Black Dress, 2015
23-37 Color silkscreen on Saunders Waterford 425 gsm paper
203 x 76 cm each
Edition of 35
Portfolio of nine (9) prints
Born 1967, New York, New York
Lives and works in New York City
Master of Divinity, 2020, Union Theological Seminary, New York
Bachelor of Arts, 1990, Vassar College, Poughkeepsie, New York
Longhand, Theodore: Art, New York
Punctuate, Theodore: Art, New York
Suchness, New Work by Eric Brown, Crush Curatorial Chelsea, New York
Lost and Found, James W. Palmer III Gallery, Vassar College, Poughkeepsie, New York
Vice Versa, Ille Arts, Amagansett, New York
Monday Paintings, Ille Arts, Amagansett, New York
The Many Faces of Bill Arning, Andrew Edlin Gallery, New York
ICYMI, Theodore: Art, New York
Chain Reaction: Artists Select Artists, The Painting Center, New York
Joseph Zito Plus Ten, Lennon Weinberg Gallery, New York
Materiality, Geoffrey Young Gallery, Great Barrington, Massachusetts
American Abstract, Ille Arts, Amagansett, New York
The Edge, Philip Slein Gallery, St. Louis, Missouri
Insomnia, Pelham Art Center, Pelham, New York
Construction Site, McKenzie Fine Art Inc., New York
Territory, Crush Curatorial, Amagansett, New York
Amagansett Art Across the Years, The Jackson Carriage House, Amagansett, New York
Deux Côtés / Two Sides, Part I, Theodore: Art, New York
Deux Côtés / Two Sides, Part II, Galerie Jean Fournier, Paris
Vernacular: Eric Brown, Sharon Butler, Joyce Robins, Andrew Seto, Theodore: Art, New York
Remains To Be Seen, Geoffrey Young Gallery, Great Barrington, Massachusetts
Holiday Hijinks and Tote Modern, Theodore: Art, New York
Holiday Salon, Ille Arts, Amagansett, New York
City as Subject, curated by Peter Xico Greenwald, The Westbeth Gallery, New York
Somatic, curated by George Negroponte, Ille Arts, Amagansett, New York
In the Trade, Washburn Gallery, New York
Holiday Salon, Ille Arts, Amagansett, New York
Silhouette, curated by Bill Carroll, The Elizabeth Foundation for the Arts, New York
Panero, James, “Gallery Chronicle.” The New Criterion, February 2020.
Schwendener, Martha. “What to See Right Now in New York Art Galleries.” The New York Times., January 22, 2020
French, Christopher. “E.L. Brown: Monday Paintings.” ARTnews, December 2013.
Krementz, Jill. “Jill Krementz Covers E.L. Brown’s ‘Monday Paintings.’” New York Social Diary, August 2013
Rogers, Pat. “Last Chance: Somatic Presents Industrial Abstraction at Ille Arts.” Hamptons Art Hub, August 15, 2014
Laster, Paul. “Weekend Edition: 11 Things to Do in New York’s Art World Before June 2.” The New York Observer, May 28, 2015
Goleas, Janet. “Painterly Conversation About Abstraction in ‘Vernacular.”’ Hamptons Art Hub, June 24, 2015.
Landes, Jennifer. “Eric Brown’s Colorful Abstraction on View at Ille Arts.” The East Hampton Star, July 16, 2015.
Goleas, Janet. “Eric Brown Paintings—Authentic Colliding of Geometry and Color.” Hamptons Art Hub, July 18, 2015.
Hodara, Susan. “While You Were Sleeping, They Made Art.” The New York Times, February 12, 2016.
Jessica Mackin. “Gallery Walk.” Independent Newspaper, June 15, 2016.
Landes, Jennifer. “Finding a Local Aesthetic in Abstraction.” The East Hampton Star, June 16, 2016.
Butler, Sharon. “Of Note: Eric Brown, Suchness.” Two Coats of Paint, November 25, 2016.
James Panero, “Gallery Chronicle,” The New Criterion, October 2017.
David Gibson, “Eric Brown@Theodore Art/Bushwick,” The Gibson Report, December 10, 2017.
“On July 4: The Art of Decency,” www.twocoatsofpaint.com, 2018.
Selected Awards and Honors
Cover art, Douglas Crase, Lines From London Terrace: Essays and Addresses, Pressed Wafer
MacDowell Colony Fellowship.
Visiting Scholar and Artist, The American Academy in Rome.
