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Artist Statement:
When looking at my work the
viewer should consider them as
configurations of spiritual
geography. In this manner I
refer them as
"Interior/Exterior
Landscapes". The primary blue
shape will refer to geological
forms found in geographical
landscape. As such they mark
unspoken borders much like a
rock cairn would. ...
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Artist Exhibitions:
EXHIBITS (SOLO)
2009 - F.U.E.L Collection,
Philadelphia, PA
2006 - Philadelphia Art
Alliance, Philadelphia, PA
2005 - ROYGBIV Gallery,
Columbus, OH
2003 - Pittsburgh Center for
the Arts, Pittsburgh, PA
(Curated by Katherine Talcott;
Curator, Three Rivers Arts
Festival, Pittsburgh, PA.)
1982 - Bard Hall, San Diego,
California
1981 - The Athenaeum, La ...
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Artist Galleries:
F.U.E.L Collection,
Philadelphia, PA, USA
www.fuelcollection.com
...
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Collections:
Kinsey's work is represented
in collections throughout the
United States, Canada, Mexico,
The United Kingdom, The
Netherlands, Singapore
including the Bank of America
Corporate Collection in Los
Angeles....
Further Information
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Commissions:
Coming Soon!
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Reviews for Douglas A. Kinsey:
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The Westmoreland Museum of American Art Biennial /2004
Greensburg, PA, USA
Juror's Statement:
As a curator of contemporary art, I am frequently invited to act as juror for open-call exhibitions, such as this one. The drill is pretty much familiar. From a more or less overwhelming number of slides- in this case there were 5 carousels full- I select a group of works to meet three general criteria. These are to represent contemporary issues and imagery, to celebrate regional characteristics, and to indulge some of my own predilections. Of course the first criteria is my professional priority, although in the case of this biennial, it was not the most attainable.
Visit, for example, The Whitney Museum of American Art's Biennial, which is now on in New York, to see the current interest in adolesent pop culture, trippy states of mind, and historic modes of minimalism. I saw little interest in these themes from the work submitted. Rather, what struck me was a powerful sense of regionalism based on landscape. I'm not talking about landscape in the traditional pastoral sense- though the majority of art was representative, as opposed to abstract or conceptual- but about Pittsburgh and its environs. The impression is one of industry being encroached upon by everyday life, by cars, seasons, roads, houses, even the obsolescence of industry itself. Coincidently, this landscape lets me indulge one of my own interests. As a native of Pittsburgh (I was born at the Magee Hospital in Oakland), the sense of place I encountered was familiar and charged. Again, it's not so much about particular locations (I left at age 10), but identification with a place where people work hard and well, and where a little humor and grit go along way.
Ingrid Schaffner, Senior Curator
Institute of Contemporary Art
University of Pennsylvania
Philadelphia, PA, USA
The following review is an excerpt from art critic Leslie Hoffman's article in PULP (Pittsburgh, PA, USA, January 18-23, 2003) entitled: "Photographs, Landscapes and Sculptures-PCA presents three strong artists and a mixed juried show".
"Painter Kinsey's 'Interior/Exterior Landscapes' is similar to Brodsky's two collections, in that all his work is so incredibly similar that it seems he's working with an installation too. In this exhibit, Kinsey has worked with canvases that are at least five feet tall and command their own walls. Covering the canvases with curves of icy yellow and midnight blue, Kinsey has created an atmosphere that is foreign yet strangely familiar. It's like looking at a satellite photograph of Antarctica's coastline. Caverns of deep, heavy blue abut cold expanses of pale yellow".
The following is an excerpt from art critic Kurt Shaw's review from The Tribune-Review (Pittsburgh,PA,USA. February 21, 2003) entitled: "Latest exhibitions winding down at Pittsburgh Center for the Arts".
"Interior/Exterior Landscapes can be found in two back galleries where painter Doug Kinsey has arranged 10 of his massive blue-and-white abstract paintings, each to it's own wall, in an installation-like format similar to Rothko's Chapel in Houston.
Invoking the work of painter Mark Rothko (1903-70) as well are Kinsey's paintings, which feature a colorfield painter's approach to abstraction.
In the works, thick layers of paint-cooked up by the artist with wax and linseed oil- have been vigorously brushed in multitudinous layers onto each canvas. In this way, Kinsey suspends ambiguous blue shapes into ethereal fields of white color. Part sky, part sinkhole, the blue shapes seem to dive into the picture plane just as quickly as they present themselves on the surface.
In some paintings, the shapes are more defined, bringing one to realize that Kinsey is exploring more than just just one way of working within this vernacular. Thusly, he has conveniently assigned each to a series 'Interval Series', 'Basalt Series' and 'Float-Hole Series'.
Although the 'Basalt' and 'Interval' series of paintings offer more solidly resolved manifestations of Kinsey's visual language, of the three, it is the 'Float-Hole' series that remains the most interesting.
Never have shapes been so ghostly".
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