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Artist Statement:
ARTIST STATEMENT and BIOGRAPHY
STATEMENT
I find painting goes beyond
the notion that painted
reality is “nothing but “ a
precursor to a photographic
realism. Painting is a
phenomenological experiment.
There is a synthesis between
the visual and the kinesthetic
that forms a powerful third
range of human perception.
Human space ...
Further Information
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Artist Exhibitions:
E x h i b i t i o n s: select
solo and small group shows
2006— Prairie Spaces:
encroached and reclaimed. Solo
Invitational, Bowery Gallery,
New York, NY
2006— Elgin Spaces: works done
from the vicinity. Solo Elgin
Grant exhibit, Gail Borden
Library, Elgin, IL
2006— Gallery 214, ...
Further Information
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Artist Galleries:
Kate Hendrickson Gallery,
Chicago
http://www.katehendrickson.com/
collection/king/
Midwest Paint Group
midwest-paint-group.org...
Further Information
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Artist Reviews:
Gabriel Laderman 2005
Post Abstract Figuration:
Paintings by the Midwest Paint
Group
http://midwest-painting-group.o
rg/MPG-Gallery.data/Components/
PAF-MPG%20pamphlet/PAF-MPG%20%2
0Pamphlet.html
These artists, unlike other
American figurative painters,
are not involved in ironic
comments about art or life.
They believe in the ...
Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Timothy King Biography:
| Biographical information for Timothy King can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
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Age
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50
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| Gender |
Male
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| Status |
Married
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| Children |
2
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| Religion |
Unitarian Universalist |
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| Education |
Graduate Degree |
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| Hobbies / Interests |
not provided |
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| Favorite Artistic Medium |
Painting Oil
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| Favorite Arthistory Movement |
Dutch School - (1600 - 1670)
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| Favorite Visual Artist |
Courbet & Corot model for many I love
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| Favorite Work of Art |
There are over 2000 years of favorites
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| Biggest Artistic Inspiration |
Stanley Lewis was my teacher at Kansas City Art Institute. He is one of the 5 important painters I studied under during my time at KCAI. I am closer to him today in spirit than other artists I know. I work with the soul of painting given to many of us from Wilbur Niewald as well. Stanley and Lester Goldman instilled in me a love of living painters at that time like Helion, Balthus and Leland Bell. Wilbur gave me Cézanne, Giacometti, Matisse and Rembrant. But most of all Stanley gave me the great Dutch School of painting with which I am still in love. It is not the style so much as the results they formed about perception and spatial interpretation. Not so much the sense of color but the weight of the color. The Dutch school is full of unheard of painters that are full of the best that painting can be about. It is the continuation of this color weight and formation of space with a deep innovative design of composition and sculptural drawing that extends the Dutch school through Courbet and into Derain. There is an underlying human emotion in this school of painting that is not verbally comprehended by historians and critics. That work conveys a thing that is given to painters of future generations as a gift. It takes hard work as a painter with a sense of the concreteness of these painters. They could achieve an abstract-figurative golden synthesis that is not considered in today’s popular art world. After photography these kinds of paintings may be less clear for the lay audience and non-formative painter to comprehend. We only appreciate what we are told to at first as artists and later we tend to follow what is popular in the social scene of art. With maturity and wisdom some may begin to glimpse the great contribution of the golden age of painting and its natural direction into French and American art. |
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| Why Did You Become An Artist |
I became an artist because I had a talent and a love for art at a very young age. I always followed this direction and never considered any other. I'd be a carpenter if I could not be a painter because like a painter he builds things. I have been a designer while pursuing painting. In the end I never cared so much for commercial art. I am more interested in the study of drawing and painting from the motif or from the conception of space and forming. The commercial goal, the required polish, the commercial work mentality is not about art but selling ideas that are not any part of arts deeper aesthetic value. This is the warning to the followers of postmodern artists. They have become the designers of ideas and the sellers of promises that are not a part of art so much as of the literature and fashion about art. Second handed the non-painters tell us how to see and think and create painting and the young and old postmodern followers buy in. Now I prefer the role of teacher over designer. As a teacher I can think more about what it takes to help a mind into a world that the literature on the arts has never succeeded in uncovering deeply. You can't really learn art from a book. It takes a living soul working as an artist in that current pursuit to freshly convey what it takes to make art. |
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| Your Personal Biography |
E d u c a t i o n
MFA-Master of Fine Arts– Painting & Drawing–2006, Northern Illinois University
MA-Master of Arts– Painting 1985, The University of Tulsa
BFA-Bachelor of Fine Arts– Painting 1981, Kansas City Art Institute
Foundations Studies– 1975-1976, Columbus Collage of Art & Design
T e a c h i n g
Loyola University Chicago. 2006 - Current— Visiting Assistant Professor of Art.
Northern Illinois University. 2004 - 2007— Visiting Assistant Professor of Art.
Illinois Institute of Art, Schaumburg. 2006 - Current — Adjunct Instructor of Art.
Henderson State University, Arkansas. 1990 - 1991— Adjunct Assistant Professor of Art.
The University of Tulsa. 1982 — 1983 Teaching Assistant in Painting, printmaking and Instructor of Record of drawing, |
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