Robert Flynt

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About the Artist:

Robert Flynt's work has been widely exhibited in the United States and abroad since 1980. He has been shown in major museums, galleries, and alternative spaces, as well as in collaborative performance and dance projects. Robert's influential male nude study prints are held in permanent collections of many prestigious institutions including the Museum of Modern Art (MOMA) in New York, the Metropolitan Museum of Art in New York, and the Los Angeles County Museum of Art (LACMA).  GALLERY 1/1 is excited to present a selection of Robert's new photographic based monotypes. His subject matter continues on the male body and the yearning and anxieties it engenders along but the new focus is the counterpoint of eroticism and structure, both organic (anatomy, botanical) and man-made (architecture/mapping).  Robert will be a featured artist our exhibition The Male Gaze.

Biography:

ROBERT FLYNT’s work has been widely exhibited in the United States and abroad since 1980. It has been shown in major museums, galleries, and alternative spaces, as well as in collaborative performance and dance projects.

In 1992 he was included in “New Photography 8” at the Museum of Modern Art in New York, where his work is in the permanent collection, as well as in the Metropolitan Museum of Art, The International Center of Photography (NY), and L.A. County Museum, among many others. His notable one-person exhibitions have been at Witkin Gallery, Wessel+O’Connor Gallery and ClampArt in New York, the Craig Krull Gallery in Santa Monica, the G. Gibson Gallery in Seattle, and the Gomez Gallery in Baltimore. He has been included in over 50 group exhibitions since 1980. He had a solo exhibition at Heartgalerie in Paris in March 2009, followed by group exhibitions in Berlin, Tel Aviv, and Chicago, among others. In 2012, his work was featured in “Naked Before the Camera” at the Metropolitan Museum of Art in NYC.

Flynt’s collaborative projects include commissions from Brooklyn Academy of Music with choreographer Bebe Miller in 1989, and the L.A. International Arts Festival with Ishmael Houston-Jones and Dennis Cooper in 1990, and with Yoshiko Chuma on The Yellow Room, Daghdha Dance Company (Ireland) in 2003. Body-Scan, an image/performance project with choreographers Benoit Lachambre and Su-Feh Lee, premiered at Le Quartz in France in March 2008 and toured internationally in 2009. In March 2009 he collaborated with Pavel Zustiak/Palissimo on Weddings and Beheadings, premiering in New York at the Ailey Center Theater. The pair received a Baryshnikov Arts Center residency in 2010 and premiered their new collaboration, Amidst, there in June 2011.  This continues as Part 2 of Palissimo’s The Painted Bird trilogy, which premiered at the Wexner Center for the Arts in September 2012.  His recent collaboration with choreographer Yoshiko Chuma, Love Story, Palestine was presented at La Mama ETC in New York in May of 2012.

Along with numerous visiting artist and residency engagements throughout the U.S., Canada, and Europe, Flynt has received fellowships from the MacDowell Colony, Light Work, the Mid-Atlantic Arts Foundation, Art Matters, the Peter S. Reed Foundation, and the Bogliasco Foundation in Italy. Most recently he was a resident at Fundacion Valparaiso in Spain.

Flynt’s work has appeared in numerous photo publications, anthologies and artist’s books. His 1996 monograph, Compound Fracture (Twin Palms Publishers) received a Best Books of the Year award from the American Institute of Graphic Arts.

Résumé:

SELECTED RECENT SOLO EXHIBITIONS & INSTALLATIONS:

2011 “Occupation Layer: Palestine”, Gallery Onetwentyeight, New York, NY (Installation with Yoshiko Chuma)
2009 heartgalerie, Paris, France (“Future Tense” portfolio, Blue Moov_Editions, Paris)
2008 Antipodes festival, Le Quartz, Brest, France
  Haven Arts Center, Bronx, NY
  Brattleboro Museum of Art, Brattleboro, VT
2006 Katzen Arts Center, American University (“Body Languages” with Mary Coble) Washington, DC
2004 ClampArt, New York, NY
  G2 Gallery, Scottsdale, AZ
  Maus Habitos, Porto, Portugal
2001 Wessel+O’Connor Gallery, New York ([Your] Numbered Days artist book)
  Maus Habitos, Porto & Igreja da Misericordia, Leiria, Portugal: Partial Disclosures installation (catalog)
2000 Centro Cultural de Belém, Lisbon, Portugal : Partial Disclosures installation
  University of Rhode Island, Kingston, RI : Partial Disclosures installation
  The Schoolhouse Center, Provincetown, MA

