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 Brandon Lipchik. Visions of Song, Robert Grunenberg (DE)
2020 Upcoming Fall Residency Show, The Garage, Amsterdam (NL)
2020 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
2020 Le Monde Diplomatique (1, 2, 3, 4, 5)
2020 Gallery Talk: For my sweet love America (Link)
2019 “Post-Digital Pop: Instagram durchgespielt” in KUNSTFORUM International, Bd. 264
2019 “Watchlist Interview: Brandon Lipchik” Monopol Magazin (Sep 2019)