Ron Linden

two thousand07 | 08

511 west 25th street | new york, ny | 10001www.cueartfoundation.org

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isbn-13: 978-0-9791843-9-0isbn-10: 0-9791843-9-8

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C U E ART FOUNDAT IONDECEMBER 6 –JANUARY 26, 2008

CURATED BY PETER PLAGENS

[foreword]

We are honored to host this exhibition by painter Ron Linden that has been generously curated by fellow artist Peter Plagens. Linden is an artist who has worked tirelessly over the years sup-porting other artists and has received much admiration from his contemporaries not only for such generosity, but also for his unique artistic voice. Plagens’ appreciation of Linden’s painting demonstrates just such admiration.

CUE appreciates that geographic location can sometimes limit an artists exhibition possibilities elsewhere, thus we are pleased to off er Mr. Linden the opportunity for his fi rst solo exhibition in New York. Mr. Plagens and we, together, wish him a future of fulfi llment and success.

RON LINDEN

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workmanlike & plaincentric shapesconsidered geometriesstingy paletteshared doubtsense of humor

[artist’s statement]

RON LINDEN


[curator’s statement]

PETER PLAGENS

The strength of Ron Linden’s art is that it doesn’t go down smoothly. Just when you think you’ve got it pegged generationally (the post-Minimalist boys), morphologically (abstract painting) and tempera-mentally (glowering 1970s standoffi shness), it starts to squirm loose in your head. Linden is not interest-ed in cordoning off previously unclaimed “is-it-is-or-is-it-ain’t-art” territory and stamping it as his own. His work is painting, and pretty much abstract, but, like the oil-change drippings on a mechanic’s card-board dropcloth, Rorschach-like references seep into it. Where the kind of art that Marcia Tucker, with a hint of derision, used to call “MAA art” (major, ambitious, abstract) made a big deal out of being big and—it hoped—profound, Linden’s work is physically modest, “sneaky-pretty,” and almost sentimental in a late-industrial kind of way.

Linden was born and raised in Chicago, schooled at the University of Illinois, Urbana-Cham-paign and given tenure as a young art professor by Bradley University, Peoria, IL. But once he scored a leave and headed to Los Angeles, CA for what was supposed to be a summer and a semester, he never looked back. A couple of teaching gigs did come along, but for twenty years he made his living in Southern California as a “scenic artist” in the tele-vision and movie business—building sets, rolling vast, shiny colored dance fl oors and making sure

the game-show host had a secure place to stand. In addition to learning how to stay calm in the midst of other people going crazy under the deadlines of preparing silly, expensive shows for broadcast, Lin-den picked up a whole bag of scenic artists’ tricks and turned them into his own painterly vernacular.

At fi rst, he rode his BMW motorcycle to the studios in Burbank, CA from nearby Pasadena. Then he rode from just south of downtown Los Angeles in the fl ower market district. His swan-song commute in the scenic trades was from twenty miles farther south, San Pedro—“Peedro” to locals. Linden’s still a local there. He teaches at a working-class community college, which suits his Situation-ist-left politics just fi ne.

Politics lie at the base of Linden’s artistic pyra-mid. But his prickly, contentious takes on bloviating warmongers, our “socialism-for-the-rich-free-enter-prise-for-the-poor” way of running this society and a phosphorescently rotten commercial culture don’t show up as self-righteous bumper stickers in his paintings. Instead, they’ve been morphed into a qui-etly angry abstraction that rather thumbs its nose at social ugliness instead of shouting at it. The layer above that base is composed of Linden’s awareness of other art, diff erent art. He’s not one of those painters who has turned the wagons in a circle. Lit-tle bits of video, dance, performance and text fl oat,


deliberately half-hidden, in an emulsion of ongoing infl uence. Finally, at the top, is a poetic sensibility that Linden tries to fl out rather than fl aunt. If the work is going to mean anything, Linden has insisted by example for thirty years or more—if it’s going to say anything about the problems of timely versus timeless, esoteric versus populist, and artistic hope versus cultural despair—it’ll have to do it on its es-thetic own, with no convenient props of symbolism. Ron Linden is a signifi cant painter because he resists convenience and, sometimes, even himself. But in-tegrity will out. In the end, Linden makes the dif-fi culty of making the diffi cult look easy look easy.


