Artists/Nate Lowman

Nate Lowman's art frequently delves into the themes of pop culture and celebrity, utilizing these elements to critique and reflect on societal obsessions and the pervasive influence of media. His approach often involves the appropriation and transformation of familiar images from popular media, presenting them in new contexts that provoke thought and challenge viewers' perceptions.

Lowman's engagement with celebrity culture is particularly evident in his series based on Willem de Kooning's "Marilyn Monroe" paintings. Unlike de Kooning or Andy Warhol, Lowman is less interested in the stars themselves and more in the public's fascination with them. This perspective was partly influenced by his own brush with celebrity during his brief relationship with Mary-Kate Olsen, which exposed him to the intense media scrutiny and public obsession that celebrities endure. By layering glossy black alkyd paint over images of Marilyn Monroe, Lowman adds a Xerox effect, blending pop art aesthetics with a critical commentary on the commodification of celebrity icons (Ocula) (David Zwirner).

In his "Trash Landing" series, Lowman further explores the darker side of celebrity and media culture. This series includes large-scale paintings that juxtapose glamorous images with themes of violence and exploitation. For example, his works inspired by the 2017 Las Vegas mass shooting present crime scene photographs with a blurred, removed effect, commenting on how violence is consumed and sensationalized in the media (Ocula) (David Zwirner).

Lowman's interest in pop culture extends to his collaborations with brands like Supreme. In 2012, he partnered with the streetwear brand to create a limited-edition capsule collection featuring his artwork. This collaboration highlighted Lowman's ability to blend high art with commercial culture, using familiar motifs such as bullet holes to comment on the intersection of art, fashion, and consumerism (Collateral).

Lowman's work critically examines the pervasive influence of pop culture and celebrity, using appropriation and recontextualization to uncover the complexities and contradictions inherent in these societal obsessions. His art serves as both a reflection and a critique of contemporary culture, engaging viewers with familiar images while challenging them to look deeper into their underlying meanings and implications (Artsy) (Aspen Art Museum).

Nate Lowman's art consistently engages with themes of violence and trauma, reflecting a deep concern with the darker aspects of contemporary life. His works often use stark imagery and found objects to comment on the pervasive nature of violence in American society and its representation in the media.

One of the most prominent examples of Lowman's exploration of violence is his series of paintings based on the 2017 Las Vegas mass shooting. Titled "October 1, 2017," this series presents haunting reproductions of crime scene photographs from the hotel room where the shooter carried out the massacre. These paintings employ a Xerox effect created by painting over oil paint with black alkyd, which imparts a blurred, detached quality. This technique highlights the clinical detachment of crime scene photos while capturing the horror and chaos of the event. Lowman uses these works to grapple with the unanswerable questions posed by such acts of violence, reflecting both a personal and societal struggle to understand these tragedies (Ocula) (Artnet News).

In addition to his work on the Las Vegas shooting, Lowman's bullet hole paintings are another significant aspect of his engagement with violence. These works, featuring large, shaped canvases with bullet hole motifs, juxtapose violent imagery with a peaceful, geometric abstraction. This contrast forces viewers to confront the unsettling reality of gun violence, making a powerful statement about its normalization in American culture. Lowman's bullet hole paintings have been included in various exhibitions, highlighting their ongoing relevance and impact (Ocula) (Artnet).

Lowman’s exploration of violence extends to his installations as well. In "The Never Ending Story" (2007), he uses derelict petrol pumps to comment on the economic motives behind the Iraq War, linking environmental destruction to political conflict. This installation, along with others like "Wet Pain" (2008) and "How to Redeem Your Towed Vehicle #1" (2009), utilizes found objects to create potent symbols of societal violence and decay (Ocula) (David Zwirner).

Nate Lowman's art serves as a critical examination of violence and trauma, utilizing a range of media and techniques to provoke thought and dialogue about these pervasive issues. His work not only reflects the impact of violence on individuals and society but also challenges viewers to reconsider their perceptions of safety, security, and the often sanitized representation of violence in the media.

Grotjahn's work is a testament to the complexity of visual language, straddling the line between the abstract and the figurative to explore the limits of gesture, geometry, impulse, and precision. His art evolves through precise yet mutable frameworks, forming a rich vocabulary of visual motifs that transition from one series to the next, demonstrating an almost obsessive engagement with form and representation​ (Home - Galerie Max Hetzler)​.

