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Brett Reichman is a painter and Associate Professor at the San Francisco Art Institute〔(San Francisco Art Institute Faculty )〕 where he teaches in both the graduate and undergraduate programs. Born in Pittsburgh PA, he has lived and worked in San Francisco since 1984.〔(ARTNET )〕 His work came to fruition in the late 1980s out of cultural activism that addressed the AIDS epidemic and gay identity politics and was curated into early exhibitions that acknowledged those formative issues.〔(Blake, Nayland "Curating in a Different Light" )〕 These exhibitions included ''Situation: Perspectives on Work by Lesbian and Gay Artists'' at New Langton Arts in San Francisco, ''The Anti-Masculine'' at the Kim Light Gallery in Los Angeles, ''Beyond Loss'' at the Washington Project for the Arts in Washington, D.C,〔"Beyond Loss: Art in the Era of AIDS," Exhibit Pamphlet, Washington project for the Arts, Washington DC, 1993 ()〕 and ''In A Different Light: Visual Culture, Sexual Identity, Queer Practice'' at the Berkeley Art Museum, Berkeley, CA. Reichman’s inquiry into the politics of gay culture critiques political correctness and cultural assimilation, however the approach to realism is never simply reproductive. He separates the concept of Realism (arts) from Naturalism (arts) within a discourse that views popular culture as anxious, obsessed with artificiality and unnatural beauty. His pictures take lubricious fantasy to the point of ridicule, without losing completely a quotient of psychological truth.〔Baker, Kenneth ("Reichman and Sherwood at Anglim" ), ''San Francisco Chronicle'', September 11, 2011, page E3〕 Oil paintings address the history of fabric and folds in painting while situating this rich history within a contemporary discourse of exaggeration, camp, and queer politic. Reichman has evidently noticed how frequently in pre-modern European painting the coursing of posh clothing and other drapery can communicate the unutterable and unpicturable -the very scandal of embodiment itself- to the suggestible mind.〔 Works on paper are accomplished in watercolor and gouache through the process of layered crosshatching.〔(Eclectix: Traditional, NewBrow, Pop Art )〕 The crosshatch ironically builds up the image while simultaneously negating it. This opposition refers to the contradictions within the imagery itself: representative of satisfaction and dissatisfaction, fulfillment and insatiability, humor and disgust. The crosshatch creates an image stroke by stroke, further implicating the subtexts of obsessiveness, eroticism, and the hard fought, hard won achievements exemplified through personal and political struggle. He has been the subject of numerous solo exhibitions at Gallery Paule Anglim in San Francisco,〔(Paule Anglim Gallery )〕 the PPOW Gallery in New York, Feature Inc., NY,〔(Feature, Inc )〕 the Rena Bransten Gallery in San Francisco, and the Orange County Museum of Art.〔(Orange County Museum of Art Archives )〕 His work was recently included in ''I Am Not Monogamous, I Heart Poetry'', at Feature, Inc. NY, ''Silence, Exile and Cunning'' at the Sonoma Valley Museum of Art, ''Kiki: The Proof Is In The Pudding'' at Ratio 3 Gallery in San Francisco,〔(Ratio 3 Gallery )〕 and Pacific Light: A Survey of California Watercolor 1908-2008, at the Nordic Watercolor Museum (Nordiska Akvarellmuseet), Skärhamn, Sweden. Reichman’s work is in many public collections, including the San Francisco Museum of Modern Art,〔(SFMOMA Explore Modern Art )〕 the Berkeley Art Museum, the Portland Art Museum, and the Orange County Museum. His work is featured in the publications ''Art—A Sex Book'' by John Waters (filmmaker) and Bruce Hainley, ''Untitled Publication (Red Square)'', by Feature Inc, ''Pacific Light: A Survey of California Watercolor 1908-2008'', the Nordiska Akvarellmuseet and ''In A Different Light: Visual Culture, Sexual Identity, Queer Practice'', among others. == References == 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Brett Reichman」の詳細全文を読む スポンサード リンク
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