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The ultimate claim is that painting after the collapse of painting could be more indexical than photography. The moment of contact was key, its ultimate goal to create comrade things that are more like lovers than friends, like the canvases of Mark Rothko, which are supposed to quicken in proximity effects like silky skin, if you don’t get distracted by the security guards. There is no truth beyond that; abstract expressionism does not need any veracity devices, save that of the romantic authorial biography, which now finds ways to connect and internalize truth as base matter, to intern it in a personal form whose process or “happening” is far more important than any material result. Kevan returns to painting after the crash of painting, a site all the more specific because it is linked to a very definite cultural tradition deployed as a knowledge weapon in the Cold War. At the same time, unlike the original abstract expressionism, these canvases are not made with the pretense of being high art; instead, they are abreactions that delve beyond the image into the world of matter, much more about the physical human use of creating and destroying on a flat picture plane, just to ride it out, get it over with, and constitute something on the other side.
-- David Riff

...he knows how to make magic
-- Peter Selz


2014
kevan_jenson_smoke_img
Studio Vendome, 28 Grand St. NYC

2013
ArtPadSF 2013
Residency at Kala Art Institute, Berkeley
Featured at Rediscovered Masters

2012

works acquired by the Buck Collection, Newport Beach
and the Centre George Pomipidou, Paris

prior

Berkeley Art Center, 2011
LAMAG, Barnsdall Park, LA
Collective Gallery, Edinburgh
Picture This, Bristol
Chisenhale, London
Taipei Biennial 2010
Wilfried Lentz, Rotterdam


 

 

See a short video of Peter Selz on Kevan's Work

"Que Manera De Vivir" 2013 oil and smoke on canvas 40" x 62"