In his Perspective and Butterfly paintings, for instance, Grotjahn manipulates traditional perspective techniques to produce mesmerizing abstractions that oscillate between geometric abstraction and spatial illusion. These works, while initially appearing formal and graphic, reveal textured surfaces and tonal shifts upon closer inspection, showcasing the layered process of their creation. The Face paintings further exemplify his exploration, where complexly layered surfaces on cardboard mounted on linen blur the lines between line, color, and texture, building into images that penetrate the viewer's gaze​ (Aspen Art Museum)​.

Moreover, Grotjahn's mask sculptures extend his unique engagement with painting into three dimensions, showcasing his investment in the process and ritual of art-making. Displayed in various locations, including Aspen and Snowmass, these sculptures underscore Grotjahn's commitment to exploring form and representation across different mediums​ (Aspen Art Museum)​.

His method of blending abstraction and figuration, underpinned by a deep understanding and questioning of art historical influences, signifies a profound contribution to the discourse on contemporary art. Grotjahn’s work invites viewers to engage with art in ways that are both intellectually rigorous and viscerally engaging, challenging preconceived notions of what paintings and sculptures can convey​ (The Broad)​.

Nate Lowman's art frequently tackles the theme of media influence, delving into how media shapes public perception and reflects societal values. Lowman’s use of mass media imagery is both critical and reflective, as he transforms familiar visuals from newspapers, television, and online sources into thought-provoking artworks.

One of the key aspects of Lowman’s work is his appropriation of widely recognized images, recontextualizing them to explore their deeper implications. For instance, his series of paintings based on the 2017 Las Vegas mass shooting uses crime scene photographs to comment on the media's role in documenting and sensationalizing violence. These paintings, presented with a blurred, Xerox-like effect, emphasize the detachment and desensitization that often accompanies media coverage of such tragedies (Ocula) (Artnet News).

Lowman's engagement with media is also evident in his use of popular cultural icons. His works frequently feature images of celebrities and other high-profile figures, not to celebrate them but to critique the public's obsession with fame and the media's role in fostering this fascination. By layering glossy black alkyd paint over images of Marilyn Monroe, for example, Lowman adds a veneer that both obscures and highlights the iconography of celebrity culture, reflecting on how media shapes and distorts public figures (Ocula) (Gagosian).

Furthermore, Lowman's series of paintings depicting hurricanes like "Irma" and "Maria" utilizes digital satellite imagery to comment on the media's portrayal of natural disasters. These works transform raw data into visually compelling pieces that underscore the media's influence in framing our understanding of environmental crises. The hazy, luminous quality of these paintings not only captures the chaotic nature of the storms but also the media’s role in conveying their impact to the public (David Zwirner) (Gagosian).

Nate Lowman’s art critically engages with the theme of media influence by appropriating and reinterpreting images from popular culture and news. His works challenge viewers to reconsider their perceptions of these images, highlighting the power of media in shaping societal narratives and individual consciousness (Ocula) (Art in Embassies) .

Nate Lowman's art often explores the themes of decay and ruination, utilizing a variety of media and techniques to reflect on the transient and deteriorative aspects of contemporary society. His works frequently incorporate found objects and repurposed materials, which serve as metaphors for broader societal decay.

One prominent example of this theme is Lowman's use of derelict gas pumps in his installation "The Never Ending Story" (2007). These rusted pumps symbolize both environmental degradation and the economic and political conflicts tied to fossil fuels, particularly referencing the Iraq War. By presenting these decaying objects as art, Lowman prompts viewers to consider the long-term impacts of industrialization and war on both the environment and society (Ocula) (David Zwirner).

Lowman's paintings also reflect this theme of decay. His use of alkyd paint, applied in thick dots that mimic the blurring effect of photocopied images, creates a sense of degradation and wear. This technique is evident in his series of bullet hole paintings and his works based on crime scene photographs from the 2017 Las Vegas mass shooting. These pieces convey a sense of historical and emotional decay, as they transform moments of violence into faded, almost ghostly images (Gagosian) (David Zwirner).

In addition, Lowman's shaped canvases, such as those depicting crossed-out smiley faces and car air fresheners, use familiar symbols to comment on the fleeting nature of consumer culture. These works often feature elements of deterioration, like splatters and stains, which further emphasize the theme of ruination. By deconstructing and recontextualizing these icons, Lowman critiques the impermanence and superficiality of modern consumerism (Ocula) (David Zwirner).

