DANNIELLE TEGEDER / 1
Pencil, ink, gouache, acrylic on Fabriano Murillo Paper
Born in Peekskill, NY, I currently live in Brooklyn, New York and maintain a studio at The Elizabeth Foundation in Manhattan. I received a BFA from the State University of New York at Purchase (1994), and an MFA in Painting and Drawing from The School of The Art Institute of Chicago (1997).
For the past fifteen years, my work has explored abstraction. While the core of my work is paintings and drawings, I have recently begun to include large-scale installation, sculptural objects, video, sound, and animation
Since receiving my MFA in 1997 from the School of the Art Institute of Chicago, my work has been presented in over 100 gallery exhibitions, both nationally and internationally in Paris, Houston, Los Angeles, Berlin, Chicago, and New York. I have participated in numerous institution exhibitions including PS1/MOMA, The New Museum, The Brooklyn Museum of Art in New York, and Museum of Contemporary Art in Chicago. Several of my drawings have recently been purchased as part of the Contemporary Drawing Collection at the Museum of Modern Art, and my work is in the permanent collections of The Museum of Contemporary Art in Chicago, and The Weatherspoon Museum of Art in Greensboro, NC.
Suspended Blue City with Cobalt Fire Networks And Safety Routes in With Developments Contraption Forecasting Machine and Hollow Grey Velocity Transmitter with Tunnel Routes and Stations with Pipe Chrysalis Headquarters City Plan Tower Manifesto and Ecstatic White Metallic Mine Tunnels and Pantone Structure with Yellow Categories with Luminous Connectors and Lemon Elevator Structures
"In a sense, Tegeder turns the guiding intuition—what some might call the ideology—of the reductivist tradition inside out: This intuition tells the artist that as more and more of what had formerly been the matter of art could be jettisoned, that is, as the work came closer and closer to arriving at some concentrated essence, the fuller and more powerful it would be; the fewer elements it could have, the more complete it would be. What Tegeder realizes—perhaps more than any of the other artists who have emerged from the semi-secret tradition of so-called conceptual abstraction—is the rather frightening corollary of the reductivist intuition, which is that when the artwork is complexified, stratified, and subjected to what Stephen Westfall called the “ongoing cultural condition of hyper-contextualization,” then the work loses its grip on any sense of completion, of wholeness, and becomes ever more fragmented, contradictory, underdetermined, and irrational (in the way an irrational number, such as pi, turns out to be endless). A certain arbitrariness comes into play.
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