SELECTED RECENT GROUP EXHIBITIONS & INSTALLATIONS:

2014 “Transformational Imagemaking”, CEPA Gallery, Buffalo, NY
2013 Mykonos Biennale, Mykonos, Greece
  “There Are Many Like It, But This One Is Yours”, Front Room Gallery, Brooklyn, NY
2012 “Naked Before the Camera”, Metropolitan Museum of Art, New York, NY
  “Off the Books”, Vermont Center for Photography, Brattleboro, VT
  “Tracing History”, Urban Arts Space, OSU, Columbus, OH
  “Collectors’ Favorites” Stephen Cohen Gallery, Los Angeles, CA
  “Under the Rainbow”, Greg Kucera Gallery, Seattle, WA
  “Sight Specific: LACPS and the Politics of Community” USC Fisher Museum, Los Angleles, CA
2011 “The Unseen Eye” George Eastman House, Rochester, NY
  “Modèles Danse”, L’Arsenal, Metz, France
2010 “Tachykardia”, Sommer Gallery, Tel Aviv, Israel
  “Memento”, Werkstattgalerie, Berlin, Germany
2009 “Afterglow; Four Photographers and the Hand-Held Light”, Carrie Haddad Photographs, Hudson, NY
  “RE: figure”, Columbia College, Chicago, IL
  “Mankind”, Werkstattgalerie, Berlin, Germany
2007 “Expressive Bodies” Kinsey Institute at Herron Gallery, Indianapolis, IN
  “Latent Image”, Mesa Contemporary Arts, Mesa AZ
2006 “Surface Tension”, Bulldog, Brighton Photo Fringe, Brighton, UK
  “25th Anniversary Exhibition”, Houston Center for Photography, Houston, TX
  “Past is Present”, the laboratorium, Rochester, NY (catalog)
  “New to View”, Worcester Art Museum, Worcester, MA
  “The Body Familiar”, Griffin Museum of Photography, Winchester, MA
2005 George Billis Gallery LA, Culver City, CA
  “Hidden Histories”, The New Art Gallery, Walsall, UK (publication)
  “Anxiety and Desire”, Metropolitan State College of Denver, CO
2003 “How Human”, International Center of Photography, New York, NY
  “Other Waters”, G. Gibson Gallery, Seattle, WA
  “Facing AIDS”traveling international exhibition and publication, Umbrage Editions
2002 “Everyman”, San Francisco Camerawork, San Francisco, CA (catalog)
  “Invisible Cities”, Center for Photography at Woodstock, NY
2001 “The Last Picture Show” & “Appearances”, Wessel+O’Connor Gallery, New York, NY
2000 “Anatomically Incorrect”, Museum of Modern Art, New York, NY

 

SELECTED COLLECTIONS:

The Metropolitan Museum of Art, New York
The Museum of Modern Art, New York
The International Center of Photography, New York
Los Angeles County Museum of Art
Museum of Fine Arts, Houston
The Baltimore Museum of Art
The Kinsey Institute, Bloomington, IN
Worcester (MA) Art Museum
Robert Wilson/The Watermill Center, NY
Nash Editions Collection
The Contemporary Museum, Honolulu, HI
Norton Museum of Art, West Palm Beach, FL
City of Phoenix, AZ

Statement:

My current series of photo-based monoprints are created by printing my studio-based photographs of the figure onto found textbook plates, maps or other paper ephemera. This intuitive and chance-based process connects this work to my pre-darkroom era of monoprints, etching, and collage. After many years of creating layered images in the analog darkroom with sandwiched negatives, photograms, and double-exposure, this sensibility has been rechanneled into the differently unpredictable interplay of the found and the drawn/photographed through exploiting the different strengths (and weaknesses) of the ink-jet and (increasingly frequently) laser printer.

The photographic images are made with performer/collaborators, shot entirely in darkness, illuminated by flashlights. These light drawings of evanescent, un-seeable encounters are minimally edited and printed on the found pages. I propose vocabularies in the dissonant dialog: the authoritative/book-based found with the metaphorical/sensual drawn. Are they more drawings than photographs? Does it matter?

My subject is the body, primarily male: the yearning and anxieties it engenders. A recent focus is on the counterpoint of eroticism and structure, both organic (anatomy, botanical) and man-made (architecture/mapping); what questions can be asked in these collisions? 

Additional Information:

Website: http://www.robertflynt.com/

Associated Exhibitions

The Male Gaze
May 17 - July 14, 2018
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