Nate Lowman's exploration of decay and ruination serves as a poignant critique of contemporary life. Through his innovative use of materials and imagery, he highlights the inevitable decline of both physical objects and societal values, inviting viewers to reflect on the transient nature of existence and the consequences of cultural and environmental neglect (Ocula) (David Zwirner) (Artspace) .

Nate Lowman's exploration of American identity is a central theme in his work, often reflecting the complexities and contradictions inherent in contemporary American culture. His art frequently utilizes familiar symbols and images to dissect and critique the cultural, social, and political landscape of the United States.

One of Lowman's most significant contributions to this theme is his use of found objects and repurposed materials, which serve as metaphors for the broader American experience. For instance, in his installation "The Never Ending Story" (2007), Lowman uses rusted gas pumps to comment on the environmental and political ramifications of the Iraq War, connecting the consumption of fossil fuels to national and global conflicts. This piece highlights the intertwined nature of American industrialization and its global impact, reflecting on the consequences of economic and political decisions (David Zwirner, Whitney Museum).

Lowman's bullet hole paintings are another powerful representation of American identity, focusing on the pervasive culture of violence in the country. These works, which depict large, shaped canvases with bullet hole motifs, juxtapose violent imagery with geometric abstraction, prompting viewers to confront the normalization of gun violence in American society. The bullet holes, rendered in a stylized and almost decorative manner, serve as a critique of how violence is often aestheticized and commodified (David Zwirner, Artspace).

Additionally, Lowman's use of iconic American symbols, such as smiley faces, car air fresheners, and celebrity imagery, reflects his engagement with pop culture and its role in shaping American identity. His reinterpretations of these symbols often reveal the underlying tensions and contradictions within American culture. For example, his works based on Marilyn Monroe's image, layered with glossy black alkyd paint, critique the media's role in constructing and perpetuating celebrity myths, while also commenting on the public's fascination with and exploitation of these figures (David Zwirner, Whitney Museum).

Through his multifaceted approach, Nate Lowman addresses the theme of American identity by highlighting the complexities and contradictions of contemporary life. His art encourages viewers to reflect on the societal values and cultural narratives that define the American experience, challenging them to reconsider their perceptions of national identity and the forces that shape it (David Zwirner, PaperCity Magazine).

Nate Lowman's engagement with art history is a significant and recurring theme in his work. He often appropriates and recontextualizes imagery from art history, creating a dialogue between past and present. Lowman's work reflects a deep understanding and critical analysis of art historical references, which he blends seamlessly with contemporary themes and media.

One of the key aspects of Lowman's approach is his appropriation of iconic images and styles from well-known artists. For example, his reinterpretation of Willem de Kooning's "Marilyn Monroe" series exemplifies his method of integrating historical art references with modern techniques and contexts. Lowman uses the vibrant colors of 1980s surfboards to reimagine de Kooning's expressive style, creating a new narrative that bridges different eras and cultural contexts (David Zwirner, Gagosian).

Lowman's use of materials also reflects his engagement with art history. He often employs alkyd paint, applied in thick, glossy dots that mimic the appearance of tattoos or the blurring effect of photocopies. This technique can be seen as a nod to the gestural abstraction of mid-20th century artists like Jackson Pollock and Cy Twombly, whom Lowman has cited as influences. By using these materials and techniques, Lowman connects his work to the broader history of painting while also commenting on the mechanical reproduction and dissemination of images in the digital age (David Zwirner, Gagosian).

In addition to specific references, Lowman's work frequently incorporates broader themes from art history, such as the sublime and the grotesque. His paintings and installations often evoke a sense of decay and ruination, reminiscent of the Romantic fascination with the sublime. This is evident in works like "The Never Ending Story" (2007), which uses rusted gas pumps to evoke themes of industrial decay and environmental degradation, drawing parallels to the grand, ruinous landscapes of Romantic art (David Zwirner Books, Institute of Contemporary Arts).

Nate Lowman's art history theme is characterized by a sophisticated interplay between appropriation, reinterpretation, and critique. He uses historical references not just as stylistic elements but as tools to explore and question contemporary issues, creating a rich, layered dialogue between the past and the present (David Zwirner, Gagosian).