Evenso, 1996Acrylic and graphite on wood 24˝ x 24˝


Mum’s Muteyness, 1977Acrylic on canvas 36˝ x 84˝



Obdura, 1987Mixed media on wood 35˝ x 33.35˝


Flygel, 2004Acrylic on canvas 48˝ x 48˝


Rubric, 2003Acrylic and graphite on canvas and wood panel 47˝ x 83˝



OCKT, 2006Acrylic and graphite on wood 24˝ x 24˝


Aleph, 2006Acrylic and graphite on wood 48˝ x 32˝


Eye Spring (version 2), 2006Acrylic and graphite on wood 24˝ x 24˝


Nona, 2007Acrylic on canvas24˝ x 20˝


Shem the Penman, 2007Acrylic and graphite on wood36˝ x 30˝


Phook, 2007Acrylic and graphite on wood36˝ x 37½˝


ron linden gave up a tenured university teach-ing position in the Midwest in 1972 (he received an MFA in painting from the University of Illinois, Urbana-Champaign seven years earlier) to live and work in Los Angeles. Although he did teach as a vis-iting artist at the University of Southern California, Los Angeles; the San Francisco Art Institute; Art Center College of Design, Pasadena, CA; University of California, Irvine, CA and elsewhere, Linden sup-ported himself over the years as a union scenic artist in Los Angeles fi lm and television studios. He was one of the fi rst artists (along with Bruce Nauman, Richard Jackson, Peter Plagens, Karen Carson and others) to establish a practice in Pasadena’s “Old Town,” and later pioneered studios in downtown Los Angeles’ Flower Market district and in the port district of San Pedro. For the past seven years Linden has taught and run a gallery program at Los Ange-les Harbor College, Wilmington, CA, a community college with a largely working-class and minority student population. He has also been instrumental in San Pedro’s recently rising art scene, directing and curating exhibitions for the Warschaw Gallery.

Although Linden’s abstract painting utilizes, in unexpected and subtle ways, techniques acquired in his three decades working in the scenic industry, its deeper base is his ongoing interest in the philo-sophical conundrums of modern art, particularly

as investigated by the Situationists in the 1970s. But his art remains very much “art,” with centric shapes and forms, a predominantly gray palette that rarely warms beyond rust and ochre, and a journeyman’s approach to drawing and paint application. Working with mixed materials, Linden’s layered compositions strike an odd but convincing sense of balance and solidity.

Through his activities as an artist, teacher, curator and gallery director, Linden has achieved grassroots recognition among other artists. He has had recent solo exhibitions at Jancar Gallery, Los An-geles, CA and the short-lived Storage Gallery, Santa Monica, CA and participated in group exhibitions at the Riverside Art Museum, Riverside, CA; the Santa Monica Museum of Art, Santa Monica, CA and the Armory Center for the Arts, Pasadena, CA. The ex-hibition at CUE Art Foundation marks Linden’s fi rst solo exhibition in New York.

[biographies]


peter plagens is a painter who’s shown with the Nancy Hoff man Gallery in New York City since 1974 and was also the staff art critic for Newsweek (1989-2003), where he is now Contribut-ing Editor. He has received fellowships from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, and the National Arts Journalism Program. His paintings were the subject of a retrospective fi rst shown at the Fisher Gallery, University of Southern California in Los Angeles, CA in 2004, then traveling to Colum-bia College of Art in Chicago, IL and The Butler Institute of American Art in Youngstown, OH in 2005. Plagens is the author of two books of art criti-cism—Sunshine Muse: Art on the West Coast, 1945-70(University of California Press, 2000) and Moonlight Blues: An Artist’s Art Criticism (UMI Research Press, 1986)—as well as a novel, Time for Robo (Black Heron Press, 1999). He lives in New York City with his wife, the painter Laurie Fendrich.


CUE Art Foundation is a 501 (c)(3) non-profi t forum for contemporary art and cultural exchange between artists and the public. We value the astonishing level of creativity that artists provide and the importance of their activity in the social context of the city.

CUE provides artists, students, scholars and art professionals resources at many stages of their careers and creative lives. Our programs include exhibitions, studio residencies, publications, professional development seminars, educational outreach, symposia, readings and performances. Since 2002, we have operated from our 4,500 square foot storefront venue in the heart of New York’s Chelsea Arts District.

CUE exhibiting artists are chosen by their peers and a rotating group of advisors and curators from across the country. This pluralistic process ensures that CUE consistently off ers diverse viewpoints from multiple disciplines of artistic practice.

Simply put, we give artists their CUE to take center stage in the challenging world of art.

Board of DirectorsGregory Amenoff Theodore S. Berger Patricia Caesar Thomas G. Devine Thomas K.Y. Hsu Brian D. Starer

Advisory CouncilGregory Amenoff Bill BerksonWilliam Corbett Michelle GrabnerDeborah Kass Kris Kuramitsu Jonathan Lethem Lari Pittman Irving Sandler

Staff Executive DirectorJeremy Adams

Director of DevelopmentBryan Markovitz

Programs DirectorBeatrice Wolert-Weese

Programs AssistantRyan White

Development AssistantTalia Spetter

PreparatorDrew Lichtenstein

Cover: OCKT [detail], 2006Acrylic and graphite on wood 24˝ x 24˝

All artwork © Ron Linden

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isbn-13: 978-0-9791843-9-0isbn-10: 0-9791843-9-8


Documents

Ron Linden