Offbeat: Robert Jackson
Past exhibition
Overview
In a series of neatly arranged paintings, Robert C. Jackson appropriates American advertising culture to explore how objects, many known for their brand identity, contribute to the creation of new associations. In numerous paintings a set of branded domestic items, such as Oreo cookies, Tonka trucks, or rubber figurines like the Trix Rabbit, are placed in unusual or “offbeat” compositions. These lighthearted tableaus coalesce with Jackson’s subtly painted environments that play on nostalgia and current topics.
Works
-
Robert C. Jackson, BFFS, 2019 -
Robert C. Jackson, BLACK AND WHITE AND RED ALL OVER, 2019
-
Robert C. Jackson, BOUQUETS, 2019
-
Robert C. Jackson, CONSTRUCTING, 2019
-
Robert C. Jackson, CONTROLLED BURN, 2019
-
Robert C. Jackson, CREATIVE EXPLOSION, 2019
-
Robert C. Jackson, ENCOUNTER, 2019
-
Robert C. Jackson, HIGH RISE, 2019
-
Robert C. Jackson, MORNING COFFEE, 2019
-
Robert C. Jackson, MYSELF AS A STILL LIFE, 2019
-
Robert C. Jackson, OVER PRODUCER, 2019
-
Robert C. Jackson, POSSIBILITIES, 2019
-
Robert C. Jackson, PURE JOY, 2019
-
Robert C. Jackson, REPURPOSE, 2019
-
Robert C. Jackson, SERIOUSLY, 2019
Press release
Gallery Henoch is pleased to announce Robert C. Jackson’s fifth solo show in New York, OFFBEAT. A reception for the artist will be held Thursday, October 24th, 6-8 pm. The event is free and open to the public.
In a series of neatly arranged paintings, Robert C. Jackson appropriates American advertising culture to explore how objects, many known for their brand identity, contribute to the creation of new associations. In numerous paintings a set of branded domestic items, such as Oreo cookies, Tonka trucks, or rubber figurines like the Trix Rabbit, are placed in unusual or “offbeat” compositions. These lighthearted tableaus coalesce with Jackson’s subtly painted environments that play on nostalgia and current topics.
Over 15 years ago, Jackson began collecting and stacking antique soda crates on which his vignettes play out. Each centrally placed crate is colorfully emblazoned with trademarked labels such as Sunkist, Coke, Goody or Pepsi. By creating his compositions with bold and highly branded objects, Jackson imbues his own pictures with the history of positive messaging that each logo touts. Jackson’s juxtaposition of objects showcase narratives that invite the viewer to engage with their individual nostalgia and construct new meaning and memories.
The artist maintains an active sketchbook; which, like a diary, is where each composition begins and ideas develop until they become realized in installations that are built in the studio. Finding a new set of toys or iconic objects might also inspire a set of drawings but more often Jackson is an idea generator who then finds the right tool or prop to be painted
This exhibition runs concurrent to a solo show at the Evansville Museum of Art, Indiana. His national exposure includes prominent venues such as the Delaware Center for Contemporary Art, the Butler Art Institute, the Greenville Museum, the Brandywine River Museum of Art, the Tullman Collection, the Philbrook Museum, the South Dakota Museum of Art, the Islip Art Museum, and the Hunter Museum. To date Jackson has been the focus of thirty-six solo shows and over 60 group shows.
In a series of neatly arranged paintings, Robert C. Jackson appropriates American advertising culture to explore how objects, many known for their brand identity, contribute to the creation of new associations. In numerous paintings a set of branded domestic items, such as Oreo cookies, Tonka trucks, or rubber figurines like the Trix Rabbit, are placed in unusual or “offbeat” compositions. These lighthearted tableaus coalesce with Jackson’s subtly painted environments that play on nostalgia and current topics.
Over 15 years ago, Jackson began collecting and stacking antique soda crates on which his vignettes play out. Each centrally placed crate is colorfully emblazoned with trademarked labels such as Sunkist, Coke, Goody or Pepsi. By creating his compositions with bold and highly branded objects, Jackson imbues his own pictures with the history of positive messaging that each logo touts. Jackson’s juxtaposition of objects showcase narratives that invite the viewer to engage with their individual nostalgia and construct new meaning and memories.
The artist maintains an active sketchbook; which, like a diary, is where each composition begins and ideas develop until they become realized in installations that are built in the studio. Finding a new set of toys or iconic objects might also inspire a set of drawings but more often Jackson is an idea generator who then finds the right tool or prop to be painted
This exhibition runs concurrent to a solo show at the Evansville Museum of Art, Indiana. His national exposure includes prominent venues such as the Delaware Center for Contemporary Art, the Butler Art Institute, the Greenville Museum, the Brandywine River Museum of Art, the Tullman Collection, the Philbrook Museum, the South Dakota Museum of Art, the Islip Art Museum, and the Hunter Museum. To date Jackson has been the focus of thirty-six solo shows and over 60 group shows.
Installation Views
