, reflects the influences of both experimental film and Hollywood movies. Often taking the form of video sculptures in which consumer televisions are configured on industrial, grey metal stands, the work is rare in its combination of structuralist rigor and deeply felt pathos. Other early works utilize images downloaded from the Internet or simple texts printed on 8.5 by 11-inch office paper in a form of lo-fi, DIY computer art.
In subsequent years, Horowitz employed other mediums—installation, painting, sculpture, photography—to explore subjects ranging from vegetarianism to the American political process. Additionally, Horowitz turned an eye to art history, most notably in a series of paintings based on Roy Lichtenstein’s mirror paintings and a series based on Jasper Johns's flag paintings. At the same time, Horowitz continued to work in video, weaving together strands of found footage to create complex, multilayered, narratives.
Whether through credited assistants, public participation, or curatorial projects, several bodies of work by Horowitz involve the participation of others in their making. For example, his “Dot” making exhibitions have employed the hands of thousands of people in the creation of monumentally scaled painting installations. Characteristic of Horowitz’s career, such projects reflect a commitment to authorial transparency, political engagement and a humanist ethos.
In his most recent painting project, “Left-over Paint Abstractions,” Horowitz goes from recycling media and art history to recycling material—namely paint salvaged from other artists. Restricted to this found color palette, and in an ever evolving sampling of Abstract Expressionist styles, Horowitz creates densely textured new works from a readymade language of painting. Horowitz’s most recent curatorial project, “The Future Will Follow the Pasts: An Exhibition by Jonathan Horowitz,” situates current social and political crises within the context of the permanent, narrative display of the Weitzman National Museum of American Jewish History in Philadelphia. The exhibition runs through the end of 2022.
Solo exhibitions include the curatorial project We Fight to Build a Free World: An Exhibition by Jonathan Horowitz, the Jewish Museum, New York (2020-21); 1612 Dots, The Oculus, World Trade Center, New York (2017); Occupy Greenwich, The Brant Foundation, Connecticut (2016); Your Land/My Land: Election '12, presented concurrently at seven museums across the US, from the Hammer Museum, Los Angeles to the New Museum, New York (2012); Minimalist Works from the Holocaust Museum, Dundee Contemporary Arts, Scotland (2010-11); Apocalypto Now, Museum Ludwig, Cologne (2009); the retrospective, And/Or, MoMA PS1, New York (2009); and Jonathan Horowitz/Silent Movie/MATRIX 151, the Wadsworth Athenaeum Museum of Art, Connecticut (2003).
Horowitz’s work is held in the collections of numerous museums including the Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; Centre Pompidou, Paris; Museum Ludwig, Cologne, Germany; S.M.A.K (Stedelijk Museum voor Actuele Kunst), Ghent, Belgium; the Tate, London; and the National Museum of Modern and Contemporary Art, Seoul, Korea.