Cover art, Mannahatta, photographs by Roger Arvid Anderson, with poems by Walt Whitman, The Fisher Press, Santa Fe, New Mexico
Cover art, Ken Babstock, On Malice, Coach House Books, Toronto
Lives and works in New York
MFA, Sculpture, Pratt Institute, NY
MA, (incomplete), Studio Art, New York University, NY
BA, Sculpture, Sang Myung Women’s University, Korea
2019. Gallery MoMo, Tokyo, Thin Red Line
2018. Marisa Newman Projects, Thin Red Line
2017. Hanmi Gallery, Seoul, Build Up
2015. Brick Lane, Seoul, All in the Gam; Art of Jaye Moon
2015. Gallery MoMo, Tokyo, Play things in Modernism
2014. Gallery MoMo, Tokyo, Breaking the Code
2013. Space Plasma. Seoul, Lunchboxes
2013. Cheongju Creative Studio, Korea, Sangdang Sanseong
2012. Paik Haeyoung Gallery, Seoul, Itaewon Project
2012. Newman Popiasheville Gallery. New York, Breaking the Code
2012. Gallery MoMo, Tokyo. Luminous
Gyunggi Museum of Modern Art, Korea
Memorial Sloan Kettering Hospital Art Collection, NY
Naomi Savage, photographer, born June 25, 1927 and died at her home in Princeton, New Jersey, on November 22, 2005. While still in high school, she took a class in photography at the New School for Social Research with Berenice Abbott. Some twenty years earlier, Abbott had studied photography in Paris with Man Ray, who was Naomi Savage’s uncle. In 1946, Savage enrolled in Bennington College, where she studied art and music, but before graduating, left to be an apprentice for Man Ray in Hollywood. He taught her that photography was above all a creative process, one of many tools that could be used for the purpose of visual expression. When she returned to New York in 1948, she combined her love of music with her skill in photography by taking portraits of the best known composers of day: Aaron Copland, John Cage, Virgil Thomson, etc. (over 30 in all). Throughout her career, she experimented with the medium of photography, continuously inventing new and highly original techniques. Perhaps her best known work is a series of metal photo engravings (1972) dominating the walls of the LBJ Library in Austin, Texas. In her later years, she became attracted to the enormous potential of digital imagery, experimenting with various methods to manipulate and enhance color, even using new and unconventional materials for laser printing. She exhibited widely, most recently at the Montclair Art Museum, and her photographs are included in major institutional collections throughout the United States……………..provided by Francis M. Naumann.
Francis M. Naumann is an art historian, who specializes in art of the Dada and Surrealist period. He has written extensively on the art of Marcel Duchamp and Man Ray. His New York Dada 1915-23 (1994) is considered the definitive history of the movement, and his “Making Mischief: Dada Invades New York” (1996) is the most comprehensive exhibition on the subject ever assembled. His doctoral dissertation was on Man Ray’s early years in New York, later published as Conversion to Modernism: The Early Work of Man Ray (2003). Throughout his years of his research on Man Ray, he met Naomi Savage and, over the years, they became good friends.
Painter, sculptor, photographer, filmmaker, draftsman…Man Ray has never limited himself to a single medium of artistic expression, tirelessly seeking new possibilities of creation or diversion of existing techniques. Considering art essentially as a game, he refused to attach himself to a determined style. Man Ray was born in 1980 in Philadelphia. In 1913, he discovered at the exhibition The Armory Show in New York European artists like Marcel Duchamp and Francis Picabia. With Marcel Duchamp he created and experimented with optical devices to study motion. He participated in the Dada movement in New york until 1921, when he left for France. As he arrived in Paris, Marcel Duchamp introduced him to the Parisian artistic scene. It was the beginning of an intense period of creation: photographs (fashion, portraits, art), exhibitions, films…In the interwar period Paris, Man Ray frequents all the greatest actors of creation, Dadaists, Surrealists, writers, filmmakers, fashion designers…In 1940, Man Ray had to leave France for the United States, where he realized major works like the Shakespearian paintings, etc. Man Ray returned to Paris in 1951, moved to rue Ferou where he painted, drew, wrote his memoirs and continued to use photographic processes. Thus begins the edition of his objects “Objects of my affection” first with Marcel Zerbib, then with Arturo Schwarz. Man Ray died on November 18, 1976 in Paris. He is buried in the Montparnasse cemetery.
…………………………………………. excerpt from Man Ray International Association
Mathematical Object (Anthony) is one of some twenty photographs taken by Man Ray in 1934-35 of mathematical models located in the Institut Poincaré in Paris. Twelve of the photographs were featured in a 1936 issue of the journal Cahiers d’Art devoted to the “object” and four were exhibited in MoMA’s exhibition the same year, Fantastic Art, Dada, Surrealism. The models were drawn to his attention by Max Ernst, who had discovered them and thought them exceptionally provocative, surreal shapes. The models were used to render complex mathematical formulae into three-dimensional form, but it was not their origin in mathematics that attracted the interests of Man Ray. “The formulas accompanying them meant nothing to me,” he later explained, “the forms themselves were as varied and authentic as any in nature” (Self-Portrait, 1963, p. 368). While living in Hollywood, California, in the 1940s, Man Ray used the photographs he had taken in the Institut Poincaré as the basis of a series of pictures that he grouped under the title “The Shakespearean Equations,” which, in true Dada and Surrealist fashion, had as little to do with Shakespeare as they did with equations. Man Ray retrieved the photographs he had printed in the 1930s on a trip back to Paris in 1947, and this example is believed to be among them. This particular print is often titled Antony, as we know that it was used as the basis for the figure of Anthony in his painting Antony and Cleopatra, 1948.