Robert Grunenberg

Brandon Lipchik

BRANDON LIPCHIK born *1993 in Erie, Pennsylvania.
Lives and works in Brooklyn, NY (US)

 
Education
 
Rhode Island School of Design, RISD, Providence, RI (US)
Bachelor of Fine Arts, Painting – 2016 Brown University, Providence, RI (US)
 
Solo Exhibitions
 
2021  Upcoming Spring, Richard Heller Gallery, Santa Monica, California (US)
2020  Upcoming Fall Residency Show, The Garage, Amsterdam (NL)
2020  Upcoming Spring, Galerie Julien Cadet, Paris (FR)
2019  Windows Into Exile, Miettinen Collection with Robert Grunenberg Gallery, Berlin (DE)
2018  Nu Digital, Galerie Julien Cadet, Paris (FR)
2018  The Garden, At Large Gallery, Brooklyn, New York (US)
 
Group Exhibitions
 
2020  Sincere Intentions, Robert Grunenberg (DE)
2020  Arena, East Projects, New York (US)
2019-2020  Kunst nach den sozialen Medien, Museum der Bildenden Künste in Leipzig (DE)
2019  Massimo Minini, Brescia (IT)
2019  Expo Chicago, Richard Heller Gallery, Chicago, Illinois (US)
2019  Group Show Pop Up, Galerie Julien Cadet, Montpellier (FR)
2019  Post Digital Pop, The Garage, Amsterdam (NL)
2019  Something New, Something Borrowed, Plastic Murs, Valencia (ES)
2019  Time Bomb, Wadstrom Tonnheim Gallery, Marbella (ES)
2019  Ultra Light Beams, Mount Analogue, Seattle WA (US)
2018  Last Minute, Art Haps Gallery, Bronx, NY (US)
2018  While Supplies Last, Seattle, Washington (US)
2016  Senior Invitational Exhibition, Woods Gerry Gallery, Providence, RI (US)
2016  RISD Annual Senior Thesis Show, Providence, RI (US)
2015  Erie Art Museum’s 92nd Annual Spring Show, Erie, PA (US)
 
Awards/ Residencies
 
2020  The Garage Residency, Amsterdam (NL)
2019  Palazzo Monti Residency, Brescia (IT)
2018  So Far Residency, Montpellier (FR)
2018  Oli Epp’s Summer Residency, The Koppel Project Hive, London (UK)
2014  Anderson Ranch
2014  Brooks Fellowship Award Winner, Snowmass Village, CO (US)

„Brandon Lipchik is interested in the process of distortion and dissociation of a picture, which can occur both in the digital realm and on canvas. He masks a picturesque scene such as the Caprian landscape with lovers and collages occasionally bizarre and contradictory compositions. Lipchik confronts the viewer with male role models and ideas of paradise as calcified cliches. Similar to David Hockney’s pool images, this salutary exile becomes a constricting place. As with Hockney, the idyll is, at second glance, tarnished by damaged relationships, artificiality and solitude. This way of approaching pictorial dissociation is also a chance to broaden one-sided ways of reading and to react to the diversity of contemporary visual culture. Lipchik bridges the gaps between digital space and the material world by means of an airbrushed trompe-l’œil effect. With a superimposed layer of paint, Lipchik brings the painting closer into the gallery space, revealing a new, distinctly idiosyncratic mode of contemporary painting.“
—Anika Meier, 2019
 
2019   “Post-Digital Pop: Instagram durchgespielt” in KUNSTFORUM International, Bd. 264
2019   “Watchlist Interview: Brandon Lipchik” Monopol Magazin (Sep 2019)